The soundtrack to the musical drama film The Greatest Showman scores a second week at No. 1 on the Billboard 200 chart, as the set earned 104,000 equivalent album units (down 3 percent) in the week ending Jan. 11, according to Nielsen Music. Of that sum, 70,000 were in traditional album sales (down 10 percent).

The Greatest Showman is just the fifth soundtrack in the last 10 years to spend multiple weeks at No. 1.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption, which includes traditional album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new Jan. 20-dated chart (where The Greatest Showman spends a second week at No. 1) will be posted in full on Billboard’s websites on Wednesday, Jan. 17 (one day later than normal, due to the Martin Luther King Jr. Day holiday on Jan. 15).

In the past 10 years, 21 soundtracks have hit No. 1 on the Billboard 200 chart and, of those, just five have netted multiple weeks atop the list: The Greatest Showman(two, so far), Suicide Squad: The Album (two, in 2016), Guardians of the Galaxy: Awesome Mix Vol. 1 (two, 2014), Frozen (13, 2014) and Glee: The Music, Volume 3 — Showstoppers (two, 2010). The last live action musical released in movie theaters to see its soundtrack notch more than a week at No. 1 was the Dreamgirls album, with two weeks in the penthouse back in 2007.

Since The Greatest Showman’s release in theaters on Dec. 20, the movie has earned an estimated $95 million at the U.S. and Canada box office, according to Box Office Mojo.

The Greatest Showman album features performances by the movie’s stars, including Hugh Jackman, Zac Efron, Zendaya and Michelle Williams. Four songs from the album debuted on the Billboard Hot 100 chart dated Jan. 13, led by “This Is Me,” by Keala Settle and the film’s ensemble.

Back on the new Billboard 200 chart, Ed Sheeran’s ÷ (Divide) holds at No. 2 with 53,000 units (down 21 percent), while G-Eazy’s The Beautiful & Damned returns to its peak (and debut position) at No. 3 with 38,000 units (down 10 percent).

Bruno Mars’ 24K Magic hits its highest rank in eight months, and returns to the top 10 after more than four months, climbing 15-4 with 37,000 units (up 75 percent). The set’s rises is driven by the strong start of its new single, “Finesse,” which has been boosted by a new remix with rapper Cardi B. (The remix is merged with the original version of “Finesse,” and contributes to the SEA and TEA units of the song’s parent album, as most remixes do.)

The album has not ranked this high since the April 22, 2017-dated list, when it placed at No. 4; and has not been in the top 10 since Sept. 2, 2017, when it was No. 10. The album debuted and peaked at No. 2 on the Dec. 10, 2016 chart.

Post Malone’s Stoney ascends 8-5 on the latest Billboard 200, with nearly 37,000 units (down 6 percent), Taylor Swift’s Reputation falls 3-6 with a little over 36,000 units (down 24 percent) and Eminem’s Revival dips 6-7 with 36,000 units (down 11 percent). Kendrick Lamar’s DAMN. slides 5-8 with 35,000 units (down 15 percent), Huncho Jack’s Huncho Jack, Jack Huncho is steady at No. 9 with 32,000 units (down 17 percent), and Sam Smith’s The Thrill of It All climbs back into the top 10, rising 12-10 with 29,000 units (up 5 percent).

Source: billboard.com

“Perfect” leads for a fifth week & crowns Radio Songs, while “Havana” returns to its peak.

Ed Sheeran and Beyoncé‘s “Perfect” tops the Billboard Hot 100 for a fifth week. The song also takes over as the most-heard hit on U.S. radio, reaching No. 1 on the Radio Songs chart.

Meanwhile, Camila Cabello‘s “Havana,” featuring Young Thug, rebounds to its No. 2 Hot 100 peak.

Plus, Halsey‘s “Bad at Love” continues its Hot 100 ascent, rising from No. 9 to a new No. 6 high.

Let’s run down the top 10 of the Jan. 13-dated Hot 100, which blends all-genre streaming, airplay and sales data. All charts will update on Billboard.com on Tuesday (Jan. 9).

“Perfect,” released on Atlantic Records — first as a solo track by Sheeran on his album ÷ (Divide) — spends a sixth week at No. 1 on the Digital Song Sales chart with 109,000 downloads sold (down 34 percent) in the week ending Jan. 4, according to Nielsen Music.

The song also lifts 2-1 on the Radio Songs tally, up 7 percent to 139 million audience impressions in the week ending Jan. 7 (with radio playing both Sheeran’s original solo version and the duet). Sheeran scores his second Radio Songs leader, following ÷ lead single “Shape of You,” which reigned for 12 weeks beginning last Feb. 25.

Beyoncé adds her sixth solo Radio Songs No. 1 and first in nearly nine years. Her previous toppers: “Crazy in Love,” featuring JAY-Z (eight weeks, 2003); “Baby Boy,” featuring Sean Paul (nine, 2003); “Check on It,” featuring Slim Thug (three, 2006); “Irreplaceable” (11, 2006-97); and “Single Ladies (Put a Ring on It)” (five, 2009). Beyoncé first ruled Radio Songs as a member of Destiny’s Child with four singles (consecutively) in 2000-01: “Say My Name,” “Jumpin’, Jumpin’,” “Independent Women Part 1” and “Survivor.”

On Streaming Songs, which “Perfect” led for a week, the song slips 2-4 with 36.4 million U.S. streams (down 4 percent) in the week ending Jan. 4.

Cabello’s “Havana” rebounds from No. 3 for a sixth week at its No. 2 Hot 100 peak. That’s the longest stay at the runner-up spot for a No. 2-peaking song since DJ Khaled’s “Wild Thoughts,” featuring Rihanna and Bryson Tiller, which spent seven weeks at its No. 2 high beginning July 29. The last No. 2 hit by a lead female to post at least six weeks at the spot before “Havana”? Lady Gaga’s “Bad Romance” (seven weeks, 2009-10).

“Havana” drops to No. 2 after four weeks atop Radio Songs (137 million, although up 5 percent); jumps 5-2 on Streaming Songs (35.6 million, up 10 percent); and holds at No. 3 on Digital Song Sales (68,000, down 27 percent). (Note that “Havana” ranks higher than “Perfect” on Streaming Songs even though Cabello’s hit boasts fewer total streams than Sheeran and Beyoncé’s [35.6 million vs. 36.4 million]; their respective sums are raw totals before weighting is applied, as on-demand streams count more than programmed streams for the survey.)

As previously reported, “Havana” concurrently tops the Pop Songs airplay chart for a seventh week, marking the longest command for a song by a lead female on the chart in nearly five years, since Taylor Swift’s “I Knew You Were Trouble,” which ruled for seven weeks beginning Feb. 2, 2013. “Havana” also crowns the Rhythmic Songs chart for a third frame.

Cabello additionally re-enters the Hot 100 with “Havana” follow-up “Never Be the Same,” at No.  71. (It debuted at its No. 61 high to date on Dec. 30.) The new single soars by 43 percent to 8.1 million U.S. clicks following the Dec. 29 premiere of its official video. Both songs are from Cabello’s debut album, Camila, due Friday (Jan. 12).

Post Malone’s “Rockstar,” featuring 21 Savage, drops 2-3 on the Hot 100, following its eight-week domination. It leads Streaming Songs for a 14th week (39.4 million, down 2 percent), tying Desiigner’s “Panda” for the chart’s second-longest reign; the songs trail only Luis Fonsi and Daddy Yankee’s “Despacito,” featuring Justin Bieber, which led for 16 weeks beginning last May 27. “Rockstar” also tops the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts for a 13th week each.

Imagine Dragons’ “Thunder” rises 5-4 on the Hot 100, returning to its peak, while leading Hot Rock Songs for a 10th week. The song swaps spots on the Hot 100 with G-Eazy’s “No Limit,” featuring A$AP Rocky and Cardi B, which slides a spot from its No. 4 high.

Halsey’s “Bad at Love” jumps 9-6 on the Hot 100, surpassing its prior No. 8 peak; Sam Smith’s No. 4-peaking “Too Good at Goodbyes” rebounds 8-7; Migos, Nicki Minaj and Cardi B’s “MotorSport” falls 7-8, two spots off its No. 6 high; and Lil Pump’s “Gucci Gang” descends 6-9 after reaching No. 3.

Rounding out the Hot 100’s top 10, Cardi B’s breakthrough three-week No. 1 “Bodak Yellow (Money Moves)” keeps at No. 10, marking a second week for the MC’s first three songs on the chart in the top 10 simultaneously. A week ago, she became just the third act ever to chart her first three Hot 100 entries in the top 10 concurrently, joining The Beatles in 1964 and Ashanti in 2002.

More Cardi B: beyond the Hot 100’s top 10, Bruno Mars and Cardi B boast the chart’s top debut, as “Finesse” enters at No. 35. The collab, originally released as a solo song by Mars on his album 24K Magic, bows following the release of its remix and official video at midnight ET Jan. 4. The track starts at No. 13 on Digital Song Sales (30,000 sold, up from a negligible amount, in the week ending Jan. 4) and No. 49 on Radio Songs (26 million impressions, also up from a minimal sum, in the week ending Jan. 7), while logging 8.7 million U.S. streams (up 2,098 percent) in the week ending Jan. 4.

“Finesse” marks Cardi B’s sixth Hot 100 visit. Along with her trio of top 10s, she added two more charted titles last week: “Bartier Cardi,” featuring 21 Savage, which drops 14-19 this week; and “La Modelo,” with Ozuna, which dips 52-61.

Find out more Hot 100 news in the weekly “Hot 100 Chart Moves” column and by listening (and subscribing) to Billboard‘s Chart Beat Podcast and Pop Shop Podcast. And again, be sure to visit Billboard.com tomorrow (Jan. 9), when all charts, including the Hot 100 in its entirety, will refresh.

Source: billboard.com

The Greatest Showman soundtrack hits No. 1 in its fourth week on the Billboard 200 albums chart with 106,000 equivalent album units earned (up 37 percent) in the week ending Jan. 4. Of that sum, 78,000 were traditional album sales (up 28 percent).

The soundtrack to the musical drama film was released on Dec. 8 through Atlantic Records and marks the first chart-topping soundtrack since Fifty Shades Darker spent one week at No. 1 on the March 4, 2017-dated tally.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption, which includes traditional album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new Jan. 13-dated chart (where The Greatest Showman tops the list) will be posted in full on Billboard’s websites on Tuesday, Jan. 9.

The Greatest Showman soundtrack debuted at No. 71 on the Billboard 200 dated Dec. 30, 2017, jumped to No. 63 the following week, and then zoomed to No. 5(following the movie’s U.S. theatrical release on Dec. 20). The album includes music by the film’s stars Hugh Jackman, Michelle Williams, Zac Efron and Zendaya. According to Box Office Mojo, the film has earned over $67 million at the U.S. and Canada box office through Jan. 5.

Here are some fun facts about The Greatest Showman soundtrack hitting No. 1 on the Billboard 200:

The First Album to Hit No. 1 in a Year Without Debuting at No. 1: Generally speaking, No. 1 albums on the Billboard 200 reach No. 1 by debuting at the top — not by rising to the pole position, as The Greatest Showman did. The Greatest Showman album bowed at No. 71, then moved 63-5-1. The last No. 1 album to climb to the top was Pentatonix’s A Pentatonix Christmas, on the list dated Jan. 7, 2017, when hit No. 1 in its ninth chart week.

First Theatrically Released Musical Film Soundtrack to Hit No. 1 Since 2015:The Greatest Showman is the first theatrically released musical film to see its soundtrack top the chart since Pitch Perfect 2 debuted at No. 1 on the list dated May 30, 2015. (The album spent one week in the penthouse.) Between Pitch Perfect 2 and The Greatest Showman at No. 1, there was one other musical soundtrack that topped the list: Disney Channel’s TV movie Descendants in 2015.

Jackman & Efron at No. 1: Collectively, The Greatest Showman’s Hugh Jackman and Zac Efron have been a part of four different chart-topping soundtracks. Efron performed on the companion albums to both High School Musical (2006) and High School Musical 2 (2007) and Jackman was featured on Les Miserables (2013).

10th Soundtrack to Hit No. 1 in the Last Five Years: Of the 184 albums that were No. 1 in the past five years, just 10 have been soundtracks. The Greatest Showman follows: Fifty Shades Darker, Suicide Squad: The Album (2016), Descendants, Pitch Perfect 2, Furious 7 (2015), Empire: Original Soundtrack From Season 1 (2015), Guardians of the Galaxy: Awesome Mix Vol. 1 (2014), Frozen (2014) and Les Miserables.

As for the rest of the Billboard 200’s new top 10, it’s a fairly quiet week, and the chart is adjusting back to normal after a busy holiday shopping season. Further, with few significant albums were released on Dec. 29, so there are no debuts within the top 100 of the chart.

Ed Sheeran’s ÷ (Divide) holds steady at No. 2 with 67,000 units (down 27 percent), while Taylor Swift’s Reputation falls 1-3 with 48,000 units (down 55 percent) and G-Eazy’s The Beautiful & Damned climbs 8-4 with 42,000 units (down 16 percent). The Greatest Showman is the only album in the top 10 to see a gain in units, which is not unusual for this time of year on the chart, as business gets back to normal after the high volume of units generated during the Christmas season.

Kendrick Lamar’s DAMN. jumps 9-5 with 41,000 units (down 11 percent), Eminem’s Revival slips 4-6 with nearly 41,000 units (down 51 percent), and Imagine Dragons’ Evolve rises 11-7 with nearly 41,000 units (down 8 percent).

Post Malone’s Stoney bumps 10-8 with 39,000 units (down 11 percent), Huncho Jack’s Huncho Jack, Jack Huncho falls 3-9 with nearly 39,000 units (down 57 percent) and Khalid’s American Teen closes out the top 10, ascending 15-10 with 31,000 units (down 7 percent).

Source: billboard.com

Plus: Overall music consumption up 12.5%, on-demand streams climb 43% & Taylor Swift’s “Reputation” is year’s top-selling album.

Ed Sheeran’s ÷ (pronounced Divide) finishes 2017 as the most popular album of the year in the U.S., according to Nielsen Music. The data tracking company reports the title earned 2.764 million equivalent album units during the year, with 1.1 million of that sum coming from traditional album sales. A year ago, Drake’s Views was named Nielsen’s top album of 2016.

÷’s 2.764 million equivalent album units figure is a multi-metric consumption total, which includes traditional album sales, track equivalent albums (TEA) and on-demand audio streaming equivalent albums (SEA). The multi-metric formula is also used to compile the weekly Billboard 200 albums chart, which ranks the most popular albums of the week in the U.S.

Nielsen Music’s 2017 tracking year ran from Dec. 30, 2016 through Dec. 28, 2017. Numbers in this story are rounded. Nielsen Music began electronically tracking music sales and data in 1991 (so a reference in this story to the “Nielsen era” means from 1991 to the present).

÷ ruled the weekly Billboard 200 chart for two weeks, and has yet to leave the top 20 of the tally after 43 weeks on the list (through the chart dated Jan. 6). The set launched three top 10 hits on the Billboard Hot 100 songs chart, including a pair of No. 1s: Sheeran’s first leader, “Shape of You,” and his second, “Perfect,” with Beyoncé. The album also notched the No. 6-peaking “Castle on the Hill.”

Kendrick Lamar’s DAMN. closes out 2017 as the No. 2 most popular album of the year, with 2.747 million units (910,000 in pure album sales). Following DAMN. on the year-end 2017 tally are Taylor Swift’s Reputation (2.336 million units), Drake’s More Life (2.227 million) and Bruno Mars’ 24K Magic (1.626 million).

OVERALL MUSIC CONSUMPTION CLIMBS: Total music consumption in 2017 climbed 12.5 percent to 636.65 million units (up from 566.1 million). That figure adds together traditional album sales, track equivalent album units, and on-demand streaming equivalent album units from both video and audio streams. One track equivalent album unit is equal to 10 tracks sold. One streaming equivalent album unit is equal to 1,500 on-demand streams.

In terms of audio-only consumption (removing on-demand video streams from the equation), the gain was 10.2 percent, rising to 491.55 million units (from 446.12 million).

R&B/HIP-HOP DOMINATES: Additionally, the R&B/hip-hop genre represented 24.5 percent of all music consumption in the U.S. — the largest share of any genre and the first time R&B/hip-hop has led this measurement for a calendar year. (The 24.5 percent share represents a combination of album sales, track equivalent album units and streaming equivalent album units — including both on-demand audio and video streams.) The rock genre is in second place for the year, with 20.8 percent share.

R&B/hip-hop also led Nielsen’s mid-year report — the first time R&B/hip-hop had overtaken rock as music’s biggest genre at mid-year.

ALBUM SALES DIP, STREAMS SIZZLE: Album sales in 2017 fell 17.7 percent to 169.15 million copies sold across all configurations (CD, digital albums, vinyl LPs, cassettes, etc.). In 2016, there were 205.54 million albums sold.

While album sales continue to slip, music fans have increasingly turned to streaming services to consume music. In 2017, total on-demand streams (audio and video combined) vaulted 43 percent from 432.2 billion in 2016 to 618 billion. Of the latter sum, on-demand audio streams increased 59 percent to 400.4 billion, and on-demand video streams surged 21 percent to 217.7 billion.

SWIFT RULES WITH YEAR’S TOP SELLING ALBUM: Taylor Swift’s Reputation tops Nielsen Music’s year-end best-selling albums list, with 1.9 million sold. This is the third time Swift has claimed the year’s top-selling album. She did it previously with her last studio effort, 1989 (2014’s best seller, with 3.66 million sold that calendar year), and Fearless (2009’s leader, with 3.22 million sold that year). 1989 and Fearless have sold a total of 6.11 million and 7.13 million copies, respectively, since their release.

Notably, in the last nine years (2009 through 2017), seven of the year-end best-sellers have been an album by either Swift or Adele. The latter did it in 2016, 2015 (both with 25), 2012 and 2011 (with 21).

Reputation sold 1.9 million in just seven weeks, following its release on Nov. 10. The album sold 1.217 million copies in its first week — the biggest sales week of 2017, and the 10th largest sales week for any album since Nielsen Music began electronically tracking sales in 1991.

Reputation is one of only two albums to clear 1 million copies sold in 2017. Ed Sheeran’s ÷ is the other, and 2017’s No. 2 seller, with 1.1 million sold. That’s the lowest number of million-sellers in a calendar year since Nielsen Music began tracking sales in 1991. In 2016, there were four million-sellers.

For the first time since 1998, there are three soundtracks among Nielsen Music’s year-end top 10 selling albums. Moana leads the pack at No. 5 with 709,000 sold, followed by Guardians of the Galaxy, Vol. 2: Awesome Mix Vol. 2 (No. 8; 600,000) and Trolls (No. 10; 522,000). Moana is the highest ranking year-end soundtrack on the top sellers list since 2014, when Frozen placed at No. 2.

The last time the year-end top 10 housed three soundtracks was in 1998, when Titanic topped the list (9.34 million), followed by City of Angels (No. 6 with 4.12 million) and Armageddon (No. 10; 3.22 million).

Overall album sales – physical and digital sales combined – fell by 17.7 percent in 2017 to 169.15 million copies (down from 205.54 million in 2016). Comparably, album sales decreased 16.7 percent in 2016, 6 percent in 2015, 11 percent in 2014, 8 percent in 2013 and 4 percent in 2012.

Physical album sales (CD, vinyl, cassette, etc.) decreased by 16.5 percent to 102.92 million in 2017. CD album sales accounted for 88.2 million of that sum (down 20 percent). CDs are still the dominant format for album purchases in the U.S. – digital album sales were the second-biggest configuration, with 66.2 million digital albums sold in 2017 (down 19.6 percent).

The top selling digital album of 2017 is Swift’s Reputation, with 868,000 digital copies sold.

In terms of the most popular genres in total album sales for the year, rock music represented the largest share of album purchases: 34.6 percent. R&B/hip-hop titles accounted for 14.6 percent of albums sold.

VINYL STILL HOT: Once again, yearly vinyl album sales have hit another Nielsen-era record high, as the configuration sold 14.32 million (up 9 percent) in 2017. That’s up from the previous one-year high, registered in 2016 with 13.1 million.

2017 marks the 12^th straight year of growth in vinyl album sales.

Vinyl LP sales represented 8.5 percent of all album sales in 2017 – up from 6.5 percent for the configuration’s share in 2016. Further, LP sales were 14 percent of all physical album sales in 2017 (a Nielsen-era record share for the format) – up from 11 percent in 2016.

Further, vinyl album sales were driven by an array of titles, not just a handful of hot sellers. In total, 77 different titles each sold more than 20,000 copies on vinyl LP in 2017, as compared to 58 in 2016.

As usual, rock music, by far, drives most vinyl album sales, as the genre accounted for 67 percent of all vinyl album sales in 2017 (versus 69 percent in 2016).

The Beatles finish 2017 with the top two selling vinyl LPs of the year: Sgt. Pepper’s Lonely Hearts Club Band (72,000 — powered in large part by the album’s deluxe anniversary reissue in 2017) and Abbey Road (66,000). The soundtrack Guardians of the Galaxy: Awesome Mix Vol. 1 is the third biggest with 62,000. Comparably, in 2016, the top three sellers were Twenty One Pilots’ Blurryface (68,000), David Bowie’s Blackstar (66,000) and Adele’s 25 (58,000).

‘DESPACITO’ KING OF DIGITAL SONG SALES: Luis Fonsi and Daddy Yankee’s inescapable “Despacito” was the top selling digital song of 2017, with 2.69 million downloads sold of its various versions, combined. The most dominant version of the track was a version featuring a guest turn from Justin Bieber, which accounted for 1.9 million downloads of the song’s total 2.69 million sold.

“Despacito” spent 16 weeks atop the weekly Billboard Hot 100 chart, tying the record for the most weeks ever at No. 1 in the history of the tally. (It matched the 16-week rule of “One Sweet Day,” by Mariah Carey and Boyz II Men.)

“Despacito” was the only song to sell 2 million downloads in 2017 – down from five in 2016 and 17 in 2015. There were just 14 songs that sold 1 million downloads in 2017, compared to 35 in 2016 and 61 in 2015.

Overall digital song sales totaled 554.82 million in 2017 – down 23 percent compared to 2016 (724.04 million). 2017 logged the fifth straight year that digital song sales declined (an unsurprising distinction, considering how many consumers transition to enjoying music through streaming services instead of via purchasing albums and songs).

Nielsen Music started tracking digital song sales in 2003, the same year Apple’s iTunes Store launched. From 2004 through 2012, digital song sales grew on a yearly basis. The high-water mark for the format’s sales was in 2012, when 1.336 billion songs were sold.

‘SHAPE’ SCORES ON THE RADIO: After being named Billboard’s year-end No. 1 Hot 100 song, it’s perhaps no surprise to see that Ed Sheeran’s “Shape of You” was also the most-heard song on the radio of 2017, according to Nielsen Music.

“Shape of You” collected 5.847 billion audience impressions in 2017, ahead of the No. 2 most-heard track of the year, Bruno Mars’ “That’s What I Like,” with 4.480 billion impressions.

“Shape of You” was a multi-format hit on the airwaves, spending 12 weeks at No. 1 on Billboard’s weekly Radio Songs chart — the longest run atop the list since 2015, when Mark Ronson’s “Uptown Funk!,” featuring Bruno Mars, also spent 12 weeks at No. 1. (The Radio Songs chart ranks the most heard songs of the week across all formats of radio.)

“Shape of You” also hit No. 1 on these weekly genre airplay charts: Pop Songs, Adult Pop Songs, Adult Contemporary and Dance/Mix Show Airplay.

Sheeran and Mars are joined in the top five on Nielsen Music’s year-end tally by The Chainsmokers and Coldplay’s “Something Just Like This” (3.522 billion impressions) and a pair of tunes by Alessia Cara: her co-billed track with Zedd, “Stay” (3.101 billion), and her solo hit “Scars to Your Beautiful” (3.081 billion).

“Despacito” dominated the streaming world in 2017, and ranks as the most streamed song of the year, with 1.322 billion on-demand streams earned (both audio and video streams combined). In a distant second place is Ed Sheeran’s “Shape of You,” with 999.69 million streams.

The top 10 streamed songs were dominated by hip-hop, as a total of seven titles in the genre populate the year-end top 10. Among the top 10, the only non-rap titles are “Despacito,” “Shape of You” and Bruno Mars’ “That’s What I Like” (at No. 7).

“Despacito” was also the most-streamed song both in audio-only and video-only streams, with 595.63 million and 727.17 million streams, respectively.

Overall on-demand streams (audio and video combined) climbed 43 percent in 2017 to 618.03 billion. On-demand audio streams grew 59 percent to 400.38 billion, and on-demand video streams rose 21 percent to 217.65 billion.

R&B/hip-hop music was the overwhelming leader in terms of total on-demand streams, as the genre equaled 29.1 percent of all streams. The second-largest streaming genre was rock music, with 15.1 percent.

Source: billboard.com

Taylor Swift’s Reputation returns to No. 1 on the Billboard 200 albums chart for a fourth nonconsecutive week, as the set steps 2-1 in its seventh week on the list. Reputation earned 107,000 equivalent album units in the week ending Dec. 28, according to Nielsen Music (down 19 percent). Of that sum, 79,000 were in traditional album sales (down 24 percent).

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption, which includes traditional album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new Jan. 6-dated chart (where Reputation returns to No. 1) will be posted in full on Billboard‘s websites on Wednesday, Jan. 3.

Reputation spent its first three weeks at No. 1 on the chart, and then lingered at either Nos. 3 or No. 2 for its next three chart frames. It’s the first album to notch four weeks at No. 1 since The Weeknd’s Starboy claimed its fifth (and final) week at No. 1, on the list dated Feb. 11, 2017.

Though Reputation is down in sales for the week, it still likely benefited from last-minute Christmas shopping, as the chart’s tracking week included the final three days before the Christmas holiday on Dec. 25.

Rising two spots to No. 2 is Ed Sheeran’s ÷ (Divide) with 92,000 units (up 2 percent), as the set’s single “Perfect” continues to find new fans. The song spent its third week at No. 1 on the Billboard Hot 100 dated Jan. 3.

Coming in at No. 3 on the new Billboard 200 is Huncho Jack, the new duo project from rappers Travis Scott and Migos’ Quavo. The pair’s Huncho Jack, Jack Huncho, debuts with 90,000 units, of which 17,000 were in traditional album sales. The album is powered largely by streams of the set, as it earns 70,000 SEA units (equaling 105.3 million on-demand audio streams of the album’s songs during the week).

As a soloist, Scott has reached the top 10 twice, with his chart-topping Birds in the Trap Sing McKnight in 2016, and his No. 3-peaking Rodeo in 2015. Quavo has not released a solo project yet.

Eminem’s Revival falls from No. 1 to No. 4 in its second week with 84,000 units (down 68 percent).

The soundtrack to the musical drama film The Greatest Showman vaults from No. 63 to No. 5 with 77,000 units (up 418 percent), of which 61,000 were in traditional album sales (up 436 percent). The set gets a big boost following its parent movie’s release in U.S. theaters on Dec. 20. The soundtrack features music from the film’s stars like Hugh Jackman, Zac Efron and Zendaya.

The Greatest Showman is the highest-ranking soundtrack since Prince and the Revolution’s Purple Rain re-entered the list at No. 4 on the July 15, 2017-dated chart, following the album’s deluxe reissue. The last soundtrack to place in the top five, not from a reissue, was Guardians of the Galaxy, Vol. 2: Awesome Mix Vol. 2, when it peaked at No. 4 on the May 27-dated chart.

Back on the new Billboard 200 chart, Pentatonix’s A Pentatonix Christmas moves 5-6 (55,000 units; down 26 percent), Sam Smith’s The Thrill of It All is steady at No. 7 (52,000 units; down 14 percent) and G-Eazy’s The Beautiful & Damned descends 3-8 with 50,000 units (down 59 percent). Rounding out the top 10: Kendrick Lamar’s DAMN. climbs 16-9 with 47,000 units (up 31 percent) and Post Malone’s Stoneymoves 13-10 with 44,000 units (up 15 percent).

Source: billboard.com

G-Eazy earns his first top five Hot 100 hit. Plus, Mariah Carey’s “All I Want for Christmas Is You” spends its second week in the top 10.

Ed Sheeran and Beyoncé‘s “Perfect” rules the Billboard Hot 100 for a third week, remaining the top-selling song of the week and ranking as the most-streamed title for the first time.

Plus, G-Eazy‘s “No Limit,” featuring A$AP Rocky and Cardi B, surges from No. 10 to No. 5, marking G-Eazy’s first top five Hot 100 hit. Meanwhile, Mariah Carey‘s “All I Want for Christmas Is You” spends a second week in the Hot 100’s top 10, after reaching the region for the first time last week, 23 years after its 1994 release.

Let’s run down the top 10 of the Hot 100, which blends all-genre streaming, airplay and sales data. All charts will update on Billboard.com tomorrow (Dec. 27). (The new Hot 100 is dated Jan. 3, marking a rare Wednesday-dated chart, instead of the usual Saturday, as Billboard is adjusting how it dates its charts and magazine issues.)

Sheeran and Beyoncé’s “Perfect,” released through Atlantic Records, and first as a solo song by Sheeran on his album ÷ (Divide), spends a fourth week at No. 1 on the Digital Song Sales chart, up 55 percent to 151,000 downloads sold in the week ending Dec. 21, according to Nielsen Music, good for the Hot 100’s top sales gain. Aiding its momentum: its new “Perfect Symphony” version with Andrea Bocelli (which accounts for 32 percent of the song’s total sales for the week).

“Perfect” also takes over atop the Streaming Songs chart, gaining by 9 percent to 43.4 million U.S. streams in the week ending Dec. 21. Sheeran scores his second Streaming Songs No. 1, following “Shape of You” (four weeks on top beginning March 25), as does Beyoncé, whose “Drunk in Love,” featuring JAY-Z, led for four weeks in 2014.

On Radio Songs, “Perfect” holds at its No. 2 high (125 million in audience, up 6 percent, in the week ending Dec. 24).

Post Malone’s “Rockstar,” featuring 21 Savage, ranks at No. 2 on the Hot 100 for a third week after eight weeks at No. 1. It dips to No. 2 after 11 weeks atop Streaming Songs (42.8 million, down 2 percent), although it leads the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts for an 11th week each.

Camila Cabello’s “Havana,” featuring Young Thug, keeps at No. 3 on the Hot 100, after reaching No. 2, while topping Radio Songs for a third frame (135 million, up 2 percent). The song commands the Pop Songs airplay chart for a fifth week and becomes Cabello’s second No. 1 (and Young Thug’s first) on Rhythmic Songs. She first led the latter list dated Feb. 25, 2017, with “Bad Things,” with Machine Gun Kelly.

Lil Pump’s “Gucci Gang” is steady at No. 4 on the Hot 100 after hitting No. 3.

G-Eazy’s “No Limit,” featuring A$AP Rocky and Cardi B, bounds 10-5 on the Hot 100, following the Dec. 19 premiere of its official video and as parent album The Beautiful & Damned debuts at No. 3 on the Billboard 200 (with 122,000 equivalent album units). Streaming is driving the song most heavily, as it surges 11-7 on Streaming Songs (29.1 million, up 37 percent, marking the Hot 100’s top gainer in streaming; the song in the video is a remix that additionally features French Montana, Juicy J and Belly).

G-Eazy earns his first top five Hot 100 hit, after previously peaking as high as No. 7 with his sole prior top 10, “Me, Myself & I,” with Bebe Rexha, in 2016. A$AP Rocky matches his Hot 100 best, first achieved as featured on Selena Gomez’s “Good for You” in 2015.

Cardi B earns her second top five Hot 100 hit, after her debut entry “Bodak Yellow (Money Moves)” reigned for three weeks. As the songs mark her first two charted Hot 100 titles, she becomes the second female rapper to have reached the top five in her first two visits: Iggy Azalea’s introductory smash “Fancy,” featuring Charli XCX, spent seven weeks at No. 1 in 2014 and her second entry, Ariana Grande’s “Problem,” featuring Azalea, reached No. 2 the same year.

Imagine Dragons’ “Thunder” slips 5-6 on the Hot 100 after hitting to No. 4, while leading Hot Rock Songs for an eighth week. (A medley version of the song with Khalid’s “Young Dumb & Free” was released at midnight ET Dec. 20 and is being tracked as its own title. The song is a studio version of the medley that the group and Khalid performed on the American Music Awards Nov. 19. Khalid’s track bullets at No. 33 on the Hot 100 after reaching No. 22.)

Migos, Nicki Minaj and Cardi B’s “MotorSport” shifts into reverse, backing up 6-7 on the Hot 100; a week ago, it blasted from No. 15 following the first full week of tracking after the arrival of its official video, making Cardi B the first female rapper to reach the top 10 with her first three Hot 100 entries.

At No. 8 on the Hot 100, Sam Smith’s No. 4-peaking “Too Good at Goodbyes” drops a notch from No. 7.

Mariah Carey’s “All I Want for Christmas Is You” spends a second week at its No. 9 Hot 100 peak, after hitting the top 10 for the first time a week ago. Reflecting the tracking period leading up to Christmas Day, the 1994 holiday classic ranks at No. 8 on Streaming Songs (26.6 million, up 5 percent); No. 18 on Radio Songs (44 million, up 28 percent, marking the Hot 100’s top airplay gainer); and No. 20 on Digital Song Sales (20,000, up 5 percent).

As it’s Dec. 26 … No. 9 is likely the Hot 100 high for “Christmas,” at least for this season. As next week’s Hot 100 will cover the streaming and sales tracking weeks ending Dec. 28 and airplay ending Dec. 31, Carey’s hit and other holiday songs on the Hot 100 are likely to descend on (or depart) next week’s chart.

“Christmas” concurrently rules the Holiday 100 songs chart for a 30th cumulative week, dating to the chart’s December 2011 inception; no other song has led the list for more than two weeks.

Rounding out the Hot 100’s top 10, Halsey’s “Bad at Love” descends to No. 10 from its No. 8 high. It becomes Halsey’s first No. 1 on the Dance/Mix Show Airplay chart as a lead artist (following her record 20-week reign as featured on The Chainsmokers’ “Closer” beginning in September 2016).

One spot beyond the Hot 100’s top tier, Eminem’s “River,” featuring Ed Sheeran, debuts at No. 11. It launches at No. 2 on Digital Song Sales with 64,000 sold and No. 15 on Streaming Songs with 17.9 million U.S. streams. As previously reported, parent LP Revival roars onto the Billboard 200 at No. 1 (267,000 units), making Eminem the first artist in the chart’s history to debut eight consecutive titles at the summit.

Find out more Hot 100 news in the weekly “Hot 100 Chart Moves” column and by listening (and subscribing) to Billboard‘s Chart Beat Podcast and Pop Shop Podcast. And again, be sure to visit Billboard.com Tuesday (Dec. 27), when all charts, including the Hot 100 in its entirety, will refresh.

Source: billboard.com

Eminem earns his eighth straight No. 1 album on the Billboard 200 albums chart, as his latest studio release, Revival, opens atop the tally. It launches with 267,000 equivalent album units earned in the week ending Dec. 21, according to Nielsen Music. Of that sum, 197,000 were in traditional album sales. Eminem is the first act to achieve eight consecutive chart entries that debuted at No. 1.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption, which includes traditional album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new Jan. 3-dated chart (where Revival debuts at No. 1) will be posted in full on Billboard‘s websites on Wednesday (Dec. 27). (The new chart is dated on a rare Wednesday date, instead of the usual Saturday, as Billboard is adjusting how it dates its charts and magazine issues.)

Revival was released on Dec. 15 through Web/Shady/Aftermath/Interscope Records. The set is Eminem’s first new studio album since 2013’s The Marshall Mathers LP 2, which debuted at No. 1 with 792,000 copies sold in its first week, according to Nielsen Music. (The Billboard 200 did not transition to a units-based tally until the end of 2014.)

Revival notches the third-largest week of 2017 among hip-hop albums, both in total units and album sales, trailing only the debuts of Kendrick Lamar’s DAMN. (603,000 units; 353,000 album sales) and Drake’s More Life (505,000 units; 225,000 album sales).

With his eighth No. 1, Eminem is now tied with Kenny Chesney, Madonna and U2 for the sixth-most leaders in the history of the chart. Ahead of them are The Beatles (with 19), JAY-Z (14), Bruce Springsteen and Barbra Streisand (each with 11), Elvis Presley (10), and Garth Brooks and The Rolling Stones (both with nine).

Elsewhere in the top 10 of the chart, rappers G-Eazy and Jeezy both bow in the top 10 with their newest efforts, The Beautiful & Damned and Pressure, respectively.

At No. 2 on the new Billboard 200, Taylor Swift’s former leader, Reputation, holds at No. 2 with 133,000 units (up 33 percent). Of that figure, 105,000 were in pure album sales. With one week left in Nielsen Music’s 2017 tracking year, Reputationhas now sold 1.82 million copies.

G-Eazy debuts at No. 3 with The Beautiful & Damned, marking his third top 10 in a row, and total. The album, which is his third full-length major label studio effort, enters with 122,000 units (68,000 in traditional album sales). He previously hit the top 10 with When It’s Dark Out (No. 5 in 2015) and These Things Happen (No. 3 in 2014).

G-Eazy’s new album is currently enjoying a hit single with “No Limit,” featuring A$AP Rocky and Cardi B. The track reached the top 10 on the Billboard Hot 100 dated Dec. 16, granting G-Eazy his second top 10, following “My, Myself & I” with Bebe Rexha.

Ed Sheeran’s ÷ (Divide) dips from No. 3 to No. 4 on the Billboard 200 with 90,000 units (though it’s up 29 percent), while Pentatonix’s A Pentatonix Christmas shifts from No. 4 to No. 5 with 75,000 units (up 12 percent).

Jeezy logs his ninth top 10 album with Pressure, which debuts at No. 6 with 72,000 units (54,000 in traditional album sales). The rapper has yet to miss the top 10 with a charting album, stretching back to his debut on the list, 2005’s Let’s Get It: Thug Motivation 101, which peaked at No. 2. Among his nine top 10s are three No. 1s: The Inspiration (2006), The Recession (2008) and Trap or Die 3 (2016).

Rounding out the new top 10: Sam Smith’s The Thrill of It All rises 8-7 (60,000 units; up 30 percent), Luke Bryan’s What Makes You Country falls 1-8 in its second week (48,000 units; down 55 percent), Garth Brooks’ The Anthology: Part I, The First Five Years ascends 12-9 (46,000 units; up 29 percent) and Chris Stapleton’s From A Room: Volume 2 drops 7-10 (45,000 units; down 2 percent).

Source: billboard.com

The holiday classic, released in 1994, dashes from No. 11 to No. 9. Meanwhile, Ed Sheeran & Beyoncé’s “Perfect” leads for a second week and Migos, Nicki Minaj & Cardi B’s “MotorSport” also zooms to the top 10.

Mariah Carey‘s “All I Want for Christmas Is You” hits the Billboard Hot 100‘s top 10 at last, jingling from No. 11 (its prior peak) to No. 9 on the chart dated Dec. 23. The modern yuletide classic reaches the top 10 for the first time 23 years after its 1994 release.

Atop the Hot 100, Ed Sheeran and Beyoncé‘s “Perfect” reigns for a second week. Plus, Migos, Nicki Minaj and Cardi B‘s “MotorSport” accelerates 15-6 for its first week in the top 10 following the premiere of its official video.

As we do every Monday, let’s run down the top 10 of the Hot 100, which blends all-genre streaming, airplay and sales data. All charts will update on Billboard.com tomorrow (Dec. 19).

Let’s start with a blizzard of chart stats about Carey’s “Christmas.”

Streams, Sales & Plays: First, the numbers that result in “Christmas” (on Columbia/Legacy Records and co-written and co-produced by Carey and Walter Afanasieff) hitting the Hot 100’s top 10. The song gains by 4 percent to 25.2 million U.S. streams in the week ending Dec. 14, according to Nielsen Music; dips 8 percent to 19,000 downloads sold in the same tracking span; and lifts 28 percent to 34 million in airplay audience in the week ending Dec. 17. Those totals place “Christmas” at No. 7 on the Streaming Songs chart, No. 13 on Digital Song Salesand No. 36 on Radio Songs.

Notably, streaming is the most prominent driver of the song, accounting for 70 percent of its chart points this week.

Carey’s 28th Top 10: Carey collects her 28th Hot 100 top 10. “Christmas” is her first since “Obsessed” reached No. 7 in 2009. She tallied 19 top 10s in the 1990s and eight in the 2000s. (Of those, 18 hit No. 1, the most among soloists; only The Beatles have more, with 20.)

Carey ties Stevie Wonder for the fifth-most Hot 100 top 10s in the chart’s history (which dates to its Aug. 4, 1958, inception):

Most Top 10 Hot 100 Hits
38, Madonna
34, The Beatles
31, Rihanna
29, Michael Jackson
28, Mariah Carey
28, Stevie Wonder
27, Janet Jackson
27, Elton John

Top 10s in the ’90s, ’00s & ’10s: Carey joins an elite list of acts with Hot 100 top 10s in the ’90s, ’00s & ’10s. Its previously-inducted members: Christina Aguilera, Dr. Dre, Whitney Houston, Enrique Iglesias, Michael Jackson, JAY-Z, Jennifer Lopez, Madonna, Snoop Dogg, Britney Spears and Usher. Two of those acts boast streaks dating even further back than the ’90s: Jackson (’70s-’10s) and Madonna (’80s-’10s).

(As for Houston, she charted top 10s in the ’80s, ’90s and ’00s and re-sent her 1992-93 No. 1 “I Will Always Love You” to No. 3 in 2012 following her passing that February. All the other acts above sent at least one song to the top 10 for the first time in each decade.)

‘Christmas’ in the Top 10: Perhaps surprisingly, Carey charts one of the few holiday top 10s in the Hot 100’s history. “The Chipmunk Song” by The Chipmunks with David Seville led for four weeks beginning Dec. 22, 1958; Dan Fogelberg’s “Same Old Lang Syne” reached No. 9 in February 1981 (after debuting in December 1980); and New Kids on the Block’s “This One’s for the Children” rose to No. 7 in 1990.

No other such song reached the top 10 until Kenny G’s “Auld Lang Syne” (No. 7, Jan. 8, 2000). Between that New Year’s Eve anthem and Carey’s “Christmas,” Justin Bieber came closest to the top 10 with “Mistletoe,” which hit No. 11 (Jan. 5, 2011).

Carey’s hit is, thus, the first Hot 100 top 10 with the word “Christmas” in its title.

Notably, for several years in the Hot 100’s history (1963-72; 1983-85, barring occasional exceptions), holiday songs were not eligible to chart, instead appearing on separate holiday rankings. Other classics fell just shy of the Hot 100’s top 10, including The Harry Simeone Chorale’s “Little Drummer Boy” (No. 13, 1958); Bing Crosby’s “White Christmas” (No. 12, 1962, after it was originally released in 1942); Brenda Lee’s “Rockin’ Around the Christmas Tree” (No. 14, 1960); Roy Orbison’s “Pretty Paper” (No. 15, 1964); Eagles’ “Please Come Home for Christmas” (No. 18, 1979); Band-Aid’s “Do They Know It’s Christmas?” (No. 13, 1985); and Aguilera’s “The Christmas Song (Chestnuts Roasting on an Open Fire)” (No. 18, 2000).

(Honorable mention to Adam Sandler’s “The Chanukah Song,” the only holiday top 10 ever on the Radio Songs chart, which began in 1990. The track hit No. 10 on the tally in the 1995-96 season.)

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As for the Chart History of Carey’s ‘Christmas’: So, what are the details behind a song from 1994 just hitting the Hot 100’s top 10 now, for the first time?

Upon its initial release, on Carey’s album Merry Christmas (released on Nov. 1, 1994; coincidentally, that marked the 100th anniversary of the first Billboard magazine, dated Nov. 1 1894), the song was not a commercially available single and, per rules at the time, was ineligible to chart on the Hot 100; it did reach No. 12 on the Radio Songs chart that season. In December 1998, album cuts became eligible for the Hot 100 and “Christmas” dented the chart for the first time on Jan. 8, 2000, spending a week at No. 83.

Beginning in 2012, and coinciding with the addition of streaming to the Hot 100’s formula, the song has hit the Hot 100 annually, as, per current rules, older songs are eligible to debut or return if ranking in the top 50 and are gaining in multiple metrics with a significant reason for their resurgences. In the 2015-16 holiday season, “Christmas” hit a prior No. 11 Hot 100 high, which it matched last week before hitting the top 10 at last this week. Again, with streaming contributing 70 percent of the song’s Hot 100 chart points this week, the metric has clearly helped the track reach the top 10 at last.

Meanwhile, “Christmas” is believed to be the first song to have taken as many as 23 years from its recording to reach the Hot 100’s top 10.

An Even Merrier ‘Christmas’: That two-decade-plus journey to the Hot 100’s top 10 for Carey’s “Christmas” has been aided by various offshoots of the song in recent years, including this year. The animated movie All I Want for Christmas Is Youwas released Nov. 14, four days after the arrival of its soundtrack, which includes the title song. The movie is based on a 2015 children’s book of the same name, inspired by the song.

A year earlier, in December 2014, Carey’s All I Want for Christmas Is You, a Night of Joy and Festivity, an annual residency at New York’s Beacon Theatre, began and she’s continued it each holiday season since; this year, the show expanded to include dates in Paris; Manchester, England; and Las Vegas.

Even before this decade, “Christmas” benefited from adult contemporary radio’s expansion to 24/7 yuletide music on many stations throughout the holiday season, a strategy that began around the early 2000s.

Holiday 100 Chart Queen: Beyond its new Hot 100 honor, Carey’s “Christmas” crowns the Holiday 100 chart, which ranks seasonal songs of all eras (using the same measurement metrics as the Hot 100), for a 29th week. No other song has led for more than two frames since the list’s 2011 launch.

Of course, there are nine other songs in the Hot 100’s top 10 this week, including one that completes a much shorter trip to the tier than Carey’s …

Sheeran and Beyoncé’s “Perfect” (on Atlantic Records) tops the Hot 100 for a second week. First released as a solo song by Sheeran on his album ÷ (Divide), which debuted atop the Billboard 200 dated March 25, the new duet version was released Nov. 30. In its second full tracking week, it sold 98,000 downloads (down 46 percent), as it spends a third week at No. 1 on the Digital Song Sales chart.

“Perfect” pushes 3-2 on Radio Songs (117 million in audience, up 13 percent, good for the Hot 100’s top gain in airplay) and bullets at No. 3 on Streaming Songs (39.7 million U.S. streams, up 14 percent).

The rest of the Hot 100’s top five likewise remains in place, with Post Malone’s “Rockstar,” featuring 21 Savage, at No. 2 for a second week after eight weeks at No. 1. It tops Streaming Songs for a 12th week (43.9 million, down 12 percent) and the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts for a 10th week each.

Camila Cabello’s “Havana,” featuring Young Thug, holds at No. 3 on the Hot 100, after reaching No. 2, and tops Radio Songs for a second frame (132 million, up 5 percent); Lil Pump’s “Gucci Gang” keeps at No. 4 after hitting No. 3; and Imagine Dragons’ “Thunder” is steady at No. 5 after climbing to No. 4, while leading Hot Rock Songs for a seventh week.

Migos, Nicki Minaj and Cardi B’s “MotorSport” wheels 15-6 on the Hot 100 for its first week in the top 10, following the Dec. 7 arrival of its official video. The track charges 9-5 on Streaming Songs (31.7 million, up 40 percent) and 43-25 on Digital Song Sales (15,000, up 44 percent), as it post the Hot 100’s top gains in streaming and sales, and rises 37-34 on Radio Songs (35 million, up 10 percent).

Migos earn their second Hot 100 top 10, following “Bad and Boujee” (featuring Lil Uzi Vert), which led for three weeks beginning Jan. 21; Minaj tallies her 15th Hot 100 top 10, extending her record for the most among female rappers; and Cardi B becomes the first female rapper to send her first three Hot 100 entries to the top 10, following her own “Bodak Yellow (Money Moves),” which spent three weeks at No. 1 in October, and G-Eazy’s “No Limit,” on which she’s featured with A$AP Rocky. The latter track dips to No. 10 from its No. 7 high.

Above Carey’s “Christmas” and G-Eazy’s “Limit,” Sam Smith’s No. 4-peaking “Too Good at Goodbyes” slips 6-7 and Halsey’s “Bad at Love” holds at its No. 8 Hot 100 peak to date.

Find out more Hot 100 news in the weekly “Hot 100 Chart Moves” column and by listening (and subscribing) to Billboard‘s Chart Beat Podcast and Pop Shop Podcast, all posting this week. And again, be sure to visit Billboard.com tomorrow (Dec. 19), when all charts, including the Hot 100 in its entirety, will refresh. The 2017 year in music issue of Billboard magazine is on sale Friday (Dec. 22).

Source: billboard.com

Plus, Camila Cabello’s “Havana” reaches No. 1 on the Radio Songs chart & Halsey’s “Bad at Love” hits the Hot 100’s top 10.

Ed Sheeran and Beyoncé‘s “Perfect” crowns the Billboard Hot 100 (dated Dec. 23), fueled in large part by the first full week of sales for its new duet version.

Plus, Camila Cabello‘s “Havana” takes over atop the Radio Songs chart and Halsey‘s “Bad at Love” hits the Hot 100’s top 10, climbing 11-8.

As we do every Monday, let’s run down the top 10 of the Hot 100, which blends all-genre streaming, airplay and sales data. All charts will update on Billboard.com tomorrow (Dec. 12).

“Perfect,” released on Atlantic Records (and the 1,069th No. 1 in the Hot 100’s history, which dates to its Aug. 4, 1958, launch), was first released as a solo song by Sheeran on his album ÷ (Divide), which debuted atop the Billboard 200 dated March 25. On Nov. 30, at 7 p.m. ET, the new duet version was released, hours before the end of the sales and streaming tracking week. In its first full tracking week, ending Dec. 7, the song sold 181,000 downloads, up 202 percent, according to Nielsen Music, as it spends a second week at No. 1 on the Digital Song Sales chart.

Plus, as the duet version accounts for 63 percent of the song’s total sales for the week, Beyoncé has been added on the Hot 100 (and related charts) as a co-lead artist on “Perfect.” (For chart purposes, both versions of “Perfect” contribute to the song’s singular listing on the Hot 100.)

“Perfect” flies 11-3 on the Streaming Songs chart with 34.9 million U.S. streams, up 87 percent, in the tracking week ending Dec. 7, while, on Radio Songs, it pushes 4-3 (102 million in audience, up 14 percent, in the week ending Dec. 10).

Sheeran scores his second Hot 100 No. 1, after Divide lead single “Shape of You” debuted atop the chart dated Jan. 28 and ruled for 12 weeks. Beyoncé earns her sixth Hot 100 No. 1 as a soloist (in addition to four as a member of Destiny’s Child) and her first in nine years, since “Single Ladies (Put a Ring on It)” reigned for four weeks beginning Dec. 13, 2008.

Having waited two weeks shy of nine years between Hot 100 No. 1s, Beyonce ends the longest break between leaders since Sean Paul went 10 years and four months between “Temperature” in 2006 and “Cheap Thrills,” by Sia featuring Paul, in 2016.

The last woman with a longer No. 1 drought atop the Hot 100 than Beyonce? Christina Aguilera: 10 years, two months and three weeks, from “Lady Marmalade,” with Lil’ Kim, Mya and P!nk, in 2001, to Maroon 5’s “Moves Like Jagger,” featuring Aguilera, in 2011. And, the last female artist with a longer span between Hot 100 No. 1s as a lead act on both songs? Britney Spears: nine years and nine months between her first two toppers, “…Baby One More Time” (1999) and “Womanizer” (2008).

“Perfect” topping the Hot 100 following the addition of Beyoncé marks the second instance this year of a high-profile star joining a song that had already charted in its original version and then hit No. 1. Luis Fonsi and Daddy Yankee’s “Despacito” reached an initial No. 44 high in April; once Justin Bieber was added as a featured artist, the song soared 48-9 on the May 6-dated chart before spending a record-tying 16 weeks at No. 1.

While “Despacito” topped the Hot 100 in its fourth week after the arrival of the Bieber version, “Perfect” is the first song to hit No. 1 following a first full tracking week after the addition of a guest since Kendrick Lamar joined Taylor Swift’s “Bad Blood,” which blasted 53-1 on the Hot 100 dated June 6, 2015, after the collab’s release (including its all-star video, which premiered to kick off the 2015 Billboard Music Awards).

One more note related to Sheeran and Beyoncé’s “Perfect” harmony: the pair combines for the first Hot 100 No. 1 of the 2010s credited equally to a solo male and female. No such song had led since, coincidentally, Beyoncé’s husband, JAY-Z, and Alicia Keys’ “Empire State of Mind,” which ruled for five weeks beginning Nov. 28, 2009.

Additionally, Sheeran is the only artist with two Hot 100 No. 1s as a lead artist in 2017; Justin Bieber boasts two in featured roles. In 2016, Bieber earned two No. 1s both as a lead, which followed a pair each for The Weeknd in 2015; Taylor Swift in 2014; and Macklemore & Ryan Lewis in 2013.

After eight weeks atop the Hot 100, Post Malone’s “Rockstar,” featuring 21 Savage, dips to No. 2. Still, it leads Streaming Songs for an 11th week (49.8 million, down 1 percent). “Rockstar” concurrently leads the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts for a ninth week each.

Camila Cabello’s “Havana,” featuring Young Thug, slips to No. 3 on the Hot 100 after five weeks at its No. 2 peak. Despite its Hot 100 drop, it achieves top airplay honors, as it becomes Cabello’s (and Young Thug’s) first No. 1 on the Radio Songs chart, where it rises 2-1 (122 million, up 8 percent).

The songs at Nos. 4-6 on the Hot 100 all hold in place: Lil Pump’s “Gucci Gang,” at No. 4 after reaching No. 3; Imagine Dragons’ “Thunder” (No. 5), which peaked at No. 4 on the Hot 100 and leads Hot Rock Songs for a sixth week; and Sam Smith’s “Too Good at Goodbyes,” at No. 6 after hitting a No. 4 high.

G-Eazy’s second Hot 100 top 10, “No Limit,” featuring A$AP Rocky and Cardi B, rises 8-7. Fueled most heavily by streaming, the track gains by 2 percent to 22.4 million U.S. clicks.

Halsey notches her first Hot 100 top 10 as a lead artist, as “Bad at Love” lifts 11-8. The song bumps 7-6 on Digital Song Sales (28,000, down 6 percent); 9-8 on Radio Songs (78 million, up 11 percent); and 28-26 on Streaming Songs (15.8 million, up 11 percent).

The track is Halsey’s second total Hot 100 top 10; she spent 12 weeks at No. 1 as featured on The Chainsmokers’ “Closer” beginning in September 2016.  Speaking of G-Eazy and Halsey, the couple debuts at No. 21 on the Hot 100 with duet “Him & I,” led by its No. 3 launch on Digital Song Sales (44,000) and No. 28 bow on Streaming Songs (13.4 million).

Closing out the Hot 100’s top 10, Maroon 5’s “What Lovers Do,” featuring SZA, drops from its No. 9 peak to No. 10.

Just outside the Hot 100’s top 10, Mariah Carey’s 1994 carol “All I Want for Christmas Is You” returns to its No. 11 peak first reached two holiday seasons ago, surging from No. 21. (Older songs are eligible to return to the Hot 100 if ranking in the top 50 and are gaining in multiple metrics with a significant reason for their resurgences; a few holiday chestnuts re-enter each year.) Carey’s modern holiday classic, which leads the Holiday 100 chart, jingles 16-7 on Streaming Songs (24.2 million, up 47 percent); 19-13 on Digital Song Sales (21,000, up 33 percent); and 47-42 on Radio Songs (27 million, up 4 percent).

Find out more Hot 100 news in the weekly “Hot 100 Chart Moves” column and by listening (and subscribing) to Billboard‘s Chart Beat Podcast and Pop Shop Podcast, all posting this week. And again, be sure to visit Billboard.com tomorrow (Dec. 12), when all charts, including the Hot 100 in its entirety, will refresh. The next issue of Billboard magazine is on sale Friday (Dec. 15).

Source: billboard.com

The band is now the only group with No. 1s in the 1980s, 1990s, 2000s and 2010s.

U2 achieves its eighth No. 1 album on the Billboard 200 chart, as the rock band’s new Songs of Experience debuts atop the tally. The set bows with 186,000 equivalent album units earned in the week ending Dec. 7, according to Nielsen Music. Of that sum, 180,000 were in traditional album sales.

Songs of Experience nets the biggest week for a rock album in 2017, both in terms of overall units, as well as album sales. The last rock set to log a larger frame was Metallica’s Hardwired… To Self-Destruct, which launched at No. 1 on the Dec. 10, 2016-dated chart with 291,000 units, of which 282,000 were in album sales.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption, which includes traditional album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new Dec. 23-dated chart (where Songs of Experience debuts at No. 1) will be posted in full on Billboard’s websites on Tuesday (Dec. 12).

Songs of Experience’s debut benefits from a concert ticket/album bundle sale redemption promotion in association with the act’s 2018 Experience + Innocence Tour, which begins in May.

Songs of Experience is a companion album to the band’s last studio effort, 2014’s Songs of Innocence. The latter title was initially released as a free download exclusively through Apple’s iTunes program on Sept. 9, 2014, but was not eligible to chart until it was commercially released on Oct. 14. In its first tracking week of sales, it sold 28,000 copies, and debuted and peaked at No. 9 on the Billboard 200.

U2 last topped the Billboard 200 with 2009’s No Line on the Horizon, which bowed with 484,000 copies sold in its first week, according to Nielsen Music. (The Billboard 200 transitioned to a consumption units-ranked tally in late 2014.)

In total, U2 has now led the Billboard 200 with Songs of Experience, No Line on the Horizon, How to Dismantle an Atomic Bomb (2004), Pop (1997), Zooropa (1993), Achtung Baby (1991), the Rattle and Hum soundtrack (1988) and The Joshua Tree(1987).

Songs of Experience is also the seventh rock album to lead the Billboard 200 in 2017, following The Killers’ Wonderful Wonderful, Foo Fighters’ Concrete and Gold, LCD Soundsystem’s American Dream, Brand New’s Science Fiction, Arcade Fire’s Everything Now and Linkin Park’s One More Light. (In all of 2016, 10 rock sets led the list.)

Also, among all acts with the most No. 1s in the history of the Billboard 200 chart, U2 is now tied with Kenny Chesney and Madonna for the sixth-most leaders (and third-most among groups). Ahead of them are The Beatles (with 19), JAY-Z (14), Bruce Springsteen and Barbra Streisand (each with 11), Elvis Presley (10), and Garth Brooks and The Rolling Stones (both with nine). U2 is also just the fourth act — and only group — to have earned No. 1s in the 1980s, 1990s, 2000s and 2010s, following Janet Jackson, Springsteen and Streisand.

Songs of Experience was led by the single “You’re the Best Thing About Me,” which reached No. 5 on the Hot Rock Songs tally in September, spent seven weeks at No. 1 on the Adult Alternative Songs airplay chart (the act’s record-breaking 13th leader on the tally) and hit No. 21 on the Alternative Songs airplay chart (the band’s record-extending 42nd entry).

At No. 2 on the new Billboard 200, Chris Stapleton bows with his second studio effort of 2017, From a Room: Volume 2. It starts with 125,000 units, of which 116,000 were in pure album sales. It follows From a Room: Volume 1, which also opened (and peaked) at No. 2 (on the list dated May 27), with 219,000 units, of which 202,000 were in traditional album sales.

Stapleton is the first country act to notch two top-two charting albums in a calendar year on the Billboard 200 since 2013. That year, Luke Bryan claimed a pair of No. 1s with Spring Break… Here to Party and Crash My Party.

Taylor Swift’s Reputation slides to No. 3 on the new Billboard 200, after three weeks at No. 1. In its fourth week, the set collected 112,000 units (down 24 percent), with 70,000 of that figure in album sales (down 47 percent). The album’s SEA units rally by 344 percent (to 34,000 units) following the entire set’s release to streaming services on Dec. 1. Previously, only the album’s four pre-release tracks were available to stream.

Ed Sheeran’s ÷ (Divide) climbs one rung to No. 4 with 68,000 units (up 64 percent), with gains in album sales (19,000; 17 percent), TEA units (22,000; up 163 percent) and SEA units (27,000 units; up 61 percent). The set gains in the wake of the Nov. 30 release of the album’s new remix of its song “Perfect,” which is now a duet with Beyoncé.

Pentatonix’s A Pentatonix Christmas dips from No. 2 to No. 5 with 66,000 units (down 5 percent), while Demi Lovato’s Tell Me You Love Me (which debuted at its No. 3 peak in October) vaults from No. 21 to No. 6 with 63,000 units (up 168 percent), of which 46,000 were in traditional album sales (up 340 percent). Lovato’s album sales benefit from a concert ticket/album bundle sale redemption promotion with Lovato’s upcoming tour with DJ Khaled.

Sam Smith’s The Thrill of It All falls from No. 3 to No. 7 on the Billboard 200 with 47,000 units (down 24 percent), while Michael Bublé’s Christmas climbs from No. 9 to No. 8 with 42,000 units (up 24 percent).

Miguel’s new War & Leisure bows at No. 9 with 40,000 units (16,000 in album sales), marking the R&B singer-songwriter’s third top 10 effort. He previously visited the region with Wildheart (No. 2 in 2015) and Kaleidoscope Dream (No. 3 in 2012). Like U2 and Lovato, Miguel also generated sales from a ticket/album bundle promotion for his upcoming tour.

Rounding out the top 10 is Garth Brooks’ The Anthology: Part I, The First Five Years, which falls from No. 4 to No. 10 with 40,000 units (down 30 percent).

Source: billboard.com