Music

Jimin debuts at No. 1 on both the Billboard Global 200 and Billboard Global Excl. U.S. charts with his new solo single, “Who.” He becomes the second member of BTS to have topped the tallies apart from the juggernaut Korean pop group, following Jung Kook. Plus, BTS becomes the first group with multiple members that have led both rankings.

In an especially banner week for K-pop, Stray Kids also debut in the top 10 of both Global Excl. U.S. and Global 200 with “Chk Chk Boom,” at Nos. 4 and 10, respectively, as they earn their second top 10 on each list. As previously reported, Stray Kids’ and Jimin’s new albums, ATE and MUSE, launch at Nos. 1 and 2, respectively, on the U.S.-based Billboard 200 – marking the first time that K-pop albums claim the top two spots on the survey simultaneously.

Elsewhere, Sevdaliza, Pabllo Vittar and Yseult’s viral hit “Alibi” reaches the Global Excl. U.S. top 10, rising 11-9.

The Global 200 and Global Excl. U.S. charts, which began in September 2020, rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Global 200 is inclusive of worldwide data and the Global Excl. U.S. chart comprises data from territories excluding the United States.

Chart ranks are based on a weighted formula incorporating official-only streams on both subscription and ad-supported tiers of audio and video music services, as well as download sales, the latter of which reflect purchases from full-service digital music retailers from around the world, with sales from direct-to-consumer (D2C) sites excluded from the charts’ calculations.

Jimin’s “Who,” released July 19, bounds onto the Global 200 with 90.5 million streams and 129,000 sold worldwide through July 25.

Here’s a rundown, ranked by peak position, of BTS members’ 12 Global 200 top 10s outside the act – one more than BTS has achieved as a group. Jung Kook boasts three solo No. 1s and Jimin now has one; BTS has tallied seven as a group:

Sabrina Carpenter’s “Espresso” dips to No. 2 on the Global 200, following three nonconsecutive weeks at No. 1 beginning in June; Billie Eilish’s “Birds of a Feather” rebounds to its No. 3 high, from No. 4; Shaboozey’s “A Bar Song (Tipsy)” rises 5-4, after reaching No. 3; and Kendrick Lamar’s “Not Like Us” drops to No. 2 after two nonconsecutive weeks at No. 1 starting in May.

Also new in the Global 200’s top 10, Stray Kids’ “Chk Chk Boom” begins at No. 10 with 59.2 million streams and 27,000 sold worldwide. The group adds its second top 10, and ties its best rank, after “LALALALA” debuted and peaked at No. 10 in November 2023.

Jimin’s “Who” concurrently debuts at No. 1 on Global Excl. U.S. with 76 million streams and 76,000 sold outside the U.S. July 19-25.

Here’s a recap, ranked by peak position, of BTS members’ 17 Global Excl. U.S. top 10s outside the group – including now four No. 1s, with three by Jung Kook and one by Jimin; BTS totals 11 top 10s as a group, including seven No. 1s:

Thanks to Jung Kook and Jimin, BTS becomes the first group with multiple members that have led both the Global 200 and Global Excl. U.S. (BLACKPINK is the only group with as many as three members that have hit No. 1 as soloists on either chart, as the fellow K-pop act’s Jennie, LISA and Rosé have each led Global Excl. U.S. on their own; among them, Rosé has also ruled the Global 200.)

Carpenter’s “Espresso” descends to No. 2 on Global Excl. U.S., following eight nonconsecutive weeks at No. 1 beginning in May, and Eilish’s “Birds of a Feather” falls to No. 3 from its No. 2 high.

Stray Kids’ “Chk Chk Boom” enters Global Excl. U.S. at No. 4 with 50.8 million streams and 16,000 sold outside the U.S. The group logs its second top 10 – and achieves a new highest rank – after “LALALALA” debuted and peaked at No. 6 last November.

Rounding out the Global Excl. U.S. top five, FloyyMenor and Cris Mj’s “Gata Only” slides 4-5, after reaching No. 3.

Additionally, Sevdaliza, Pabllo Vittar and Yseult’s “Alibi” ascends to the Global Excl. U.S. top 10 (11-9), led by 42.3 million streams (up 17%) outside the U.S. The song by the acts, who are Dutch-Iranian, Brazilian and French, respectively, soared to the top 10 (21-8) of the TikTok Billboard Top 50 a week earlier. The internationally surging single has lyrics in English, French, Portuguese and Spanish, while its hook is built around a sample of the song “Rosa,” first recorded more than a century earlier and popularized by famed Colombian musician Magín Díaz.

The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Aug. 3, 2024) will update on Billboard.com tomorrow, July 30. For both charts, the top 100 titles are available to all readers on Billboard.com, while the complete 200-title rankings are visible on Billboard Pro, Billboard’s subscription-based service. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

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.

Shaboozey’s “A Bar Song (Tipsy)” adds a third week at No. 1 to its Billboard Hot 100 tab. The single became the singer-songwriter’s first leader on the chart three weeks earlier.

The song, on American Dogwood/EMPIRE (with country radio promotion by Magnolia Music), is from the Virginia-born artist’s album Where I’ve Been, Isn’t Where I’m Going, which debuted at its No. 5 high on the Billboard 200 in June. It has spent two weeks at No. 1 on Americana/Folk Albums and reached No. 2 on Top Country Albums.

The track also became the first by a Black man, and second by a Black artist overall, after Beyoncé’s “Texas Hold ‘Em” earlier this year, to top both the Hot 100 and Hot Country Songs charts. “It’s a sign of the times – genres are merging, styles are blending and the audience’s music taste is broader than ever,” EMPIRE COO Nima Etminan recently told Billboard. “Artists don’t need to be put in boxes – whether it be by race, genre or eras. Good music is good music and the listeners largely get to dictate the charts.”

Elsewhere in the Hot 100’s top 10, Teddy Swims’ former No. 1 “Lose Control” reaches a notable mark, tying for the 10th-most weeks spent in the bracket by any song so far in the 2020s.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data, the lattermost metric reflecting purchases of physical singles and digital tracks from full-service digital music retailers; digital singles sales from direct-to-consumer (D2C) sites are excluded from chart calculations. All charts (dated Aug. 3, 2024) will update on Billboard.com tomorrow, July 30. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

“A Bar Song (Tipsy)” continues atop the Hot 100 with 85.1 million radio airplay audience impressions (up 10%, good for top Airplay Gainer honors for a fourth week), 37.3 million official streams (down 4%) and 15,000 sold (down 7%) in the United States July 19-25.

The track rebounds 2-1 for a second week atop the Streaming Songs chart, following a frame on top three weeks earlier; keeps at its No. 2 high on Radio Songs; and likewise holds at No. 2 after nine weeks ruling Digital Song Sales.

Reflecting its wide sonic appeal, “A Bar Song (Tipsy),” which interpolates J-Kwon’s 2004 hip-hop classic “Tipsy,” became the first song ever to go top 10 on all four of the following Billboard radio charts, where it continues to gain: It jumps 3-1 on Country Airplay – marking its first airplay chart domination – and 5-4 on Rhythmic Airplay and keeps at its Nos. 5 and 6 bests on Pop Airplay and Adult Pop Airplay, respectively.

“It’s important that Shaboozey has been able to show that you can do that as an independent artist,” Heather Vassar, senior vp of operations for EMPIRE in Nashville, told Billboard. “We had several offers from majors who wanted to work the record and it was really important that we were able to stay true to how we operate.”

“A Bar Song (Tipsy)” concurrently tops the multimetric Hot Country Songs chart for a seventh week.

Post Malone’s “I Had Some Help,” featuring Morgan Wallen, holds at No. 2 on the Hot 100 following six nonconsecutive weeks at No. 1 beginning in May. It leads Radio Songs for a fifth week (85.5 million, up 1%) – as it ascends to No. 1 on Pop Airplay – and shines atop the multimetric Songs of the Summer chart for a ninth week.

Kendrick Lamar’s “Not Like Us” keeps at No. 3 on the Hot 100, two weeks after it returned to the summit for a second frame on top. It tops the multimetric Hot Rap Songs chart for an 11th week and Hot R&B/Hip-Hop Songs for a ninth week.

Tommy Richman’s “Million Dollar Baby” repeats at No. 4 on the Hot 100, after hitting No. 2, as it banks a 13th week atop the multimetric Hot R&B Songs chart.

Sabrina Carpenter’s “Espresso” keeps at No. 5 on the Hot 100, after reaching No. 3, and her “Please Please Please” dips 6-7, after it became her first No. 1 in June. She claims a seventh week with multiple songs in the top 10, extending her mark for the most among all artists this year.

In between Carpenter’s two top 10s, Hozier’s “Too Sweet” rises 7-6 on the Hot 100, following a week at No. 1 in April. It commands the multimetric Hot Rock Songs and Hot Alternative Songs charts for a 17th week each and Hot Rock & Alternative Songs for a 16th week.

Teddy Swims’ “Lose Control,” which led for a week in March, is steady at No. 8 on the Hot 100, as it logs a key milestone: It ties for the 10th-most weeks tallied in the top 10 this decade.

Most Weeks in Hot 100’s Top 10 in the 2020s:

“Lose Control” also becomes Teddy Swims’ first No. 1 on the Adult Contemporary chart. Among other radio rankings, it previously topped Radio Songs, Pop Airplay, Adult Pop Airplay and Adult R&B Airplay.

Rounding out the Hot 100’s top 10, Benson Boone’s No. 2-peaking “Beautiful Things” is a non-mover at No. 9 and Chappell Roan’s “Good Luck, Babe!” returns to the tier and its best rank (11-10).

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.