Monthly Archives: January 2021

Plus: Anuel AA and Ozuna’s ‘Los Dioses’ debuts in the top 10.

Morgan Wallen’s Dangerous: The Double Album stays put at No. 1 on the Billboard 200 for a third straight week, becoming the first country album to spend three weeks atop the list in eight years. The set earned 130,000 equivalent album units in the U.S. in the week ending Jan. 28 (down 18%), according to MRC Data.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Feb. 6, 2021-dated chart (where Dangerous holds at No. 1) will be posted in full on Billboard‘s website on Feb. 2. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Dangerous’ 130,000 equivalent album units earned in the tracking week ending Jan. 28, SEA units comprise 115,000 (down 14%, equaling 154.13 million on-demand streams of the album’s 30 songs), album sales comprise 12,000 (down 44%) and TEA units comprise 3,000 (down 22%).

Dangerous is just the second album in the last 12 months to notch three weeks of at least 125,000 units earned. It follows Taylor Swift’s Folklore, which debuted with 846,000 units (Aug. 8, 2020, chart) and then tallied 135,000 and 136,000 in its second and third weeks.

Speaking of Swift, with Dangerous holding at No. 1 for a third week on the Billboard 200, a country album holds court for a third straight week. The last album to score three weeks at No. 1, that also appeared on the Top Country Albums chart, was Taylor Swift’s Red, which tallied seven nonconsecutive weeks in the pole position between the charts dated Nov. 10, 2012, and Jan. 12, 2013. Red also spent its first three weeks at No. 1 (Nov. 10-24, 2012).

The last album by a male artist to log three weeks at No. 1 on the Billboard 200, and its first three weeks at No. 1 — and also appear on Top Country Albums — was Elvis Presley’s Elv1s: 30 #1 Hits, which clocked a total of three weeks in the lead on the Billboard 200 (Oct. 12, 2002 — its debut week — and then Oct. 19 and 26).

The last album of new material by a male artist to spend three weeks at No. 1, and also appear on Top Country Albums, was Alan Jackson’s Drive in 2002, with a total of four weeks in the lead. It spent its first three weeks at No. 1 on the Billboard 200 (Feb. 2-16) and then notched one more week at No. 1 on the March 2 list.

Three former No. 1s trail Dangerous (released via Big Loud/Republic Records) on the new Billboard 200, as Pop Smoke’s Shoot for the Stars Aim for the Moon (Victor Victor Worldwide/Republic) is steady at No. 2 (45,000 equivalent album units earned; down 4%), Swift’s Evermore (Republic) rises 4-3 (35,000; down 15%) and The Weeknd’s After Hours (XO/Republic) climbs 8-4 (nearly 35,000; up 6%).

Republic Records is the distributing label for all four albums — the first time since 1996 that one label has monopolized Nos. 1-4 on the Billboard 200. On the Dec. 7, 1996, chart, Interscope held the top four with Bush’s Razorblade Suitcase (Trauma/Interscope), Snoop Doggy Dogg’s Tha Doggfather (Death Row/Interscope), No Doubt’s Tragic Kingdom (Trauma/Interscope) and Makaveli’s The Don Killuminati: The 7 Day Theory (Death Row/Interscope).

Back on the new Billboard 200, Lil Durk’s The Voice rises 6-5 with 32,000 equivalent album units earned (down 13%), while Juice WRLD’s former No. 1 Legends Never Die bumps 9-6 (just over 31,000; down 2%) and Ariana Grande’s previous leader Positions falls 5-7 (31,000; down 22%). Universal Music Group (UMG) distributes the top seven albums — the first time a company has held Nos. 1-7 since UMG last did it on the Nov. 17, 2018-dated chart.

Two more former No. 1s are up next, as Luke Combs’ What You See Is What You Get rises 10-8 (30,000 equivalent album units earned; down 4%) and Lil Baby’s My Turn ascends 11-9 (30,000; up less than 1%).

Closing out the new top 10 is arrival of Anuel AA and Ozuna’s collaborative album Los Dioses, which debuts at No. 10 with 29,000 equivalent album units earned. Of Los Dioses’ 29,000 equivalent album units earned, SEA units comprise 23,000 (equaling 34.44 million on-demand streams of the album’s songs), album sales comprise 6,000 and TEA units comprise a negligible number.

Los Dioses is the second top 10 for both acts. Anuel AA nabbed his first top 10 visit with Emmanuel (No. 8 on June 13, 2020) and Ozuna reached the region with Aura (No. 7; Sept. 18, 2018).

Source: billboard.com

The latter leaps following the release of its remix featuring Doja Cat and Megan Thee Stallion.

Olivia Rodrigo’s “Drivers License” spends a second week at No. 1 on the Billboard Hot 100 chart, after soaring in atop the tally a week ago.

Plus, Ariana Grande‘s “34+35” leaps from No. 11 to No. 2 on the Hot 100, surpassing its prior No. 8 peak, following the release of its remix featuring Doja Cat and Megan Thee Stallion (both of whom receive chart credit on the song for the first time).

Notably, “34+35” marks the highest-charting Hot 100 by a trio of women soloists in nearly 20 years. (See below for details.)

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Jan. 30) will update on Billboard.com tomorrow (Jan. 26). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“Drivers License” was released Jan. 8 on Geffen/Interscope Records and debuted atop the Jan. 23-dated Hot 100, marking Rodrigo’s first No. 1 on the chart. The singer-songwriter and actress, 17, initially broke through with roles on Disney Channel’s Bizaardvark and Disney+’s High School Musical: The Musical: The Series. Her background helped spark the song’s high profile, which has also been boosted by scrutiny about its lyrics, the song’s TikTok presence and a co-sign from Taylor Swift, among others.

“Drivers License” drew 59.7 million U.S. streams (down 22%) and sold 27,000 downloads (down 27%) in the week ending Jan. 21, according to MRC Data. It also earned 21.5 million radio airplay audience impressions (up 168%) in the week ending Jan. 24, good for the Hot 100’s top Airplay Gainer award.

The track adds a second week at No. 1 on both the all-genre Streaming Songs and Digital Song Sales charts and enters Radio Songs at No. 36. It climbs 31-20 on Pop Airplay and 37-24 on Adult Pop Airplay.

“Drivers License” is the first song to draw over 50 million U.S. streams in its first two weeks since Cardi B’s “WAP,” featuring Megan Thee Stallion, started with 93 million in the week ending Aug. 13, 2020, the most for any track in its first week of availability, and followed with 72.2 million in the week ending Aug. 20.

Meanwhile, of the 48 singles ever to debut at No. 1 on the Hot 100, “Drivers License” is the 21st to hold at No. 1 in its second week, making for a 44% repeat success rate.

“Drivers License” is so far a stand-alone single, with Rodrigo’s debut EP expected this year.

Ariana Grande’s “34+35” surges 11-2 on the Hot 100, following the Jan. 15 release of its remix featuring Doja Cat and Megan Thee Stallion. The song debuted, as Grande’s 18th and most recent Hot 100 top 10, at its previous No. 8 high on the chart dated Nov. 14. That week, parent album Positions debuted at No. 1 on the Billboard 200; a week earlier, the set’s title cut and lead focus track launched at No. 1 on the Hot 100.

“34+35” vaults 15-2 on Streaming Songs (24.2 million, up 83%) and re-enters Digital Song Sales at No. 8 (8,000, up 313%), as it wins the Hot 100’s top Streaming and Sales Gainer trophies. Being promoted to radio alongside “Positions,” “34+35” jumps 14-10 on Radio Songs (45.5 million, up 21%), where it becomes Grande’s 15th top 10.

Doja Cat adds her second Hot 100 top 10, after “Say So,” featuring Nicki Minaj, led the May 16, 2020-dated chart. Megan Thee Stallion scores her third Hot 100 top 10, also after reigning in her prior time in the tier: “Savage,” featuring Beyoncé, led the May 30-dated Hot 100 and “WAP” ruled for four weeks last August-September.

Grande has now charted four Hot 100 hits credited to three women (and no other acts): previously, “Bang Bang,” with Jessie J and Minaj, reached No. 3 in October 2014; “Don’t Call Me Angel,” with Miley Cyrus and Lana Del Rey, hit No. 13 in September 2019; and Mariah Carey’s 2020 update of her 2010 carol “Oh Santa!,” featuring Grande and Jennifer Hudson, appeared for a week at No. 76 in December.

The last time before this week that a song credited to at least three solo women (and no other artists) ranked as high as No. 2 on the Hot 100? Almost 20 years ago: Christina Aguilera, Lil’ Kim, Mya and P!nk ruled for five weeks in June 2001 (and then spent a week at No. 2 that July) with “Lady Marmalade.”

(Cat lady: Having now charted a hit with Doja Cat, Grande, a noted cat-ear fan and entrepreneur, previously shared a Hot 100 hit with Cashmere Cat. The latter’s “Adore,” featuring Grande, spent a week at No. 93 in 2015. No kitten.)

24kGoldn’s “Mood,” featuring Iann Dior, drops 2-3 on the Hot 100, after eight weeks at No. 1. It leads the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a 21st week each and Hot Rap Songs for a 15th frame; all three charts use the same methodology as the Hot 100.

The Weeknd’s “Blinding Lights” holds at No. 4 on the Hot 100. The song spent four weeks at No. 1 (eventually ranking as the Hot 100’s top hit of all of 2020) and logs its 59th total week on the chart. It adds a record-extending 46th week in the top 10 and record-padding 37th week in the top five. The track also claims a ninth week at No. 1 on the multi-metric Hot R&B/Hip-Hop Songs chart and a record-furthering 43rd frame atop Hot R&B Songs.

Grande’s “Positions” falls 3-5 on the Hot 100; Dua Lipa’s “Levitating,” featuring DaBaby, keeps at its No. 6 high; and Chris Brown and Young Thug’s “Go Crazy” slips to No. 7 from its No. 5 best as it posts a second week atop Radio Songs (82.1 million in audience, up 3%).

Rounding out the Hot 100’s top 10, Justin Bieber’s “Holy,” featuring Chance the Rapper, backtracks 7-8, after it debuted at its No. 3 peak in October; AJR’s “Bang!” retreats to No. 9 from its No. 8 high; and SZA’s “Good Days” holds at its No. 10 best, a week after entering the top 10.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Jan. 30), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Jan. 26).

Source: billboard.com

It’s the first country set to spend two weeks in a row at No. 1 since 2015. Plus: Why Don’t We logs career-high rank with debut of ‘The Good Times and the Bad Ones.’

Morgan Wallen’s Dangerous: The Double Album spends a second straight week at No. 1 on the Billboard 200 chart, earning 159,000 equivalent album units in the U.S. in the week ending Jan. 21 (down 40%), according to MRC Data. The album arrived atop the list a week ago with 265,000 units.

Dangerous is the first country album to spend two weeks in a row at No. 1 since Chris Stapleton’s Traveller in 2015 (charts dated Nov. 21-28 that year), and the first country set to spend its first two weeks at No. 1 since Luke Bryan’s Kill the Lights that year (Aug. 29-Sept. 5, 2015). Traveller debuted on the chart dated May 23, 2015 at No. 14, and was off the chart by October. It then re-entered at No. 1 on Nov. 21, 2015, after Stapleton’s multiple wins and well-received performance on the Country Music Association Awards on Nov. 4.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Jan. 30, 2021-dated chart (where Dangerous holds at No. 1) will be posted in full on Billboard‘s website on Jan. 26. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Dangerous’ 159,000 equivalent album units earned in the tracking week ending Jan. 21, SEA units comprise 133,000 (down 26%, equaling 177.11 million on-demand streams of the album’s songs), album sales comprise 22,000 (down 70%) and TEA units comprise 4,000 (down 39%).

Since the Billboard 200 began ranking albums by equivalent album units in December of 2014, Dangerous is the first country set to log two weeks of at least 150,000 units.

Notably, in the last 12 months, Dangerous is just the fourth album, among all genres, to log at least two weeks of 150,000-plus units. It follows Taylor Swift’s Evermore, Juice WRLD’s Legends Never Die and Lil Uzi Vert’s Eternal Atake — all with two weeks each of 150,000-plus units.

Pop Smoke’s former No. 1 Shoot for the Stars Aim for the Moon rises 3-2 on the new Billboard 200 with 47,000 equivalent album units earned (up less than 1%). In the album’s 29 weeks on the chart, it has been absent from the top 10 for only one week (Jan. 2-dated chart, No. 11).

Why Don’t We nets a career-high chart rank as the group’s latest album The Good Times and the Bad Ones bows at No. 3. The set starts with 46,000 equivalent album units earned. Of that sum, 38,000 comprise album sales (making it the top-selling album of the week), 7,500 comprise SEA units (equating to 11.34 million on-demand streams of the album’s songs) and a little under 500 comprise TEA units.

Why Don’t We’s previous high on the Billboard 200 came with the quintet’s last album, 8 Letters, which debuted and peaked at No. 9 on the Sept. 15, 2018-dated chart.

The new album was led by the single “Fallin’,” which marked the act’s first Billboard Hot 100 hit, when it peaked at No. 37 on the Oct. 17, 2020, list. The track also marked the group’s fifth hit on the Pop Airplay chart, reaching No. 22 in November.

Taylor Swift’s former No. 1 Evermore dips 2-4 on the new Billboard 200 (41,000 equivalent album units earned; down 26%) and Ariana Grande’s previous leader Positions climbs 7-5 (39,000; up 17%).

As Republic Records is the distributing label for Dangerous, Shoot for the Stars …, Evermore and Positions, the company has four of the top five albums of the week. It’s the first time a label has claimed four-fifths of the top five since Republic itself did it on the Sept. 1, 2018-dated chart.

Lil Durk’s The Voice falls 5-6 on the new Billboard 200 with 37,000 equivalent album units earned (down 11%). Eminem’s former No. 1 Music to Be Murdered By jumps 19-7 with 33,000 units (up 51%) following the Jan. 15 release of the album’s deluxe reissue on CD. The deluxe edition, dubbed Music to Be Murdered By – Side B, added extra tracks to the year-old album and first dropped on digital retail and streamers on Dec. 18, 2020. A vinyl release of the deluxe package is due in August. (All versions of the album are tracked together on the chart.)

A trio of former No. 1s closes out the new top 10 on the Billboard 200, as The Weeknd’s After Hours falls 6-8 (33,000 equivalent album units; down 6%), Juice WRLD’s Legends Never Die is steady at No. 9 (32,000; up 3%) and Luke Combs’ What You See Is What You Get descends 8-10 (just under 32,000; up 1%).

Source: billboard.com

The song sports the best first-week streams for a proper first single by a female artist.

Olivia Rodrigo’s “Drivers License” debuts at No. 1 on the Billboard Hot 100 chart, peeling in as the most-streamed and top-selling song of the week.

The single, released Jan. 8, marks the 17-year-old’s first Hot 100 No. 1, following its first week of availability. The singer-songwriter and actress initially broke through with roles on Disney Channel’s Bizaardvark in 2016 and Disney+’s High School Musical: The Musical: The Series in 2019. Her background helped spark the high profile of “Drivers License,” which has also been buoyed by scrutiny about its lyrics, the song’s TikTok presence and a co-sign from Taylor Swift, among others.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Jan. 23) will update on Billboard.com tomorrow (Jan. 20). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“Drivers License,” released on Geffen/Interscope Records, is the 1,116th No. 1 in the Hot 100’s 62-year history. It’s the 48th single to debut on top, and the first of 2021.

Here’s a deeper look at Rodrigo’s first road trip to No. 1 on the Hot 100, among other achievements.

Streams, sales & airplay: “Drivers License” drew 76.1 million U.S. streams and sold 38,000 downloads in the week ending Jan. 14, according to MRC Data. It also earned 8.1 million radio airplay audience impressions in the week ending Jan. 17.

The track debuts at No. 1 on both the all-genre Streaming Songs and Digital Song Sales charts, marking Rodrigo’s first leader on each list, while entering the Pop Airplay (No. 31) and Adult Pop Airplay (No. 37) radio rankings.

Record streams for a first promoted single: The 76.1 million opening-week U.S. streams for “Drivers License” mark a new weekly best for a female artist’s first single properly promoted to radio, streaming services and other platforms.

The sum is the best for any song in its first week of release since Cardi B’s “WAP,” featuring Megan Thee Stallion, soared in with 93 million U.S. streams in the week ending Aug. 13, 2020 (and atop the Hot 100 dated Aug. 22), the most for any track ever in its first week of availability.

… though it’s Rodrigo’s 2nd Hot 100 hit: Before “Drivers License,” Rodrigo charted one Hot 100 entry: “All I Want” (her metaphorical chart learner’s permit) spent two weeks on the tally, peaking at No. 90, where it debuted, in January 2020. “Want” is from High School Musical: The Musical: The Series (Music From the Disney+ Original Series); “Drivers License” is so far a stand-alone single, with Rodrigo’s debut EP expected this year.

Of the 48 singles to debut at No. 1 on the Hot 100, most have been, unsurprisingly, by established acts. Just seven have belonged to rising artists with less or comparable  chart history at the time of their entrances than Rodrigo. Lauryn Hill launched with “Doo Wop (That Thing)” in 1998, marking her first solo Hot 100 entry, after the Fugees had made three appearances in 1994-97 with her as a member. Clay Aiken (2003), Fantasia (2004) and Carrie Underwood (2005) all premiered at No. 1 with their first solo Hot 100 hits, their respective American Idol coronation singles “This Is the Night,” “I Believe” and “Inside Your Heaven.” In 2006, Taylor Hicks’ “Do I Make You Proud” opened at No. 1 after he won that season of Idol, although he charted one No. 69-peaking entry three weeks earlier.

Since then, Baauer’s “Harlem Shake” started atop the Hot 100 in 2013, concurrent with a methodology change that added YouTube data to the chart’s formula, while Zayn’s first solo entry after he departed One Direction, “Pillowtalk,” soared in at No. 1 in 2016.

Four just before ’04: The California-born Rodrigo is the most-recently-born artist to top the Hot 100. Born Feb. 20, 2003 (fun fact: she shares her birthday with Rihanna), Rodrigo takes the title from Jawsh 685, who was born Nov. 5, 2002, and led the list dated Oct. 17, 2020, with “Savage Love (Laxed – Siren Beat),” with Jason Derulo and BTS.

At 17 years and 11 months old, Rodrigo is the youngest artist at the time of topping the Hot 100 since Billie Eilish, who was 17 years, eight months and one week old when she led with “Bad Guy” in August 2019.

Four artists born in the 2000s have now ruled the Hot 100, one each born in 2000, 2001, 2002 and 2003: Rodrigo, Jawsh 685, Eilish (born Dec. 18, 2001) and 24kGoldn (born Nov. 13, 2000), whose “Mood,” featuring Iann Dior, drops to No. 2 after eight weeks at No. 1.

Geffen, Interscope in charge: The Geffen label ranks atop the Hot 100 for the first time since Nelly Furtado’s “Say It Right” led the list dated Feb. 24, 2007. Before that, Furtado and Geffen spent six weeks at No. 1 in 2006 with “Promiscuous,” featuring Timbaland.

Interscope scores its first Hot 100 No. 1 of 2021, after two, logged back-to-back, in 2020: Lady Gaga and Ariana Grande’s “Rain on Me” (last June 6) and DaBaby’s “Rockstar” (featuring Roddy Ricch), which began a seven-week reign the following frame (June 13).

Car tunes: Perhaps surprisingly, given the role of wheels as a motif in hit music dating to rock’s early days, Rodrigo parks any version of the word “drive” in the Hot 100’s top spot for the first time. Three other songs with “drive” in their titles have hit the top 10 (two by acts named for forms of transportation): The Cars’ “Drive” (No. 3, 1984), Incubus’ “Drive” (No. 9, 2001) and Train’s “Drive By” (No. 10). One prior Hot 100 hit includes “driver’s” in its title: “Driver’s Seat,” by Sniff ‘n’ the Tears (No. 15, 1979).

“License” has appeared in one prior Hot 100 song title (although via the word’s British English spelling): Billy Ocean’s “Licence to Chill” (No. 32, 1989). (A year earlier, Ocean topped the Hot 100 with his own hit about driving: “Get Outta My Dreams, Get Into My Car.”)

Check Billboard.com later this morning for a full rundown of the latest Hot 100’s entire top 10.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Jan. 23), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Jan. 20).

Source: billboard.com

Plus: Jazmine Sullivan starts at a career-best No. 4 with “Heaux Tales.”

Morgan Wallen’s Dangerous: The Double Album debuts at No. 1 on the Billboard 200 albums chart in record-setting fashion, as it garners the largest streaming week ever for a country album. The 30-song album — Wallen’s first leader — further logs the largest overall week, by units earned, for a country set in over two years.

Dangerous, released on Jan. 8 via Big Loud/Republic Records, starts with 265,000 equivalent album units earned in the U.S. in the week ending Jan. 14, according to MRC Data.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Jan. 23, 2021-dated chart (where Dangerous debuts at No. 1) will be posted in full on Billboard‘s website on Jan. 20. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Dangerous’ 265,000 equivalent album units earned in the tracking week ending Jan. 14, SEA units comprise 184,000 (equaling 240.18 million on-demand streams of the album’s songs), album sales comprise 74,000 and TEA units comprise 7,000. (Of Dangerous’ 74,000 in album sales, digital download album sales comprise 50,000.)

Dangerous is Wallen’s second full-length album, following 2018’s If I Know Me, which peaked at No. 13 on the Aug. 29, 2020-dated chart. It has spent over 110 weeks on the tally and earned 1.7 million equivalent album units, while its songs have accrued 2.4 billion on-demand streams.

Prior to Dangerous’ release, the singer-songwriter had snared 13 charting hits on the Hot Country Songs chart, including eight top 10s (two of which reached No. 1). On the all-genre Billboard Hot 100 chart, he’s placed 10 tunes, including the new album’s “7 Summers.” The latter debuted at No. 6, marking at the time only the second top 10 Hot 100 debut for a song by a solo male and no accompanying acts that has also appeared on Hot Country Songs.

Let’s take a look at some of the notable feats that Wallen achieves with Dangerous’ debut.

Largest Streaming Week for a Country Album: As Dangerous collected 184,000 SEA units, equaling 240.18 million on-demand streams of the set’s 30 songs, it lands the largest streaming week ever for a country album. It beats, more than doubling, the 102.26 million streams achieved by Luke Combs’ What You See Is What You Get in the week ending Oct. 29, 2020. That week, Combs’ then-year-old album was reissued with bonus tracks, bringing its total track count to 23. Upon its deluxe reissue, the album shot back to No. 1 on the Billboard 200 for its second week in the lead. It tallied its first week at No. 1 when it debuted in the top slot (chart dated Nov. 23, 2019).

Certainly, the fact that Dangerous has a whopping 30 songs greatly enhances its ability to accrue a large streaming total – as the stream count is based on the total streams across all of the album’s songs.

However, even if the album were trimmed down to the 18 least-streamed tracks (in the week ending Jan. 14), their sum of 105.08 million would still beat Combs’ former record.

Third-Largest Streaming Week for a Non-R&B/Hip-Hop Album: Dangerous clocks the third-biggest streaming week ever for a non-R&B/hip-hop album, trailing only Ariana Grande’s Thank U, Next (307.07 million in its debut week) and Taylor Swift’s Folklore (289.85 million, debut week). Overall, Dangerous has the 22nd-largest streaming week for an album.

Biggest Week for a Country Album in Over Two Years: The last country album to have a bigger week, by equivalent album units, was Carrie Underwood’s Cry Pretty, which launched with 266,000 units on the Sept. 19, 2018-dated chart. Unlike Dangerous, Cry Pretty’s first week was bolstered by sales generated from a concert ticket/album sale redemption offer. (Such offers no longer contribute sales to Billboard’s charts.)

Dangerous also has the ninth-biggest week for any album, of any genre, by units, in the last 12 months.

Only the 11th Country Album to Reach No. 1 on the Billboard 200 In the Last Five Years: Wallen brings a rare sight to the top of the Billboard 200, as Dangerous is only the 11th country set to reach No. 1 since January of 2016.

Strikingly, out of the 178 No. 1 albums since the Jan. 23, 2016-dated chart, only 11 were country titles (just 6.2%). Those 11 country No. 1s: Jason Aldean’s They Don’t Know (2016); Thomas Rhett’s Life Changes, Shania Twain’s Now, Kenny Chesney’s Live in No Shoes Nation, Luke Bryan’s What Makes You Country (2017); Aldean’s Rearview Town, Underwood’s Cry Pretty (2018), Rhett’s Center Point Road, Luke Combs’ What You See Is What You Get (2018; the latter had one weeks at No. 1 in both 2018 and 2019); Chesney’s Here and Now (2020); and now Wallen’s Dangerous (2021).

At No. 2 on the new Billboard 200, Taylor Swift’s Evermore slips one spot after three nonconsecutive weeks in the lead, with 55,000 equivalent album units earned (down 1%). Pop Smoke’s former No. 1 Shoot for the Stars Aim for the Moon is steady at No. 3 with 47,000 units (up 5%). Both titles were released by Republic Records, like Dangerous. In turn, Republic holds the top three for the third time in less than three months, and remains the only label to monopolize the top three since 2003, when Interscope pulled off the feat.

Jazmine Sullivan hits a career-high on the Billboard 200 as Heaux Tales bows at No. 4 with 43,000 equivalent album units earned. It beats her previous chart high of No. 6, achieved in the opening week of her debut set, and only other top 10, Fearless (Oct. 11, 2008 chart). Heaux Tales is the singer’s fourth charting effort, and first since 2015’s Reality Show debuted and peaked at No. 12 (Jan. 31, 2015).

Lil Durk’s The Voice falls from its No. 2 high to No. 5 with 42,000 equivalent album units earned (down 12%).

The Weeknd’s former No. 1 After Hours charges 14-6 with 35,000 units (up 34%). The latter benefits from the popularity of its latest single, and its new official video (released Jan. 5), for “Save Your Tears,” as well as The Weeknd’s widely-seen commercial touting his halftime performance at the upcoming Super Bowl (Feb. 7). Ariana Grande’s former No. 1 Positions falls 4-7 with 34,000 units (down 4%). Both After Hours and Positions were released via Republic Records, giving the label a stunning five of the top 10 albums – the first time a label group has claimed half of the top 10 in nearly a year (since the Feb. 1, 2020-dated chart when Interscope Geffen A&M achieved the distinction). Republic last had half of the top 10 on the Nov. 9, 2013-dated chart.

Closing out the top 10 on the new Billboard 200 are Luke Combs’ What You See Is What You Get (7-8 with a little over 31,000 units; down 3%), Juice WRLD’s Legends Never Die (holding at No. 9 with 31,000 units; up 4%) and Megan Thee Stallion’s Good News (6-10 with just under 31,000 units; down 5%).

Source: billboard.com

“Mood” rules for an eighth week, Bieber’s “Anyone” begins at No. 6 & AJR earns its first top 10 with “Bang!”

24kGoldn‘s “Mood,” featuring Iann Dior, adds an eighth total week at No. 1 on the Billboard Hot 100 songs chart.

Plus, Justin Bieber‘s “Anyone” debuts at No. 6 on the Hot 100, marking his 22nd career top 10, and AJR achieves its first Hot 100 top 10, as “Bang!” bumps from No. 11 to No. 9.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Jan. 16) will update on Billboard.com tomorrow (Jan. 12). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.ARTISTS MENTIONED

“Mood,” released on RECORDS/Columbia Records, and the first Hot 100 No. 1 for both 24kGoldn and Iann Dior, drew 17.5 million U.S. streams (essentially even week-over-week) and sold 6,000 downloads (down 11%) in the week ending Jan. 7, according to MRC Data. It also tallied 84.2 million radio airplay audience impressions (up 2%) in the week ending Jan. 10.

“Mood” spends an 11th week at No. 1 on the Radio Songs chart, rises 5-1 for a second total week atop Streaming Songs and drops 6-10 on Digital Song Sales. It tops the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a 19th week each and Hot Rap Songs for a 13th frame, with all three charts using the same methodology as the Hot 100.

Ariana Grande’s “Positions” holds at No. 2 on the Hot 100. It ruled the Nov. 7-dated chart upon its debut.

The Weeknd’s “Blinding Lights” keeps at No. 3 on the Hot 100. The song spent four weeks at No. 1 (eventually ranking as the Hot 100’s top hit of all of 2020) and logs its 57th total week on the tally. It adds a record-extending 44th week in the top 10 and a record-furthering 35th week in the top five. The track also claims a seventh week at No. 1 on the multi-metric Hot R&B/Hip-Hop Songs chart and a record-padding 41st frame atop Hot R&B Songs.

Justin Bieber’s “Holy,” featuring Chance the Rapper, repeats at No. 4 on the Hot 100, a notch below its peak reached in its debut week in October.

Rounding out the Hot 100’s top five, Chris Brown and Young Thug’s “Go Crazy” reaches the region, lifting 6-5 (79.6 million airplay impressions; 8.2 million streams; and 2,000 sold). The track completes the lengthiest ascent to the top five (35 weeks) for a song by lead males in the Hot 100’s 62-year history, and the third-longest overall, after Gabby Barrett’s “I Hope,” featuring Charlie Puth (45 weeks, 2020), and Imagine Dragons’ “Radioactive” (42 weeks, 2012-13).

Justin Bieber’s new single “Anyone” launches at No. 6 on the Hot 100, with 16.5 million streams and 22,000 sold in the week ending Jan. 7, following its Jan. 1 release. It also drew 14.2 million in radio reach in the week ending Jan. 10. The track opens at No. 1 on Digital Song Sales, where Bieber adds his 13th leader, passing Drake (12) for the most among solo males. Among all acts, only Taylor Swift (21) and Rihanna (14) have more. On Streaming Songs, “Anyone” arrives at No. 2.

As Bieber banks his 22nd Hot 100 top 10, he becomes one of 17 artists, and nine solo males, with at least that many over the chart’s history.

Most Billboard Hot 100 Top 10s
42, Drake
38, Madonna
34, The Beatles
31, Rihanna
30, Michael Jackson
29, Taylor Swift
28, Mariah Carey
28, Stevie Wonder
27, Janet Jackson
27, Elton John
25, Lil Wayne
25, Elvis Presley
23, Whitney Houston
23, Paul McCartney
23, The Rolling Stones
22, Justin Bieber
22, Eminem

Dua Lipa’s “Levitating,” featuring DaBaby, ascends 10-7 on the Hot 100 for a new high and Drake’s “Laugh Now Cry Later,” featuring Lil Durk, backtracks 7-8, after debuting at its No. 2 peak last August.

AJR crashes the Hot 100’s top 10 for the first time, as “Bang!” pushes 11-9 (52.5 million in radio reach; 8.6 million streams; and 11,000 sold). It holds at its No. 2 high on Digital Song Sales and ranks at No. 9 on Radio Songs, where it reached a No. 8 best beginning in late December.

The brother trio from New York, named after Adam, Jack and Ryan Met, charted three Hot 100 entries prior to “Bang!”: “I’m Ready” (No. 65 peak, 2014); “Weak” (No. 73, 2017); and “Burn the House Down” (No. 100, 2018). “I’m Ready” and “Weak” each reached No. 27 on the Pop Airplay chart. The band then hit No. 29 on Pop Airplay with “Sober Up,” featuring Rivers Cuomo (of Weezer), which marked the trio’s turn toward alternative, as the collab topped Alternative Airplay for two weeks in 2018. AJR has since added three more Alternative Airplay top 10s, including “Bang!,” which climbed to No. 2 in June 2020.

“Bang” this week holds at its No. 6 high on Pop Airplay, where it’s AJR’s first top 10, and climbs 5-4 on Adult Pop Airplay, where it’s the act’s first top five hit.

Meanwhile, with “Bang!” released on AJR/BMG/S-Curve, the AJR imprint makes its first appearance in the Hot 100’s top 10; the BMG label logs its second, after Lil Dicky’s “Freaky Friday,” featuring Chris Brown (No. 8, 2018; it was released on Dirty Burd/BMG/Commission); and S-Curve also scores its second, following Andy Grammer’s “Honey, I’m Good.” (No. 9, 2015; S-Curve/Hollywood).

Capping the Hot 100’s top 10, Gabby Barrett’s “I Hope” retreats 8-10 after reaching No. 3 in November, as it rules Hot Country Songs for a 24th week.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Jan. 16), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Jan. 12).

Source: billboard.com

Taylor Swift’s Evermore skips back to No. 1 on the Billboard 200 chart (dated Jan. 16) for a third nonconsecutive week, up from No. 2 a week ago. The album earned 56,000 equivalent album units in the U.S. in the week ending Jan. 7 (down 22%), according to MRC Data.

The album, now in its fourth week on the chart, spent its first two weeks atop the list (charts dated Dec. 26, 2020, and Jan. 2, 2021), before stepping aside to No. 2 for a week (Jan. 9 chart) when Playboi Carti’s Whole Lotta Red bowed at No. 1.

With Evermore’s third week in the lead, Swift now has a cumulative 51 weeks at No. 1 across all eight of her chart-topping albums. That ties Michael Jackson for the fourth-most weeks at No. 1 in the chart’s 65-year history. The two superstars only trail The Beatles (a record 132 weeks), Elvis Presley (67) and Garth Brooks (52).

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Jan. 16, 2021-dated chart (where Evermore returns to No. 1) will be posted in full on Billboard‘s website on Jan. 12. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Evermore’s 56,000 equivalent album units earned in the tracking week ending Jan. 7, SEA units comprise 38,000 (equaling 50.43 million on-demand streams of the album’s songs), album sales comprise 16,000 and TEA units comprise 2,000.

Though Evermore had a 22% decline in units, that slide was tempered by the release of a deluxe edition of the album on Thursday, Jan. 7, the final day of chart’s tracking week. The new edition boasts two additional songs. (All versions of the album are combined for tracking purposes.)

Evermore captures the smallest unit total for a No. 1 album in nearly two years, since A Boogie Wit da Hoodie’s Hoodie SZN was No. 1 on the chart dated Feb. 16, 2019, with just 47,000 units. (The top of the chart can sometimes be a bit light in units at the start of the year, as few new albums are released in January. On the new chart, for example, there are no debuts within the top 100, and a week ago, there was just one debut on the entire list: Playboi Carti’s Whole Lotta Red at No. 1.)

Lil Durk’s The Voice climbs 3-2 in its third week on the list, a new peak, with 48,000 equivalent album units earned (down 28%). The Voice matches Lil Durk’s career-high on the list, as his last release, Just Cause Y’all Waited 2 peaked at No. 2 on the July 11, 2020-dated chart.

The Voice debuted at No. 46 on the chart dated Jan. 2, following just one day of activity, as the album was released on Thursday, Dec. 24 (the final day of the Jan. 2 chart’s tracking week). It then surged to No. 3 in its first full chart tracking week.

A trio of former No. 1s are next, as Pop Smoke’s Shoot for the Stars, Aim for the Moon rises 4-3 with 44,000 equivalent album units (down 3%), Ariana Grande’s Positions climbs 5-4 with 35,000 units (down 8%) and Playboi Carti’s Whole Lotta Red falls 1-5 in its second week with 33,000 units (down 66%). Megan Thee Stallion’s Good News bumps 7-6 with just over 32,000 units earned (down 4%).

The rest of the top 10 comprises former chart-toppers: Luke Combs’ What You See Is What You Get ascends 8-7 (32,000 equivalent album units earned; down 4%), Bad Bunny’s El Ultimo Tour del Mundo moves 9-8 (31,000; down 7%), Juice WRLD’s Legends Never Die jumps 11-9 (30,000; down 4%) and Lil Baby’s My Turn hops 13-10 (29,000; down 2%).

Source: billboard.com

Plus, The Weeknd’s “Blinding Lights” makes a record re-entry at No. 3 as holiday hits recede.

24kGoldn‘s “Mood,” featuring Iann Dior, rebounds from No. 7 for a seventh total week at No. 1 on the Billboard Hot 100 songs chart. The song resurges as a sleighful of holiday hits drop on, or depart entirely from, the survey.

Plus, The Weeknd‘s former No. 1 “Blinding Lights” returns to the Hot 100 at No. 3, marking the highest re-entry in the chart’s history, and Dua Lipa‘s “Levitating,” featuring DaBaby, soars to the top 10 for the first time (27-10).

Meanwhile, Mariah Carey‘s “All I Want for Christmas Is You” falls to No. 9 on the Hot 100 from No. 1. Still, the carol was the most-streamed song of the week, even with Dec. 25 and the next six days after Christmas comprising the chart’s streaming tracking week.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Jan. 9) will update on Billboard.com tomorrow (Jan. 5). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“Mood,” released on RECORDS/Columbia Records, and the first Hot 100 No. 1 for both 24kGoldn and Iann Dior, drew 17.5 million U.S. streams (up 4%) and sold 7,000 downloads (up 39%) in the week ending Dec. 31, according to Nielsen Music/MRC Data. It also tallied 82.3 million radio airplay audience impressions (up 1%) in the week ending Jan. 3.

Notably, “Mood” makes its record-tying fourth separate ascent to No. 1 on the Hot 100. It first topped the chart dated Oct. 24, 2020, and remained atop the Oct. 31 survey; after dropping to No. 3 on the Nov. 7 chart, it led again on the lists dated Nov. 14, 21 and 28; “Mood” fell to No. 2 on Dec. 5 and rebounded for a sixth week at No. 1 on Dec. 12; it then dipped to Nos. 2, 5 and 7, successively, the last three weeks. Previously, only Drake’s “Nice For What” made four climbs to No. 1, in 2018.

“Mood” spends a 10th week at No. 1 on the Radio Songs chart and charges 33-5 on Streaming Songs and 22-6 on Digital Song Sales. It tops the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for an 18th week each and Hot Rap Songs for a 12th frame, with all three charts using the same methodology as the Hot 100.

A week ago, a one-week record nine holiday hits (led by Carey’s) infused the Hot 100’s top 10. With eight of those songs gone from the tier, Ariana Grande’s “Positions,” like “Mood,” makes a sizable rebound, from No. 14 to No. 2; it led the Nov. 7-dated chart upon its debut.

Also benefiting from the downturn of seasonal songs, combined with resulting boosts in multiple metrics for numerous non-holiday titles in their place (many of which were also aided by year-end retrospective play), The Weeknd’s “Blinding Lights” blasts back onto the Hot 100 at No. 3, with 56.9 million airplay audience impressions (up 26%), 12.5 million streams (up 7%) and 9,000 sold (up 82%).

“Lights” spent four weeks at No. 1 on the Hot 100 (eventually ranking as the chart’s top hit of all of 2020) and logs its 56th total week on the tally. (Digging into the details of the song’s re-entry at No. 3 on the Hot 100, after its 55th frame on the Dec. 26-dated chart, it did not appear on last week’s list, as it would’ve ranked below No. 25; per Hot 100 rules, songs with more than 52 weeks on the chart are removed if below No. 25 [and those with more than 20 weeks are removed if below No. 50]. As Yuletide hits have dashed up the Hot 100’s upper ranks in recent holiday seasons, followed by their swoons after Christmas, non-seasonal songs are eligible to re-enter once holiday titles decline, if meeting all chart eligibility rules. Below “Lights,” 10 other hits re-enter in the top 50.)

“Lights” scores a record-extending 43rd week in the Hot 100’s top 10. It also adds a sixth week at No. 1 on the multi-metric Hot R&B/Hip-Hop Songs chart and a record-padding 40th frame atop Hot R&B Songs.

Rounding out the Hot 100’s top five, Justin Bieber’s “Holy,” featuring Chance the Rapper, flies 21-4, after debuting at its No. 3 high in October, and BTS’ “Dynamite” vaults 44-5, after it debuted atop the chart in September and logged three total weeks at the summit. “Dynamite” posts a 12th week at No. 1 on Digital Song Sales (45,000, up 183%).

Chris Brown and Young Thug’s “Go Crazy” hurtles 24-6 on the Hot 100, surpassing its prior No. 9 high reached in August (as it returns to the top 10 after 19 subsequent weeks all in the top 25); Drake’s “Laugh Now Cry Later,” featuring Lil Durk, darts 25-7, after debuting at its No. 2 peak in August; and Gabby Barrett’s “I Hope,” featuring Charlie Puth, jumps 30-8 after rising to No. 3 in November, as it rules Hot Country Songs for a 23rd week.

Carey’s “All I Want for Christmas Is You” drops from No. 1 to No. 9 on the Hot 100, with 22.7 million U.S. streams (down 59%) and 4,000 sold (down 66%) in the Dec. 25-31 tracking week. It also tallied 1.4 million radio airplay audience impressions (down from 33.7 million) in the Dec. 28-Jan. 3 tracking period.

Despite the streaming tracking week covering Dec. 25 and the next six days after Christmas, the song, originally released in 1994, remains atop Streaming Songs, where it reigns for a 10th total week. A week earlier, “Christmas” claimed its fifth total week atop the Hot 100, passing the domination of the only other holiday No. 1 in the chart’s history, “The Chipmunk Song” by The Chipmunks with David Seville (four weeks, 1958-59).

Closing out the Hot 100’s top 10, Dua Lipa’s “Levitating,” featuring DaBaby, zooms 27-10, with 47.5 million in radio audience (up 5%), 10.2 million streams (down 1%) and 9,000 sold (up 2%).

Lipa adds her third Hot 100 top 10, following “Don’t Start Now” (No. 2 peak, March 2020) and “New Rules” (No. 6, February 2018). DaBaby collects his fifth Hot 100 top 10, all earned since June 2019.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Jan. 9), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Jan. 5).

Source: billboard.com

Plus: Lil Durk’s ‘The Voice’ soars 46-3 after its first full tracking week of availability.

Playboi Carti lands his first No. 1 on the Billboard 200 albums chart, as his Christmas Day release Whole Lotta Red debuts atop the tally. The rapper’s second studio album starts with 100,000 equivalent album units earned in the U.S. in the week ending Dec. 31, 2020, according to Nielsen Music/MRC Data.

Meanwhile, Lil Durk’s The Voice jumps 46-3 following its first full tracking week, after its debut a week ago from just one day of activity, as the set dropped on Dec. 24 (the final day of the previous tracking week). It matches his previous chart high, achieved with Just Cause Y’all Waited 2, released earlier in 2020.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Jan. 9, 2021-dated chart (where Whole Lotta Red bows at to No. 1) will be posted in full on Billboard‘s website on Jan. 5. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Whole Lotta Red’s 100,000 equivalent album units earned in the tracking week ending Dec. 31, SEA units comprise 90,000 (equaling 126.43 million on-demand streams of the album’s songs), album sales comprise 10,000 and TEA units comprise a negligible number.

Whole Lotta Red, which was first announced in 2018, boasts 24 tracks and guest stars Future, Kid Cudi and Kanye West (who also executive-produced the set). The album is Playboi Carti’s second studio effort, following 2018’s Die Lit, which debuted and peaked at No. 3. So far, it has earned 1.1 million equivalent album units and net 1.67 billion on-demand streams for its tracks.

All told, Whole Lotta Red is the 24-year-old’s third charting set, as he also notched a self-titled mixtape in 2017, which reached No. 12. Earlier in 2020, Playboi Carti logged his first top 10 hit on the Billboard Hot 100 chart, as the featured artist on Drake’s “Pain 1993,” which topped out at No. 7 in May. The cut also hit No. 4 on Hot Rap Songs and No. 6 on Hot R&B/Hip-Hop Songs.

After two weeks at No. 1 on the Billboard 200, Taylor Swift’s Evermore falls to No. 2 with 71,000 equivalent album units earned (down 58%).

Lil Durk’s The Voice surges from No. 46 to No. 3 with 66,000 equivalent album units earned (up 191%) following its first full tracking week. It debuted on the chart a week ago with 23,000 units from just one day of activity, as it was released on Dec. 24, the final day of the previous tracking frame. The Voice is the rapper’s third top 10 effort and equals his chart high, achieved with his previous studio set, Just Cause Y’all Waited 2. It peaked at No. 2 on the July 1, 2020-dated chart following its deluxe reissue with seven bonus tracks.

Pop Smoke’s former leader Shoot for the Stars Aim for the Moon climbs 11-4 with 46,000 equivalent album units earned (down 3%), after spending its first week outside the top 10 since its debut at No. 1 on the July 18, 2020-dated chart. It’s one of a number of albums that bounce back to the top 10 – even with a decline in units – now that Christmas albums have departed the region completely. A week ago, a record-tying six holiday sets dotted the top 10.

Ariana Grande’s former No. 1 Positions steps 14-5 with 38,000 equivalent album units earned (down 13%), Swift’s previous leader Folklore rises 8-6 with 35,000 units (down 33%) and Megan Thee Stallion’s Good News vaults 17-7 with 34,000 units (down 9%).

A trio of former No. 1s closes out the top 10: Luke Combs’ What You See Is What You Get climbs 19-8 with nearly 34,000 units (down 5%), Bad Bunny’s El Ultimo Tour del Mundo rises 16-9 with almost 34,000 units (down 12%) and Eminem’s Music to Be Murdered By falls 3-10 with 33,000 units (down 65%).

Source: billboard.com