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R&B girl group Psiryn earns its first No. 1 on a Billboard chart as its single “Sober” rules the Adult R&B Airplay chart. The track ascends from No. 2 after an 8% jump that made it the most played song on U.S. panel-contributing adult R&B radio stations for the tracking week of Jan. 31-Feb. 6, according to Luminate.
In taking the summit, Psiryn — comprised of Anaya Chayenne, Jada Denise and Victoria McQueen — becomes the first all-female duo or group to crown the Adult R&B Airplay chart in nearly 23 years. The last? The duo Floetry, whose “Say Yes” ruled for seven weeks in May-June 2003. Among acts with at least three members, Psiryn is only the second girl group to reign on the 31-year-old Adult R&B Airplay chart. The trio joins Brownstone, which scored a pair of one-week leaders — “If You Love Me” and “Grapevyne” — in 1995.
As “Sober” advances, it knocks Coco Jones’ “Here We Go (Uh Oh)” from the top spot. The former champ ruled for seven nonconsecutive weeks beginning last December, including the last two frames.
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“It feels surreal and is an absolute honor,” Psiryn tells Billboard of its new No. 1. “We are the first girl group in 20 years to achieve this, and it feels truly out of this world – we still can’t believe this is happening!”
The journey to summit began nearly six months ago, when “Sober” debuted at No. 23 in September. A steady climb followed, but the single ran the risk of falling short of the apex — with five straight weeks at No. 5 around the holidays — before a final push put it to the finish line. The week-in, week-out support, the group notes, likely aligns with a wider mood. “The relatability of this record speaks volumes. So many people connect with ‘Sober’ and the feeling of needing a break from the real world,” the trio adds. “People just gravitate toward it, just like we did when we first heard it!”
“Sober” was released through independent label Kandi Koated Entertainment, a multimedia agency owned by Kandi Burruss. The entrepreneur rose to fame as a member of R&B group Xscape, which logged 10 hits on the Adult R&B Airplay chart in the 1990s, including “Just Kickin It” (No. 4), “Understanding” (No. 3) and “Who Can I Run To” (No. 2), all of which reached the top 10 on the Billboard Hot 100 chart. As a songwriter, Burruss co-penned hits include No. 1 Hot 100 hits from TLC (“No Scrubs”) and Destiny’s Child (“Bills Bills Bills.”)
Elsewhere, “Sober” repeats at its No. 18 high on the R&B/Hip-Hop Airplay chart, which ranks songs by combined audience totals from monitored adult R&B and mainstream R&B/hip-hop radio stations. There, the single climbed to 6.2 million audience impressions in the week, up 13% from 5.5 million in the previous tracking window.
Usher and Keke Palmer continue to have great chemistry. The Atlanta legend recently sat down with Palmer on her Wondery podcast Baby, This Is Keke Palmer, where the two discussed Usher’s guest-star appearance in four episodes of Brandy‘s ’90s television show Moesha, before the two broke out into an impromptu duet of Usher and Monica‘s […]
Celebrating six decades of soul – from favorites by Stevie Wonder to The Weeknd and the Supremes to SZA – SiriusXM brought back the Billboard Top 500 R&B Countdown on Tuesday (Feb. 11). In honor of Black History Month, the countdown spotlights the top 500 R&B classics by Black artists spanning the past six decades […]
Another week, another win for Kendrick Lamar. This weekend was all about the Compton MC’s explosive Super Bowl LIX halftime show performance on Sunday night (Feb. 9)
Lamar did not bring out Lil Wayne as a surprise guest, but he did tap Samuel L. Jackson to serve as a narrator as he ripped through classics like “Humble” and “DNA,” as well as GNX cuts like “Man at the Garden,” “Squabble Up,” “Peekaboo” and the SZA-assisted “Luther.” After cheekily teasing the beat several times throughout the show, Lamar did, in fact, treat the Super Dome to a remarkable rendition of his Drake-obliterating “Not Like Us,” which won five Grammys, including record and song of the year, last weekend (Feb. 2). Other notable appearances included Mustard, the Grammy-winning producer behind “Not Like Us” and “TV Off,” which closed the show.
The morning after the big game (Feb. 10), Eagles fans weren’t the only fandom with something worse celebrating. While Kendrick Lamar and SZA revealed the U.K. and European dates for the forthcoming joint Grand National stadium tour, Beyoncé also revealed several additional dates to her previously announced Cowboy Carter World Tour, which will host mini-residencies in stadiums across America, the U.K. and Europe.
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The Weeknd also scored a major win with the official Billboard 200 debut of Hurry Up Tomorrow. The set became his fifth to reach the top of the chart and also earned the biggest opening week total of his career (490,500 units).
With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from Tyga and Shenseea’s steamy new collaboration to Giveon’s solo comeback. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: Rory feat. Leon Thomas, “Who Are You Anyway?”
Across Rory’s sparse soundscape accented by mournful piano and echoing drum and bass percussion, Leon Thomas waxes poetic about his partner morphing into someone he can no longer recognize. “You’re too pretentious, self-conscious pride in driving Mercedes/ Always done up, but I doubt you looked in the mirror lately/ I know the mirror would say/ ‘Who are you anyway?’” he sings at the end of the first verse, employing a dirge-like quality to his vocal performance that intensifies the drama of the song’s lyrics. The mirror’s question is rhetorical, but the dread of hearing an answer that you don’t want to internalize drives the tension of Rory’s new single. — KYLE DENIS
Tyga & Shenseea, “Magnetic”
Tyga isn’t new to making hits, and adding Caribbean dancehall artist Shenseea almost guarantees the success of this track. “Magnetic” explores the intense push-and-pull of a relationship fueled by attraction, jealousy and emotional uncertainty. Tyga’s verses reveal his insecurities and frustration, questioning his partner’s feelings while admitting he can’t break free from their connection. Meanwhile, Shenseea asserts her confidence and loyalty, emphasizing their undeniable chemistry while questioning if passion is clouding their judgment. The song captures the cycle of being drawn together despite trust issues, with “Magnetic” perfectly describing how they keep coming back to each other, no matter how hard they try to resist. — CHRISTOPHER CLAXTON
Jordan Hawkins, “Emotions”
“Where did I put ’em?/ Where’d I misplace ’em?/ Where did I leave ’em?/ Where did you take ’em?” With a barrage of questions, rollicking rock&B single Jordan Hawkins kicks off his latest single in the throes of borderline histrionic emotional turmoil — as converted by a vocal performance that primarily trades in growls, rasp and impassioned falsetto. It’s been over a year since Hawkins’ last album, 2023’s 4Play, so hopefully “Emotions” leads to something more than just the continuation of his recent string of terrific standalone singles. — K.D.
GIVĒON, “Twenties”
GIVĒON is back with his first solo track since 2023, reflecting on the regrets of falling in love too soon. “Twenties” captures the heartbreak of investing years into a relationship that didn’t last, especially during the formative years of young adulthood. The song tells the story of a six-year relationship that ultimately falls apart, with the narrator realizing they sacrificed personal growth for love. Lyrics like “Thought I was learning myself/ I was just learning you” highlight the painful lesson of losing oneself in a relationship. “Twenties” is a bittersweet reflection on love, self-discovery, and the realization that some relationships, no matter how deep, aren’t meant to last. — C.C
TA Thomas, “Preach”
TA Thomas has been committed to making real R&B — rapid-fire riffs, bare chest and all — for some time now, and he’s doubling down with “Preach,” the new single from his forthcoming Southern Soul EP (via Def Jam). Co-penned by Lucky Daye and produced by Camper, the new track finds Thomas melding religious metaphors to croon of his woman’s allure and the temptation she brings. “How’d you get that body to preach?/ Let it speak to me, baby/ Like it does in my dreams/ Oh, I need a witness/ The choir’s with me,” he sings.
Nueve Lio & Karri, “Candles”
Nueve Lio and Karri team up for a smooth track celebrating the beautiful, confident women in their lives—women they’re not officially dating but are more than happy to spoil. Instead of just getting them a cake for their birthday, they’re ready to spend time, make memories, and enjoy the moment. The song captures a laid-back, feel-good vibe that many can relate to, offering a glimpse into the next generation of R&B and what it brings to the table. — C.C.
Despite taking the stage for what is traditionally the most-viewed television event of the year on Sunday night (Feb. 9), SZA said she wasn’t nervous before joining Kendrick Lamar for the Super Bowl LIX halftime show. “THANK YOU @kendricklamar for consistently putting the world on your back . At all times . Thank you for […]
The Weeknd lands his fifth No. 1 on the Billboard 200 albums chart with the debut of Hurry Up Tomorrow atop the tally (dated Feb. 15). The set earned 490,500 equivalent album units in the U.S. in the week ending Feb. 6, according to Luminate. That marks the largest week for any album since Taylor Swift’s The Tortured Poets Department debuted at No. 1 on the May 4, 2024-dated chart with 2.61 million. Hurry Up Tomorrow logs the biggest week for an R&B/hip-hop album since Travis Scott’s Utopia debuted at No. 1 on the Aug. 12, 2023, chart with 496,000.
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The Weeknd previously topped the chart with After Hours (2020), My Dear Melancholy (2018), Starboy (2016) and Beauty Behind the Madness (2015).
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Also in the latest top 10, Chappell Roan’s The Rise and Fall of a Midwest Princess surges 14-6 following her best new artist win at the Grammy Awards (Feb. 2), while Billie Eilish’s Hit Me Hard and Soft (10-5) also climbs in the wake of Grammy exposure.
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Feb. 15, 2025-dated chart will be posted in full on Billboard‘s website on Feb. 11. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of Hurry Up Tomorrow’s 490,500 first-week equivalent album units, album sales comprise 359,000 (it debuts at No. 1 on Top Album Sales), SEA units comprise 130,500 (equaling 171.5 million on-demand official streams of the songs on the streaming edition of the album; it debuts at No. 1 on Top Streaming Albums) and TEA units comprise 1,000.
Hurry Up Tomorrow’s launch of 490,500 units marks The Weeknd’s biggest week by units earned (since the chart began measuring in units in December 2014). The set’s sales of 359,000 claim The Weeknd’s largest sales week ever.
The set was released as a nine-song standard album, widely available through digital download retailers. It was alternatively available as an 11-song edition across all of its physical formats (CD, vinyl and cassette) and a 22-track digital download and streaming edition. It was also available in two further digital download editions, both exclusively sold via The Weeknd’s HurryUpTomorrow.Club site. Each sold for $4.99, boasted alternative cover art and had the 22 tracks available on the deluxe digital/streaming edition, but each had at least one additional track. One included “Closing Night,” with Swedish House Mafia. The other included “Runaway” and “Society,” which were also included on all of the physical formats, but not any of the other digital or streaming editions.
In total, the album generated 183,000 in digital album sales; 99,000 in CD sales; 77,000 in vinyl sales (The Weeknd’s best week on vinyl) and 1,000 in cassette sales.
Hurry Up Tomorrow’s first-week sales were aided by its availability across eight vinyl variants (including a signed edition), eight CD variants (including multiple signed editions), a cassette tape, and nine deluxe boxed sets containing a branded piece of clothing and a CD.
The album was preceded by the Billboard Hot 100-charting songs “Timeless” (with Playboi Carti, No. 3 peak last October) and “Sao Paulo” (with Anitta, No. 77 last November).
Bad Bunny’s Debí Tirar Más Fotos falls 1-2 on the Billboard 200 with 94,000 equivalent album units earned (down 20%). SZA’s chart-topping SOS slips 2-3 with 82,000 (down 6%), Kendrick Lamar’s GNX dips 3-4 with 65,000 (though up 9%) and Billie Eilish’s Hit Me Hard and Soft jumps 10-5 with 53,000 (up 47%).
Eilish was the first performer on the Feb. 2 Grammy Awards broadcast (on CBS), singing the album’s “Birds of a Feather.” Also on the show: The Weeknd performed (singing his new album’s “Cry for Me” and “Timeless,” with Playboi Carti), while SZA presented the best pop duo/group performance, and Lamar won two on-air trophies (for record of the year, and song of the year, both for “Not Like Us”).
Chappell Roan’s The Rise and Fall of a Midwest Princess surges 14-6 with a 56% gain — to 49,000 equivalent album units earned. The album vaults up the tally following Roan’s win for best new artist at the Grammys, along with her performance of the album’s “Pink Pony Club” on the show (and her buzzy acceptance speech which generated headlines).
Sabrina Carpenter’s former No. 1 Short n’ Sweet gaind 20% (up to 48,000 equivalent album units) but is pushed down a spot to No. 7. On the Grammy Awards, Carpenter won the best pop vocal album award, while also performing a medley of the album’s “Espresso” and “Please Please Please.” (She also won best pop solo performance for “Espresso,” but that category was presented before the television broadcast began.)
Morgan Wallen’s chart-topping One Thing at a Time drops 5-8 on the Billboard 200, despite an 11% gain (to 45,000 equivalent album units). Taylor Swift’s former No. 1 The Tortured Poets Department ascends 11-9 with 38,000 equivalent album units (up 8%) — also likely basking in some glow from the Grammy Awards, where the album and its “Fortnight” single were up for six awards (though did not win). Swift was a visible presence throughout the ceremony, cheering on winners and performers, and presented the best country album trophy to Beyoncé (for Cowboy Carter).
Rounding out the latest top 10 on the Billboard 200 is Gracie Abrams’ The Secret of Us, falling 8-10 with 36,000 equivalent album units earned (down 5%).
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
Ashanti is opening up following the death of Irv Gotti.
On Friday (Feb. 7), the R&B star shared a heartfelt tribute on social media to honor the Murder Inc. Records founder after his passing.
“I can’t believe things ended like this….and it makes me so sad,” Ashanti wrote on her Instagram Story, according to TMZ. “We weren’t on the best terms the past few years but as I’ve always said, through our ups and downs I will forever be grateful for everything that you’ve done for me. We made history and that will remain infinite..”
The “Foolish” singer continued, “I’ve always respected your musical genius and ability to push me to be my best.. All the greatness and positive things that came, far outweigh the dark and negative times. I have always prayed for you to find peace. Sending love and prayers to the entire family. Rest well. Rest in Peace Irv.”
Along with the post, Ashanti also reportedly shared a series of throwback photos from her Murder Inc. days, including an image from the release of her 2002 self-titled debut album.
Gotti, who co-founded the iconic Murder Inc. Records and helped launch the careers of Ja Rule and Ashanti in the early 2000s, passed away on Feb. 5 after suffering a stroke. He was 54 years old.
Alongside his brother Chris, Irv Gotti (born Irving Domingo Lorenzo Jr.) launched Murder Inc. in 1998 as an imprint of Def Jam, following his success in helping bring DMX to the vaunted hip-hop label. Ja Rule became the flagship artist for Murder Inc., and the label’s first release was his 1999 debut album, Venni Vetti Vecci.
In addition to Ja Rule, Gotti also discovered Ashanti when she was a teenager. She went on to achieve fame with memorable hooks on rap hits and her own solo R&B success. Ashanti’s three biggest hits all came in 2002: Ja Rule’s “Always on Time,” featuring Ashanti, topped the Billboard Hot 100 chart for two weeks; Fat Joe’s “What’s Luv?,” featuring Ashanti, peaked at No. 2; and her own “Foolish” spent 10 weeks at No. 1 on the Hot 100.
Billboard recently named “Foolish” and “I’m Real” among the Top Hot 100 Songs of the 21st Century.
Gotti won a Grammy in 2003 for co-producing Ashanti’s eponymous debut album, which earned best contemporary R&B album. He was nominated again the following year for co-writing Ashanti’s “Rock Wit U (Awww Baby),” which was a finalist for best R&B song.
The same week he made his Billboard Hot 100 debut as a recording artist, Grammy-winning producer, actor and R&B star Leon Thomas made his live television debut on The Late Show With Stephen Colbert on Thursday (Feb. 6). Surrounded by his band on a red-lit stage with a projection of his Mutt album cover behind […]
The time has finally come, Beyoncé is gearing up for what’s sure to be yet another culture-shifting tour.
After showcasing her Billboard 200-topping Cowboy Carter album through a bombastic Netflix-streamed NFL Christmas Day halftime show, Queen Bey uploaded a mysterious teaser promoting a Jan. 14 announcement date across her official social media accounts. Fan theories went wild, and, unfortunately, the devastating Los Angeles wildfires forced Beyoncé to delay her announcement.
Then came the first day of Black History Month (Feb. 1), the day Beyoncé and Netflix slyly edited the very end of her Beyoncé Bowl standalone special to include the official announcement of the Cowboy Carter Tour. The following day (Feb. 2), Queen Bey picked up three Grammys for her historic country and Western-infused LP, including her long-elusive album of the year trophy.
The last time Beyoncé hit the road was for 2023’s Renaissance World Tour in support of her four-time Grammy-winning 2022 Renaissance LP. That trek grossed a jaw-dropping $579 million from 56 shows across North America and Europe. Beyoncé played the entirety of her edifying dance music LP, molding her larger setlist around the record’s narrative and flow. The Renaissance World Tour — which also famously began with Beyoncé serving as her own opening act with an enrapturing ballad section — later topped the domestic box office as Renaissance: A Film by Beyoncé, an acclaimed documentary concert film chronicling the conception and execution of the iconic tour.
Sparkly, silver cowboy hats were all the rage for the Renaissance World Tour, so what will be the color for the Cowboy Carter Tour? Perhaps some of the golden brown hues that have been present throughout the era — from the “Texas Hold ‘Em” single cover to Beyoncé’s dress at the 2025 Grammys. A Beyoncé tour is destined to include new infectious choreography and genius mashups, but she’s never toured an album this downtempo or this outside of her home genre of R&B — so the world truly is her oyster with the Cowboy Carter Tour.
Below is our dream setlist for Beyoncé’s Cowboy Carter Tour. The setlist covers Beyoncé’s discography (yes, including Destiny’s Child, The Gift, and Everything Is Love) and key musical connections to her country music foremothers. When scrolling through this setlist, envision country-fried arrangements of Queen Bey’s pre-Cowboy Carter catalog, and expect the album to be performed largely in tracklist order like Renaissance was at its tour.
We’re aware this show would probably be over three hours (let’s be real, who wouldn’t watch the world’s greatest living entertainer for that long), but considering that there are markedly fewer dates for this tour (at press time), maybe Queen Bey will keep the show going for just a little bit longer!
Act I: Welcome to the Rodeo
In this episode of Billboard Unfiltered, Billboard staffers Trevor Anderson and Kyle Denis are joined by Vibe’s Regina Cho to recap hip-hop and R&B’s big night at the 2025 Grammys, review The Weeknd’s new album, Hurry Up Tomorrow, and more! Trevor Anderson: I mean, who wins five Grammys off of just one song? I mean that […]