The song takes its fifth distinct turn at the top of the chart, having first led in April.

Harry Styles‘ “As It Was” returns to the top of the Billboard Hot 100 songs chart, rebounding from No. 2 for an 11th total week at No. 1. It claims the longest stay at the summit since Roddy Ricch’s “The Box” also ran up 11 weeks at No. 1 in January-March 2020. No song has led longer since Lil Nas X’s “Old Town Road,” featuring Billy Ray Cyrus, ruled for a record 19 weeks in April-August 2019.

Meanwhile, “As It Was” logs its unprecedented fifth distinct run at No. 1 on the Hot 100, after it first reigned upon its debut in April. It has since yo-yoed among the top three spots and last led, until the latest list, in July.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Sept. 3, 2022) will update on Billboard.com tomorrow (Aug. 30). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“As It Was,” released on Erskine/Columbia Records, tallied 71.3 million radio airplay audience impressions (down 1%), 15.2 million streams (up 2%) and 4,000 downloads sold (up 1%) in the Aug. 19-25 tracking week, according to Luminate.

The track holds at No. 2 after four weeks atop the Radio Songs chart, beginning in May; rises 7-6 on Streaming Songs, after two weeks on top starting in its debut week in April; and drops 15-22 on Digital Song Sales, following a week in the lead in May.

Meanwhile, “As It Was” makes history as the first song to claim five distinct stays at No. 1 on the Hot 100. Here’s a recap of the titles to top the tally dating to the song’s debut. (In every week that it wasn’t No. 1 in the weeks noted below, the track ranked at No. 2, except for on the Aug. 13 chart, when it placed at No. 3.)

April 16, “As It Was,” Harry Styles
April 23, “First Class,” Jack Harlow
April 30, “As It Was”
May 7, “As It Was”
May 14, “Wait for U,” Future feat. Drake & Tems
May 21, “First Class”
May 28, “First Class”
June 4, “As It Was”
June 11, “As It Was”
June 18, “As It Was”
June 25, “As It Was”
July 2, “Jimmy Cooks,” Drake feat. 21 Savage
July 9, “As It Was”
July 16, “As It Was”
July 23, “As It Was”
July 30, “About Damn Time,” Lizzo
Aug. 6, “About Damn Time”
Aug. 13, “Break My Soul,” Beyoncé
Aug. 20, “Break My Soul”
Aug. 27, “Super Freaky Girl,” Nicki Minaj
Sept. 3, “As It Was”

With “As It Was” having now made five distinct runs atop the Hot 100, beginning on, as noted above, the charts dated April 16, April 30, June 4, July 9 and now Sept. 3, it surpasses three songs that each logged as many as four separate No. 1 stints: Mariah Carey’s “All I Want for Christmas Is You” (from December 2019 through this January); 24kGoldn’s “Mood,” featuring Iann Dior (2020-21); and Drake’s “Nice for What” (2018).

Additionally, “As It Was,” the lead single from Styles’ third album, Harry’s House, has ranked atop the Hot 100 for 11 weeks over a span of 21 weeks, from its April 16 debut through the newest, Sept. 3-dated chart. That’s the third-longest span for a song topping the chart, over the survey’s 64-year history – and the most for a song in a single release cycle. Carey’s “Christmas” holds the record for the longest stretch from a song’s first to its most recent week at No. 1: two years and three weeks (Dec. 21, 2019-Jan. 8, 2022), having passed Chubby Checker’s “The Twist,” which led in two distinct runs spanning a year and four months (Sept. 19, 1960-Jan. 20, 1962). “As It Was” leapfrogs Lil Nas X’s “Old Town Road,” which logged its unmatched 19-week command all without interruption (April 13-Aug. 17, 2019).

Plus, “As It Was” notches a 13th week atop the Songs of the Summer chart, as it has led the seasonal survey, which tracks the biggest hits between Memorial Day and Labor Day, each week this summer. (One more week remains in this year’s tracking period, with the top hits of all of summer 2022 scheduled to be revealed next week, as reflected on the chart dated Sept. 10.)

Lizzo’s “About Damn Time” rebounds 3-2 on the Hot 100 after two weeks at No. 1. It adds an eighth week atop Radio Songs (74.3 million, down 8%), as well as a 13th week at No. 1 on Hot R&B Songs and a fifth frame atop Hot R&B/Hip-Hop Songs, with both charts using the same multi-metric methodology as the Hot 100.

Steve Lacy’s first Hot 100 top 10, “Bad Habit,” jumps from No. 6 to a new No. 3 high, as it returns for a second week at No. 1 on Streaming Songs (20.8 million, down 1%). The track also becomes his first No. 1 on the multi-metric Hot Rock & Alternative Songs, Hot Rock Songs and Hot Alternative Songs charts. (It additionally ascends to No. 2 on both Hot R&B/Hip-Hop Songs and Hot R&B Songs.)

Kate Bush’s “Running Up That Hill (A Deal With God)” climbs 5-4 on the Hot 100 after reaching No. 3; Beyoncé’s “Break My Soul” slips 4-5 after two weeks atop the Hot 100, as it leads the multi-metric Hot Dance/Electronic Songs chart for a ninth week; and Nicky Youre and dazy’s “Sunroof” rolls 7-6 for a new Hot 100 best.

Nicki Minaj’s “Super Freaky Girl” falls to No. 7 on the Hot 100 a week after it launched at No. 1. While down 14% to 18.1 million streams and 83% to 15,000 sold in its second week of availability, the track sports a 105% surge to 9.2 million in radio audience. It also tops Digital Song Sales and the multi-metric Hot Rap Songs charts for a second week each.

The rest of the Hot 100’s top 10 remains in place from a week earlier, with Future’s “Wait for U,” featuring Drake and Tems, at No. 8, following a week at No. 1 beginning in its debut week in May; Bad Bunny and Chencho Corleone’s “Me Porto Bonito” at No. 9, after hitting No. 6, as it rules the multi-metric Hot Latin Songs chart for a 15th week; and Post Malone’s “I Like You (A Happier Song),” featuring Doja Cat, at No. 10, after reaching No. 9.

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

Source: billboard.com

Plus: Demi Lovato, Madonna & Five Finger Death Punch debut in top 10.

Bad Bunny’s Un Verano Sin Ti returns to No. 1 on the Billboard 200 albums chart (dated Sept. 3) for a ninth nonconsecutive week on top, tying the Encanto soundtrack for the most weeks atop the chart in 2022. Un Verano Sin Ti climbs 2-1 on the latest list with 105,000 equivalent album units earned in the U.S. in the week ending Aug. 25 (down 3%), according to Luminate.

Also in the top 10 of the new Billboard 200, Demi Lovato captures their eighth consecutive top 10 effort (their entirely of charting releases) with the arrival of Holy Fvck; Madonna becomes the first woman with a top 10 album in each of the last five decades as Finally Enough Love debuts; and Five Finger Death Punch collects its eighth top 10 effort with the bow of AfterLife.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Sept. 3, 2022-dated chart will be posted in full on Billboard‘s website on Tuesday (Aug. 30). For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Un Verano Sin Ti’s 105,000 equivalent album units earned, SEA units comprise 102,000 (equaling 143.72 million on-demand official streams of the set’s tracks), album sales and TEA units comprise the remaining sum.

Un Verano Sin Ti ties the Encanto soundtrack for the most weeks at No. 1 in 2022. The last album with more weeks at No. 1 is Morgan Wallen’s Dangerous: The Double Album, which logged 10 weeks, all consecutive, atop the list in early 2021 (Jan. 23-March 27, 2021-dated charts).

Un Verano Sin Ti debuted at No. 1 on the May 21, 2022-dated chart, then stepped away from the top slot for three weeks. It returned to No. 1 on June 18, and then moved aside for two more weeks, returning to No. 1 for five straight weeks from the July 9 through Aug. 6-dated charts. It then fell to No. 2 on Aug. 13, returned to No. 1 on the Aug. 20 chart, fell back to No. 2 on the Aug. 27 list, and now climbs back to No. 1 on the new ranking.

Un Verano Sin Ti is the first album with five separate visits to No. 1 since Adele’s 21 had 10 distinct stays at No. 1 in 2011-12, for a total of 24 weeks atop the list. It debuted at No. 1 on the  March 12, 2011-dated list and notched its final week atop the chart on June 23, 2012.

Plus, Un Verano Sin Ti has yet to depart the top two rungs of the chart for its entire 16-week run on the list thus far. The last album to start off as strong was Drake’s Views, which spent its first 17 weeks in the top two (May 21-Sept. 10, 2016-dated charts).

Rod Wave’s Beautiful Mind falls to No. 2 in its second week with 57,000 equivalent album units earned (down 51%). Beyoncé’s former No. 1 Renaissance is a non-mover at No. 3 with 52,000 units (down 18%).

Morgan Wallen’s chart-topping Dangerous: The Double Album climbs 6-4 with 49,000 equivalent album units earned (up less than 1%). Dangerous: The Double Album has now accumulated 84 nonconsecutive weeks in the top 10 on the Billboard 200. Since the chart began publishing on a regular, weekly basis in 1956, Dangerous ties Adele’s 21 and Bruce Springsteen’s Born in the U.S.A. for the second-most weeks in the top 10 among albums by artists with 84 weeks each. Peter, Paul and Mary’s self-titled album has the most weeks in the top 10 among singular acts, with 85 nonconsecutive weeks in 1962-64. However, there are seven albums that have more weeks in the top 10 than Peter, Paul and Mary — and all are multi-artist soundtracks and cast recordings, led by the all-time top 10 record holder, the original cast recording of My Fair Lady, with 173 weeks in the top 10 between 1956-60. See list, below.

Albums With Most Weeks in Top 10 on Billboard 200 Chart (March 24, 1956-onwards)
Weeks in Top 10, Artist, Title, Year First Reached Top 10
173, Original Cast, My Fair Lady, 1956
109, Soundtrack, The Sound of Music, 1965
106, Soundtrack, West Side Story, 1962
105, Original Cast, The Sound of Music, 1960
90, Soundtrack, South Pacific, 1958
87, Original Cast, Camelot, 1961
87, Soundtrack, Oklahoma!, 1956
85, Peter, Paul and Mary, Peter Paul and Mary, 1962
84, Morgan Wallen, Dangerous: The Double Album, 2021
84, Adele, 21, 2011
84, Bruce Springsteen, Born in the U.S.A., 1984
(through the Sept. 3, 2022-dated chart.)

Harry Styles’ former No. 1 Harry’s House rises 7-5 with 45,000 equivalent album units earned (up 4%), while YoungBoy Never Broke Again’s The Last Slimeto falls 5-6 with 37,000 units (down 25%).

Demi Lovato logs the highest debut of the week on the Billboard 200, as Holy Fvck starts at No. 7 with 33,000 equivalent album units earned. Of that sum, album sales comprise 20,000; SEA units comprise 12,000 (equaling 15.62 million on-demand official streams of the set’s tracks); and TEA units comprise the remaining sum. Holy Fvck is Lovato’s eighth consecutive top 10 album on the Billboard 200 — the entirety of their charting efforts.

Madonna’s remix compilation Finally Enough Love bows at No. 8 on the Billboard 200 with 30,000 equivalent album units earned. Of that sum, album sales comprise 28,000, SEA units comprise nearly 2,000 (equaling 2 million on-demand official streams of the set’s tracks) and TEA units comprise the remaining sum. The retrospective was available in either a 16-track standard album or an expanded 50-track deluxe set.

With the album’s debut, Madonna becomes the first woman with a newly-charting top 10 title on the Billboard 200 albums chart in the 1980s, ’90s, 2000s, ’10s and now the ’20s.

Finally Enough Love largely consists of previously released dance remixes, as the set celebrates Madonna’s 50 No. 1s on Billboard’s Dance Club Songs chart. She remains the first and only act with at least 50 No. 1s on any single Billboard chart. Finally Enough Love is the first remix album to reach the top 10 on the Billboard 200 since 2014, when Beyoncé’s six-track More Only EP debuted and peaked at No. 8 on the Dec. 13, 2014 chart. The last remix album to chart higher was Justin Bieber’s Never Say Never: The Remixes which debuted at No. 1 on the March 5, 2011-dated chart. And, Finally Enough Love is the highest-charting electronic/dance remix album in more than a decade, since Lady Gaga’s The Remix debuted and peaked at No. 6 on the Aug. 21, 2010 chart.

Megan Thee Stallion’s Traumazine falls 4-9 in its second week on the Billboard 200 (29,000 equivalent album units earned; down 53%).

Rock band Five Finger Death Punch collects its eighth top 10 album on the Billboard 200, as AfterLife debuts at No. 10 with nearly 29,000 equivalent album units earned. Of that sum, album sales comprise 22,000, SEA units comprise 6,000 (equaling 8.06 million on-demand official streams of the set’s tracks) and TEA units comprise the remaining sum.

Source: billboard.com

The track is Minaj’s first Hot 100 No. 1 as an unaccompanied artist and her third overall.

Nicki Minaj‘s “Super Freaky Girl” blasts onto the Billboard Hot 100 at No. 1. Minaj earns her first Hot 100 No. 1 as an unaccompanied artist and her third overall, following “Trollz,” with 6ix9ine, and her featured turn on Doja Cat’s “Say So,” both in 2020.

Meanwhile, “Super Freaky Girl” expands upon the chart legacy of Rick James’ No. 16-peaking 1981 Hot 100 hit “Super Freak,” which it samples. Among other reworkings of James’ classic, M.C. Hammer’s “U Can’t Touch This” reached No. 8 in 1990.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Aug. 27, 2022) will update on Billboard.com Tuesday (Aug. 23). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“Super Freaky Girl,” released on Young Money/Cash Money/Republic Records, tallied 21.1 million streams, 4.6 million radio airplay audience impressions and 89,000 downloads sold in its first week (Aug. 12-18), according to Luminate, following its Aug. 12 arrival.

The track bows as the 1,141st No. 1 in the Hot 100’s 64-year history. It’s the 63rd to enter on top, and the first by a woman in a lead role this year. Notably, it’s the first No. 1 debut for a hip-hop song by a solo female and no accompanying acts since Lauryn Hill’s “Doo Wop (That Thing)” in 1998.

Minaj’s First Unaccompanied Hot 100 No. 1: Minaj earns her first Hot 100 No. 1 as an unaccompanied artist and her third overall. She previously reigned with her 6ix9ine collab “Trollz,” which bounded in at No. 1 on the June 27, 2020, chart, and her featured turn on Doja Cat’s “Say So,” which topped the May 16, 2020, tally.

Minaj’s 21st Hot 100 Top 10: “Super Freaky Girl” is additionally Minaj’s 21st Hot 100 top 10, and her second this year, after “Do We Have a Problem?,” with Lil Baby, debuted and peaked at No. 2 on the Feb. 19-dated chart.

Minaj posts her 124th overall Hot 100 entry, dating to her first in February 2010. She boasts the seventh-most appearances in the chart’s archives.

No. 1 in Streams, Sales: “Super Freaky Girl” launches at No. 1 on both the Streaming Songs and Digital Song Sales charts. Minaj adds her second Streaming Songs No. 1, after “Anaconda” led for three weeks in September 2014. She earns her 12th Digital Song Sales leader, the most among female rap artists, and her fourth of 2022, following No. 1 entrances for “Do We Have a Problem?” (Feb. 19); “Blick Blick!,” with Coi Leray (April 2); and “We Go Up,” with Fivio Foreign (April 9).

The song was available for purchase via eight options since its release: explicit and clean versions of its standard mix (released Aug. 12); explicit and clean versions of its “Roman Remix” (released at midnight ET Aug. 18); and explicit and clean a cappella versions of both its standard version and “Roman Remix” (released at 10:30 p.m. ET Aug. 18). All versions were discounted to 69 cents Aug. 18.

Lizzo, Beyoncé & Nicki: “Super Freaky Girl” follows Beyoncé’s “Break My Soul,” which led the Aug. 13 and 20-dated Hot 100 charts, and Lizzo’s “About Damn Time,” which topped the July 30 and Aug. 6 tallies. The tracks combine for the first streak of three songs each hitting No. 1 for the first time by solo women and no accompanying artists since Taylor Swift’s “Shake It Off,” Meghan Trainor’s “All About That Bass” and Swift’s “Blank Space” in September 2014-January 2015. (Before that, Katy Perry’s “Roar,” Miley Cyrus’ “Wrecking Ball” and Lorde’s “Royals” reigned consecutively in September-December 2013.)

“Freaky” First on R&B/Hip-Hop & Rap Charts: Concurrently, “Super Freaky Girl” starts atop the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which use the same multi-metric methodology as the Hot 100. Minaj achieves her eighth No. 1 on each genre ranking, and second this year, after “Do We Have a Problem?”

Rick James’ “Super Freak,” which “Super Freaky Girl” samples, hit No. 3 on Hot R&B/Hip-Hop Songs in September 1981, while M.C. Hammer’s “U Can’t Touch This,” which also samples James’ original, spent a week at No. 1 in June 1990. On Hot Rap Songs, which originated in 1989, “Touch” reached No. 2. (Among other notable reimaginations of “Super Freak,” Jay-Z’s “Kingdom Come” hit No. 52 on Hot R&B/Hip-Hop Songs and No. 98 on the Hot 100 in 2006 and Gucci Mane’s “Freaky Gurl” rose to Nos. 19 and 62 on the respective charts in 2007.)

Harry Styles’ former 10-week Hot 100 No. 1 “As It Was” holds at No. 2. It also logs a 12th week atop the Songs of the Summer chart, as it has led the seasonal survey, which tracks the biggest hits between Memorial Day and Labor Day, each week this summer.

Lizzo’s “About Damn Time” keeps at No. 3 after two weeks atop the Hot 100. It notches a seventh week at No. 1 on Radio Songs (82.4 million, down 7%) and rebounds for a 12th frame atop the multi-metric Hot R&B Songs chart.

Beyoncé’s “Break My Soul” falls to No. 4 on the Hot 100, after claiming its second week at No. 1 a week earlier. It leads the multi-metric Hot Dance/Electronic Songs chart for an eighth week.

Kate Bush’s “Running Up That Hill (A Deal With God)” dips 4-5 on the Hot 100 after reaching No. 3. Its revival sparked by its sync in the fourth season of Netflix’s Stranger Things, the song, originally released in 1985 (when it reached No. 30), tops the multi-metric Hot Rock & Alternative Songs, Hot Rock Songs and Hot Alternative Songs charts for an 11th week each.

Steve Lacy’s first Hot 100 top 10, “Bad Habit,” holds at its No. 6 high and Nicky Youre and dazy’s “Sunroof” rides 8-7 for a new best, as each act’s first top 10 scores top Airplay Gainer honors for a third week (65.6 million, up 9%), as well as the chart’s Streaming Gainer award (10 million, up 15%). “Sunroof” also becomes Nicky Youre and dazy’s first leader each on both the Pop Airplay and Adult Pop Airplay charts.

Future’s “Wait for U,” featuring Drake and Tems, descends 7-8 on the Hot 100, following a week at No. 1 beginning in its debut week in May; Bad Bunny and Chencho Corleone’s “Me Porto Bonito” rebounds 11-9, after reaching No. 6, as it rules the multi-metric Hot Latin Songs chart for a 14th week; and, rounding out the Hot 100’s top 10, Post Malone’s “I Like You (A Happier Song),” featuring Doja Cat, returns to the tier, rising 13-10, after hitting No. 9.

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

Source: billboard.com

Plus: Megan Thee Stallion’s scores her fifth consecutive top 10 with “Traumazine.”

Rod Wave’s Beautiful Mind bows atop the Billboard 200 chart (dated Aug. 27), scoring the rapper his second No. 1 album. The set enters with 115,000 equivalent album units earned in the U.S. in the week ending Aug. 18, according to Luminate. He previously topped the list with his last release, SoulFly, which opened at No. 1 on the chart dated April 10, 2021.

Also in the new top 10 of the Billboard 200, Megan Thee Stallion scores her fifth top 10, all earned consecutively, as Traumazine starts at No. 4.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Aug. 27, 2022-dated chart will be posted in full on Billboard‘s website on Tuesday (Aug. 23). For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Beautiful Mind’s 115,000 equivalent album units earned, SEA units comprise 113,000 (equaling 157.73 million on-demand official streams of the set’s 24 tracks), album sales comprise 2,000 and TEA units comprise a negligible sum.

All told, Beautiful Mind is Wave’s fourth straight top 10 effort on the Billboard 200 — the entirety of his charting releases. Aside from the chart-topping SoulFly, for a week in 2021, he also logged a top 10 each in 2020 (Pray 4 Love, No. 2) and 2019 (Ghetto Gospel, No. 10).

Beautiful Mind was led by the single “Cold December,” which premiered in January and marked the artist’s sixth top 40-charting hit on the Billboard Hot 100 in February (peaking at No. 38). At the top of May, the album was announced for a June 3 release, but was eventually pushed back until Aug. 12.

Bad Bunny’s Un Verano Sin Ti falls 1-2 on the latest Billboard 200, after eight nonconsecutive weeks at No. 1, with 108,000 equivalent album units earned (down less than 1%). Beyoncé’s chart-topping Renaissance is a non-mover at No. 3 with 64,000 units (down 29%).

Megan Thee Stallion notches her fifth top 10 album on the Billboard 200, all earned in a row, as Traumazine debuts at No. 4 with 63,000 equivalent album units earned. Of that sum, SEA units comprise 54,000 (equaling 85.72 million on-demand official streams of the set’s 18 tracks), album sales comprise 8,000 and TEA units comprise 1,000.

Traumazine is the rapper’s sixth charting effort on the Billboard 200. She first dented in the tally in 2019 with Tina Snow (peaking at No. 166) and has followed it with five straight top 10 efforts: Fever (No. 10, 2019), Sugar (No. 7, 2020), Good News (No. 2, 2020), Something for Thee Hotties: From Thee Archives (No. 5, 2021) and Traumazine (No. 4).

The Traumazine album was announced just one day before its release on Aug. 12. The set was preceded by a trio of Hot 100-charting hits: “Sweetest Pie,” with Dua Lipa (No. 15 peak), “Plan B” (No. 29) and “Pressurelicious,” featuring Future (No. 55). The set also boasts collaborations with Key Glock, Latto, Pooh Shiesty, Rico Nasty, Jhené Aiko, Lucky Daye, Sauce Walka, Big Pokey and Lil’ Keke.

YoungBoy Never Broke Again’s The Last Slimeto slips 2-5 in its second week with 50,000 equivalent album units earned (down 54%), Morgan Wallen’s former leader Dangerous: The Double Album dips 4-6 with 48,000 (down less than 1%) and Harry Styles’ chart-topping Harry’s House falls 5-7 with 43,000 units (down 1%).

The Weeknd’s compilation album The Highlights returns to the top 10, rising 36-8 with just over 28,000 equivalent album units earned (up 76%). The set contains such hits as “Blinding Lights,” “Save Your Tears” (both from The Weeknd’s studio album After Hours). On the new chart, the TEA and SEA units for those songs contribute to The Highlights, as a song’s activity is assigned to the artist’s album with the most traditional album sales in a week. (The Highlights sold 1,000 copies in the latest tracking week, while After Hours sold under 1,000.) A week ago, the TEA and SEA for the songs were directed to After Hours, as it outsold The Highlights that week.

Closing out the new top 10 are two former No. 1s: Future’s I Never Liked You, falling 7-9 with nearly 28,000 equivalent album units earned (down 4%) and Olivia Rodrigo’s Sour, which slides 9-10 with 25,000 units (down 1%).

Source: billboard.com

Plus, superstar collaborations by DJ Khaled, Drake & Lil Baby and benny blanco, BTS & Snoop Dogg launch at Nos. 5 and 10, respectively.

Beyoncé‘s “Break My Soul” banks a second week at No. 1 on the Billboard Hot 100 songs chart, a week after the song became her eighth leader on the list.

Concurrently, two team-ups by three stars each debut in the Hot 100’s top 10: DJ Khaled‘s “Staying Alive,” featuring Drake and Lil Baby, at No. 5, and benny blanco, BTS and Snoop Dogg‘s “Bad Decisions,” at No. 10. Among other feats, the former – which premieres atop the Streaming Songs chart and updates the Bee Gees’ 1970s disco classic – is Drake’s record-breaking 30th top five Hot 100 hit and his record-extending 59th top 10. The latter – which launches atop Digital Song Sales – grants Snoop Dogg the rare achievement of Hot 100 top 10s in each of the last four decades and a record-breaking top 10 span among rappers.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Aug. 20, 2022) will update on Billboard.com tomorrow (Aug. 16). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“Break My Soul,” released on Parkwood/Columbia Records, drew 65.2 million radio airplay audience impressions (up 7%) and 14.5 million streams (down 23%) and sold 36,000 downloads (up 174% – as the song wins the Hot 100’s top Sales Gainer award for a second week) in the Aug. 5-11 tracking week, according to Luminate.

The track pushes 5-2 on Digital Song Sales, which it led for a week in July, and 4-3 for a new high on Radio Songs, while falling from its No. 3 best to No. 7 on Streaming Songs.

Sparking the song’s sales gain, its “The Queens Remix” — which features Madonna and shouts out a host of influential Black female entertainers — dropped Aug. 5. (Madonna is not listed on “Soul” on the Hot 100, as the remix did not account for the majority of the song’s overall consumption Aug. 5-11.) In addition to its original version and “The Queens Remix,” “Soul” was available for purchase in six alternate forms during the tracking week: its Honey Dijon, Terry Hunter and will.i.am remixes; its Nita Aviance club mix; and a cappella and instrumental versions.

Concurrently, “Soul” tops the Hot Dance/Electronic Songs chart for a seventh week and the Hot R&B/Hip-Hop Songs and Hot R&B Songs charts for a second week each, with all three tallies using the same multi-metric methodology as the Hot 100.

Meanwhile, “Soul” parent album Renaissance ranks at No. 3 on the Billboard 200 chart (89,000 equivalent album units, down 73%), a week after it soared in as Beyoncé’s seventh No. 1 set.

Harry Styles’ former 10-week Hot 100 No. 1 “As It Was” rebounds 3-2. It also adds an 11th week atop the Songs of the Summer chart, as it has led the seasonal survey, which tracks the biggest hits between Memorial Day and Labor Day, each week this summer.

Lizzo’s “About Damn Time” dips 2-3 after two weeks atop the Hot 100 beginning on the July 30-dated chart. It claims a sixth week at No. 1 on Radio Songs (88.5 million, down 4%).

Kate Bush’s “Running Up That Hill (A Deal With God)” keeps at No. 4 after reaching No. 3 on the Hot 100. Its revival spurred by its sync in the fourth season of Netflix’s Stranger Things, the song, originally released in 1985 (when it reached No. 30), leads the multi-metric Hot Rock & Alternative Songs, Hot Rock Songs and Hot Alternative Songs charts for a 10th week each.

DJ Khaled’s “Staying Alive,” featuring Drake and Lil Baby, bounds onto the Hot 100 at No. 5, with 23.5 million streams, 10.1 million in radio airplay audience and 5,000 sold in its first week, following its Aug. 5 release. The track opens atop the Streaming Songs chart – marking Drake’s record-extending 14th No. 1, Lil Baby’s fourth and DJ Khaled’s second – and at No. 6 on Digital Song Sales.

On the Hot 100, Drake achieves his record-extending 59th top 10, Lil Baby logs his 10th and DJ Khaled earns his seventh. (The first top 10 among the three together, “Staying Alive” is the fourth shared top 10 between DJ Khaled and Drake, as well as the fourth between Drake and Lil Baby.)

Most Billboard Hot 100 Top 10s:
59, Drake
38, Madonna
34, The Beatles
31, Rihanna
30, Michael Jackson
30, Taylor Swift
28, Mariah Carey
28, Elton John
28, Stevie Wonder
27, Janet Jackson

Plus, “Staying Alive” marks Drake’s landmark 30th top five Hot 100 hit – as he breaks out of a tie with The Beatles for the most in the chart’s 64-year history.

Most Top Five Billboard Hot 100 Hits:
30, Drake
29, The Beatles
28, Madonna
27, Mariah Carey
24, Janet Jackson
23, Rihanna
21, Elvis Presley (with the start of his career predating the Hot 100’s inception)
20, Justin Bieber
20, Michael Jackson
20, Stevie Wonder

“Staying Alive” concurrently blasts in atop the multi-metric Hot Rap Songs chart, where it’s Drake’s record-padding 26th No. 1, DJ Khaled’s third and Lil Baby’s second.

Notably, the song interpolates the Bee Gees’ classic “Stayin’ Alive,” which topped the Hot 100 for four weeks in 1978 (while reworkings by N-Trance and Wyclef Jean featuring Refugee Allstars hit No. 62 in 1996 and No. 45 in 1997, respectively). All three Bee Gees – Barry, Maurice and Robin Gibb – wrote the original and Barry and the late Robin receive their first writing credits on a Hot 100 top 10 since Destiny’s Child’s version of “Emotion” – originally a No. 3 hit in 1978 for Samantha Sang – reached No. 10 in December 2001. (The Bee Gees’ original “Stayin’ Alive” was released from the Saturday Night Fever soundtrack, which ruled the Billboard 200 for 24 weeks in 1978; Samantha Sang’s “Emotion” was recorded for the film but ultimately not included.)

The late Maurice Gibb, meanwhile, draws his first Hot 100 top 10 credit as a writer since the Bee Gees’ last of 15 top 10s as a recording act, “One,” which all members of the trio wrote, hit No. 7 in September 1989.

Steve Lacy’s first Hot 100 top 10, “Bad Habit,” rises 7-6 for a new high; Future’s “Wait for U,” featuring Drake and Tems, drops 5-7, following a week at No. 1 beginning in its debut frame in May; Nicky Youre and dazy’s “Sunroof” cruises 9-8 for a new best, as each act’s first top 10 scores top Airplay Gainer honors for a second week (62.3 million, up 13%); and Jack Harlow’s “First Class” descends 6-9, after three weeks at No. 1 starting upon its debut in April.

Rounding out the Hot 100’s top 10, benny blanco, BTS and Snoop Dogg’s “Bad Decisions” roars in at No. 10, with 10.1 million streams, 3.1 million in radio reach and 66,000 sold (45,000 digital downloads; 16,000 sold on CD; and 5,000 sold on cassette) in its first week, following its Aug. 5 arrival. The track begins atop the Digital Song Sales chart – marking BTS’ 11th No. 1, the most among duos or groups; Snoop Dogg’s fifth; and benny blanco’s first – and No. 28 on Streaming Songs.

The track starts as Snoop Dogg’s 12th Hot 100 top 10, BTS’ 10th – as the group becomes the first South Korean act with at least 10 Hot 100 top 10s – and benny blanco’s second (after “Eastside,” with Halsey and Khalid; No. 9, 2019).

Meanwhile, Snoop Dogg has now notched Hot 100 top 10s in the 1990s (two), 2000s (six), ’10s (three) and ’20s (one). He joins Mariah Carey and Jay-Z in having ranked in the top 10 in each of the past four decades. (Carey reached the milestone thanks to the annual resurgence of her holiday chestnut “All I Want for Christmas Is You”; additionally, Beyoncé has appeared in the top 10 in each of the last four decades, although in the ’90s as a member of Destiny’s Child, followed by top 10s – and No. 1 ranks, like Carey – in the ’00s, ’10s and ’20s as a soloist.)

Snoop Dogg tallies his first Hot 100 top 10 as a lead artist in over 10 years, since his and Wiz Khalifa’s “Young, Wild & Free,” featuring Bruno Mars, hit No. 7 in March 2012. He first reached the region with his own “What’s My Name?” (No. 8, January 1994) and, until this week, had last ranked in the tier in August 2014 as featured on Jason Derulo’s “Wiggle,” which hit No. 5 that June.

Further, Snoop Dogg extends his span of Hot 100 top 10s to 28 years, seven months and three weeks (Dec. 25, 1993-Aug. 20, 2022) – now the longest among rappers in the chart’s history, surpassing Jay-Z’s (24 years, five months and three weeks; March 29, 1997-Sept. 18, 2021).

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

Source: billboard.com

Plus: YoungBoy Never Broke Again and Eminem debut in top 10.

Bad Bunny’s Un Verano Sin Ti bounces back to No. 1 on the Billboard 200 chart (dated Aug. 20) for an eighth nonconsecutive week on top, as the set rises from No. 2 with 108,800 equivalent album units earned (up 4%) in the U.S. in the week ending Aug. 11, according to Luminate.

Also debuting in the new top 10 on the Billboard 200: YoungBoy Never Broke Again’s The Last Slimeto and Eminem’s second greatest hits compilation, Curtain Call 2.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Aug. 20, 2022-dated chart will be posted in full on Billboard‘s website on Tuesday, Aug. 16. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Un Verano Sin Ti’s 108,800 equivalent album units earned, SEA units comprise 102,300 (down less than 1%; equaling 143.44 million on-demand official streams of the set’s tracks), album sales comprise 6,000 (up 435% following its wide CD release on Aug. 5) and TEA units comprise 500 (down 6%).

Un Verano Sin Ti has spent its first 14 weeks on the Billboard 200 chart lodged in the top two. The last album to start off as strong was Drake’s Views, which spent its first 17 weeks in the top two (May 21-Sept. 10, 2016-dated charts).

Un Verano Sin Ti debuted at No. 1 on the May 21, 2022-dated chart, then stepped away from the top slot for three weeks. It returned to No. 1 on June 18, and then moved aside for two more weeks, returning to No. 1 for five straight weeks from the July 9 through Aug. 6-dated charts. It then dipped from the top for a week (Aug. 13 chart), only to come back to No. 1 on the latest list.

Un Verano Sin Ti is the first album with four separate visits to No. 1 since Olivia Rodrigo’s Sour also had four distinct stays at No. 1 in 2021, for a total of five weeks atop the list (it debuted at No. 1 on June 5, 2021; then had another week at No. 1 on July 3; two more weeks on July 17-24; and then another week on Sept. 4, 2021).

At No. 2 on the new Billboard 200, YoungBoy Never Broke Again collects his 10th top 10-charting effort, as The Last Slimeto debuts with 108,400 equivalent album units earned. Of that sum, SEA units comprise 103,500 (equaling 161.92 million on-demand official streams of the album’s 30 tracks), album sales comprise 4,600 and TEA units comprise 300. The Last Slimeto was announced on April 5 and 11 of the album’s tracks had been available to stream in the weeks and months leading up to the album’s release on Aug. 5.

The prolific YoungBoy Never Broke Again has charted a total of 22 entries on the Billboard 200 – all in the last five years. (He first arrived on the Aug. 26, 2017-dated chart with AI YoungBoy.) Further, YoungBoy has earned three new top 10-charting albums in 2022 – the most of any act this year. The Last Slimeto follows his previous 2022 top 10s Better Than You (a collaborative set with DaBaby, No. 10, March 19 chart) and Colors (No. 2, Feb. 5 chart).

Beyoncé’s Renaissance falls 1-3 in its second week on the Billboard 200 with 89,000 equivalent album units earned (down 73%). Morgan Wallen’s former leader Dangerous: The Double Album is a non-mover at No. 4 with 49,000 (down 1%) and Harry Styles’ chart-topping Harry’s House is stationary at No. 5 with slightly more than 43,000 (down 5%).

Eminem’s second greatest hits compilation, Curtain Call 2, debuts at No. 6 on the Billboard 200 with 43,000 equivalent album units earned. Of that sum, SEA units comprise 25,000 (equaling 35.19 million on-demand official streams of the set’s tracks), album sales comprise 18,000 and TEA units comprise under 1,000. Eminem’s first hits set, Curtain Call: The Hits, spent two weeks at No. 1 following its release in late 2005. In total, Curtain Call 2 is Eminem’s 12th top 10 effort on the Billboard 200 – the entirety of his charting releases – dating back to the arrival of the No. 2-peaking The Slim Shady LP in 1999.

The standard edition of Curtain Call 2 contains 34 songs, spanning 2009-onwards, including three new tracks. Among the selections are nine top 10-charting hits on the Billboard Hot 100 songs chart, including four No. 1s (“Love the Way You Lie” and “The Monster,” both featuring Rihanna; “Not Afraid;” and “Crack a Bottle,” with Dr. Dre and 50 Cent).

Rounding out the new top 10 on the Billboard 200 are four former No. 1s: Future’s I Never Liked You (rising 9-7 with 29,000 equivalent album units; down 7%), Drake’s Honestly, Nevermind (10-8 with 26,000 units; down 9%), Olivia Rodrigo’s Sour (14-9 with 25,000 units; down 2%) and Lil Durk’s 7220 (13-10 with 24,000; down 7%).

Source: billboard.com

Plus, Steve Lacy and Nicky Youre & dazy all earn their first Hot 100 top 10s.

Beyoncé‘s “Break My Soul” bounds to No. 1, from No. 6, on the Billboard Hot 100 songs chart. The song marks the superstar’s eighth solo leader on the list. The track, which debuted at No. 15 six weeks earlier, is from her new LP Renaissance, which launches as her seventh No. 1 on the Billboard 200 albums chart.

Concurrently, two songs ascend to the Hot 100’s top 10: Steve Lacy‘s “Bad Habit” (11-7), which also rises to the top of the Streaming Songs chart, and Nicky Youre and dazy’s “Sunroof” (12-9), marking all three acts’ first trips to the Hot 100’s top tier.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Aug. 13, 2022) will update on Billboard.com tomorrow (Aug. 9). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“Break My Soul,” released on Parkwood/Columbia Records, becomes the 1,140th No. 1 in the Hot 100’s 64-year history.

Airplay, sales & streams: “Soul” drew 61.7 million radio airplay audience impressions (up 8%) and 18.9 million streams (up 114%) and sold 13,000 downloads (up 113%) in the July 29-Aug. 4 tracking week, according to Luminate, as the song claims dual top Streaming and Sales Gainer honors on the Hot 100.

The track vaults 25-3 on Streaming Songs and holds at its No. 4 high on the Radio Songs chart.

In addition to its original version on Renaissance, “Soul” was available in six alternate forms during the tracking week: its Honey Dijon, Terry Hunter and will.i.am remixes; its Nita Aviance club mix; and a cappella and instrumental versions. (Its “The Queens Remix,” with Madonna and which shouts out a host of influential Black female entertainers, arrived Aug. 5, the first day of the tracking week for next week’s Billboard charts, dated Aug. 20.)

Beyoncé’s eighth solo Hot 100 No. 1: Beyoncé lands her eighth Hot 100 No. 1 as a soloist. Here’s a recap:

“Crazy in Love,” feat. Jay-Z, eight weeks at No. 1, beginning July 12, 2003
“Baby Boy,” feat. Sean Paul, nine, Oct. 4, 2003
“Check on It,” feat. Slim Thug, five, Feb. 4, 2006
“Irreplaceable,” 10, Dec. 16, 2006
“Single Ladies (Put a Ring on It),” four, Dec. 13, 2008
“Perfect” (Ed Sheeran duet with Beyoncé), five (on which she was credited; the song led for six weeks total), Dec. 23, 2017
“Savage” (Megan Thee Stallion feat. Beyoncé), one, May 30, 2020
“Break My Soul,” one week to-date, Aug. 13, 2022

Additionally, Destiny’s Child, with Beyoncé as a member, notched four Hot 100 No. 1s: “Bills, Bills, Bills” (for one week in 1999); “Say My Name” (three weeks, 2000); “Independent Women (Part 1)” (11, 2000-01); and “Bootylicious” (two, 2001).

Beyoncé’s 19-year span of solo Hot 100 No. 1s: From the first week at No. 1 on the Hot 100 for “Crazy in Love” through, now, the coronation of “Soul,” Beyoncé spans 19 years and one month of appearing atop the chart – the eighth-best mark in the ranking’s archives.

Longest Spans of Hot 100 No. 1s:
Mariah Carey – 31 years, five months, one week (Aug. 4, 1990-Jan. 8, 2022)
Cher – 28 years, five months (Nov. 6, 1971-April 3, 1999)
Beach Boys – 24 years, four months (July 4, 1964-Nov. 5, 1988)
Elton John – 24 years, 11 months, one week (Feb. 3, 1973-Jan. 10, 1998)
Michael Jackson – 22 years, 10 months, three weeks (Oct. 14, 1972-Sept. 2, 1995)
Stevie Wonder – 22 years, six months (Aug. 10, 1963-Feb. 8, 1986)
Rod Stewart – 22 years, four months (Oct. 2, 1971-Feb. 5, 1994)
Beyoncé – 19 years, one month (July 12, 2003-Aug. 13, 2022)
George Harrison – 17 years, three weeks (Dec. 26, 1970-Jan. 16, 1988)
Madonna – 15 years, nine months, one week (Dec. 22, 1984-Oct. 7, 2000)

Notably, in looking at acts’ group and solo careers combined, Beyoncé’s span of appearing atop the Hot 100 stretches over 23 years and three weeks, from the first week at No. 1 for Destiny’s Child’s “Bills, Bills, Bills” (July 17, 1999) through this week’s takeover on top for “Soul.” Similarly among the acts above, Cher’s career span including Sonny & Cher and her solo No. 1s would encompass (a record) 33 years, seven months and two weeks (1965-99); Michael Jackson’s Jackson 5 and solo output would span 25 years, seven months and a week (1970-95); and George Harrison’s time with The Beatles and as soloist would amount to a No. 1 span of 23 years, 11 months and two weeks (1964-88).

Meanwhile (as first noted when Megan Thee Stallion’s “Savage,” featuring Beyoncé, hit No. 1), Beyoncé and Mariah Carey are the only acts to place atop the Hot 100 in four distinct decades – the 1990s, 2000s, ’10s & ’20s for both – thanks to the former’s runs at No. 1 with Destiny’s Child in the ’90s and solo in the ’00s-’20s, and Carey’s reigns in each decade, including in the ’10s and ’20s with “All I Want for Christmas Is You.”

Beyoncé’s wait between Hot 100 No. 1s in lead roles: With “Soul,” Beyoncé scores her first Hot 100 No. 1 in a lead role in 13 years and seven months, since “Single Ladies (Put a Ring on It)” in 2009. That gap marks the longest among acts with lead billing on both bookending leaders since Cher, whose “Believe” ascended to the top of the chart in March 1999, a record 10 days shy of 25 years since she’d last led with “Dark Lady” in March 1974.

Seventh-most weeks at No. 1: Beyoncé boasts the seventh-most weeks spent atop the Hot 100, as “Soul” ups her count to 43 in her solo career.

Most Weeks at No. 1 on Hot 100:
87, Mariah Carey
60, Rihanna
59, The Beatles
54, Drake
50, Boyz II Men
47, Usher
43, Beyoncé
37, Michael Jackson
34, Adele
34, Elton John
34, Bruno Mars

Further, Destiny’s Child spent 17 weeks at No. 1 among their four Hot 100 leaders, making for 60 weeks at the summit for Beyoncé if we were to combine her solo and the group’s songs. (Among the acts above, Paul McCartney [89 weeks total; 30 solo], both George Harrison and John Lennon [65; six] and Ringo Starr [61; two] would also sport higher sums of weeks at No. 1 mixing their solo leaders and those by The Beatles with them as members, while Michael Jackson’s total would extend to 47, thanks to 10 weeks at No. 1 for the Jackson 5.)

A No. 1 ‘Show’-ing: “Break” indirectly brings a house classic to No. 1 on the Hot 100, as it contains elements of Robin S.’s “Show Me Love,” co-written by Allen George and Fred McFarlane. The latter two talents receive songwriting credit on “Break” and rank atop the chart as writers for the first time. “Show Me Love” hit No. 5 in June 1993.

Beyoncé is among the eight credited writers and four billed producers on “Break.”

‘Break’-ing down ‘Soul’ music at No. 1: Beyoncé’s new Hot 100 No. 1 marks the latest with the words “break” or “soul” in a song title. Here’s a recap of each:

“Don’t Break the Heart That Loves You,” Connie Francis, 1962
“Breaking Up Is Hard To Do,” Neil Sedaka, 1962
“Don’t Go Breaking My Heart,” Elton John & Kiki Dee, 1976
“Un-Break My Heart,” Toni Braxton, 1996-97
“Heartbreaker,” Mariah Carey feat. Jay-Z, 1999
“Break Your Heart,” Taio Cruz feat. Ludacris, 2010
“Break My Soul,” Beyoncé, 2022

(Beyoncé joins husband Jay-Z for the distinction.)

“(You’re My) Soul and Inspiration,” The Righteous Brothers, 1966
“Crank That (Soulja Boy),” Soulja Boy Tell’em, 2007
“Break My Soul,” Beyoncé, 2022

(Beyoncé is, thus, the … sole … woman with a Hot 100 No. 1 with “soul” in its title, with all due … respect … to the Queen of Soul.)

No. 1 Hot 100, R&B/hip-hop, R&B & dance: As it reaches No. 1 on the Hot 100, “Soul” concurrently climbs to the top of the Hot R&B/Hip-Hop Songs and Hot R&B Songs charts, which use the same multi-metric methodology as the Hot 100. Beyoncé adds her 10th No. 1 on the former and her third on the latter (which began in October 2012). The track also tops the multi-metric Hot Dance/Electronic Songs chart for a sixth week. “Soul” makes history as the first song to lead all four lists (dating to start of the youngest survey among them, Hot Dance/Electronic Songs, in January 2013).

“Break” dethrones Lizzo’s “About Damn Time” atop the Hot 100, after the latter, at No. 2, led the last two weeks. Still, “Time” tallies a fifth week at No. 1 on Radio Songs (93.9 million, up 3%).

Harry Styles’ former 10-week Hot 100 No. 1 “As It Was” slips 2-3. It adds a 10th week atop the Songs of the Summer chart, as it has led the seasonal survey, which tracks the biggest hits between Memorial Day and Labor Day, each week this summer.

Kate Bush’s “Running Up That Hill (A Deal With God)” backtracks to No. 4 from its No. 3 Hot 100 high. Its revival sparked by its sync in the fourth season of Netflix’s Stranger Things, the song, originally released in 1985 (when it reached No. 30), tops the multi-metric Hot Rock & Alternative Songs, Hot Rock Songs and Hot Alternative Songs charts for a ninth week each.

Future’s “Wait for U,” featuring Drake and Tems, is stationary at No. 5 on the Hot 100, after a week at No. 1 beginning in its debut frame in May, as it rebounds for a second week atop the multi-metric Hot Rap Songs chart, and Jack Harlow’s “First Class” falls 4-6 on the Hot 100, following three weeks at No. 1 starting upon its debut in April.

Steve Lacy achieves his first Hot 100 top 10, as “Bad Habit” jumps 11-7, largely fueled by its coronation on Streaming Songs (2-1; 20 million, up 8%). It also drew 10 million in radio airplay audience (up 247%) and sold 800 downloads (up 26%) in the tracking week.

The song, which made Lacy a Hot 100 First-Timer when it debuted at No. 100 on the chart dated July 16, follows the Compton, Calif., native’s appearances as a recording artist on other Billboard charts, first as a member of The Internet and then via collaborations as a soloist alongside acts including Frank Ocean, Tyler, The Creator and Vampire Weekend. “Bad Habit” is from Lacy’s LP Gemini Rights, which bowed on multiple charts dated July 30, including at No. 1 on Top Rock & Alternative Albums, No. 3 on Top R&B/Hip-Hop Albums and No. 7 on the Billboard 200.

Bad Bunny and Chencho Corleone’s “Me Porto Bonito” repeats at No. 8 on the Hot 100, after reaching No. 6, and tops the multi-metric Hot Latin Songs chart for a 12th week.

Nicky Youre and dazy’s “Sunroof” rides 12-9 on the Hot 100, marking each act’s first top 10. It lifts 8-6 on Radio Songs (55.7 million, up 18%, as it wins the Hot 100’s top Airplay Gainer nod) and drew 8.6 million streams (up 6%) and sold 3,000 (up 21%) in the tracking week.

The team-up marks the first title to reach Billboard‘s charts for both artists, with Orange County, Calif., native Nicky Youre having received a DM from dazy on Instagram, spurring the song, which the former wrote and the latter produced.

Rounding out the Hot 100’s top 10, Harry Styles’ “Late Night Talking” dips 7-10, after it hit No. 4 upon its debut in June.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Aug. 13), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Aug. 9).

Source: billboard.com

Plus: ATEEZ, ENHYPEN, $uicideboy$ and Dance Gavin Dance debut in the top 10.

Beyoncé’s Renaissance blasts in at No. 1 on the Billboard 200 albums chart (dated Aug. 13) with 2022’s biggest week by a woman – and the second-largest week of the year overall – as the set launches atop the chart with 332,000 equivalent album units earned in the U.S. in the week ending Aug. 4, according to Luminate.

Notably, Renaissance – Beyoncé’s seventh solo No. 1 album – is the first album released by a woman in 2022 to top the Billboard 200. The last woman at No. 1 was Adele with 30, which ruled for its first six weeks on the list (charts dated Dec. 4, 2021-Jan. 8, 2022). Notably, both 30 and Renaissance were released via Columbia Records (with Renaissance issued through Parkwood/Columbia).

Renaissance is Beyoncé’s seventh solo studio album, and first since the chart-topping Lemonade in 2016. Since then, she teamed with husband Jay-Z on The Carters’ Everything Is Love (2018), released Homecoming: The Live Album and led The Lion King: The Gift soundtrack (both in 2019; all three reached the top five of the Billboard 200). All seven of her solo studio albums have also opened atop the tally (outside of her output as part of Destiny’s Child), starting with Dangerously in Love in 2003.

Unlike Beyoncé’s last two solo albums (Lemonade and her self-titled set in 2013), Renaissance wasn’t a surprise release. The new set was announced in mid-June, preceded by its first single “Break My Soul” on June 20, and was available to purchase on physical formats (both CD and vinyl LP) by street date (July 29). Comparably, her last two solo studio sets before Renaissance were both initially available exclusively only through streamers and digital retailers, and their physical release came later.

Also, unlike her last two studio efforts, Renaissance was not ushered in alongside a longform visual component – or, in fact, any official music videos. The Lemonade project debuted initially on HBO through its same-titled film, while her self-titled effort was initially sold exclusively through iTunes accompanied by 18 music videos. As of Aug. 7, no official videos for Renaissance have been released – only lyric videos and visualizers.

Also in the new top 10 on the Billboard 200: ATEEZ, ENHYPEN and Dance Gavin Dance all score their first top 10 albums as their latest releases debut in the region, while $uicideboy$ collect its third top 10 effort with the No. 7 arrival of Sing Me a Lullaby, My Sweet Temptation.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Aug. 13, 2022-dated chart will be posted in full on Billboard‘s website on Tuesday, Aug. 9. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Renaissance’s 332,000 equivalent album units earned, album sales comprise 190,000; SEA units comprise 138,000 (equaling 179.06 million on-demand official streams of the set’s tracks), and TEA units comprise 4,000.

In 2022, the only album with a larger week, by equivalent album units earned, has been the debut frame of Harry Styles’ Harry’s House, which launched with 521,000 on the June 4-dated chart. Thus, Columbia has the two biggest weeks of 2022, as Harry’s House was issued through Erskine/Columbia. (As noted earlier, Renaissance has the biggest week of 2022 among albums by women. It surpasses the debut frame of Lizzo’s Special, which earned 69,000 units in the week ending July 21, reflected on the July 30-dated chart.)

Renaissance logs the largest streaming week for an album by a woman in 2022 by on-demand official streams earned, with 179.06 million. It’s also the seventh-biggest streaming debut among all albums in 2022, and Beyoncé’s largest streaming week ever. (Of note, the largest streaming week for an album by a woman in 2022 was when Doja Cat’s Planet Her collected 46.68 million streams for its songs in the tracking week ending Feb. 3, as reflected on the Feb. 12-dated chart. The previous biggest debut streaming week in 2022 for a woman was registered by Lizzo’s Special, with 37.07 million streams for its songs in the tracking week ending July 21, reflected on the July 30 chart.)

In terms of traditional album sales, with 190,000 sold, Renaissance posts the third-largest sales week for an album in 2022, and the biggest by a woman. The only bigger sales weeks so far this year were captured by the opening stanzas of Harry’s House (330,000) and BTS’ Proof (266,000).

Renaissance sold 121,000 copies on CD, 43,000 via digital downloads and 26,000 on vinyl.

Renaissance’s initial album sales figure is largely driven by direct-to-consumer sales of the album through internet retailers, with 72% of its first-week sales coming through web-based sellers (136,000 of 190,000). Those sellers included Beyoncé’s official webstore (where she sold four limited edition deluxe boxed set editions of the album containing a T-shirt and a CD – all of which are sold out).

Beyoncé’s webstore was also the exclusive seller in the tracking week of the album’s vinyl LP, which had a limited pressing and an alternative cover and sold 26,000 copies. That marks the largest sales week for an R&B/hip-hop album on vinyl by a woman in the modern era, since Luminate began tracking sales in 1991. The vinyl LP sold out on Beyoncé’s webstore before the album’s release on July 29. On Sept. 16, the album will garner a wide release on vinyl through all retailers, with expanded packaging and its standard album cover.

While Renaissance’s internet-based sales were hefty, the album would have still been No. 1 on the Billboard 200 without any sales from internet sellers. Further, the set would have been No. 1 without selling a single copy, as it still would have perched atop the list from only streaming activity (with streaming equaling 138,000 SEA units).

Finally, as noted earlier, Renaissance is the first No. 1 album on the Billboard 200 by a solo woman since Adele’s 30 closed its six-week run atop the list dated Jan. 8. That 30-week gap between No. 1s is the longest the chart has been absent a No. 1 album billed to a solo woman since 2017, when there was a 31-week dry spell between Lady Gaga’s Joanne (one week at No. 1 on Nov. 12, 2016) and Halsey’s Hopeless Fountain Kingdom (June 24, 2017).

Bad Bunny’s Un Verano Sin Ti falls to No. 2 on the Billboard 200 after seven nonconsecutive weeks atop the list (104,000 equivalent album units earned; up 7%). On the Aug. 20-dated chart, the album will benefit from its wide CD release on Aug. 5.

ATEEZ notch their first top 10 as The World EP.1: Movement arrives at No. 3 with 50,000 equivalent album units earned. Of that sum, album sales comprise 47,000; SEA units comprise 3,000 (equaling 4.02 million on-demand official streams of the set’s seven tracks), and TEA units comprise a negligible sum. Previously, the South Korean group had gone as high as No. 42 in 2021 with Zero: Fever Part.3.

Like many K-pop releases, the CD configuration of The World EP.1 was issued in collectible deluxe packages (eight total, including a version exclusive to indie retailers), each with a standard set of items and randomized elements (such as photocards); 97% of the album’s first-week sales were on CD. The other 3% were digital album sales (a little over 1,000). The set was not released in any other format, such as vinyl or cassette.

Morgan Wallen’s former No. 1 Dangerous: The Double Album dips 2-4 with 49,000 equivalent album units (up 1%), and Styles’ chart-topping Harry’s House falls 3-5 with 46,000 units (down 4%).

ENHYPEN lands its first top 10 album on the Billboard 200 as Manifesto: Day 1 debuts at No. 6 with 39,000 equivalent album units earned, following the set’s physical release on July 29. The six-song effort was released on July 4 via streaming services and digital retailers. Of its 39,000 units earned, album sales comprise 38,000, while SEA units comprise 1,000 (equaling 1.29 million on-demand official streams of the set’s tracks) and TEA units comprise a negligible sum.

Manifesto is the fourth top 20-charting album for the South Korean group, which previously topped out at No. 11 with Dimension: Dilemma in 2021.

The CD configuration of Manifesto was issued in collectible deluxe packages (11 total, including a version exclusively sold through Target), each with a standard set of items and randomized elements (like photocards). Effectively all of its sales for the week were on CD (a negligible number were sold via digital download); the set was not issued on any other physical format.

$uicideboy$ score their third top 10 album on the Billboard 200 as Sing Me a Lullaby, My Sweet Temptation bows at No. 7 with 37,000 equivalent album units earned. Of that sum, SEA units comprise 33,000 (equaling 45.31 million on-demand streams of the set’s tracks), album sales comprise 4,000 and TEA units comprise a negligible sum. The rap duo has previously hit the top 10 with Long Term Effects of Suffering (No. 7 in 2021) and I Want to Die in New Orleans (No. 9, 2018).

Dance Gavin Dance claims its first top 10 album on the Billboard 200 as Jackpot Juicer starts at No. 8 with 33,500 equivalent album units earned. Of that sum, album sales comprise 25,500 (the band’s best sales week ever); SEA units comprise 8,000 (equaling 10.37 million on-demand streams of the album’s tracks), and TEA units comprise a negligible sum. The album’s first-week sales got a boost from its availability across multiple color vinyl variants, and in total, the vinyl edition of the album sold 14,000 copies (the second-biggest selling vinyl set of the week behind Renaissance).

Jackpot Juicer is Dance Gavin Dance’s 11th charting effort on the Billboard 200 and fifth to reach the top 40.

Rounding out the new top 10 of the Billboard 200 are a pair of former No. 1s: Future’s I Never Liked You (falling 5-9 with 31,000 equivalent album units, down 7%) and Drake’s Honestly, Nevermind (6-10; 29,000, down 9%).

Source: billboard.com

“Break My Soul” and “I Like You (A Happier Song)” ascend to Nos. 6 and 9, respectively.

Lizzo‘s “About Damn Time” dominates the Billboard Hot 100 songs chart for a second week.

Concurrently, Beyoncé‘s “Break My Soul” rises to a new No. 6 Hot 100 high and Post Malone‘s “I Like You (A Happier Song),” featuring Doja Cat, returns to the top 10, rebounding to its No. 9 best, boosted by the July 25 premiere of its official video.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Aug. 6, 2022) will update on Billboard.com tomorrow (Aug. 2). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“About Damn Time,” released on Nice Life/Atlantic Records, drew 91.1 million radio airplay audience impressions (up 1%) and 12.5 million streams (down 13%) and sold 8,000 downloads (down 44%) in the July 22-28 tracking week, according to Luminate.

The track – which a week earlier became Lizzo’s second Hot 100 No. 1, following “Truth Hurts,” which reigned for seven weeks in 2019 – tallies a fourth week at No. 1 on the Radio Songs chart; drops to No. 3 after two weeks atop Digital Song Sales; and dips to No. 10 from its No. 8 best on Streaming Songs.

“Time” concurrently crowns the Hot R&B/Hip-Hop Songs and Hot R&B Songs charts, which use the same multi-metric methodology as the Hot 100, for a fourth and 11th week, respectively.

Harry Styles’ former 10-week Hot 100 No. 1 “As It Was” holds at No. 2. The single rules the Songs of the Summer chart for a ninth week, as it has led the seasonal survey, which tracks the top titles between Memorial Day and Labor Day, each week this year.

Kate Bush’s “Running Up That Hill (A Deal With God)” keeps at its No. 3 Hot 100 high. Its revival sparked by its sync in the fourth season of Netflix’s Stranger Things, the song, originally released in 1985 (when it reached No. 30), claims the Hot 100’s top Airplay Gainer award for a second week (48.4 million, up 17%). It simultaneously paces the multi-metric Hot Rock & Alternative Songs, Hot Rock Songs and Hot Alternative Songs charts for an eighth week each.

Jack Harlow’s “First Class” maintains its No. 4 cruising altitude on the Hot 100, after three weeks at No. 1 starting in its debut week in April, as it adds a 14th week atop the multi-metric Hot Rap Songs chart, and Future’s “Wait for U,” featuring Drake and Tems, is likewise stationary at No. 5 on the Hot 100, after a week at No. 1 beginning in its debut week in May.

Beyoncé’s “Break My Soul” rises 7-6 for a new Hot 100 high. The lead single from her album Renaissance, released July 29 and due on next week’s, Aug. 13-dated charts, sports across-the-board gains, as it holds at No. 4 on Radio Songs (56.5 million, up 10%) and climbs 7-4 on Digital Song Sales (6,000, up 18%) and 28-25 on Streaming Songs (8.8 million, up 6%). It tops the multi-metric Hot Dance/Electronic Songs chart for a fifth week.

Harry Styles’ “Late Night Talking,” whose official video premiered July 13, advances 9-7 on the Hot 100, after it reached No. 4 upon its debut in June. It also hits the top five on Radio Songs (6-5; 52.1 million, up 8%).

Bad Bunny and Chencho Corleone’s “Me Porto Bonito” retreats to No. 8 from its No. 6 Hot 100 best, as it leads Streaming Songs for a second week (19.7 million, down 6%). A week earlier, the track became the first all-Spanish-language No. 1 on Streaming Songs since the chart debuted in January 2013. The collaboration tops the multi-metric Hot Latin Songs chart for an 11th week and parent album Un Verano Sin Ti commands the Billboard 200 for a seventh frame.

Post Malone’s “I Like You (A Happier Song),” featuring Doja Cat, returns to the Hot 100’s top 10, rebounding from No. 12 to its No. 9 highpoint first reached in June. With its official video having premiered July 25, it pushes 15-11 on Streaming Songs (12.6 million streams in the week ending July 28, up 14%), 17-15 on Radio Songs (34.9 million, up 10%) and 33-17 on Digital Song Sales (3,000, up 11%).

Rounding out the Hot 100’s top 10, Glass Animals’ “Heat Waves” descends 8-10, following five weeks at No. 1 starting in March. Notably, it logs its 80th week on the chart, becoming just the third title in the chart’s 64-year history to reach the milestone (and is the only one of those hits to have ranked in the top 10 as late as its 80th frame).

Most Weeks Totaled on the Billboard Hot 100:
90, “Blinding Lights,” The Weeknd, No. 1 peak (for four weeks), beginning April 4, 2020
87, “Radioactive,” Imagine Dragons, No. 3, July 6, 2013
80, “Heat Waves,” Glass Animals, No. 1 (five weeks), beginning March 12, 2022
79, “Sail,” AWOLNATION, No. 17, Oct. 12, 2013
77, “Levitating,” Dua Lipa, No. 2, May 22, 2021
76, “I’m Yours,” Jason Mraz, No. 6, Sept. 20, 2008
69, “Save Your Tears,” The Weeknd & Ariana Grande, No. 1 (two weeks), beginning May 8, 2021
69, “How Do I Live,” LeAnn Rimes, No. 2, Dec. 13, 1997
68, “Counting Stars,” OneRepublic, No. 2, Jan. 18, 2014
68, “Party Rock Anthem,” LMFAO feat. Lauren Bennett & GoonRock, No. 1 (six weeks), beginning July 16, 2011

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Aug. 6), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Aug. 2).

Source: billboard.com

Plus: SEVENTEEN and Jack White debut in top 10.

Bad Bunny’s Un Verano Sin Ti collects a seventh nonconsecutive week at No. 1 on the Billboard 200 chart (dated Aug. 6). The title earned 98,000 equivalent album units in the U.S. in the week ending July 28 (down 5%), according to Luminate. Un Verano Sin Ti is the album with the most weeks at No. 1 in over a year, since Morgan Wallen’s Dangerous: The Double Album spent its 10th and final week at No. 1 on the list dated March 27, 2021. (Since Dangerous, Adele’s 30 had clocked six weeks at No. 1.)

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Aug. 6, 2022-dated chart will be posted in full on Billboard‘s website on Tuesday (Aug. 2). For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Un Verano Sin Ti’s 98,000 equivalent album units earned, SEA units comprise 97,000 (down 5%; equaling 135.9 million on-demand official streams of the set’s tracks) and album sales and TEA units comprise the remainder of the week’s total.

Un Verano Sin Ti has exhibited strong staying power, as it earned in excess of 100,000 units in its first 11 weeks on the chart. The latest tracking frame is its first to dip below 100,000. Further, the album has declined less than 10% in weekly units in every week from its fourth through 12th frames. (The album eroded by 34% in its second week, then fell by 15% in its third, and then from its fourth week onwards has only dropped by 2-9% weekly.)

Un Verano Sin Ti has spent its first 12 weeks on the Billboard 200 chart lodged in the top two. The last album to start off as strong was Drake’s Views, which spent its first 17 weeks in the top two (May 21-Sept. 10, 2016-dated charts).

Un Verano Sin Ti bowed at No. 1 on the May 21-dated chart, then stepped away from the top slot for three weeks. It returned to No. 1 on June 18, and then moved aside for two more weeks, until coming back to No. 1 for the last five consecutive weeks.

Un Verano Sin Ti may vacate the No. 1 slot on the Aug. 13-dated chart, as Beyoncé’s seventh solo studio album, Renaissance, is due to debut on the tally, following its release on Friday (July 29). All six of Beyoncé’s previous solo studio sets opened at No. 1.

Wallen’s Dangerous rises 4-2 on the latest Billboard 200 with 49,000 equivalent album units earned (up 1%) while Harry Styles’ fellow former No. 1 Harry’s House is a non-mover at No. 3 with 48,000 units (down 8%).

SEVENTEEN logs its highest-charting album yet and second top 10, as 4th Album Repackage: Sector 17 debuts at No. 4 on the Billboard 200 with 34,000 equivalent album units earned. On the June 18 chart, the South Korean group debuted and peaked at No. 7 with SEVENTEEN 4th Album: Face the Sun. The new Sector 17 release contains Face the Sun’s same tracklist, but adds additional songs and retitles the album.

Of Sector 17’s first-week units of 34,000, album sales comprise 31,000; SEA units comprise 2,000 (equaling 3.31 million on-demand official streams of the set’s tracks); and TEA units comprise the remainder of the units.

Like many K-pop releases, the CD configuration of Sector 17 was issued in collectible deluxe packages (six total, including an exclusive version for Target), each with a standard set of items and randomized elements (such as photocards and photobooks); 99.8% of the album’s first-week sales were on CD. The other fraction of a percent were digital album purchases. (The set was not released in any other format, such as vinyl or cassette.)

Future’s former No. 1 I Never Liked You rises 6-5 on the Billboard 200 with 33,000 equivalent album units earned (down 5%) and Drake’s chart-topping Honestly, Nevermind dips 5-6 with 32,000 units (down 14%). Lizzo’s Special falls 2-7 in its second week with 29,000 units (down 58%) and Lil Durk’s former leader 7220 rises 10-8 with 28,000 (down 11%).

Jack White collects his sixth solo top 10 album on the Billboard 200 — and second of 2022 — as Entering Heaven Alive debuts at No. 9. The set starts with 27,000 equivalent album units earned. Of that sum, album sales comprise 25,000, SEA units comprise 2,000 (equaling 2.05 million on-demand official streams of the set’s tracks) and TEA units comprise a negligible sum. White previously hit the top 10 this year with Fear of the Dawn, which debuted and peaked at No. 4 on the April 23-dated list. He’s also claimed top 10s as a member of the bands The Raconteurs, The Dead Weather and The White Stripes (three each).

Rounding out the new top 10 is Olivia Rodrigo’s former No. 1 Sour, which rises 13-10 with 26,000 equivalent album units earned (down 5%).

Source: billboard.com