The song surges after its video premiere. Plus, Meek Mill earns his first top 10 and Drake adds his 33rd with ‘Going Bad’ while Mariah Carey’s ‘Christmas’ dashes to No. 7, a new high.

Ariana Grande‘s “Thank U, Next” tops the Billboard Hot 100 (dated Dec. 15), returning for a fourth week at No. 1 following the Nov. 30 arrival of its retro-2000s-themed official video.

The song reigns in large part due to its 93.8 million U.S. streams in the week ending Dec. 6, according to Nielsen Music, the biggest weekly total ever for a song by a female artist. It passes the 84.5 million that Taylor Swift’s “Look What You Made Me Do” logged in its first week (as reflected on charts dated Sept. 16, 2017).

“Next” debuted atop the Nov. 17-dated Hot 100 and spent its first three weeks at No. 1 before falling to No. 2 a week ago.

Plus, Meek Mill earns his first Hot 100 top 10, as “Going Bad” blasts in at No. 6. For featured artist Drake, the track is his 33rd top 10, extending his record for the most among solo males.

Meanwhile, Mariah Carey‘s 1994 holiday classic “All I Want for Christmas Is You” jingles 14-7 for a new Hot 100 high. The song hit the top 10 for the first time last holiday season, reaching No. 9.

Let’s run down the top 10 of the newest Hot 100, which blends all-genre U.S. streaming, radio airplay and digital sales data. All charts will update on Billboard.com tomorrow (Dec. 11).

Record streams: Grande’s “Next,” released on Republic Records, rebounds to the Hot 100’s summit with a 121 percent gain to 93.8 million U.S. streams in the week ending Dec. 6, encompassing the first full tracking week for its official video. On the Streaming Songs chart, the song reigns for a fifth week.

“Next,” whose official clip broke 24-hour views records on YouTube and Vevo following its arrival, boasts the best streaming week ever for a song by a woman and the seventh-biggest sum overall:

Total Weekly U.S. Streams, Title, Artist, Chart Date
116.1 million, “In My Feelings,” Drake, July 28, 2018
106.2 million, “In My Feelings,” Drake, Aug. 4, 2018
103.1 million, “Harlem Shake,” Baauer, March 2, 2013
101.7 million, “God’s Plan,” Drake, March 3, 2018
97.6 million, “Harlem Shake,” Baauer, March 9, 2013
95.4 million, “In My Feelings,” Drake, Aug. 11, 2018
93.8 million, “Thank U, Next,” Ariana Grande, Dec. 15, 2018
92.8 million, “God’s Plan,” Drake, March 10, 2018
92.7 million, “In My Feelings,” Drake, Aug. 18, 2018
84.5 million, “Look What You Made Me Do,” Taylor Swift, Sept. 16, 2017

“Next” jumps 5-2 on the Digital Song Sales chart with a 146 percent burst to 43,000 downloads sold in the week ending Dec. 6. On Radio Songs, it zooms 23-11 (57 million audience impressions, up 44 percent).

“Next” sweeps the Hot 100’s Greatest Gainer awards for all metrics (streaming, sales and airplay). It’s the first song to claim all three titles at No. 1 since Drake’s “In My Feelings,” which tripled up atop the charts dated July 21 and 28, powered heavily at the time by the “In My Feelings” viral challenge. Before that, Drake’s own “God’s Plan” took all three trophies at No. 1 (on March 3) following the arrival of its official video.

“Hello” to a four-week No. 1 by a female: “Next” is the first four-week Hot 100 No. 1 by a female artist in a lead role in over two years, since Sia’s “Cheap Thrills” (featuring Sean Paul), which led for four weeks in August 2016. Earlier that year (beginning March 5), Rihanna’s “Work” (featuring Drake) dominated for nine frames.

“Next” is the longest-leading Hot 100 No. 1 by a woman with no accompanying artists since Adele’s “Hello,” which ruled for 10 weeks starting Nov. 14, 2015.

“Next” controls the Hot 100 with nearly a 2-to-1 points lead over Travis Scott‘s “Sicko Mode,” which last week became his first No. 1 on the chart. The latter track dips to No. 2, although it gains in all metrics, holding at No. 2 on Streaming Songs (43.3 million, up 16 percent); backtracking 2-3 on Digital Song Sales (25,000, up 5 percent); and bulleting at No. 8 on Radio Songs (65.7 million, up 1 percent).

The track, on which prominent guest vocalist Drake does not officially receive an artist billing, leads the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts for a seventh week each.

Halsey‘s “Without Me” hits a new Hot 100 peak, pushing 4-3. It paces Digital Song Sales for a third week (50,000, up 75 percent) and rises 6-4 on Streaming Songs (32.7 million, up 29 percent) and 9-6 on Radio Songs (71.7 million, up 10 percent).

Marshmello and Bastille‘s “Happier” retreats to No. 4 after reaching its No. 3 Hot 100 high, as it tops Hot Dance/Electronic Songs for a 12th week, and Panic! at the Disco‘s “High Hopes” holds at its No. 5 Hot 100 peak, while ruling Hot Rock Songsfor a sixth week. Panic posts its first No. 1 on the Pop Songs airplay chart with “Hopes” (2-1); the act had hit a previous No. 2 Pop Songs high with “I Write Sins Not Tragedies” in 2006.

Meek Mill notches his first Hot 100 top 10, as “Going Bad,” featuring Drake, bows at No. 6. The track is from the former’s new album Championships, the rapper’s first full-length since his April release from prison. “Bad” begins at No. 3 on Streaming Songs (36 million U.S. streams) and No. 6 on Digital Song Sales (17,000).

Among his prior 29 Hot 100 entries, dating to his 2011 debut, Meek Mill had previously peaked as high as No. 21, with “All Eyes on You,” featuring Chris Brown and Nicki Minaj, in 2015. His only other top 40 hit until this week: “R.I.C.O.,” featuring Drake, also in 2015.

As for Drake, he collects his 33rd Hot 100 top 10, extending his record for the most among solo males. Among all acts, only Madonna (38) and The Beatles (34) have more. Below Drake are Rihanna (31 top 10s), Michael Jackson (30) and Carey and Stevie Wonder (28 each).

Drake also extends his record for the most Hot 100 top 10s in a single year to 13. In October, when he posted his 12th top 10 of 2018, Bad Bunny’s “MIA,” on which he’s featured, Drake bested The Beatles for the yearly mark.

Speaking of Carey’s 28 top 10s…

…”All I Want for Christmas Is You” dashes 14-7 on the Hot 100 for a new high, topping its prior No. 9 best reached a year ago when it entered the top 10 for the first time. The song tops the Holiday 100 chart (for a 32nd of 37 total weeks since the chart launched in 2011) and is the top seasonal hit in all metrics; it keeps at No. 8 on Streaming Songs (28.5 million, up 29 percent) and No. 9 on Digital Song Sales (15,000, up 28 percent) and ascends 41-32 on Radio Songs (30.4 million, up 11 percent).

Kodak Black‘s No. 2-peaking “Zeze,” featuring Scott and Offset, retreats 7-8 on the Hot 100 and Lil Baby and Gunna‘s “Drip Too Hard” drops 8-9, after peaking at No. 4.

Rounding out the Hot 100’s top 10, Maroon 5‘s former seven-week No. 1 “Girls Like You,” featuring Cardi B, falls 9-10. The song logs a 27th week in the top 10, becoming just the 10th single in the chart’s 60-year history to reach that marker. Ed Sheeran’s “Shape of You” holds the record with 33 weeks in the top 10 in 2017.

Find out more Hot 100 news on Billboard.com this week, and, for all chart news, you can listen (and subscribe) to Billboard‘s Chart Beat Podcast and Pop Shop Podcast and follow @billboard and @billboardcharts. And again, be sure to visit Billboard.com tomorrow (Dec. 11), when all charts, including the Hot 100 in its entirety, will refresh. The next issue of Billboard magazine is on sale Friday (Dec. 14).

Source: billboard.com

The ongoing Divide Tour grossed $429 million in the 2018 chart year, setting all-time records for the highest-grossing solo tour and highest year-end gross ever.

99 shows and $429 million later, Ed Sheeran walks away with Billboard‘s Top Tour of 2018 (see Top 25 Tours chart, below), according to figures reported to Billboard Boxscore. The British singer’s eye-popping total follows the $122 million he grossed in 2017, having begun the tour on March 16, 2017 in Turin, Italy.

Billboard’s Year-End Boxscore charts are based on engagements that played between Nov. 1, 2017 and Oct. 31, 2018

The year-over-year increase from $122 million to $429 million is particularly remarkable when considering that Sheeran played 105 shows in the 2017 chart year, compared to 99 shows in 2018. The introductory legs of the tour focused on arena dates, hitting certain major markets two consecutive nights (three at London’s O2 Arena, Los Angeles’ Staples Center, and Brooklyn’s Barclays Center). But multiple arena shows can’t stack up to a worldwide stadium run. This year, Sheeran scaled his tour globally, delivering 2018’s top boxscore grossing $28 million over four nights at London’s Wembley Stadium, compared to $5 million over three nights at the same city’s O2 Arena on May 1-3, 2017. Similarly, he leapt from grossing $3.6 million at the Staples Center on Aug. 10-12, 2017 to $6.3 million from one night at Pasadena’s Rose Bowl on Aug. 18. Elsewhere, Sheeran leveled up to stadiums across Japan, Australia, Europe, Singapore, and markets throughout the U.S.

The jump from 2017 to 2018 is to say nothing of Sheeran’s skyrocketing star power since his last tour around the world. Sheeran has grossed more than half a billion dollars while touring in support of Divide, absolutely dwarfing the $63.8 million he earned in 2014-2015 on the Multiply Tour.

Not only does Sheeran easily claim the year’s biggest tour, The Divide Tour’s $429,491,502 is the biggest year-end total in the history of Billboard Boxscore (dating back to 1990). Twelve years after the fact, he narrowly eclipses The Rolling Stones’ 2006 total of $425.1 million from A Bigger Bang Tour. Far past the $400 million mark, The Divide Tour is one of only six treks to gross more than $300 million in one year, following The Rolling Stones in 2006, U2 in 2009 and 2017, Guns N’ Roses in 2017, and Taylor Swift in 2018 ($315.2 million, The Reputation Stadium Tour).

At the close of the 2018 year-end tracking period, The Divide Tour has grossed $551.8 million, making it the highest-grossing tour by a solo artist in the history of Billboard Boxscore, handily defeating Roger Waters’ The Wall Live, which grossed $459 million between Sept. 15, 2010 and Sept. 21, 2013.

Sheeran is scheduled to continue his expansive trek throughout 2019 before wrapping up on Aug. 26 at Chantry Park in Ipswich, England. After three shows Nov. 3 -9, 2018 (these grosses will count toward the 2019 year-end charts), $171.4 million separates The Divide Tour and U2’s 360 Tour, which remains the highest-grossing tour of all time. With 50 dates on the books next year, Sheeran needs to average $3.4 million per show to break U2’s record, significantly less than his 2018 average of $4.3 million. Come next fall, we could have a new reigning Boxscore champion.

Swift, Bey & Jay, Bruno and P!nk Were Powerhouses on the Road: Taylor Swift follows at No. 2 on the year-end Top 25 Tours tally with $315.2 million in the bank. As previously reported, the Reputation Stadium Tour became the most successful U.S. tour of all time but she adds almost $50 million to her domestic total with shows in England, Ireland, Canada, and Australia (not to mention additional shows in Australia, New Zealand, and Japan that fell outside of the 2018 reporting period). Swift’s international appeal hit a feverish peak in London, grossing $12.2 million over two nights at Wembley Stadium on June 22-23, 2018.

The Carters, or, Beyoncé and Jay-Z ($253.5 million), Bruno Mars ($237.8 million), and Pink ($180.4 million) round out the year-end top 5. The Top Tours list is headlined by relatively young pop stars causing commotion across the 2018 year-end charts, a marked shift from the overbearing presence of legacy acts like U2, Guns ‘N Roses, Depeche Mode, The Rolling Stones, and Bruce Springsteen in previous years.

Ed Sheeran and Bruno Mars extended their 2017 tours into 2018 with stellar results, ranking among the Top 10 Tours for the second year in a row. They are joined in the top 10 by other 2017 headliners U2 (No. 1 in 2017; No. 7 in 2018) and The Rolling Stones (No. 7 in 2017; No. 8 in 2018).

The rest of the overall top 10 is filled with touring veterans. It’s Taylor Swift’s fourth appearance in the year-end top 10 and Kenny Chesney’s tenth. Beyoncé and Jay-Z have individually graced the top 10 in 2011 (Jay-Z), 2013, and 2016 (Beyoncé) and ranked No. 8 in 2014 as a pair on the original On the Run Tour. This is the third top 10 placement for Pink (2009; 2013) and Justin Timberlake (2007; 2014).

Journey and Def Leppard both make their year-end top 10 debut, joining forces to push their co-headline tour to No. 10.

Notably, after the 2017 Top 25 Tours ranking featured no women among the top 10, Taylor Swift, Beyoncé, and Pink all storm this year’s top tier, with Celine Dion, Shania Twain, and Lady Gaga close behind.

2018 TOP 25 TOURS

Rank; Act; Total Gross; Total Attendance; Number of Shows
1; Ed Sheeran; $429,491,502; 4,800,441; 99
2; Taylor Swift; $315,186,362; 2,636,355; 48
3; Beyoncé and Jay-Z; $253,514,983; 2,177,049; 48
4; Bruno Mars; $237,770,168; 1,929,456; 100
5; Pink; $180,402,074; 1,271,730; 88
6; Justin Timberlake; $149,277,272; 1,175,216; 76
7; U2; $119,203,900; 840,151; 55
8; The Rolling Stones; $117,844,618; 750,874; 14
9; Kenny Chesney; $114,333,176; 1,298,089; 42
10; Journey & Def Leppard; $97,095,894; 1,003,198; 60
11; Eagles; $93,454,297; 574,721; 34
12; Drake; $81,446,702; 693,189; 44
13; Depeche Mode; $78,804,765; 926.682; 54
14; Foo Fighters; $77,750,695; 930,310; 47
15; Celine Dion; $76,465,107; 376,431; 51
16; Billy Joel; $70,227,385; 589,813; 24
17; Luke Bryan; $67,572,102; 935,668; 50
18; Luis Miguel; $64,935,983; 612,818; 72
19; Harry Styles; $61,073,923; 774,473; 65
20; Dead & Company; $56,220,873; 689,783; 42
21; Andre Rieu; $55,933,149; 640,284; 88
22; Elton John; $55,387,328; 351,817; 45
23; Shania Twain; $52,587,060; 630,44; 55
24; Trans-Siberian Orchestra; $50,228,977; 864,132; 86
25; Jay-Z; $45,496,805; 401,921; 30

Billboard’s Year-End Boxscore charts are based on engagements that played between Nov. 1, 2017 and Oct. 31, 2018

2018 Top Tour by Genre
Genre; Act; Total Gross
Country; Kenny Chesney; $114,333,176
Latin; Luis Miguel; $64,935,983
Pop; Ed Sheeran; $429,491,502
R&B/Hip-Hop: Beyoncé and Jay-Z; $253,514,983
Rock; U2; $119,203,900

While pop dominated 2018’s touring charts, The Carters’ On the Run II Tour emerges as the year’s Top R&B/Hip-Hop Tour, followed by Billboard’s overall Artist of the Year Drake ($81.4 million), and Jay-Z himself, having pulled in $45.5 million on his solo headlining 4:44 Tour. Rounding out the genre’s top tier are J. Cole ($26.1 million) and Janet Jackson ($21.6 million).

For the eighth non-consecutive year, Kenny Chesney has the Top Country Tour. His biggest run yet brought in $114.3 million and sold 1.3 million tickets, making it the year’s fifth most attended tour overall. Next up are Luke Bryan ($67.6 million) and Shania Twain ($52.6 million), both of whom have claimed the Top Country Tour in years past, Bryan in 2016 and 2014 and Twain in 2004 and 1999.

Luis Miguel has a commanding lead as 2018’s Top Latin Tour with $64.9 million. Jennifer Lopez follows with $39.5 million from her residency at Zappos Theater at Planet Hollywood in Las Vegas. Rounding out the top 5 are Romeo Santos ($38.4 million), Shakira ($28.2 million), and Bad Bunny ($19 million).

U2 claim the Top Rock Tour honor for the ninth time since 1992 with $119.2 million from their Experience + Innocence Tour. They narrowly squeeze by The Rolling Stones ($117.8 million), followed by Journey and Def Leppard ($97.1 million), Eagles ($93.5 million), and Depeche Mode ($78.8 million).

As a bonus, Andre Rieu, once again, has the Top Classical Tour for the tenth consecutive year, adding $55.9 million to his career total.

Source: billboard.com

Plus, Drake’s “God Plan” is the No. 1 Billboard Hot 100 song for 2018.

Drake is king of Billboard’s 2018 year-end charts, as the superstar leads the year-end Top Artists ranking, thanks in large part to his Billboard 200-topping album Scorpion and its bevy of hit singles on the weekly Billboard Hot 100 chart, including the No. 1 Hot 100 song of the year, “God’s Plan.” Drake leads both year-end tallies for the first time.

The 32-year-old rapper-singer is the first rap act to be the overall top artist of the year since 2005 and just the third rap artist to lead the category. Only 50 Cent (in 2005 and 2003) and Nelly (2002) have managed the feat previously.

Billboard’s year-end music recaps are based on chart performance on Billboard’s charts dated Dec. 2, 2017, to Nov. 17, 2018. The year-end Top Artists category ranks the best-performing acts of the year based on activity on the Billboard 200 albums tally and the Billboard Hot 100 songs list, as well as streaming, social media and Billboard Boxscore data. Data registered before or after a title’s chart run is not considered in these standings. That methodology detail, and the December-to-November time period, account for some of the differences between these lists and the calendar-year recaps that are independently compiled by Nielsen Music.

Toronto-born Drake is also the first Canadian male to be the year’s top artist. The only other Canadian to take home the honor is singer-songwriter Alanis Morissette, who was tops in 1996 following the success of her smash album Jagged Little Pill.

Following a male-dominated 2017, where no women ranked in the year-end top 10 overall artists (for the first time since 1984), a trio of leading ladies finish in the top 10 on the Top Artists tally.

This year, the year’s top female artist — Taylor Swift — ranks at No. 4 on the overall Top Artists tally. She’s joined by the year’s top new artist, Cardi B, at No. 5 and Camila Cabello at No. 10. Rounding out the six ladies in the top 20: Ariana Grande at No. 14, followed by Dua Lipa (No. 19) and Halsey (No. 20). In 2017, just two women were among the top 20: Grande (No. 15) and Rihanna (No. 19).

Swift tops the year-end Billboard 200 Albums recap with reputation, making her the first act to have the year’s top album with three different releases. She previously did it in 2015 with 1989 and in 2009 with Fearless. (Adele has claimed the year-end No. 1 Billboard 200 album three times as well, but with two albums: 25, in 2015, and twice with 21, in 2011 and 2012.)

Swift’s reputation took advantage of the full 2018 chart year, as the set premiered at No. 1 on the weekly Billboard 200 chart dated Dec. 2, 2017 (the first week of the chart year). It spent four weeks at No. 1 and lingered in the top 40 for its first 48 weeks. Behind reputation on the year-end Billboard 200 Albums recap is Drake’s Scorpion. It bowed at No. 1 on the weekly chart dated July 14, 2018, seven months into the chart year, and spent its first five weeks atop the list.

Elsewhere in the top 10 on the year-end Billboard 200 Albums tally, Post Malone claims two titles — the first time an act has doubled up in the top 10 since 2010, and the first time a hip-hop act has ever achieved the feat. Post Malone’s 2018 release beerbongs & bentleys ranks at No. 3, while his enduring 2016 set Stoney sits at No. 9. Back in 2010, two acts logged two albums in the year-end top 10: Justin Bieber and Swift. The former did so with My World 2.0 (No. 5) and My World (No. 8), while the latter finished with Fearless (No. 7) and Speak Now (No. 9).

On the 2018 year-end Hot 100 Songs roundup, Drake rules with “God’s Plan,” which spent 11 weeks leading the weekly Hot 100 tally. It was the first of three Hot 100 chart-toppers, thus far, from his Scorpion album. Drake followed “God’s Plan” with the No. 1s “Nice for What” and “In My Feelings,” spending a combined 29 weeks at No. 1 — breaking the record for the most weeks atop the list by an artist in a year. “In My Feelings” and “Nice for What” rank at Nos. 9 and 11 on the year-end Hot 100 tally.

Source: billboard.com

Plus: Michael Bublé has two albums in the top five, “Love” and “Christmas.”

Travis Scott’s Astroworld album takes advantage of a sleepy chart week in the top 10 of the Billboard 200, as his former leader returns to the No. 1 slot for a third nonconsecutive week in charge.

The set earned 71,000 equivalent album units in the week ending Nov. 29 (up 60 percent), according to Nielsen Music. Of that sum, 31,000 were in album sales (up 816 percent).

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units are comprised of traditional album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new Dec. 8-dated chart — where Astroworld returns to No. 1 — will be posted in full on Billboard‘s websites on Tuesday, Dec. 4.

Astroworld, which spent its first two weeks at No. 1 (Aug. 18-25), has yet to depart the top 10 in its 17 weeks on the list. Its move to No. 1 on the new chart was prompted largely by Scott releasing more than two dozen merchandise/album bundles for Cyber Monday (Nov. 26) through his official website. Each of items — including a keychain, hats, T-shirts, hoodies and so forth ­– came bundled with a digital copy of the Astroworld album.

Astroworld sold 31,000 albums in the latest tracking week — up 816 percent. Of that sum, 29,000 were in download sales (up 4,285 percent).

Also aiding Astroworld’s gain: the Nov. 28 arrival of a new Skrillex remix of the set’s smash single “Sicko Mode,” which held at its No. 2 high on the most recently published Billboard Hot 100 chart (dated Dec. 1).

At No. 2 on the new Billboard 200, 6ix9ine’s Dummy Boy debuts from just three days of activity in the tracking week. The 13-track set was released on Tuesday, Nov. 27 and starts with 66,000 equivalent album units (of which 10,000 were in album sales).

The set was previously slated for release on Nov. 23, but was delayed due to 6ix9ine’s incarceration. On Nov. 18, 6ix9ine was arrested by ATF and Homeland Security agents on six counts of various racketeering, firearms, assault with a dangerous weapon and conspiracy murder charges. On Nov. 26, he pleaded not guilty to the charges and will face trial in September 2019.

Michael Bublé has a bountiful week on the Billboard 200, as he places two albums in the top five. His new studio set Love dips from No. 2 to No. 3 in its second week (58,000 units; down 48 percent) while his former No. 1 album Christmas, originally released in 2011, zooms from No. 20 to No. 5 (44,000 units; up 56 percent).

Bublé is just the second act in 2018 to chart two concurrent titles in the top five, following XXXTentacion, who logged a pair of albums in the region on the list dated July 7, following his death on June 18. On the July 7 chart, his former No. 1 album ?was No. 2, while his 17 album ranked at No. 5.

Christmas spent five weeks in a row at No. 1 on the Dec. 10, 2011 through Jan. 7, 2012-dated charts. The album has returned to the top 10 of the Billboard 200 every holiday season since its release. Christmas hadn’t ranked as high as it does this week since the Jan. 5, 2013 chart, when it also placed at No. 5.

Since December of 2016, only four acts have had two albums in the top five at the same time, as, in addition to Bublé and XXXTentacion this year, Future and Pentatonix also achieved the feat in that span.

Future did it twice (March 18 and 25, 2017) as a result of him releasing two new studio albums in back-to-back weeks, and both of them debuted at No. 1. His self-titled effort bowed atop the list dated March 11, 2017, while HNDRXX opened at No. 1 on March 18, 2017. On March 18, HDRNXX was No. 1, while Future was at No. 2. Then, on March 25, the Future album fell to No. 4, while HNDRXX dropped to No. 5.

Pentatonix also went two weeks in a row with two albums in the top five: Dec. 31, 2016 and Jan. 7, 2017. On the Dec. 31-dated list, the act’s then-new release A Pentatonix Christmas moved 3-2, while its 2014 holiday set That’s Christmas to Meclimbed 8-5. Then, on the Jan. 7-dated tally, A Pentatonix Christmas rose 2-1 (for its first of two weeks in charge), and That’s Christmas to Me held at No. 5.

Back in the top five of the new Billboard 200, Lady Gaga and Bradley Cooper’s A Star Is Born soundtrack stays steady at No. 4. The former No. 1 tallied 53,000 units (down 14 percent) in the latest tracking frame.

Queen’s Bohemian Rhapsody soundtrack is also a non-mover, as it holds at No. 6 with a little more than 43,000 units (down 11 percent).

Pentatonix collects its ninth top 10 album, as its new 2018 release Christmas Is Here! rises 17-7 with 43,000 units (up 38 percent). Pentatonix’s nine top 10 albums have come in just over five years, as the vocal group logged their first top 10 with PTX: Vol. II on the Nov. 23, 2013-dated list when it peaked at No. 10.

Rounding out the new top 10 are Drake’s former No. 1 Scorpion (holding at No. 8 with 39,000 units; down 10 percent), previous chart-topper The Greatest Showman soundtrack (climbing 19-9 with 35,000 units; up 22 percent) and Lil Baby and Gunna’s Drip Harder (up 12-10 with 34,000 units; down 10 percent).

The Showman album rises thanks to SEA and TEA units earned by a deluxe edition of the set that includes the new tracks from The Greatest Showman: Reimagined compilation (which falls 3-31 in its second week).

Source: billboard.com

Ariana Grande‘s “Thank U, Next” rules the Billboard Hot 100 (dated Dec. 1) for a third week.

While the track also tops the Streaming Songs chart for a third week, two titles take over the leads in the Hot 100’s other measured metrics: Halsey‘s “Without Me” reaches No. 1 on the Digital Song Sales chart, while holding at No. 4 on the Hot 100, and Panic! at the Disco‘s “High Hopes” ascends to the top of Radio Songs, while marking a new personal best for the Brendon Urie-led act on the Hot 100, where it lifts 8-6.

Let’s run down the top 10 of the newest Hot 100, which blends all-genre U.S. streaming, radio airplay and digital sales data. All charts will update on Billboard.com tomorrow (Nov. 27).

“Next,” released on Republic Records and which debuted as Grande’s first Hot 100 No. 1 on the chart dated Nov. 17, spends a third week atop Streaming Songs, with 43.8 million U.S. streams (down 31 percent) in the week ending Nov. 22, according to Nielsen Music.

The track drops to No. 4 after two weeks atop Digital Song Sales, with 23,000 downloads sold (down 47 percent) in the week ending Nov. 22, and debuts at No. 36 on Radio Songs, with 31.8 million in all-format airplay audience (up 45 percent), in the week ending Nov. 25.

“Next,” which plummets 29 percent in overall activity week-over-week, wins a fairly tight race over Travis Scott‘s “Sicko Mode” (up 4 percent), which spends a fourth total frame at its No. 2 Hot 100 high. The track keeps at No. 4 on Streaming Songs (37 million, up 5 percent) and rises 7-6 on Digital Song Sales (18,000, up 3 percent) and 9-8 on Radio Songs (62 million, up 3 percent). “Sicko” posts a fifth week at No. 1 on both the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts.

With the sharp decline of “Next” and the advance of “Sicko,” the latter seems in play for No. 1 on the Hot 100 next week, although if Grande releases a proper video for the former during the current tracking week (ending Nov. 29), “Next” would likely surge in streaming. Grande has released two videos for “Next” so far — an audio clip upon its release Nov. 3 and a lyric video Nov. 6 — and has since teased the song’s forthcoming official proper video, believed to be in the vein of such early 2000s movies as Mean Girls, Bring It On, Legally Blonde and 13 Going on 30.

Marshmello and Bastille‘s “Happier” repeats at its No. 3 Hot 100 high. It falls to No. 2 after a week atop Radio Songs (though up 6 percent to 106 million), while holding at No. 5 on Digital Song Sales (22,000, up 2 percent) and No. 10 on Streaming Songs (21.2 million, essentially even week-over-week). The track tops Hot Dance/Electronic Songs for a 10th week.

Halsey’s “Without Me” is steady at its No. 4 Hot 100 peak, while climbing 2-1 on Digital Song Sales (37,000, up 5 percent). Halsey earns her second Digital Song Sales No. 1 and first as a lead artist, following her 13-week reign in 2016 as featured on The Chainsmokers’ “Closer.”

“Without Me” pushes 8-7 on Streaming Songs (26.8 million, up 3 percent) and becomes Halsey’s fifth Radio Songs top 10 (12-10; 58.6 million, up 16 percent). She previously hit the Radio Songs top 10 with “Closer” (No. 1, 11 weeks, 2016); “Now or Never” (No. 10, July 2017); “Bad at Love” (No. 3, January 2018); and “Him & I,” with G-Eazy (No. 6; March 2018).

Juice WRLD’s “Lucid Dreams” rebounds 6-5 on the Hot 100, after reaching No. 2.

Panic! at the Disco’s second Hot 100 top 10, “High Hopes,” becomes its highest-charting, as it rises 8-6. It passes the No. 7 peak of the act’s debut entry, “I Write Sins Not Tragedies,” in 2006.

“Hopes” also becomes Panic!’s first leader on Radio Songs (3-1; 106.7 million, up 12 percent). The act previously reached the ranking only with “Sins,” which hit No. 13.

Notably, “Hopes” dethrones Marshmello and Bastille’s “Happier” atop Radio Songs, with both hits having topped the Alternative Songs airplay chart (“Happier” on Nov. 10 and “Hopes” for a third week this week). The tracks mark the second pair of back-to-back Radio Songs leaders in the past year that also each topped Alternative Songs, after Portugal. The Man’s “Feel It Still” and Imagine Dragons’ “Thunder” in late 2017. The prior such pair? Fun.’s “We Are Young,” featuring Janelle Monae, and Gotye’s “Somebody That I Used to Know,” featuring Kimbra, in 2012. (The only other such set of consecutive Radio Songs No. 1s? Sugar Ray’s “Fly” and Chumbawamba’s “Tubthumping,” in 1997.)

“Hopes” rises 4-3 on Digital Song Sales (23,000, up 2 percent) and debuts at No. 47 on Streaming Songs (12.8 million, up 5 percent), while leading Hot Rock Songs for a fourth week.

Sheck Wes’ debut hit “Mo Bamba” keeps at its No. 7 Hot 100 high and Maroon 5‘s former seven-week No. 1 “Girls Like You,” featuring Cardi B, dips 5-8. The latter tallies a 25th week in the Hot 100’s top 10, becoming just the 20th single in the chart’s 60-year history to reach the milestone (and Maroon 5 and Cardi B’s first each); Ed Sheeran’s “Shape of You” holds the record with 33 weeks in the top 10 in 2017.

Rounding out the Hot 100’s top 10, Lil Baby and Gunna‘s “Drip Too Hard” rises 10-9, after hitting No. 4; and, Kodak Black‘s “ZEZE,” featuring Travis Scott and Offset, falls 9-10, after peaking at No. 2 upon its debut.

Find out more Hot 100 news on Billboard.com this week, and, for all chart news, you can listen (and subscribe) to Billboard‘s Chart Beat Podcast and Pop Shop Podcast and follow @billboard and @billboardcharts. And again, be sure to visit Billboard.com tomorrow (Nov. 27), when all charts, including the Hot 100 in its entirety, will refresh.

Source: billboard.com

“Delta” scores the year’s biggest week for an alternative rock album.

Mumford & Sons score their third No. 1 album on the Billboard 200 chart, as the band’s new studio set, Delta, debuts in the top slot. The quartet’s album, which was released on Nov. 16 via Gentlemen of the Road/Glassnote Records, launches with 230,000 equivalent album units earned in the week ending Nov. 22, according to Nielsen Music. That’s the biggest week for an alternative rock album in 2018. Of the album’s starting sum, 214,000 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 as measured in equivalent album units. Units are comprised of traditional album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new Dec. 1-dated chart (where Delta bows at No. 1) will be posted in full on Billboard‘s websites on Tuesday (Nov. 27).

Delta, Mumford & Sons’ fourth full-length studio album, marks the third leader for group, following their last two studio sets: Wilder Mind (2015) and Babel (2012). Wilder Mind launched with 249,000 units (231,000 in album sales), while Babelbowed with 600,000 in album sales (before the album transitioned to a units-ranked tally in late 2014). The act’s first full-length set, Sigh No More, peaked at No. 2 in 2011.

Overall, Delta is the Mumford’s fifth top 10 effort. All four of the act’s full-length studio releases have reached the top 10. The band notched another top 10 with the five-song Johannesburg EP in 2016, which peaked at No. 9. The set was a collaborative effort with Baaba Maal, The Very Best and Beatenberg.

Delta’s debut of 230,000 equivalent album units is the largest week for an alternative album in 2018, and the second-biggest for any rock album. Among all rock titles, only Dave Matthews Band’s Come Tomorrow collected a bigger week, when it debuted at No. 1 (June 23-dated chart) with 292,000 units.

Delta’s first-week album sales of 214,000 is 2018’s largest week for an alternative album, the second-biggest for a rock title (following Come Tomorrow, with 285,000) and the sixth-largest among all titles this year. The only bigger sales weeks in 2018 were tallied by the debut frames of Come Tomorrow (the largest sales week of 2018 overall), Travis Scott’s Astroworld (270,000; Aug. 18), Eminem’s Kamikaze (252,000; Sept. 15), Carrie Underwood’s Cry Pretty (251,000; Sept. 29) and Justin Timberlake’s Man of the Woods (242,000; Feb. 17).

Delta’s first-week sales was bolstered by sales generated by a concert ticket/album sale redemption offer with the group’s upcoming U.S. tour.

Delta’s lead radio single, “Guiding Light,” spent its fourth week at No. 1 on the most recently published Adult Alternative Songs airplay chart (dated Nov. 24). It’s the fourth leader for the act on the tally, following “Believe” (five weeks at No. 1 in 2015), “Lover of the Light” (four weeks, 2013) and “I Will Wait” (11 weeks, 2012).

“Guiding Light” also rose 6-4 on the latest Alternative Songs airplay chart. It’s the eighth top 10 hit for the act, and the band’s fifth song to reach the top five.

At No. 2 on the Billboard 200, Michel Bublé collects his eighth top 10 album, as Love(on Reprise/Warner Bros. Records) starts with 111,000 units (105,000 in album sales). Of the pop singer’s eight top 10 sets, six have reached the top two: Love, Nobody But Me (No. 2, 2016); To Be Loved (No. 1 for one week, 2013); Christmas (No. 1, five weeks; 2011-2012); Crazy Love (No. 1, two weeks; 2009); and Call Me Irresponsible (No. 1, one week; 2007).

The various artists compilation The Greatest Showman: Reimagined debuts at No. 3 with 89,000 units (70,000 in album sales). The album (released via Fox/20th Century Fox/Atlantic Records) features an array of chart-topping musicians covering songs from the former No. 1 soundtrack to The Greatest Showman. Among the familiar names on the new album: Panic! at the Disco (covering “The Greatest Show”), P!nk(“A Million Dreams”), Zac Brown Band (“From Now On”) and James Arthur and Anne-Marie (“Rewrite the Stars”).

The Reimagined album follows in the footsteps of another Atlantic Records refresher set, the chart-topping The Hamilton Mixtape (released via Hamilton Uptown/Atlantic). The Hamilton Mixtape set boasts a bevy of stars covering and reinterpreting tunes from the top 10-charting Original Broadway Cast Recording of Hamilton: An American Musical.

Back on the new Billboard 200 chart, Lady Gaga and Bradley Cooper’s A Star Is Bornsoundtrack climbs 5-4 with 62,000 units (but down 10 percent). The album spent its first three weeks at No. 1, and has yet to depart the top five after seven weeks on the tally.

Pop diva Mariah Carey earns her 18th top 10 album, as her new studio effort Caution debuts at No. 5 with 51,000 units (43,000 in album sales). Notably, of Carey’s 21 charting efforts, only three have missed the top 10, and all were compilations: #1 To Infinity (No. 29, 2015), The Remixes (No. 26, 2003) and Greatest Hits (No. 52, 2001).

Caution was introduced with a series of pre-release tracks, starting with the teaser cut “GTFO” in September, which was followed by the radio single “With You” and the instant-grat track “The Distance” in October, and “A No No.” On the most recently published Adult Contemporary airplay chart (dated Nov. 24), “With You” held at its No. 11 high. It climbed 14-13 on Adult R&B Songs and 41-38 on R&B/Hip-Hop Airplay chart.

Back on the Billboard 200, Queen’s soundtrack to Bohemian Rhapsody rises 7-6 (48,000 units; down 10 percent), Travis Scott’s former leader Astroworld ascends 10-7 (a little more than 44,000 units; up 9 percent) and Drake’s former chart-topper Scorpion moves 9-8 (44,000 units; up 2 percent). The latter two titles rise in part due to sales generated by their vinyl release on Nov. 16

Trippie Redd’s A Love Letter to You 3 falls 3-9 in its second week (41,000 units; down 51 percent) and Metro Boomin’s former No. 1 Not All Heroes Wear Capes dips 8-10 (39,000 units; down 25 percent).

Source: billboard.com

Panic! earns its first top 10 since 2006.

Ariana Grande‘s “Thank U, Next” leads the Billboard Hot 100 (dated Nov. 24) for a second week, gaining in streams after its first full week of tracking. The song blasted in atop the Hot 100 a week ago, becoming Grande’s first No. 1 on the chart.

Meanwhile, Marshmello and Bastille‘s “Happier” returns to its No. 3 Hot 100 high and takes over at No. 1 on the Radio Songs chart, dethroning Maroon 5‘s “Girls Like You,” featuring Cardi B, after the latter spent 16 weeks atop the airplay tally.

Plus, Panic! at the Disco earns its second Hot 100 top 10, and first since 2006, as “High Hopes” jumps from No. 12 to No. 8.

Let’s run down the top 10 of the newest Hot 100, which blends all-genre U.S. streaming, radio airplay and digital sales data. All charts will update on Billboard.com tomorrow (Nov. 20).

“Next,” released on Republic Records, repeats atop the Hot 100, as well as the Streaming Songs and Digital Song Sales charts, with 63.4 million U.S. streams (up 14 percent) and 43,000 downloads sold (down 47 percent) in the week ending Nov. 15, according to Nielsen Music. The track debuted with 55.5 million streams and 81,000 sold in the week ending Nov. 8, with just over five days of streaming and sales data, as it was released late Saturday, Nov. 3.

Grande has released two videos for the song so far, an audio clip upon its release and a lyric video Nov. 6, and on Nov. 18 teased a proper clip.

“Next” concurrently nears Radio Songs, up 94 percent to 22 million in all-format airplay audience. On the mainstream top 40 radio-based Pop Songs chart, the track flies 33-20 with Greatest Gainer honors.

Just below the Hot 100’s top 10, Grande’s “Breathin” surges 21-14 for a new peak, following the Nov. 7 premiere of its official video. The song bounds by 28 percent to 15.6 million streams and 2 percent to 12,000 sold in the week ending Nov. 15. It also becomes her 10th Radio Songs top 10 (12-7; 68.7 million, up 17 percent).

“Breathin” is from Grande’s third No. 1 Billboard 200 album, Sweetener, which debuted atop the chart dated Sept. 1, while “Next” is, as of now, a stand-alone track.”Breathin” follows two Hot 100 top 10s from the set: “No Tears Left to Cry” (No. 3 peak in May) and “God Is a Woman” (No. 8, September).

“Next” (down 3 percent in overall activity week-over-week) easily outpaced Travis Scott‘s “Sicko Mode,” which rebounds from No. 3 to its No. 2 Hot 100 high. The track rises 5-4 on Streaming Songs (35.2 million, up 1 percent) and 17-7 on Digital Song Sales (17,000, up 45 percent, boosted by a 69-cent sale price in the iTunes Store) and becomes Scott’s first Radio Songs top 10 (11-9; 60.2 million, up 2 percent).

“Sicko” scores a fourth week at No. 1 on both the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts.

Marshmello and Bastille’s “Happier” rebounds 4-3 on the Hot 100, revisiting its best rank, as it becomes each act’s first No. 1 on Radio Songs (3-1; 99.2 million, up 9 percent). The song unseats Maroon 5’s “Girls Like You” after 16 weeks atop Radio Songs (1-2; 98.3 million, down 10 percent), leaving “Girls” tied for the second-longest No. 1 run in the chart’s 28-year history, after Goo Goo Dolls’ “Iris” (18 weeks, 1998). “Girls” matched the 16-week Radio Songs commands of Mariah Carey’s “We Belong Together” in 2005 and No Doubt’s “Don’t Speak” in 1996-97.

Powered by its cross-genre appeal of DJ Marshmello and alt band Bastille, “Happier” continues atop the Dance/Mix Show Airplay chart (for a sixth week) and Pop Songs (for a second), after ruling the Nov. 10-dated Alternative Songs airplay tally.

“Happier” dips 4-5 on Digital Song Sales (22,000, down 11 percent) and holds at No. 10 on Streaming Songs (21.2 million, down 4 percent), while adding a ninth week atop Hot Dance/Electronic Songs.

Halsey‘s “Without Me” pushes 6-4 on the Hot 100, becoming her highest-charting song as a lead artist, as the ballad bests the No. 5 peak of “Bad at Love” in January. She also hit the top 10 as featured on The Chainsmokers’ “Closer,” which spent 12 weeks at No. 1 in 2016.

“Without Me” rises 3-2 on Digital Song Sales (35,000, up 3 percent); slips 7-8 on Streaming Songs (but with a 3 percent gain to 26 million); and vaults 23-12 on Radio Songs (50.5 million, up 22 percent).

Maroon 5’s “Girls” drops 2-5 on the Hot 100, after seven weeks at No. 1; Juice WRLD’s “Lucid Dreams” descends 5-6, after reaching No. 2; and, Sheck Wes’ debut hit “Mo Bamba” posts up 9-7 for a new high.

Panic! at the Disco notches its second Hot 100 top 10, and first in over 12 years, as “High Hopes” darts 12-8. The track climbs 6-3 on Radio Songs (95.1 million, up 17 percent, good for the Hot 100’s top Airplay Gainer award) and 6-4 on Digital Song Sales (23,000, down 3 percent) and gains by 2 percent to 12.2 million streams just below Streaming Songs.

“Hopes” leads Hot Rock Songs for a third week and Alternative Songs for a second week, while charging 9-4 on Pop Songs and rising 5-4 on Adult Pop Songs.

Panic, the group-turned-solo-project of Brendon Urie, earns its first Hot 100 top 10 since its debut entry, “I Write Sins Not Tragedies,” hit No. 7 in August 2006. The act’s 12-year, two-month and three-week wait between weeks in the top 10 (Sept. 2, 2006-Nov. 24, 2018) is the longest since Prince, following his April 21, 2016, death, returned to the region with both “Purple Rain” (with the Revolution) and “When Doves Cry” after 21 years, 11 months and two weeks, for the first time since “The Most Beautiful Girl in the World” ranked in the top 10 (June 18, 1994-May 21, 2016).

Panic ends the longest top 10 drought between new top 10s (unlike Prince’s return with prior hits) since Paul McCartney, who took 29 years and two weeks between “Spies Like Us” and “FourFiveSeconds,” with Rihanna and Kanye West (Feb. 8, 1986-Feb. 21, 2015), a record gap among acts billed in lead roles on bookending songs. Dobie Gray holds the overall mark: 30 years, two months and one week between his sole two top 10s, “Drift Away” and Uncle Kracker’s remake of the song, featuring Gray (May 26, 1973-Aug. 2, 2003).

Rounding out the Hot 100’s top 10, Kodak Black‘s “ZEZE,” featuring Travis Scott and Offset, falls 8-9, after peaking at No. 2 upon its debut four weeks earlier; and, Lil Baby and Gunna’s “Drip Too Hard” holds at No. 10, after hitting No. 4.

Find out more Hot 100 news on Billboard.com this week and, for all chart news, you can listen (and subscribe) to Billboard‘s Chart Beat Podcast and Pop Shop Podcast and follow @billboard and @billboardcharts. And again, be sure to visit Billboard.com tomorrow (Nov. 20), when all charts, including the Hot 100 in its entirety, will refresh.

Source: billboard.com

Plus: Takeoff debuts in the top 10; Queen surges with “Bohemian Rhapsody” & “Greatest Hits I II & III.”

Metro Boomin lands his first No. 1 album on the Billboard 200 chart as the producer’s new guest-laden album, Not All Heroes Wear Capes, debuts in the top slot. The surprise set, which was announced Oct. 31 and released Nov. 2 via Boominati/Republic Records, earned 99,000 equivalent album units in the week ending Nov. 8, according to Nielsen Music. Of that sum, 5,000 were in album sales, as the album was largely driven by streaming activity.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units are comprised of traditional album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new Nov. 17-dated chart (where Heroes starts at No. 1) will be posted in full on Billboard‘s websites on Tuesday, Nov. 13.

The 25-year-old Metro Boomin (born Leland Wayne) has produced hits such as Migos’ “Bad and Boujee,” featuring Lil Uzi Vert (No. 1 for three weeks on the Billboard Hot 100 chart), Future’s “Mask Off” (No. 5), Kodak Black’s “Tunnel Vision” (No. 6) and Post Malone’s “Congratulations,” featuring Quavo (No. 8).

On Heroes, Metro is joined by an array of guest artists, including Travis Scott, Young Thug, 21 Savage and J Balvin, among many others.

Streams power the bulk of Heroes’ starting sum of 99,000 units. Of that sum, it earns 92,000 SEA units, which translates to 125.3 million on-demand audio streams for the set’s tracks in its first week (making it the most streamed album of the week, too). The remaining 7,000 units in Heroes’ starting figure are comprised of album sales (5,000) and TEA units (2,000).

Metro Boomin previously visited the top 10 twice, with Double or Nothing, with Big Sean (No. 6; Dec. 20, 2017), and Without Warning, with 21 Savage and Offset (No. 4; Nov. 18, 2017).

Lady Gaga and Bradley Cooper’s A Star Is Born soundtrack holds at No. 2 on the new Billboard 200 for a second week, earning 79,000 units (down 15 percent); it spent its first three weeks at No. 1.

Queen earns its highest-charting album in 38 years, as the Bohemian Rhapsody film soundtrack surges 25-3 with 59,000 units (up 187 percent) after the film’s opening in U.S. theaters on Nov. 2. Of its unit haul, album sales comprised 24,000 — up 182 percent).

The companion album to the hit biopic of the same name collects highlights from Queen’s career, including the title tune, “Under Pressure” with David Bowie, a new remix of “We Will Rock You,” and a handful of tracks from the band’s performance at Live Aid in 1985 — the first time the recordings have been released in audio form.

Bohemian Rhapsody is Queen’s highest-reaching album since 1980, when The Gamespent five weeks at No. 1. (The Game includes Queen’s two Hot 100 No. 1 singles: “Another One Bites the Dust” and “Crazy Little Thing Called Love.”)

The Queen excitement doesn’t stop with Bohemian Rhapsody, as the 51-track Greatest Hits I II & III: The Platinum Collection vaults 194-9 with 39,000 units (up 662 percent), with 18,000 of that sum in album sales (up 380 percent). The album previously topped out at No. 48 in 2002.

With both Bohemian Rhapsody and Greatest Hits I II & III in the top 10, Queen has a pair of albums in the top 10 concurrently for the first time. They also represent the group’s seventh and eighth top 10 albums, overall. Queen was last in the top 10 in the spring of 1992, when the hits set Classic Queen spent six weeks in the top 10 (May 16-June 13), peaking at No. 4. At the time, the album was basking in the glow of the success of the movie Wayne’s World, which featured a head-banging sequence set to “Bohemian Rhapsody.” The song peaked at No. 2 on the Hot 100 dated May 9, 1992.

At No. 4 on the Billboard 200, Takeoff’s first solo album, The Last Rocket, enters with 49,000 units (5,000 in album sales). Takeoff is the third member of the Migos trio to chart on the Billboard 200 apart from the group, following Quavo (with his solo set Quavo Huncho, which peaked at No. 2; Oct. 27, 2018) and Offset (via his collaborative album Without Warning, with Metro Boomin and 21 Savage; peaking at No. 4, on Nov. 18, 2017).

Drake’s former No. 1 Scorpion climbs 7-5 on the new Billboard 200 with 45,000 units (down 8 percent), Lil Wayne’s fellow former chart-topper Tha Carter V dips 5-6 with 43,000 units (down 17 percent) and Lil Baby and Gunna’s Drip Harder slips 6-7 with 42,000 units (down 16 percent).

Closing out the top 10 are two more former No. 1s: Travis Scott’s Astroworld climbs 9-8 with 40,000 units (down 11 percent) and Post Malone’s beerbongs & bentleys is steady at No. 10 with 39,000 units (down 6 percent).

Source: billboard.com

After appearing on the list since 2013, Grande reigns, landing the first No. 1 debut for a woman since Adele with “Hello.”

Ariana Grande scores her first No. 1 on the Billboard Hot 100 (dated Nov. 17), as “Thank U, Next” rockets onto the chart at No. 1, arriving as the top-streamed and top-selling song of the week.

The track dethrones Maroon 5‘s “Girls Like You,” featuring Cardi B, after seven weeks on top, although the collaboration ties for the second-most weeks spent at No. 1 in the history of the Radio Songs chart.

Let’s run down the top 10 of the newest Hot 100, which blends all-genre U.S. streaming, radio airplay and digital sales data. All charts will update on Billboard.com tomorrow (Nov. 13).

Grande’s first Hot 100 No. 1: “Next,” released on Republic Records, is Grande’s first Hot 100 No. 1, and the 1,079th in the chart’s 60-year history. She previously hit a No. 2 high with “Problem,” featuring Iggy Azalea, in 2014. “Next” also bows as her 11th Hot 100 top 10 and first since “God Is a Woman,” which reached No. 8 in September.

Grande reigns at last with her 35th Hot 100 entry. Among Hot 100 chart-topping acts, she ends the longest wait for her first No. 1 (by total chart appearances from a first entry) since Justin Bieber set the mark by earning his first leader with his 47th charted title, “What Do You Mean?,” in 2015.

Grande first hit the Hot 100 (debuting at No. 10) on April 13, 2013, with the eventual No. 9-peaking “The Way,” featuring Mac Miller.

No. 1 in streams & sales: “Next” launches with 55.5 million U.S. streams and 81,000 downloads sold in the week ending Nov. 8, according to Nielsen Music. Notably, the song debuts on the Hot 100 with just over five days of streaming and sales data, as it was released late Saturday, Nov. 3 (as the tracking week for those metrics runs Friday through Thursday). Grande has released two videos for the song so far: an audio clip upon its release and a lyric video Nov. 6.

With “Next,” Grande likewise earns her first No. 1 on the Streaming Songs chart and her fourth leader on Digital Song Sales, after “Problem,” for three weeks in 2014; “Bang Bang,” with Jessie J and Nicki Minaj (one week, 2014); and “No Tears Left to Cry” (one, this May).

“Next” also drew 11.3 million in all-format radio audience in the week ending Nov. 11.

“God Is a Woman” and “No Tears” are from Grande’s third Billboard 200 No. 1 album, Sweetener, which debuted atop the list dated Sept. 1, while “Next” is, as of now, a stand-alone track, with the song’s lyrics referencing past relationships with, among others, Big Sean, ex-finance Pete Davidson and the late Miller.

Meme-orable: As for its lyrics, aiding the buzz of “Next” are, specifically, its lines, “One taught me love / One taught me patience / One taught me pain,” which have sparked an onslaught of memes.

New at No. 1: “Next” is the 32nd single to debut at No. 1 on the Hot 100 and the first by a female artist in three years, since Adele’s “Hello” on the chart dated Nov. 14, 2015.

As noticed by chart-watcher Jake Rivera, “Next” is the fourth No. 1 debut of 2018, tying the record established in 1995, the first year that any single soared in at the summit. “Next” follows prior 2018 No. 1 bows for Childish Gambino’s “This Is America” (May 19) and Drake’s “Nice for What” (April 21) and “God’s Plan” (Feb. 3). The four No. 1 entrances in 1995: Michael Jackson’s “You Are Not Alone,” Mariah Carey’s “Fantasy,” Whitney Houston’s “Exhale (Shoop Shoop)” and Carey and Boyz II Men’s “One Sweet Day.”

Pop on top, again: As “Next” follows Maroon 5’s “Girls,” featuring Cardi B, at No. 1, two pop songs have led the Hot 100 in succession for the first time since Jan. 27, when Camila Cabello’s “Havana,” featuring Young Thug, replaced Ed Sheeran’s “Perfect.” “Next” also ends a record streak of 42 weeks of No. 1s with at least one credited rapper, from Young Thug (on “Havana”) to Cardi B (“Girls” and “I Like It,” with Bad Bunny and J Balvin). The run also included Drake (“Plan,” “Nice” and “In My Feelings”); Childish Gambino (“America”); Post Malone and Ty Dolla $ign (“Psycho”); and, XXXTentacion (“Sad!”).

As “Girls” drops to No. 2, pop songs rank at Nos. 1 and 2 on the Hot 100 in the same week for the first time since Jan. 27 (“Havana” and “Perfect,” respectively).

No. 1 is a woman: Grande is the first female soloist to top the Hot 100 unaccompanied by another act since Cardi B on Oct. 21, 2017, when her debut hit “Bodak Yellow (Money Moves)” spent its third and final week at No. 1.

Solo women in lead roles have led the Hot 100 for just three weeks (of 46 total so far) in 2018, thanks to “Next,” “I Like It” and “Havana.” That follows totals of six weeks in 2017 (via two No. 1s); 16 in 2016 (three No. 1s); 10 in 2015 (four No. 1s); 28 in 2014 (five No. 1s); and, 17 in 2013 (four No. 1s).

The last year in which lead solo women logged as few as three weeks at No. 1 on the Hot 100? 1975, thanks to one each for Linda Ronstadt (“You’re No Good”), Olivia Newton-John (“Have You Never Been Mellow”) and Minnie Riperton (“Lovin’ You”). (After the Hot 100’s Aug. 4, 1958, inception, no lead solo women reigned until June 27, 1960, when Connie Francis spent her first of two weeks on top with “Everybody’s Somebody’s Fool.”)

‘Thank’s for the memories: Grande is thankful for the fourth Hot 100 No. 1 that includes “thank” in its title, following “Thank God I Found You,” by Carey featuring Joe and 98 Degrees (2000), “Thank God I’m a Country Boy,” by John Denver (1975), and “Thank You Falettinme Be Mice Elf Agin”/”Everybody Is a Star,” by Sly & The Family Stone (1970).

(Grande’s new No. 1 also takes over as the highest-charting Hot 100 hit to begin with “Thank U”; Alanis Morissette’s “Thank U” reached No. 17 in 1998. The only other such title? “Thank U Very Much” by The Scaffold, a No. 69 hit in 1968. You’re welcome for that trivia …)

More Grande: Beyond the Hot 100’s top 10, Grande’s “Woman” holds at No. 20 and fellow Sweetener single “Breathin” charges 32-21, passing its prior No. 22 peak; following the Nov. 7 premiere of its official video, “Breathin” bounds by 64 percent to 12.2 million streams by 118 percent to 12,000 sold in the week ending Nov. 8 and claims the Hot 100’s top Streaming and Sales Gainer awards.

“Next” easily outperformed Maroon 5’s “Girls” in the tracking week, as the latter drops to No. 2 on the Hot 100 after seven weeks at No. 1. Still, “Girls” leads Radio Songs for a 16th week, with 109.3 million in audience (down 4 percent), tying for the second-longest No. 1 run in the chart’s 28-year history. “Girls” matches the longest Radio Songs reign this century, equaling Carey’s 16-week command with “We Belong Together” in 2005.

Here is an updated look at the longest-leading Radio Songs No. 1 since the chart launched in December 1990:

Longest-Leading Radio Songs No. 1s
Weeks at No. 1, Title, Artist, Date Reached No. 1
18, “Iris,” Goo Goo Dolls, Aug. 1, 1998
16, “Girls Like You,” Maroon 5 feat. Cardi B, Aug. 4, 2018
16, “We Belong Together,” Mariah Carey, May 28, 2005
16, “Don’t Speak,” No Doubt, Dec. 7, 1996
14, “No One,” Alicia Keys, Nov. 3, 2007
14, “Because You Loved Me,” Celine Dion, April 13, 1996

Below “Next” and “Girls,” Travis Scott‘s “Sicko Mode” drops to No. 3 from its No. 2 Hot 100 peak, as it posts a third week at No. 1 on both the Hot R&B/Hip-Hop Songsand Hot Rap Songs charts; Marshmello and Bastille‘s “Happier” dips to No. 4 from its No. 3 Hot 100 high, while logging an eighth week atop Hot Dance/Electronic Songs and becoming each act’s first No. 1 on the Pop Songs airplay chart; and, Juice WRLD’s “Lucid Dreams” descends 4-5 on the Hot 100 after reaching No. 2.

Rounding out the Hot 100’s top 10, Halsey‘s “Without Me” hits a new high, jumping 9-6; Post Malone‘s “Better Now” falls 5-7, after hitting No. 3; Kodak Black‘s “ZEZE,” featuring Scott and Offset, backtracks 6-8 after debuting at its No. 2 peak; Sheck Wes’ debut hit “Mo Bamba” rises 10-9, reaching a new best rank; and, Lil Baby and Gunna’s “Drip Too Hard” retreats to No. 10 after hitting No. 4.

Find out more Hot 100 news on Billboard.com this week and, for all chart news, you can listen (and subscribe) to Billboard‘s Chart Beat Podcast and Pop Shop Podcast and follow @billboard and @billboardcharts. And again, be sure to visit Billboard.com tomorrow (Nov. 13), when all charts, including the Hot 100 in its entirety, will refresh.

Source: billboard.com

“Girls” is the longest-leading No. 1 by a group since Maroon 5’s own “One More Night” in 2012.

Maroon 5‘s “Girls Like You,” featuring Cardi B, spends a seventh week at No. 1 on the Billboard Hot 100 chart (dated Nov. 10), again winning a close race over Travis Scott‘s “Sicko Mode,” which holds at its No. 2 high.

Plus, two songs enter the Hot 100’s top 10: Halsey‘s “Without Me” and Sheck Wes’ “Mo Bamba.”

Let’s run down the top 10 of the newest Hot 100, which blends all-genre U.S. streaming, radio airplay and digital sales data. All charts will update on Billboard.com tomorrow (Nov. 6).

With a seventh week at No. 1 on the Hot 100, “Girls” has logged the longest reign by a group (of at least three members) since Maroon 5’s previous No. 1: “One More Night” led for nine weeks beginning Sept. 29, 2012. (“Girls” passes MAGIC!’s “Rude,” which ruled for six weeks in 2014.)

“Girls” leads the Radio Songs airplay chart for a 15th week, with 114.2 million in audience, down 2 percent, in the week ending Nov. 4, according to Nielsen Music. Here is an updated look at the longest-leading Radio Songs No. 1 since the chart launched in December 1990:

Longest-Leading Radio Songs No. 1s
Weeks at No. 1, Title, Artist, Date Reached No. 1
18, “Iris,” Goo Goo Dolls, Aug. 1, 1998
16, “We Belong Together,” Mariah Carey, May 28, 2005
16, “Don’t Speak,” No Doubt, Dec. 7, 1996
15, “Girls Like You,” Maroon 5 feat. Cardi B, Aug. 4, 2018
14, “No One,” Alicia Keys, Nov. 3, 2007
14, “Because You Loved Me,” Celine Dion, April 13, 1996

“Girls” dips 9-13 on Digital Song Sales, with 14,000 downloads sold, down 18 percent, in the week ending Nov. 1, after leading the list for six weeks, and retreats 12-13 on Streaming Songs (23.2 million U.S. streams, down 5 percent, in the week ending Nov. 1), where it reached No. 5.

Scott’s “Sicko Mode” keeps at its No. 2 Hot 100 peak. It slips 2-3 on Streaming Songs (35.4 million, down 8 percent); repeats at No. 11 on Radio Songs (60.1 million, up 4 percent); and backtracks 14-15 on Digital Song Sales (12,000, down 12 percent).

For a second week, “Girls” narrowly defends its Hot 100 crown over “Sicko” (which features Drake’s vocals, although he’s not credited as an artist on the song; he also appears in the song’s official video, released Oct. 19), with the songs declining by 5 and 4 percent, respectively, in overall activity.

On other format charts, “Girls” becomes Maroon 5’s third No. 1 on the Adult Contemporary airplay tally, following “Maps” (one week, 2015) and “Don’t Wanna Know” (five weeks, 2017), while “Sicko” spends a second week at No. 1 on both the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts.

Marshmello and Bastille‘s “Happier” hits a new Hot 100 peak, rising 4-3. It holds at No. 4 on Digital Song Sales (23,000, down 13 percent) and No. 5 on Radio Songs (83.3 million, up 11 percent) and climbs 13-11 on Streaming Songs (22.3 million, up 3 percent). As it increases by 3 percent in overall activity, it could seriously challenge for No. 1 on the Hot 100 as soon as next week.

The multi-format hit logs a seventh week at No. 1 on the Hot Dance/Electronic Songs chart and takes over atop Alternative Songs (3-1), where it becomes Marshmello’s first No. 1 and Bastille’s second, after the band ruled for four weeks in 2013 with its breakthrough hit, “Pompeii.”

“Happier,” the highest-charting career Hot 100 hit for both acts, is the top-ranking title that has also appeared on Alternative Songs since another dance/rock collaboration: The Chainsmokers and Coldplay’s “Something Just Like This” peaked at No. 3 on the Hot 100 in April 2017 (before reaching No. 16 on Alternative Songs that July).

Juice WRLD’s “Lucid Dreams” descends 3-4 on the Hot 100 after reaching No. 2, while the songs at Nos. 5-8 all hold in place, respectively: Post Malone‘s “Better Now,” after hitting No. 3; Kodak Black‘s “ZEZE,” featuring Scott and Offset, which debuted at its No. 2 peak two weeks ago (and spends a third week atop Streaming Songs, with 39.5 million U.S. streams, down 6 percent); 5 Seconds of Summer‘s “Youngblood,” steady at its No. 7 high; and, Lil Baby and Gunna‘s “Drip Too Hard,” following its No. 4 peak.

Following the Oct. 29 premiere of its official video, Halsey’s “Without Me” jumps 12-9 on the Hot 100, as it rises 3-2 on Digital Song Sales (32,000, up 17 percent), also hits the Streaming Songs top 10 (18-9; 22.8 million, up 24 percent) and darts 45-34 on Radio Songs (32.6 million, up 17 percent).

Halsey earns her third Hot 100 top 10. She spent 12 weeks at No. 1 in 2016 as featured on The Chainsmokers’ “Closer” and hit No. 5 with her own “Bad at Love” this past January.

Notably, “Without Me” brings a portion of a prior Hot 100 top 10 back to the region: the song’s bridge interpolates Justin Timberlake’s first top 10, “Cry Me a River,” which hit No. 3 in February 2003; Timberlake, Timbaland (Timothy Mosley) and Scott Storch, the three writers of “River,” all receive writing credit on “Without Me.”

Also new to the Hot 100’s top 10, Sheck Wes’ first chart entry “Mo Bamba” vaults 16-10. Streaming accounts for the bulk of its activity, as it climbs 6-4 on Streaming Songs (31.1 million, up 15 percent), while charging 38-19 on Digital Song Sales (10,000, up 46 percent).

The Harlem-based rapper uploaded the song, named for Mohamed Bamba, center for the NBA’s Orlando Magic and with whom Wes grew up, to SoundCloud a year ago and its official video arrived on YouTube on Jan. 30. Thanks to social media posts about it from Drake, Shaquille O’Neal, Odell Beckham Jr. and others, the track has steadily gained traction in recent months. (Bamba himself isn’t doing too badly, either, as he leads the Magic in blocks in the early going of the 2018-19 NBA season.)

Just beyond the Hot 100’s top 10, Panic! at the Disco’s “High Hopes” soars 21-11, as the band seeks its second top 10, after its first entry, “I Write Sins Not Tragedies,” rose to No. 7 in August 2006. Plus, Cardi B’s “Money” moves 54-13 after its first full week of tracking.

Find out more Hot 100 news on Billboard.com this week and, for all chart news, you can listen (and subscribe) to Billboard‘s Chart Beat Podcast and Pop Shop Podcast and follow @billboard and @billboardcharts. And again, be sure to visit Billboard.com tomorrow (Nov. 6), when all charts, including the Hot 100 in its entirety, will refresh. The next issue of Billboard magazine is on sale Friday (Nov. 9).

Source: billboard.com