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

Lizzo lands her second Hot 100 leader, after “Truth Hurts” in 2019.

Lizzo‘s “About Damn Time” clocks in at No. 1 on the Billboard Hot 100 songs chart, rising from No. 2. The track becomes Lizzo’s second Hot 100 leader, after “Truth Hurts” dominated for seven weeks beginning in September 2019.

“Time” is from Lizzo’s new LP, Special, which concurrently debuts at No. 2 on the Billboard 200 albums chart.

Elsewhere in the Hot 100’s top 10, Kate Bush‘s “Running Up That Hill (A Deal With God)” hits a new high, lifting 4-3; Bad Bunny and Chencho Corleone‘s “Me Porto Bonito,” at its No. 6 best, takes over as the most-streamed song in the U.S. – and becomes the first all-Spanish-language No. 1 in the history of the Streaming Songs chart; and Harry Styles‘ “Late Night Talking,” boosted by its new official video, returns to the Hot 100’s top 10, jumping 11-9, after it originally reached No. 4 upon its debut in June.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated July 30, 2022) will update on Billboard.com tomorrow (July 26). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“About Damn Time,” released on Nice Life/Atlantic Records and the 1,139th Hot 100 No. 1 in the chart’s nearly 64-year history, completes a 14-week ascent to the summit, after it debuted at No. 50 on the April 30-dated chart, with 88.2 million radio airplay audience impressions (up 3%), 14.3 million streams (up 18%) and 14,000 downloads sold (up 29%, aided by discount-pricing in the iTunes Store, as it wins top Sales Gainer honors on the Hot 100) in the July 15-21 tracking week, according to Luminate.

The track adds a third week at No. 1 on the Radio Songs chart and a second frame atop Digital Song Sales, while rebounding to its No. 8 best, from No. 10, on Streaming Songs.

As previously reported, “Time” parent album Special, released July 15, launches at No. 2 on the Billboard 200 with 69,000 equivalent album units. With her fourth LP, Lizzo lands new career bests in both rank on the chart and weekly consumption for an album.

Lizzo previously led the Hot 100 with her breakthrough hit “Truth Hurts” for seven weeks beginning in September 2019. She has also hit the top 10 with “Good as Hell” (No. 3 peak, November 2019) and “Rumors,” featuring Cardi B (No. 4, August 2021).

Chart-watcher Jesper Tan, of Subang Jaya, Malaysia, whose thorough research one can swear by, wrote in, anticipating Lizzo’s latest Hot 100 coronation, noting that her new No. 1 brings the word “damn” to the summit for the first time. Previously, YoungBloodz, featuring Lil Jon, reached a No. 4 best with “Damn!” in 2003. Honorable mention to rock group Damn Yankees, which hit No. 3 with “High Enough” 1991. Lizzo scores the first No. 1 with “about” in its title since … just March, when the ensemble Encanto hit “We Don’t Talk About Bruno” spent its fifth and final week on top. Much more time passed between No. 1s with “time” in their titles: Lizzo achieves the first such leader since Ja Rule’s “Always on Time,” featuring Ashanti, ruled for two weeks in 2002.

Also notably, “Time” interpolates “Hey! DJ,” which the World’s Famous Supreme Team took to No. 15 on the Hot R&B/Hip-Hop Songs chart in 1984 and has now been reimagined in two Hot 100 No. 1s: prior to “Time,” Mariah Carey’s “Honey,” which samples “Hey! DJ,” notched three weeks in the lead in September 1997.

“Time” concurrently crowns the Hot R&B/Hip-Hop Songs and multi-metric Hot R&B Songs charts, which use the same multi-metric methodology as the Hot 100, for a third and 10th week, respectively.

“Time” claims the Hot 100’s top spot from Harry Styles’ “As It Was,” which drops to No. 2 after 10 weeks at No. 1, with 73 million in airplay audience (down 2%), 17.4 million streams (down 4%) and 5,000 sold (up 6%). Still, “As It Was” tops the Songs of the Summer chart for an eighth week, as it has led the seasonal ranking, 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)” rises to a new No. 3 Hot 100 high, from No. 4. Again helped by its sync in the fourth season of Netflix’s Stranger Things, the song, originally released in 1985 (when it reached No. 30), bounds 15-10 on Radio Songs (39.8 million, up 26%, good for the Hot 100’s top Airplay Gainer trophy), becoming Bush’s first top 10 on the tally. It fell by 10% to 19.3 million streams and 23% to 10,000 sold in the tracking week.

“Hill” simultaneously becomes Bush’s first top 10 on Pop Airplay, Adult Pop Airplay and Adult Contemporary, pushing 12-10 on each chart, while advancing 6-5 on Alternative Airplay, where it’s her fifth top 10 (and, now, her second top five hit, after “Love and Anger” led for three weeks in December 1989).

“Hill,” Bush’s first Hot 100 top 10, wraps the longest run to the chart’s top three in terms of years from a debut on the chart to the top five – 36 years, 10 months and three weeks – for a non-holiday hit in the list’s history, and the third-longest such rise overall.

Longest Climbs to the Billboard Hot 100’s Top Three (from debut date):
61 years, two weeks: “Jingle Bell Rock,” Bobby Helms, Dec. 22, 1958-Jan. 4, 2020
59 years, one week: “Rockin’ Around the Christmas Tree,” Brenda Lee, Dec. 12, 1960-Dec. 21, 2019
36 years, 10 months, three weeks: “Running Up That Hill (A Deal With God),” Kate Bush, Sept. 7, 1985-July 30, 2022
19 years: “All I Want for Christmas Is You,” Mariah Carey, Jan. 8, 2000-Jan. 5, 2019
16 years, four months, one week: “Bohemian Rhapsody,” Queen, Jan. 3, 1976-May 9, 1992

Three of the songs above are holiday tracks, spurred in recent years by the growth of streaming, while Queen’s classic, like Bush’s, benefited from its own sync, in the 1992 hit Saturday Night Live spinoff film Wayne’s World.

“Hill” also tops the multi-metric Hot Rock & Alternative Songs, Hot Rock Songs and Hot Alternative Songs charts for a seventh week each.

Jack Harlow’s “First Class” falls 3-4 on the Hot 100, after three weeks at No. 1 starting in its debut week in April, as it adds a 13th week atop the multi-metric Hot Rap Songs chart, and Future’s “Wait for U,” featuring Drake and Tems, holds at No. 5 on the Hot 100, after a week at No. 1 beginning in its debut week in May.

Bad Bunny and Chencho Corleone’s “Me Porto Bonito” continues at its No. 6 Hot 100 high and lifts 2-1 on Streaming Songs (21.1 million streams, essentially even week-over-week). The track becomes each act’s first Streaming Songs leader – as well as the first all-Spanish-language No. 1 since the chart began in January 2013. Previously among Streaming Songs No. 1s in languages primarily other than English, PSY’s mostly Korean “Gangnam Style” reigned for six weeks in 2013 and Luis Fonsi and Daddy Yankee’s mostly Spanish “Despacito,” featuring Justin Bieber, dominated for 16 frames in 2017.

“Porto” leads the multi-metric Hot Latin Songs chart for a 10th week and parent album Un Verano Sin Ti tops the Billboard 200 for a sixth week.

Beyoncé’s “Break My Soul” rises 9-7 on the Hot 100, returning to its best rank. The lead single from her album Renaissance, due July 29, commands the multi-metric Hot Dance/Electronic Songs chart for a fourth week.

Glass Animals’ “Heat Waves” dips 7-8 on the Hot 100, following five weeks at No. 1 starting in March. It logs its 79th week on the chart, tying for the third-longest run in the list’s history (and is the only one of those hits to have ranked in the top 10 as late as its 79th 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
79, “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

Harry Styles’ “Late Night Talking” revisits the Hot 100’s top 10 at No. 9, climbing from No. 11, after it reached No. 4 upon its debut in June. Boosted by its new official video, which premiered July 13, the song drew 46.9 million in radio reach (up 14%) and 9.5 million streams (on par with a week earlier) and sold 2,000 (up 2%) in the July 15-21 tracking week.

Rounding out the Hot 100’s top 10, Drake’s “Jimmy Cooks” descends 8-10, four weeks after it launched at No. 1.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated July 30), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (July 26).

Source: billboard.com

Plus: Lizzo, Steve Lacy and ITZY debut in top 10.

Bad Bunny’s Un Verano Sin Ti lands a sixth week atop the Billboard 200 chart (dated July 30). The set earned 103,000 equivalent album units in the U.S. in the week ending July 21 (down 2%), according to Luminate. Only three albums have notched at least six weeks at No. 1 since January of 2021 — Un Verano Sin Ti, Adele’s 30 (with six) and Morgan Wallen’s Dangerous: The Double Album (10 weeks).

Also in the top 10, Lizzo scores her highest-charting album yet with the No. 2 debut of Special, Steve Lacy achieves his first top 10 with the arrival of Gemini Rights and ITZY nets its first top 10 with the bow of Checkmate.

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 July 30, 2022-dated chart will be posted in full on Billboard‘s website on Tuesday (July 26). For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Un Verano Sin Ti’s 103,000 equivalent album units earned, SEA units comprise 102,000 (down 2%; equaling 143.15 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 earned over 100,000 in each of its first 11 weeks on the chart. The last time that an album did so was over six years ago, when Adele’s 25 saw its first 14 weeks all exceed 100,000 units (Dec. 12, 2015-March 12, 2016-dated charts).

Additionally, Un Verano Sin Ti has spent its first 11 weeks on the Billboard 200 chart 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 four consecutive weeks.

Lizzo achieves her highest-charting album on the Billboard 200 as her latest studio effort, Special, debuts at No. 2 with 69,000 equivalent album units earned. Of that sum, album sales comprise 39,000; SEA units comprise 28,000 (equaling 37.07 million on-demand official streams of the set’s tracks) and TEA units comprise 2,000.

Special is the highest-charting album released by a woman this year, and it also launches with the largest week, by units earned, among all albums released by women in 2022.

Special is Lizzo’s second top 10-charting effort on the Billboard 200, following Cuz I Love You, which peaked at No. 4 in 2019.

The new album was led by the smash single “About Damn Time,” which has climbed to No. 2 on the most-recently published Billboard Hot 100 songs chart (dated July 23). The track has logged two weeks at No. 1 on the all-format Radio Songs chart and reached the top 10 on the Streaming Songs tally.

Four former No. 1 albums are up next on the Billboard 200, as Harry Styles’ Harry’s House rises 4-3 (52,000 equivalent album units, down 2%), Wallen’s Dangerous climbs 5-4 (48,000; down 2%), Drake’s Honestly, Nevermind is up 6-5 (37,000; down 13%) and Future’s I Never Liked You moves 7-6 (35,000; down 6%).

Steve Lacy secures his first top 10 effort on the Billboard 200 as his sophomore solo set Gemini Rights arrives at No. 7 with 34,000 equivalent album units earned. SEA units comprise nearly all of that sum, equaling 45.31 million on-demand official streams of the set’s tracks. Lacy recently garnered his first Hot 100 hit with the album’s “Bad Habit.” Lacy is also a member of the R&B collective The Internet, which has logged a pair of charting efforts on the Billboard 200, including the top 40-charting release Hive Mind in 2018.

ITZY’s Checkmate debuts at No. 8 on the Billboard 200, giving the South Korean quintet its first top 10 effort. The set starts with 33,000 equivalent album units earned, of which album sales comprise 31,000; SEA units comprise 2,000 (equaling 2.96 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 Checkmate was issued in collectible deluxe packages (17 total, including exclusive versions for Target and Barnes & Noble) each with a standard set of items and randomized elements (such as photocards and posters); 98% of the album’s first-week sales were on CD. The other 2% were digital album sales. (The set was not released in any other format, such as vinyl or cassette.)

Rounding out the new top 10 on the Billboard 200 are Brent Faiyaz’s Wasteland, which falls 2-9 (32,000 equivalent album units; down 63%), and Lil Durk’s chart-topping 7220, which dips 8-10 (31,000; down 11%).

Source: billboard.com

The song is the 10th Hot 100 leader of at least 10 weeks on Columbia Records, the most among all labels.

Harry Styles‘ “As It Was” continues atop the Billboard Hot 100 songs chart, dominating for a 10th total week. The song marks Styles’ first Hot 100 leader of at least 10 weeks – and the 10th for Columbia Records, the most among all labels over the chart’s history.

Plus, Beyoncé‘s “Break My Soul,” which holds at No. 9 on the Hot 100, after reaching No. 7, hits the Radio Songs chart’s top 10, becoming her 18th top 10 on the airplay tally and her first in a lead role since 2014.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated July 23, 2022) will update on Billboard.com tomorrow (July 19). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“As It Was,” released on Erskine/Columbia Records and which debuted at No. 1 on the Hot 100 dated April 16, tallied 74.1 million radio airplay audience impressions (essentially even week-over-week), 18.1 million streams (up 1%) and 5,000 downloads sold (down 5%) in the July 8-14 tracking week, according to Luminate.

The track holds at No. 3 after four weeks atop Radio Songs, beginning in May; keeps at No. 6 on Streaming Songs, after two weeks on top starting upon its debut in April; and rebounds 11-6 on Digital Song Sales, following a week at the summit in May.

“As It Was” – from Styles’ third album, Harry’s House, which led the Billboard 200 albums chart for two weeks beginning with its debut in June and places at No. 4 on the latest list – becomes the 42nd song in the history of the Hot 100, which launched on Aug. 4, 1958, to reign for at least 10 weeks, a feat that just 4% of all No. 1s (1,138 total) have achieved.

While “As It Was” marks Styles’ first Hot 100 leader of at least 10 weeks (after his other No. 1, “Watermelon Sugar,” ruled for a week in August 2020) – it’s the 10th for Columbia Records, the most among all labels over the chart’s history. Arista and Atlantic follow with five such No. 1s each.

Here’s a recap of Columbia’s 10 Hot 100 No. 1s to reign for at least 10 weeks, with the label having logged the last three, as Adele and BTS’ latest leaders preceded Styles’ command:

“One Sweet Day,” Mariah Carey & Boyz II Men, 16 weeks at No. 1, beginning Dec. 2, 1995
“Independent Women Part I,” Destiny’s Child, 11, Nov. 18, 2000
“Irreplaceable,” Beyoncé, 10, Dec. 16, 2006
“Happy,” Pharrell Williams, 10, March 8, 2014
“Hello,” Adele, 10, Nov. 14, 2015
“Closer,” The Chainsmokers feat. Halsey, 12, Sept. 3, 2016
“Old Town Road,” Lil Nas X feat. Billy Ray Cyrus, a record 19, April 13, 2019
“Butter,” BTS, 10, June 5, 2021
“Easy on Me,” Adele, 10, Oct. 30, 2021
“As It Was,” Harry Styles, 10, April 16, 2022

“As It Was” also sizzles atop the Songs of the Summer chart for a seventh week, as it has led the seasonal ranking, which tracks the top titles between Memorial Day and Labor Day, each week since the 2022 edition began.

Lizzo’s “About Damn Time” holds at its No. 2 Hot 100 high, with 85.9 million in radio audience (up 4%), 12.2 million streams (down 3%) and 11,000 sold (up 39%, aided by discount-pricing in the iTunes Store beginning July 8, as it wins top Sales Gainer honors on the Hot 100). The track leads Radio Songs for a second week; it tops Pop Airplay for a second frame and becomes Lizzo’s first No. 1 on Adult Pop Airplay. The single – from Lizzo’s fourth album, Special, released Friday (July 15) – concurrently crowns the Hot R&B/Hip-Hop Songs and multi-metric Hot R&B Songs charts, which use the same multi-metric methodology as the Hot 100, for a second and ninth frame, respectively.

Jack Harlow’s “First Class” repeats at No. 3 on the Hot 100, after three weeks at No. 1 starting in its debut week in April. It adds a 12th week atop the multi-metric Hot Rap Songs chart.

Kate Bush’s “Running Up That Hill (A Deal With God)” is steady at its No. 4 Hot 100 best. Again sparked by its sync in the fourth season of Netflix’s Stranger Things, after the final two episodes of the season premiered July 1, the song, originally released in 1985 (when it reached No. 30), drew 31.5 million in radio reach (up 29%) and 21.5 million streams (down 4%) and sold 13,000 (down 22%) in the week ending July 14. It posts a fourth week atop Digital Song Sales and a third frame atop Streaming Songs, while surging 26-15 on Radio Songs. “Hill” also tops the multi-metric Hot Rock & Alternative Songs, Hot Rock Songs and Hot Alternative Songs charts for a sixth week each.

Future’s “Wait for U,” featuring Drake and Tems, holds at No. 5 on the Hot 100, after a week at No. 1 beginning in its debut week in May, and Bad Bunny and Chencho Corleone’s “Me Porto Bonito” rises 7-6 for a new high, as it leads the multi-metric Hot Latin Songs chart for a ninth week; parent album Un Verano Sin Ti tops the Billboard 200 for a fifth week.

Glass Animals’ “Heat Waves” lifts 8-7 on the Hot 100, following five weeks at No. 1 starting in March, and Drake’s “Jimmy Cooks” falls 6-8, three weeks after it launched in the top spot.

Beyoncé’s “Break My Soul” holds at No. 9 on the Hot 100, after reaching No. 7, and ascends to the Radio Songs top 10 (12-8; 42.8 million, up 22%). The song marks her 18th top 10 on the airplay survey and her first in a lead role since “Drunk in Love,” featuring Jay-Z, in March-April 2014. (It’s also her first unaccompanied by any acts since “Sweet Dreams” in October 2009-January 2010.)

Here’s a recap of the artists with the most Radio Songs top 10s, dating to the chart’s December 1990 inception:

29, Rihanna
24, Drake
23, Mariah Carey
21, Justin Bieber
20, Lil Wayne
18, Beyoncé
18, Maroon 5
18, Bruno Mars

(Plus, Destiny’s Child, with Beyoncé as a member, notched 10 Radio Songs top 10s, in 1999-2005.)

“Soul” – the lead single from Beyoncé’s album Renaissance, due July 29 – rules the multi-metric Hot Dance/Electronic Songs chart for a third week.

Rounding out the Hot 100’s top 10, Latto’s “Big Energy” keeps at No. 10, after it reached No. 3 in April.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated July 23), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (July 19).

Source: billboard.com

Plus: Brent Faiyaz and Aespa debut in the top five.

Bad Bunny’s Un Verano Sin Ti holds steady atop the Billboard 200 albums chart (dated July 23) for a fifth nonconsecutive week. The set earned 105,000 equivalent album units in the U.S. in the week ending July 14 (down 5%), according to Luminate.

Also in the top 10, Brent Faiyaz’s Wasteland and Aespa’s Girls: The 2nd Mini Album arrive at Nos. 2 and 3, respectively.

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 July 23, 2022-dated chart will be posted in full on Billboard‘s website on Tuesday, July 19. 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 104,000 (down 5%; equaling 146.83 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 earned over 100,000 units in each of its first 10 weeks on the chart. The last album to do so was six years ago, when Drake’s Views saw its first 10 weeks all exceed 100,000 units (May 21-July 23, 2016 charts).

Additionally, Un Verano Sin Ti has spent its first 10 weeks on the chart in the top two. The last album to start off as strong was Morgan Wallen’s Dangerous: The Double Album, which spent its first 10 weeks at No. 1 (Jan. 23-March 27, 2021-dated charts).

Un Verano Sin Ti debuted 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 three consecutive weeks.

Since the start of 2021, six albums have spent at least five weeks at No. 1, including Un Verano Sin Ti. Earlier in 2022, the Encanto soundtrack notched nine weeks atop the list, while Adele’s 30 wrapped a six-week run at No. 1. In 2021, Drake’s Certified Lover Boy and Olivia Rodrigo’s Sour both clocked five weeks at No. 1, while Morgan Wallen’s Dangerous ruled for 10 weeks.

Brent Faiyaz’s sophomore album Wasteland debuts at No. 2 on the Billboard 200, launching with 88,000 equivalent album units earned. Of that sum, SEA units comprise 81,000 (equaling 107.48 million on-demand official streams of the set’s tracks), album sales comprise 6,000 and TEA units comprise a negligible sum. It’s the first top 10 for the R&B singer, who previously reached the chart with his debut effort, F— the World, debuting and peaking at No. 20 in 2020 and at No. 2 on the Top R&B Albums chart. That 10-track set has earned 684,000 units in the U.S. release-to-date (with on-demand official streams of the set’s tracks totaling 935.81 million).

Since the release of F— the World, Faiyaz has issued collaborative tracks with Tyler, the Creator (“Gravity” and “Sweet/I Thought You Wanted to Dance”) and Drake (“Wasting Time”). Both “Gravity” and “Wasting Time” are included on the new album, alongside a new collaboration with Alicia Keys (“Ghetto Gatsby”).

Aespa’s Girls: The 2nd Mini Album bows at No. 3 on the Billboard 200, giving the South Korean female quartet its first top 10 effort. The set starts with 56,000 equivalent album units earned, of which album sales comprise 53,000 (making it the top-selling album of the week), SEA units comprise 3,000 (equaling 4.34 million on-demand official streams of the set’s tracks) and TEA units comprise less than 1,000.

Like many K-pop releases, the CD configuration of Girls was issued in collectible deluxe packages (12 total, including an exclusive edition for Target), each with a standard set of items and randomized elements (such as photocards, stickers and a poster); 98% of the album’s first-week sales were on CD. The other 2% were digital album sales. (The set was not released in any other format, such as vinyl or cassette.)

A quintet of former No. 1s are next up on the Billboard 200 at Nos. 4-8. Harry Styles’ Harry’s House falls 2-4 (53,000 equivalent album units; down 3%), Wallen’s Dangerous dips 4-5 (49,000; down 2%), Drake’s Honestly, Nevermind drops 3-6 (42,000; down 19%), Future’s I Never Liked You is a non-mover at No. 7 (37,000; down 8%) and Lil Durk’s 7220 falls 6-8 (35,000; down 16%).

The Weeknd’s compilation The Highlights is stationary at No. 9 with nearly 35,000 equivalent album units earned (up 3%), while Chris Brown’s Breezy falls 8-10 with 33,000 units (down 6%).

Source: billboard.com

Styles’ “As It Was” tops the Hot 100 for a ninth week, while Lizzo’s “About Damn Time” rises to No. 2 and becomes her third leader on the Radio Songs chart.

Harry Styles‘ “As It Was” continues atop the Billboard Hot 100 songs chart, logging a ninth total week at the summit.

Meanwhile, Lizzo‘s “About Damn Time” pushes from No. 3 to a new No. 2 Hot 100 high and takes over as the most-heard song on U.S. radio, as it becomes her third leader on the Radio Songs chart.

Plus, Kate Bush‘s 1985 classic “Running Up That Hill (A Deal With God)” returns to its No. 4 Hot 100 best, from No. 6, helped by its sync in the fourth season of Netflix’s Stranger Things, after the concluding episodes of the season, which further spotlight the song, premiered July 1.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated July 16, 2022) will update on Billboard.com tomorrow (July 12). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“As It Was,” released on Erskine/Columbia Records and which debuted at No. 1 on the Hot 100 dated April 16, tallied 73.4 million radio airplay audience impressions (down 1%), 18 million streams (down 3%) and 5,000 downloads sold (down 10%) in the July 1-7 tracking week, according to Luminate.

The track keeps at No. 3 after four weeks atop Radio Songs, beginning in May; rises 7-6 on Streaming Songs, after two weeks at the summit starting upon its entrance in April; and dips 8-11 on Digital Song Sales, following a week in charge in May.

“As It Was” concurrently crowns the Songs of the Summer chart for a sixth week, as it has ruled the seasonal tally, which tracks the top titles between Memorial Day and Labor Day, each week since the 2022 edition began.

The song is from Styles’ third album, Harry’s House, which led the Billboard 200 albums chart for two weeks beginning with its debut in June. (A second song from the set, “Late Night Talking,” jumps to the Radio Songs top 10 [16-10; 36.6 million, up 26%], becoming his fourth top 10 on the ranking – notably, twice as many as One Direction, the group in which he broke through, earned, in 2012-14, as well as the most of any member of the boy band, which is currently on hiatus. “Talking” rises 18-15 on the Hot 100, after it opened at its No. 4 peak concurrent with the chart start of Harry’s House.)

Lizzo’s “About Damn Time” ascends 3-2 for a new Hot 100 high, with 83.2 million in radio audience (up 7%), 12.5 million streams (down 2%) and 8,000 sold (down 10%). Lizzo lands her third leader on Radio Songs, where the track advances 2-1, following “Good as Hell” (four weeks at No. 1 beginning in November 2019) and “Truth Hurts” (six, starting that September). Dating to the first week at No. 1 for “Truth Hurts” (Sept. 28, 2019), Lizzo solely boasts the most Radio Songs No. 1s of any act, passing two each for Lewis Capaldi, Dua Lipa and Olivia Rodrigo in that span.

“Time” also scores its first week atop the Hot R&B/Hip-Hop Songs chart, which uses the same multi-metric methodology as the Hot 100. Lizzo achieves her fourth No. 1 on the genre ranking, following “Rumors,” featuring Cardi B (one week on top, upon its debut in August 2021); “Good as Hell” (four weeks, beginning in September 2019); and “Truth Hurts” (11, beginning that August). “Time” concurrently adds its eighth week atop the multi-metric Hot R&B Songs chart.

“Time” is from Lizzo’s fourth album, Special, due Friday (July 15).

Jack Harlow’s “First Class” falls 2-3 on the Hot 100, after three weeks at No. 1 starting in its debut week in April. It claims an 11th week atop the multi-metric Hot Rap Songs chart.

Kate Bush’s “Running Up That Hill (A Deal With God)” soars back to its No. 4 Hot 100 high, from No. 6, helped by its sync in the fourth season of Netflix’s Stranger Things, after the conclusion of the season premiered July 1. The song, originally released in 1985 (when it reached No. 30), drew 24.6 million in radio reach (up 30%) and 22.3 million streams (up 20%) and sold 17,000 (up 45%) in the week ending July 7. It returns for a second week atop Streaming Songs (6-1) and a third frame atop Digital Song Sales (3-1), as it wins the Hot 100’s top Streaming and Sales Gainer awards.

Among the song’s latest radio highlights, it bounds 13-9 as the Greatest Gainer on Alternative Airplay, becoming Bush’s first top 10 on the tally since 1993-94 (when “Rubberband Girl” hit No. 7).

“Hill” also posts a fifth week each atop the multi-metric Hot Rock & Alternative Songs, Hot Rock Songs and Hot Alternative Songs charts.

Future’s “Wait for U,” featuring Drake and Tems, slips 4-5 on the Hot 100, after a week at No. 1 beginning in its debut week in May, and Drake’s own “Jimmy Cooks” retreats 5-6, two weeks after it launched in the top spot.

Bad Bunny and Chencho Corleone’s “Me Porto Bonito” returns to its No. 7 Hot 100 best, from No. 8, as it leads the multi-metric Hot Latin Songs chart for an eighth week.

Glass Animals’ “Heat Waves” lifts 9-8 on the Hot 100, following five weeks at No. 1 starting in March. It adds its 77th week on the chart, tying for the fourth-longest run in the list’s history, which dates to August 1958 (and is the only one of those hits to have ranked in the top 10 as late as a 77th 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
79, “Sail,” AWOLNATION, No. 17, Oct. 12, 2013
77, “Heat Waves,” Glass Animals, No. 1 (five weeks), beginning March 12, 2022
77, “Levitating,” Dua Lipa, No. 2, May 22, 2021
76, “I’m Yours,” Jason Mraz, No. 6, Sept. 20, 2008

Plus, “Heat Waves” spends a 34th week in the Hot 100’s top 10, passing Maroon 5’s “Girls Like You,” featuring Cardi B, for the most among groups. Overall, “Heat Waves” has now solely logged the fourth-most top 10 weeks, after The Weeknd’s “Blinding Lights” (57), The Kid LAROI and Justin Bieber’s “Stay” (44) and Lipa’s “Levitating” (41).

Beyoncé’s “Break My Soul” backtracks to No. 9 from its No. 7 Hot 100 best. In its second full week of tracking, it garnered 34.2 million in airplay audience (up 54%) – as it blasts 28-12 on Radio Songs and takes the Hot 100’s top Airplay Gainer trophy – and drew 11.5 million streams (down 26%) and sold 7,000 (down 36%).

A week earlier, the song – the lead single from Beyoncé’s album Renaissance, due July 29 – became her 20th solo Hot 100 top 10; as Destiny’s Child notched 10 top 10s with her as a member, she became just the third artist, and the first woman, with at least 20 top 10s as a soloist and 10 or more with a group.

The track adds a second week at No. 1 on the multi-metric Hot Dance/Electronic Songs chart.

Rounding out the Hot 100’s top 10, Latto’s “Big Energy” returns to the region (11-10), after it reached No. 3 in April.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated July 16), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (July 12).

Source: billboard.com

Plus: Shinedown scores fifth top 10 with debut of “Planet Zero.”

Bad Bunny’s Un Verano Sin Ti captures a fourth nonconsecutive week at No. 1 on the Billboard 200 albums chart (dated July 16). The set holds at No. 1, notching its first set of back-to-back weeks in the lead. The effort earned 111,000 equivalent album units in the U.S. in the week ending July 7 (down 4%), according to Luminate.

Also in the top 10, Shinedown’s Planet Zero is the chart’s top debut, as the rock band’s latest studio album opens at No. 5. It’s the group’s fifth top 10-charting effort.

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 July 16, 2022-dated chart will be posted in full on Billboard‘s website on Tuesday (July 12). For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Un Verano Sin Ti’s 111,000 equivalent album units earned, SEA units comprise 109,000 (down 4%; equaling 154.12 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 earned over 100,000 in each of its first nine weeks on the chart. The last album to do so was nearly six years ago, when Drake’s Views saw its first 10 weeks all exceed 100,000 units (May 21-July 23, 2016, charts).

Additionally, Un Verano Sin Ti has spent its first nine weeks on the chart in the top two. The last album to start off so strong was Drake’s Certified Lover Boy, which also spent its first nine weeks in the top two (Sept. 18-Nov. 13, 2021-dated charts).

Un Verano Sin Ti debuted 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 two consecutive weeks.

A trio of former No. 1s are Nos. 2-4 on the new Billboard 200, as Harry Styles’ Harry’s House rises 6-2 (54,000 equivalent album units; down 14%), Drake’s Honestly, Nevermind is steady at No. 3 (52,000; down 29%) and Morgan Wallen’s Dangerous: The Double Album climbs 8-4 (50,000; down less than 1%).

Shinedown’s Planet Zero bows at No. 5 on the Billboard 200 with 49,000 equivalent album units earned. It’s the fifth top 10-charting album for the rock band, which claimed its first in 2008 with the No. 8-peaking The Sound of Madness. Of Planet Zero’s starting unit total, album sales comprise 43,000, SEA units comprise 6,000 (equaling 7.67 million on-demand official streams of the set’s tracks) and TEA units comprise less than 1,000 units.

Planet Zero has yielded two top 10-charting hits on Billboard’s Mainstream Rock Airplay chart — the title track and “Daylight.” Since the group debuted on the airplay list in 2003 with the No. 5-peaking “Fly From the Inside,” it has maintained an unbroken streak of 29 consecutive top 10 hits. The act is tied with Foo Fighters for the most total top 10s in the chart’s 41-year history.

Lil Durk’s chart-topping 7220 falls 5-6 on the new Billboard 200 with 42,000 equivalent album units earned (down 38%), Future’s former leader I Never Liked You rises 10-7 with 40,000 units (down 7%) and Chris Brown’s Breezy dips 4-8 in its second week with 35,000 units (down 52%).

The Weeknd’s compilation album The Highlights returns to the top 10, zipping 52-9 with 34,000 equivalent album units earned (up 144%). The set contains such hits as “Blinding Lights” and “Save Your Tears” (both from The Weeknd’s After Hours studio album) and “Starboy” and “I Feel It Coming” (both from his Starboy album). On the new chart, the TEA and SEA units for all four 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 nearly 2,000 copies in the latest tracking week, while After Hours and Starboy both sold under 1,000.) A week ago, the TEA and SEA for the songs were directed to their original studio albums, as each outsold The Highlights that week.

Post Malone’s Twelve Carat Toothache returns to the top 10, rising 12-10 with 31,000 equivalent album units earned (down 13%).

Source: billboard.com

Beyoncé scores her milestone 20th solo Hot 100 top 10.

Harry Styles‘ “As It Was” rebounds from No. 2 for an eighth total week at No. 1 on the Billboard Hot 100 songs chart.

Meanwhile, Beyoncé‘s “Break My Soul” surges from No. 15 to No. 7 on the Hot 100, following its first full week of tracking, marking her milestone 20th top 10 as a soloist.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated July 9, 2022) will update on Billboard.com tomorrow (July 6, a day later than usual due to the July 4 holiday in the U.S. yesterday). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“As It Was,” released on Erskine/Columbia Records, tallied 77.1 million radio airplay audience impressions (up 1%), 18.6 million streams (down 10%) and 5,000 downloads sold (down 14%) in the June 24-30 tracking week, according to Luminate.

The track dips 2-3 after four weeks atop the Radio Songs chart; rises 9-7 on Streaming Songs after two weeks at the summit; and drops 7-8 on Digital Song Sales, following a week in charge.

Notably, “As it Was” scores its record-tying fourth distinct stay atop the Hot 100, after it debuted at No. 1 on the April 16 chart; led again on April 30 and May 7; and added four more weeks on top on the charts dated June 4, 11, 18 and 25, ahead of its return to No. 1 on the new, July 9, ranking. (The songs that have interrupted its reign: Jack Harlow’s “First Class,” April 23 and May 21 and 28; Future’s “Wait for U,” featuring Drake and Tems, May 14; and Drake’s “Jimmy Cooks,” featuring 21 Savage, July 2.) “As It Was” is the fourth to log as many as four separate No. 1 stints, after Mariah Carey’s “All I Want for Christmas Is You” (2019-22), 24kGoldn’s “Mood,” featuring Iann Dior (2020-21), and Drake’s “Nice for What” (2018).

“As It Was” concurrently crowns the Songs of the Summer chart for a fifth week, as it has led the summery summary, which tracks the top titles between Memorial Day and Labor Day, each week since the 2022 edition began.

Jack Harlow’s “First Class” lifts 3-2 on the Hot 100, after, as noted above, three weeks at No. 1, as it notches a fourth week atop Radio Songs (85.5 million, up 4%). It adds a 10th week atop the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which use the same multi-metric methodology as the Hot 100.

Lizzo’s “About Damn Time” jumps 5-3 for a new Hot 100 high, as it rules the multi-metric Hot R&B Songs chart for a seventh week. It also ascends to No. 1 on the Pop Airplay chart, where Lizzo achieves her third leader, after “Good as Hell” (four weeks at No. 1 beginning in November 2019) and “Truth Hurts” (four, starting that September).

Future’s “Wait for U,” featuring Drake and Tems, keeps at No. 4 on the Hot 100, after a week at No. 1, and Drake’s own “Jimmy Cooks” falls to No. 5 a week after it launched at No. 1, becoming his 11th leader. Still, the latter claims a second week atop Streaming Songs, although with a 42% decline to 24.7 million streams. It plunges 9-47 on Digital Song Sales (2,000, down 68%) and is down 13% to 2.6 million in radio reach.

Kate Bush’s 1985 classic “Running Up That Hill (A Deal With God)” rebounds 9-6 on the Hot 100, after reaching No. 4, fueled by its sync in Netflix’s Stranger Things, as it logs a fourth week each atop the multi-metric Hot Rock & Alternative Songs, Hot Rock Songs and Hot Alternative Songs charts.

Beyoncé’s “Break My Soul” bursts 15-7 on the Hot 100, following its first full week of tracking (June 24-30, after its arrival on Tidal at 9 p.m. ET June 20 and its wide release three hours later). It soars 17-8 on Streaming Songs (16.6 million, after logging 14 million June 20-23) and enters Radio Songs at No. 28 (23 million, following 10.7 million in its first three-plus days), while falling to No. 4 on Digital Song Sales after it opened at No. 1 (11,000, down from 22,000).

Beyoncé banks her landmark 20th solo Hot 100 top 10 and first since Megan Thee Stallion’s “Savage,” on which she’s featured, became her seventh No. 1 in May 2020. Beyoncé notches her first top 10 in a lead role since “Formation” debuted and peaked at No. 10 in May 2016.

Here’s an updated rundown of the elite 23 artists with 20 or more Hot 100 top 10s, dating to the chart’s Aug. 4, 1958, inception:

Most Billboard Hot 100 Top 10s:

• 58, Drake
• 38, Madonna
• 34, The Beatles
• 31, Rihanna
• 30, Michael Jackson
• 30, Taylor Swift
• 28, Elton John
• 28, Mariah Carey
• 28, Stevie Wonder
• 27, Janet Jackson
• 26, Justin Bieber
• 25, Elvis Presley (with his career having predated the Hot 100’s start)
• 25, Lil Wayne
• 23, Whitney Houston
• 23, Paul McCartney
• 23, The Rolling Stones
• 22, Eminem
• 22, Jay-Z
• 20, Beyoncé
• 20, Chicago
• 20, Nicki Minaj
• 20, The Supremes
• 20, Ye

Beyoncé first appeared in the Hot 100’s top 10 as a soloist when Jay-Z’s “’03 Bonnie & Clyde,” on which she’s featured, rose 11-8 on the Dec. 7, 2002, tally.

Meanwhile, Beyoncé now has twice as many top 10s as Destiny’s Child, the group in which she broke through: the act notched 10 top 10s (including four No. 1s) in 1998-2005.

Also impressively, Beyoncé joins select company among artists with at least 20 solo top 10s and 10 as a member of a group. The exclusive club, of which she’s the first female member: Paul McCartney, with 23 solo top 10s (including his work with Wings), in addition to 34 with The Beatles; Michael Jackson, with 30 solo top 10s along with 11 as a member of the Jackson 5/Jacksons; and, now, Beyoncé (20 solo, 10 with Destiny’s Child).

“Break My Soul” concurrently becomes Beyoncé’s first No. 1 on the multi-metric Hot Dance/Electronic Songs chart (which began in 2013).

Further, “Break My Soul,” the lead single from Beyoncé’s album Renaissance, due July 29, contains elements of Robin S.’s house classic “Show Me Love,” co-written and -produced by Allen George and Fred McFarlane. The latter two talents receive songwriting credit on Beyoncé’s latest and rank in the Hot 100’s top 10 as writers for the first time since “Show Me Love” hit No. 5 in June 1993.

Bad Bunny and Chencho Corleone’s “Me Porto Bonito” pushes 11-8 on the Hot 100, after hitting No. 7, as it tops the multi-metric Hot Latin Songs chart for a seventh week.

Glass Animals’ “Heat Waves” rises 10-9 on the Hot 100, following five weeks at No. 1. It adds its 76th week on the chart, tying for the fifth-longest run in the list’s history (and is the only one of those hits to have ranked in the top 10 at the time of its 76th 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
• 79, “Sail,” AWOLNATION, No. 17, Oct. 12, 2013
• 77, “Levitating,” Dua Lipa, No. 2, May 22, 2021
• 76, “Heat Waves,” Glass Animals, No. 1 (five weeks), beginning March 12, 2022
• 76, “I’m Yours,” Jason Mraz, No. 6, Sept. 20, 2008

Rounding out the Hot 100’s top 10, Joji’s “Glimpse of Us” backtracks to No. 10 from its No. 8 high. Still, the ballad flies by 208% to 1.8 million in radio airplay audience (and enters Pop Airplay at No. 33).

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated July 9), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (July 6).

Source: billboard.com