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Taylor Swift and Travis Kelce are enjoying some relaxation following the Eras tour! The couple were recently seen in Rhode Island along with some of their famous friends for a get-together over the weekend, according to People. Blake Lively and Ryan Reynolds, along with Travis’ brother Jason Kelce and Kylie Kelce, and Patrick and Brittany […]
Anyone in the rap social media universe has likely shared and commented on an On the Radar Radio freestyle. The setup is simple: a mic with a stand in front of a neon On the Radar sign, a couch that brings the room together, some shelves with merch, and the often-imitated Monster Energy green glowing it up. Using their time wisely, a rapper picks a beat (or multiple beats) and precisely delivers bars, hoping a viral moment will result.
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The trendsetting platform to showcase emerging and established artists has brought back the essence of music discovery. On July 11, Complex published its second annual hip-hop media power rankings for 2024, and at No. 25 was Gabe P, the host and founder, which was his first entry onto the list.
While he’s grateful and appreciative of the acknowledgment, he knows how competitive the hip-hop media landscape is — On the Radar has become a staple of hip-hop culture — and disputes his ranking.
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“It’s a big honor to be on the list with many people I respect in the culture. Look, Uncle Charlamagne [Tha God] said it best, ‘I’ll make an argument for Gabe P to be top ten,’” he says over a Zoom call in early August, referencing The Brilliant Idiots episode with Nyla Symone. “I’m gonna let Uncle Charlamagne speak for me on that one. I ain’t gonna lie. I should be top ten. I feel like if you’re in this culture, you gotta be like ‘Yo, I’m the best.’ I think the real ones know I don’t base my level of success on lists. I base my level of success on how many lives I’ve changed, and how well my platform is doing.”
Six years after its 2018 launch, Gabe P has built a platform he’s deeply embedded in, creating a premier destination for undiscovered talent you wouldn’t normally find on other hip-hop outlets. The YouTube channel’s blend of conversational interviews — with its ability to create noise on social media through exclusive freestyles, song performances, and cyphers — has established itself as a go-to stop for artists worldwide.
With 885,000 subscribers, On the Radar has uploaded over 1,400 freestyles that range from respected names to artists you haven’t heard of yet. Some artists go on there to freestyle and release the track shortly after on streaming services. Last year’s Drake and Central Cee’s “On the Radar Freestyle” was the viral moment that took them mainstream, earning Gabe P his first entry onto the Hot 100 with his platform.
“Some of the songs we’re lucky enough to put out with the artist themselves,” he says. “Some of them we’re not [able to]. But I love that we’re forever memorialized in hip-hop culture. I can forever say that I have a song within Drake’s catalog.”
Rappers like Meek Mill, Big Sean, CyHi, Ice Spice and Baby Tate have made their OTR debuts with impressive freestyles. Chances are, if they’re bubbling under like Laila! or LazerDim700, they’ve already been on Gabe P’s radar.
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Gabe P says that the On the Radar team consists of 5-to-10 people. “I got John, I got Tobby, I got Calvin, I got Aiden, I got Cam, I got Rob,” he says. “Everybody has a very different music taste on the team. And with that, everybody pitches different artists. There might be some cases where we may not all agree on the artist or we may not all like this artist’s specific sound. But we see that the artist has a type of fan base.”
He adds, “I look at On the Radar like a spiderweb. I’m always trying to keep growing my web and reach within different sounds in hip-hop.”
On the Radar is doing “real A&R work,” clearing misconceptions that any artist can just come up to On the Radar if they pay a fee. He and his staff do the groundwork to find artists, communicating with them directly or through their teams to get them on the show. He recognizes hip-hop as a global phenomenon without regional boundaries or personal bias towards either coast. He doesn’t believe in catering to one specific audience. Just take a look at the channel, which has featured Christian rappers (MTMIsaiah, Nobigdyl, Caleb Gordon, Emanuel Da Prophet), Punjabi rappers (AR Paisley, Chani Nattan, Inderpal Moga) and Asian hip-hop artists (Warren Hue, Ted Park, pH-1, Charlu), among many others.
In June, he featured the first Italian On the Radar freestyle with Rondo, who makes Italian drill music. “There was a group from Australia who I like. They’re called Onefour. They’re not 41. See what I did there?” he says, referring to the Brooklyn rap group. “They’re like an Australian drill group. They’re so tough.”
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With the sheer volume of hip-hop music released every week, you’d think Gabe P would have a process for keeping track of all the rappers who have a buzz. Instead, he’s all about having the fan bases overlap, describing a day when On the Radar put out freestyles with Benny the Butcher, Xaviersobased and Rx Papi within hours of each other. There’s no rhyme or reason to that selection, other than the fact that Gabe P’s hip-hop taste is very broad and he wants On the Radar to reflect that.
Gabe P is also a music connoisseur who doesn’t only listen to hip-hop. Growing up in a traditional Puerto Rican household, he was surrounded by salsa and reggaeton. The Long Island native was raised by his father, a “rock head” from The Bronx who introduced him to Led Zeppelin, Janis Joplin and Aerosmith. He became a fan of The Beatles and Green Day, too.
“I was really into discovering hip-hop on my own, because when you come from this type of traditional Latin household, you don’t get exposed to hip-hop like that,” he says. “So at the time, I was really into rock music because of my father, but then I was also into what was poppin’ at the time, just being a kid in the early 2000s, listening to Terror Squad, 50, Hov, Nas. The classics.”
One of the first albums he bought was Linkin Park and Jay-Z’s 2004 mashup album, Collision Course. Inspired by opposite genres clashing with each other, it influenced him to want to break into the music industry. “I think it’s so telling of what I would be doing in this industry because On the Radar has become such a diverse platform with so many different music tastes and genres attracting people,” he says. “That was what that project was, it’s a blend of two different worlds in one place.”
Gabe P always had an ear for what’s next. It goes back to his time at St. John’s University, working at WSJU Radio as programming director, producer and on-air personality, where he would bring up artists for interviews. When his friend Romel suggested he should be an A&R, he knew the music side and the media side of the music business would come together. After graduating in 2018, he eventually got an internship at Power 105.1 through Angie Martinez, impressing her in an interview he conducted with Nyla Symone during her My Voice: A Memoir promo run. He was hired officially at Power as a Digital Content Manager.
While working at Power, his idea for On the Radar started to formulate when detractors were trash-talking SoundCloud rappers. At 20 years old, he thought the 2016 XXL Freshmen Cypher with Kodak Black, 21 Savage, Lil Uzi Vert, Lil Yachty and Denzel Curry was the “greatest piece of hip-hop media in history” — but he remembers how it made him feel, listening to older hip-hop heads discredit them. “I was like, ‘Damn, am I not the hip-hop fan that I thought I was?’” Gabe P says. “I’m like, ‘No, I’m just younger than everybody, and they just don’t understand the type of music that these kids are making.’
“A lot of these kids, who are my age now, Denzel, Yachty, Uzi, etc., we all grew up listening to the same s–t,” he continues. “We also grew up with the alternative side of ourselves, with rock, punk, things like that. You think about artists like Trippie Redd, XXX, Juice WRLD, the reason why I gravitated so much towards those artists because it felt like an extension of that Jay-Z and Linkin Park, Collision Course album,” he continues. “I think that’s my core for starting On the Radar because I saw everything changing. I saw the rise of drill music, I saw this, I saw that. I’m like, ‘Nah, somebody’s gotta give these artists a fair shot.’”
On the Radar’s rise as a platform comes from its consistency and adaptability to the modern fan’s listening experience. On the Radar began in a small backroom, crediting Power director/producer Nick Ciofolo, who helped him come up with the name. After New York started to reopen after the pandemic, Gabe P connected with Devvon Terrell, a singer, rapper and producer, who assisted him in migrating their operations to HMD Studios. Now, On the Radar calls their own studio space in Brooklyn, New York their home base, although they’ve also taken On the Radar on the road, setting up shop in California, Houston, Nashville, Milwaukee, Chicago, Philadelphia, Atlanta, Detroit, and Miami. There are plans to go international soon.
“Early on, when On the Radar was starting to get big, we had international artists on the show like Digga D, AJ Tracey,” he says. “A lot of these guys were on the show at the early stages and had already gone viral. Because of them, the reach we were able to have in Europe was a lot bigger. This is in 2021, 2022. Drill music was so big globally at the time. Drill music helped bring the show internationally.”
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He also mentions Cash Cobain and Chow Lee’s freestyle from 2022, which was important for the brand’s growth. “The Cash Cobain and Chow Lee On the Radar freestyle kickstarted everything you see today with the sexy drill s–t,” he says. “It changed a lot for a lot of us. That’s why I feel so indebted to the boys and why I love them so much. I will always support them [because] I look at them as more than just artists, they’re family.”
Cobain, a New York rapper, producer, and frequent guest, knew Gabe P had good instincts, agreeing he helped move the sexy drill sound and “everything in New York, period.”
“Gabe P showed love from Day 1,” Cobain says. “From the first moment he had me up there, I knew he was tapped in. Gabe saw it when a lot of people didn’t, honestly when the world didn’t. He and OTR were extremely important to the scene. It was the spotlight that I needed at the time and to this day, anything he needs from me I got him and vice versa.”
He believed in Gabe P and On the Radar from the start. “The interviews, freestyles –– it was a void the music world was missing,” Cobain says. “It gives a spotlight to artists like myself and eyes and ears for the kids. The kids need to be heard! On The Radar does that for them.”
As Gabe P expands On the Radar into country, rock and other genres, he sees the risk of upsetting his hip-hop segment. But those who know “the real Gabe” find that he’ll be doing a disservice if he doesn’t explore the other musical sides of himself. What’s next for On the Radar is more DJ sets outside of hip-hop like his recent goth one. You can expect On the Radar Records to be more of a presence, teasing a collab EP with Lonny Love and Chow Lee called LoveLee Sounds.
You can also expect Gabe P.to spin his On the Radar web to the farthest threads it can reach, using the “biggest music platform in the world” as his goal. “The mission has never changed,” Gabe P says. “The vision has always been and always will be: I want to be the biggest and I want to be the best. And I think we’re working towards that goal.”
Mark Beaven, co-founder/co-CEO of Advanced Alternative Media (AAM), Inc., is set to receive a Lifetime Achievement Award at the 25th global edition of MUSEXPO. The award will be presented during a luncheon on Monday, March 17, 2025, at Castaway in Burbank, Calif. Beaven and business partner Andrew Kipnes played a transformative role in the music […]
Tommy Richman’s debut album is almost here. The “Million Dollar Baby” rapper-singer announced on Monday (Aug. 26) that Coyote will hit streaming services on Sept. 27.
Richman posted a trailer for Coyote on Monday (Aug. 26), in which he revealed the anticipated LP’s release date. “Welcome to the desert. Coyote, my debut album. 9/27,” he captioned the clip.
The trailer features an actual coyote walking on a Wile E. Coyote-themed desert set, and the camera pans to Richman, who is seated in front of a mirror wiping the clown makeup off his face, which plays off his 2022 Alligator project’s cover art.
Fans and Richman’s peers hopped into his comment section after learning about the announcement. “The World Ready Bro, Get’m,” DJ Paul wrote.
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A fan added: “This gunna be so special!”
Richman exploded onto the mainstream scene with his “Million Dollar Baby,” which became inescapable upon its arrival in April. The track is the longest running No. 1 on the TikTok Billboard Top 50 chart to date.
“Baby” also topped the Pop Airplay chart dated Aug. 31, and spent time at the apex of the Hot R&B Songs chart — for 16 weeks through the Aug. 24 tally, Hot R&B/Hip-Hop Songs (three, May-June), Billboard Global Excl. U.S. chart (three, May-June); the Billboard Global 200 (two, June); and Streaming Songs (one week, May).
“This is a big record, but this doesn’t define me,” the Virginia native told Billboard in June. “I’m using this as, ‘We’re here. We arrived.’ Not as, ‘We made it!’ This is the start of a run.”
“Million Dollar Baby” peaked at No. 2 on the Billboard Hot 100 and has tallied 773 million spins in radio audience, 559 million official on-demand U.S. streams and 77,000 units sold from its release through Aug. 15, per Luminate.
He followed up “Baby” with “Devil Is a Lie” in June, which peaked at No. 32 on the Billboard Hot 100. Coyote is set to arrive on Sept. 27 via ISO Supremacy and PULSE Records.
Watch the trailer below.
As the first gusts of autumn begin, it’s time to accept that we are now closer to sweater weather than the peak of summer vacation.
Although summer is nearing its end — with Kendrick Lamar‘s “Not Like Us” sitting comfortably in the Billboard Hot 100’s top 10 for a 15th consecutive week, no less — Drake seems to be alluding to a round two of their world-stopping feud. On Friday (Aug. 23), Drizzy self-leaked a second batch of unreleased content and music from his 100 Gigs franchise, this time featuring a collaboration with Playboi Carti. Notably, the 100 Gigs update also featured footage of Kanye “Ye” West giving Drake his flowers while onstage at OVO Fest 2013. It’s a smart play that complements Ye’s recent shoutout to Drake during a blockbuster Goyang Stadium Vultures II listening party in South Korea (Aug. 23).
Outside of the Kendrick-Drake beef and its supporting characters, Travis Scott‘s beloved breakthrough 2014 mixtape Days Before Rodeo finally hit streaming services in time for its 10th anniversary, Macklemore accidentally brought a fan onstage who was being looked for by the Slovak Republic Police (she is now in jail), and A$AP Rocky graced Billboard’s latest cover and talked everything from his forthcoming Don’t Be Dumb LP and the differences between his and Rihanna‘s parenting styles.
With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from Chxrry22’s new girls-night-out anthem to Luh Tyler’s swaggering new banger. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
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Freshest Find: Hamzaa, “25!”
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Heavy percussion and a buttery timbre that sneakily traverses the border between mezzo-soprano and contralto introduce “25,” the heartfelt closing track from Hamzaa’s EP of the same name. “Made it to 25 on my / Made it out alive on my / Now I’m on my A-game / We’re not on the same page, no,” she croons in the chorus, finding a hard-fought peace of mind in light of a pivotal birthday year. Countless songs explore the myriad fears, hopes and anxieties of different stages of your twenties, and Hamzaa stake a claim for herself in that conversation as it relates to the age of 25. Often the age that makes your thirties feel particularly real and near, 25 can get a bad rap because many people feel as if they have to have accomplished something major in their lives by that age. Those anxieties aren’t the primary concern of “25”; Hamzaa is more focused on the stability, growth and self-sufficiency that comes with finally trusting yourself after surviving the abyss that is your early twenties.
Luh Tyler, “Mr. Skii”
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The Tallahassee wunderkind dropped his debut album last week (Aug. 23), as the Bossman Dlow-assisted “2 Slippery” continues to explode across socials — but that’s not the only song from the project worth adding to your playlists. The title track, “Mr. Skii,” finds Tyler employing a laid-back flow through which he effortlessly skates across OhYeaCris’s trap-indebted beat, which smartly plays on the sweet melody of Earl Klugh’s “Living Inside Your Love.” The song’s lone verse is typical braggadocio rap fare, but Tyler’s cavalier delivery and humorous punchlines make it all feel fresh. As he says himself, “P—y capping, that’s a cat in a hat, yeah/ Real shit, ain’t no cap in my rap.”
Ye Ali & Ant Clemons, “All Summer”
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To put it plainly, “We f–king all summer,” even if summer is basically over. R&B maestros Ye Ali and Ant Clemons join forces on this slinky ode to steamy summer nights. Sultry saxophone, sparse 808s, and subtle harmonies all coalesce for a particularly immersive soundscape that conjures up just the allure and mystique the duo’s X-rated lyrics forgo. At just under two minutes, this is more of an overgrown interlude than a full-bodied song, but “All Summer” sources its charm from its brevity. Not only do they get straight to business, but they also stand on it without coming off as aggressive or overly eager; their joint suaveness is the song’s superpower.
Kanii, “Same Stories (Come and Go)”
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Kanii is tired of running in circles for a toxic relationship, but he’s not ready to completely cut her off and close the book on things possibly turning around. The D.C.-bred singer leans into his pop&B bag for the brooding “Same Stories (Come and Go),” with pulsating synths pacing the dance-leaning track as he falls in and out of lust. “I’m tired of the same stories, the same games, the same lies / The tricks that you playing think I won’t realize / The same outcome again I waste my damn time,” he laments. Watch Kanii clear his head and explore what NYC has to offer in the track’s grainy visual.
Chxrry22, “Poppin Out (Mistakes)”
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Kendrick Lamar said something about needing to pop out and show the haters what’s good. The perfect pre-game playlist for girls night, Chxrry22 crafted an awfully fun bop to reverse a heartbreak. And rule No. 1 for Chxrry: there’s no crying over any boys inside her nightclub. But for the guys looking to win her attention, it’s going to be pricey – starting with sending her over six figures because someone has to pay for her mistakes. The best part might be the First Lady of XO living out her raps, as she enjoyed a not-so-demure girls’ night out last week turning up and celebrating “Poppin Out”’s arrival with her friends.
Free Party, “Eyespy”
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Free Party returned on Friday (Aug. 23) to drop off their anticipated Cut Your Teeth EP. It’s an appetizing sprint clocking in at 10 minutes, with “Eyespy” finding the DMV-bred duo showing off their rapping versatility and seamless chemistry in the booth. Jay Veno comes out of the gates blazing with a speedy flow as Free Party looks to make a leap. “They better never let us see a crevice/ Better keep it zealous or we looting the s–t,” he raps. MoCo takes the baton and the plug gets pulled before the AUX cord melts, leaving listeners wanting more. When is that full-length LP coming again?
The War and Treaty’s Tanya Blount was once a Bad Boys Records artist, and is expressing her thoughts about the allegations about the label’s founder, Sean “Diddy” Combs, that have risen in the years since.
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Blount was signed to the label in the 1990s, though her album with the company was never released. “Puffy was interesting because being with him was like — we didn’t see this Puffy that people are talking about now,” she recalled during a new episode of Bunnie XO’s Dumb Blonde podcast. “We never saw him drink, we never saw him smoke. I never saw that guy. Being around him was like school because you were literally learning while training.”
She added, “Everything has good and bad. I’m really appalled with the stuff I’m hearing about now. I had protection too. I was young but I had a manager who told me, ‘No you’re not going to that party.’ […] I also had God protecting me from whatever was happening. The people who experienced it, I really feel bad for them.”
In a devastating video, obtained by CNN earlier this year and dated March 5, 2016, Combs appears to shove his longtime former partner, Cassie Ventura, to the ground near an elevator bank, kick her several times while she lies on the ground and drag her down a hallway. The contents of the video mirror an assault allegation Ventura made in a now-settled lawsuit she filed against Diddy in November.
Shortly after, on May 19, Diddy took to social media to share a video of himself taking responsibility and apologizing for his actions in the disturbing clip. “It’s so difficult to reflect on the darkest times in your life, but sometimes you got to do that,” Diddy says in his Instagram video. “I was f—ed up. I mean, I hit rock bottom. But I make no excuses. My behavior on that video is inexcusable. I take full responsibility for my actions in that video. I’m disgusted. I was disgusted then when I did it, I’m disgusted now.”
He continued, “I went out and sought professional help. Had to go into therapy, into rehab. Had to ask God for his mercy and grace. I’m so sorry. But I’m committed to being a better man each and every day. I’m not asking for forgiveness. I’m truly sorry.”
“The gut-wrenching video has only further confirmed the disturbing and predatory behavior of Mr. Combs,” said Ventura’s attorney, Douglas Wigdor, in a statement sent to Billboard. “Words cannot express the courage and fortitude that Ms. Ventura has shown in coming forward to bring this to light.”
Ventura was the first to accuse Diddy of sexual assault, filing a lawsuit in November in which attorneys for Cassie claimed she “endured over a decade of his violent behavior and disturbed demands,” including repeated physical attacks and forcing her to “engage in sex acts with male sex workers” while he masturbated. According to the complaint, after she attempted to separate from him in 2018 after an on-and-off public relationship for 11 years, Combs allegedly “forced her into her home and raped her while she repeatedly said ‘no’ and tried to push him away.” The case was soon settled, but Combs was then sued by multiple other women who claimed they were sexually abused by the hip-hop mogul.
“ENOUGH IS ENOUGH,” Diddy wrote on Instagram in December. “For the last couple of weeks, I have sat silently and watched people try to assassinate my character, destroy my reputation and my legacy. Sickening allegations have been made against me by individuals looking for a quick payday. Let me be absolutely clear: I did not do any of the awful things being alleged. I will fight for my name, my family and for the truth.”
The final nominations for the 58th annual CMA Awards will be revealed on Monday, Sept. 9, at 7 a.m. CT, with the complete list also being posted on the CMA Awards’ website. Explore See latest videos, charts and news See latest videos, charts and news This year’s CMA Awards will be held Wednesday, Nov. 20, […]
Charli XCX accidentally on purpose drew herself into the current heated American presidential race with what she thought was an innocuous tribute to Vice President Kamala Harris’ ineffable, no f’s given qualities. And while her “Kamala IS Brat” tweet last month helped boost the enthusiasm about what was then the very-new White House campaign by the current VP-turned-Democratic-candidate, Charli told Vulture that the tweet fired off while hanging around her pool in L.A. was meant to be something “positive and lighthearted” rather than a strict political endorsement.
Just days after Harris announced her intention to run for the Democratic nomination following President Joe Biden’s historic decision to give up his second run for the nation’s top job, Charli made noise by announcing “Kamala IS brat.”
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The reference was to the title of XCX’s new album and a messy-on-purpose lifestyle Charli has described as someone who can be high lux at times, or who has a “pack of cigs, a Bic lighter and a strappy white top with no bra” at others. Very aware of what she was doing and how it might land, Charli watched as the Harris campaign immediately seized on what seemed like a cool girl nod to their insurgent effort, by instantly rebranding the Kamala HQ‘s X page with the same font and lime green logo style as the singer’s album title.
“To be on the right side of democracy, the right side of women’s rights, is hugely important to me,” said Charlie, who as a British citizen cannot vote in the U.S. election, but whose tweet became a cringe-worthy talking point on cable and broadcast news programs where confused anchors tried to figure out what the kids were talking about.
“I’m happy to help prevent democracy form failing forever,” she added, appearing to nod to the existential threat to the American political system that President Biden and Harris have said former President and third-time White House aspirant Donald Trump represents. “I obviously knew what I was doing.”
That said, she had no inkling the tweet would be seem more than 55 million times and turned into its own meta meme. “Did I think me talking about being a mess b–ch and, like partying and needing a Bic lighter and a pack of Marlboro Lights would end up on CNN? No,” she said, noting that she is not, and has never aspired to be, “a political artist… I’m not Bob Dylan and I’ve never pretended to be… My music is not political. Everything I do in my life feeds back into my art. Everything I say, wear, think, enjoy — it all funnels back into my art. Politics doesn’t feed my art.”
In the same interview, Charli revealed that she is already working on another “full-length other project” that will definitely be “in the bratosphere, so to speak.” At press time no additional information was available on that project.
Billie Eilish’s “Birds of a Feather” nests atop both the Billboard Global 200 and Billboard Global Excl. U.S. charts for a third week. Two weeks earlier, the song became her first leader on each list.
Plus, Lady Gaga and Bruno Mars bound in at No. 2 on each tally with “Die With a Smile” and LISA’s “New Woman,” featuring Rosalía, debuts at No. 6 on Global Excl. U.S.
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.
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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.
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Eilish’s “Birds of a Feather” holds atop the Global 200 with 86.4 million streams (up 1%) and 10,000 sold (down 35%) worldwide Aug. 16-22. (A week earlier, its sales were boosted after she performed the song at the 2024 Summer Olympics Closing Ceremony on Aug. 11.)
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Lady Gaga and Bruno Mars’ “Die With a Smile” soars onto the Global 200 at No. 2 with 75.1 million streams and 31,000 sold worldwide following its release Aug. 16. The former adds his third top 10 since the chart began, while the latter lands her first.
Sabrina Carpenter’s “Espresso” slips 2-3 on the Global 200, following three nonconsecutive weeks at No. 1 beginning in June; Post Malone’s “I Had Some Help,” featuring Morgan Wallen, jumps 12-4, following a week at No. 1 upon its debut in May — as parent album F-1 Trillion debuts at No. 1 on the U.S.-based Billboard 200; and Shaboozey’s “A Bar Song (Tipsy)” tumbles to No. 5 from its No. 3 high.
“Birds of a Feather” concurrently leads Global Excl. U.S. with 64.1 million streams (up 2%) and 5,000 sold (down 30%) outside the U.S. Aug. 16-22.
“Die With a Smile” starts at No. 2 on Global Excl. U.S. with 48.2 million streams and 13,000 sold outside the U.S. It’s Bruno Mars’ second top 10 and Lady Gaga’s first on the chart.
Karol G’s “Si Antes Te Hubiera Conocido” retreats to No. 3 from its No. 2 Global Excl. U.S. best; Carpenter’s “Espresso” falls 3-4, following eight nonconsecutive weeks at No. 1 beginning in May; and Jimin’s “Who” backtracks 4-5 after logging two weeks at No. 1 earlier in August.
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Plus, LISA’s “New Woman,” featuring Rosalía, launches at No. 6 on Global Excl. U.S. with 54.5 million streams and 10,000 sold outside the U.S. Aug. 16-22, following its Aug. 15 release. LISA earns her fourth top 10 on the chart – the most among BLACKPINK members; Jennie boasts three, and Jisoo and Rosé have one each. Meanwhile, LISA matches the four top 10s that BLACKPINK has achieved as a group. Rosalía adds her fifth top 10 on the chart.
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Aug. 31, 2024) will update on Billboard.com Tuesday, Aug. 27. 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 seventh nonconsecutive week at No. 1 on the Billboard Hot 100. The single, which became the singer-songwriter’s first leader on the list in July, claims outright 2024’s longest reign, surpassing the six nonconsecutive weeks on top for Post Malone’s “I Had Some Help” featuring Morgan Wallen. The latter, […]