Trending Up
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Linkin Park‘s anniversary plans for their 2003 album Meteora this spring are already off to a soaring start. A reissue of the soon-to-be-20-year-old album was recently announced for this April, along with exciting news of a previously unreleased song from the era (featuring original vocals from the band’s late frontman Chester Bennington) being discovered for the set: the appropriately haunting “Lost.”
Released on Friday (Feb. 10), “Lost” has enjoyed the kind of explosive first week the band used to regularly post with new singles during their commercial prime. The song started with nearly 2 million official on-demand U.S. streams its debut day, and earned 7.1 million total plays through Tuesday (Feb. 14), according to Luminate — while also putting up robust sales numbers, moving nearly 11,000 copies over that timespan. It even has started to make radio impact, with 7.1 million in all-format radio audience from Feb. 10-13.
The extra attention around “Lost” and the Meteora reissue (scheduled for Apr. 7 via Warner) has also led to a bump in the songs from that original RIAA seven-times-platinum-certified 2003 blockbuster. The album, which features such Linkin Park staples as “Numb,” “Faint,” “Somewhere I Belong” and “Breaking the Habit,” jumped from just over 1.7 million combined official on-demand U.S. streams the day before “Lost” to nearly 2.3 million on the day of its release, a gain of 32%.
“Lost” should make a significant impact on the Billboard charts next week (dated Feb. 25), including a likely debut on the Billboard Hot 100 — which would be the band’s first since they reached No. 45 with the Kiiara-featuring “Heavy” in Aug. 2017, following Bennington’s tragic death at the age of 41 that July. (If it made the chart’s top 40, that would be their first visit to the region since “Burn It Down” reached No. 30 in May 2012.)
Welcome to Billboard Pro’s Trending Up column, where we take a closer look at the songs, artists, curiosities and trends that have caught the music industry’s attention. Some have come out of nowhere, others have taken months to catch on, and all of them could become ubiquitous in the blink of a TikTok clip. This week: Just like she did 33 years earlier, Bonnie Raitt rides a surprise Grammy win to a big commercial boost, while a rising tide lifts all 2023 Morgan Wallen singles and a new remix proves that two viral sensations are better than one.
And “Just Like That…,” Bonnie Raitt’s Post-Grammys Sales & Streams Are Way Up
Few Grammy watchers expected Bonnie Raitt to take home song of the year at Sunday’s (Feb. 5) awards — perhaps least of all Raitt herself, as judged by her heavily memed surprised reaction to the announcement — for the devastating, self-penned title track to her 2022 album Just Like That. The song was easily the least commercially visible of the 10 tracks nominated, the other nine of which were all top 20 hits on the Billboard Hot 100. (Raitt has not reached the Hot 100 since 1995.)
That lack of commercial profile for “Just Like That” to that point, however, has just meant that there’s plenty of curious listeners now intrigued enough by the song’s big Grammy win to check it out for the first time. The song absolutely blasted off on streaming services following its song of the year victory, spiking from just over 10,000 daily official on-demand U.S. streams two days before the Grammys (Feb. 3) to a whopping 697,000 the Monday after (Feb. 6) — a gain of around 6,700%, according to Luminate.
Click here to read the full story over at Billboard Pro.
Morgan Wallen’s New Hits Are Big Enough to Boost His Older Ones
Morgan Wallen’s One Thing at a Time is most likely going to be one of the biggest albums of 2023, if its pre-release tracks are any indication: As noted earlier this week, nine songs have been released so far from the 36-song project, and seven of them have already hit the top 10 of the Hot Country Songs chart. The trio of songs that Wallen issued last week — “Last Night,” “Everything I Love” and “I Wrote the Book” — are doing so well, in fact, that their releases have spurred notable streaming gains for a pair of the country star’s previously released hits.
Since its Jan. 31 release, “Last Night” has established itself as the breakout hit of the new three-pack, with daily U.S. official on-demand streams exceeding 3.38 million through Feb. 5 and peaking at 4.68 million on Feb. 3, according to Luminate. The track debuted at No. 3 on Country Streaming Songs, and became Wallen’s ninth No. 1 on the Country Digital Song Sales chart. Meanwhile, “Everything I Love” and “I Wrote the Book” have each been logging seven-figure daily streams since their releases, peaking at 2.22 million and 2.26 million, respectively, on their release dates.
Yet the new trio of songs have also generated enough interest around Wallen to boost streams for the One Thing at a Time title track, which was released in December, as well as “Thought You Should Know,” a promotional single unveiled in November. On the day that the three-pack was released, U.S. on-demand streams for “One Thing at a Time” jumped 88% to 1.45 million, while “Thought You Should Know” scored a 42% uptick to 1.47 million streams. Both songs’ daily streams hovered above the 1 million mark through Feb. 5.
One Thing at a Time is due out Mar. 3, and Wallen has announced a stadium tour in support of the follow-up to 2021’s Dangerous: The Double Album. “Last Night” should have a major chart bounce during its first full tracking week — we’ll see how much his other songs continue to benefit alongside Wallen’s latest hit.
Song’s a Hit: PinkPantheress Song Boosted to Breakout Status by Ice Spice Remix
Before 2023, pop&B singer-songwriter PinkPantheress and rapper Ice Spice were two of the decade’s most exciting young artists yet to score a Billboard Hot 100 hit, both finding TikTok success, social media buzz and critical acclaim for their early singles but not yet quite getting all the way overground. Ice Spice got on the board this January, however, with the release of her Lil Tjay collab “Gangsta Boo” (debuting at No. 82 on the Hot 100) from her Like..? EP — and now she might be the key ingredient in getting PinkPantheress her first entry there, too.
Ice Spice adds a guest verse for the new remix to PinkPantheress’ streaming hit “Boy’s a Liar” — titled “Boy’s a Liar, Pt. 2” — which debuted last Friday (Feb. 3). Since the release of the new version (which for Billboard chart purposes, gets grouped along with the original when it comes to consumption numbers), daily official on-demand U.S. streams of “Boy’s a Liar” have steadily ballooned from 464,000 on Feb. 2 (the day before) to just under 3 million on Feb. 6, a 541% gain, according to Luminate. As the numbers keep growing, “Liar” seems on pace to become easily the biggest chart hit yet for both artists — and perhaps one of pop music’s biggest breakout stories of early 2023.
Though it’s only January, the third episode of HBO’s post-apocalyptic survival series The Last of Us is already certain to end 2023 as one of the most acclaimed TV episodes of the year. The tearjerking episode, which focused on a decades-spanning love story between two new characters, has been rapturously received in nearly all corners of the media and the internet — and has also led to another streaming success story, this time for Rock and Roll Hall of Famer Linda Ronstadt.
Ronstadt’s devastating ballad “Long, Long Time,” which served as her breakout solo hit on the Billboard Hot 100 when it reached No. 25 in Oct. 1970, is showcased multiple times in the episode. It appears first in renditions by actors Murray Bartlett and Nick Offerman, when they find the sheet music with an old piano owned by Offerman’s character, then as Ronstadt’s original version at the end of the episode, when the show’s main characters (played by Pedro Pascal and Bella Ramsey) find a cassette with the song in a car formerly belonging to Offerman’s character.
Unsurprisingly, the success of the show (and of the episode in particular, also titled “Long, Long Time”) has led to the song taking off in both streaming and sales. From Jan. 28 (the day before the episode) to Jan. 30 (the day after), the song jumped from under 8,000 daily official on-demand U.S. streams to nearly 149,000, and from a negligible number of daily sales to over 1,500 — spikes of 1,776% and 13,782%, respectively, according to Luminate. It’s still a ways from re-charting on the Hot 100, but with its sales and streams still looking to be rising days after the episode’s premiere, it should be in contention for debuts on a couple of Billboard charts next week.
It’s not the first time The Last of Us has resulted in big gains for an older track: After Depeche Mode’s “Never Let Me Down Again” was featured as an ominous radio transmission at the end of the show’s first episode, the song rose 220.5% in daily streams. With “Long, Long Time” now experiencing even greater gains, it seems that The Last of Us is gonna be the show to watch for 2023 when it comes to generating high-profile synch moments with lucrative payoffs for the artists (or writers) involved.
Welcome to Billboard Pro’s Trending Up column, where we take a closer look at the songs, artists, curiosities and trends that have caught the music industry’s attention. Some have come out of nowhere, others have taken months to catch on, and all of them could become ubiquitous in the blink of a TikTok clip. This week: Miley Cyrus’ runaway 2023 hit leads to gains not only for her whole discography but for a fellow ’10s superstar’s own 2013 smash, Sabrina Carpenter takes the next step towards crossover pop success, and Baby Tate has a TikTok breakout with an old song that interpolates a much older song.
“Flowers” Success Pollenates Miley Cyrus‘ Whole Back Catalog (And One Bruno Mars Hit)
Miley Cyrus‘ “Flowers” is in bloom on the Billboard Hot 100 this week, becoming just the second single in her storied pop career to top the chart, and her first to debut on top. It does so with some of the most spectacular first-full-week numbers of the decade so far: 52.6 million streams, 70,000 digital song sales and 33.5 million radio airplay audience impressions, according to Luminate.
But it’s not just the Columbia-released “Flowers” that’s blossoming this week — Cyrus’ entire back catalog is growing in the sunlight of her new release. Even without accounting for “Flowers,” Cyrus’ discography is up from 20.7 weekly million official on-demand U.S. streams in the tracking week ending Jan. 12 to 34.2 million the following week (ending Jan. 19), a 65% gain.
Read more in our full article on Miley’s streaming boom (and its Bruno Mars spillover) here.
Sabrina Carpenter Nails Down a Breakout Hot 100 Hit
Six months after releasing her Island Records debut Emails I Can’t Send, Sabrina Carpenter has her biggest hit from the pop project. “Nonsense” debuts at No. 75 on this week’s Hot 100 after making a pronounced impact on streaming charts since the beginning of 2023, and its weekly streaming totals are quickly rising.
“Nonsense,” on which Carpenter sings about feeling so flustered around a significant other that she gets tongue-tied, started going viral on TikTok over the past month. Credit goes to a combination of a sped-up version of the rhythmic pop-rock track and a cheeky dance routine set to its second verse (“I’m talkin’ all around the clock / I’m talkin’ hope nobody knocks / I’m talkin’ opposite of soft / I’m talkin’ wild, wild thoughts,” Carpenter sings). The song’s momentum was also helped by a well-choreographed live performance on Jimmy Kimmel Live! that was widely shared by pop fans around social media.
TikTok Cheers Along Baby Tate’s “Mickey” Reinvention
Choreographer-turned-accidental pop star Toni Basil topped the Hot 100 back in 1983 with “Mickey,” a gender-flipped cover of ’70s U.K. glam-rockers Racer’s “Kitty” turned into a cheerleading stomp-along (with help from an unforgettable music video, an early MTV staple). Atlanta rapper-singer Baby Tate introduced another step in the song’s evolution in 2016 with “Hey Mickey,” a bouncy trap banger keyed around a sultrier rendition of the classic “Mickey” hook.
“Hey Mickey” had limited commercial impact upon its release, but is making waves in 2023 thanks to — what else? — the song going viral on TikTok, with hundreds of thousands of videos of users miming along to its refrain, or posting it over various clip montages, with some videos receiving likes in the millions. It’s led to the song also detonating on streaming, with its weekly official on-demand U.S. streams growing from barely over 2,000 in mid-December to over 2.3 million for the week ending Jan. 19. And it’s still climbing — meaning Tate might be coming for Basil’s head “Mickey” cheerleader status soon enough. — ANDREW UNTERBERGER
PartyNextDoor Finds a PartyNineYearsAgo With Viral ‘Her Way’
Earlier this month, PartyNextDoor returned with “Her Old Friends,” a new single that followed the R&B star’s 2022 singles “No Fuss” and “Sex in the Porsche.” Yet none of those recent tracks are burning up streaming services quite like “Her Way,” the slinky cut from his 2014 project PartyNextDoor Two, which has gotten the sped-up TikTok treatment and soared back into the public consciousness.
Over the past month, “Her Way” has increased its weekly U.S. on-demand streaming total by nearly tenfold — 498,000 streams during the week ending Dec. 22, up to 4.93 million streams during the week ending Jan. 19, according to Luminate. PND himself is playing into the revival: days after releasing “Her Old Friends,” the singer-songwriter released an official “Her Way [Sped Up]” version of the track. With more music expected from PartyNextDoor this year, “Her Way” could serve as an unexpected lead-in to a potential new project. – JASON LIPSHUTZ
Six months after releasing her Island Records debut Emails I Can’t Send, Sabrina Carpenter has her biggest hit from the pop project. “Nonsense” debuts at No. 75 on this week’s Hot 100 after making a pronounced impact on streaming charts since the beginning of 2023, and its weekly streaming totals are quickly rising.
“Nonsense,” on which Carpenter sings about feeling so flustered around a significant other that she gets tongue-tied, started going viral on TikTok over the past month. Credit goes to a combination of a sped-up version of the rhythmic pop-rock track and a cheeky dance routine set to its second verse (“I’m talkin’ all around the clock / I’m talkin’ hope nobody knocks / I’m talkin’ opposite of soft / I’m talkin’ wild, wild thoughts,” Carpenter sings). The song’s momentum was also helped by a well-choreographed live performance on Jimmy Kimmel Live! that was widely shared by pop fans around social media.
“Nonsense” earned 5.82 million U.S. on-demand streams during the week ending Jan. 19, according to Luminate — a 66% spike from the previous week’s streaming total. As a result, the track has become the first Hot 100 hit off of Emails I Can’t Send, and Carpenter’s second career entry on the chart, following the 2021 single “Skin” (No. 48 peak).
“The success of ‘Nonsense,’ and the album Emails I Can’t Send as a whole, exemplifies Sabrina’s innate ability to write and perform bold pop songs, capturing large audiences alongside viral growth,” says Jackie Winkler, VP of A&R at Island, in a statement to Billboard. “It’s been hugely rewarding to witness this song come to life from the earliest demo form, to the live show, to the mainstream charts, all while solidifying her mark in pop musical culture.”
Emails I Can’t Send became Carpenter’s highest-charting entry on the Billboard 200 album chart in July, as the former Disney Channel star’s first LP in three years debuted at No. 23 on the tally. A North American headline tour in support of the album kicks off on Mar. 16.
Click here to read why Emails I Can’t Send was one of the Billboard staff’s favorite albums of 2022.
Miley Cyrus‘ “Flowers” is in bloom on the Billboard Hot 100 this week, becoming just the second single in her storied pop career to top the chart, and her first to debut on top. It does so with some of the most spectacular first-full-week numbers of the decade so far: 52.6 million streams, 70,000 digital song sales and 33.5 million radio airplay audience impressions, according to Luminate.
But it’s not just the Columbia-released “Flowers” that’s blossoming this week — Cyrus’ entire back catalog is growing in the sunlight of her new release. Even without accounting for “Flowers,” Cyrus’ discography is up from 20.7 weekly million official on-demand U.S. streams in the tracking week ending Jan. 12 to 34.2 million the following week (ending Jan. 19), a 65% gain.
Some of the major gainers from Cyrus’ catalog include her enduring classics like “Wrecking Ball” (up from 1.9 million to 3.0 million, a 59% gain), “Party in the U.S.A.” (3.5 million to 4.8 million, 35.4%) and “We Can’t Stop (1.4 million to 2.0 million, 46.3%). One of the biggest beneficiaries was her most recent lead single prior to “Flowers”: “Midnight Sky,” from 2020’s Plastic Hearts (1.7 million to 3.2 million, 88.8%).
And the “Flowers” boost has also spread to a catalog smash by another top 40 household name of the past decade-plus: Bruno Mars. His 2013 Hot 100-topping ballad “When I Was Your Man” has been cited by popwatchers on social media as a likely inspiration for the lyrics to “Flowers,” with the latter’s chorus seeming to be in response (or at least in conversation) with the refrain to the former. (Mars: “I should’ve bought you flowers”; Cyrus: “I can buy myself flowers.”)
Evidently, the chatter over the relationship between the two songs — with fans further speculating that the reference is a subtle dig at Cyrus’ ex Liam Hemsworth, as he supposedly once dedicated the song to Cyrus following their first breakup in 2013 — also inspired fans to go back and listen to Mars’ original. “Your Man,” always a productive streamer, rose from 4.5 million to 5.3 million in weekly official on-demand streams for the week ending Jan. 19, a 19.5% gain.
If The 1975 wanted to find love for one of their earliest hits, then they know what the secret weapon is: a co-sign from the biggest pop star in the world, via a live rendition at their own concert.
Taylor Swift, who has long shared a mutual appreciation with the U.K. alt-pop quartet (and who may have even worked with them on still-unreleased Midnights sessions), made a surprise appearance at the first of their two headlining gigs at London’s O2 Arena last Thursday (Jan. 12). She played an acoustic version of her Billboard Hot 100 chart-topper “Anti-Hero” — technically the song’s live premiere — and then treated 1975 fans to a solo cover of “The City,” the group’s first-ever single and a highlight of their self-titled 2013 debut album.
Unsurprisingly, the performance — which enraptured social media and made headlines around the world — led to a considerable bump in consumption for The 1975’s original “City.” The song’s daily official on-demand U.S. streams nearly quadrupled from last Wednesday (Jan. 11, the day before the concert) to the following Friday — from 13,000 to 49,000, a gain of 276%, according to Luminate. The daily streams fell back from there, but still remained in the 20,000s, well above where it was before it got the Swift bump.
As for “Anti-Hero,” the other song Swift played — well, it probably doesn’t need any additional exposure to help its streams at this point. But it does hold on for an eighth week at No. 1 on the Hot 100 this week, making it her longest-running No. 1 to date.
Did you know that Depeche Mode‘s 1987 Music for the Masses single “Never Let Me Down Again” was a Billboard Hot 100 No. 1 hit? Neither did we — in fact, our records show that the song actually peaked at No. 63 in Feb. ’88 — but according to HBO’s new post-apocalyptic drama series The Last of Us, it’s one of the songs featured in Fred Bronson’s essential The Billboard Book of Number One Hits compendium, which characters on the video game adaptation play over the radio in order to send coded messages to fellow survivors.
Regardless of its chart peak, the use of Depeche Mode’s dark synth-rock classic in the pilot episode’s chilling final scene — an ’80s song is meant in the show’s universe as a message of trouble — inspired many of the new video game adaptation’s millions of viewers to go play it themselves. “Never Let Me Down Again” more than tripled in official on-demand U.S. streams overnight, from 26,000 on the day of the premiere (Jan. 15) to 83,000 the next day — a gain of 220.5%, according to Luminate. (Depeche Mode even helped welcome the newly interested by adding a “Heard on Episode 1 of The Last of Us” parenthetical to the title of the song’s official YouTube video.)
Of course, when you start talking about minor crossover hits from the ’80s alt-pop underground being revived by blockbuster TV shows in 2023, all minds naturally go to Kate Bush and Stranger Things. The song has a long way to go still before showing that kind of renewed impact just yet — but it’s certainly a message that when it comes to catalog hits being given new life by dramatic TV syncs, a lot of artists are going to want to be taking a ride with The Last of Us.
The month of M3GAN — the camp-horror film starring a robot doll who’s more sinister than she first appears — marches on, with winning box office receipts and a newly announced sequel. Meanwhile, M3GAN is slicing her way into the music world as well, with a mini-revival of David Guetta and Sia’s 2011 hit “Titanium.”
Midway through the film (minor spoiler), M3GAN croons the pre-chorus and hook of “Titanium” to comfort Cady (played by Violet McGraw), her human companion, after a traumatic incident. The out-of-nowhere serenade makes for one of the more memorable moments in M3GAN, and theatergoers have sought out the original version of “Titanium” — as well as a new, stripped-down take on the song, cleverly dubbed “Megan’s V3rsion,” that Sia released days after the film’s Jan. 6 premiere.
During the film’s first full week of release, the original “Titanium” rose 4.6% in weekly U.S. on-demand streams, to 1.6 million, according to Luminate. “Titanium” originally peaked at No. 7 on the Billboard Hot 100 and became a commercial breakthrough in the U.S. for Sia, as the acclaimed Australian singer-songwriter would go on to find solo success with hits like “Chandelier” and “Cheap Thrills.”
On Jan. 9, Sia, sensing a M3GAN-led revival of the song, unveiled “Titanium (Megan’s V3rsion),” a piano rework that recalls M3GAN’s demon-doll balladry (although, sadly, does not feature any of her vocals). “Megan’s V3rsion” has earned 226,000 U.S. on-demand streams to date, a figure that’s separate from the streams of the original “Titanium,” according to Luminate.
While M3GAN creeps toward a $100 million global box office gross, a sequel, titled M3GAN 2.0, was announced with a Jan. 17, 2025 release date. If the character of M3GAN is simply a Sia fan, which single does she belt out in the sequel? “Wild Ones”? “Elastic Heart”? We’ll find out in two years.
Welcome to Billboard Pro’s Trending Up column, where we take a closer look at the songs, artists, curiosities and trends that have caught the music industry’s attention. Some have come out of nowhere, others have taken months to catch on, and all of them could become ubiquitous in the blink of a TikTok clip. This week: Miley Cyrus and Dolly Parton reap streaming benefits from their much-watched New Year’s Eve special performance, Gracie Abrams eyes her first crossover hit after a valuable Netflix synch and the recently convicted Tory Lanez hits the Hot 100 for the first time in a couple years.
Miley & Dolly’s Classic Singles Rise After the Ball Drops
Miley Cyrus is about to kick off a new era with the release of “Flowers,” the lead single to her forthcoming album (and Columbia Records debut) Endless Summer Vacation. Two weeks before the scheduled debut of “Flowers,” however, Cyrus kicked off a new year alongside her godmother Dolly Parton, as the host of Miley’s New Year’s Eve Party on NBC, ringing in 2023 on network television with hits, covers and medleys of both.
Cyrus has been covering Parton’s “Jolene” in concert for years, so naturally it made sense to belt out the classic single (which is turning 50 this year!) alongside the legend who wrote and recorded it. “Jolene,” which Cyrus and Parton sang after warbling some of Patsy Cline’s “Walkin’ After Midnight” together on New Year’s Eve, received a bump on streaming services last week as a result, with a 29.6% increase in U.S. on-demand streams (up to 1.71 million), along with a 57% bump in digital sales, in the week ending Jan. 5, according to Luminate.
“Wrecking Ball,” which Cyrus and Parton sang together on the show before segueing into Parton’s “I Will Always Love You,” fared even better. Cyrus’ first career Billboard Hot 100 chart-topper (which is turning 10 this year!) scored a 44.5% rise in streams during the same week, up to 1.79 million for the week ending Jan. 5. “Wrecking Ball” also earned a digital sales increase of over 400% for that week.
Plus, Cyrus used Miley’s New Year’s Eve Party as the network TV platform to announce “Flowers,” dropping a pair of teasers in between hosting and performing duties as 2023 got underway. Widely announcing an upcoming single while also causing an older hit’s streaming revival — now that’s an enviable way to flip the calendar. – JASON LIPSHUTZ
Ginny & Georgia Doesn’t “Miss” With Gracie Abrams Synch
Interscope’s Gracie Abrams has steadily built a devoted fan base — and a reputation as your favorite singer-songwriter’s favorite singer-songwriter – over the past few years, but has yet to score the sort of crossover hit enjoyed by some of her more famous supporters. That may be changing with the recent streaming growth of her tear-jerking ballad “I miss you, I’m sorry,” a highlight from her 2020 debut EP, Mirror. The song got a big showcase moment in the finale of the Jan. 5-released second season to Netflix’s hit dramedy Ginny & Georgia, playing over a lovelorn montage of Ginny (Antonia Gentry) and her on/off romantic interest Marcus (Felix Mallard), both getting emotional while separately looking at old photos of the couple together.
As more viewers connected with the finale’s sentimental moment, the song has climbed steadily in streams – from 54,000 daily on-demand official U.S. streams on Jan. 5 to 81,000 by Jan. 8, according to Luminate, a gain of 50%. That number looks to still be growing in the days since, as fans of both Abrams and Ginny & Georgia have begun to spread it on TikTok and other social platforms. The increased exposure should be coming right on time for Abrams, who is set to release her long-anticipated debut full-length, Good Riddance, via Interscope on Feb. 24. – ANDREW UNTERBERGER
Tory Lanez Returns to Hot 100 Following Trial Guilty Verdict
While Tory Lanez awaits sentencing after being found guilty on three felony counts in the 2020 shooting of star rapper Megan Thee Stallion, he returns to the Hot 100 with his first new entry on the chart since the year of the assault.
“The Color Violet,” a Weeknd-reminiscent pop&B track from his 2021 One Umbrella release Alone at Prom, slowly developed into a prolific streaming hit over the course of 2022, and climbs 22.2% to 5.5 million in weekly official on-demand U.S. streams for the week ending Jan. 5, according to Luminate. While the song does not yet have a radio presence of any kind, as programming directors are likely reluctant to publicly support the disgraced singer-rapper at this point, streaming audiences have not been so dissuaded – and their embrace of “Violet” earns it a No. 87 bow on the Hot 100 this week. — AU