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Hozier enjoys an unreal start on the U.K. albums chart as his third studio album blasts to No. 1. Unreal Unearth (via Island) debuts atop the Official U.K. Albums Chart, published Aug. 25, for the Irish singer and songwriter’s first leader. The leader at the midweek stage and best-seller on vinyl across the latest full-week […]
Thirteen is the lucky number for Dua Lipa as “Dance The Night” (via Warner Records) completes its coronation on the Official U.K. Singles Chart.
Lifted from the Barbie soundtrack, “Dance The Night” rises 2-1 for its first stint at the summit, doing so in its 13th week on the national tally, published Friday, Aug. 25.
With that effort, Lipa becomes just the sixth British female solo artist to bag four leaders, drawing level with Ellie Goulding, Rita Ora and Spice Girl Geri Halliwell. Only Jess Glynne (seven) and Girls Aloud’s Cheryl (five) have more No. 1s, the Official Charts Company reports.
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Lipa previously led with 2017’s “New Rules,” 2018’s “One Kiss” with Calvin Harris, and 2021’s “Cold Heart” with Elton John and Australian electronic production outfit Pnau.
The last British female artist to reign over the U.K. singles chart was Kate Bush, with her 1985 classic “Running Up That Hill,” which exploded off the back of Stranger Things season four.
“Dance The Night” replaces another hit from Greta Gerwig’s Barbie, Billie Eilish’s “What Was I Made” (Interscope/Atlantic) which dips 1-2. The podium is completed by Olivia Rodrigo‘s “Vampire” (Interscope), unchanged at No. 3.
Meanwhile, Doja Cat makes an impressive leap on the chart with “Paint The Town Red” (RCA), up 15-4 for a new high. “Paint The Town Red” is the new No. 1 in Australia.
Continuing the Girl Powered look of the U.K. singles chart in recent weeks, female artists lead the top seven tracks, and eight of the top ten.
There’s a notable entry for Oliver Anthony Music‘s divisive Billboard Hot 100 leader “Rich Men North of Richmond,” which cracks the U.K. top 40 for the first time. The independently-released country music hit single is up 64-23 on the Official Chart.Finally, the release of Guardians of the Galaxy Vol. 3 on the Disney+ streaming platform has a measurable impact on the Official U.K. Singles Chart as Florence + The Machine’s “Dog Days” (Island), which appears on the Marvel franchise’s soundtrack, re-enters the top 40. “Dog Days” drops in at No. 27, not far from its peak position of No. 21.
Jung Kook holds atop the Aug. 26-dated Billboard Global 200 and Billboard Global Excl. U.S. charts with “Seven,” featuring Latto. At No. 1 for the fifth consecutive week on both lists, it’s the longest running chart-topper on the Global 200 among K-pop acts, including his fellow BTS members and even BTS as a group (“Dynamite” led for four weeks in 2020-21).
But another BTS member makes noise with a pair of top 10 arrivals. V debuts on Global Excl. U.S. at No. 6 with “Love Me Again” and at No. 8 with “Rainy Days,” while starting at Nos. 12 and 16, respectively, on the Global 200.
“Love Me Again” leads the pair with 40.8 million official streams and 35,000 downloads sold worldwide in the week ending Aug. 17, according to Luminate. “Rainy Days” follows with 38.9 million clicks and 32,000 sold. Both tracks take 92% of those streaming figures from outside the U.S.
The bigger global totals for “Love Me Again” are reflected in the song’s international chart ranks. Not only does the song outpace “Rainy Days” in the U.S. (3.4 million streams vs. 2.9 million), but it’s also higher on all five of Billboard’s Hits of the World charts on which they both appear. They’re side-by-side at Nos. 16 and 17, respectively, on Indonesia Songs, but most dramatically separated (if not wildly so) on V’s native South Korea Songs, at Nos. 7 and 21.
Both songs boast official music videos, signaling a big win, especially, for “Rainy Days.” Across video platforms worldwide, the clip received 13.5 million streams (35% of the song’s overall streaming total), compared to 10.5 million (26%) for “Love Me Again.”
Any which way these songs’ success is split, both tracks mark new highs for V. Previously, he hit No. 43 on Global Excl. U.S. and No. 51 on the Global 200 with “Christmas Tree.” With “Love Me Again” and “Rainy Days,” he becomes the fifth BTS member to crack the top 10, following, in chronological order, Jung Kook, Jin, Jimin and Suga (under the alias Agust D).
In total, the men of BTS have accumulated 11 top 10s on Global Excl. U.S. as soloists – equaling the group’s tally.
YOASOBI’s “Idol” scores its 19th consecutive week at No. 1 on the Billboard Japan Hot 100, dated Aug. 23, extending its all-time record for most weeks atop the chart again.
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The duo headlined Japan’s Summer Sonic music festival over the weekend, closing out the Mountain Stage lineup in both Tokyo and Osaka. The “Monster” pair also entertained fans with its “Traveling Bookstore YOASOBI,” a collaborative endeavor with the mobile bookstore BOOK TRUCK, set up in the food area of the festival grounds.
On this week’s chart tallying the week ending Aug. 20, downloads for “Idol” slips to No. 2 (10,631 units), but the long-running hit continues to dominate streaming (13,100,852 weekly streams), video views, and karaoke. The Oshi no Ko opener also climbed 24-18 for radio, and while gradually losing points overall, the total continues to best the song at No. 2 by about 1.7 times.
Tatsuya Kitani’s “Where Our Blue Is” holds at No. 2 this week. The Jujutsu Kaisen Season 2 opener continues to improve in karaoke, jumping 62-37, and collected points in a balanced way: holding again at No. 38 for sales, No. 2 for streaming (9,232,884 streams), and No. 6 for video, slipping 3-4 for downloads (7,562 units) and 32-95 for radio.
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Bowing at No. 3 is Kazuya Kamenashi’s first solo single in four years called “Cross.” The track launched with 105,544 copies to hit No. 1 for sales, and is off to a good start coming in at No. 22 for downloads and No. 40 for radio.
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Gen Hoshino’s “Life” debuts at No. 7. The superstar singer-songwriter curated the Beach Stage at Summer Sonic in Tokyo on Saturday (Aug. 19), highlighting and collaborating with such artists as Jacob Collier, UMI, Camilo, and Sam Gendell. His latest track rules downloads (13,713 units) and radio this week, while hitting No. 38 for video.
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Another debut on this week’s Japan Hot 100 is Colorful Diamond’s “Amakyun,” bowing at No. 5 after selling 76,514 CDs in its first week.
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The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from Aug. 14 to 20, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
J-pop boy band IMP. dropped its debut single “CRUISIN’” on Friday (Aug. 18). The rookie seven-member group consisting of members Yuki Yokohara, Shunsuke Motoi, Takuya Kageyama, Taiga Tsubaki, Taiga Suzuki, Arata Sato, and Minato Matsui announced last month that they would sign with TOBE (“to be”) to pursue new forms of entertainment at the agency. […]
BABYMETAL is now back to being a trio since April after MOMOMETAL officially joined longtime members SU-METAL and MOAMETAL. Japan’s metal sensation recently dropped a new song called “METALI!!” featuring Tom Morello of Rage Against the Machine. The latest single celebrates the new lineup with a hyped-up, chaotic track graced with the inimitable presence of the legendary RATM guitarist’s performance.
Since May, the band has toured the U.K. and Europe with Swedish rockers Sabaton, headlined shows in Asia and Australia, and is set to travel to North America for a tour spanning from the end of this month to October. BABYMETAL has also been making headlines for its featured appearance on Lil Uzi Vert’s song “The End” from his new album Pink Tape released in June. In this brand-new interview, the three members of BABYMETAL chatted with Billboard Japan about their new track, tours, collaborations and more.
BABYMETAL just dropped “METALI!! (feat. Tom Morello)” as its first release since becoming a trio again. Tell us what you thought when it was completed.
SU-METAL: I think we’ve created a fun, yet solidly mature, very BABYMETAL number that’s bound to make people go, “What the heck?” I’m sure people will be hyped to hear it at our shows, so right now I’m just looking forward to performing it and seeing how everyone reacts to it.
MOAMETAL: I’m really looking forward to performing this song live. It’s been a while since we’ve had an upbeat track like this, so I’m glad this is our first song under our new lineup. Also, Tom Morello played on this song for us so it’ll always be close to our hearts.
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MOMOMETAL, this is your first song as BABYMETAL. How do you feel about it?
MOMOMETAL: I thought this song was awesome from the moment I heard the intro. I’m glad my first song (as BABYMETAL) is one that makes me excited just by hearing it. The choreography also has a lot of interesting moves, so I’m looking forward to performing it.
Tom Morello’s guitar also has a strong presence in this song. What was your impression of his guitar sound?
SU-METAL: I think it really matches the chaotic vibe that “METALI!!” has. BABYMETAL is a group that has surprised people in a “What the heck?” kind of way, and this song is like the good parts of “PA PA YA!!” and “Megitsune” combined. So I’m sure our fans will find it familiar in a way, but the vibe changes drastically in the second half and it’s like the sonic equivalent of a bucket of fluorescent colors being splashed all over the place. We thought we’d updated the BABYMETAL sound in our own way, but the addition of Tom Morello’s guitar draws out a new “What the heck?” element from it. He really is such a legend.
MOAMETAL: I’ve listened to Rage Against the Machine’s albums and always thought his guitar was so cool. I’m really glad to have someone like that involved in our music, and it’s exciting to think how this collaborative circle could keep expanding like this.
You were in charge of the spoken part of the song, MOMOMETAL. What was that like?
MOMOMETAL: I got into character and just ran with it. I focused on the intonation and spent a lot of time on the recording to make it interesting and to enhance the image of the song.
Since May, you’ve toured the U.K. and Europe with Sabaton, then headlined shows in Asia and Australia on a tour that took you to many countries. The itinerary alone must have been grueling, but what was the experience like?
MOAMETAL: This is the hardest tour schedule we’ve had in 13 years of our career. We’ve been so busy since we became a trio again and haven’t had time to be idle, but I’m happy we don’t have to stop and happy there are people out there who want to see us.
SU-METAL: Touring is a lot of work to be honest, but I always wanted to sing (while on hiatus from performing live), so it’s so much fun to be able to sing every day. I’ve been touring with MOAMETAL like we’re family, and MOMOMETAL has been able to fit right in. I think the three of us are great together, and hope we can continue to work like this for a long time to come.
MOMOMETAL: It was a period when I discovered the things I needed to improve on because there were so many shows. It was a tough tour, but the experience of getting through it helped build up my confidence.
Tell us about your tours. First, how was the U.K. and Europe tour with Sabaton?
SU-METAL: I was really happy to be able to see Sabaton live every day. I think their music is meant to be seen live, in that it’s a kind of composite art. That aspect is similar to BABYMETAL, so I learned a lot from them and it was really fun touring with them.
What about Asia and Australia? What stood out from those shows?
SU-METAL: Indonesia was especially amazing. The crowd was so enthusiastic, it was hard to believe it was our first headlining show there. Everyone sang all my parts. They were so loud I was sure they’d go hoarse and I could tell from their intense gazes that they didn’t want to miss a single moment of the show. They were trying to enjoy the space with all of their senses. They gave us so much energy, and even the members of our crew, who were a bit tired after the tour with Sabaton, were invigorated afterwards. It was amazing.
MOAMETAL: I was surprised that those big venues in Australia were packed. We hadn’t been able to visit before and the fact that there were so many people waiting for us to come made me think we’ll be able to meet even more people in other parts of the world. I definitely want to tour Asia and Australia again.
MOMOMETAL: I had a lot of fun performing with F.HERO in Thailand. It was so cool seeing him rap live. Everyone had such a great time and the song was over too soon. It was a memorable moment.
From the end of this month to October, you’ll be touring North America for THE BABYKLOK TOUR 2023 with DETHKLOK, and have a few festival appearances lined up. What are your thoughts on these upcoming shows?
SU-METAL: This is the year we go and meet our fans around the world as the new BABYMETAL. We’re so happy to be able to perform in larger venues than the ones in our previous North American tour, and look forward to seeing everyone there. Also, the timing coincides with our collaboration with Lil Uzi Vert and it feels like that expanded our fanbase again. I hope this tour will be a great opportunity for people who see us for the first time to get to know what BABYMETAL is all about.
That collaboration with Lil Uzi Vert came as a surprise. How did you feel when you were first asked to do it?
SU-METAL: I couldn’t believe it and was like, “This can’t be true.” Apparently he really likes BABYMETAL and told us he wanted to introduce his favorite music so we could do whatever we wanted. It was a new challenge for us and we went wild with it.
MOAMETAL: He also collaborated with Bring Me the Horizon on that album, and I thought, “Wow, he really does like metal.” I want to hang out with him.
You also collaborated with Bring Me the Horizon on “Kingslayer feat. BABYMETAL” from their 2020 project Post Human: Survival Horror. To reiterate, you’ve collaborated with the likes of Tom Morello, Lil Uzi Vert, and Bring Me the Horizon, meaning you’re linked to such top artists from around the world in various genres. It’s a fascinating situation from an objective standpoint, but what do you make of it all?
MOAMETAL: Maybe because we’ve collaborated with artists from various genres, more people outside the metal world have heard of us now. I had the opportunity to see Backstreet Boys live overseas and they knew about us. Our collaborations have gradually been giving us confidence that BABYMETAL is helping to connect metal and other genres, if only just a little.
SU-METAL: Up until recently, BABYMETAL aimed for recognition from metal fans. We respect metal music, but were trying to create a new movement within the genre. Having done that for a decade, it now feels like BABYMETAL is exploring a new genre of music. We want to keep expanding our collaborative ties with various different artists.
It does look like the metal genre has become revitalized lately. A lot of artists are starting to do things that aren’t bound by conventional concepts. BABYMETAL is in sync with this trend. Any thoughts on this phenomenon?
MOAMETAL: It’s true that there’s been a big generational shift and the people who were considered young are now leading the way, and I find that interesting. And I’m also awed by the open-mindedness of the legends who recognize these young artists. The way metal is accepting of various other genres makes me love it even more.
SU-METAL: When we toured Asia and Australia, we noticed that our fans were really young. A lot of them seemed to be enjoying the music more casually. When we started BABYMETAL, we wanted people to enjoy metal music in a more pop, casual way and to be a gateway to the genre, so I hope that our existence has been a bit influential in that respect.
—This interview by Tomonori Shiba first appeared on Billboard Japan
At 20, Olivia Rodrigo has become the youngest artist receive a BRIT Billion Award by the BPI. The award celebrates artists who have reached one billion career U.K. streams, as calculated by the Official Charts Company. RAYE, 25, had been the youngest artist to receive the honor. Rodrigo was presented the award while in London […]
Yet again, Barbie The Album lands three songs in the top 10 of the Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Aug. 19).
Barbie‘s (and Ken’s) global journey began on the June 10-dated lists, when Dua Lipa’s “Dance the Night” arrived at No. 24 on the Global 200 and No. 26 on Global Excl. U.S. In between its debut and the film’s July 21 opening, the song drifted into the 40s and 50s before hitting the top 10 on the Aug. 5-dated rankings, blasting 46-27-8 and 45-24-5, respectively.
Nicki Minaj, Ice Spice and Aqua entered the fray on the July 8-dated tallies, when “Barbie World” debuted on the Global 200 at No. 12, fell to No. 61, and shot back to No. 6 in two weeks’ time.
Released just one week before the film, Billie Eilish’s “What Was I Made For?” was spared the roller-coaster chart run, arriving at No. 18 and flying into the top 10 the following frame.
Barbie and its billion-dollar hype led all three songs into the top 10, but the album’s momentum continues as box office receipts recede. Eilish leads the pack, rising to No. 2 on the Global 200. Lipa follows — up to 3 — while Minaj and Ice Spice, with the most immediate tie-in to the film, given their flip of Aqua’s iconic ‘90s chorus, scored the best debut of all Barbie tracks and has stayed relatively steady since the movie’s premier, returning to their No. 6 high.
Even a song as inextricable from the film’s plot as Ryan Gosling’s “I’m Just Ken” continues to make progress. The Mouseketeer-turned Oscar-nominated actor-turned global chart phenom rises 79-70 on the Global 200 and 97-87 on Global Excl. U.S.
Further, Charli XCX inches to a new high of No. 58 on the Global 200 with “Speed Drive.” On Wednesday (Aug. 16), she premiered the song’s official music video, which could give it enough juice to become her highest charting global hit yet (dating back to the charts’ 2020 start).
Through Aug. 16, Barbie is the second highest grossing film of 2023 worldwide, at $1.2 billion. Of that global sum, 45% ($541.9 million) comes from the U.S. and 55% ($660.6 million) comes from foreign territories.
Meanwhile, all five of the soundtrack’s charting hits have a larger international share of streams. They range from “Barbie World” at 63% to “Dance the Night” with 74% non-U.S. clicks. That comes in just shy of the average among all globally charting hits, at 76%.
G Flip makes a noise with Drummer (via Future Classic/Universal), as the Australian artist bows at No. 1 on the ARIA Albums Chart.
It’s the singer, songwriter and multi-instrumentalist’s first leader, after their debut About Us peaked at No. 6 in 2019.
The homegrown hero has been on a roll in recent years, landing 11 tracks in the triple j Hottest 100 countdown, earning three ARIA Award nominations, bagging three platinum-certified singles (“About You,” “Drink Too Much,” and “Killing My Time”), and one gold (for “Lover”), and performing at the nationally televised Logie Awards, and AFL and AFLW Grand Finals.
A talented drummer, G Flip co-produced and co-wrote every song on the new album, alongside the likes of Tommy English and Colin Brittain.
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“Finally, we can celebrate another Aussie at No. 1 on the Albums Chart,” comments ARIA CEO Annabelle Herd. “Congratulations to G Flip and their team on this absolute triumph. As an artist and personality, G Flip has done so much for pushing the narrative of Australian music forward, and truly represents the next wave of homegrown success here and overseas. We couldn’t be happier to celebrate their first ARIA No. 1.”
G-Flip is supporting the new LP with a national tour this month and next, spanning 13 dates in Brisbane, Cairns, Adelaide, Perth, Torquay, Melbourne, Sydney and Newcastle, with North America dates kicking off Sept. 18 at The Catalyst Atrium, Santa Cruz, CA.
Luke Combs started his own tour of Australia this week, and he’s already making his presence felt on the national albums survey, published Friday, Aug. 18, with two titles lifting into the top 10. This One’s For You rises 14-9 in its 283rd week on the tally, and former leader Gettin’ Old gains 17-10 in its 21nd week. Further down the list, another former No. 1, Combs’ What You See Ain’t Always What You Get (all via Columbia/Sony), improves 21-14 in its 197th week on the survey.
Also new to the ARIA Chart is Volcano (AWAL), the fourth studio album from U.K. electronic pairing Jungle. Volcano erupts at No. 22.
Over on the ARIA Singles Chart, also published Friday, Billie Eilish’s “What I Was Made For?” (Interscope/Universal) extends its rule into a third week. Lifted from the Barbie soundtrack, “What I Was Made For?” becomes Eilish’s longest-reigning leader, eclipsing the two-week streak for “Bad Guy back in 2019. It leads an unchanged top three, ahead of Dave and Central Cee’s “Sprinter” (Virgin Music Australia/Universal) and Dua Lipa’s “Dance The Night” (Atlantic/Warner), respectively.
Finally, Olivia Rodrigo bags two top 10s on the national chart, as former champion “Vampire” holds at No. 5 and her new release “Bad Idea Right” enters at No. 10, for the week’s highest debut. Both tracks will appear on the U.S. pop star’s sophomore album GUTS (Geffen/Universal), due out Sept. 8.
YOASOBI’s “Idol” extends its record-breaking streak at No. 1 on the Billboard Japan Hot 100 on the chart dated Aug. 16, now at 18 consecutive weeks atop the tally.
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Ayase and ikura of YOASOBI are keeping themselves busy performing at a different music festival each weekend this month — after returning from performing at 88rising’s Head in the Clouds in Los Angeles, the pair took the stage at the Rock in Japan Festival on Aug. 13 as the headlining act closing out the five-day event, and are set to headline Summer Sonic on Saturday (Aug. 19) as the last act to hit the Mountain Stage.
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“Idol” continues to rule downloads, streaming, video views and karaoke although it’s on the decline in terms of overall points. The Oshi no Ko opener slips 17-24 for radio but total points add up to around 1.7 times the track at No. 2 on the Japan Hot 100.
Tatsuya Kitani’s “Where Our Blue Is” climbs 4-2 this week after the rising singer-songwriter performed the Jujutsu Kaisen Season 2 opener at Rock in Japan on Aug. 10. The track holds at No. 3 for downloads with 10,149 units and rises 3-2 for streaming with 9,982,812 weekly streams. The song is faring well in all but radio this week: staying at No. 38 for physical sales, rising 8-6 for video, 74-62 for karaoke, falling 27-32 for radio.
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Jung Kook’s “Seven” featuring Latto continues to hold at No. 3. The track falls 14-17 for downloads with 2,940 units, 2-3 for streaming with 9,808,590 streams, 9-16 for radio, and holds at No. 3 for video.
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Two songs debut in the top 10 this week. Kanjani Eight’s “Okami to Suisei” (Wolf and the Comet) bows at No. 4, selling 150,848 copies in its first week after dropping Aug. 9. Meychan’s “Enjoy,” written by Yuzu’s Yujin Kitagawa, launches at No. 6 after hitting No. 4 for streaming with 9,025,257 streams, boosted by an online event and a campaign to win autographs and other prizes.
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The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from Aug. 7 to 13, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
