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

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

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

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

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

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new April 24, 2021-dated chart (where Fearless [Taylor’s Version] debuts at No. 1) will be posted in full on Billboard‘s website on April 20. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Source: billboard.com

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Source: billboard.com

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

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

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new April 17, 2021-dated chart (where Justice returns to No. 1) will be posted in full on Billboard‘s website on April 13. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

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

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

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

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

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

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

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

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

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

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

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

Source: billboard.com

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Source: billboard.com

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Source: billboard.com

Plus, “Peaches” featured artists Daniel Caesar and Giveon top the Hot 100 for the first time.

Justin Bieber becomes the first solo male to debut at No. 1 on the Billboard Hot 100 songs chart and the Billboard 200 albums chart simultaneously, as “Peaches,” featuring Daniel Caesar and Giveon, launches atop the Hot 100. As previously reported, Bieber’s new LP Justice enters atop the Billboard 200.

Among all acts, Bieber joins only BTS and Taylor Swift in having started at No. 1 on both the Hot 100 and Billboard 200 simultaneously, with Swift having accomplished the feat twice.

“Peaches” premieres as Bieber’s seventh Hot 100 No. 1 and the first each for Caesar and Giveon.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated April 3) will update on Billboard.com tomorrow (March 30). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

Here’s a look at the coronation of “Peaches,” released on Raymond Braun/Def Jam and the 1,119th No. 1 in the Hot 100’s 62-year history. The song is the 50th single to debut at No. 1.

Streams, Sales & Airplay: “Peaches” drew 30.6 million U.S. streams and sold 16,000 downloads in the week ending March 25, according to MRC Data. It also attracted 12.1 million radio airplay audience impressions in the week ending March 28. (Parent album Justice arrived March 19.)

The track opens at No. 1 on the Streaming Songs chart, where it’s Bieber’s fifth leader and Caesar and Giveon’s first each, and No. 3 on Digital Song Sales.

Bieber, BTS & Taylor Swift: Bieber blasts in atop the Billboard 200 with Justice, his eighth No. 1 set on the survey.

Bieber joins only BTS and Taylor Swift in having debuted at No. 1 on both the Hot 100 and Billboard 200 simultaneously, with Swift having achieved the honor twice. Swift inaugurated the elite club when “Cardigan” and Folklore began atop the respective charts dated Aug. 8, 2020. BTS’ “Life Goes On” and Be soared in atop the tallies dated Dec. 5 and Swift repeated the feat with “Willow” and Evermore on the charts dated Dec. 26.

Bieber’s 7th Hot 100 No. 1: Here’s an updated look at Bieber’s Hot 100 No. 1s.

Title, Weeks at No. 1, Date Reached No. 1
“What Do You Mean?,” one, Sept. 19, 2015
“Sorry,” three, Jan. 23, 2016
“Love Yourself,” two, Feb. 13, 2016
“I’m the One,” DJ Khaled feat. Bieber, Quavo, Chance the Rapper & Lil Wayne, one, May 20, 2017
“Despacito,” Luis Fonsi & Daddy Yankee feat. Bieber, 16, May 23, 2017
“Stuck With U,” with Ariana Grande, one, May 23, 2020
“Peaches,” feat. Daniel Caesar & Giveon, one to-date, April 3, 2021

Dating to his first week at No. 1 on the Hot 100, Bieber ties Drake for the most leaders in the span since.

4th No. 1 debut: “Peaches” is Bieber’s fourth song to debut at No. 1 on the Hot 100, tying him with Drake for the most among male artists. Overall, only Ariana Grande boasts more No. 1 starts, with five. Prior to “Peaches,” Bieber began at the summit with “What Do You Mean?,” “I’m the One” and “Stuck With U.”

23rd top 10: “Peaches” also arrives as Bieber’s 23rd Hot 100 top 10, making him the 16th artist with at least that many top 10s. The updated leaderboard: Drake, 45 top 10s; Madonna, 38; The Beatles, 34; Rihanna, 31; Michael Jackson, 30; Taylor Swift, 29; Mariah Carey, Stevie Wonder, 28 each; Janet Jackson, Elton John, 27 each; Lil Wayne, Elvis Presley, 25 each (with Presley’s career having predated the Hot 100’s inception); Bieber, Whitney Houston, Paul McCartney and The Rolling Stones, 23 each.

Caesar, Giveon reign: Daniel Caesar crowns the Hot 100 after charting two previous entries: “Get You,” featuring Kali Uchis (No. 93 peak, March 2018), and “Best Part,” featuring H.E.R. (No. 75, October 2018). In July 2019, he achieved his first Billboard 200 with Case Study 01 (No. 10).

“Peaches” is Giveon’s fourth Hot 100 entry and one of two currently in the top 40: “Heartbreak Anniversary” rises to No. 29, a new high. His “Like I Want You” reached No. 87 a week ago, while he made his first appearance as featured on Drake’s “Chicago Freestyle” (No. 14, May 2020). A week ago, Giveon earned his first Billboard 200 top 10 with When It’s All Said and Done… Take Time (No. 5).

‘Peach’ perfect: “Peaches” is ripe for the Hot 100’s top spot in a song title for the first time, although the word has appeared at No. 1 in the artist field: Peaches & Herb’s “Reunited” reigned for four weeks in May 1979. (Shout-out to reader Jesper Tan of Subang Jaya, Malaysia, for the fun fact, sent in anticipation of the new No. 1’s sweet success.)

“Peaches” also takes over as the highest-charting Hot 100 hit with that word in its title, surpassing 112’s “Peaches & Cream,” which reached No. 4 in July 2001.

More food for thought: Per research by Billboard‘s Paul Grein and Andrew Unterberger, “Peaches” is the fourth Hot 100 No. 1 whose title includes a fruit reference, and the second in less than a year. The refreshingly flavorful four:

“I Heard It Through the Grapevine,” Marvin Gaye, seven weeks at No. 1, beginning Dec. 14, 1968
“One Bad Apple,” The Osmonds, five, Feb. 13, 1971
“Watermelon Sugar,” Harry Styles, one, Aug. 15, 2020
“Peaches,” Justin Bieber feat. Daniel Caesar & Giveon, one to-date, April 3, 2021

R&Bieber: “Peaches” concurrently debuts at No. 1 on the multi-metric Hot R&B/Hip-Hop Songs and Hot R&B Songs charts, which use the same methodology as the Hot 100. On the former ranking, Bieber adds his second No. 1, following his featured turn on DJ Khaled’s “I’m the One” in 2017. On the latter list, he adds his fourth leader, after DJ Khaled’s “No Brainer,” featuring Bieber, Chance the Rapper and Quavo (2017), and his own “Yummy” and “Intentions,” the latter featuring Quavo, both in 2020. Daniel Caesar and Giveon each top the charts for the first time.

Cardi B’s “Up” drops to No. 2 on the Hot 100 a week after reaching No. 1. The song drew 35.2 million in radio airplay audience (up 1%) and 23.5 million streams (up 3%) and sold 17,000 (down 8%) in the tracking week. The track tallies a fifth week atop the multi-metric Hot Rap Songs chart.

Silk Sonic’s “Leave the Door Open” descends to No. 3 from its No. 2 high, as the song by the duo of Bruno Mars and Anderson .Paak surges to the top 10 of the Radio Songs chart (12-8; 48.5 million, up 26%). The track, Mars’ 17th Radio Songs top 10 and Anderson .Paak’s first, reaches the region in just its third week on the chart, completing the fastest rise to the top 10 in over a year, since Justin Bieber’s “Yummy” needed only two frames in January 2018. Mars ties his fastest flight to the Radio Songs top 10, previously achieved with “24K Magic” in 2016 and “Finesse,” with Cardi B, in 2018.

Olivia Rodrigo’s former eight-week Hot 100 No. 1 “Drivers License” dips 3-4, as it spends a third week at No. 1 on Radio Songs (70 million, down 3%).

The Weeknd’s “Save Your Tears” holds at No. 5 on the Hot 100, after reaching No. 4, and his “Blinding Lights” also stays in place, at No. 6, after spending four weeks at No. 1 last April-May. “Lights” adds a record-extending 55th week in the top 10, after it became the first song to total a year in the bracket.

“Blinding Lights” ties for the fifth-longest overall stay in the Hot 100’s history: 68 weeks. It also equals LMFAO’s “Party Rock Anthem,” featuring Lauren Bennett and GoonRock, for the most weeks spent on the Hot 100 among No. 1 hits.

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

Dua Lipa’s No. 5-peaking “Levitating,” featuring DaBaby, holds at No. 7 on the Hot 100; Drake’s former one-week No. 1 “What’s Next” falls 4-8; and Pop Smoke’s “What You Know Bout Love” returns to the top 10, and its peak, rising 12-9.

Rounding out the Hot 100’s top 10, 24kGoldn’s “Mood,” featuring Iann Dior, slips 8-10, after eight nonconsecutive weeks at No. 1 in October through mid-January, as it leads the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a 30th week each.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated April 3), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (March 30).

Source: billboard.com

Plus: Lana Del Rey’s ‘Chemtrails Over the Country Club’ bows at No. 2.

Justin Bieber achieves his eighth No. 1 album on the Billboard 200 chart, as Justice debuts atop the tally with 154,000 equivalent album units earned in the U.S. in the week ending March 25, according to MRC Data. The album was released via Raymond Braun/Def Jam on March 18.

Justice halts the chart-topping domination of Morgan Wallen’s Dangerous: The Double Album, which spent 10 consecutive weeks in a row, all from its debut, at No. 1. It falls to No. 3 on the new chart.

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

Of Justice’s 154,000 equivalent album units earned in the tracking week ending March 25, SEA units comprise 119,000 (equaling 157.02 million on-demand streams of the album’s songs), album sales comprise just over 30,000 and TEA units comprise a little more than 4,000.

Justice’s start of 154,000 represents the second-biggest debut week for an album in 2021, following Dangerous’ start of 265,000 (Jan. 23-dated chart).

The new album was previewed by a quartet of top 40-charting hits on the Billboard Hot 100 songs chart: “Holy,” featuring Chance the Rapper (No. 3; Oct. 3, 2020-dated chart); “Lonely,” with Benny Blanco (No. 12; Jan. 23); “Anyone” (No. 6; Jan. 16) and “Hold On” (No. 26; March 20).  The album’s newest single is “Peaches,” featuring Giveon and Daniel Caesar.The track was released alongside the album, and it’s likely to bow on an array of Billboard charts dated April 3.

All 10 of Bieber’s charting albums have reached the top 10. He’s only missed the top slot twice. Here’s a recap of all 10 of his charting sets: Justice (No. 1), Changes (No. 1; Feb. 20, 2020), Purpose (No. 1; Dec. 5, 2015), Believe: Acoustic (No. 1; Feb. 16, 2013), Believe (No. 1; July 7, 2012), Under the Mistletoe (No. 1; Nov. 19, 2011), Never Say Never: The Remixes EP (No. 1; March 5, 2011), My Worlds Acoustic (No. 7; Dec. 11, 2010), My World 2.0 (No. 1 for four weeks; April 10, 2010) and My World EP (No. 5; April 10, 2010).

As Bieber is a youthful 27 years and one month old (he turned 27 on March 1), he also happens to be the youngest soloist with eight No. 1 albums. He was already the youngest to notch seven. Elvis Presley was previously the youngest soloist with either seven or eight leaders, until Bieber’s latest No. 1s came long. Presley was 26 years and 11 months, and then 29 years and 11 months, respectively, when the soundtracks to Blue Hawaii and Roustabout topped the chart in 1961 and 1965, respectively. If one also counted groups in these calculations, all four members of The Beatles were younger than 26 at the time of the band’s eighth No. 1, 1965’s Yesterday and Today.

For the first time in nearly three months, the Nos. 1 and 2 albums on the Billboard 200 are both debuts, as Lana Del Rey’s Chemtrails Over the Country Club bows at No. 2. The set starts with 75,000 equivalent album units earned. Of that sum, 58,000 comprise album sales (making it the top-selling album of the week), 16,000 comprise SEA units (equaling 21.19 million on-demand streams of the album’s songs) and less than 1,000 comprise TEA units.

Chemtrails Over the Country Club is Lana Del Rey’s seventh top 10 album, of eight total charting sets, following Norman Fucking Rockwell! (No. 3; Sept. 14, 2019), Lust for Life (No. 1; Aug. 12, 2017), Honeymoon (No. 2; Oct. 10, 2015), Ultraviolence (No. 1; July 5, 2014), Paradise (No. 10; Dec. 1, 2012) and Born to Die (No. 2; Feb. 18, 2012). Her only album to miss the top 10 was her self-titled release, which peaked at No. 20 on Jan 28, 2012.

The last time both the Nos. 1 and 2 albums on the Billboard were debuts was on the Dec. 26, 2020-dated list, when Taylor Swift’s Evermore and Kid Cudi’s Man on the Moon III: The Chosen debuted in the top two slots, respectively.

Back on the new chart, Wallen’s Dangerous falls 1-3 in its 11th week on the list, with 66,000 equivalent album units earned (down 4%).

Pop Smoke’s former leader Shoot for the Stars Aim for the Moon is pushed down two spots to No. 4 with 40,000 equivalent album units earned (up less than 1%).

Dua Lipa’s Future Nostalgia descends 3-5 with 36,000 equivalent album units earned (down 5%), Pooh Shiesty’s Shiesty Season is a non-mover at No. 6 with 31,000 units (up 3%) and The Weeknd’s former No. 1 After Hours dips 4-7 with nearly 31,000 units (down 5%).

Lil Baby’s previous leader My Turn falls 7-8 with 30,000 equivalent album units earned (down less than 1%), Lil Durk’s The Voice lowers 8-9 with 28,000 units (down 3%) and Luke Combs’ former No. 1 What You See Is What You Get rises 11-10 with 27,000 units (up 2%).

Source: billboard.com

The song is Cardi B’s fifth Hot 100 leader dating to her first, “Bodak Yellow,” in October 2017.

Cardi B‘s “Up” surges from No. 6 to No. 1 on the Billboard Hot 100 to spend its first week atop the tally. The song, which becomes Cardi B’s fifth Hot 100 No. 1, debuted at No. 2 five weeks earlier and tallied three weeks at the runner-up spot before reaching the summit.

Helping power its ascent, Cardi B performed “Up” as part of a medley, with Megan Thee Stallion, of their four-week 2020 Hot 100 No. 1 “WAP” on the 63rd annual Grammy Awards, broadcast on CBS, March 14.

Plus, Dua Lipa‘s “Levitating,” featuring DaBaby, rebounds to the Hot 100’s top 10 (13-7) after the pair performed it on the Grammys (also as part a medley, with her prior hit “Don’t Start Now”).ARTIST MENTIONED

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated March 27) will update on Billboard.com tomorrow (March 23). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

Here’s a look at Cardi B’s coronation with “Up,” released on Atlantic Records and the 1,118th No. 1 in the Hot 100’s 62-year history.

Streams, Airplay & Sales: “Up” drew 22.7 million U.S. streams (down 5%) and 18,000 downloads sold (up 96%, good for the Hot 100’s top Sales Gainer award) in the week ending March 18, according to MRC Data. It also attracted 34.9 million radio airplay audience impressions (up 7%) in the week ending March 21.

The track rises 5-3 on the Streaming Songs chart, which it led for two weeks; 7-3 on Digital Song Sales, where it spent a week in the lead; and 17-14 on Radio Songs.

Cardi B’s 5th Hot 100 No. 1: Here’s an updated look at Cardi B’s Hot 100 No. 1s:

Title, Weeks at No. 1, Date Reached No. 1
“Bodak Yellow (Money Moves),” three, Oct. 7, 2017
“I Like It,” with Bad Bunny & J Balvin, one, April 21, 2018
“Girls Like You,” Maroon 5 feat. Cardi B, seven, Sept. 29, 2018
“WAP,” with Megan Thee Stallion, four, Aug. 22, 2020
“Up,” one (to date) March 27, 2021

Cardi B extends her record for the most Hot 100 No. 1s among female rappers. (Of her five leaders, four have also topped the multi-metric Hot Rap Songs chart, all except Maroon 5’s “Girls Like You,” on which she’s featured.)

Meanwhile, “Up” is Cardi B’s first Hot 100 No. 1 with no accompanying acts since “Bodak Yellow.” Thanks to the two leaders, Cardi B is the first female rapper with two Hot 100 No. 1s with no accompanying artists.

Dating to her first week atop the Hot 100 with “Bodak Yellow” (Oct. 7, 2017), Cardi B ties for the most No. 1s among all acts in the span since, matching the five each earned in that stretch by Drake and Ariana Grande.

“Up” to No. 1: Amid an onslaught of No. 1 Hot 100 debuts, “Up” is the first song to rise from another rank to No. 1 for its first week atop the chart in five months, since 24kGoldn’s “Mood,” featuring Iann Dior, elevated 4-1 on the Oct. 24, 2020-dated chart. All five new No. 1s in between spent their first weeks on the chart at No. 1: Ariana Grande’s “Positions”; BTS’ “Life Goes On”; Taylor Swift’s “Willow”; Olivia Rodrigo’s “Drivers License”; and Drake’s “What’s Next.”

(In that stretch, one No. 1 returned to the top, twice from No. 2, for its fourth and fifth weeks at the apex: Mariah Carey’s “All I Want for Christmas Is You.”)

In a word … Only one all-time No. 1 Hot 100 song title is shorter than “Up”: Britney Spears’ “3,” from 2009. “Up” is the shortest proper one-word No. 1 title and ties two other hits for the fewest letters in a leading song: Rihanna’s “S&M,” featuring Spears, and Katy Perry’s “E.T.,” featuring Kanye West, both from 2011.

Here’s a recap of the briefest No. 1 Hot 100 song titles (those encompassing three or fewer letters):

“3,” Britney Spears, 2009
“Up,” Cardi B, 2021
“S&M,” Rihanna feat. Britney Spears, 2011
“E.T.,” Katy Perry feat. Kanye West, 2011
“WAP,” Cardi B, 2020
“Sad!,” XXXTENTACION, 2018
“OMG,” Usher feat. will.i.am, 2010
“Low,” Flo Rida, 2008
“SOS,” Rihanna, 2006
“Bad,” Michael Jackson, 1987
“Ben,” Michael Jackson, 1972
“War,” Edwin Starr, 1970
“ABC,” Jackson 5, 1970
“Why,” Frankie Avalon, 1959

Notably, nine of the 14 titles above have led in the last 15 years, with the advent of social media and hashtags playing into the increase.

Word “up”: “Up” is the 16th Hot 100 No. 1 with the word “up” in its title, including those with variations of the word, such as “upside” or “uptown.” It’s the first since Mark Ronson’s “Uptown Funk!,” featuring Bruno Mars, reigned for 14 weeks beginning in January 2015. The first such “up”-standing hit? Neil Sedaka’s “Breaking Up Is Hard to Do” in August 1962. (You can go to @billboardcharts for the full list.)

Optimists, celebrate (as you figured you would): The 16 No. 1 titles that include “up” outpace the 10 leaders whose titles include “down.” The latter group includes this week’s polar-opposite No. 1 title “Down,” by Jay Sean featuring Lil Wayne, from 2009.

No. 1, R&B/hip-hop, rap: “Up” concurrently rebounds 5-1 and 4-1, respectively, for a fourth week each atop the multi-metric Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which use the same methodology as the Hot 100.

“Up” is the first song by a solo female and no accompanying artists to top the Hot 100, Hot R&B/Hip-Hop Songs and Hot Rap Songs since Lizzo’s “Truth Hurts” in 2019. Before that, Cardi B’s “Bodak Yellow” last earned the honor.

Silk Sonic’s “Leave the Door Open” ascends 4-2 in its second week on the Hot 100. The song by the duo of Bruno Mars and Anderson .Paak, which they performed on the Grammy Awards March 14, claims the chart’s top Airplay Gainer trophy, as it bounds 31-12 on Radio Songs (38.7 million, up 65%). It holds at No. 2 on Digital Song Sales (21,000, down 21%) and No. 4 on Streaming Songs (19.4 million, down 16%).

The collab, billed on the Hot 100 as by Silk Sonic (Bruno Mars & Anderson .Paak), and which contributes to the chart histories of both artists, adds a second week at No. 1 on the multi-metric Hot R&B Songs chart.

Olivia Rodrigo’s former eight-week Hot 100 No. 1 “Drivers License” rises 5-3, as it spends a second week at No. 1 on Radio Songs (72.3 million airplay audience impressions, down 3%).

Drake’s “What’s Next” falls to No. 4 on the Hot 100 a week after it launched at No. 1. It tallies a second week at No. 1 on Streaming Songs (23 million, down 53%) and 3-24 on Digital Song Sales (4,000, down 78%), while debuting on Radio Songs at No. 42 (17.3 million, up 45%).

The Weeknd’s “Save Your Tears” pushes 7-5 on the Hot 100, after reaching No. 4, and his “Blinding Lights” also reverses course by two spots, rising 8-6, after spending four weeks at No. 1 last April-May. “Lights” adds a record-extending 54th week in the top 10, two weeks after it became the first song in the chart’s history to total a year in the bracket.

Dua Lipa’s No. 5-peaking “Levitating,” featuring DaBaby, returns to the Hot 100’s top 10, jumping 13-7 following the act’s Grammy Awards performance of the song March 14 (as part a medley, with Lipa’s “Don’t Start Now,” which reached No. 2 in March 2020).

“Levitating” sports gains of 102% to 12,000 sold and 12% to 14.2 million streams in the week ending March 18.

24kGoldn’s “Mood,” featuring Iann Dior, lifts 10-8 on the Hot 100, after eight nonconsecutive weeks at No. 1 in October through mid-January, as it tops the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a 29th week each, and Ariana Grande’s “34+35” holds at No. 9 on the Hot 100, after it reached No. 2.

Rounding out the Hot 100’s top 10, Drake’s “Wants and Needs,” featuring Lil Baby, falls from No. 2, where it debuted a week earlier, to No. 10. Drake’s “What’s Next,” “Wants and Needs” and “Lemon Pepper Style,” featuring Rick Ross (down 3-31), soared in at Nos. 1, 2 and 3, respectively, on the Hot 100 a week ago, making Drake the first artist ever to open in the chart’s top three spots simultaneously.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated March 27), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (March 23).

Source: billboard.com

Drake is the first artist ever to debut three songs in the top three simultaneously.

The lyrics of Drake‘s new song “What’s Next” have proven prophetic, as the track debuts at numero uno on the Billboard Hot 100 (aka, the “Hot one hundo”). He also becomes the first artist to enter the chart at Nos. 1, 2 and 3 simultaneously, as the song is joined by his “Wants and Needs,” featuring Lil Baby, new at No. 2, and “Lemon Pepper Freestyle,” featuring Rick Ross, new at No. 3.

The tracks were released March 5 on OVO Sound/Republic Records (packaged under the title “Scary Hours 2”).

With “What’s Next,” Drake adds his eighth Hot 100 No. 1, while the three songs up his total to a record-extending 45 top 10s. Drake also joins The Beatles and Ariana Grande as the only acts ever to rank at Nos. 1, 2 and 3 on the Hot 100 simultaneously.

Meanwhile, the week’s top four songs on the Hot 100 are all debuts for the first time in the chart’s six-decade history — as, below Drake’s three-song launch, Silk Sonic’s “Leave the Door Open” enters at No. 4. The duo comprises Bruno Mars and Anderson .Paak.

Plus, as it cedes the Hot 100’s summit after eight weeks at No. 1, Olivia Rodrigo’s “Drivers License” takes over atop the Radio Songs chart.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated March 20) will update on Billboard.com tomorrow (March 16). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

Here’s a look at Drake’s unprecedented week with “What’s Next,” the 1,117th No. 1 in the Hot 100’s archives, and his two other new entries. The song is the 49th single to debut at No. 1 (and the second in a row, following Rodrigo’s “License”).

Streams, Airplay & Sales: “What’s Next” opens with 49.1 million U.S. streams and 19,000 downloads sold in the week ending March 11, according to MRC Data. It also drew 11.9 million radio airplay audience impressions in the week ending March 14.

“Wants and Needs” arrives with 41.5 million streams, 17,000 sold and 2.1 million in airplay audience, while “Lemon Pepper Freestyle” starts with 32.1 million streams, 15,000 sold and 869,000 in radio reach.

As on the Hot 100, the tracks start at Nos. 1, 2 and 3, respectively, on the Streaming Songs chart, where Drake widens his lead for the most No. 1s (10) and top 10s (51). On Digital Song Sales, they debut at Nos. 3, 4 and 5, respectively.

Drake’s record arrival at Nos. 1, 2 & 3 / Top four all debuts: Drake is the first artist to debut at Nos. 1, 2 and 3 on the Hot 100 in the same week, while the arrival of Silk Sonic’s “Leave the Door Open” makes this week’s chart the first ever with four simultaneous debuts in the top four.

Previously, songs debuted at Nos. 1 and 2 simultaneously on the Hot 100 three times, and never by the same artist. Most recently, Ariana Grande’s “Positions” and Luke Combs’ “Forever After All” launched at Nos. 1 and 2, respectively, on the chart dated Nov. 7, 2020. Before that, Adele’s “Hello” debuted at No. 1 and Bieber’s “Sorry” started at No. 2 on Nov. 14, 2015, while Clay Aiken’s “This Is the Night” and Ruben Studdard’s “Flying Without Wings” entered at Nos. 1 and 2, respectively (reversing their finishes that season on American Idol), on June 28, 2003.

Beatles, Ariana & Drake: Drake, meanwhile, joins The Beatles and Ariana Grande as the only acts ever to rank at Nos. 1, 2 and 3 on the Hot 100 simultaneously. He’s thus the first solo male to earn the honor.

Grande achieved the feat with “7 Rings,” “Break Up With Your Girlfriend, I’m Bored” and “Thank U, Next” on the Hot 100 dated Feb. 23, 2019. No such triple had occurred in 55 years to that point, since The Beatles did so for five weeks in 1964, that March 14, 21 and 28 and April 4 and 25, with “Can’t Buy Me Love,” “Twist and Shout” and “Do You Want to Know a Secret,” respectively, on the last of those dates; on April 4, 1964, the group claimed the entire top five.

Drake’s 8th No. 1: Drake notches his eighth Hot 100 No. 1 with “What’s Next.”

Here’s a recap of all his leaders:

“What’s My Name?,” Rihanna feat. Drake (one week at No. 1, beginning Nov. 20, 2010)
“Work,” Rihanna feat. Drake (nine weeks, beginning March 5, 2016)
“One Dance,” Drake feat. WizKid & Kyla (10 weeks, beginning May 21, 2016)
“God’s Plan,” Drake (11 weeks, beginning Feb. 3, 2018)
“Nice for What,” Drake (eight weeks, beginning April 21, 2018)
“In My Feelings,” Drake (10 weeks, beginning July 21, 2018)
“Toosie Slide,” Drake (one week, April 18, 2020)
“What’s Next,” Drake (one week to-date, March 20, 2021)

“Next” is Drake’s fourth song to debut at No. 1 on the Hot 100, the most among male artists, following “God’s Plan,” “Nice for What” and “Toosie Slide.” Overall, only Ariana Grande boasts more No. 1 beginnings, with five.

With his three latest entrances, Drake also swells his record total to 30 career debuts in the Hot 100’s top 10.

Most weeks at No. 1 among solo males: Drake extends his mark for the most total weeks at No. 1 on the Hot 100 among solo males to 51. Usher ranks second with 47.

Here’s an updated leaderboard among all acts:

84, Mariah Carey
60, Rihanna
59, The Beatles
51, Drake
50, Boyz II Men

Drake ups record to 45 top 10s: Drake pads his record total to 45 Hot 100 top 10s, thanks to “What’s Next,” “Wants and Needs” and “Lemon Pepper Freestyle.” Madonna ranks second with 38 top 10s, followed by The Beatles with 34.

Drake further extends his records to 119 top 40 Hot 100 hits and 231 entries overall.

Lil Baby, Ross reach top 10: With “Wants and Needs,” Lil Baby adds his sixth Hot 100 top 10.

Thanks to “Lemon Pepper Freestyle,” Rick Ross lands his second Hot 100 top 10, and highest placement, following his fellow featured turn on Drake’s “Money in the Grave” (No. 7, 2019). Ross earns his 50th total Hot 100 entry, dating to his first in 2006.

Drake extends R&B/hip-hop No. 1 record: “What’s Next” concurrently launches at No. 1 on on the multi-metric Hot R&B/Hip-Hop Songs chart, where Drake achieves his record-extending 22nd leader. Aretha Franklin and Stevie Wonder share the second-most No. 1s in the chart’s history (20 each).

The track likewise debuts atop the multi-metric Hot Rap Songs chart, where it’s also Drake’s record-furthering 22nd No. 1.

Rounding out the record run of four simultaneous Hot 100 debuts, Silk Sonic’s “Leave the Door Open” starts at No. 4. The song by the duo of Bruno Mars and Anderson .Paak begins with 23.5 million airplay audience impressions, 23.2 million streams and 27,000 sold, as it debuts at No. 2 on Digital Song Sales, No. 4 on Streaming Songs and No. 31 on Radio Songs.

The collab, billed on the Hot 100 as by Silk Sonic (Bruno Mars & Anderson .Paak), contributes to the chart histories of both artists, becoming Mars’ 17th top 10 and Anderson .Paak’s first (after he charted one prior entry, reaching No. 89 in February 2020 as featured on Eminem’s “Lock It Up”).

“Door” debuts at No. 1 on the multi-metric Hot R&B Songs chart, where it’s Mars’ third leader and Anderson .Paak’s first.

Olivia Rodrigo’s “Drivers License” falls to No. 5 after spending its first eight weeks on the Hot 100 at No. 1. Still, it rises 2-1 on Radio Songs (74.3 million, up 1%). It dips 4-9 on Streaming Songs (17.3 million, down 12%) and 5-11 on Digital Song Sales (7,000, down 23%).

“License,” Rodrigo’s first Radio Songs entry, hits No. 1 in its eighth week on the chart. It completes the quickest coronation in nearly two years, since Jonas Brothers’ “Sucker” took over on top in its seventh week in April 2019. Among acts’ first Radio Songs entries (in lead roles), “License” wraps the fastest run to No. 1 since Meghan Trainor’s “All About That Bass” (seven weeks, 2014).

Cardi B’s “Up” drops to No. 6 from its No. 2 Hot 100 high, as it wins the chart’s top Airplay Gainer award (32.4 million, up 17%), and The Weeknd’s “Save Your Tears” slips 6-7, after reaching No. 4, and his “Blinding Lights” falls 3-8, after spending four weeks at No. 1 last April-May. “Lights” adds a record-extending 53rd week in the top 10, a week after becoming the first song in the chart’s history to total a year in the region.

Ariana Grande’s “34+35” slides 4-9 on the Hot 100, after it reached No. 2, and 24kGoldn’s “Mood,” featuring Iann Dior, backtracks 7-10, after eight nonconsecutive weeks at No. 1 in October through mid-January. The latter leads the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a 28th week each.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated March 20), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (March 16).

Source: billboard.com