Monthly Archives: April 2021

“Levitating” revisits its No. 5 high, sparked by TikTok momentum.

Polo G‘s “Rapstar” spends a second week at No. 1 on the Billboard Hot 100 songs chart, a week after it debuted at the top spot.

Plus, Dua Lipa‘s “Levitating,” featuring DaBaby, returns to its No. 5 Hot 100 high (rising from No. 6), first reached two months earlier, thanks in part to momentum for its profile on TikTok.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated May 1) will update on Billboard.com tomorrow (April 27). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“Rapstar,” released on Columbia Records, drew 40.3 million U.S. streams (down 25%) and sold 2,400 downloads (down 55%) in the week ending April 22, according to MRC Data. It also attracted 3 million radio airplay audience impressions (up 254%) in the week ending April 25.

The track adds a second week atop the Streaming Songs chart, as it becomes the second song in 2021 to tally at least 40 million streams in multiple frames, after it started with 53.6 million a week earlier. Olivia Rodrigo’s “Drivers License” debuted with 76.1 million streams in its first week (as reflected on charts dated Jan. 23) and followed with 59.7 million (Jan. 30) and 42.6 million (Feb. 6).

Meanwhile, “Rapstar” is the 22nd title to debut at No. 1 on the Hot 100 and log a second consecutive week on top, among 52 total No. 1 arrivals (a second-week success rate of 42%). It’s the second among five such songs this year, after “Drivers License” spent its first eight weeks at No. 1 (encompassing its entire reign).

“Rapstar” concurrently claims a second week at No. 1 on the multi-metric Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which use the same methodology as the Hot 100.

Silk Sonic’s “Leave the Door Open” rebounds 3-2 on the Hot 100, two weeks after reaching No. 1. It adds a second week at No. 1 on Radio Songs (71.3 million, up 9%), as it tops the multi-metric Hot R&B Songs chart for a fifth frame.

Justin Bieber’s “Peaches,” featuring Daniel Caesar and Giveon, rises 4-3 on the Hot 100, four weeks after it debuted at No. 1. The song posts its first week in the Radio Songs top 10, charging 12-5 (51 million, up 23%). It becomes Bieber’s 18th Radio Songs top 10, breaking him out of a 10-way tie for the fifth-most in the chart’s 30-year history, after Rihanna (29), Drake (24), Mariah Carey (23) and Lil Wayne (20). Caesar and Giveon each earn their first Radio Songs top 10.

“Peaches” wins the Hot 100’s top Airplay Gainer award for a fourth consecutive week (marking Bieber’s longest such streak in a lead role since “Love Yourself” achieved the honor for four straight weeks in January-February 2016).

Lil Nas X’s “Montero (Call Me by Your Name)” dips 2-4 on the Hot 100, three weeks after it launched at No. 1.

Dua Lipa’s “Levitating,” featuring DaBaby, returns to its No. 5 Hot 100 high, first reached two months ago, on the charts dated Feb. 6 and 13. It has ranked in the top 10 each week except for one frame since, returning to the tier (13-7) on the chart dated March 27 after Lipa and DaBaby performed it during the Grammy Awards March 14 as part of a medley with Lipa’s “Don’t Start Now” (which reached No. 2 in March 2020). Further sustaining it, it has soundtracked numerous TikTok clips since mid-April.

“Levitating” ascends 9-6 on Streaming Songs (20.7 million, up 13%), a new best rank, and 13-6 on Digital Song Sales (9,600, up 34%, aided by 69-cent sale-pricing in the iTunes Store between April 20 and 22) and holds at No. 14 on Radio Songs (37.3 million, up 7%), where it reached No. 6 in January.

(Plus, “We’re Good,” Lipa’s follow-up single to “Levitating,” hits the Hot 100’s top 40 for the first time, pushing 45-38, up 4% to 23.3 million in airplay audience and 12% to 7.7 million streams.)

The Weeknd’s “Save Your Tears” backtracks 5-6 on the Hot 100, after reaching No. 4. Its remix with Ariana Grande was released Friday, April 23, and streaming and sales increases for the song overall in the tracking week ending April 29 will be reflected on next week’s Hot 100 (dated May 8).

Rounding out the Hot 100’s top 10, Masked Wolf’s first entry on the chart, “Astronaut in the Ocean,” jumps 10-7 for a new high; Doja Cat’s “Kiss Me More,” featuring SZA, drops to No. 8 a week after it debuted at No. 7; Cardi B’s “Up” descends 8-9, four weeks after reaching No. 1; and Olivia Rodrigo’s former eight-week No. 1 “Drivers License” shifts 9-10 in reverse.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated May 1), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (April 27).

Source: billboard.com

Plus: Eric Church and Greta Van Fleet bow in the top 10.

The star-studded Slime Language 2 project from Young Thug’s Young Stoner Life Records debuts at No. 1 on the Billboard 200 albums chart, earning 113,000 equivalent album units in the U.S. in the week ending April 22, according to MRC Data. The vast majority of that sum was driven by streaming activity.

Slime Language 2 was released on April 16 via Young Stoner Life/300. It’s the third No. 1 for the Young Stoner Life label, following Gunna’s Wunna in 2020 and label chief Young Thug’s So Much Fun in 2019.

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 May 1, 2021-dated chart (where Slime Language 2 debuts at No. 1) will be posted in full on Billboard‘s website on April 27. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.ARTISTS MENTIONED

Of Slime Language 2’s 113,000 equivalent album units earned in the tracking week ending April 22, SEA units comprise 106,000 (equaling 142.68 million on-demand streams of the album’s tracks), album sales comprise 6,000 and TEA units comprise 1,000.

The 23-track Slime Language 2 project showcases Young Stoner Life’s family of artists such as Gunna, Yak Gotti, Lil Duke, T-Shyne and Lil Keed, as well as acts from outside the Young Stoner Life camp, including Drake, Lil Uzi Vert, Big Sean, NAV and Future. Young Thug himself performs on more than half of the album (13 of the 23 tracks), and, in turn, the set is billed on the chart to Young Thug & Various Artists. Slime Language 2 marks Young Thug’s second No. 1 album, following So Much Fun.

Slime Language 2 is the second R&B/hip-hop album released in 2021 to lead the Billboard 200, following Rod Wave’s SoulFly (April 10-dated chart).

Taylor Swift’s Fearless (Taylor’s Version) falls 1-2 in its second week on the Billboard 200 with 57,000 equivalent album units earned (down 80%). The album debuted with 2021’s biggest week yet, 291,000 units earned.

Morgan Wallen’s former No. 1 Dangerous: The Double Album rises one spot to No. 3 with 56,000 equivalent album units earned (down 4%), and Justin Bieber’s previous leader Justice dips 3-4 in its fifth week with 54,000 units (down 10%).

Eric Church’s Heart debuts at No. 5 with 49,000 equivalent album units earned, marking his sixth top 10 (and sixth top five). Of Heart’s starting sum, 40,000 comprise album sales (making it the top-selling album of the week), 8,000 comprise SEA units (equaling 10.54 million on-demand streams of the album’s songs) and 1,000 comprise TEA units.Heart was released on April 16 and is one of three new albums from Church, collectively referred to as Heart & Soul. The & album is available only to members of the artist’s Church Choir fan club, and Soul was released on April 23.

With Fearless (Taylor’s Version), Dangerous: The Double Album and Heart at Nos. 2, 3 and 5, it’s the first time three country albums are in the top five together in over five years. It last happened on the Nov. 28, 2015-dated chart, when Chris Stapleton’s Traveller was at No. 1, followed by Church’s Mr. Misunderstood at No. 2 and Tim McGraw’s Damn Country Music at No. 5. That week, the chart was still basking in the glow of that year’s Country Music Association Awards (held on Nov. 4), where Stapleton and Church both performed. (Country albums are defined as those that have charted on Billboard’s Top Country Albums chart.)

Rod Wave’s former No. 1 SoulFly falls 5-6 on the new Billboard 200 with 46,000 equivalent album units earned (down 16%).

Rock band Greta Van Fleet scores its second Billboard 200 top 10, as The Battle at Garden’s Gate debuts at No. 7 with 44,000 equivalent album units earned. Of Battle’s starting sum, 39,000 comprise album sales, 5,000 comprise SEA units (equaling 6.28 million on-demand streams of the album’s songs) and less than 1,000 comprise TEA units.

The new album was preceded by the single “My Way, Soon,” which marked the group’s fifth No. 1 on the Mainstream Rock Airplay chart (dated Jan. 30). A second track, “Heat Above,” climbed 15-14 (a new peak) on the most recently published chart (dated April 24).

The Weeknd’s The Highlights falls 7-8 on the Billboard 200 with 40,000 equivalent album units earned (down 2%), Dua Lipa’s Future Nostalgia rises 10-9 with 35,000 units (up 6%) and Pop Smoke’s former leader Shoot for the Stars Aim for the Moon dips 9-10 with 34,000 units (down 5%).

Source: billboard.com

Billboard’s two worldwide tallies rank songs based on streaming and sales data from more than 200 territories.

Lil Nas X and Justin Bieber again boast the biggest songs in the world, as the former’s “Montero (Call Me by Your Name)” spends a second week at No. 1 on the Billboard Global 200 and the latter’s “Peaches,” featuring Daniel Caesar and Giveon, tallies a fourth week atop the Billboard Global Excl. U.S. chart.

Plus, Polo G’s “Rapstar” debuts at No. 3 on the Global 200; Doja Cat’s “Kiss Me More,” featuring SZA, starts at No. 7; and Giveon’s “Heartbreak Anniversary” hits the top 10 with an 11-10 lift.

Also on the Global Excl. U.S. chart, Los Legendarios, Wisin and Jhay Cortez climb to the top 10 (15-8) with “Fiel.”

Billboard‘s two global charts (the latest of which are dated April 24) began last September and rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by MRC Data. The Billboard Global 200 is inclusive of worldwide data and the Billboard Global Excl. U.S. chart comprises data from territories excluding the U.S.

Chart rankings are based on a weighted formula incorporating official-only streams on both subscription and ad-supported tiers of audio and video music services, as well as download sales, the latter of which reflect purchases from full-service digital music retailers from around the world, with sales from direct-to-consumer (D2C) sites excluded from the charts’ calculations.

‘Montero’ Holds Atop Global 200

Lil Nas X’s “Montero (Call Me by Your Name)” logs a second week at No. 1 on the Billboard Global 200, with 107.1 million streams (down 2%) and 25,500 sold (up 27%) worldwide in the April 9-15 tracking week. The sums mark the week’s top streaming and sales totals.

Justin Bieber’s “Peaches,” featuring Daniel Caesar and Giveon, keeps at No. 2 on the Global 200, following its two-week reign.

Polo G’s “Rapstar” bounds onto the Global 200 at No. 3 with 77.7 million streams and 6,300 sold globally in its first week. As previously reported, the track from the Chicago native launches as his first No. 1 on the U.S.-based Billboard Hot 100.

“Leave the Door Open” by Silk Sonic, the duo of Bruno Mars and Anderson .Paak, dips 3-4 on the Global 200, after reaching No. 2, and Masked Wolf’s “Astronaut in the Ocean” slips 4-5, after hitting No. 3.

Two other songs, by American acts, make their first appearances in the Global 200’s top 10. Doja Cat’s “Kiss Me More,” featuring SZA, arrives on the chart at No. 7 (49.7 million streams; 9,900 sold worldwide) and Giveon’s “Heartbreak Anniversary” ascends 11-10 (49.1 million streams; 2,800 sold). Thanks to “Peaches” and his new top 10, Giveon becomes the sixth act this year with concurrent top 10s in at least one week, joining Bieber, Drake, Ariana Grande, Olivia Rodrigo and The Weeknd.

‘Peaches’ No. 1 Again Outside U.S.

Justin Bieber’s “Peaches,” featuring Daniel Caesar and Giveon, adds a fourth week at No. 1 on the Billboard Global Excl. U.S. chart, encompassing its entire run on the ranking so far, with 67.2 million streams and 7,600 sold (up 2% in each metric) in territories outside the U.S. in the April 9-15 tracking week.

Lil Nas X’s “Montero (Call Me by Your Name)” keeps at its No. 2 high on the Global Excl. U.S. survey; Masked Wolf’s “Astronaut in the Ocean” rises 4-3, after reaching No. 2; Silk Sonic’s “Leave the Door Open” lifts 5-4 for a new high; and The Weeknd’s “Save Your Tears” pushes 6-5, after hitting No. 2.

Further in the Global Excl. U.S. chart’s top 10, Los Legendarios, Wisin and Jhay Cortez, all from Puerto Rico, surge 15-8 with the all-Spanish-language “Fiel,” which drew 33.5 million streams (up 11%) outside the U.S. in the tracking week. The collaboration also reaches the top 10, jumping 12-7, on the U.S-based Hot Latin Songs chart.

The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated April 24) will update on Billboard.com tomorrow (April 20). For both charts, the top 100 titles are available to all readers on Billboard.com, while the complete 200-title rankings are visible on Billboard Pro, Billboard‘s subscription-based service. For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

Source: billboard.com

Plus: She’s the first woman with three new No. 1 albums in less than a year.

More than 12 years after Taylor Swift notched her first No. 1 album on the Billboard 200 chart in 2008 with her second studio set Fearless, she’s back atop the list with a re-recorded version of the album, titled Fearless (Taylor’s Version). The new set is her ninth No. 1 and scores the biggest week of 2021 for any album. It launches with 291,000 equivalent album units earned in the U.S. in the week ending April 15, according to MRC Data.

The original Fearless album debuted at No. 1 on the Billboard 200 chart dated Nov. 29, 2008, and spent 11 nonconsecutive weeks atop the chart.

On Feb. 11, 2021, Swift announced she had re-recorded the 2008 album Fearless as Fearless (Taylor’s Version). The new 26-track album has re-recordings of all 13 songs on Fearless, along with the six bonus songs added to a 2009 reissue of Fearless (dubbed the Platinum Edition) and the 2010 single “Today Was a Fairytale.” Beyond those 20 re-recordings, Fearless (Taylor’s Version) also boasts six newly recorded “from the vault” songs that were written for the original Fearless album, but were never recorded and released until now.ARTIST MENTIONED

Fearless (Taylor’s Version) is the only No. 1 album of its kind: a re-recording of an artist’s (own or another’s) previously released album.

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 April 24, 2021-dated chart (where Fearless [Taylor’s Version] debuts at No. 1) will be posted in full on Billboard‘s website on April 20. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Fearless (Taylor’s Version)’s 291,000 equivalent album units earned in the tracking week ending April 15, album sales comprise 179,000 (making it the top-selling album of the week), SEA units comprise 109,000 units (equaling 142.98 million on-demand streams of the album’s tracks) and TEA units comprise 3,000.

Re-recordings of older songs or albums are treated separately from their originals, with independent chart histories for each version. Thus, Fearless (Taylor’s Version) charts separately from the original album. The 2008 Fearless album falls off the new chart, after having re-entered a week earlier at No. 157 (chart dated April 17). In the latest tracking week, the 2008 Fearless album earned 6,200 equivalent album units (down 19%). Of that 6,200 sum, SEA units comprise 5,700 (down 21%, equaling 7.71 million on-demand streams of its tracks), album sales comprise 400 (up 15%) and TEA units comprise 100 (down 8%).

Let’s take a look at some of notable feats Swift achieves with the debut of Fearless (Taylor’s Version):

Ninth No. 1 Album: As Fearless (Taylor’s Version) marks Swift’s ninth Billboard 200 No. 1, she ties Madonna for the second-most No. 1 albums among women. Swift is closing in on Barbra Streisand’s all-time record among women of 11 No. 1 albums. Among all artists, The Beatles have the most No. 1s, with 19. Among all soloists, Jay-Z leads with 14.

Biggest Week of 2021 by Units Earned: With 291,000 equivalent album units earned, Fearless (Taylor’s Version) scores the largest week for any album in 2021. It jumps past the previous high-water mark, set when Morgan Wallen’s Dangerous: The Double Album bowed at No. 1 with 265,000 units (chart dated Jan. 23).

The Three Largest Weeks for an Album in the Last Eight Months All Belong to Swift: Since August of 2020, Swift has not only claimed three No. 1s, but also the three biggest weeks among albums in units earned. On the Aug. 8, 2020-dated chart, Folklore debuted at No. 1 with 846,000 units. Evermore arrived at No. 1 on the Dec. 26, 2020, chart with 329,000 units. And now Fearless (Taylor’s Version) starts with 291,000 units.

Biggest Week for a Country Album Since 2015: As Fearless (Taylor’s Version) bows with 291,000 units, it logs the largest week for a country album since 2015. The last country set to post a bigger frame was Luke Bryan’s Kill the Lights, which debuted at No. 1 with 345,000 units (Aug. 29, 2015-dated chart). (Country albums are defined as those that have charted on Billboard’s Top Country Albums chart. Both the original Fearless album and the new Fearless [Taylor’s Version] are charting on Top Country Albums.)

Fearless (Taylor’s Version) has the biggest week for a country album by a female artist since the Billboard 200 chart transitioned from an album-sales only ranking to an equivalent album units-based chart on the Dec. 13, 2014, survey.

Strong Sales: With 179,000 copies sold in its first week, Fearless (Taylor’s Version) logs the largest sales week for an album released in 2021, surpassing the opening week of Wallen’s Dangerous (74,000). Fearless (Taylor’s Version) also has the biggest sales week for any album since Swift’s last release, Evermore, sold 102,000 in its second week (Jan. 2-dated chart).

Largest Streaming Week for a Country Album by a Woman: Fearless (Taylor’s Version) bows with 109,000 SEA units — totaling 142.98 million on-demand streams of the album’s tracks. That hefty sum marks the biggest streaming week for a country album by a woman.  It surpasses the previous record of 44.67 million streams tallied by songs on the Brenda Lee collection Rockin’ Around the Christmas Tree: The Decca Christmas Recordings (Jan. 2, 2021, chart). The album was powered by Lee’s evergreen holiday track “Rockin’ Around the Christmas Tree.”

Swift also scores the biggest debut streaming week for a country album by a woman, blowing past Maren Morris’ former high-water mark of 23.96 million streams earned by Girl on the March 23, 2019-dated chart. (Morris had a hand in helping Swift to her record — she’s featured on the Fearless [Taylor’s Version] song “You All Over Me [Taylor’s Version] [From the Vault].)

The biggest streaming week registered by any country album remains Wallen’s Dangerous, with 240.18 million streams registered in its debut frame (chart dated Jan. 23).

Swift Now Has Three of the Top Five-Selling Albums of 2021: In terms of traditional album sales, Swift already has three of the top five-selling albums of 2021 so far. Wallen’s Dangerous is tops with 218,000 copies sold, Fearless (Taylor’s Version) is No. 2 with 179,000, Carrie Underwood’s My Savior is No. 3 with 114,000, Folklore is No. 4 with just over 111,000 and Evermore is No. 5 with a little under 111,000.

Shortest Wait Between New No. 1 Albums by a Woman: Swift waited just four months between the first weeks at No. 1 for Evermore (Dec. 26, 2020) and Fearless (Taylor’s Version) (April 24, 2021). That’s the shortest gap between new No. 1 albums by a woman. Swift beats her own record, set with the four months and two weeks between the first weeks at No. 1 for Folklore (Aug. 8, 2020) and Evermore.

The last time an act had a shorter wait between No. 1s before Swift was BTS, when the group waited a little over three months between Love Yourself: Tear (June 2, 2018) and Love Yourself: Answer (Sept. 8, 2018). Prior to that, Future achieved a first by landing back-to-back new No. 1s in successive weeks in 2017 (with his self-titled album March 11, 2017 and HNDRXX on March 18, 2017).

First Woman With Three New No. 1 Albums in Less Than a Year: With eight months and two weeks between the first weeks at No. 1 for Folklore, Evermore and Fearless (Taylor’s Version), Swift becomes the first woman in the 65-year history of the chart with three new No. 1s in less than 12 months. Previously, the fastest a female artist had notched three new No. 1s was just under 14 months, when Donna Summer topped the list with Live and More (Nov. 11, 1978), Bad Girls (June 16, 1979) and On the Radio: Greatest Hits Volumes I & II (Jan. 5, 1980).

The last act to score three No. 1s faster than Swift was Future, when he logged his first three No. 1s in just six months and three weeks with DS2 (Aug. 8, 2015); What a Time to Be Alive, with Drake (Oct. 10, 2015); and Evol (Feb. 27, 2016).

Back on the new Billboard 200, DMX’s greatest hits compilation The Best of DMX soars from No. 73 (its prior peak) to No. 2 following the rapper’s death on April 9. The set earned 77,000 equivalent album units (up 544%) in the week ending April 15. Of that sum, 59,000 comprise SEA units (up 508%, equaling 88.56 million on-demand streams of the album’s songs), 9,000 comprise album sales (up 733%) and 9,000 comprise TEA units (up 666%).

The 21-track Best of DMX includes such hit singles as “Ruff Ryders’ Anthem,” “Party Up (Up in Here)” and “X Gon’ Give It to Ya.”

The Best of DMX marks the late star’s highest charting album, and first top 10, since 2006’s Year of the Dog… Again debuted and peaked at No. 2. In total, The Best of DMX marks his seventh top 10 album, as he also opened his chart career with five consecutive No. 1s between 1998 and 2003.

DMX has two more albums on the latest Billboard 200, as his former No. 1s It’s Dark and Hell Is Hot, from 1998 (No. 46; 14,000 equivalent album units, up 458%), and Flesh of My Flesh Blood of My Blood, from 1999 (No. 107; 9,000 units, up 469%) re-enter the list.

Justin Bieber’s Justice falls 1-3 in its third week on the Billboard 200, earning 60,000 equivalent album units (down 20%). Three more former No. 1s are next on the list, as Wallen’s Dangerous is steady at No. 4 with 58,000 units (down 8%), Rod Wave’s SoulFly dips 3-5 with 55,000 units (down 19%) and Ariana Grande’s Positions bolts 17-6 with 54,000 units (up 138%). Positions zooms back into the top 10 following the April 9 release of its vinyl LP and cassette, which powers the bulk of the set’s 35,000 in album sales for the week (up 1,613%).

The Weeknd’s best-of set The Highlights slips 6-7 with 41,000 equivalent album units (down 4%), Lil Tjay’s Destined to Win falls 5-8 with 38,000 units (down 39%), Pop Smoke’s former No. 1 Shoot for the Stars Aim for the Moon descends 7-9 with 36,000 units (down 5%) and Dua Lipa’s Future Nostalgia slips down 9-10 with 33,000 units (down 3%).

Source: billboard.com

Plus, Olivia Rodrigo’s “Deja Vu” debuts at No. 8 and Masked Wolf’s “Astronaut in the Ocean” reaches the top 10.

“Leave the Door Open” by Silk Sonic, the duo of Bruno Mars and Anderson .Paak, rises from No. 3 to No. 1 for its first week atop the Billboard Hot 100 songs chart.

Mars unlocks his eighth Hot 100 No. 1 and Anderson. Paak earns his first.

Plus, Olivia Rodrigo’s “Deja Vu” enters the Hot 100 at No. 8 and Masked Wolf notches his first top 10 as his breakthrough hit “Astronaut in the Ocean” ascends 12-10.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated April 17) will update on Billboard.com tomorrow (April 13). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“Door,” released on Aftermath/Atlantic Records, is the 1,121st No. 1 in the Hot 100’s 62-year history.

Streams, sales & airplay: “Door” drew 21.5 million U.S. streams (up 13%) and sold 28,600 copies, downloads and CDs combined (up 138%), in the week ending April 8, according to MRC Data. It also attracted 59.1 million radio airplay audience impressions (up 9%) in the week ending April 11.

The track pushes 5-2 for a new high on Radio Songs and climbs 4-2 on Digital Song Sales and 7-3 on Streaming Songs, returning to its best rank on each of the latter two charts. Combining digital and physical sales, the song was the most-sold of the tracking week, aided by two CD versions that shipped to purchasers in that span (one for $2.50 and a live version for the standard $1.29 single price), as it wins the Hot 100’s top Sales Gainer award.

Mars’ eighth Hot 100 No. 1: As the Silk Sonic billing counts for both Bruno Mars and Anderson. Paak’s individual chart histories, “Door” marks the former’s eighth Hot 100 No. 1 and the latter’s first.

Bruno Mars’ Hot 100 No. 1s:
“Nothin’ on You” (B.o.B feat. Mars), two weeks, beginning May 1, 2010
“Just the Way You Are,” four weeks, Oct. 2, 2010
“Grenade,” four weeks, Jan. 8, 2011
“Locked Out of Heaven,” six weeks, Dec. 22, 2012
“When I Was Your Man,” one week, April 20, 2013
“Uptown Funk!” (Mark Ronson feat. Mars), 14 weeks, Jan. 17, 2015
“That’s What I Like,” one week, May 13, 2017
“Leave the Door Open” (Silk Sonic [Mars & Anderson. Paak]), one week to-date, April 17, 2021

With eight Hot 100 No. 1s dating to his first, as featured on B.o.B’s “Nothin’ on You” on the chart dated May 1, 2010, Mars ties Drake, Katy Perry and Rihanna for the most in that span. Mars becomes one of 18 artists in the Hot 100’s entire history with at least eight leaders.

Meanwhile, “Door” reaches No. 1 in its fifth week on the Hot 100, completing Mars’ quickest coronation. He wrapped a prior-best eight-week ascent to the summit with “Uptown Funk!” in 2015.

Anderson .Paak reigns in his second Hot 100 visit, after he reached No. 89 in February 2020 as featured on Eminem’s “Lock It Up.”

(Mars is the second artist in less than a year to top the Hot 100 via a collaborative billing that expands beyond his name; Travis Scott did so with “The Scotts,” credited to The Scotts, Travis Scott and Kid Cudi, when it debuted atop the May 9, 2020, chart.)

An Atlantic Records record: “Door” is Mars’ seventh Hot 100 No. 1 credited to Atlantic Records (encompassing all his leaders except for Mark Ronson’s “Uptown Funk!,” featuring Mars, released on RCA). His latest leader is historic in the label’s archives, as he ties Phil Collins for the most Atlantic No. 1s. Collins logged his seven leaders in 1984-90 (and made another trip to the top, also on Atlantic, with “Invisible Touch” by trio Genesis, of which he was a member, in 1986).

‘Door’ No. 1: Meanwhile, an act walks a song with “door” in its title to No. 1 for the first time in the Hot 100’s history. The song one-ups the No. 2-peaking “Lookin’ Out My Back Door” by Creedence Clearwater Revival in 1970. Three other songs with “door” in their titles have hit the Hot 100’s top 10: Neil Sedaka’s “Next Door to an Angel” (No. 5, 1962); Dean Martin’s “The Door Is Still Open to My Heart” (No. 6, 1964); and Pete Townshend’s “Let My Love Open the Door” (No. 9, 1980).

As for artists, The Doors notched two Hot 100 No. 1s: “Light My Fire” (three weeks, 1967) and “Hello, I Love You” (two weeks, 1968).

Plus, Silk Sonic is the second “Silk”-named act to top the Hot 100. Two weeks shy of 28 years earlier, R&B vocal group Silk began a two-week reign with “Freak Me” on the May 1, 1993, chart.

No. 1 R&B and hip-hop: Silk Sonic pushes “Door” from No. 2 to No. 1 for its first week atop the multi-metric Hot R&B/Hip-Hop Songs chart, where it’s Mars’ fourth leader, after “That’s What I Like” (10 weeks, 2017), “Finesse” (one week, 2018) and “Please Me” (one week, 2019), the latter two with Cardi B. Anderson. Paak scores his first No. 1 on the chart.

“Door” concurrently rebounds 2-1 for a third week atop the Hot R&B Songs chart, which, like Hot R&B/Hip-Hop Songs, uses the same methodology as the Hot 100.

Lil Nas X’s “Montero (Call Me by Your Name)” drops to No. 2 after it launched atop the Hot 100 a week earlier. It adds a second week atop Streaming Songs (38.1 million, down 19%) and slips 2-3 on Digital Song Sales (14,500, down 31%), while gaining by 189% to 3.2 million in airplay audience.

Justin Bieber’s “Peaches,” featuring Daniel Caesar and Giveon, descends 2-3, two weeks after debuting atop the Hot 100, while claiming the chart’s top Airplay Gainer nod (31.6 million, up 37%), and Cardi B’s “Up” holds at No. 4, three weeks after reaching No. 1. “Up” adds a seventh week atop the multi-metric Hot Rap Songs chart.

Olivia Rodrigo’s former eight-week Hot 100 No. 1 “Drivers License” keeps at No. 5, as it spends a fifth week at No. 1 on Radio Songs (62.8 million, down 6%); The Weeknd’s “Save Your Tears” is steady at No. 6 on the Hot 100, after reaching No. 4; and Dua Lipa’s “Levitating,” featuring DaBaby, repeats at No. 7, after hitting No. 5.

Olivia Rodrigo’s “Drivers License” follow-up “Deja Vu” debuts at No. 8 on the Hot 100, marking her second top 10. Released April 1, it enters at No. 4 on Streaming Songs with 20.3 million streams and No. 7 on Digital Song Sales with 7,400 sold in the April 2-8 tracking week; it also drew 9.3 million in radio reach in the week ending April 11.

As “License,” which soared onto the Hot 100 at No. 1 in January and “Deja Vu” are Rodrigo’s first two singles promoted to radio, streaming services and other platforms (and mark her second and third Hot 100 entries, respectively, after “All I Want,” from High School Musical: The Musical: The Series [Music From the Disney+ Original Series], reached No. 90 in January 2020), she is the first artist to send her first two proper singles straight onto the Hot 100 in the top 10.

The Weeknd’s “Blinding Lights” backtracks 8-9 on the Hot 100, after spending four weeks at No. 1 in April-May 2020. It adds a record-extending 57th week in the top 10, after it became the first song to total a year in the region.

The track also tallies a 70th total week on the Hot 100, becoming the fourth single to reach the milestone, while extending its run as the longest-charting No. 1 hit.

Most Weeks on the Billboard Hot 100:
87, “Radioactive,” Imagine Dragons, No. 3 peak, 2012-14
79, “Sail,” AWOLNATION, No. 17, 2011-14
76, “I’m Yours,” Jason Mraz, No. 6, 2008-09
70, “Blinding Lights,” The Weeknd, No. 1 (four weeks), 2020-21
69, “How Do I Live,” LeAnn Rimes, No. 2, 1997-98
68, “Counting Stars,” OneRepublic, No. 2, 2013-14
68, “Party Rock Anthem,” LMFAO feat. Lauren Bennett & GoonRock, No. 1 (six weeks), 2011-12

Rounding out the Hot 100’s top tier, Masked Wolf’s first entry on the chart, “Astronaut in the Ocean,” rises 12-10. It also reaches the Streaming Songs top 10 (11-8; 18 million, up 9%), while dipping 3-4 on Digital Song Sales (12,000, down 1%) and debuting at No. 50 on Radio Songs (15.5 million, up 26%).

The single from the Australian rapper, born Harry Michael, spends a sixth week in the top 10 of both the Billboard Global 200 and Billboard Global Excl. U.S. charts, where it has hit Nos. 3 and 4, respectively.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated April 17), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (April 13).

Source: billboard.com

It’s his first multi-week No. 1 since 2010. Plus: Demi Lovato notches highest charting album since 2015, and Lil Tjay debuts in the top five.

Justin Bieber’s Justice returns to No. 1 on the Billboard 200 albums chart (dated April 17), scoring its second nonconsecutive week atop the list – and becomes his first multi-week No. 1 album since 2010. Plus, Demi Lovato lands her highest charting album since 2015, and Lil Tjay debuts in the top five.

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 April 17, 2021-dated chart (where Justice returns to No. 1) will be posted in full on Billboard‘s website on April 13. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Justice rises 2-1 on the Billboard 200 in its third week on the chart, having earned 74,000 equivalent album units in the U.S. in the week ending April 8 (down 25%), according to MRC Data. Of that sum, 67,000 comprise SEA units (down 23%, equaling 89.44 million on-demand streams of the set’s songs), 6,000 comprise album sales (down 43%) and 2,000 comprise TEA units (down 38%). Justice debuted at No. 1 on the chart dated April 3, and fell to No. 2 on the April 10 chart.

As Justice notches a second week at No. 1, it marks Bieber’s first album to spend more than one week at No. 1 since 2010, when his first leader, My World 2.0, spent four nonconsecutive weeks atop the list. In total, Bieber has eight No. 1 albums, and the six No. 1 albums in between My World 2.0 and Justice all spent one week at No. 1.

Justice continues to profit from the success of its smash single “Peaches,” featuring Daniel Caesar and Giveon. On the most recently published Billboard Hot 100 and Streaming Songs charts (dated April 10), the song sat at No. 2, after it debuted atop both charts the previous week (April 3).

Demi Lovato lands her highest charting album since 2015 on the Billboard 200, as her new effort Dancing With the Devil… The Art of Starting Over debuts at No. 2. It’s also her seventh consecutive top five-charting album – the entirety of her charting efforts.

Dancing bows with 74,000 equivalent album units earned. Of that sum, 38,000 comprise album sales (making it the top-selling album of the week), 33,000 comprise SEA units (equaling 46.50 million on-demand streams of the album’s songs) and 2,000 comprise TEA units.

The album was supported by the four-episode YouTube Originals documentary Demi Lovato: Dancing With the Devil, which premiered on March 23. Collectively, the episodes have garnered over 30 million global views on YouTube.

The Dancing album also got a boost from the availability of a Target-exclusive CD edition of the set with two bonus tracks, a signed CD sold via Lovato’s official website, multiple CD cover variants and two digital deluxe editions of the album (each with bonus tracks).Here’s a recap of Lovato’s seven charting albums on the Billboard 200: Dancing With the Devil… (No. 2), Tell Me You Love Me (No. 3, 2017), Confident (No. 2, 2015), Demi (No. 3, 2013), Unbroken (No. 4, 2011), Here We Go Again (No. 1, 2009) and Don’t Forget (No. 2, 2008).

Rod Wave’s SoulFly falls 1-3 in its second week on the Billboard 200, earning 67,000 equivalent album units (down 48%). Morgan Wallen’s former No. 1 Dangerous: The Double Album rises 5-4 with 63,000 units (down 1%).

Lil Tjay’s Destined 2 Win is the only other debut in the top 10, as the album bows at No. 5 with 62,000 equivalent album units earned. Of that sum, 58,000 comprise SEA units (equaling 86.14 million on-demand streams of the album’s songs), 3,000 comprise album sales and 1,000 comprise TEA units.

The album was led by the single “Calling My Phone,” featuring 6LACK, which became his first top 10 hit on the all-genre Hot 100 chart, reaching No. 3 in February. Destined 2 Win is the rapper’s second top 10 effort on the Billboard 200, and matches his high on the chart. He previously debuted and peaked at No. 5 with True 2 Myself (Oct. 26, 2019-dated chart).

The Weeknd’s The Highlights is a non-mover at No. 6 on the new Billboard 200 (43,000 equivalent album units earned; down 4%), Pop Smoke’s former No. 1 Shoot for the Stars Aim for the Moon is also stationary at No. 7 (37,000 units; down 2%), Carrie Underwood’s My Savior falls 4-8 in its second week (35,000 units; down 52%), Dua Lipa’s Future Nostalgia is a non-mover at No. 9 (34,000 units; down 3%) and Luke Combs’ former leader What You See Is What You Get rises 14-10 (28,000 units; up 2%).

Source: billboard.com

It’s his second leader, after “Old Town Road” reigned for a record 19 weeks in 2019.

Lil Nas X launches at No. 1 on the Billboard Hot 100 songs chart with “Montero (Call Me by Your Name).”

The song, propelled by its buzzy official video, is his second Hot 100 No. 1, after his breakthrough smash “Old Town Road,” featuring Billy Ray Cyrus, reigned for a record 19 weeks in 2019.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated April 10) will update on Billboard.com tomorrow (April 6). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“Montero,” released March 26 on Columbia Records, is the 1,120th No. 1 in the Hot 100’s 62-year history. It’s the 51st single to debut at No. 1, and Lil Nas X’s first.

“Montero” drew 46.9 million U.S. streams and sold 21,000 downloads in the week ending April 1, according to MRC Data. It also attracted 1.1 million radio airplay audience impressions in the week ending April 4.

The track opens at No. 1 on the Streaming Songs chart, where it’s Lil Nas X’s second leader, after “Old Town Road” ruled for a record 20 weeks, and No. 2 on Digital Song Sales. It was available in three versions in its first week: its original version; its “Satan’s Extended Version”; and its “But Lil Nas X Is Silent the Entire Time” instrumental version (all sale-priced as of March 30 to 69 cents).

Lil Nas X’s “Old Town Road” dominated the Hot 100 for 19 weeks beginning on the April 13, 2019-dated chart. On the Aug. 3, 2019, survey, it spent its record-breaking 17th week on top, passing the 16-week No. 1s “Despacito” by Luis Fonsi and Daddy Yankee, featuring Justin Bieber, in 2017, and Mariah Carey and Boyz II Men’s “One Sweet Day,” in 1995-96.

“Montero” is Lil Nas X’s fifth Hot 100 entry, all of which have hit the top 40. Between his two leaders, he charted with “Rodeo,” with Cardi B/Nas (No. 22 peak, July 2019); “Panini” (No. 5, September 2019); and “Holiday” (No. 37, November 2020).

“Montero” references Lil Nas X’s real name, Montero Lamar Hill (and is the second Hot 100 No. 1 in less than a year to shout-out the name of the artist that recorded it, after “The Scotts” by The Scotts, Travis Scott and Kid Cudi). In a statement accompanying the release of “Montero” (whose profile was also boosted in the tracking week by the arrival of, and subsequent legal action regarding, his #satanshoes line), Lil Nas X wrote that the song “begs the question: do you truly love your neighbor as yourself, enough to call them by your own name?”

Justin Bieber’s “Peaches,” featuring Daniel Caesar and Giveon, drops to No. 2 a week after debuting atop the Hot 100. The song slips from No. 1 to No. 2 on Streaming Songs (27.1 million, down 12%) and falls 3-7 on Digital Song Sales (11,000, down 31%), while entering Radio Songs at No. 35 (23.2 million, up 92%), as it wins the Hot 100’s top Airplay Gainer award.

“Peaches” posts a second week at No. 1 on the multi-metric Hot R&B/Hip-Hop Songs and Hot R&B Songs charts, which use the same methodology as the Hot 100.

“Leave the Door Open” by Silk Sonic, the duo of Bruno Mars and Anderson .Paak, holds at No. 3 on the Hot 100, after hitting No. 2, and Cardi B’s “Up” slips 2-4, two weeks after reaching No. 1. “Up” adds a sixth week atop the multi-metric Hot Rap Songs chart.

Olivia Rodrigo’s former eight-week Hot 100 No. 1 “Drivers License” backs up from No. 4 to No. 5, as it spends a fourth week at No. 1 on the Radio Songs chart (68.2 million, down 3%).

The Weeknd’s “Save Your Tears” retreats 5-6 on the Hot 100, after reaching No. 4, and Dua Lipa’s “Levitating,” featuring DaBaby, holds at No. 7, after lifting to No. 5.

The Weeknd’s “Blinding Lights” descends 6-8 on the Hot 100, after spending four weeks at No. 1 in April-May 2020. It adds a record-extending 56th week in the top 10, after it became the first song to total a year in the bracket.

The track ties for the fourth-longest overall stay in the Hot 100’s history and makes more history: It passes LMFAO’s “Party Rock Anthem,” featuring Lauren Bennett and GoonRock, for the most weeks spent on the Hot 100 among No. 1 hits.

Most Weeks on the Billboard Hot 100:
87, “Radioactive,” Imagine Dragons, No. 3 peak, 2012-14
79, “Sail,” AWOLNATION, No. 17, 2011-14
76, “I’m Yours,” Jason Mraz, No. 6, 2008-09
69, “Blinding Lights,” The Weeknd, No. 1 (four weeks), 2020-21
69, “How Do I Live,” LeAnn Rimes, No. 2, 1997-98
68, “Counting Stars,” OneRepublic, No. 2, 2013-14
68, “Party Rock Anthem,” LMFAO feat. Lauren Bennett & GoonRock, No. 1 (six weeks), 2011-12

24kGoldn’s “Mood,” featuring Iann Dior, repeats at No. 10 on the Hot 100, after eight nonconsecutive weeks at No. 1 in October through mid-January. It concurrently leads the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a 31st week each.

Rounding out the Hot 100’s top 10, Pop Smoke’s “What You Know Bout Love” drops to No. 10 from its No. 9 peak.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated April 10), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (April 6).

Source: billboard.com

Plus: NF, Carrie Underwood, Young Dolph & Key Glock and AJR debut in top 10.

Rod Wave earns his first No. 1 album on the Billboard 200 chart, as SoulFly opens with 130,000 equivalent album units earned in the U.S. in the week ending April 1, according to MRC Data. With the arrival, SoulFly also notches the biggest week for an R&B/hip-hop album in 2021 in terms of units earned.

Also debuting in the top 10: NF’s Clouds (The Mixtape), Carrie Underwood’s My Savior, Young Dolph and Key Glock’s Dum and Dummer 2 and AJR’s OK Orchestra.

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 April 10, 2021-dated chart (where SoulFly bows at No. 1) will be posted in full on Billboard‘s website on April 6. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of SoulFly’s 130,000 equivalent album units earned in the tracking week ending April 1, SEA units comprise 126,000 (equaling 189.2 million on-demand streams of the album’s songs — the largest streaming week of 2021 for an R&B/hip-hop set), album sales comprise 4,000 and TEA units comprise less than 1,000. SoulFly logs the biggest week for an R&B/hip-hop set released in 2021 in terms of units earned, surpassing the 88,000-unit launch of The Weeknd’s The Highlights (Feb. 20-dated chart).

In total, SoulFly is the rapper’s third charting album, and all three have reached the top 10, each peaking higher than the last. Ghetto Gospel topped out at No. 10 (Nov. 23, 2019-dated chart) and Pray 4 Love debuted and peaked at No. 2 (April 18, 2020).

The 19-track SoulFly album also handily outpaces the opening week of 14-track Pray 4 Love, which launched with 72,000 units.

SoulFly is just the second R&B/hip-hop album to hit No. 1 the last five months. The last R&B/hip-hop effort to lead the tally was Playboi Carti’s Whole Lotta Red, which spent one week at No. 1 on the Jan. 9 chart. Before that, the last R&B/hip-hop leader was Pop Smoke’s Shoot for the Stars Aim for the Moon, which spent its second of two nonconsecutive weeks at No. 1 on the Oct. 24, 2020-dated chart.

SoulFly was previewed by the tracks “Street Runner” and “Tombstone,” which both debuted in the top 40 of the Hot R&B/Hip-Hop Songs chart. The former also launched in the top 40 of the all-genre Billboard Hot 100 tally, giving Wave his third top 40-charting hit on the list.

Justin Bieber’s Justice falls to No. 2 in its second week on the Billboard 200, earning 100,000 equivalent album units (down 35%). Justice’s second-week decline was eased by the release of a deluxe edition of the album on March 26, dubbed the Triple Chucks Deluxe, which added six bonus tracks to the album’s original 16 tracks.

NF’s Clouds (The Mixtape) starts at No. 3 on the Billboard 200 with 86,000 equivalent album units earned. Of that figure, 58,000 comprise album sales, 27,000 comprise SEA units (equaling 40.51 million on-demand streams of the album’s songs) and less than 1,000 comprise TEA units. It’s the rapper’s third top 10 effort and fifth charting album overall. He previously hit the list with The Search (No. 1 in 2019), Perception (No. 1, 2017), Therapy Session (No. 12, 2016) and Mansion (No. 62, 2015).

Carrie Underwood’s My Savior debuts at No. 4 on the Billboard 200, marking her ninth consecutive top five-charting album – the entirety of her charting efforts. The set starts with 73,000 equivalent album units earned. Of that sum, 68,000 comprise album sales (making it the top-selling album of the week), 4,000 comprise SEA units (equaling 5.32 million on-demand streams of the album’s songs) and 1,000 comprise TEA units.

My Savior features Underwood covering traditional hymns such as “Amazing Grace,” “How Great Thou Art” and “The Old Rugged Cross.” The set was ushered in with a performance by Underwood on NBC’s Today on March 26. My Savior’s second-week on the chart will be supported by an Easter Sunday (April 4) virtual live concert performance by Underwood at the Ryman Auditorium in Nashville, streamed from the star’s Facebook page.

Morgan Wallen’s former No. 1, Dangerous: The Double Album, falls 3-5 with 63,000 equivalent album units earned (down 5%). The set spent its first 10 weeks at No. 1 before dropping to No. 3 a week ago.

The Weeknd’s hits compilation The Highlights moves 15-6 with 45,000 equivalent album units earned (up 89%). Highlights includes “Blinding Lights” and “Save Your Tears” – both of which are also on his last studio album, 2020’s After Hours. On the new chart, the TEA and SEA units for both songs contribute to The Highlights, as a song’s activity is assigned to the artist’s album with the most sales in a week. (The Highlights sold a little over 2,000 copies in the latest tracking week, while After Hours sold under 2,000.) A week ago, the TEA and SEA for both songs were directed to After Hours (which in that frame outsold The Highlights).

Pop Smoke’s former No. 1 Shoot for the Stars Aim for the Moon dips 4-7 with 38,000 equivalent album units earned (down 4%).

The teaming of rappers Young Dolph and Key Glock continues to be prosperous, as the pair score its second top 10 album together with the No. 8 arrival of Dum and Dummer 2. The twosome previously hit the top 10 with Dum and Dummer, debuting and peaking at No. 8 in 2019.

Dum and Dummer 2 bows with nearly 36,000 equivalent album units earned. Of that sum, 31,000 comprise SEA units (equaling 42.73 million on-demand streams of the set’s songs), 4,000 comprise album sales and less than 1,000 comprise TEA units.

Dum and Dummer 2 is Young Dolph’s third top 10, following Dum and Dummer and a solo project Rich Slave (No. 4 in 2020), and the second top 10 for Key Glock.

Dua Lipa’s Future Nostalgia slips 5-9 on the Billboard 200 with 35,500 equivalent album units earned (down 1%).

AJR closes out the top 10 as the trio’s new album OK Orchestra debuts at No. 10 with 32,000 equivalent album units earned. It’s the second top 10 for the band, which previously hit the region with its last release, 2019’s Neotheater (No. 9 on the May 11, 2019, chart). The new album was led by the group’s first top 10 hit song on the Hot 100, “Bang!,” which peaked at No. 8 in January.

Of OK Orchestra’s launch of 32,000 units, 18,000 comprise SEA units (equaling 26.17 million on-demand streams of the album’s songs), 13,000 comprise album sales and less than 1,000 comprise TEA units.

Source: billboard.com