Plus: Ghost, Rex Orange County and for KING & COUNTRY debut in top 10.

Lil Durk scores his second No. 1 album on the Billboard 200 chart (dated March 26) as 7220 debuts in the top slot. The rapper previously topped the list with The Voice of the Heroes, a collaborative set with Lil Baby, for one week in 2021.

7220 launches with 120,500 equivalent album units in the U.S. in the week ending March 17, according to Luminate, formerly MRC Data – Lil Durk’s best week for a non-collaborative project. 7220 was released on March 11 via Alamo Records.

After eight weeks in a row at No. 1 – and nine weeks in total on top – the Encanto soundtrack is pushed down to No. 3 with 64,000 units (down 12%).

Also in the top 10, Ghost debuts at a career-high No. 2 with Impera – which launches with the largest sales week of any album in 2022 – while Rex Orange County collects his second top five effort with the debut of Who Cares? and for KING & COUNTRY lands its second top 10 with What Are We Waiting For?

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, compiled by Luminate. 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 March 26, 2022-dated chart will be posted in full on Billboard‘s website on March 22. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of 7220’s 120,500 equivalent album units earned, SEA units comprise 117,500 (equaling 164.81 million on-demand official streams of the set’s songs), album sales comprise 2,500 and TEA units comprise 500.

7220 is Lil Durk’s fifth top 10 album – and all of them have reached the top five. The set opens with Lil Durk’s largest week, by units, for a non-collaborative album. His previous solo best was logged when The Voice jumped 5-2 with 86,000 units on the Feb. 13, 2021 chart, after the album was reissued with 14 additional tracks.

7220 also lands the third-largest week for an album in the 2022 tracking year. Only the debut frames of Gunna’s DS4Ever (105,300; week ending Jan. 13) and The Weeknd’s Dawn FM (148,000; the same week) posted larger weeks in 2022.

7220 is the third No. 1 for Alamo Records, and first since Sony Music Entertainment acquired the company last June.

Ghost lands a career-high placing on the Billboard 200, as the rock band’s new album Impera debuts at No. 2. The set also earns the group its biggest week both in terms of equivalent album units earned (70,000) and traditional album sales (62,500). The set additionally logs the largest sales week of any album in 2022, bolstered by its availability across multiple vinyl LP variants, as well as CD, cassette and digital download. Impera was released on March 11 via Loma Vista/Concord.

Impera is the first new full-length studio album from Ghost since Prequelle, which debuted and peaked at No. 3 on the June 16, 2018 tally (the band’s previous chart high). All told, Impera marks the third top 10 album – and fifth top 40-charting set – for the act.

Of Impera’s 70,000 equivalent album units earned, album sales comprise 62,500; SEA units comprise 7,000 (equaling 9.11 million on-demand official streams of the set’s songs) and TEA units comprise 500. The band’s previous biggest week, both in units earned and album sales, was the opening frame of Prequelle (66,000 units, of which 61,500 were album sales).

Impera is the highest-charting rock album on the Billboard 200 in nearly eight months, since John Mayer’s Sob Rock debuted and peaked at No. 2 on the July 31, 2021-dated list. Impera is the highest-charting hard rock set in a year and four months, since AC/DC’s Power Up spent a week at No. 1, debuting atop the list dated Nov. 28, 2020. (Rock and hard rock albums are defined as those that have hit Billboard’s Top Rock Albums and Top Hard Rock Albums chart, respectively.)

Impera also lands the largest week, by units, for a rock album since Sob Rock’s debut week (84,000) and the biggest for a hard rock set in over a year, since the opening week of Foo Fighters’ Medicine at Midnight (70,000; Feb. 20, 2021, chart).

Impera has the biggest week, by album sales, for any album in the 2022 tracking year so far, surpassing the 37,000 copies sold of The Weeknd’s Dawn FM after its CD was released (week ending Feb. 3). Further, Impera has the largest sales week for a rock or hard rock album since the debut of Medicine at Midnight (64,000).

The Encanto soundtrack falls from No. 1 to No. 3 on the Billboard 200 after eight straight weeks on top, and a total of nine nonconsecutive weeks in the lead. It earned 64,000 equivalent album units in the latest tracking week (down 12%).

Morgan Wallen’s former No. 1 Dangerous: The Double Album falls 3-4 on the Billboard 200 with 46,000 equivalent album units (though up 1%).

Dangerous: The Double Album has now accumulated 61 nonconsecutive weeks in the top 10 on the Billboard 200. It ties Celine Dion’s Falling Into You (1996-97) for the third-most weeks in the top 10 among all albums released since 1990. Ahead of them are only Adele’s 21, with 84 weeks in the top 10 (2011-16), and Alanis Morissette’s Jagged Little Pill, with 72 weeks in the top 10 (1995-97).

Rex Orange County notches his second top five-charting album, as Who Cares? bows at No. 5 on the Billboard 200 with 35,000 equivalent album units earned. Of that sum, album sales comprise 20,000; SEA units comprise 15,000 (equaling 19.61 million on-demand official streams of the set’s songs) and TEA units comprise a negligible sum. The artist (born Alexander James O’Connor) previously visited the top 10 with Pony, which debuted and peaked at No. 3 (Nov. 9, 2019 chart).

The Weeknd’s compilation The Highlights is a non-mover at No. 6 with 34,000 equivalent album units (up 4%).

for KING & COUNTRY lands its second top 10 album on the Billboard 200 as the duo’s latest release, What Are We Waiting For?, bows at No. 7 with nearly 32,000 equivalent album units earned. Of that sum, album sales comprise 28,000; SEA units comprise 3,500 (equaling 5.08 million on-demand official streams of the set’s songs) and TEA units comprise 500. The act (brothers Joel and Luke Smallbone) previously visited the top 10 with 2018’s Burn the Ships, which debuted and peaked at No. 7 (Oct. 20, 2018, chart).

Gunna’s chart-topping DS4Ever falls 5-8 with 31,500 units (down 9%), Drake’s former leader Certified Lover Boy is steady at No. 9 with 31,000 equivalent album units (up less than 1%) and Doja Cat’s Planet Her is stationary at No. 10 with 30,000 units (up 1%).

Source: billboard.com

The track concurrently takes over atop the Radio Songs chart.

A week after Glass Animals‘ “Heat Waves” wrapped a record 59-week climb to No. 1 on the Billboard Hot 100, the song spends a second week at the chart’s summit.

A week after Glass Animals‘ “Heat Waves” wrapped a record 59-week climb to No. 1 on the Billboard Hot 100, the song spends a second week at the chart’s summit.

The track concurrently reaches No. 1 on the Radio Songs chart.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated March 19, 2022) will update on Billboard.com tomorrow (March 15). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

The track concurrently reaches No. 1 on the Radio Songs chart.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated March 19, 2022) will update on Billboard.com tomorrow (March 15). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

The track concurrently takes over atop the Radio Songs chart.

Airplay streams & sales: “Heat Waves,” released on Wolf Tone/Polydor/Republic Records, drew 65.6 million radio airplay audience impressions (essentially even week-over-week) and 15.1 million U.S. streams (up 1%) and sold 3,500 downloads (up 20%) in the March 4-10 tracking week, according to MRC Data.

The single, the first Hot 100 No. 1 (and entry) for the British quartet, likewise becomes its first leader in the band’s first visit to the Radio Songs chart; rises 5-3 for a new high on Streaming Songs; and jumps 25-16 on Digital Song Sales, where it reached No. 13.

Alternative to all-format No. 1: Notably, “Heat Waves” topped the Alternative Airplay chart for three weeks in March-April 2021. It becomes just the 15th Alternative Airplay No. 1 to have led the all-genre Radio Songs survey over the 31-plus years that the charts have coexisted, a feat that just 4% of all Alternative Airplay leaders have achieved.

Alternative Airplay No. 1s to Have Topped Radio Songs
“Semi-Charmed Life,” Third Eye Blind, hit No. 1 on the Radio Songs chart dated Sept. 6, 1997
“Fly,” Sugar Ray, Oct. 18, 1997
“Tubthumping,” Chumbawamba, Nov. 29, 1997
“Iris,” Goo Goo Dolls, Aug. 1, 1998
“Slide,” Goo Goo Dolls, Feb. 27, 1999
“Kryptonite,” 3 Doors Down, Oct. 7, 2000
“Hanging by a Moment,” Lifehouse, July 14, 2001
“We Are Young,” fun. feat. Janelle Monae, April 21, 2012
“Somebody That I Used to Know,” Gotye feat. Kimbra, June 2, 2012
“Royals,” Lorde, Nov. 2, 2013
“Feel It Still,” Portugal. The Man, Oct. 28, 2017
“Thunder,” Imagine Dragons, Dec. 2, 2017
“Happier,” Marshmello & Bastille, Nov. 24, 2018
“High Hopes,” Panic! At the Disco, Dec. 1, 2018
“Heat Waves,” Glass Animals, March 19, 2022

As “Heat Waves” hit No. 1 on the Alternative Airplay chart dated March 20, 2021, and ascends to No. 1 on the Radio Songs ranking dated March 19, 2022, its one-year wait to the top of the latter tally is the greatest among the 15 songs to lead both lists. Previously, Lifehouse’s “Hanging by a Moment” took the longest to cross from hitting No. 1 on Alternative Airplay to leading Radio Songs: five months and two weeks, in January to July 2001.

British groups at No. 1: Glass Animals’ “Heat Waves” is the first song by a British group to have topped the Hot 100 for multiple weeks in just over 25 years: since Spice Girls’ “Wannabe” led for four weeks beginning Feb. 22, 1997. (In between, the only other British group to reign – Coldplay – notched two No. 1s that led for a week each: “Viva La Vida,” in June 2008, and “My Universe,” with BTS, in October 2021.)

Among all British acts prior to Glass Animals, Adele most recently dominated for 10 weeks beginning in October with “Easy on Me.”

Zero to 60: Meanwhile, “Heat Waves” becomes just the 20th title to have spent 60 or more weeks on the Hot 100 (among around 30,000 total entries since the chart originated in August 1958).

It’s the seventh No. 1 to chart for 60 or more weeks, joining The Weeknd’s “Blinding Lights” (an overall-record 90); LMFAO’s “Party Rock Anthem,” featuring Lauren Bennett and GoonRock (68); Adele’s “Rolling in the Deep” (65); The Weeknd and Ariana Grande’s “Save Your Tears” (62; still charting); Post Malone’s “Circles” (61); and Los Del Rio’s “Macarena (Bayside Boys Mix)” (60).

No. 1 Rock, Alt: “Heat Waves” concurrently leads the Hot Rock & Alternative Songs and Hot Alternative Songs charts, both of which use the same multi-metric methodology as the Hot 100, for a 25th week each.

“We Don’t Talk About Bruno,” from Encanto, holds at No. 2 on the Hot 100 after five weeks at No. 1, the longest reign ever for a song from a Disney film. The track, by Carolina Gaitán, Mauro Castillo, Adassa, Rhenzy Feliz, Diane Guerrero, Stephanie Beatriz and the Encanto Cast, all singing as the characters that they voice in the movie, tops Streaming Songs for a 10th week (24.9 million, down 6%), dips 4-6 on Digital Song Sales (5,600, down 9%) and drew 8.7 million in all-format radio audience (down 1%) in the tracking week.

As previously reported, the Encanto soundtrack tops the Billboard 200 albums chart for a ninth week.

Kodak Black’s “Super Gremlin” hits a new No. 3 Hot 100 high, as it leads the multi-metric Hot R&B/Hip-Hop Songs and Hot Rap Songs charts for an eighth week each.

GAYLE’s “abcdefu” retreats to No. 4 from its No. 3 Hot 100 best and The Kid LAROI and Justin Bieber’s “Stay” keeps at No. 5, after seven weeks at No. 1.

Adele’s “Easy on Me” is steady at No. 6, after 10 weeks atop the Hot 100; Justin Bieber’s “Ghost” holds at its No. 7 highpoint; and Ed Sheeran’s “Bad Habits” rises 9-8, after reaching No. 2, and his “Shivers” slides 8-9, after hitting No. 4.

Rounding out the Hot 100’s top 10, Lil Nas X’s “Thats What I Want” returns to the tier, pushing 11-10 after climbing to No. 9.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated March 19), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (March 15).

Source: billboard.com

Plus: King Von’s posthumous album debuts at No. 2 & DaBaby and YoungBoy Never Broke Again’s collaborative set starts in the top 10.

The Encanto soundtrack snags a ninth nonconsecutive week at No. 1 on the Billboard 200 chart (dated March 19). The set earned 72,500 equivalent album units in the U.S. in the week ending March 10 (down 9%), according to MRC Data.

Encanto also surpasses 1 million equivalent album units earned in the U.S., as the latest tracking week brings its to-date sum to 1.03 million. The soundtrack album was released on Nov. 19, before the film arrived in U.S. theaters on Nov. 24. The movie was released via the Disney+ streaming service a month later (Dec. 24). The album spent its first week at No. 1 on the Jan. 15, 2022-dated chart.

In the last five years, only two albums have spent at least nine weeks at No. 1 on the Billboard 200: Encanto and Morgan Wallen’s Dangerous: The Double Album (10 weeks in 2021).

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, compiled by MRC Data. 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 March 19, 2022-dated chart will be posted in full on Billboard‘s website on March 15. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Encanto’s 72,500 equivalent album units earned, SEA units comprise 63,000 (down 8%, equaling 93.03 million on-demand official streams of the set’s songs), album sales comprise 8,000 (down 14%) and TEA units comprise 1,500 (down 12%).

King Von’s posthumous album What It Means to Be King debuts at No. 2 on the Billboard 200 with 59,000 equivalent album units earned. It’s the late rapper’s first release since his death at the age of 26 on Nov. 6, 2020. Of King’s 59,000 units earned, SEA units comprise 55,000 (equaling 79.06 million on-demand official streams of the album’s songs), album sales comprise 4,000 and TEA units comprise a negligible sum. The 19-track set features guests such as 21 Savage, A Boogie Wit da Hoodie, Lil Durk and Moneybagg Yo.

The new album is the second top 10 for King Von, who first reached the top 10 with his debut studio album, Welcome to O’Block, which climbed 13-5 (its peak) on the Nov. 21, 2020-dated chart, following news of his death.

Morgan Wallen’s former No. 1 Dangerous: The Double Album is a non-mover at No. 3 on the Billboard 200, with 45,000 equivalent album units (up 7%).

Dangerous: The Double Album has now accumulated 60 nonconsecutive weeks in the top 10 on the Billboard 200. It surpasses Taylor Swift’s 1989 for the second-most weeks in the top 10 among albums released since 2000, trailing only Adele’s 21, with 84 weeks in the top 10.

Kodak Black’s Back for Everything falls from No. 2 to No. 4 on its second week on the Billboard 200 with 37,000 equivalent album units (down 38%). Gunna’s chart-topping DS4Ever slips 4-5 with 34,500 units (down 8%), and The Weeknd’s The Highlights falls 5-6 with 33,000 units (down 2%).

Olivia Rodrigo’s former leader Sour is steady at No. 7 with 31,000 equivalent album units earned (down less than 1%), Drake’s chart-topper Certified Lover Boy falls 6-8 with 31,000 units (down 2%) and Doja Cat’s Planet Her bumps 10-9 with 30,000 units (up 4%).

Closing out the new top 10 is DaBaby and YoungBoy Never Broke Again’s collaborative effort Better Than You, debuting at No. 10 with 28,500 equivalent album units earned. Of that sum, SEA units comprise 27,500 (equaling 40.35 million on-demand official streams of the album’s songs) while album sales and TEA units comprise the remaining 1,000 units. Better is the fourth top 10 for DaBaby and the ninth top 10 for YoungBoy Never Broke Again.

Source: billboard.com

The song reigns in 59th week on the Hot 100, having conquered platforms from TikTok to radio.

A song released in 2020, and about late nights in the middle of June, reaches No. 1 on the Billboard Hot 100 chart in March 2022.

Glass Animals‘ “Heat Waves” hits No. 1 on the Hot 100, completing a record-breaking rise to the summit, leading in its 59th week on the chart. It shatters the prior mark of 35 weeks on the survey needed to reign, set by Mariah Carey’s “All I Want for Christmas Is You” in December 2019.

Over its unprecedented run, “Heat Waves” has ruled multiple radio formats and become prominent on TikTok and streaming services.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated March 12, 2022) will update on Billboard.com tomorrow (March 8). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“Heat Waves,” released on Wolf Tone/Polydor/Republic Records, becomes the 1,134th No. 1 in the Hot 100’s 63-year history. It’s the first leader (and entry) on the chart for the quartet, which comprises Dave Bayley, Edmund Irwin-Singer, Drew MacFarlane and Joe Seaward. The band is nominated for the best new artist Grammy Award this year; it formed in Oxford, England, in 2010 and first appeared on Billboard‘s charts in 2014.

Here’s an in-depth look at the song’s record-rewriting Hot 100 coronation.

Airplay, streams & sales: “Heat Waves” drew 66.7 million radio airplay audience impressions (down 3%) and 14.8 million U.S. streams (up 1%) and sold 2,900 downloads (down 4%) in the Feb. 25-March 3 tracking week, according to MRC Data.

The single holds at its No. 2 high on the Radio Songs chart, rebounds, 6-5, to its best rank on Streaming Songs and dips 23-25 on Digital Song Sales, where it reached No. 13.

Record run to No. 1: “Heat Waves” tops the Hot 100 in its 59th week on the chart, soaring past the prior mark for the lengthiest climb to No. 1.

Longest Climbs to No. 1 on the Billboard Hot 100
59 weeks, “Heat Waves,” Glass Animals, hit No. 1 March 12, 2022
35 weeks, “All I Want for Christmas Is You,” Mariah Carey, Dec. 21, 2019
33 weeks, “Macarena (Bayside Boys Mix),” Los Del Rio, Aug. 3, 1996
31 weeks, “Amazed, Lonestar, March 4, 2000
30 weeks, “All of Me,” John Legend, May 17, 2014
27 weeks, “With Arms Wide Open,” Creed, Nov. 11, 2000
26 weeks, “Everything You Want,” Vertical Horizon, July 15, 2000
25 weeks, “Red Red Wine,” UB40, Oct. 25, 1988

All eight songs above except for “With Arms Wide Open” and “Everything You Want” logged their journeys to No. 1 over interrupted runs. “Heat Waves” debuted on the Jan. 16, 2021-dated Hot 100; after two weeks off the chart, the song returned on the Feb. 6 survey and has remained on since.

Put in further perspective, “Heat Waves” is just the 23rd title to have even spent 59 or more weeks on the Hot 100 overall, regardless of peak position; that’s out of around 30,000 entries in the chart’s archives.

On the Nov. 13, 2021, Hot 100, “Heat Waves” wrapped a record 42-week trek to the top 10, while on the Jan. 15, 2022, chart it completed a record 51-week rise to the top five. The song has made its steady progress as a crossover airplay hit, having topped the Alternative Airplay chart for three weeks in March-April 2021 and Pop Airplay and Adult Pop Airplay for two weeks each this January and February. Dating to its release in June 2020, the song also gained prominence on TikTok, playing off its “all I think about is you” lyrical hook. It trended especially strongly on the platform in late summer 2021, including via a clip from the band. (Activity on TikTok itself does not factor into any Billboard charts.)

“Glass Animals have songs that have real longevity in them, because they’re brilliant songs and Dave [Bayley] is a brilliant songwriter, but there’s a lot of nuance in them,” the group’s manager, Amy Morgan, told Billboard in January. “Heat Waves” “has a lot of interesting chords underneath the main melody, and there’s a lot of complexity in what sounds, from the outside, quite simple. And those songs – those that are not straight out-of-the-box, obvious songs – take a while to grow.”

Single writer & producer at No. 1: Glass Animals’ Dave Bayley solely wrote and produced “Heat Waves,” making it the first Hot 100 leader written and produced by a single talent since Pharrell Williams wrote, produced and performed “Happy,” which reigned for 10 weeks beginning eight years ago this week (March 8, 2014). Before that, will.i.am wrote and produced, and is featured on, Usher’s “OMG,” which led for four weeks in May-June 2010.

The last group to top the Hot 100 with a song solely written and produced by one of its members before Glass Animals? Boston, whose “Amanda” led for two weeks in November 1986. The band’s frontman, Tom Scholz, wrote and produced the rock ballad.

Started from the bottom: As “Heat Waves” debuted on the Jan. 16, 2021-dated Hot 100 at No. 100, the track completes a rare 100-to-1 odyssey on the Hot 100.

Here’s a recap of all 11 singles that have summited the chart after starting on the first step (an eclectic list whose previous two entries, coincidentally, belong to Wiz Khalifa).

Hot 100 No. 1s That Debuted at No. 100
“Heat Waves,” Glass Animals, hit No. 1 March 12, 2022
“See You Again,” Wiz Khalifa feat. Charlie Puth, April 25, 2015
“Black and Yellow,” Wiz Khalifa, Feb. 19, 2011
“Kiss Kiss,” Chris Brown feat. T-Pain, Nov. 10, 2007
“Can’t Help Falling in Love,” UB40, July 24, 1993
“The Night the Lights Went Out in Georgia,” Vicki Lawrence, April 7, 1973
“When a Man Loves a Woman,” Percy Sledge, May 28, 1966
“Go Away Little Girl,” Steve Lawrence, Jan. 12, 1963
“Michael,” The Highwaymen, Sept. 4, 1961
“Teen Angel,” Mark Dinning, Feb. 8, 1960
“Kansas City,” Wilbert Harrison, May 18, 1959

Notably, the soundtrack to Disney’s Encanto crowns the Billboard 200 albums chart for an eighth week. As the set debuted at No. 197, this week marks the first in which the Hot 100’s top song is a title that bowed at No. 100 and the Billboard 200’s top album is one that began as low as No. 197. That marks an extreme outlier in an era in which titles regularly debut at No. 1 on both charts; of the 58 singles ever to have launched atop the Hot 100, 23 have done so since April 2020, while on the Billboard 200, 23 releases premiered at No. 1 in 2021, after 29 did so in 2020 and 37 did in both 2019 and 2018.

Alternative route to No. 1: “Heat Waves” also marks an uncommon Hot 100 No. 1 that previously led Billboard‘s Alternative Airplay chart. The song is the first to have topped both tallies since Billie Eilish’s “Bad Guy,” which led the Alternative Airplay charts dated Aug. 10 and 17, 2019, and the Hot 100 dated that Aug. 24. Before Eilish, Lorde led both lists with “Royals” in 2013.

Until this week, no group had ruled Alternative Airplay and the Hot 100 with the same song since fun., with “We Are Young” in 2012. (That track topped the Hot 100 before Alternative Airplay; “Heat Waves” is the first song by a group to lead Alternative Airplay and, subsequently, the Hot 100 since Nickelback’s “How You Remind Me” in 2001.)

Meanwhile, “Heat Waves” is just the 10th Hot 100 No. 1 to have topped Alternative Airplay, dating to the latter list’s launch in September 1988. (The elite 10 Hot 100 No. 1s are among 413 total Alternative Airplay leaders to-date, placing “Heat Waves” in the company of just 2% of all Alternative Airplay No. 1s to achieve such a double domination.)

Hot 100 No. 1s That Have Also Led Alternative Airplay
“Heat Waves,” Glass Animals, 2021-22
“Bad Guy,” Billie Eilish, 2019
“Royals,” Lorde, 2013
“We Are Young,” fun. feat. Janelle Monae, 2012
“Somebody That I Used to Know,” Gotye feat. Kimbra, 2012
“Viva La Vida,” Coldplay, 2008
“How You Remind Me,” Nickelback, 2001-02
“Butterfly,” Crazy Town, 2001
“One Week,” Barenaked Ladies, 1998
“Nothing Compares 2 U,” Sinead O’Connor, 1990

“Heat Waves” concurrently crowns the Hot Rock & Alternative Songs and Hot Alternative Songs charts, both of which use the same multi-metric methodology as the Hot 100, for a 24th week each.

British acts at No. 1: Glass Animals continue a recent trend of British artists leading the Hot 100. Half of the last six No. 1s, dating to October, include British acts, as “Heat Waves” follows Adele’s “Easy on Me,” which reigned for 10 weeks, and “My Universe,” by England’s Coldplay and South Korea’s BTS, a one-week No. 1.

Fellow British acts Ed Sheeran, Elton John and Dua Lipa join Glass Animals and Adele in the current Hot 100’s top 10 (see all other ranks below).

“Breaking in the U.S. is as important and coveted as ever,” mused Martin Talbot, CEO of the U.K.’s Official Charts Company, in November. “The U.S. is where blues and then rock n’ roll were born, and many of the heroes of music fans and creators hail from America’s rich music culture.”

Glass ceiling: Thanks to Glass Animals, the word “glass” shines atop the Hot 100 in an act’s name for the second time: Looking Glass led with “Brandy (You’re a Fine Girl)” nearly 50 years ago, on the Aug. 26, 1972, chart.

Let’s also not gloss over the three songs with “glass” in their titles to top the Hot 100: “Judy in Disguise (With Glasses),” by John Fred and the Playboys, in 1968; “Heart of Glass,” by Blondie, in 1979; and “Raise Your Glass,” by P!nk, in 2010.

Meanwhile, chart-watcher Paul Nelson notes that another Glass-named animal act almost hit No. 1 on the Hot 100: Glass Tiger leapt to No. 2 with “Don’t Forget Me (When I’m Gone)” in 1986. Nelson also points out that Martha & the Vandellas’ “Heat Wave” hit No. 4 in 1963, while Linda Ronstadt’s cover rose to No. 5 in 1975. Plus, famed R&B group Heatwave notched three Hot 100 hits in 1977-78: “Boogie Nights” (No. 2), “Always and Forever” (No. 18) and “The Groove Line” (No. 7).

This week also marks the first in which a song with the word “heat” in its title is hottest on the Hot 100. (The word “hot” last appeared in a Hot 100 No. 1 thanks to Mims’ “This Is Why I’m Hot” in 2007.)

Below “Heat Waves,” “We Don’t Talk About Bruno,” from Encanto, slips to No. 2 on the Hot 100 after five weeks at No. 1, the longest reign ever for a song from a Disney film. The track, by Carolina Gaitán, Mauro Castillo, Adassa, Rhenzy Feliz, Diane Guerrero, Stephanie Beatriz and the Encanto Cast (all singing as the characters that they voice in the movie), tops Streaming Songs for a ninth week (26.3 million, down 12%) and rises 5-4 on Digital Song Sales (6,100, down 8%), while gaining by 12% to 8.9 million in all-format radio audience.

Meanwhile, as “Bruno” was written by Lin-Manuel Miranda and “Heat Waves” by Dave Bayley, the Hot 100 sports back-to-back solo-penned No. 1s for the first time in nearly 22 years: Vertical Horizon’s “Everything You Want,” written by the group’s Matt Scannell, and Matchbox Twenty’s “Bent,” authored by the band’s Rob Thomas, led consecutively in July 2000.

(“Normally, writing a song takes a good day to get into shape, but [“Heat Waves”] happened in an hour late at night,” Bayley recalled in early 2021.)

GAYLE’s breakthrough hit “abcdefu” holds at its No. 3 Hot 100 best. It spends a third week at No. 1 on Digital Song Sales (10,500 sold, up 27%), keeps at its No. 5 high on Radio Songs (61.3 million, up 6%) and lifts 9-8 on Streaming Songs (12.8 million, down 4%).

Kodak Black’s “Super Gremlin” hits a new No. 4 Hot 100 high, as it leads the multi-metric Hot R&B/Hip-Hop Songs and Hot Rap Songs charts for a seventh week each. As previously reported, parent album Back For Everything opens at No. 2 on the Billboard 200.

The Kid LAROI and Justin Bieber’s “Stay” rebounds 6-5 on the Hot 100, after seven weeks at No. 1, and Adele’s “Easy on Me” drops 4-6, after 10 weeks on top. The latter leads Radio Songs for a 15th week (67.8 million, down 8%), extending Adele’s longest stay atop the tally. It’s also one of only six titles to have ruled Radio Songs for at least 15 weeks, dating to the list’s December 1990 inception; The Weeknd’s “Blinding Lights” reigned for a record 26 weeks in April-October 2020.

The rest of the songs in the Hot 100’s top 10 repeat their ranks from a week earlier, with Justin Bieber’s “Ghost” at its No. 7 highpoint (as it becomes his fifth No. 1 on Adult Pop Airplay) and Ed Sheeran’s “Shivers” at No. 8, after hitting No. 4, and “Bad Habits” at No. 9, after reaching No. 2.

Rounding out the Hot 100’s top 10, Elton John and Dua Lipa’s “Cold Heart (Pnau Remix)” is steady at No. 10, after rising to No. 7. John expands his span of top 10s to 51 years, one month and two weeks, dating to his first frame in the top 10 with “Your Song” (Jan. 23, 1971), the longest such span among all acts not involving holiday titles. “Cold Heart” leads the multi-metric Hot Dance/Electronic Songs chart for a 21st week.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated March 12), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (March 8).

Source: billboard.com

Plus: Kodak Black, Tears for Fears and Avril Lavigne debut in top 10.

The Encanto soundtrack enchants in the No. 1 slot on the Billboard 200 chart (dated March 12) for an eighth nonconsecutive week. The set earned 80,000 equivalent album units in the U.S. in the week ending March 3 (down 11%), according to MRC Data.

In the last five years, only three albums have spent at least eight weeks at No. 1 on the Billboard 200: Encanto, Morgan Wallen’s Dangerous: The Double Album (10 weeks), and Taylor Swift’s Folklore (eight weeks).

Also in the top 10, new albums from Kodak Black, Tears for Fears and Avril Lavigne all debut in the region.

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, compiled by MRC Data. 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 March 12, 2022-dated chart will be posted in full on Billboard‘s website on March 8. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Encanto’s 80,000 equivalent album units earned, SEA units comprise 68,000 (down 11%, equaling 101.16 million on-demand official streams of the set’s songs), album sales comprise 10,000 (down 16%) and TEA units comprise 2,000 (down 10%).

Kodak Black collects his fourth top five-charting album on the Billboard 200, as his latest release, Back for Everything, bows at No. 2 with 60,000 equivalent album units earned. Of that sum, SEA units comprise 57,000 (equaling 84 million on-demand official streams of the set’s tracks), album sales comprise 3,000 and TEA units comprise a negligible sum.

The new album was preceded by the hit single “Super Gremlin,” which has reached No. 5 on the Billboard Hot 100 chart (dated Jan. 29) — the rapper’s highest charting song unaccompanied by another act. (He’s charted higher only with “ZEZE,” featuring Travis Scott and Offset, which peaked at No. 2 in 2018.)

Kodak Black notched his first Billboard 200 No. 1 with his prior top 10, Dying to Live, in 2018.

Morgan Wallen’s former No. 1 Dangerous: The Double Album is stationary at No. 3, with 42,000 equivalent album units (up 3%).

Dangerous: The Double Album has now accumulated 59 nonconsecutive weeks in the top 10 on the Billboard 200 — surpassing Taylor Swift’s Fearless for the most weeks in the top 10 among country albums in the chart’s history. Fearless clocked 58 weeks in the region in 2008-10.

Among all albums released since 2000, Dangerous ties Swift’s 1989 for the second-most weeks in the top 10, trailing only Adele’s 21, which captured 84 weeks in the region.

Gunna’s former No. 1 DS4Ever falls from No. 2 to No. 4 with 38,000 equivalent album units (down 9%), The Weeknd’s compilation The Highlights dips 4-5 with 34,000 units (though up 3%), Drake’s chart-topping Certified Lover Boy rises 7-6 with 32,000 units (down less than 1%) and Olivia Rodrigo’s former leader Sour falls 5-7 with just over 31,000 units (down 2%).

Tears for Fears hit the top 10 for the first time in more than 30 years, as the act’s new album, The Tipping Point, debuts at No. 8 — the duo’s highest debut ever. The set is Tears for Fears’ first new studio album since 2004’s Everybody Loves a Happy Ending, and first top 10 since 1989’s The Seeds of Love peaked at No. 8. In total, The Tipping Point is the third top 10 album on the Billboard 200 for the duo (Roland Orzabal and Curt Smith) — the act also spent five weeks at No. 1 in 1985 with Songs From the Big Chair.

The new album’s title track peaked at No. 17 on Billboard’s Adult Alternative Airplay chart in January. The Tipping Point was ushered in with performances by Tears for Fears on ABC’s Good Morning America (Feb. 22), CBS’ The Late Show With Stephen Colbert (Feb. 24) and a feature on CBS’ Sunday Morning (Feb. 20).

The Tipping Point launches with 31,000 equivalent album units earned. Of that sum, album sales comprise 29,000 (making it the top-selling album of the week); SEA units comprise 1,500 (equaling 2.04 million on-demand official streams of the set’s tracks) and TEA units comprise about 500 units.

Avril Lavigne is back in the top 10 on the Billboard 200 for the first time since 2013, as her new album, Love Sux, bows at No. 9.

Love Sux is Lavigne’s sixth top 10 effort overall on the Billboard 200, and all seven of her chart entries have reached the top 15. 2022 marks Lavigne’s 20th anniversary on the chart, as well — her debut effort, Let Go, entered the list dated June 22, 2002, at No. 8, and peaked at No. 2 on the Sept. 28, 2002, chart. She boasts two No. 1s: Under the Skin (2004) and The Best Damn Thing (2007). She had last appeared in the top 10 with her No. 5-peaking eponymous set in 2013.

Love Sux starts with 30,000 equivalent album units earned. Of that sum, album sales comprise 19,000; SEA units comprise nearly 10,000 (equaling 12.61 million on-demand official streams of the set’s tracks) and TEA units comprise 1,000.

Rounding out the top 10 on the Billboard 200 is Doja Cat’s Planet Her, which falls 8-10 with 29,000 equivalent album units earned (up less than 1%).

Source: billboard.com

With five weeks at No. 1, “Bruno” now boasts more weeks at the summit than the other two leaders from Disney movies combined.

“We Don’t Talk About Bruno,” from Disney’s hit animated film Encanto, rules the Billboard Hot 100 songs chart for a fifth week.

The song, by Carolina Gaitán, Mauro Castillo, Adassa, Rhenzy Feliz, Diane Guerrero, Stephanie Beatriz and the Encanto Cast (all singing as the characters that they voice in the movie), extends its mark for the most weeks at No. 1 on the Hot 100 ever for a hit from a Disney movie – and now claims more weeks on top than the other two leaders from Disney movies combined.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated March 5, 2022) will update on Billboard.com tomorrow (March 1). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“Bruno” drew 29.9 million U.S. streams (down 7%), 7.9 million radio airplay audience impressions (up 23%) and sold 6,600 downloads (down 12%) in the Feb. 18-24 tracking week, according to MRC Data.

The ensemble anthem tops the Streaming Songs chart for an eighth week and rebounds 11-5 on Digital Song Sales, which it led for a week. (It pushes 26-24 on the Adult Pop Airplay chart and bullets again at No. 32 on Pop Airplay, up 25% and 28% in plays on each respective ranking.)

Upon its Hot 100 coronation four weeks ago, “Bruno” became the first No. 1 on the chart released on Walt Disney Records; the first leader for its sole writer, Lin-Manuel Miranda; and the second No. 1 from a Disney animated film, after Peabo Bryson and Regina Belle’s “A Whole New World,” from Aladdin, led for a week (March 6, 1993).

As “Bruno” tops the Hot 100 for a fifth frame, it furthers its mark as the longest-leading No. 1 from any Disney movie, animated or live action. The only No. 1 from a Disney film other than “Bruno” or “World,” “All For Love,” by Bryan Adams, Rod Stewart and Sting, from the live action The Three Musketeers, led for three weeks in 1994. Thus, with five weeks at No. 1, “Bruno” now boasts more weeks at the summit than the other two leaders from Disney movies combined.

Glass Animals’ “Heat Waves” ranks at its No. 2 Hot 100 high for a second consecutive week. It crowns the Hot Rock & Alternative Songs and Hot Alternative Songs charts, both of which use the same multi-metric methodology as the Hot 100, for a 23rd week each.

Notably, the top two songs on the Hot 100 were written by a single writer each: as noted above, Lin-Manuel Miranda penned “Bruno,” while Glass Animals’ frontman Dave Bayley wrote “Heat Waves.” A week earlier, the songs marked the first solo-authored titles in the top two simultaneously since Matchbox Twenty’s “Bent,” written by the band’s Rob Thomas, and Vertical Horizon’s “Everything You Want,” written by the group’s Matt Scannell, placed at Nos. 1 and 2, respectively, on the chart dated July 29, 2000.

As “Bruno” and “Heat Waves” add a second week at Nos. 1 and 2, respectively, solo-written songs claim the Hot 100’s top two positions in consecutive weeks for the first time in over 25 years, since Toni Braxton’s Diane Warren-written “Un-Break My Heart” and R. Kelly’s self-written “I Believe I Can Fly” ranked at Nos. 1 and 2, respectively, for four weeks (Dec. 21, 1996-Jan. 11, 1997). Before that, a seven-week such stretch occurred Aug. 20-Oct. 1, 1994, encompassing Lisa Loeb & Nine Stories’ “Stay (I Missed You),” written by Loeb; Boyz II Men’s “I’ll Make Love to You,” penned by Babyface (Kenny Edmonds); and Luther Vandross and Mariah Carey’s “Endless Love,” written by Lionel Richie (who spent nine weeks at No. 1 with its original version, with Diana Ross, in 1981).

GAYLE’s breakthrough hit “abcdefu” hits a new Hot 100 best, rising 4-3. It concurrently ascends to No. 1 on the Pop Airplay chart. The song, previously a stand-alone single, will be on GAYLE’s debut EP, A Study of the Human Experience Volume One, announced Feb. 23 and due March 18.

Adele’s “Easy on Me” dips 3-4 on the Hot 100, after 10 weeks at the summit. The ballad leads Radio Songs for a 14th week (71.5 million, down 4%), extending her longest stay atop the tally. It’s also one of just nine titles to have led Radio Songs for at least 14 weeks, dating to the list’s December 1990 inception; The Weeknd’s “Blinding Lights” reigned for a record 26 weeks in April-October 2020.

Kodak Black’s “Super Gremlin” rebounds from No. 6 to its No. 5 Hot 100 high, as it leads the multi-metric Hot R&B/Hip-Hop Songs and Hot Rap Songs charts for a sixth week each; The Kid LAROI and Justin Bieber’s “Stay” slips 5-6 on the Hot 100, after seven weeks at No. 1; Bieber’s “Ghost” lifts 8-7 for a new highpoint; and Ed Sheeran’s “Shivers” backtracks 7-8, after hitting No. 4.

Sheeran’s “Bad Habits” surges back to the Hot 100’s top 10 (14-9), after it reached No. 2 for two weeks in August-September 2021. It gained by 12% to 10.4 million streams and 48% to 4,200 sold in the Feb. 18-24 tracking week following the Feb. 17 release of its remix featuring Bring Me the Horizon, which the two British acts previewed with a performance Feb. 8 at the 2022 Brit Awards.

Rounding out the Hot 100’s top 10, Elton John and Dua Lipa’s “Cold Heart (Pnau Remix)” also revisits the region (12-10), after it hit No. 7. John expands his span of top 10s to 51 years, one month and one week, dating to his first appearance in the top 10 with “Your Song” (Jan. 23, 1971), the longest among all acts not involving holiday songs. “Cold Heart” tops the multi-metric Hot Dance/Electronic Songs chart for a 20th week.

“Cold Heart” additionally hits No. 1 on the Adult Pop Airplay chart, where John scores his first leader (after he previously peaked at a No. 4 best with “Blessed” in 1996, the year that the list launched) and Lipa lands her third. The song topped Dance/Mix Show Airplay for 14 weeks starting last October, the sixth-longest reign since the chart began in 2003.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated March 5), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (March 1).

Source: billboard.com

Plus, Glass Animals’ “Heat Waves” ascends to No. 2, GAYLE’s “abcdefu” hits the top five and Lil Nas X’s “Thats What I Want” returns to the top 10.

“We Don’t Talk About Bruno,” from Disney’s hit animated film Encanto, leads the Billboard Hot 100 songs chart for a fourth week.

The ensemble song – by Carolina Gaitán, Mauro Castillo, Adassa, Rhenzy Feliz, Diane Guerrero, Stephanie Beatriz and the Encanto Cast (all singing as the characters that they voice in the movie) – claims outright the most weeks at No. 1 on the Hot 100 ever for a hit from a Disney movie, animated or live action, as it passes the three-week reign of “All for Love,” by Bryan Adams, Rod Stewart and Sting, from The Three Musketeers, in 1994.

Meanwhile, Glass Animals’ “Heat Waves” rises to a new No. 2 Hot 100 high; GAYLE’s “abcdefu” reaches the top five, climbing 7-4; and Lil Nas X’s “Thats What I Want” returns to the top 10, pushing 12-9 for a new best.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Feb. 26, 2022) will update on Billboard.com Wednesday (Feb. 23, a day later than usual due to the Presidents’ Day holiday in the U.S. Feb. 21). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“Bruno” tallied 32.2 million U.S. streams (down 10%), 6.5 million radio airplay audience impressions (up 18%) and 7,500 downloads sold (down 11%) in the Feb. 11-17 tracking week, according to MRC Data.

The track tops the Streaming Songs chart for a seventh week and falls 2-11 on Digital Song Sales, which it led for a week.

Record-breaking reign for a Disney movie song:  Three weeks ago, among other honors, “Bruno” became the first Hot 100 No. 1 released on Walt Disney Records; the first leader for its sole writer, Lin-Manuel Miranda; and the second No. 1 from a Disney animated film, after Peabo Bryson and Regina Belle’s “A Whole New World,” from Aladdin, led for a week (March 6, 1993).

As “Bruno” rules for a fourth frame, it makes more history, solely achieving the longest Hot 100 command for a song from any Disney movie, animated or live action, one-upping the three-week reign of “All for Love,” by Bryan Adams, Rod Stewart and Sting, from the live-action The Three Musketeers, in January-February 1994.

Here’s a recap of the highest-charting Hot 100 hits from Disney movies, animated and live-action combined:

Peak position, Year Title, Artist, Disney production (* denotes live-action film) (Label)

• No. 1 (four weeks to-date), 2022, “We Don’t Talk About Bruno,” Carolina Gaitán, Mauro Castillo, Adassa, Rhenzy Feliz, Diane Guerrero, Stephanie Beatriz & Encanto Cast, Encanto (Walt Disney)
• No. 1 (three weeks), 1994, “All for Love,” Bryan Adams/Rod Stewart/Sting, The Three Musketeers* (A&M)
• No. 1 (one), 1993, “A Whole New World,” Peabo Bryson & Regina Belle, Aladdin (Columbia)
• No. 4, 2009, “The Climb,” Miley Cyrus, Hannah Montana: The Movie* (Walt Disney/Hollywood)
• No. 4, 2006, “Breaking Free,” Zac Efron, Andrew Seeley & Vanessa Anne Hudgens, High School Musical* (Walt Disney)
• No. 4, 1995, “Colors of the Wind,” Vanessa Williams, Pocahontas (Hollywood)
• No. 4, 1994, “Can You Feel the Love Tonight,” Elton John, The Lion King (Hollywood)
• No. 5, 2014, “Let It Go,” Idina Menzel, Frozen (Walt Disney)

Soundtrack & song No. 1 for fourth week simultaneously: As “Bruno” tops the Hot 100 for a fourth week, its parent album, the Encanto soundtrack, leads the Billboard 200 albums chart for a sixth week (and fifth in a row), with 98,000 equivalent album units (down 11%).

Encanto and “Bruno” mark the first soundtrack and corresponding song to have led the Billboard 200 and Hot 100 simultaneously for at least four weeks in 29 years, since Whitney Houston’s soundtrack to The Bodyguard and “I Will Always Love You” lined up atop the respective rankings for 12 weeks (Dec. 12, 1992-Feb. 27, 1993; coincidentally, “Always” was dethroned by “A Whole New World”).

Longest double domination for any album and song since 2018: Beyond soundtracks, Encanto and “Bruno” are the first album and corresponding song overall to have topped the Billboard 200 and Hot 100 simultaneously for as many as four weeks since Drake’s Scorpion and “In My Feelings” on the charts dated July 21-Aug. 11, 2018.

‘It’s like I hear him now …’: “Bruno” continues to scale the Adult Pop Airplay and Pop Airplay charts, rising 31-26 (up 44% in plays) on the former and 40-32 (up 45%) on the latter.

The song’s all-format radio audience has risen from 1.5 million to 3.6 million (up 132%) to 5.5 million (up 53%) to 6.5 million (up 18%) over its Hot 100 reign.

WNEW New York led all Adult Pop Airplay chart reporters with 525,000 in audience for “Bruno” in the Feb. 11-17 tracking week, while KIIS Los Angeles paced all Pop Airplay panelists with 420,000 impressions.

Glass Animals’ “Heat Waves” ascends 4-2 for a new Hot 100 best (after it charted as high as No. 3). The song reaches the runner-up spot in its 57th week on the chart, shattering the mark for the longest climb to the top two, previously held by Mariah Carey’s “All I Want for Christmas Is You” (35 weeks, over multiple seasonal runs until the 1994 classic hit No. 1 for the first time in December 2019).

“Heat Waves” tops the Hot Rock & Alternative Songs and Hot Alternative Songs charts, both of which use the same multi-metric methodology as the Hot 100, for a 22nd week each and spends a second week atop Adult Pop Airplay; it previously led Alternative Airplay for three weeks and Pop Airplay for two frames.

Adele’s “Easy on Me” holds at No. 3 on the Hot 100, after 10 weeks at the summit. It leads Radio Songs for a 13th week (77.3 million, down 7%), extending her longest stay atop the tally.

GAYLE’s breakthrough hit “abcdefu” reaches the Hot 100’s top five, pushing 7-4. It likewise enters the Radio Songs top five (8-5; 54.8 million, up 3%).

The Kid LAROI and Justin Bieber’s “Stay” repeats at No. 5 on the Hot 100, after seven weeks at No. 1; Kodak Black’s “Super Gremlin” holds at No. 6, after reaching No. 5, as it leads the multi-metric Hot R&B/Hip-Hop Songs and Hot Rap Songs charts for a fifth week each; and Ed Sheeran’s “Shivers” rebounds 8-7 on the Hot 100, after hitting No. 4.

Justin Bieber’s “Ghost” hovers at No. 8, up from No. 9, for a new Hot 100 best. As previously reported, it becomes his 10th Pop Airplay No. 1, the most among male soloists.

Lil Nas X’s “Thats What I Want” returns to the Hot 100’s top 10, advancing 12-9 for a new high. The song debuted at its previous No. 10 best on the Oct. 2, 2021, chart as parent album Montero opened at No. 2 on the Billboard 200. The track (which has remained in the Hot 100’s top half each week since its debut) drew 52.3 million in radio reach and 8.6 million streams and sold 3,200 in the tracking week.

The single topped the Feb. 19-dated Pop Airplay chart, becoming the third No. 1 on the survey from Montero, after “Montero (Call Me by Your Name)” and “Industry Baby,” the latter with Jack Harlow.

Rounding out the Hot 100’s top 10, Gunna and Future’s “Pushin P,” featuring Young Thug, re-enters the tier (11-10). It spent three weeks at its No. 7 high starting upon its Jan. 22 debut.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Feb. 26), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Feb. 23).

Source: billboard.com

Plus: Eminem and Dr. Dre return to the top 10 following Super Bowl halftime show.

The Encanto soundtrack stays firm at No. 1 on the Billboard 200 chart for a sixth nonconsecutive week on top. It is now tied with Adele’s 30 for the third-most weeks at No. 1 in the last five years. Only Morgan Wallen’s Dangerous: The Double Album (with 10) and Taylor Swift’s Folklore (eight) have tallied more weeks at No. 1 since January 2017.

Encanto earned 98,000 equivalent album units in the U.S. in the week ending Feb. 17 (down 11%), according to MRC Data.

Plus, Eminem’s Curtain Call: The Hits and Dr. Dre’s Dr. Dre – 2001 albums both return to the top 10, following the artists’ performance during the Super Bowl LVI halftime show on Feb. 13.

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, compiled by MRC Data. 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. 26, 2022-dated chart will be posted in full on Billboard‘s website on Feb. 23 (one day later than usual, due to the Presidents’ Day holiday in the U.S. on Feb. 21). For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Encanto’s 98,000 equivalent album units earned, SEA units comprise 83,000 (down 9%, equaling 123.44 million on-demand official streams of the set’s songs), album sales comprise 12,500 (down 25%) and TEA units comprise 2,500 (down 8%).

A trio of former No. 1s trail Encanto, as Gunna’s DS4Ever holds at No. 2 with 46,000 equivalent album units earned (down 3%), Wallen’s Dangerous: The Double Album rises 4-3 with 42,000 units (up 3%) and Drake’s Certified Lover Boy climbs 7-4 with 34,000 units (though down 3%).

The Weeknd’s compilation The Highlights bumps 8-5 with 33,000 equivalent album units earned (down 2%), Doja Cat’s Planet Her ascends 10-6 with 31,000 units (down 2%) and Adele’s 30 moves 9-7 with nearly 31,000 units (down 3%).

Eminem and Dr. Dre return to the top 10 on the Billboard 200, following their co-headlining performance during the Super Bowl halftime show on Feb. 13. Eminem’s former No. 1 Curtain Call: The Hits vaults from 126-8 with almost 31,000 equivalent album units earned (up 256%) while Dr. Dre’s Dr. Dre – 2001 zooms 108-9 with 30,500 units (up 220%). Eminem and Dr. Dre starred in the halftime show alongside Snoop Dogg, Mary J. Blige and Kendrick Lamar, with special guests 50 Cent and Anderson .Paak.

Curtain Call returns to the top 10 for the first time since the March 11, 2006 chart, when it ranked at No. 8. It debuted atop the Billboard 200 dated Dec. 24, 2005. Dr. Dre – 2001 debuted and peaked at No. 2 on the Dec. 4, 1999-dated chart and was last in the top 10 on the May 13, 2000, list (No. 9).

During the halftime show, Eminem performed “Lose Yourself,” which is featured on Curtain Call, while three tracks included on Dr. Dre – 2001 were also performed during halftime: “The Next Episode,” “Forgot About Dre” and “Still D.R.E.”

Of Curtain Call’s 31,000 equivalent album units earned, SEA units comprise 26,000 (up 227%, equaling 37.67 million on-demand official streams of the set’s songs), album sales comprise 1,500 (up 267%) and TEA units comprise 3,500 (up 1,015%). As for Dr. Dre – 2001’s 30,500-unit total, SEA units comprise 21,500 (up 168%, equaling 30.56 million on-demand official streams of the album’s songs), album sales comprise 4,000 (up 323%) and TEA units comprise 5,000 (up 860%).

Closing out the top 10 on the Billboard 200 is Olivia Rodrigo’s former No. 1, Sour, rising 12-10 with just over 30,000 equivalent album units earned (up 1%).

Source: billboard.com

Plus, Nicki Minaj and Lil Baby’s “Do We Have a Problem?” launches at No. 2 and Justin Bieber’s “Ghost” hits the top 10, rising to No. 9.

“We Don’t Talk About Bruno,” from Disney’s hit animated film Encanto, tops the Billboard Hot 100 songs chart for a third week.

The ensemble song – by Carolina Gaitán, Mauro Castillo, Adassa, Rhenzy Feliz, Diane Guerrero, Stephanie Beatriz and the Encanto Cast (all singing as the characters that they voice in the movie) – ties for the most weeks at No. 1 on the Hot 100 ever for a hit from a Disney movie, animated or live-action, matching the three-week reign of “All for Love,” by Bryan Adams, Rod Stewart and Sting, from The Three Musketeers, in 1994.

Plus, Nicki Minaj and Lil Baby’s “Do We Have a Problem?” soars onto the Hot 100 at No. 2 and Justin Bieber’s “Ghost” reaches the top 10, ascending 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 Feb. 19, 2022) will update on Billboard.com tomorrow (Feb. 15). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

In the Feb. 4-10 tracking week, “Bruno,” according to MRC Data, tallied 35.6 million U.S. streams (down 5%), 5.5 million radio airplay audience impressions (up 53%) and 8,400 downloads sold (down 38%; it was aided by 69-cent discount pricing in the iTunes Store the prior two weeks).

The track tops the Streaming Songs chart for a sixth week and holds at No. 2 on Digital Song Sales, three weeks after it topped the latter list.

Record-tying domination for a Disney movie song:  Two weeks ago, among other achievements, “Bruno” became the first Hot 100 No. 1 released on Walt Disney Records; the first leader for its sole writer, Lin-Manuel Miranda; and the second No. 1 from a Disney animated film, after Peabo Bryson and Regina Belle’s “A Whole New World,” from Aladdin, led for a week (March 6, 1993).

As “Bruno” reigns for a third frame, it adds more history, tying for the longest Hot 100 command for a song from any Disney movie, animated or live-action, equaling the three-week reign of “All for Love,” by Bryan Adams, Rod Stewart and Sting, from the live-action The Three Musketeers, in January-February 1994.

Here’s a recap of the highest-charting Hot 100 hits from Disney movies, animated and live-action combined:

Peak position, Year Title, Artist, Disney production (* denotes live-action film) (Label)
No. 1 (three weeks to-date), 2022, “We Don’t Talk About Bruno,” Carolina Gaitán, Mauro Castillo, Adassa, Rhenzy Feliz, Diane Guerrero, Stephanie Beatriz & Encanto Cast, Encanto (Walt Disney)
No. 1 (three weeks), 1994, “All for Love,” Bryan Adams/Rod Stewart/Sting, The Three Musketeers* (A&M)
No. 1 (one), 1993, “A Whole New World,” Peabo Bryson & Regina Belle, Aladdin (Columbia)
No. 4, 2009, “The Climb,” Miley Cyrus, Hannah Montana: The Movie* (Walt Disney/Hollywood)
No. 4, 2006, “Breaking Free,” Zac Efron, Andrew Seeley & Vanessa Anne Hudgens, High School Musical* (Walt Disney)
No. 4, 1995, “Colors of the Wind,” Vanessa Williams, Pocahontas (Hollywood)
No. 4, 1994, “Can You Feel the Love Tonight,” Elton John, The Lion King (Hollywood)
No. 5, 2014, “Let It Go,” Idina Menzel, Frozen (Walt Disney)

Most weeks at No. 1 for Disney Music Group: While “Bruno” is the first Hot 100 No. 1 for Walt Disney Records, it’s the second for the Disney Music Group, which includes the Walt Disney Records and Hollywood Records labels. “Bruno” now claims the longest reign outright for a Disney Music Group hit, passing its sole other leader to-date: Hollywood release “Hey There Delilah” by Plain White T’s led for two weeks in July-August 2007.

Soundtrack & song No. 1 for third week simultaneously: As “Bruno” tops the Hot 100 for a third week, its parent album, the Encanto soundtrack, crowns the Billboard 200 albums chart for a fifth week (and fourth in a row), with 110,000 equivalent album units (down 2%).

Encanto and “Bruno” mark the first soundtrack and corresponding song to have led the Billboard 200 and Hot 100 simultaneously for at least three weeks in over 26 years, since Dangerous Minds and Coolio’s “Gangsta’s Paradise,” featuring L.V., aligned atop the respective rankings dated Sept. 9, 16 and 23, 1995.

Nicki Minaj and Lil Baby’s “Do We Have a Problem?” bounds onto the Hot 100 at No. 2, with 24.4 million streams, 3.7 million in radio reach and 48,000 sold in its first week, following its Feb. 4 release.

Minaj adds her 20th Hot 100 top 10. She’s the 22nd artist to reach the milestone over the chart’s history (which dates to 1958), and the seventh woman, after Madonna (38), Rihanna (31), Taylor Swift (30), Mariah Carey (28), Janet Jackson (27) and Whitney Houston (23). Drake leads all acts with 54 top 10s.

In Minaj’s two most recent trips to the Hot 100’s top 10 before “Problem,” she earned her first two No. 1s: as featured on Doja Cat’s “Say So,” which topped the May 16, 2020-dated chart, and with 6ix9ine on “Trollz,” which bowed atop the June 27, 2020, chart.

Lil Baby notches his ninth Hot 100 top 10 and ties his best rank and debut: he previously began at No. 2 as featured on two Drake tracks: “Wants and Needs” (March 2021) and “Girls Want Girls” (September 2021).

“Problem” concurrently starts atop Digital Song Sales (via three versions: its original mix, a clean edit and its instrumental track), where it’s Minaj’s ninth No. 1 and Lil Baby’s first, and No. 2 on Streaming Songs. It also premieres at No. 1 on the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, both of which use the same multi-metric methodology as the Hot 100; Minaj posts her seventh leader on each genre list and Lil Baby lands his first.

Adele’s “Easy on Me” descends 2-3 on the Hot 100, after 10 weeks on top, as it tied “Hello” in 2015-16 for her personal-best reign, among her five No. 1s. “Easy” leads the Radio Songs chart for a 12th week (85.3 million, down 4%), passing “Hello” for her longest stay atop the airplay tally, also among her five No. 1s.

Glass Animals’ “Heat Waves” drops to No. 4 on the Hot 100 from its No. 3 high. The track also tops the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a 21st week each and hits No. 1 on Adult Pop Airplay; it previously led Alternative Airplay for three weeks and Pop Airplay for two frames.

The Kid LAROI and Justin Bieber’s “Stay” slips 4-5 on the Hot 100, after seven weeks at No. 1; Kodak Black’s “Super Gremlin” falls to No. 6 from its No. 5 high; GAYLE’s “abcdefu” backtracks to No. 7 from its No. 6 best, as it wins the chart’s top Airplay Gainer award for a third week (52.9 million, up 15%); and Ed Sheeran’s “Shivers” slides 7-8, after hitting No. 4.

Justin Bieber’s “Ghost” reaches the Hot 100’s top 10, rising 12-9. The song drew 62 million airplay impressions (up 6%) and 7.9 million streams (up 8%) and sold 3,400 (up 20%) in the tracking week. It lifts 5-4 on Radio Songs, 24-17 on Digital Song Sales and 40-36 on Streaming Songs.

Bieber banks his 26th Hot 100 top 10, pushing him into a solo share of the 11th-most top 10s in the chart’s history.

“Ghost” was released on Bieber’s album Justice, which in April 2021 debuted as his eighth Billboard 200 No. 1. As it enters the Hot 100’s top 10 in its 20th week on the chart, it completes his longest trek to the tier, surpassing the 18-week journey of Skrillex and Diplo’s No. 8-peaking “Where Are Ü Now,” featuring Bieber, in 2015. (Of Bieber’s 26 top 10s, 17 have debuted in the top 10.)

Rounding out the Hot 100’s top 10, Jessica Darrow’s “Surface Pressure,” from Encanto, retreats to No. 10 from its No. 8 high.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Feb. 19), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Feb. 15).

Source: billboard.com

Plus: Yo Gotti and Mitski score their highest charting albums ever on the Billboard 200 with their latest releases.

Walt Disney Records’ Encanto soundtrack spends its fifth nonconsecutive week at No. 1 on the Billboard 200 albums chart, becoming the soundtrack with the most weeks atop the chart since Disney’s own Frozen ruled for 13 nonconsecutive weeks in 2014.

With their totals at No. 1 (so far), Frozen and Encanto boast the most, and second-most, weeks at No. 1, respectively, among soundtracks in the 21st century.

Encanto earned 110,000 equivalent album units in the U.S. in the week ending Feb. 10 (down 2%), according to MRC Data.

Also in the top 10, both Yo Gotti and Mitski land their highest-charting albums ever on the Billboard 200, as the former’s CM10: Free Game debuts at No. 3 and the latter’s Laurel Hell arrives at No. 5.

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, compiled by MRC Data. 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. 19, 2022-dated chart will be posted in full on Billboard‘s website on Feb. 15. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Encanto’s 110,000 equivalent album units earned, SEA units comprise 91,000 (down 3%, equaling 134.82 million on-demand official streams of the set’s songs), album sales comprise 17,000 (up 5%) and TEA units comprise 2,000 (down 28%).

Encanto continues to be powered largely by streaming activity for its songs, including its five top 40-charting hits on the Billboard Hot 100: “We Don’t Talk About Bruno” (which spent its second week atop the most recently published list, dated Feb. 12), “Surface Pressure,” “The Family Madrigal,” “What Else Can I Do?” and the Academy Award-nominated “Dos Oruguitas.”

Notably, Encanto is one of only six soundtracks to spend at least five weeks at No. 1 on the Billboard 200 in the last 30 years. Before Encanto, there was Frozen (13 weeks, 2014), Titanic (16, 1998), Waiting to Exhale (five, 1996), The Lion King (10, 1994-95) and the Whitney Houston-led The Bodyguard (20, 1992-93). (Before that, the last soundtrack with at least five weeks at No. 1 was Prince’s Batman in 1989, with six weeks at No. 1.) The soundtrack — and overall album — with the most weeks at No. 1 is West Side Story, with 54 weeks atop the list in 1962-63.

Back on the new Billboard 200, Gunna’s former No. 1 DS4Ever rises 3-2 with 47,000 equivalent album units earned (though down 13%).

Yo Gotti achieves his highest charting album ever on the Billboard 200, as CM10: Free Game debuts at No. 3 with 46,000 equivalent album units earned. It’s the rapper’s fifth top 10 on the chart and surpasses his previous high of No. 4 with The Art of the Hustle in 2016.

Of CM10: Free Game’s 46,000 units earned, SEA units comprise 30,000 (equaling 43.06 million on-demand official streams of the set’s songs), album sales comprise 15,000 and TEA units comprise a negligible sum. On Feb. 4, CM10: Free Game was initially released in two versions: an 11-song edition and a 22-song version (both containing the same core 11 songs). On Feb. 7, a 25-song deluxe edition of the album was released with three bonus tracks.

Morgan Wallen’s chart-topping Dangerous: The Double Album is a non-mover at No. 4 on the Billboard 200 with 41,000 equivalent album units earned (up 1%).

Mitski’s Laurel Hell arrives at No. 5 on the Billboard 200, marking the highest-charting album ever for the singer-songwriter, and first to reach the top 40. The new album is Mitski’s sixth full-length studio set and first since she became wildly popular on TikTok. (Mitski’s last album was released in 2018.)

Laurel Hell was released on Feb. 4 via the record label Dead Oceans, and launches with 36,000 equivalent album units earned. Of that sum, album sales comprise 24,000 (making it the top-selling album of the week), SEA units comprise 12,000 (equaling 15.63 million on-demand official streams of the set’s songs) and TEA units comprise a negligible sum. Laurel Hell also captures career-high weeks for Mitski, both in terms of units earned and album sales.

Notably, Laurel Hell sold nearly 17,000 copies on vinyl LP — the largest vinyl sales week for any album released in 2022, and largest vinyl debut for an album by a female artist since Adele’s 30 launched with 35,000 (Dec. 4, 2021-dated chart).

Mitski previously charted just one album on the Billboard 200, with Be the Cowboy spending one week at No. 52 in 2018. (It also peaked at No. 6 on Top Alternative Albums and No. 7 on Top Rock Albums.) Mitski made her Billboard album chart debut in 2016 with Puberty 2 on a range of charts, including Top Alternative Albums and Top Rock Albums (peaking at Nos. 19 and 32, respectively).

Mitski also recently snared her first top 10 any Billboard song chart, as the new album’s “The Only Heartbreaker” has hit No. 8 on the Adult Alternative Airplay chart (on the lists dated Feb. 5 and 12).

Laurel Hell is also the first top 10 album on the Billboard 200 for Dead Oceans, and the fourth to reach the top 40. The label’s previous high came in 2020 with Khruangbin’s No. 31-peaking Mordechai (released via Night Time Stories/Dead Oceans).

Rounding out the new top 10 on the Billboard 200 are The Weeknd’s Dawn FM (falling 2-6 with 35,000 equivalent album units; down 49%), Drake’s chart-topping Certified Lover Boy (holding at No. 7 with nearly 35,000; up 1%), The Weeknd’s compilation The Highlights (steady at No. 8 with 34,000; up 2%), Adele’s former leader 30 (6-9 with 32,000; down 7%) and Doja Cat’s Planet Her (9-10 with 32,000; down 2%).

The Weeknd has now gone five straight weeks with two albums concurrently in the top 10. He’s the first to do so since early 2017, when Pentatonix strung together five weeks in a row with a pair of albums in the top 10 (Dec. 17, 2016 — Jan. 14, 2017; with two holiday efforts — That’s Christmas To Me and A Pentatonix Christmas). Excluding Christmas/holiday albums, Justin Bieber was the last to manage the feat, with five straight weeks in the top 10 from April 10-May 8, 2010, with My World and My World 2.0. (In 2010, the Billboard 200 was ranked solely by traditional album sales. It did not transition to become an equivalent album units ranked chart until Dec. 2014.)

Source: billboard.com