Dance
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Tiësto takes top Streaming and Sales Gainer honors on Billboard‘s multimetric Hot Dance/Electronic Songs chart (dated Feb. 4) with “10:35,” featuring Tate McRae. The collab climbs from No. 6 to No. 5, returning to its highest rank, following the Jan. 19 release of its Joel Corry remix. The track earned 5.8 million official U.S. streams, up 23%, and sold 1,400 downloads, up 15%, while also drawing 3 million radio airplay audience impressions, up 53%, in the Jan. 20-26 tracking week, according to Luminate.
“10:35,” which debuted at No. 8 on the Nov. 19 tally and has remained in the top 10 since, is Tiësto’s eighth top 10, among 36 career entries (dating to the chart’s 2013 inception). It’s McRae’s second, after “You,” with Regard and Troye Sivan, reigned for eight weeks in June-August 2021.
Concurrently, “10:35” improves on Dance/Electronic Streaming Songs (5-3) and Dance/Electronic Digital Song Sales (5-4). Additionally, “10:35” clocks in at No. 72 on the all-genre Billboard Hot 100, debuting as Tiësto’s seventh song to make the survey and McRae’s sixth.
Continuing with Hot Dance/Electronic Songs, ILLENIUM and Nina Nesbitt notch the list’s highest entrance with “Luv Me a Little,” at No. 11. Now with 46 career entries, ILLENIUM ties Calvin Harris for the sixth-most; David Guetta leads with 73, followed by Kygo (61), Marshmello (54), The Chainsmokers (52) and Martin Garrix (51).
“Luv,” Nesbitt’s first showing on the chart, starts with 1.8 million streams. It’s from ILLENIUM’s self-titled album, due April 28.
Shifting to the Dance/Mix Show Airplay chart, Anabel Englund cruises to her eighth top 10, in as many tries, with “Need Me Right” (11-5). Since she first advanced to the top 10 with “So Hot” (12-7, May 2, 2020; the track ultimately peaked at No. 2), Englund matches Corry and Guetta for the most among all acts. Englund has two No. 1s, “Picture Us” (October 2020) and “Underwater,” with MK (April 2021).
“Need” is scoring core-dance airplay on Music Choice’s Dance/EDM channel, KMVQ-HD2 San Francisco and WZFL (Revolution 93.5, All Things Dance) Miami, among other signals. (The Dance/Mix Show Airplay chart measures radio airplay on a select group of full-time dance stations, along with plays during mix shows on around 70 top 40-formatted reporters.)
Meanwhile, Corry collects his ninth top 10 on Dance/Mix Show Airplay and Tom Grennan grabs his second with “Lionheart (Fearless)” (14-8). The song soars with notable core-dance airplay on SiriusXM’s BPM, Music Choice’s Dance/EDM and KNHC (C89.5) Seattle.
Desert Hearts returns with a strong beat for 2023, dropping the lineup for its May bacchanal on Wednesday (Feb. 1).
The stacked lineup of mostly house and techno features heavyweights includes legends such as Skream, Tiga, DJ Minx, DJ Seinfeld, Claude VonStroke, Derrick Carter going b2b with Mark Farina, along with up-and-comers including DJ Holographic, Prospa and Mary Droppinz along with core Desert Hearts crew Mikey Lion, Porky, Marbs, Lee Reynolds, Rinzen and Lubelski.
The extremely vibey indie festival happens May 5-8 in Lake Parris, Calif. Tickets for the lakeside camping festival go on sale Thursday (Feb. 2.) Fans can text 619-586-6779 to register for tickets and will receive a direct link to purchase at 10 a.m. PT.
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Since launching in 2012, Desert Hearts has carved out a place as one of the loosest and grooviest events for true house and technoheads, bringing in many of the global greats to grace lineups over the years. (Hear exclusive sets Desert Hearts 2022 sets from Rinzen, Carl Craig, Juan Maclean and Heidi Lawden here.)
As live events were put on pause during the pandemic, the Desert Hearts crew also created a significant online space, with their Twitch channel generating revenue that was key to Desert Hearts maintaining financial solvency after canceling its 2020 and 2021 shows. During the pandemic, Desert Hearts made roughly as much profit via donations and Twitch subscriptions (of which they hit a peak of 4,000) as they typically do from their IRL events. This revenue made it possible for Desert Hearts to keep the company funded, retain its four full-time employees and come back strong post pandemic.
See the Desert Hearts 2023 lineup below:
EMPIRE is pushing further into clubland, with big ambitions for helping DJs and producers get paid.
Today (Feb. 1), the San Francisco-based label announced that Moody Jones will step into the newly created general manager of dance role. Jones was previously EMPIRE’s svp of digital & creative, a position from which he worked across genres including dance projects by artists like The Martinez Brothers and Santino Le Saint.
Jones tells Billboard that this position will allow EMPIRE to “prioritize our expansion in this scene.” Jones’ new role follows EMPIRE’S acquisition of Claude VonStroke‘s storied Dirtybird label last October, with Jones adding that EMPIRE Dance is currently in talks with other labels and properties and “are open to other opportunities including catalog acquisitions.” Jones — a 2022 Billboard Indie Power Player honoree — will lead a dance team made up of the Dirtybird team, along with a team of new hires.
In this new role, his day-to-day involves signing artists, working on reintroducing songs from the EMPIRE catalog, and developing ways to incorporate dance strategies into the company’s daily priorities. Most crucially though, is time spent “getting obsessed with artists that deserve more exposure and figuring out where EMPIRE Dance can add value to them,” Jones says.
“The music industry has been evolving over the last five years and the dance labels haven’t caught up yet,” Jones says. “Our goal is to improve dance artist and label deals and reintroduce strong communities. DJs and dance artists have gotten used to making pennies on their music and making majority of their income on touring, which unfortunately means less quality time in production and more negative impact on their mental and physical health. I’m trying to help artists turn the pennies they are making on music into profits to better their livelihood.”
While EMPIRE has previously worked largely in genres like hip-hop and Latin, it’s bringing a significant competitive edge to the dance space. The company has its own publishing division and boasts “our own distributor so we have better data insights and audience analytics that empower us and our artists to make more proactive decisions,” he says.
EMPIRE also has its own studios, synch and partnership team and international staff in more than a dozen cities to help with regional rollouts.
“Moody has been an integral part of EMPIRE’s growth over the years,” EMPIRE CEO Ghazi adds in a statement. “As we expand into Dance, I’m confident in Moody at the helm with his ability to identify and develop artists that are impacting culture.”
HARD Summer is returning to downtown Los Angeles. The longstanding electronic music festival will happen Aug. 5-6 at a site spread across the Los Angeles Memorial Coliseum, Exposition Park and BMO Stadium in Downtown Los Angeles.
The event will mark HARD Summer’s return to downtown after a 10-year absence. HARD has strong roots in downtown L.A., launching there in 2008 as an underground warehouse party from longstanding electronic events producer Gary Richards, then growing into downtown’s L.A. State Historic Park amidst the height of the EDM explosion, drawing huge crowds and headliners including Skrillex, deadmau5, Justice and many more.
As electronic music gained a bad reputation in Los Angeles and beyond amidst a flurry of drug-related deaths at electronic festivals including HARD, political red tape pushed events out of the city, with HARD relocating first to Whittier Narrows, then the Pomona Fairplex, then further into the Inland Empire at sites in Fontana and Bakersfield.
By this time, Richards had left HARD, ceding control of the company to Insomniac Events, which currently operates the festival in conjunction with its parent company, Live Nation.
Insomniac Events is also the producer of Electric Daisy Carnival, which itself has roots in downtown Los Angeles, with the first major iterations of EDC happening at the L.A. Memorial Coliseum. This location changed following the death of a 15-year-old girl at Electric Daisy Carnival at the Los Angeles Coliseum in 2010, and the indictment of founder-promoter Pasquale Rotella on felony charges in connection to the venue, sparking EDC’s move to Las Vegas, which has become its spiritual home over the last 12 years. (Rotella was cleared of all felony charges in 2016.)
“We are thrilled to host HARD Summer’s return to Los Angeles as part of our centennial anniversary celebration,” Joe Furin, general manager of the LA Coliseum, says in a statement. “As home to the most iconic events in the world, this festival is an exciting addition to our 100-year history.”
The news indicates a thawing in the relationship between Insomniac and the Coliseum, with Insomniac also promoting the headlining show from Kx5 (Kaskade and deadmau5) that happened there Dec. 10. The show drew 46,000 attendees, making it the biggest ticketed global headliner dance event of 2022.
The Beatport Group has acquired a majority stake in the International Music Summit, the electronic music and culture platform known for its flagship industry conference, IMS Ibiza, Billboard can exclusively reveal.
This partnership is intended to secure the growth of IMS, which has happened annually in Ibiza since 2007 (minus the two years it rolled out online during the pandemic) and has over the years produced additional summits in Los Angeles, Shanghai, Singapore and Malta.
Via this partnership, IMS has plans to again expand its global footprint, with details forthcoming. IMS will continue to operate under the direction of its co-founders, with full support from The Beatport Group. (The Beatport Group currently encompasses digital electronic music store Beatport, open format DJ community Beatsource, Loopmasters, Loopcloud and other platforms.)
Financial terms weren’t disclosed.
IMS Ibiza was founded in 2007 by five partners including dance scene pioneer Pete Tong and industry exec and artist manager Ben Turner, with the intention to create a hub for conversation and progressive change within electronic dance music.
“We are very proud of what we’ve built at IMS over these past 16 years, driving the narrative and agenda of the culture forward from the genre’s spiritual home of Ibiza,” IMS’ founding partners say in a joint statement.
“Aligning with Beatport, who have been supporters of IMS from our inception,” the statement continues, “will enable us to action many of our ideas on how to continue to grow the platform all year round; to further educate and mentor the next generation; and to help focus the industry’s attention on the issues that matter. It will help increase our ability to have more impact for the genre.”
The next IMS Ibiza summit is set for April 26-28 at the island’s luxe Destino Pacha Ibiza resort. This three-day conference will again feature keynotes, seminars, performances, masterclasses, mentorship, health and wellness initiatives, parties and much more. A pillar of the conference is its annual presentation of the IMS Business Report, the annual valuation of the global electronic music industry presented in conjunction with data and analysis on myriad aspects of the business. IMS Ibiza 2023 will once again be hosted by Tong and fellow BBC Radio 1 presenter Jaguar.
“IMS has become one of the most impactful gatherings for the global DJ and dance music industries, and everyone at Beatport is excited to take this brand to the next level,” Beatport CEO Robb McDaniels says in a statement. “We look forward to partnering with Pete, Ben and the entire IMS team to broaden the IMS footprint as a major component of our plan to expand the Beatport brand around the world through community, education, and thought leadership initiatives.”
The lineup for Tomorrowland 2023, set for two weekends in Belgium this summer, has been revealed — and it’s a big one.
This year’s festival revolves around the theme “Adscendo,” takes place on July 21-23 and July 28-30 and features more than 600 artists across 14 stages.
Performers include an eclectic mix, including Afrojack, Alesso, Armin van Buuren, Black Coffee, the Chainsmokers, Claptone, Dimitri Vegas & Like Mike, Dom Dolla, Don Diablo, Eric Prydz, Hardwell, John Newman, Martin Garrix, Netsky, Nicky Romero, Oliver Heldens, Paul Kalkbrenner, Purple Disco Machine, Robin Schulz, Sebastian Ingrosso, Shaquille O’Neal as DJ Diesel, Steve Angello, Steve Aoki, Tiësto, Timmy Trumpet, Topic and W&W, just to name a handful out of the hundreds.
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Fans should mark their calendars now: worldwide ticket sales begin on Feb. 4 at 17:00 CET, which is 11:00 a.m. EST.
Tomorrowland 2023 is the 17th edition of the Belgian festival, held at the De Schorre grounds in Boom. Considered one of the world’s leading dance music events, the fest can host roughly 75,000 people per day.
Take a look at the full lineup below. Plus, get more info about the artist list, the schedule and tickets on Tomorrowland’s website.
Paul van Dyk may have made his name as a trance artist, but his interests and skills extend well beyond the genre. Now, he’s demonstrating how far.
With his new VENTURE X project, the German pioneer is eschewing genre purity and simply playing what he thinks sounds best, with an upcoming tour finding van Dyk fusing progressive, trance and techno.
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“I try to stay curious and open-minded about new sounds, artists, and labels – always have,” van Dyk tells Billboard. “Different aspects of music, its genres and colorations of sound have always been part of my sets. With VENTURE X I take this approach even further, the set will be defined by itself.”
These VENTURE X shows launch on February 17 in Toronto, with the tour then hitting New York City, Montreal, Pontiac, Denver, Portland, San Francisco, and Austin. On the road, van Dyk hopes to satisfy audiences “in a way they didn’t know was possible. I do believe electronic music enthusiasts deserve more than a top 10 dance chart set played from a USB stick.”
For the tour, van Dyk’s setup will feature instruments, computers, and sequencers, a set that “enables me to find the right level of energy at any given moment throughout the set, as everything is basically live sequenced and played. And while some fans can get prickly about crossing sounds, he’s got “no worry that genre purists will be alienated, quite the opposite. There’s so much great music out there and my job as a DJ is to introduce it to you. That’s how I see it, at least. Otherwise, I’d feel like a jukebox.”
Indeed, genres hardly matter as van Dyk, who’s been making music for three decades, points out that genre names, sounds, and meanings keep changing anyways. “When I started DJing, all electronic music was called techno…. What was called progressive house some 20 years ago, would probably be called melodic techno these days. There are amazing releases on Drumcode that could easily fit in the trance genre and sometimes what is called techno sounds like chill out to me.”
VENTURE X’s call to arms anthem, itself not falling into one tidy genre-box, is also out today (Jan. 27.) It finds van Dyk collaborating with progressive house duo Weekend Heroes and singer/songwriter Christian Schottstaedt, who together deliver a dark voyage of a track that serves as the project’s thesis statement
“I like the proggy, deeper stuff, but with a tougher approach as you can hear,” van Dyk says. “[Making this music] feels very natural and organic.”
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On Feb. 4, the evening prior to the 65th Grammy Awards, the Recording Academy will award its first-ever award for song for social change at the Special Merit Awards Ceremony. The frontrunner to receive this award is considered to be “Baraye,” a Farsi language protest song by 25-year-old Iranian musician Shervin Hajipour that received a reported 95,000 of the 115,000 submissions for this category.
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Hajipour wrote “Baraye” using words from internet posts Iranians wrote about the uprisings in that country in the wake of the murder of 22-year-old Mahsa Amini at the hands of Iran’s morality police. (The crime was her purported lack of appropriate head covering.) Posted on Sep. 28, less than two weeks after Amini’s death, it quickly went viral, becoming the anthem for the global protest movement sparked by her death. Hajipour, who lives in Iran, was arrested by the Islamic regime the day after posting the song. He was released on bail the following week and is currently awaiting trial.
“Baraye” has been covered by numerous artists, including a rendition in English by Iranian singer Rana Mansour and another from Coldplay, who performed “Baraye” at a November stadium show in Argentina, with accompaniment by Iranian actor Golshifteh Farahani. Designer Jean Paul Gaultier used it to soundtrack his runway show at Paris Fashion Week earlier this month.
Today (Jan. 27) Iranian-German DJ/producer Human Rias is taking “Baraye” a step further with a six-track remix package. This project, Baraye the Remixes for the People of Iran is the inaugural release on his newly minted 7Rituals label. Proceeds from the project will go to a foundation benefitting Iranians.
The first of these remixes is done by Rias himself and taps into his instinct for dancefloor heat via precise drum work and a percolating trance rhythm. He slots Hajipour’s heart-wrenching words neatly into his rework, retaining all the sorrow and hope of the original vocal, bolstering it with uplifting atmospherics and occasional effects-treated snippets of Hajipour voice. Listen to this remix below.
Subsequent remixes from the project will be released every Friday. A stunning version from Berlin titan Jan Blomqvist drops on Feb. 3, followed by Hamburg-based duo ANDATA (who are also partners in the project’s associated merchandise through Customised Culture), PEGAH, American producer RSRRCT, and ending with Berlin-based pair Victor Ruiz & Tao Andra on Mar. 3. As there is no official studio recording of “Baraye,” and therefore no stems available, remixers worked with what was available online, altogether delivering a powerful package that expands the song’s reach into the global electronic scene.
Rias’ idea for the package was sparked when Blomqvist posted his version of the song to Instagram last November. “The idea is to help put Iran and [its people’s] suffering into the public eye, to ensure that the world is exposed to what is happening,” Rias says of the project. “What better [way] to do this than [by using] my resources the best way I know how, through our global electronic music platform?”
Berlin-based artist PEGAH was also a huge part of the inspiration for the remix package. Rias explains: “She approached me at one of my parties in Munich, where I could truly see her passion and her hurt as a fellow Iranian, and it was clear it was important to have her involved as well.”
“I didn’t really choose the remixers based on who they are — but rather their sound, and music that I personally love,” he continues. “Having more artists on this means we have more diversity, and that’s important to expand across genres. I hope everyone finds a remix that works for their sets, enabling more of our colleagues to play this song.”
Like all Iranians and their supporters, Rias awaits the announcement of the Special Merit Award with bated breath. “In a way, it makes Iran be seen again by the West, which has led to a massive surge in global support,” he says. “That brings me to tears, and also leaves me speechless that the rest of the world has united to support.”
This week in dance music: we dug deep on the new app helping choreographers get paid, Daft Punk’s Thomas Bangalter announced a forthcoming orchestral album, Detroit’s Movement festival announced the phase one lineup for its 2023 show, we spoke with SG Lewis on the occasion of his new album, out today (Jan. 27), and we surveyed a bunch of DJ on how they manage their hard earned cash.
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And, as you’ve likely already guessed, there is indeed more. Let’s dig in.
Gorgon City, “Rumblah”
Are you ready for a b-side rumbler? Gorgon City’s latest release “Rumblah” is exactly that to the U.K. duo’s 2022 vocal-chop head knocker “Sidewindah” — but that doesn’t mean it’s any less strong. Rather, it’s deeper, darker; the kind of thing you’d play to a warehouse of heads in the wee hours of the night when the rave is at its most depraved.
“Like ‘Sidewindah,’ ‘Rumblah’ is an ode to the music that we grew up listening to; d&b, jungle, garage and grime,” Gorgon City tells Billboard. “We’ve really been enjoying going back to our roots with our recent club releases, and it’s been heavily influencing the production of our next album. We hope everyone enjoys the track. We’ve loved rumbling bass-bins with it over the last few months!” – KAT BEIN
Melle Brown feat. Loie, “Night Drift”
Since its launch in 2018, Monki’s &Friends record label has become a solid platform for highlighting emerging dance talent in the U.K. space, counting among its catalog up-and-comers such as Meg Ward, t e s t p r e s s, and Flaurese. Its next release comes from London’s Melle Brown, who debuted on &Friends last spring with “One More Chance” and followed that up with the Annie Mac-featuring “Feel About You,” one of Billboard’s top dance songs of 2022.
Brown’s new single, “Night Drift,” continues her string of warm house gems. Its stomping percussion, buzzing bassline and strobing synths set the nocturnal scene before blooming into swirling, smoky dreaminess filled with Loie’s sensual vocals and twinkling piano riffs. “Night Drift” is both cozy and freeing in its search for bright lights and feeling the wind in your hair, with a vibe shift that feels like finally breaking free of traffic on your own night drive and seeing only open road ahead. As Loie sings, “Keep drivin’.” — KRYSTAL RODRIGUEZ
Bonobo & Jacques Green, “Fold”
The eternally consistent Bonobo returns today with a track that falls neatly into the Bonobo oeuvre. Twinkly, sophisticated and built around a breathy pitched up vocal sample and a heavy kickdrum that land at opposing ends of the soft/hard spectrum, “Fold” is a collaboration from Bonobo (real name: Simon Green) and Canadian producer Jacques Greene, (whose real name, in a shocking twist, is actually Phil.)
“Phil was in L.A. and stopped by for a coffee and studio hang,” Bonobo says. “We made the bulk of the track that day. We each played a few various versions in our DJ sets over the summer (I even dropped it in a live show once) and made some decisions on how to finish it. It’s been going down really well in my DJ sets. Excited to get it out there finally.”
“Fold” drops at an auspicious moment for Bonobo — who next weekend is up for a pair of Grammys, for best dance/electronic recording and best dance album. With seven nominations to his name, but nary a win, we’ve got to say we’re rooting for him. — KATIE BAIN
Junior Sanchez feat. Nez, “Hit It”
House veteran Junior Sanchez returns to Defected Records with a sure dancefloor hit to start the new year, “Hit It” featuring Nez, made to jack up your heart rate and break a sweat. Sanchez builds a tightly knit rhythm teeming with perky synth stabs, fast-shuffling percussion and vocal whoops, which all unravel into a blurry peaktime frenzy. Meanwhile, Nez raps with a fun, dynamic flow that matches the production’s party-starting energy beat for beat. Sanchez says “Hit It” pulls from classic New York and Chicago house as well as Detroit techno— “as if Masters at Work had a jam session with Carl Craig,” he says, “and add Chicago’s young hero Nez’s unique style of rapping … The record is a snapshot of what was, what’s now & what’s tomorrow!”
The music video for “Hit It” was directed by Jamel Rankins (a.k.a. producer Blaqwell), who combined traditional design, illustration and editing techniques with AI systems to create a visual inspired by artist Ernie Barnes’ 1976 painting The Sugar Shack, which appeared in the end credits of American television sitcom Good Times. “This imagery had a big impact on both myself and Junior growing up on the East Coast of the U.S.,” says Rankins. “With this spirit in mind, I aimed to create something visually unique, rooted in the culture, and in line with the vibe of the track — the vibe of house music.” — K.R.
Juuku feat. Gianni Taylor, “Moonlight”
The thought of moonlight streaming through a window or lighting your lovers face can conjure feelings of quiet tenderness, and Juuku’s latest single does start with a bit of sensitivity. In the end, though, it harnesses more of a “the full moon makes people go all out” kind of vibe.
“This song to me represents capturing a beautiful moment of energy at night — one of the very first moments I was introduced to electronic music live,” the mysterious Juuku, who’s shrouded in shadow in most of his PR photos, says. “The energy, the people around me, and the type of world that I was brought into, and how magical it felt during that very first time.”
Its vibrant and colorful synths sing ecstatic over a quicktime beat. “Moonlight” serves as the first single from Juuku’s forthcoming EP Lavender Dreams and Scarlett Nightmares, set to be released on Dim Mak.“This EP … represents the two sides of the spectrum that encompass the universe I’m building,” he says. “I have synesthesia, which in my case [means] I can see colors when I listen to music, especially when I create it. It’s either in the tone of purple (lavender), or in the tone of red (scarlet). These two colors represent the two different colors that my music encompasses, and this EP is the gateway to this universe I call my own.”
What color is “Moonlight?” Listen and decide for yourself. – K. Bein
Mau P, “Gimme That Bounce”
Tech house’s young prince Mau P today drops the followup to his 2022 monster hit “Drugs From Amsterdam.” Such followups are never easy, but with this new one the Dutch producer extends both his sound and credibility, with the production indeed bouncing along at a peaktime clip, until Mau P slows down the entire operations to nearly a full halt before once again pressing go. Out via Insomniac Records and made of the same DNA as “Drugs From Amsterdam” — one of our 50 best dance tracks of 2022 — “Gimme Dat Bounce” is dark but not heavy, tech-house-ey but not paint by numbers, and generally just stylish, solid and a sign of Mau P’s likely staying power.
“When working on “Gimme That Bounce” my goal was to catch people off guard and get them locked into an instant groove,” the producer says. “With it being the follow-up to ‘Drugs From Amsterdam,’ I wanted to dive deeper into that big sound but still bring something new to the table. When I stumbled upon an old recording of myself, where I was talking about ‘that bounce,’ every piece of the puzzle fell into place.” — K. Bain
Lil Wayne, teaming with SIDEPIECE, bows on Billboard‘s multi-metric Hot Dance/Electronic Songs chart (dated Jan. 28) with “A Milli (Remix)” (No. 16). The collab, a remix of Lil Wayne’s 2008 Hot R&B/Hip-Hop Songs No. 1, earned 869,000 U.S. streams from its Jan. 13 release through Jan. 19, according to Luminate.
Lil Wayne’s fifth Hot Dance/Electronic Songs entry, and first as a lead act, marks his highest debut and second-highest rank, after only his featured turn on David Guetta’s “Light My Body Up,” also featuring Nicki Minaj (No. 13, 2017).
“A Milli (Remix)” brings the third appearance — and top-charting — for SIDEPIECE, the duo of Nitti Gritti/Ricky Mears and Party Favor/Dylan Ragland. Previously, the act reached No. 25 with its Diplo collab “On My Mind” in January 2020.
Concurrently, “A Milli (Remix)” debuts on Dance/Electronic Digital Song Sales (No. 21).
’53’ = 1
Bizarrap and Shakira each reign for the first time on Dance/Electronic Streaming Songs (6-1) and Dance/Electronic Digital Song Sales (2-1), with “Bzrp Music Sessions, Vol. 53.” Meanwhile, the team-up jumps 7-2 on Hot Dance/Electronic Songs, with 20.2 million streams, 7.9 million in airplay audience and 9,000 sold Jan. 13-19 (its first full tracking week, following its Jan. 11 release at 7 p.m. EST). It also crowns the Hot Latin Songs chart (16-1) and enters the all-genre Billboard Hot 100 at No. 9.
‘Clouds’ Breaking
German DJ/producer BUNT. (aka Levi Wijk) and singer Nate Traveller debut at No. 15 on the Hot Dance/Electronic Songs chart with “Clouds.” It’s BUNT.’s second and top showing, after “Old Guitar” (No. 45, 2016), and the initial chart appearance for Traveller. “Clouds” starts with 920,000 stateside streams.
Chainsmokers, Giles Debut
Further on Hot Dance/Electronic Songs, The Chainsmokers and Cheyenne Giles arrive at No. 17 with “Make Me Feel.” The track, which begins with 899,000 streams, is The Chainsmokers’ 52nd charted title, the fourth-most among all acts dating to the chart’s inception 10 years ago this week. Only David Guetta (73), Kygo (61) and Marshmello (53) have more. “Feel” is the first Billboard chart entry for singer Giles.