Music
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All appears to be well in the Bieber household, even though Justin Bieber temporarily had fans wondering after his account unfollowed Hailey Bieber on Instagram this week. Shortly after the internet noticed that the “Baby” singer was no longer following his famous wife on the platform — prompting people to flood social media with questions […]
Garth Hudson, the inventive keyboard player whose soulful playing was a key part of 1960s/70s Rock and Roll Hall of Fame group The Band‘s country-tinged Americana anthems has died at 87. The last surviving member of the group, Hudson died peacefully in his sleep on Tuesday morning (Jan. 21) at a nursing home in Woodstock, N.Y., according to the Toronto Star.
Along with fellow Canadians Robbie Robertson (guitar/vocals), Rick Danko (bass/vocals) and Richard Manuel (piano/vocals) and lone American member, drummer/singer Levon Helm, Hudson was a key component of the unique sound the band explored during its initial 20-year run.
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He officially began playing with The Band in 1965, after they had served a two-year apprenticeship as the back-up group for rockabilly singer Ronnie Hawkins. The Hawks — as they were known — left Hawkins’ employ in 1963 after years on the road honing their sound. After meeting Bob Dylan in 1965, the group recorded the song “Can You Please Crawl Out Your Window” the next year for what would become Dylan’s beloved 1966 double album, Blonde on Blonde, which featured such classics as “Rainy Day Women #12 & 35,” “Visions of Johanna,” “I Want You” and “Just Like a Woman.”
Dylan toured with The Band as his backing group in 1966 and then joined him in the studio for a series of 1967 sessions that became The Basement Tapes. The fruit of those sessions recorded at the group’s legendary Saugerties, N.Y. home known as Big Pink, were not officially released until 1975. That home was the inspiration for the title of the Band’s 1968 debut album, Music From Big Pink, which spotlighted Hudson’s churchy organ playing on such earthy anthems as “Tears of Rage” and what is perhaps the group’s most well-known song, “The Weight.”
For those who saw the Timothée Chalamet Dylan biopic, A Complete Unknown — which (spoiler alert) ends after the folk icon burns his bridges by going electric at the 1965 Newport Folk Festival — it’s instructive to note that The Band served as Dylan’s backup group on his first official electric tour later that year.
Though they performed at the Woodstock Festival in 1969 — which took place about 90 minutes from Big Pink — they were not included in the final film due to legal issues. The rustic, black and white cover of their eponymous next album from 1969 was a visual metaphor for their rich, throwback sound, which incorporated dusty barroom laments, aching rock odes and urgent country balladry for a mash-up roping in rock, country and classic R&B. It was all anchored by a gritty, hand-made, sepia-toned quality that served as an antidote to the more expansive, paisley-colored psychedelic experimentation and bombast of the era.
Classically trained pianist Eric Garth Hudson was born in Windsor, Ontario on August 2, 1937 and played organ in his church (and at his uncle’s funeral home) as a young man as well as studying music at the University of Western Ontario in the early 1950s before dropping out to join the rock group the Silhouettes.
Equally adept at saxophone, trumpet, violin and accordion, among other instruments, Hudson was best known for playing the two-tiered Lowery electric organ, whose distinctive, church-like sound can most famously be heard on the Bach-esque intro to the Band’s 1968 classic “Chest Fever.” That song became a highlight of the group’s shows, during which Hudson reliable performed an extended, improvised solo that roped in bits of Bach’s Toccata and Fugue in D minor on its way to stops at classical, jazz and soul.
Hudson’s oscillating, bouncing sound can also famously be heard on another of the band’s most well-known tunes, “Up on Cripple Creek,” from the 1969 eponymous album. On that song he played a clavinet through a wah-wah pedal, giving it a distinctive, Jews-harp-like twang; that song reached No. 25 on the Billboard Hot 100 singles chart. The group would release a handful of albums through the mid-1970s, including 1970s Stage Fright (“The Shape I’m In”) 1971’s Cahoots (”Life Is a Carnival,” “When I Paint My Masterpiece”), 1973’s cover album Moondog Matinee, as well as 1975’s Northern Lights – Southern Cross (“Ophelia,” “It Makes No Difference”) and the final LP by the original lineup, 1977’s Islands, before substance abuse and intra-band quarreling led to their split.
As a final, grand gesture, though, they set their disputes aside for one final, blow-out show dubbed The Last Waltz. The all-star show featuring guests Dylan, Eric Clapton, Neil Young, Joni Mitchell and many others, was documented by director Martin Scorsese for the live movie/album of the same name. The group would get back together in the 1980s — without key member Robertson — and released a trio of albums that did not reach the creative or critical heights of their early trio of classics.
In addition to his work on albums by Hawkins and John Hammond in his pre-Band days, Hudson could be heard on Dylan’s 1966 Blonde on Blonde album, as well as the soundtracks to Last Summer, Kent State, Raging Bull, The King of Comedy and Best Revenge. Throughout his career he was an in-demand session ace as well, recording tracks for albums by artists including: Bobby Charles, Eric Von Schmidt, Ringo Starr, Maria Muldaur, Paul Butterfield, Neko Case, the Secret Machines, Eric Clapton, Band-mates Danko and Helm, as well as Emmylou Harris, the Lemonheads, Van Morrison, Leonard Cohen, The Call, Tom Petty & the Heartbreakers, Marianne Faithfull, Camper Van Beethoven and many more.
He released his first solo album, The Sea to the North, in 2001, and followed up with 2010’s Garth Hudson Presents a Canadian Celebration of The Band. Hudson was inducted into the Canadian Juno Hall of Fame in 1989 and into the Rock and Roll Hall of Fame in 1994 and received a lifetime achievement awards from the Grammys in 2008.
Check out some of Hudson’s playing below.
ROSÉ and Bruno Mars’ “APT.” tops the Billboard Global Excl. U.S. chart for a 12th week. In November, the song debuted as the stars’ second leader on each list.
Plus, Bad Bunny charts five Global Excl. U.S. top 10s, all from his new LP, DeBÍ TiRAR MáS FOToS, which ascends to No. 1 on the U.S.-based Billboard 200 albums chart. (The set reigns following its first full tracking week of activity, Jan. 10-16; it was released Jan. 5.) With three new top 10s, he pushes his total to a record-breaking 23 since the survey began in September 2020.
The Billboard Global 200 and Global Excl. U.S. charts 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.
“APT.” tops Global Excl. U.S. with 119.6 million streams (essentially even week-over-week) and 11,000 sold (up 5%) outside the U.S. Jan. 10-16. The only songs that have led the list longer are Mariah Carey’s “All I Want for Christmas Is You” (14 weeks, since 2020) and Miley Cyrus’ “Flowers” (13 weeks, 2023) and Harry Styles’ “As It Was” (13 weeks, 2022).
Bad Bunny boasts five songs in the Global Excl. U.S. top 10: “DtMF” (9-2), “BAILE INoLVIDABLE” (12-4), “NUEVAYoL” (10-5), “VOY A LLeVARTE PA PR” (15-8) and “VeLDÁ” (21-10).
With three new Global Excl. U.S. top 10 hits, Bad Bunny ups his total to 23 top 10s – breaking out of a tie with Taylor Swift (20) for the most since the chart began.
Elsewhere in the Global Excl. U.S. top five, Lady Gaga and Mars’ “Die With a Smile” slips 2-3, following eight weeks at No. 1 starting in September.
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Jan. 25, 2025) will update on Billboard.com tomorrow, Jan. 22, a day later than usual due to the Martin Luther King Jr. holiday Jan. 20. 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.
Glastonbury Festival have unveiled details of its annual Emerging Talent Competition for 2025.
Open to new U.K. and Ireland-based acts in any musical genre, the free-to-enter contest gives emerging talent the chance to play at Woodsies, one of the festival’s main stages.
The winner will also receive a £5,000 (about $6,121) Talent Development prize from charitable funder PRS Foundation. Two runners-up will each be awarded a Talent Development prize of £2,500 (about $3,060).
Artists can enter the competition for one week only using the form on the official Glastonbury website from 9 a.m. GMT on Jan. 29 through 5 p.m. GMT on Feb. 5.After the entry period closes, a panel of 30 of British music writers will compile a longlist of 90 acts, which will then be narrowed down to a shortlist of eight artists by judges including Glastonbury co-organizers Michael and Emily Eavis. A live final hosted in the village of Pilton, near the festival site, will decide the winning act, though a date for the event is yet to be announced.
In a statement, Eavis said: “We know how hard it is for new acts to take their first steps towards a career in music — particularly with the challenges facing small venues in this country — so the Emerging Talent Competition is a hugely important part of Glastonbury’s annual calendar. I can’t wait to hear the entries from across all the musical genres. And it’s free to enter, so you’ve nothing to lose!”
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The festival team has also stated that they are committed to diversity and inclusivity and welcome entries from disabled artists, who will be supported to ensure they are not disadvantaged by the competition process.
The winner of the 2024 competition was the Jamaican-Irish rapper JayaHadADream, who has since performed at other major U.K. festivals including Reading & Leeds and Boomtown. Other previous Emerging Talent Competition finalists include singer-songwriter Declan McKenna, recent Mercury Prize recipients English Teacher and rapper Flohio.
Tickets have sold out for Glastonbury Festival, which will take place at Worthy Farm, Somerset on June 25-29. On Jan. 3, it was announced that Neil Young will headline alongside his new band The Chrome Hearts, just days after he stated would withdraw from the festival, having called it a “corporate turn-off.”
Rod Stewart, meanwhile, has been confirmed to take on this year’s traditional Legends Slot on the Sunday afternoon. Other names rumored to appear across the weekend include Charli XCX, The 1975, Sam Fender and Olivia Rodrigo. The full lineup is expected to arrive in the spring.
Bad Bunny’s “DtMF” blasts to No. 1, from No. 12, on the Billboard Global 200 chart. The song becomes the superstar’s fifth leader on the list, tying Taylor Swift for the second-most, and the most among soloists, since the survey began in September 2020. BTS leads all acts with seven No. 1s.
Bad Bunny scores five simultaneous Global 200 top 10s, all from his new LP, DeBÍ TiRAR MáS FOToS, which ascends to No. 1 on the U.S.-based Billboard 200 albums chart. The set reigns following its first full tracking week of activity (Jan. 10-16; it was released Jan. 5).
The Global 200 and Billboard Global Excl. U.S. charts 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.
“DtMF” rules the Global 200 with 130.5 million streams and 3,000 sold worldwide Jan. 10-16. Bad Bunny previously hit No. 1 with “Monaco,” for a week upon its debut in October 2023; “Where She Goes” (in its debut week in June 2023); “Un x100to,” with Grupo Frontera (two weeks, May 2023); and “Dakiti,” with Jhay Cortez (now Jhayco; three, November-December 2020).
Bad Bunny also infuses the Global 200’s top 10 with “BAILE INoLVIDABLE” (10-4), “NUEVAYoL” (9-5), “VOY A LLeVARTE PA PR” (14-8) and “VeLDÁ” (22-9). With three new top 10 hits, he swells his count to 24 top 10s since the chart began. Only Drake (35) and Swift (33) have more.
Also in the Global 200’s top five, ROSÉ and Bruno Mars’ “APT.” descends to No. 2, following 11 weeks at No. 1 beginning upon its debut in November, and Lady Gaga and Mars’ “Die With a Smile” dips 2-3, following eight weeks at No. 1 beginning in September.
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Jan. 25, 2025) will update on Billboard.com tomorrow, Jan. 22, a day later than usual due to the Martin Luther King Jr. holiday Jan. 20. 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.
Ye — formerly known as Kanye West — is feeling creatively reinvigorated these days thanks to his daughter North West. Yeezy took to Instagram early Tuesday (Jan. 21) with a series of posts in the studio, and one found him highlighting North, who is inspiring him musically. West brought out the ASR keyboard to cook […]
Alex Warren is in the middle of packing when he logs on to Zoom, sitting in a bedroom with only a bed and some taped-up boxes behind him. It’s just before the holidays, and the pop singer-songwriter is preparing to move from Los Angeles to Nashville with his wife (and fellow Internet personality) Kouvr Annon. “We’re young,” he reasons, “so let’s go experience some other things and see what we like.”
The 24-year-old is accustomed to whirlwind life changes. His latest single, the piano-backed ode to resilience “Burning Down,” became his first Billboard Hot 100 hit in October, and signaled his breakthrough as a musician. Prior to making music his full-time gig, from late 2019 to 2022, he and Annon were major players in Hype House, a popular group of TikTok content creators that frequently collaborated and lived together. (They both starred in the 2022 Netflix docuseries of the same name, which lasted one season.)
Even before the Hype House disbanded the same year, Warren had already begun to pivot into a music career, a passion of his since he began playing guitar as a child. He released his aching, guitar-driven debut single, “One More I Love You” as an independent artist in June 2021, and the track quickly drew a following on streaming platforms. With a manager already in tow — Odd Projects’ Brian Sokolik, whom he first met four years ago through a former agent — the two began to field major label offers. Warren signed with Atlantic Records in 2022.
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“We were looking for a label that really understood Alex as a person and would teach him what works best,” Sokolik recalls. “Our first meeting with Atlantic, it was pretty obvious that it was home. They came in and were brutally honest about what was good and what wasn’t, but in a really productive, constructive way.”
Austin Hargrave
In the months that followed, Warren’s life, both professionally and personally, continued to accelerate: he dropped his first single under Atlantic, “Headlights,” in August 2022, and followed it with “Chasing Shadows” that December. He then kicked off 2023 by proposing to Annon before embarking on his first headlining tour. He continued releasing more singles through last year all while maintaining his content creation career, pumping out daily TikTok videos and Instagram Reels.
Over time, Warren has become more comfortable with his music reflecting his challenging upbringing. His father passed away when he was nine years old, after which he lived with his mother, who struggled with alcoholism and died in 2021. She kicked Warren out of the house just after he turned 18, and he spent the next five months homeless. Reflecting today, he’s grateful to be able to channel such painful experiences into his music.
“I recently started doing this thing where I write about those [experiences], and I try to take control in a way,” he says. “For me, something really beautiful is taking something so sad and dark, and what most would view as something that ruined their life, and turn it into something that can help people.”
Alex Warren photographed December 19, 2024, in Los Angeles.
Austin Hargrave
Last May, during a set of studio sessions in Los Angeles, Warren felt particularly inspired by such memories, and began to write with collaborators Adam Yaron, Cal Shapiro and Mags Duval. The result was “Burning Down,” which came together in just a day, among other tracks over the course of the productive week.
“I’ve always let people walk all over me, and ‘Burning Down’ was a song I always wanted to write, but never had the balls to do it,” he says of his biggest hit to date, released on Sept. 20, one week ahead of his debut album, You’ll Be Alright, Kid (Chapter 1). Warren’s deep, husky voice frees himself from the blame of an unhealthy relationship over a stomping piano beat.
He put his social media savvy to good use to bolster the song’s hype leading up to its release, posting a number of videos to his 16 million TikTok followers lip synching to the song with Annon. From Warren’s perspective, there’s no gimmick in getting his followers — whom he affectionately calls his “friends” — to listen to his music.
“The drawback for a lot of musicians is that they don’t necessarily understand social media,” he says. “In my career, I have been so open with my friends who follow me. They know everything about me and we’re so connected and I love that. I’m thinking of these people while I’m writing these songs, because I’m thinking about what I would want to hear if I was still going through that.”
“He knows what his fans want and will respond well to,” Sokolik adds. “Alex will tell me, ‘I have an idea for a video. I’m going to tease this and see how people respond to it.’ If they respond the same way we are, then full steam ahead — and that’s exactly what happened.”
“Burning Down” became Warren’s first Hot 100 entry, debuting at No. 76 on the Oct. 5-dated chart, and reaching No. 69 the following week. As the song continued to build both on streaming platforms and at radio, Atlantic’s A&R team reached out to Joe Jonas’ team to gauge interest in a potential remix. Jonas was already a fan. “He told us he heard the song, had it saved to a playlist on Spotify and wanted to jump in and do it with us,” Sokolik recalls.
The “Burning Down” remix arrived in December, with Jonas and Warren trading lines during verses before blending together seamlessly in the chorus. In the week following its release, the song (in all versions) was up 70% (Dec. 6-12) from the week before to 6.2 million U.S. official U.S. streams, according to Luminate. Since the arrival of the remix, “Burning Down” has also lifted on multiple radio-based Billboard charts: in January, the single hit new highs of No. 25 on Pop Airplay and No. 31 on Adult Pop Airplay.
Ahead, Warren is booked for a world tour that kicks off in February in Europe — and he has plenty of songs to come, teasing an impending Chapter 2 installment of his debut album. “I’ve always dreamed of this moment,” he says.
“There are very few people I’ve met in my life who are willing to do whatever it takes,” adds Sokolik. “Alex is one of those people. Whatever he puts his mind to, he will accomplish.”
Brian Sokolik, left, and Alex Warren photographed December 19, 2024, in Los Angeles.
Austin Hargrave
This story appears in the Jan. 25, 2025, issue of Billboard.
As Los Angeles prepares to rebuild after the devastating wildfire crisis this month, Flavor Flav is spearheading an important cause: supporting Black families who have been displaced in the disaster.
On Monday (Jan. 20), the Public Enemy rapper shared in a video on his socials revealing that he has partnered with GoFundMe and the Black Music Action Coalition to streamline a donation site benefiting Black households affected by the Eaton fire in the Pasadena/Altadena area. Contributions will be spread out across more than 700 families listed in a database compiled by Community Aid Dena, AFROPUNK and WalkGood LA.
“This is Flavor Flav in the building,” the musician says in the clip. “It’s been inspiring to me, seeing a lot people coming together right now, lifting each other’s spirits.”
“There’s not enough being done for the Black families and the communities,” Flav continues. “Come on, y’all. Let’s make L.A. strong, baby. Let’s help those in need.”
At press time, the hip-hop star’s fundraiser has already raised nearly $30,000. Donations can be made on the GoFundMe website.
Flav is just the latest musician to champion charitable efforts in the two weeks since dangerous wildfires first broke out in Pacific Palisades Jan. 7, after which more blazes quickly erupted in other parts of L.A. Countless buildings, homes and possessions have been destroyed as first responders struggle to extinguish the remaining flames, while 27 people have been reported dead so far, according to CNN.
Taylor Swift, The Weeknd and Beyoncé’s BeyGood Foundation are just a few of the other big names who have boosted various organizations serving victims of the crisis while making sizable donations of their own. Doja Cat unveiled a line of custom merchandise with proceeds benefiting those in need, and Billie Eilish, Lady Gaga, Olivia Rodrigo and several more stars have signed on to perform at FireAid, an upcoming charity concert benefiting Los Angeles’ plans to rebuild.
In the wake of the crisis, the “Shake Your Booty” musician also found a way recently to support Leighton Meester and Adam Brody, who reportedly lost their home to the fires. In a TikTok posted Jan. 14, Flav danced to the Gossip Girl star’s 2009 single “Somebody to Love” featuring Robin Thicke and told fans, “Stream @LeightonMeester ‘Somebody to Love’ and use the song in yo TikTok’s.”
He wrote in his caption, “Starting to hype up my girl Leighton Meester and help her family recover from the fire.”
See Flav’s announcement below.
British pop and R&B artist Mabel has opened up about how standing up for herself has impacted her decade-long career.
In a recent episode of the BBC’s Miss Me? Podcast – on which Mabel is currently standing in for host Lily Allen while she takes a mental health break – the Londoner explained that after years of hard work building her artistic identity, she’s had to set clear boundaries to protect herself from uncomfortable and often invasive discussions about her work.
Born Mabel McVey (though known mononymously), the pop star signed with Polydor at age 18. In the years that have followed, she has released two studio albums (2019’s High Expectations and 2022’s About Last Night…) alongside a handful of mixtapes and EPs. She has earned six top 10 hits, including 2019’s “Don’t Call Me Up,” which peaked at No. 3, on the U.K.’s Official Singles Chart and has since surpassed 1 billion Spotify streams.
In more recent years, however, she has drip-fed a number of singles, the most recent being the Ty Dolla $ign collab “Stupid Dumb” in October. Later that month, she confirmed to ELLE Sweden that she had been working in hitmaker Max Martin’s studio with her brother on her third LP, though the project has been delayed a number of times.
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Speaking to Miss Me? host and broadcaster Miquita Oliver on Jan. 16, Mabel discussed how she has been previously labeled by some as “difficult” or “a nightmare” when holding her ground over decisions related to her musical output. “The foundation of the problem is not listening to the artist, and not giving the artist space and time to figure out who they are within their creativity. I think that’s the main problem: our voices are not heard,” she said.
“I used to get so many people all the time saying things like, ‘Oh, her mum [musician Neneh Cherry] was one of a kind and she’s just a ‘whatever’ popstar,” Mabel continued. “I’m just like, ‘Well, I’ve been given no real support or time to figure [things] out – other than those small little moments of clarity like [singles] ‘Finders Keepers’ or ‘Vitamins.’”
Oliver, who is the cousin of Mabel, asked about the importance of autonomy in the music industry, to which she responded: “Sadly, there’s no duty of care. Particularly as a young woman, it’s so easy to get molded into something – which is usually based on another female [pop act]. It’s like, ‘This person has done this, so this is what you should do.’”
She added: “The reason why I’ve been making music that [people say] ‘has been heard before’ is because I have five million different people’s opinions [getting in the way], constantly. So I’m like, ‘How am I meant to be making something that’s groundbreaking, different and authentic when there’s so many cooks in the kitchen.’”
Mabel also explained how, going forward, when it comes to making new music, she is focusing on listening solely to the opinions of her “close protection team” made up of family members, friends and her fiancé, Preye Crooks. She added that she has been through therapy and as a result, has “found [her] voice” and is now “stronger,” both physically and mentally.
“I’m very grateful and blessed still. I have travelled the world doing what I love, and performing is still the best thing ever. I’ve been able to work with my brother [producer Marlon Roudette], that’s been really beautiful,” Mabel said. She later concluded, “I love what I do so much, but how long I will keep fighting for … I’m not sure, which is really sad.”Having come to mainstream prominence with her Bedroom EP in 2017, Mabel joined Harry Styles on his debut U.K. arena tour the following year before completing her own headline run. She went on to be nominated for British Breakthrough Act at the 2019 BRIT Awards, as well as receiving nods at the MOBOs and U.K. Music Video Awards.
Listen the full episode below. The conversation regarding the music industry begins at the 27-minute mark.
Lady Gaga and Bruno Mars’ “Die With a Smile” secures a third total and consecutive week at No. 1 on the Billboard Hot 100 songs chart.
The ballad became Gaga’s sixth Hot 100 leader and Mars’ ninth. Gaga ties her second-longest command, as her debut smash “Just Dance,” featuring Colby O’Donis, ruled for three weeks in January 2009. She dominated for six weeks in February-April 2011 with “Born This Way.”
Mars runs up his fifth Hot 100 reign of three or more weeks, following his featured turn on Mark Ronson’s “Uptown Funk!” (14 weeks at No. 1, in 2015) and his own “Locked Out of Heaven” (six, 2012-13), “Grenade” (four, 2011) and “Just the Way You Are” (four, 2010).
Bad Bunny blasts to the Hot 100’s top 10 with three songs, all from his new album, DeBÍ TiRAR MáS FOToS, which surges to No. 1 on the Billboard 200 chart: “DtMF” (38-2), “BAILE INoLVIDABLE” (28-3) and “NUEVAYoL” (27-8). He ups his count to 15 career top 10s – extending his mark for the most all-time among acts who record primarily Latin music. He also now boasts 13 top 10 hits recorded in Spanish, the most non-English-language top 10s among all artists. “DtMF” concurrently becomes his second No. 1 on the Streaming Songs chart.
Plus, ROSÉ and Bruno Mars’ “APT.” holds at its No. 5 Hot 100 high and ascends to No. 1 on the Digital Song Sales chart, where it becomes their first and 11th leader, respectively.
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 Jan. 25, 2025) will update on Billboard.com tomorrow (Jan. 22, a day later than usual due to the Martin Luther King Jr. holiday Jan. 20). 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.
Airplay, Streams & Sales