Rock
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Red Hot Chili Peppers tie Foo Fighters for the most top 10s in the history of Billboard’s Alternative Airplay chart, as “The Drummer” lifts 13-10 on the Feb. 18-dated ranking.
The song becomes the Chili Peppers’ 28th top 10.
The band previously had sole possession of the record before Foo Fighters tied it at 25 in 2020 and surpassed it in 2021, eventually rattling off two more through 2022 to put themselves at 28.
The Chili Peppers caught back up on the strength of “Black Summer,” a four-week No. 1 last year, followed by one-week ruler “Tippa My Tongue” last year and now “The Drummer.”
Most Top 10s, Alternative Airplay
28, Foo Fighters
28, Red Hot Chili Peppers
24, Green Day
23, U2
21, Weezer
19, Pearl Jam
18, The Offspring
17, Linkin Park
17, Muse
17, The Smashing Pumpkins
The Anthony Kiedis-fronted Chili Peppers first reached the Alternative Airplay top 10 in 1989 with “Knock Me Down.” The group is currently the only act in the chart’s 34-year history to have appeared on the survey in each decade of the list’s existence, from the ’80s through the ’20s.
Concurrently, “The Drummer” jumps 28-21 on the all-rock-format, audience-based Rock & Alternative Airplay chart with 1.6 million audience impressions, up 21%, according to Luminate.
The song is the second single from Return of the Dream Canteen, the band’s 13th studio album. It debuted at No. 1 on the Top Rock & Alternative Albums charted dated Oct. 29, 2022, and has earned 130,000 equivalent album units through Feb. 9.
Paramore‘s sixth studio album, This Is Why, arrived last week Friday, and the goodies from the new set continue to roll in. The band released a brand new music video for “Running Out of Time” on Thursday (Feb. 16), and things get a little trippy for the trio.
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The visual kicks off with lead singer Hayley Williams attempting to create magic in a music studio, vacantly strumming a guitar and trying to come up with lyrics to no avail — inspiration does not come to her easily. After looking to where bandmates Taylor York and Zac Farro would take their place in the studio, the drum kit and guitar become 10 feet tall and walk with a human gait, prompting Willams to seek refuge in a guitar case, which then pops her into an alternate dimension.
Things go topsy turvy when Williams, dolled up in a vintage corset and pink satin pants, falls into an alternate universe filled with horse-shaped bushes, larger than life flowers and gigantic mushrooms. York and Farro are there dressed in monochromatic orange and purple ensembles, but there’s one major problem — their arms appear to be over four feet tall in length.
“Intentions only get you so far/ (It was on my list, I swear I meant to get to it)/ A harsh reality to discover, ah/ I’m always runnin’ out of time/ (She’s always runnin’ out of time)/ I’m always runnin’ out of time,” Williams sings on the track’s punchy chorus.
After a series of unusual shenanigans unfold, the band reconvenes and runs on a track in space trying to reach the studio once again, only for there to be a twist at the end of the video.
Williams explained in an interview with Zane Lowe that the groovy track was partly inspired by her relationship with Taylor Swift. After taking a trip to the superstar’s abode and realizing she keeps thank you, birthday and holiday gifts for her friends and family months in advance, Williams was struck with the realization that her life was not together.
“I was like, ‘I can barely remember to send someone a card or flowers.’ There are still Christmas gifts at my house that I have not sent to my friends just sitting there in the back of my closet,” the 34-year-old revealed. “Two of the people I was supposed to give a gift to, I was like, ‘Sorry, I forgot to put [the gifts] in my suitcase so you still don’t get a gift.’ I wish that I was the person that felt like I had all my s–t together and I was like, ‘Oh, I had some extra time, so I’m just popping by with some flowers.’ That kind of a thing, that is my idealized self.”
In an interview with Genius, the Grammy-winning vocalist also shared “my sense of anxiety around time management has gotten worse since the pandemic.” She added, “How does a person who is self-aware enough, but also politically and culturally aware, socially aware, how do you even pick what thing to focus on and maybe devote your life to in some respect, when everything is an emergency? It does feel like there’s not enough time in the day, in the month, in the year, to fix everything.”
Watch Paramore’s video for “Running Out of Time” above.
After it won the Grammy Award for song of the year Feb. 5, Bonnie Raitt’s “Just Like That” reaches Billboard’s charts for the first time, debuting on multiple lists dated Feb. 18.
The song even reaches No. 1 on one of the surveys, bowing atop Rock Digital Song Sales with 9,000 downloads sold in the Feb. 3-9 tracking week, a 9,947% increase over a negligible amount the previous period, according to Luminate.
It’s Raitt’s first No. 1 on the chart, which began in 2010. Previously, she reached a No. 3 best in 2020 via her co-bill with John Prine, “Angel From Montgomery,” following Prine’s death.
“That” also debuts at No. 6 on the all-format Digital Song Sales ranking, her first top 10.
Elsewhere, the track is No. 26 on the multi-metric Hot Rock & Alternative Songs chart. In addition to its sales, “That” earned 1.4 million official U.S. streams, a 2,955% boost from 45,000 the previous week.
Raitt’s album of the same name, released in 2022, returns to the Top Rock & Alternative Albums chart at No. 46 with 7,000 equivalent album units earned, up 1,121%. It premiered at No. 6 in May 2022.
The set also re-appears on Americana/Folk Albums at No. 9, after debuting at No. 1 in May 2022.
In all, Raitt’s song catalog jumped 109% in streams, to 5.8 million Feb. 3-9 vs. 2.8 million the previous week. Removing “That” from the equation, it’s still a 62% leap to 4.4 million from 2.7 million.
Meanwhile, one of her classic returns to a Billboard chart: “Something to Talk About,” which debuts at No. 18 on Rock Digital Song Sales (1,000 sold, up 679%). It became a No. 5 hit in 1991 on the Billboard Hot 100, to date her top-performing song on the survey.
The self-written “That” won song of the year honors at the 65th Grammy Awards, marking Raitt’s second big-four category victory, after Nick of Time took album of the year honors in 1990. “That” is also now being promoted to adult alternative radio as the new single from her latest set, after “Made Up Mind” hit No. 17 on Adult Alternative Airplay last April.
Music history is littered with tales of shoulda, coulda, woulda. But after Rihanna soared to new heights during her instant-classic Super Bowl LVII halftime show one of the least likely headlines to emerge in the wake of her performance linked the singer to the last band on Earth you’d imagine.
“True story. There is a version of a @Hoobastank song featuring @rihanna when she was a ‘newer’ artist,” tweeted the California nu-metal band’s singer, Doug Robb on Tuesday. “Displaying a total lack of foresight, we didn’t use that version of the song for the album. We also didn’t think ‘The Reason’ was a single though either so… Oops.”
The accompanying video mashed up a clip of Rihanna’s halftime extravaganza with ‘Stank’s hit “Crawling in the Dark.” After a fan asked, Hobbs said the unreleased version was for the song “Inside of You,” the second single from the group’s third album, Every Man for Himself. When another wondered if it would be kosher to release it now as a bonus track, Robb said, “not sure.”
Robb also did an interview with ALT98.7FM radio host Ted Stryker elaborating on the story. He said during the sessions for Every Man, their label Island/Def Jam — Rihanna was signed to Def Jam at the time — approached them asking if they’d be up for including one of their new acts on a song. “Which is pretty common… we’re like, ‘cool, sure, like, what song?’,” he said they asked.
They landed on “Inside of You,” which the band sent to RihRih’s camp back in 2005. “They chopped it up and rearranged some parts because it wasn’t written as a duet or anything, so they had to extend some part and they sent it back and they basically put this pre-chorus where Rihanna wrote some new lyrics and sang a melody,” he said. The group listened to it and because they were so used to hearing it the way they originally wrote it, “nobody really loved it.”
Robb said they ran into Rihanna a few times during that album cycle and she was always, “super cool and so there was never any hard feelings.” And, believe it or not, Robb said they don’t regret saying no to the feature. “I don’t think anybody loved it at the time,” he said, admitting that he hasn’t listened to it in years, but that the subject comes up every once in a while and they all have a laugh about it.
“‘Dude, can you believe we nixed Rihanna on one of our songs?’,” Robb said the band’s members ask each other.
Check out Robb’s tweets below.
True story. There is a version of a @Hoobastank song featuring @rihanna when she was a “newer” artist. Displaying a total lack of foresight, we didn’t use that version of the song for the album. We also didn’t think The Reason was a single though either so…🤦🏻Oops 🤷🏻 pic.twitter.com/NjIAj4IMGM— Doug Robb (@HoobaDoug) February 14, 2023
Dave Davies learned the hard way this week what happens when there’s a glitch in the Matrix. After The Kinks announced the upcoming release of a 60th anniversary celebration of the legendary British band with a two-part anthology called The Journey, Twitter apparently flagged the band’s name as “sensitive content.”
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That sent guitarist Dave Davies down a Twitterhole, unleashing a flurry of tweets in which he told chief Twit, Elon Musk, that he’s tired of waiting for him to get it right. “Dear @elonmusk would @twiiter please stop putting warnings on everything from ‘the Kinks’. We are just trying to promote our Kinks music,” Davies tweeted on Wednesday. The tweet linked to a previous one in which Davies invited fans to check out the band’s TikTok promo for the set, which featured a message at the bottom that read, “We put a warning on this Tweet because it might have sensitive content.”
A short time later, Davies gave Musk a bit of a lesson on his group’s background, tweeting, “The Kinks are a brand name. We have been called the Kinks since 1963.” When another user told Davies that Twitter had apparently reviewed the matter and removed the sensitive content warning, apologizing for helping them “catch that mistake,” Davies was not impressed.
“That’s impossible,” he wrote. “The word robot should be banned. We got robots running our lives. At least I’m a Kink and not a f–in robot.” He also had a bit of fun in the end, responding to a fan’s plea to Musk to “Give the People What They Want!” — a play on the title of the band’s 1981 album — quipping, “give the people what Elon Musk wants.”
The Twit Snit came just hours after The Kinks announced the March 24 release of The Journey — Part 1, a 2CD, 2LP collection that will kick off a two-year celebration of their 60th anniversary. Part one of the anthology — curated by the band according to themes including “Songs about becoming a man, the search for adventure, finding an identity and a girl” — will feature such beloved hits as “You Really Got Me,” “All Day and All of the Night,” “Tired of Waiting For You” and “Waterloo Sunset.”
Check out Davies’ tweets below.
That’s impossible. The word robot should be banned. We got robots running our lives. At least I’m a Kink and not a fukin robot. https://t.co/d9vKKG13TK— Dave Davies (@davedavieskinks) February 15, 2023
Former South Carolina governor and U.N. ambassador Nikki Haley launched an atypical bid for the White House in a pretty typical fashion on Wednesday (Feb. 15). The Republican taking on her former boss, one-term president Donald Trump, revved up the crowd at her Charleston, South Carolina announcement this morning by walking on to one of the most beloved underdog fight anthems of all-time: Survivor‘s 1982 Billboard Hot 100 No. 1 “Eye of the Tiger.”
“Stop using my f—ing song!,” the hit’s co-writer, Survivor keyboardist Frankie Sullivan, tells Billboard about his reaction to finding out about the latest politician’s attempt to co-opt the track he wrote for Sylvester Stallone’s classic underdog film, Rocky III. “This morning I get up and I’m doing my thing, writing and i turn on my phone and it explodes and I’m like, ‘What happened is my mom okay?’ That song belongs with the Rocky franchise and they don’t ask because they’d get a no. Absolutely.”
Haley, 51, who has leaned into her story of being a woman and person of color — she is the child of Indian immigrants — and who rose to the highest office in the South is the first member of the GOP to officially announce a bid to take on twice-impeached Trump, whose third bid for the White House has so far failed to catch fire. At press time, a spokesperson for Haley had not returned Billboard‘s request for comment.
Back in 2016, Republican Mike Huckabee’s presidential campaign had to pay a $25,000 settlement over claims they used “Eye of the Tiger” at a rally with Kim Davis, the Kentucky clerk who made headlines for refusing to issue same-sex marriage licenses. Sullivan says he is really protective of the song, but unlike the suit he filed against the former Arkansas Governor, he’s not currently planning to launch a legal fight with Haley.
“I don’t care who it is, I don’t think it’s appropriate, especially with ‘Tiger,’ since it’s such a special song,” he says of the track that he notes hit No. 1 in 39 countries and has become shorthand for a hard workout or, to quote the indelible lyrics, “rising up to the challenge.”
“I have no idea why any politician would play that as a walk on,” he adds, laughing, “I would say you have to have balls… but in this situation that doesn’t apply.” Teetotaler Sullivan says he doesn’t know much about Haley — and tries not to mix politics and entertainment because that would be “the dirtiest martini anyone ever drank” — but thinks her use of “Tiger” is a “sick way to promote the song. I wish they would just stop this nonsense!”
He recalled that when Trump played “Tiger” at campaign rallies he had his lawyer call the Apprentice star’s team and the usage stopped without incident. But, to be honest, he’s tired of playing this game and though he isn’t on the phone with his lawyer, it’s enough already. “I’m amused, but is this s–t really still going on?” he wonders.
Though Haley is expected to distance herself from the disgraced president facing a raft of lawsuits for his attempts to overturn the 2020 election — as well as his alleged corrupt business practices and allegations of sexual assault — by choosing the beloved theme song from the Rocky threequel she definitely tore a page from Trump’s populist soundtrack playbook.
During his first White House run, Trump fell afoul of more than a dozen major rock and pop acts by using their music during his rallies to pump up the crowd. In November, the estate of Isaac Hayes threatened legal action against the former reality star within an hour of Trump’s third announcement to stop him from using “Hold On I’m Coming” at his events; Hayes, who died in 2008 at age 65, co-wrote the 1966 Sam & Dave hit with David Porter.
On his way out of office after being defeated by Pres. Joe Biden, the Village People also called out “bully” ex-president Trump for playing their gay anthem “Y.M.C.A.” one more time against their wishes at his sparsely attended farewell event on Jan. 20, 2021.
For years Trump ignored pleas from a long list of famous acts to cease and desist from using their music during his rallies and political events and in addition to the costumed disco act, the legacy manager for Laura Branigan took issue with Trump playing her hit “Gloria” at his final official appearance as well. Over the five years of his campaigns and presidency, artists ranging from Adele to Bruce Springsteen, Elton John, R.E.M., Aerosmith, Panic! at the Disco, Guns N’ Roses, The Rolling Stones, Rihanna and the estates of Leonard Cohen, Tom Petty and Prince have vociferously objected to Trump playing their music at his rallies.
Check out a tweet with footage of the Survivor walk-on below.
Lizzy McAlpine’s bucket list is a thing to behold. On Zoom from her L.A. home, the ascendant singer-songwriter holds her Notes app to the camera and begins scrolling. And scrolling.
This is no scatterbrained cluster of “maybe someday”s. No, this is a meticulously plotted ledger of life goals, dozens of lines deep. The achievements she’s yet to check off vary in prestige, from playing Coachella and winning a Grammy to creating a special Lizzy McAlpine taco at HomeState, the Los Angeles chain where Phoebe Bridgers concocted her own vegan dish last year.
A handful of goals have already been accomplished, courtesy of the tireless 23-year-old artist’s ascendence on social media and her arresting sophomore album, Five Seconds Flat. The 2022 LP corralled droves of new fans with its subtle folk-pop devastations, speckled with touches of jazz, R&B and notable features from FINNEAS and Jacob Collier. (It also broke her to a new level on streaming, with her catalog having now earned 245.6 million official on-demand U.S. streams, according to Luminate.)
Among the doleful tracks was “Ceilings,” a plot-twisty ballad of heart-stomping hallucinations, which has taken off on TikTok these last three months and proven the singer’s biggest breakout hit so far. Tens of thousands of videos using a sped-up version of “Ceilings” have amassed more than 235 million views, and translated to more than 30 million official on-demand U.S. streams.
While soaring numbers online are no guarantee for real-life ticket sales, McAlpine has had little trouble developing a devout IRL audience. Last fall, she knocked “headline a tour” off her list, playing mid-size clubs like The Troubadour in Hollywood and Webster Hall in New York. Now, her new roadshow kicking off in April is sold-out across the U.S. and filling the biggest rooms of her career so far — among them Terminal 5 and Brooklyn Steel in NY, the Ryman Auditorium in Nashville and two nights at the 9:30 Club in Washington D.C.
“It’s a level up from the last tour in terms of venue size and also just production-wise, we’re kind of elevating everything, which is very exciting,” McAlpine says. “It becomes more of a theatrical production at this level, and that is very fun for me.”
“Theatrical” is apt for McAlpine, as her stark songwriting style merges the hyper-specific, heartrending lyrics of Bridgers or Olivia Rodrigo — stolen glances over 7-Eleven Slurpees, visions of McAlpine’s suburban Philadelphia-area upbringing — with the sweeping crests and falls of a Sara Bareilles Broadway score.
Perhaps unsurprisingly, Bridgers and Bareilles are both admirers of McAlpine; each has DMed the newcomer, singing her praises. Bareilles tells Billboard she messaged McAlpine after watching McAlpine cover her tune “When He Sees Me,” from Broadway’s Waitress.
“As a writer, she has a great capacity to make very mundane experiences interesting and has an exceptionally detailed perspective,” Bareilles says. “It’s the great trick of great writing; specificity is universal.”
McAlpine has had plenty of practice, beginning to write songs on piano at age 12 and picking up the guitar a year or two later. She attended Berklee College of Music for two years — “a huge growing period for me as an artist and also as a human,” she says — before dropping out to pursue her career.
Her soft-treading debut LP Give Me a Minute was a promising start, but her career didn’t truly gain steam until the pandemic forced everyone inside. While some homebound musicians took time to regroup, McAlpine kept working, regularly live-streaming on Instagram, dropping singles and cultivating a committed audience on TikTok. It was there that a snippet of an unfinished song, called “You Ruined the 1975” — a relatable ode to exes who tarnish the bands we love, performed sitting on her bathroom floor — was launched to viral heights in summer 2020, notching more than 8 million views and spurring countless covers.
“I couldn’t quite understand fully the gravity of it,” she says of her social media success. “I was just in my room alone. All I could see was a screen with a bunch of people saying, ‘Oh, this is so good.’ It didn’t really hit me until I toured for the first time, because I could actually see the people.”
Lizzy McAlpine
Caity Krone
Though McAlpine still regularly uses the app, she’s wary of associating herself too closely with the platform.
“I have a love/hate relationship with TikTok,” she says. “I feel like I can see the benefits of it, which is why I post. But if I didn’t have to post, I would not be posting on TikTok.”
Yet she cannot avoid the recent TikTok trend of mostly young women running down dark streets, wildly lip-syncing to the bridge of “Ceilings” as though their lives depend on it. The clips’ exaggerated drama contrasts with the understated desperation of tracks like “Erase Me” and “Hate to be Lame,” the latter track being short for a tragic apology: “Hate to be lame but I might love you.”
In terms of visuals to pair with her music, the artist much prefers longform treatments to bite-size morsels. Ever ambitious, McAlpine wrote a screenplay to accompany the release of Five Seconds Flat last April, which birthed the half-hour short film Five Seconds Flat, The Film, directed by Gus Black (Joshua Bassett, Deftones, Eels). In the film, which gracefully interweaves five songs from the album with dialogue, McAlpine stars as her younger self: anxious, lovelorn, searching for passion and identity. She’s excellent in the dramatic role, floundering through young romance’s brutal volatility, like a character from a Sally Rooney novel.
“[The film] was based on my first real relationship in high school,” she says. “And every time he would break up with me — like every other week — I felt like I was literally dying, like my soul was being ripped out of my body. So I just kind of channeled that.”
Sam Bailey, founder and managing director of Harbour Artists & Music and McAlpine’s manager, says he’s never worked with an artist so driven.
“She’s incredibly ambitious, proactive and prolific,” he says. “You can be the most talented artist in the world and never get out of bed in the morning, but she does. She wants to do a million things all at once – and wants to do them now.”
Lizzy McAlpine
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Naturally, McAlpine is already working on her next album. While no hard details are available, she’s happy to tease its direction.
“I feel like [Give Me a Minute] was close to what I think that I actually sound like. And then [Five Seconds Flat], I was trying to go as far away from that as possible, just to differentiate myself and not get stuck in the genre. … This [new] album won’t sound like the first album, but it’s definitely closer to what I think I actually sound like as an artist. It feels like the most authentic music I’ve ever written.”
While McAlpine hopes not to be pigeonholed, she doesn’t mind falling under the “sad girl” label, however, often assigned to her slightly older constituents like Bridgers and Julien Baker, and more recently Gracie Abrams and Holly Humberstone.
“I mean, it is sad — I write sad music,” she assures. “I don’t see that as a bad thing. I think that’s a powerful thing.”
Metallica‘s All Without Our Hands foundation has donated more than $250,000 to aid victims of the Feb. 6 magnitude 7.8 earthquake in Southern Turkey and Northern Syria that has killed 41,000 people and left tens of thousands homeless.
“We’re at a loss for words to describe the devastation in southern Turkey and northern Syria. The 7.8 magnitude earthquake has reduced the entire region to rubble. The death toll continues to rise, tragically exceeding 36,000 lives lost,” the band wrote in a tweet announcing their donations to Direct Relief and World Central Kitchen to help deliver medical aid and meals.
“Two of @AWMHFoundation’s partner organizations, @DirectRelief & @WCKitchen, have boots on the ground providing medical aid & food to the victims of this disaster. #AWMH is providing $125k to each organization to support their efforts,” they added.
The massive quake and a series of aftershocks have left tens of thousands dead, injured more than 114,000 and displaced two million people while carving a path of destruction that leveled 6,500 buildings, many of them crushing victims who were sleeping when the early morning temblor struck.
The donation from the metal icons is just the latest charitable news from their AWMH foundation, coming on the heels of the more than $3 million raised by their Dec. 16 Helping Hands concert in Los Angeles at the Microsoft Theater, with funds earmarked for efforts to support workforce education, fight hunger and provide disaster relief.
The gig hosted by late night’s Jimmy Kimmel was streamed live on Paramount+ and also featured sets from Greta Van Fleet, a surprise appearance by St. Vincent and Robert Downey Jr. introducing the headliners. The Helping Hands Concert and a parallel auction honored a number of local organizations, including: Baby2Baby, First Star, Feeding America, World Central Kitchen, mikeroweWorks Foundation, and The Skatepark Project.
See Metallica’s tweets below.
We’re at a loss for words to describe the devastation in southern Turkey and northern Syria. The 7.8 magnitude earthquake has reduced the entire region to rubble. The death toll continues to rise, tragically exceeding 36,000 lives lost… (1/3) pic.twitter.com/baxRXFiNUf— Metallica (@Metallica) February 14, 2023
Paramore are back, baby. They’re back with a new album, This Is Time (via Atlantic Records), their first in six years. They’re back (soon) with a major tour. And they’re back on our TV screens.
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On Tuesday night (Feb. 14), Hayley Williams, Zac Farro, Taylor York and a backing cast stopped by Jimmy Kimmel Live for a performance of “Running Out of Time,” lifted from their sixth and latest album.
Kimmel was a handy warm-up for the reunited pop-punk outfit. They’re all set to hit the road for a global trek in support of the LP, kicking off in South America in early March, followed by a U.K. jaunt in April, and a North American run starting in May.
Along the way, they’ll perform at London’s O2 Arena, New York’s Madison Square Garden, Toronto’s Scotiabank Arena, Los Angeles’ Kia Forum, and hit a set at Bonnaroo in Nashville, TN.
This Is Time is the followup to 2017’s After Laughter, which peaked at No. 6 on the Billboard 200 chart, and is one of the band’s three top 10 appearances, including their self-titled 2013 leader.
This Is Time got away to a fast start in the U.K. It was the leader on the midweek chart, blowing away its nearest competition by 2:1, according to the Official Charts Company.
Watch the late-night performance below.
“Ghosts Again,” Depeche Mode’s first single since 2017, debuts at No. 1 on Billboard’s Hot Trending Songs chart, powered by Twitter, dated Feb. 18.
Billboard’s Hot Trending charts, powered by Twitter, track global music-related trends and conversations in real-time across Twitter, viewable over either the last 24 hours or past seven days. A weekly, 20-position version of the chart, covering activity from Friday through Thursday of each week, posts alongside Billboard’s other weekly charts on Billboard.com each Tuesday, with the latest tracking period running Feb. 3-9.
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“Ghosts” was released Feb. 9. Despite just one day of data toward the latest tracking week, it not only earned a No. 1 debut on Hot Trending Songs but is also bubbling under Billboard’s Alternative Airplay chart.
It’s the first taste of music from Memento Mori, the band’s 15th studio album and first since 2017’s Spirit. Due March 24, it’s the group’s first LP since the death of keyboardist Andy Fletcher last year.
Further appearances for “Ghosts” are expected on the Billboard charts dated Feb. 25.
Future’s “I’m Dat N***a,” from his 2022 album I Never Liked You, follows at No. 2. Its surge in activity is owed to a viral social media post showing LeBron James playing the song after he broke the NBA’s all-time scoring record on Feb. 7.
New music from Gracie Abrams, BSS, Linkin Park, Luke Combs and more also appears.
Keep visiting Billboard.com for the constantly evolving Hot Trending Songs rankings, and check in each Tuesday for the latest weekly chart.