The song jumps from No. 5, besting its prior No. 2 high.

Megan Thee Stallion‘s “Savage,” featuring Beyoncé, bounds from No. 5 to No. 1 on the Billboard Hot 100 songs chart. The track, which previously reached a No. 2 high after the arrival of its Beyoncé remix, becomes Megan Thee Stallion’s first Hot 100 leader and Beyoncé’s seventh.

Plus, DaBaby‘s “Rockstar,” featuring Roddy Ricch, reaches the Hot 100’s top five, rising 8-4, and hits No. 1 on the Streaming Songs chart.

Let’s run down the top 10 of the newest Hot 100, which blends all-genre U.S. streaming, radio airplay and sales data. All charts (dated May 30) will update on Billboard.com tomorrow (May 27).

“Savage,” released on 1501 Certified/300 Entertainment, is the 1,102nd No. 1 in the Hot 100’s 61-year history.

Here’s a deeper look at the song’s Hot 100 coronation.

No. 1 in sales: “Savage” concurrently climbs 4-1 on the Digital Song Sales chart, up 55% to 30,000 downloads sold in the week ending May 21, according to Nielsen Music/MRC Data, good for the Hot 100’s top Sales Gainer award.

The song was on sale in a variety of physical/digital combination offerings during the tracking week, including autographed CD and vinyl copies put up for purchase in Megan Thee Stallion’s webstore beginning May 15. Consumers could purchase CD and vinyl singles, each with a digital download; the download would be sent to consumers upon purchase, with physical versions due to arrive at a later date.

Megan Thee Stallion earns her first Digital Song Sales No. 1, while Beyoncé adds her eighth (the eighth-best total in the chart’s archives).

“Savage” holds at No. 2 on Streaming Songs with 30.5 million U.S. streams, down 8%, in the week ending May 21. The track led the list dated May 16, after its Beyoncé remix arrived April 29; contributing to its latest weekly total, a new animated video for the song premiered May 21.

The track rises 11-8 on the Radio Songs chart with 53.7 million audience impressions in the week ending May 24, becoming Megan Thee Stallion’s first top 10 and Beyoncé’s 18th (breaking her out of a seven-way tie for the fifth-most top 10s in the chart’s history).

Beyoncé No. 1 in the ’00s, ’10s & ‘20s: Beyoncé is the second artist to have topped the Hot 100 in the 2000s, ’10s and ’20s, following Mariah Carey, who, with “All I Want for Christmas Is You” in January, became the first artist to have ranked at No. 1 in four distinct decades (1990s, 2000s, ’10s and ’20s).

Beyoncé becomes the 21st artist with at least seven Hot 100 No. 1s. Here is a recap of her leaders:

Title, Date Reached No. 1
“Crazy in Love,” feat. Jay-Z, July 12, 2003
“Baby Boy,” feat. Sean Paul, Oct. 4, 2003
“Check On It,” feat. Slim Thug, Feb. 4, 2006
“Irreplaceable,” Dec. 16, 2006
“Single Ladies (Put a Ring on It),” Dec. 13, 2008
“Perfect,” Ed Sheeran feat. Beyoncé, Dec. 23, 2017
“Savage,” Megan Thee Stallion feat. Beyoncé, May 30, 2020

Of course, Beyoncé also appeared at No. 1 on the Hot 100 as a member of Destiny’s Child, which notched four leaders in 1999-2001: “Bills, Bills, Bills” (1999); “Say My Name” (2000); “Independent Women Part I” (2000); and “Bootylicious” (2001).

Looking at both group and solo chart appearances, Beyoncé is the only act other than Carey to have ranked at No. 1 on the Hot 100 in four separate decades.

Women rule, again: Megan Thee Stallion (born Megan Jovon Ruth Pete) and Beyoncé combine for the seventh Hot 100 No. 1 credited to two or more women (and no other billed acts), and the second in three weeks, after Doja Cat’s “Say So,” featuring Nicki Minaj. Notably, 2020 is the first year with two such leaders.

Here’s an updated list of every Hot 100 No. 1 exclusively by multiple women soloists:

Title, Artists, Weeks at No. 1, Date Reached No. 1
“Savage,” Megan Thee Stallion feat. Beyoncé, one (to date), May 30, 2020
“Say So,” Doja Cat feat. Nicki Minaj, one, May 16, 2020
“Fancy,” Iggy Azalea feat. Charli XCX, seven, June 7, 2014
“S&M,” Rihanna feat. Britney Spears, one week, April 30, 2011
“Lady Marmalade,” Christina Aguilera, Lil’ Kim, Mya & P!nk, five, June 2, 2001
“The Boy Is Mine,” Brandy & Monica, 13, June 6, 1998
“No More Tears (Enough Is Enough),” Barbra Streisand & Donna Summer, two, Nov. 24, 1979

4 weeks, 4 new No. 1s: The last four weeks have seen four songs each spend a first week at No. 1 on the Hot 100, as “Savage” follows Ariana Grande and Justin Bieber’s “Stuck With U,” which debuted atop the May 23-dated chart (and this week drops to No. 13); Doja Cat’s “Say So,” featuring Minaj (6-1, May 16); and The Scotts, Travis Scott & Kid Cudi’s “The Scotts” (No. 1 debut, May 9).

The turnover at the top is the most for songs tallying their first weeks at No. 1 in three years (and the last likewise four-week run also found Bieber on top, with two songs). In May 2017, these four titles hit No. 1 over four weeks: Kendrick Lamar’s “Humble.” (May 6); Bruno Mars’ “That’s What I Like” (May 13); DJ Khaled’s “I’m the One,” featuring Bieber, Quavo, Chance the Rapper and Lil Wayne (May 20); and Luis Fonsi and Daddy Yankee’s “Despacito,” featuring Bieber (May 27).

Hot 300: “Savage” is the second Hot 100 No. 1 for 300 Entertainment. The label first led via Migos’ “Bad and Boujee,” featuring Lil Uzi Vert, for three weeks beginning in January 2017.

“Savage” at the summit: The word “savage” appears in a Hot 100-topping song title for the first time, although two artists with “savage” in their names have reigned. Rapper 21 Savage led in 2017 as featured on Post Malone’s “Rockstar,” after pop duo Savage Garden ruled with two ballads, “Truly Madly Deeply” in 1998 and “I Knew I Loved You” in 1999.

No. 1 Hip-Hop, Rap: “Savage” hits No. 1 on Hot R&B/Hip-Hop Songs and returns for a second week atop Hot Rap Songs, both of which employ the same multi-metric formula as the Hot 100.

Megan Thee Stallion scores her first Hot R&B/Hip-Hop Songs No. 1 and Beyoncé banks her ninth, and first since “7/11” in December 2014.

Doja Cat’s “Say So” holds at No. 2 on the Hot 100. It likewise keeps at No. 2 on Radio Songs (78.1 million); falls 2-5 on Digital Song Sales (16,000, down 43%); and is steady at No. 5 on Streaming Songs (24.3 million, down 7%). “Say So” spends a third week at No. 1 on Hot R&B Songs.

(After two weeks of Minaj showing as a featured artist on “Say So” on the Hot 100 and other charts that utilize the same methodology, only Doja Cat is now listed, as the original version, without Minaj, is now driving the majority of overall activity for the song; the change does not affect any of Minaj’s achievements on those charts the past two weeks, and she continues not to be credited on the song on any airplay charts, as the vast majority of the song’s airplay is still for the original version.)

The Weeknd’s “Blinding Lights” rebounds 4-3 on the Hot 100, after four weeks at the summit. It tops Radio Songs for a seventh week, with 89 million in audience.

DaBaby’s “Rockstar,” featuring Roddy Ricch, enters the Hot 100’s top five, charging 8-4, and hits No. 1 on Streaming Songs with an 8% gain to 34.3 million streams. It dips 6-10 on Digital Song Sales, although with a 12% gain to 12,000 sold, while sporting 13.5 million in radio reach.

DaBaby earns his first top five Hot 100 hit, among two top 10s, and bests his prior No. 7 high, set by his debut entry “Suge” last July. He achieves his first Streaming Songs No. 1.

Roddy Ricch adds his second top five Hot 100 hit and second Streaming Songs leader, after “The Box” topped the former chart for 11 weeks and the latter for 13 frames.

Drake’s “Toosie Slide” rises 6-5 on the Hot 100, following its one-week reign, and Future’s “Life Is Good,” featuring Drake, returns to the top 10 (13-6), after peaking at No. 2 for eight weeks. The latter vaults 10-3 on Streaming Songs (28.4 million, up 33%), and wins the Hot 100’s top Streaming Gainer award, as Future’s new album, High Off Life (on which the song is included), launches at No. 1 on the Billboard 200.

Rounding out the Hot 100’s top 10, Roddy Ricch’s “The Box” repeats at No. 7; Dua Lipa’s “Don’t Start Now” lifts 9-8, after peaking at No. 2; Justin Bieber’s “Intentions,” featuring Quavo, climbs 11-9, after reaching No. 8; and Post Malone’s “Circles” holds at No. 10, following its three-week command, as it logs a record-extending 38th week in the top 10.

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

Source: billboard.com

Plus: Polo G’s “The Goat” debuts at No. 2, Jason Isbell and The 400 Unit’s “Reunions” surges into top 10 after wide release.

Future flies in at No. 1 on the Billboard 200 albums chart with his seventh chart-topper, as High Off Life enters at No. 1. The album, which was released via Freebandz/Epic Records on May 15, earned 153,000 equivalent album units in the U.S. in the week ending May 21, according to Nielsen Music/MRC Data — Future’s biggest week, in terms of units, for a solo album.

Of High Off Life’s first-week units, 16,000 are in album sales, while nearly all of the remaining units are from streaming activity.

Also in the new top 10: Polo G’s The Goat bows at No. 2 with 99,000 units, and Jason Isbell and The 400 Unit’s Reunions jumps from No. 149 to No. 9 after its first week of wide release.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new May 30-dated chart (where High Off Life debuts at No. 1) will be posted in full on Billboard‘s website on May 27 (one day later than usual, owed to the Memorial Day holiday on May 25 in the U.S.).

Of High Off Life’s starting sum of 153,000 equivalent album units, SEA units comprise 134,000 (equating to 186.3 million on-demand streams of the set’s 21 tracks in the week ending May 21), album sales total 16,000 and TEA units equal a little more than 2,000. Most of the album’s 16,000 in sales are from 17 merchandise/album bundles and two signed physical format/digital album configurations sold through Future’s official webstore.

High Off Life’s overall start of 153,000 units also marks the rapper’s biggest week in terms of units earned, for a solo album, surpassing the 151,000-unit launch of DS2 in August 2015 at No. 1. (Future has logged one larger week, by way of his joint album with Drake, What a Time to Be Alive, which bowed at No. 1 with 376,000 in October of 2015.)

Prior to the latest Billboard 200, Future hit No. 1 with Future HNDRXX Presents: The WIZRD (in 2019), HNDRXX, a self-titled album (both in 2017), Evol (2016), What a Time to Be Alive and DS2 (both in 2015).

At No. 2 on the new Billboard 200, Polo G logs his highest charting album and best week in terms of units earned, as The Goat debuts with 99,000 equivalent album units earned. The Goat beats Polo G’s previous high, when his only other charting effort, Die a Legend, debuted and peaked at No. 6 in June 2019 with 38,000 units earned in its first week.

The Goat’s start of 99,000 units is driven by 85,000 SEA units (totaling 129.4 million in on-demand streams of the set’s songs), 14,000 in album sales, and less than 1,000 in TEA units. Like Future’s new album, The Goat also sees most of its 14,000 in album sales derived from merchandise/album bundles (22 in total) and two signed physical format/digital album configurations available via Polo G’s official webstore.

Lil Baby’s former No. 1 My Turn climbs one spot to No. 3 on the new Billboard 200, with 65,000 equivalent album units earned (down 11%), Drake’s Dark Lane Demo Tapes dips from No. 3 to No. 4 with 58,000 units (down 27%) and DaBaby’s former chart-topper Blame It On Baby rises 6-5 with 44,000 units (down 3%).

Three former leaders are up next on the chart, as Lil Uzi Vert’s Eternal Atake ascends 8-6 with 39,000 units (down 6%), The Weeknd’s After Hours lifts 9-7 with 38,000 units (down 6%) and Post Malone’s Hollywood’s Bleeding rises 10-9 with 37,000 units (up 2%).

Jason Isbell and The 400 Unit’s Reunions rushes to the top 10, as the album vaults from No. 149 to No. 9 in its second chart week — and after its first week of wide availability. The set earned 35,000 equivalent album units — up 388%. A week ago, the album arrived on the list with 7,000 units, all from CD and vinyl album sales, after the album was released a week early on May 8 to independent music stores. The set jumps into the top 10 after going wide to all retailers, and reaching streaming services.

Reunions is the third top 10 for singer-songwriter Isbell, who previously visited the region with The Nashville Sound (with The 400 Unit, No. 4 in 2017) and Something More Than Free (No. 6 in 2015).

Closing out the new top 10 is NAV’s Good Intentions, which falls from No. 1 to No. 10 in its second week, with just under 35,000 equivalent album units (down 74%).

Source: billboard.com

Plus, 6ix9ine’s “Gooba” bows at No. 3 and crowns the Streaming Songs chart.

Ariana Grande and Justin Bieber‘s “Stuck With U” debuts at No. 1 on the Billboard Hot 100 songs chart. The duet launches as Grande’s third Hot 100 leader and Bieber’s sixth, and their first together.

Notably, Grande and Bieber each make their third debut at No. 1 on the Hot 100, joining Mariah Carey and Drake as the only artists with that many starts at the summit.

Plus, 6ix9ine’s “Gooba” enters the Hot 100 at No. 3, marking his second top 10 and tying his best placement. The track also opens atop the Streaming Songs and Hot Rap Songs charts, beginning as the rapper’s first No. 1 on each ranking.

Let’s run down the top 10 of the newest Hot 100, which blends all-genre U.S. streaming, radio airplay and sales data. All charts (dated May 23) will update on Billboard.com tomorrow (May 19).

“Stuck With U,” released at midnight ET on May 8 on Silent/Raymond Braun/SchoolBoy/Republic/Def Jam, begins as the 1,101st No. 1 in the Hot 100’s 61-year history, and the 38th to debut at the summit.

“We just wanted to make something fun that also helps and makes people feel, I think, less alone, or be hopefully somewhat uplifting,” Grande told Apple Music’s Zane Lowe May 13 of the song, whose streams and sales partially benefit the First Responders Children’s Fund amid the coronavirus pandemic. “I think it’s also a really, literally, isolating time for people mentally. So, we wanted to put music out, because music is the thing that makes people feel good. It’s the thing that speaks most to people’s spirits and we just wanted to lift them.”

Here’s a deeper look at the song’s arrival atop the Hot 100.

No. 1 in sales: “Stuck With U” starts at No. 1 on the Digital Song Sales chart with 108,000 downloads sold in the week ending May 14, according to Nielsen Music/MRC Data.

The song was on sale in a variety of physical/digital combination offerings during the tracking week, including copies autographed by Grande and Bieber. Consumers could purchase cassette, CD and vinyl singles, each with a digital download; the download would be sent to consumers upon purchase, with physical versions due to arrive at a later date.

The track is the first to crack the 100,000-sold barrier in a single week in over a year, since Taylor Swift’s “Me!,” featuring Brendon Urie, soared in with 193,000 (May 11, 2019), also enhanced by a physical/digital retail model.

Grande earns her sixth Digital Song Sales No. 1, while Bieber adds his 12th. He passes Drake (11) for the most among male artists and claims a solo share of the third-best sum among all acts, after Swift (19) and Rihanna (14).

Top 5 in streaming, Airplay building: “Stuck With U” opens at No. 4 on Streaming Songs with 28.1 million U.S. streams in the week ending May 14.

The track bounds 43-33 on the Radio Songs chart with 26.3 million audience impressions in the week ending May 17, following its first full week of availability. Among format-specific airplay charts, It jumps 25-19 on Adult Pop Songs and 28-23 on Pop Songs and debuts at No. 28 on Adult Contemporary and No. 38 on Rhythmic Songs.

Grande’s third Hot 100 No. 1, Bieber’s sixth: Grande previously topped the Hot  100 with the first two singles from her 2019 album Thank U Next: the title track, for seven weeks beginning in November 2018, and “7 Rings,” for eight weeks starting in February 2019.

Bieber made his first five trips to No. 1 on the Hot 100 in 2015-17, with “What Do You Mean?” (one week, September 2015); “Sorry” (three weeks, January-February 2016); “Love Yourself” (two weeks, February 2016); as featured, with Quavo, Chance the Rapper and Lil Wayne, on DJ Khaled’s “I’m the One” (one week, May 2017); and as featured on Luis Fonsi and Daddy Yankee’s “Despacito” (16 weeks, May-September 2017).

Bieber becomes the 25th artist in the Hot 100’s history with at least six No. 1s.

Third No. 1 debut each: Grande and Bieber debut at No. 1 on the Hot 100 for a third time each, joining Mariah Carey and Drake as the only artists with that many chart-topping starts. Grande, meanwhile, is the only artist to date whose first three leaders have all entered at No. 1, as “Stuck With U” follows “Thank U Next” and “7 Rings” in having premiered at the pinnacle.

Bieber previously began at No. 1 with “What Do You Mean?” and “I’m the One.”

Carey achieved her three No. 1 bows in 1995-97, while Drake added his third, “Toosie Slide,” on the April 20-dated chart.

“Stuck” together: “Stuck With U” is the third female-male duet (with both billed as lead artists) to top the Hot 100 in just over a year, following Shawn Mendes and Camila Cabello’s “Señorita,” which led the Aug. 31, 2019-dated list, and Lady Gaga and Bradley Cooper’s “Shallow” (March 9, 2019). Plus, Ed Sheeran’s “Perfect,” with Beyoncé, hit No. 1 in December 2017, powered by its duet remix. Prior to “Perfect,” only two female-male No. 1s (with both acts as leads) had led since the start of the 2000s — both involving Alicia Keys).

Braun’s first No. 1 as a writer: Grande and Bieber co-wrote “Stuck With U” with Freddy Wexler, Gian Michael Stone, Skyler Stonestreet, Whitney Phillips and Scott “Scooter” Braun; Stone solely produced the song.

Grande and Bieber have co-penned each of their respective three and six Hot 100 No. 1s. Stone, meanwhile, scores his second No. 1 as a co-writer, following Maroon 5’s seven-week 2018 leader “Girls Like You,” featuring Cardi B. “Stuck With U” is Stone’s first No. 1 as a producer.

Wexler, Stonestreet and Phillips each achieve their first Hot 100 No. 1 as writers, as does Braun, who is, of course, more famously known as Grande and Bieber’s (and other artists’) manager, among other entrepreneurial endeavors. He boasts one other co-writing credit on the Hot 100: the title cut of Bieber’s album Purpose reached No. 43 in December 2015.

More News: “Stuck With U” is the third Hot 100 No. 1 with “stuck” in its title, following Elvis Presley’s “Stuck on You,” with The Jordanaires (four weeks, April-May 1960), and Huey Lewis & The News’ “Stuck With You” (three weeks, September-October 1986).

“Stuck With U” and “Stuck With You” mark the second pair of Hot 100 No. 1s that share a song title but with slightly different spellings. Color Me Badd’s “All 4 Love” led for a week in January 1992, while Bryan Adams, Rod Stewart and Sting’s “All for Love” ruled for three weeks in January-February 1994.

A week after soaring from No. 6 to No. 1 on the Hot 100, Doja Cat’s “Say So,” featuring Nicki Minaj, drops to No. 2. It also falls to No. 2 after a week atop Digital Song Sales (29,000, down 57%); holds at No. 2 on Radio Songs (100.7 million, up 6%); and slips 4-5 on Streaming Songs (26.2 million, down 14%).

“Say So” spends a second week at No. 1 on the Hot R&B/Hip-Hop Songs and on Hot R&B Songs charts, both of which employ the same multi-metric formula as the Hot 100.

6ix9ine’s “Gooba” enters the Hot 100 at No. 3, as it launches as his first No. 1 on the Streaming Songs chart with 55.3 million U.S. streams, following its May 8 release. The song is just the third non-holiday title to reach that weekly streaming level this year, following Roddy Ricch’s “The Box” and Drake’s “Toosie Slide.”

“Gooba” starts at No. 3 on Digital Song Sales with 24,000 sold (and was available on May 14 in a CD/download combination). It also drew 172,000 in radio reach in the tracking week.

The rapper adds his second Hot 100 top 10 and ties best career rank. “FEFE,” featuring Minaj and Murda Beatz, reached No. 3 in August 2018. “Gooba” concurrently crowns the multi-metric Hot Rap Songs chart upon its debut, marking 6ix9ine’s first No. 1 on the ranking.

As for “Stuck With U” and “Gooba” entering the Hot 100 simultaneously, the chart boasts two debuts in the top three in the same week for the first time in four-and-a-half years, since Adele’s “Hello” and Bieber’s “Sorry” started at Nos. 1 and 2, respectively, on Nov. 14, 2015.

The Weeknd’s “Blinding Lights” descends 3-4 on the Hot 100, after four weeks on top. It rules Radio Songs for a sixth week, with 114.6 million audience impressions, essentially even week-over-week. It also becomes his first No. 1 on the Adult Pop Songs airplay survey.

Megan Thee Stallion’s “Savage,” featuring Beyoncé, retreats to No. 5 on the Hot 100 a week after rising to its No. 2 high, while claiming top Airplay Gainer honors (61.7 million, up 21%) for a third consecutive week.

Drake’s “Toosie Slide” descends 4-6 on the Hot 100, following its one-week reign; Roddy Ricch’s “The Box” drops 5-7, after it dominated for 11 weeks; and DaBaby’s “Rockstar,” featuring Ricch, hits a new high at No. 8, lifting from No. 9, while winning the top Streaming Gainer nod (31.7 million, up 12%).

Rounding out the Hot 100’s top 10, Dua Lipa’s “Don’t Start Now” falls 6-9, after peaking at No. 2, and Post Malone’s “Circles” backtracks 8-10, following its three-week rule, as it logs a record-extending 37th week in the top 10.

Find out more Hot 100 news on Billboard.com this week, and, for all chart news, you can listen (and subscribe) to Billboard‘s Pop Shop Podcast and This Week in Billboard News podcast and follow @billboard and @billboardcharts on both Twitter and Instagram. And again, be sure to visit Billboard.com tomorrow (May 19), when all charts, including the Hot 100 in its entirety, will refresh.

Source: billboard.com

Plus: Kehlani scores highest charting album yet, Lil Durk debuts in top five, and Bad Bunny’s surprise album starts in top 10.

NAV nabs his second No. 1 album on the Billboard 200 chart, as Good Intentions starts atop the tally. The album was released on May 8 via XO/Republic Records, and earned 135,000 equivalent album units in the week ending May 14, according to Nielsen Music/MRC Data. Of its total starting unit sum, album sales comprise over half of that figure — 73,000, with nearly all of the sales driven by merchandise/album bundles sold via NAV’s official webstore.

Also making news in the top 10: Kehlani tallies her highest charting and best week ever in units earned, as It Was Good Until It Wasn’t starts at No. 2 (83,000 units), Lil Durk’s Just Cause Y’all Waited 2 debuts at No. 5 (57,000) and Bad Bunny’s surprise release Las Que No Iban a Salir enters at No. 7 (42,000).

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new May 23-dated chart (where Good Intentions debuts at No. 1) will be posted in full on Billboard‘s website on May 19.

NAV’s Good Intentions follows the rapper-singer’s last release, Bad Habits, which landed him his first No. 1 in April of 2019. It launched with 82,000 units earned in its first week.

Of Good Intentions’ first-week unit figure of 135,000, album sales comprise 73,000, SEA units total 62,000 (equaling 84.8 million on-demand streams of the album’s songs during the tracking week) and under 1,000 are in TEA units.Nearly all of Good Intentions’ album sales were fueled by merchandise/album bundles. On the final day of the tracking week (May 14), NAV’s webstore had 100 different merchandise/album bundles available associated with the Good Intentions album. In addition, there were 18 physical format/digital album offerings (six CDs, six vinyl LPs and six cassettes).

Good Intentions also profited from a mid-week reissue, growing its original 18-track album to a total of 32 tracks. The original 18-track album was released on May 8 and features guests such as Young Thug, Travis Scott, Future and Lil Uzi Vert. Then, on May 10, NAV issued a deluxe edition of the album, adding 14 new cuts, including tracks with Quavo and Lil Durk.

Good Intentions was initially forecasted to earn over 80,000 units in its first week, but its sturdy merch/album bundle sales shot that projection north of 110,000 by Thursday (May 14). Both figures underestimated the allure of NAV’s merchandise/album bundle sales, which pumped the set’s final overall figure to 135,000.

Good Intentions is the second No. 1 album for XO Records in 2020, following The Weeknd’s After Hours. The latter opened atop the chart dated April 4 with the year’s largest week earned for an album, 444,000 units (with 275,000 of that sum in album sales). Like Good Intentions, the After Hours album also had merchandise/album bundles on its side in its first week (more than 80 by the end of its first week of availability).

At No. 2 on the new Billboard 200, Kehlani achieves her highest charting album and biggest week ever in total units earned, as It Was Good Until It Wasn’t debuts with 83,000 equivalent album units. Of that sum, 56,000 are in SEA units (equating to 74.68 million on-demand streams of the album’s songs), 25,000 are in album sales (aided by more than 20 merchandise/album bundles) and 1,000 in TEA units.

It Was Good Until It Wasn’t surpasses the singer-songwriter’s previous high, logged when her last full-length studio set, SweetSexySavage, debuted and peaked at No. 3 (chart dated Feb. 18, 2017 with 58,000 units). The new album is her third top 10 effort, as she also hit No. 9 with the While We Wait mixtape in 2019 (March 9).

Drake’s Dark Lane Demo Tapes slips from No. 2 to No. 3 in its second week on the list, earning 79,000 units (down 64 percent). Of that sum, 77,000 are in SEA units (equaling 105.5 million on-demand streams), nearly 2,000 are in album sales and 1,000 are in TEA units. The 14-track album has no merchandise/album bundles available, nor a physical format album on the market. It’s charting solely from streaming activity and a download album available at traditional digital retailers (iTunes, Amazon, etc.).

When Dark Lane Demo Tapes opened at No. 2 a week ago with 223,000 units, it was runner-up to Kenny Chesney’s Here and Now with 233,000 units (powered by sales driven from a concert ticket/album sale redemption offer with his upcoming tour). Here and Now falls from No. 1 to No. 38 in its second week, with 15,000 units (down 93 percent).

Back in the new top 10, Lil Baby’s former No. 1 My Turn slips from No. 3 to No. 4 with 72,000 equivalent album units earned (down 28 percent).

Rapper Lil Durk scores his second top five-charting album, and best week ever in units earned, as Just Cause Y’all Waited 2 enters at No. 5 with 57,000 equivalent album units earned. Of that sum, 53,000 are in SEA units (equating to 74.67 million on-demand streams of the set’s songs in its first week), 3,000 are in album sales and 1,000 are in TEA units. Lil Durk previously reached the top 10 with Love Songs 4 the Streets 2, which debuted and peaked at No. 4 in August of 2019 with his previous high-water mark for units: 44,000.

DaBaby’s previous No. 1 Blame It on Baby falls from No. 4 to No. 6 with 45,000 equivalent album units (down 7 percent).

Bad Bunny achieves his third top 10 album in less than a year, as his surprise release Las Que No Iban a Salir debuts at No. 7 with 42,000 equivalent album units earned. Of that sum, 33,000 are in SEA units (equaling 46.2 million on-demand streams for the set’s 10 songs), 8,000 are in album sales (aided by a small number of merchandise/album bundles) and less than 1,000 are in TEA units.

The new album debuts with less than five days of activity, as the set was surprise-released last Sunday, May 10. Most new albums are released at shortly after midnight on Friday morning each week, the first day of the Nielsen Music/MRC Data tracking week, and also the day that is generally regarded as when new albums are released globally. However, Bad Bunny has yet to drop any of his three solo albums at the normal just-after-midnight on Friday morning time. His two previous solo sets, YHLQMDLG and X 100PRE were released, respectively, late on a Friday night, and on a Monday. His one other charting effort, Oasis, a collaborative set with J Balvin, was released on a Friday morning following tradition.

Bad Bunny’s new album is effectively a compilation of previously unfinished songs. The album title translates to “the ones that weren’t going to be released.” The set includes, amusingly, simple-named songs like “Canción Con Yandel” (translation: “Song With Yandel”) with Yandel, and “Bad Con Nicky” (“Bad With Nicky”) with Nicky Jam.

Las Que No Iban a Salir is Bad Bunny’s third top 10 on the Billboard 200 — and all have come within the last 12 months. It follows YHLQMDLG (No. 2 on March 14, 2020) and Oasis (No. 9 on July 13, 2019). Bad Bunny’s one other charting release, X 100PRE, peaked at No. 11 on the list dated Jan. 12, 2019 (after debuting a week earlier at No. 29).

YHLQMDLG falls out of the top 10 for the first time on the latest Billboard 200, as the set slips from No. 10 to No. 11 with 34,000 units (down 7 percent).

Rounding out the top 10 are a trio of former No. 1s: Lil Uzi Vert’s Eternal Atake (5-8 with 42,000 units; down 7 percent), The Weeknd’s After Hours (6-9 with 40,000 units; down 9 percent) and Post Malone’s Hollywood Bleeding (8-10 with 37,000 units; down 4 percent).

Source: billboard.com

Plus, Megan Thee Stallion’s “Savage,” featuring Beyoncé, rises to No. 2 and Drake ties Madonna for the most Hot 100 top 10s all-time.

Doja Cat’s “Say So,” featuring Nicki Minaj, leaps from No. 6 to No. 1 on the Billboard Hot 100 songs chart, marking each artist’s first leader on the list. The song surges to the top following the arrival of its remix with Minaj.

Notably, Minaj shatters the record for the longest wait for a first Hot 100 No. 1, by total career entries, as “Say So” is her 109th charted title on the tally.

Plus, Megan Thee Stallion‘s “Savage,” featuring Beyoncé, rises from No. 4 to No. 2 on the Hot 100, similarly sparked by Beyoncé having joined on a remix. (Both Minaj and Beyoncé now show on each respective title on the Hot 100 for the first time, following the first full tracking week for the remixes, which drove the majority of overall activity for both songs.)

Additionally, Drake debuts at No. 7 on the Hot 100 with “Pain 1993,” featuring Playboi Carti. Drake notches his milestone 38th top 10, tying Madonna for the most in the Hot 100’s 61-year history.

Let’s run down the top 10 of the newest Hot 100, which blends all-genre U.S. streaming, radio airplay and sales data. All charts (dated May 16) will update on Billboard.com tomorrow (May 12).

“Say So,” released on Kemosabe/RCA Records, becomes the 1,100th No. 1 in the Hot 100’s history. Here’s a deeper look at its coronation.

No. 1 in sales, top 3 in airplay & sales: “Say So” vaults from No. 16 to No. 1 on the Digital Song Sales chart, up 966% to 66,000 downloads sold (a lower number than originally projected) in the week ending May 7, according to Nielsen Music/MRC Data.

Sparking its ascent, the Minaj remix was released at midnight ET May 1. Additionally, an official dance video for the song and a live clip premiered May 2 and 4, respectively.

Meanwhile, the song was on sale in a physical/digital combination offering during the tracking week. Consumers could purchase a vinyl single with a digital download; the download would be sent to consumers upon purchase, with the vinyl version due to arrive at a later date.

“Say So” rises 3-2 on the Radio Songs chart, up 6% to 96.2 million audience impressions in the week ending May 10, and bounds 10-4 on Streaming Songs, up 87% to 30.3 million U.S. streams in the week ending May 7. (The Hot 100’s sales and streaming tracking week runs Friday through Thursday, while the airplay tracking week covers Monday-Sunday.)

(Unlike on the Hot 100, where streaming and sales for the Minaj remix of “Say So” contributed to a majority of the title’s chart points in the tracking week, leading to Minaj being credited for the first time, approximately 90% of the song’s radio airplay was for the original version, so Minaj is not credited as an artist on any airplay rankings.)

Minaj’s record run to No. 1: While Doja Cat rules the Hot 100 with her third Hot 100 entry, Minaj leads with her 109th. That’s the longest that a Hot 100-topping artist has had to wait for a first No. 1, blasting past Justin Bieber, who notched his first with his 47th entry, “What Do You Mean?,” in 2015. (Of course, both Minaj and Bieber have tallied titles in an era in which album cuts, not just properly promoted singles, are eligible to hit the Hot 100, a rule not invoked until 1998, or 40 years after the chart originated. And, this stat covers only artists that have led the Hot 100; the cast of Fox’s Glee, with 207 appearances, for instance, has not earned any No. 1s.)

Minaj first appeared on the Hot 100 dated Feb. 20, 2010, as featured on Lil Wayne’s “Knockout.” Her 10-year and three-month journey to her first No. 1 marks the longest since … just last week, when Kid Cudi made his first trip to the top with “The Scotts” (billed as by The Scotts, Travis Scott and Kid Cudi), wrapping an odyssey of 11 years, three months and a week dating to his first appearance. (This week, “The Scotts” slides to No. 12 in its second frame.)

Minaj also adds her 18th Hot 100 top 10. She previously hit a No. 2 high with “Anaconda” in 2014. Her 109 entries are the most among women in the chart’s history, with “Say So” lifting her into a tie with Elvis Presley for the fourth-most among all acts (with the start of Presley’s career having predated the Hot 100’s inception).

Women rule: Doja Cat (born Amalaratna Zandile Dlamini in Los Angeles) and Minaj combine for the first Hot 100 No. 1 credited to two women in nearly six years, since Iggy Azalea’s “Fancy,” featuring Charli XCX, for seven weeks in June-July 2014.

Only six songs by solo women teaming up have topped the Hot 100. Here’s an updated list:

Title, Artists, Weeks at No. 1, Date Reached No. 1
“Say So,” Doja Cat feat. Nicki Minaj, one (to date), May 16, 2020
“Fancy,” Iggy Azalea feat. Charli XCX, seven, June 7, 2014
“S&M,” Rihanna feat. Britney Spears, one week, April 30, 2011
“Lady Marmalade,” Christina Aguilera, Lil’ Kim, Mya & P!nk, five, June 2, 2001
“The Boy Is Mine,” Brandy & Monica, 13, June 6, 1998
“No More Tears (Enough Is Enough),” Barbra Streisand & Donna Summer, two, Nov. 24, 1979

No. 1 hip-hop, R&B: “Say So” currently hits No. 1 on the Hot R&B/Hip-Hop Songs and on Hot R&B Songs charts. Both rankings employ the same multi-metric formula as the Hot 100. Doja Cat collects her first No. 1 on each chart and Minaj earns her fifth and first, respectively.

On top at pop: “Say So” also reaches No. 1 on the Pop Songs radio airplay chart, which ranks the most-played songs each week on a panel of 167 mainstream top 40 stations. Doja Cat achieves her first Pop Songs No. 1, in her second chart visit. (Again, as noted above, Minaj is not credited as an artist on “Say So” on Pop Songs.)

Purr-fection: Fur-ther, thanks to Doja Cat, a cat-monikered artist leads the Hot 100 at last. Previously, The Pussycat Dolls hit a No. 2 best with “Don’t Cha” (featuring Busta Rhymes) in 2005. (Three artists with “dog” in their names have reigned: Nate Dogg, Snoop Dogg and Three Dog Night.)

As for titles, Harry Chapin’s “Cat’s in the Cradle” topped the Hot 100 in 1974 and Janet Jackson’s “Black Cat” leapt to No. 1 in 1990. (Not to be catty, but no songs with “dog” in their titles have led.)

Megan Thee Stallion’s “Savage,” featuring Beyoncé, climbs 4-2 on the Hot 100. Already the former’s first top 10 on the chart, Beyoncé, now listed as featured on the song, achieves her 19th.

Just as Doja Cat’s “Say So” leaps following the addition of Minaj, “Savage” gains thanks in large part to Beyoncé’s remix. While the Minaj remix of “Say So” was released May 1 and its first full week of availability contributed to the May 1-7 streaming and sales tracking weeks feeding the new, May 16-dated Hot 100, the Beyoncé version of “Savage” arrived April 29, in time for its first two days of streaming and sales activity to impact the May 9-dated Hot 100, on which the song soared 14-4. (A second “Savage” remix, with Major Lazer, was released May 7.)

“Savage” jumps 3-1 on Streaming Songs, up 53% to 42.1 million U.S. streams, becoming Megan Thee Stallion’s first No. 1 on the chart and Beyoncé’s third.

On Digital Song Sales, “Savage” holds at No. 2, gaining by 90% to 50,000 sold. Similar to “Say So,” “Savage” was on sale in physical/digital combination offerings during the tracking week, whereby consumers could purchase any of three vinyl singles with a download; again, the download would go to consumers upon purchase, with vinyl versions set to arrive at a future date.

“Savage” pushes 18-14 on Radio Songs, up 27% to 51.3 million in reach, and hits No. 1 on the multi-metric Hot Rap Songs chart, where Megan Thee Stallion and Beyoncé each earn their first leader.

The Weeknd’s “Blinding Lights” descends to No. 3 on the Hot 100, after four nonconsecutive weeks on top. It rules Radio Songs for a fifth frame, up 4% to 114.5 million audience impressions.

Drake’s “Toosie Slide” drops 3-4 on the Hot 100, following its debut at No. 1; Roddy Ricch’s “The Box” holds at No. 5, after it dominated for 11 weeks; and Dua Lipa’s “Don’t Start Now” lifts 7-6, after reaching No. 2.

As for more Drake, he debuts at No. 7 on the Hot 100 with “Pain 1993,” featuring Playboi Carti. It opens at No. 3 on Streaming Songs with 31 million first-week streams and No. 46 on Digital Song Sales with 3,000 sold. The track is from Drake’s surprise release Dark Lane Demo Tapes, which he announced via an Instagram post a few hours before it dropped May 1; the set debuts at No. 2 on the Billboard 200.

Drake achieves his 38th Hot 100 top 10, matching Madonna for the most in the chart’s history. Madonna held the mark all to herself since November 2002, when “Die Another Day” became her 35th top 10, outpacing The Beatles’ 34. Notably, all 38 of Madonna’s top 10s have been in lead roles; due partly to the collaborative nature of hip-hop, Drake has posted 25 top 10s as a lead and 13 as a featured artist.

After Drake and Madonna, The Beatles rank third with 34 Hot 100 top 10s, followed by Rihanna (31) and Michael Jackson (30).

Meanwhile, Drake makes his record-extending 23rd debut in the Hot 100’s top 10.

Playboi Carti tallies his first Hot 100 top 10, after previously reaching a No. 29 best with “Magnolia” in 2017.

Post Malone’s “Circles” is steady at No. 8 on the Hot 100, following its three-week command, as it logs a record-extending 36th week in the top 10.

DaBaby’s “Rockstar,” featuring Roddy Ricch, rebounds from No. 14 to No. 9 on the Hot 100, equaling its peak first set upon its debut two weeks ago. The collab keeps at No. 5 on Streaming Songs (28.3 million, up 17%) and hikes 13-7 on Digital Song Sales (9,000, up 36%), while gaining by 136% to 5.7 million in airplay audience.

Rounding out the Hot 100’s top 10, Bieber’s “Intentions,” featuring Quavo, descends 9-10, after reaching No. 8.

Find out more Hot 100 news on Billboard.com this week, and, for all chart news, you can listen (and subscribe) to Billboard‘s Pop Shop Podcast and This Week in Billboard News podcast and follow @billboard and @billboardcharts on both Twitter and Instagram. And again, be sure to visit Billboard.com tomorrow (May 12), when all charts, including the Hot 100 in its entirety, will refresh.

Source: billboard.com

Scott follows his virtual Fortnite concert last week.

Travis Scott and Kid Cudi‘s new collaborative single “The Scotts” blasts in at No. 1 on the Billboard Hot 100 songs chart. The song marks Scott’s third Hot 100 leader and Cudi’s first.

Plus, Megan Thee Stallion achieves her first top 10 Hot 100 hit, as “Savage” surges from No. 14 to No. 4 following the arrival of its remix with Beyoncé.

Let’s run down the top 10 of the newest Hot 100, which blends all-genre U.S. streaming, radio airplay and sales data. All charts (dated May 9) will update on Billboard.com tomorrow (May 5).

“The Scotts,” billed as by The Scotts, Travis Scott & Kid Cudi (both artists have Scott in their names, as Kid Cudi’s real name is Scott Mescudi), was released to digital service providers for streaming and purchase on Wicked Awesome/Cactus Jack/Epic Records at midnight ET Friday, April 24.

The song arrives as the 1,099th No. 1 in the Hot 100’s 61-year history, and the 37th to debut at the summit.

No. 1 in streaming & sales: “The Scotts” likewise launches at No. 1 on the Streaming Songs chart, with 42.2 million U.S. streams in the week ending April 30, according to Nielsen Music/MRC Data.

It also bows at No. 1 on Digital Song Sales, with 67,000 downloads sold in the same span (helped by 15 physical configurations available during the tracking week in Scott’s official webstore, where consumers could purchase it on CD, cassette or vinyl along with a digital download; the download would be sent to consumers upon purchase, with physical versions due to arrive in six or more weeks).

The sales sum marks the third-highest for any song so far in 2020, following the debut weeks of BTS’ “On” (86,000; March 7) and Justin Bieber’s “Yummy” (71,000; Jan. 18) (with both songs also having included digital/physical offers in those frames).

“The Scotts” additionally drew 5.5 million in all-format radio airplay audience in the week ending May 3.

Scott tallies his third No. 1 on Streaming Songs and first on Digital Song Sales, while Cudi collects his first leader on each list.

Fueled by Fortnite: Boosting its profile, “The Scotts” served as one of the highlights of Scott’s three-day Astronomical event during Fortnite‘s largest in-game gathering to-date, which began last Thursday night (April 23). Scott teamed with Epic Games for the in-game experience, which featured a virtual version of the rapper and a performance of the track, among other hits of his.

Scott’s third No. 1, Cudi’s first: Scott earns his third Hot 100 No. 1, and second to arrive at the apex, following “Sicko Mode,” which led the list dated Dec. 8, 2018, and “Highest in the Room,” which reigned upon its Oct. 19, 2019, debut.

Kid Cudi achieves his long-awaited first Hot 100 No. 1, after hitting a prior No. 3 high with his first entry, “Day ‘N’ Nite,” in 2009. He most recently reached the chart as a soloist in 2013 and subsequently charted seven titles in June 2018 from his collaborative album with Kanye West, Kids See Ghosts. (All seven tracks were likewise billed as by Kids See Ghosts.)

As Cudi first appeared on the Hot 100 dated May 9, 2009, he ends a wait of exactly 11 years for his first leader, the longest such span since Daddy Yankee took 12 years and nine months from his first charted title in August 2004 to his first leader, “Despacito,” with Luis Fonsi and featuring Bieber, in May 2017.

Start of a new streak: Scott and Kid Cudi end a 35-week stretch of Hot 100 No. 1s by only singularly-billed acts, the longest such streak in over two decades (and one that encompasses Scott’s “Highest in the Room”). The run began after Shawn Mendes and Camila Cabello’s “Señorita” led the Aug. 31, 2019-dated survey.

What’s in a name (in a title)? As “The Scotts,” credited to, again, The Scotts, Travis Scott & Kid Cudi, tops the Hot 100, the song is the latest in a select group of leaders whose titles share the names of acts that recorded them. The club now comprises:

“The Scotts,” The Scotts, Travis Scott & Kid Cudi, 2020
“Crank That (Soulja Boy),” Soulja Boy Tell’em, 2007
“Ice Ice Baby,” Vanilla Ice, 1990
“Human,” Human League, 1986
“Love’s Theme,” Love Unlimited Orchestra, 1974
“Hey Paula,” Paul and Paula, 1963
“The Chipmunk Song,” The Chipmunks with David Seville, 1958-59

No. 1 hip-hop, rap: “The Scotts” currently begins at No. 1 on the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts. (Both rankings employ the same multi-metric formula as the Hot 100.) Scott adds his fourth No. 1 on each chart and Kid Cudi earns his first.

The Weeknd’s “Blinding Lights” descends to No. 2 on the Hot 100 after four nonconsecutive weeks on top. Still, it rules the Radio Songs chart for a fourth frame, with 109.7 million audience impressions, down 1%. The track spends a 10th week at No. 1 on Hot R&B Songs.

Drake’s “Toosie Slide” slips 2-3 on the Hot 100 following its debut at No. 1 three weeks ago, while reaching the Radio Songs top 10 (12-10; 67.9 million, up 16%). Drake notches his 23rd Radio Songs top 10, tying Mariah Carey for the second-most since the chart began in December 1990. Rihanna leads with 29 top 10s (four of which she shares with Drake: “What’s My Name?,” “Take Care,” “Work” and “Too Good”).

Megan Thee Stallion achieves her first Hot 100 top 10, as “Savage” surges 14-4 following the midday, April 29 release of its remix with Beyoncé (a day before the streaming and sales chart tracking week ended). It roars 8-2 on Digital Song Sales (26,000, up 160%), 8-3 on Streaming Songs (26.9 million, up 48%) and 36-18 on Radio Songs (40.5 million, up 52%), sweeping the Hot 100’s top Sales, Streaming and Airplay Gainer awards.

Megan Thee Stallion previously hit a No. 11 Hot 100 high with “Hot Girl Summer,” featuring Nicki Minaj and Ty Dolla $ign, last August.

(Beyoncé is not credited on the Hot 100 as a featured artist on “Savage” as the total chart points for its remix did not outweigh those of the original in the tracking week; artist credit will be reevaluated next week following a first full tracking week for the remix.)

Roddy Ricch’s “The Box” drops 3-5 on the Hot 100, after it reigned for 11 weeks.

Doja Cat’s “Say So” descends to No. 6 from its No. 5 Hot 100 high, although, like “Savage,” it should show gains on next week’s charts following the Friday, May 1, arrival of its remix featuring Minaj.

Dua Lipa’s “Don’t Start Now” falls 4-7 on the Hot 100, after reaching No. 2, and Post Malone’s “Circles” slides 6-8, after notching three weeks at No. 1, as it logs a record-extending 35th week in the top 10.

Rounding out the Hot 100’s top 10, Bieber’s “Intentions,” featuring Quavo, dips to No. 9 from its No. 8 high and Harry Styles’ “Adore You” retreats to No. 10 from its No. 7 peak.

Find out more Hot 100 news on Billboard.com this week, and, for all chart news, you can listen (and subscribe) to Billboard‘s Pop Shop Podcast and This Week in Billboard News podcast and follow @billboard and @billboardcharts on both Twitter and Instagram. And again, be sure to visit Billboard.com tomorrow (May 5), when all charts, including the Hot 100 in its entirety, will refresh.

Source: billboard.com

Hard to believe it’s barely been a year since DaBaby first graced the Billboard Hot 100 with breakout hit “Suge,” eventually peaking at No. 9 on the chart. Since then, he’s become a commercial juggernaut, topping the Billboard 200 albums chart for the first time in October 2019 with sophomore album Kirk — charting all 13 tracks on the Hot 100 in the process.

Half a year later, he returns this week to No. 1 on the Billboard 200 with third album Blame It on Baby — again blanketing the Hot 100 with 12 of its 13 tracks. Though the numbers remain impressive, the album’s 124k in first-week equivalent album units is a bit of a downturn from the 145k moved by Kirk, and critical enthusiasm for the set has also been a little more muted.

Where does DaBaby’s momentum seem to be currently trending? Is his unusually prolific release schedule sustainable? Billboard staffers debate these questions and more below.

1. Blame it on Baby arrives with 124k in first-week equivalent album units — more than enough for an easy No. 1, but short of initial projections, and about 20k under his first-week number for last year’s Kirk. How would you describe DaBaby’s current heat level: Jacuzzi, heated indoor pool, moonlit creek or ice bath?

Josh Glicksman: Heated indoor pool, but that’s only because it’s very unsafe to be sitting in the jacuzzi for such a long period. Elapsed time in the music industry is somewhat analogous to the human years vs. dog years scale at this point — Kirk’s release last September, while only seven months ago in reality, practically feels years ago. It’s unrealistic to expect him to retain bubbling jet status for such a duration. He can crank up the temperature at a moment’s notice, too, and to say he hasn’t done so already this year is simply wrong. Besides, given more than a few recent legal troubles, it’s not the worst idea to take a minor step out of the spotlight.

Carl Lamarre: Heated indoor pool. It’s still an incredible feat to pull anything over 100,000 units in this climate. Despite selling 20K less than Kirk, Baby still had 10-plus records land on the Hot 100 its opening week, with his Roddy Ricch-assisted “ROCKSTAR” leading the pack, debuting at No. 9. Men lie, women lie, numbers don’t, even if the Baby hate-train is loading up on passengers.

Jason Lipshutz: Give him a heated indoor pool with one eye on the adjacent jacuzzi: even if Blame It on Baby’s debut is a slight step down from that of Kirk, it’s still a six-figure No. 1 bow, and that’s never something to sneeze at. Kirk arrived when DaBaby demand (DaMand?) was at a fever pitch, coming off of the recent top 10 hit “Suge” and the explosive “Intro”; given that, and the fact that Blame It on Baby is arriving barely six months later, it’s not surprising at all that there were slightly diminishing commercial returns this time.

Andrew Unterberger: If you just listen to Twitter, it’d be moonlit creek at the warmest. In reality, it’s probably still heated indoor pool: the numbers are still fairly undeniable, and the album is stronger than many give it credit for. But for a guy who spent all of 2019 trending up, up and away, the new decade may be bringing a gradual downturn for DaBaby if he’s not careful.

Christine Werthman: Heated indoor pool. I know lots of people aren’t too stoked about DaBaby’s stylistic repetition on his third album in just over a year, and it’s definitely the weakest of the trio, but we’re still listening. Hate listens count! In my own little echo chamber of the internet, Fiona Apple’s Fetch the Bolt Cutters was making people lose their minds, and that debuted at No. 4. If the Billboard 200 strictly measured fan enthusiasm — or only physical album sales, for that matter — Fetch would’ve whooped Blame it on Baby. But again, the numbers don’t lie. People still care about DaBaby right now, and a No. 1 is a No. 1 is a No. 1. Now hand me my floaties.

2. The album’s “ROCKSTAR,” featuring Roddy Ricch, is the highest of DaBaby’s 14 Hot 100 entries this week, debuting at No. 9. Does it feel more like an enduring hit to you, or a piling up of first-week stats from two of streaming’s most popular newer artists? 

Josh Glicksman: I don’t know that it’ll have an extended stay in the top 10, but to chalk up its high debut to little other than both artists’ streaming prowess doesn’t seem like a fair assessment, either. I’d be pretty surprised if the song doesn’t at least hang around the middle of the chart for a bit. DaBaby knows how to plant a chorus in his listeners’ heads and “ROCKSTAR” is no exception — here’s to hoping this kicks off a wave of harp (I think?) rap. And if I recall correctly, previous songs titled “Rockstar” have fared pretty well on the Hot 100.

Carl Lamarre: It’s tough to say. For me, “ROCKSTAR” along with “DROP” ranks as the top two records on the album. You get a healthy mixture of swagger, star-power, and edge on the former. Plus, Roddy is only a couple weeks removed from his huge 11-week run as the King of the Hot 100 charts after holding down the fort with “The Box.” The song is insanely good, and I’m curious to see if it can stiff-arm the opposition to land Baby his first top-five record.

Jason Lipshutz: For a rapper best known for endlessly piling up bars with little deviation or fatigue, “Rockstar” finds DaBaby expanding his range a bit by adding some melody into the chorus — he does this on “Find My Way” too, but the Roddy Ricch team-up is the stronger overall track. There’s also a ton of commercial interest in Ricch post-“The Box,” so consider “Rockstar” a layup for heavy hip-hop radio rotation and high placement on playlists.

Andrew Unterberger: I’m not super-sold on “ROCKSTAR” yet beyond its star power, though the latter alone is certainly going to get it every opportunity it could ask for in 2020. Still, the outline for a smash is so obvious here that maybe it doesn’t really matter that the definition within the lines isn’t as sharp as it could be — I certainly wouldn’t feel secure betting the under here. I do wish folks would stop spelling “rock star” like it’s actually a single compound word, though.

Christine Werthman: SethInTheKitchen produced this one, and as we saw on Kirk track “iPHONE,” he’s good at laying those thumping, moody R&B foundations. He brings those to “ROCKSTAR” but adds a memorable, daintily picked guitar loop that almost sounds like a harp, giving it some real “Lucid Dreams” vibes. Similarly, DaBaby acts as the subdued foundation here, while Roddy Ricch is the more animated, higher-pitched, Young Thug-ish addition you’ll remember. This is one of the strongest songs on the album, but without a massive hook, a takeaway line or any one-two-punch rhymes, all signs point to the collaboration itself driving those early streams.

3. The most frequently posed question of DaBaby — sometimes on his own hits — is when he’s going to start expanding his flows a little. Is it time for him to make a concerted move away from his signature flow, or is there no need to fix something that isn’t broken?  

Josh Glicksman: If it’s his signature flow, why would he move away from it? Given the constant claims of rappers biting one another’s styles, I don’t see any reason why he’d look to pivot. Clearly, it’s been a winning formula for DaBaby over the past year-plus, so I’d honestly push back on the idea that the flow isn’t even a little bit broken, let alone demonstrably broken. And just because he’s sticking to the familiar style, that doesn’t mean that Blame It on Baby fails to branch out sonically: outside of the title track’s frequent beat switches, throughout the album, he’s playing with different sounds in the chorus more than ever before.

Carl Lamarre: Well, after speaking to Baby last week, his philosophy leans on the latter part of your question: “if ain’t broke, why fix it?” I think Baby can easily change the flow up, as proven on “FIND MY WAY.” It was a smooth attempt to soften his haters’ stance, but at times on the album, he swerves back to his comfort zone. Judging off the criticism, what’s plaguing Baby right now is the case of “listener’s fatigue.” Not only is he pushing out his own releases, but he’s also on every feature imaginable. As searing as his voice and flow are, the key to longevity will be his willingness to one day evolve and take the next step to rap immortality.

Jason Lipshutz: What songs like “Rockstar” and “Find My Way” demonstrate is a willingness from DaBaby to add some pop know-how to his songwriting, as if he’s graduated from just being the guy who can rap circles around the competition and now wants to collect crossover hits (see also: his guest spot on the Camila Cabello hit “My Oh My”). The early returns are positive, and I’d expect DaBaby to persist as a mainstream artist thanks to this subtle flexibility.

Andrew Unterberger: Yeah, I don’t think it’s so much that the flow needs switching up as just… three albums in barely a year’s time is a lot of DaBaby. He actually branches out impressively on a handful of BIOB’s tracks, and we saw on Kirk‘s “INTRO” that there’s depths still to be plumbed with the rapper’s lyrics and performance. His material feels more repetitious than it actually is, just because we’re getting so much of it at once. Not a huge problem, but one that could lead to diminishing returns.

Christine Werthman: In the name of artistic growth, sure, give us something new. But is it a requirement? Of course not. He’s got a No. 1 album, and in this time of pandemic, aren’t people gravitating toward the familiar anyway? That said, if he puts out a fourth album and doesn’t switch it up, the jig may be up. Or it will do exactly what this album did and go to No. 1.

2. The album’s “ROCKSTAR,” featuring Roddy Ricch, is the highest of DaBaby’s 14 Hot 100 entries this week, debuting at No. 9. Does it feel more like an enduring hit to you, or a piling up of first-week stats from two of streaming’s most popular newer artists? 

Josh Glicksman: I don’t know that it’ll have an extended stay in the top 10, but to chalk up its high debut to little other than both artists’ streaming prowess doesn’t seem like a fair assessment, either. I’d be pretty surprised if the song doesn’t at least hang around the middle of the chart for a bit. DaBaby knows how to plant a chorus in his listeners’ heads and “ROCKSTAR” is no exception — here’s to hoping this kicks off a wave of harp (I think?) rap. And if I recall correctly, previous songs titled “Rockstar” have fared pretty well on the Hot 100.

Carl Lamarre: It’s tough to say. For me, “ROCKSTAR” along with “DROP” ranks as the top two records on the album. You get a healthy mixture of swagger, star-power, and edge on the former. Plus, Roddy is only a couple weeks removed from his huge 11-week run as the King of the Hot 100 charts after holding down the fort with “The Box.” The song is insanely good, and I’m curious to see if it can stiff-arm the opposition to land Baby his first top-five record.

Jason Lipshutz: For a rapper best known for endlessly piling up bars with little deviation or fatigue, “Rockstar” finds DaBaby expanding his range a bit by adding some melody into the chorus — he does this on “Find My Way” too, but the Roddy Ricch team-up is the stronger overall track. There’s also a ton of commercial interest in Ricch post-“The Box,” so consider “Rockstar” a layup for heavy hip-hop radio rotation and high placement on playlists.

Andrew Unterberger: I’m not super-sold on “ROCKSTAR” yet beyond its star power, though the latter alone is certainly going to get it every opportunity it could ask for in 2020. Still, the outline for a smash is so obvious here that maybe it doesn’t really matter that the definition within the lines isn’t as sharp as it could be — I certainly wouldn’t feel secure betting the under here. I do wish folks would stop spelling “rock star” like it’s actually a single compound word, though.

Christine Werthman: SethInTheKitchen produced this one, and as we saw on Kirk track “iPHONE,” he’s good at laying those thumping, moody R&B foundations. He brings those to “ROCKSTAR” but adds a memorable, daintily picked guitar loop that almost sounds like a harp, giving it some real “Lucid Dreams” vibes. Similarly, DaBaby acts as the subdued foundation here, while Roddy Ricch is the more animated, higher-pitched, Young Thug-ish addition you’ll remember. This is one of the strongest songs on the album, but without a massive hook, a takeaway line or any one-two-punch rhymes, all signs point to the collaboration itself driving those early streams.

3. The most frequently posed question of DaBaby — sometimes on his own hits — is when he’s going to start expanding his flows a little. Is it time for him to make a concerted move away from his signature flow, or is there no need to fix something that isn’t broken?  

Josh Glicksman: If it’s his signature flow, why would he move away from it? Given the constant claims of rappers biting one another’s styles, I don’t see any reason why he’d look to pivot. Clearly, it’s been a winning formula for DaBaby over the past year-plus, so I’d honestly push back on the idea that the flow isn’t even a little bit broken, let alone demonstrably broken. And just because he’s sticking to the familiar style, that doesn’t mean that Blame It on Baby fails to branch out sonically: outside of the title track’s frequent beat switches, throughout the album, he’s playing with different sounds in the chorus more than ever before.

Carl Lamarre: Well, after speaking to Baby last week, his philosophy leans on the latter part of your question: “if ain’t broke, why fix it?” I think Baby can easily change the flow up, as proven on “FIND MY WAY.” It was a smooth attempt to soften his haters’ stance, but at times on the album, he swerves back to his comfort zone. Judging off the criticism, what’s plaguing Baby right now is the case of “listener’s fatigue.” Not only is he pushing out his own releases, but he’s also on every feature imaginable. As searing as his voice and flow are, the key to longevity will be his willingness to one day evolve and take the next step to rap immortality.

Jason Lipshutz: What songs like “Rockstar” and “Find My Way” demonstrate is a willingness from DaBaby to add some pop know-how to his songwriting, as if he’s graduated from just being the guy who can rap circles around the competition and now wants to collect crossover hits (see also: his guest spot on the Camila Cabello hit “My Oh My”). The early returns are positive, and I’d expect DaBaby to persist as a mainstream artist thanks to this subtle flexibility.

Andrew Unterberger: Yeah, I don’t think it’s so much that the flow needs switching up as just… three albums in barely a year’s time is a lot of DaBaby. He actually branches out impressively on a handful of BIOB’s tracks, and we saw on Kirk‘s “INTRO” that there’s depths still to be plumbed with the rapper’s lyrics and performance. His material feels more repetitious than it actually is, just because we’re getting so much of it at once. Not a huge problem, but one that could lead to diminishing returns.

Christine Werthman: In the name of artistic growth, sure, give us something new. But is it a requirement? Of course not. He’s got a No. 1 album, and in this time of pandemic, aren’t people gravitating toward the familiar anyway? That said, if he puts out a fourth album and doesn’t switch it up, the jig may be up. Or it will do exactly what this album did and go to No. 1.

4. While DaBaby enjoys his second No. 1 album for his third full-length release in 14 months, YoungBoy Never Broke Again appears poised to succeed him atop the chart with his third project in just over six months. Is it possible for any rapper to sustain momentum consistently over this high-volume a release schedule? 

Josh Glicksman: Only to a certain extent. If he keeps up this output, I wouldn’t expect every effort to go No. 1, but as DaBaby himself has shown, a rapper — or any artist (hi, Ariana Grande!) — can put out multiple hugely successful albums in a short time span. Here’s the thing, though: while Blame It on Baby is a studio album, it feels a lot more like a mixtape to me. And not every mixtape needs to be a massive success for the artist to still be huge! Look at Lil Wayne during his peak Tha Carter phase. Just because every single one of those 2004-2008 mixtapes didn’t explode, that doesn’t mean he didn’t have the massive momentum behind him when he wanted it most.

Carl Lamarre: Ever heard of Future? Let’s revisit the time he dropped two No. 1 albums in back-to-back weeks in 2017 with Future & Hndrxx. Nobody complained because Super provided two completely different projects for people to soak in and appreciate. On Future, we got the bombastic trap lord who thrived on running up the scoreboard with street anthems while Hndrxx highlighted a scorned player trying to decode the meaning of love. We can even journey back to when he released his trio of headbanging mixtapes starting from 2014: That run consisted of Monster, Beast Mode, and 56 Nights in a year. The end result? He revitalized his career and legacy because of his prodigious output. If the music is undeniably good, the fans are going to keep coming back.

Jason Lipshutz: DaBaby and YoungBoy are both hyper-prolific stars who have been able to rack up chart achievements by working quickly during what appears to be their period of greatest commercial success; it’s the same sort of thinking that causes boy bands to release albums in quick succession before their younger fans age out of being die-hard supporters. It’s easier than ever for an artist to collect a worthy group of songs and upload it for mass consumption, and artists like DaBaby are going to rightly take advantage of that supply-and-demand tactic, while others like Drake and Migos will thrive by sticking to a more traditional release timeline.

Andrew Unterberger: Future, already an icon, is certainly the closest thing to an exception here — and an artist like YoungBoy (whose fanbase is so rabid without necessarily crossing over much to the larger pop world) might also be able to sustain such a pace for a while. For DaBaby, though, who seems to have a higher superstar ceiling that he’s still yet to reach, I might advise him to get out of the fast lane for a little bit at this point, and figure out what really makes sense for his next career step.

Christine Werthman: Yes, if the rapper in question keeps things interesting by, perhaps, maybe, hypothetically changing up his flow. Look, it’s fun when your favorite rappers of the moment release a bunch of stuff in a short period of time, creating a battle-like atmosphere to see who will top whom. But it gets old if the artists aren’t giving you anything new and the competition transitions from a spirited battle to a war of attrition. I don’t think DaBaby — or anyone, for that matter — can uphold this rate of releases, and the only way he could be cleared to slow down right now is if he puts out an album that really knocks people out, so that they’ll be more excited (and willing to wait) for his varied flows  than impressed by his frequency.

5. The surgical mask on the Blame It on Baby cover: timely or in poor taste?

Josh Glicksman: Well, it’s certainly timely. I probably wouldn’t have advised him to wear it, but it’s not like he’s going to be the last person trying to get a self-quarantine fit off while stay-at-home orders are in effect. And at the very least, I’d prefer him to wear it around more than required as opposed to not at all.

Carl Lamarre: Ehhh. I get why people would say poor taste because so many lives have been lost in this pandemic, but it’s what makes Baby who he is. It’s not to say he doesn’t care, but I believe his aim was to provide a timestamp. Looking back years from now, his hope is for people to know that this was the album that went No. 1 during a global crisis.

Jason Lipshutz: A little of both. The image of DaBaby sporting a mask on an album cover certainly contains a level of shock value, but it does also anchor Blame It on Baby to the time period in which it was unveiled. If he’s the only artist who does this, I’m very fine with that, though.

Andrew Unterberger: I’ll just say “kinda unnecessary.”

Christine Werthman: I’m going to lean positive and say he’s leading by example. Well done. Wear your masks!

Source: billboard.com

Plus, Post Malone’s “Circles” spends a record-breaking 34th week in the top 10.

The Weeknd‘s “Blinding Lights” banks a fourth week at No. 1 the Billboard Hot 100 songs chart this week.

Plus, Post Malone‘s “Circles,” at No. 6, breaks the record for the most weeks (34) ever spent in the Hot 100’s top 10 and DaBaby’s “Rockstar,” featuring Roddy Ricch, roars onto the chart at No. 9.

Let’s run down the top 10 of the newest Hot 100, which blends all-genre U.S. streaming, radio airplay and sales data. All charts (dated May 2) will update on Billboard.com tomorrow (April 28).

“Blinding Lights,” released on XO/Republic Records, rules the Radio Songs chart for a third week, with 110.3 million audience impressions, up 2%, in the week ending April 26, according to Nielsen Music/MRC Data. It tops Digital Song Sales for a fourth week, despite an 11% drop to 19,000 sold in the week ending April 23, and slips at 3-4 on Streaming Songs, down 2% to 24.9 million U.S. streams in the same span.

The track concurrently rules the Hot R&B/Hip-Hop Songs chart a fourth week and Hot R&B Songs for a ninth frame. (Both rankings employ the same multi-metric formula as the Hot 100.)

Drake’s “Toosie Slide” keeps at No. 2 on the Hot 100 following its debut at No. 1 two weeks ago. It leads Streaming Songs for a third week (31.5 million streams, down 15%); drops 2-5 on Digital Song Sales (12,000, down 23%); and rises 14-12 on Radio Songs (58.3 million, up 22%), winning the Hot 100’s top Airplay Gainer award for a second week. It leads the multi-metric Hot Rap Songs chart for a third frame.

Roddy Ricch’s “The Box” holds at No. 3 on the Hot 100, which it commanded for 11 weeks; Dua Lipa’s “Don’t Start Now” is stationary at No. 4, after reaching No. 2; and Doja Cat’s “Say So” repeats at its No. 5 high.

Post Malone’s “Circles” rebounds 7-6 on the Hot 100, after notching three weeks at No. 1, and breaks the record for the most weeks spent in the top 10 in the chart’s 61-year history, a mark that the rapper-singer already shared:

Most Weeks in Billboard Hot 100’s Top 10
34, “Circles,” Post Malone, 2019-20
33, “Sunflower (Spider-Man: Into the Spider-Verse),” Post Malone & Swae Lee, 2018-19
33, “Girls Like You,” Maroon 5 feat. Cardi B, 2018-19
33, “Shape of You,” Ed Sheeran, 2017
32, “Sicko Mode,” Travis Scott, 2018-19
32, “Closer,” The Chainsmokers feat. Halsey, 2016-17
32, “How Do I Live,” LeAnn Rimes, 1997-98
31, “Uptown Funk!,” Mark Ronson feat. Bruno Mars, 2014-15
30, “Bad Guy,” Billie Eilish, 2019
30, “Smooth,” Santana feat. Rob Thomas, 1999-2000

Plus, as “Circles” has logged all 34 of its weeks on the Hot 100 in the top 10, dating to its arrival at No. 7 on the Sept. 14, 2019-dated chart, it passes Ed Sheeran’s “Shape of You” for the most weeks tallied in the region from a song’s debut.

“Circles” additionally becomes the first title to have spent 30 weeks in the top 10 on Billboard‘s mainstream top 40-based Pop Songs radio airplay chart. The song previously led the list for 10 weeks.

Harry Styles’ “Adore You” slips to No. 7 from its No. 6 Hot 100 high.

Justin Bieber’s “Intentions,” featuring Quavo, returns to its best Hot 100 rank (9-8) and rises 12-10 on Radio Songs (68.1 million, up 11%), becoming Bieber’s 15th top 10 on the airplay tally and Quavo’s fourth.

Bieber has charted four songs in the Radio Songs top 10 in 2020, as “Intentions” follows “10,000 Hours,” with Dan + Shay (No. 3); “Yummy” (No. 10); and his Ed Sheeran collab “I Don’t Care,” which led the chart for a week in September. Bieber boasts double the amount of top 10 titles as any other artist this year; Camila Cabello, Lizzo and The Weeknd have notched two each.

DaBaby’s “Rockstar,” featuring Roddy Ricch, bounds onto the Hot 100 at No. 9, led by its No. 2 entrance on Streaming Songs, with 28.1 million first-week U.S. streams, and No. 7 bow on Digital Song Sales (10,000).

DaBaby adds his second Hot 100 top 10, after his debut hit “Suge” (No. 7, last July), as does Roddy Ricch, following “The Box.”

“Rockstar” is from DaBaby’s album Blame It on Baby, which soars in as his second No. 1 on the Billboard 200.

(“Rock” on: The rappers chart the third Hot 100 top 10 titled “Rockstar.” Post Malone’s different composition, featuring 21 Savage, led for eight weeks beginning in October 2017, after Nickelback’s hit No. 6 in September 2007. Shout-out also to Shop Boyz’s “Party Like a Rockstar,” which rose to No. 2 in June 2007.)

Rounding out the Hot 100’s top 10, Future’s “Life Is Good,” featuring Drake, descends 8-10, after peaking at No. 2 for eight weeks.

Find out more Hot 100 news on Billboard.com this week, and, for all chart news, you can listen (and subscribe) to Billboard‘s Pop Shop Podcast and This Week in Billboard News podcast and follow @billboard and @billboardcharts on both Twitter and Instagram. And again, be sure to visit Billboard.com tomorrow (April 28), when all charts, including the Hot 100 in its entirety, will refresh.

Source: billboard.com

Plus: Fiona Apple’s “Fetch the Bolt Cutters” debuts in the top five.

DaBaby collects his second No. 1 album on the Billboard 200 chart, as Blame It on Baby bows atop the tally. The set, which was released on April 17 via SouthCoast/Interscope Records, earned 124,000 equivalent album units in the U.S. in the week ending April 23, according to Nielsen Music/MRC Data.

The rapper previously led the list with his last album, Kirk, which launched at No. 1 with 146,000 units (Oct. 12, 2019-dated chart).

Blame It on Baby bumps The Weeknd’s After Hours out of the No. 1 spot after four straight weeks in charge.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new May 2-dated chart (where Blame It on Baby debuts at No. 1) will be posted in full on Billboard‘s website on April 28.

Blame It on Baby’s start of 124,000 equivalent album units consists of 110,000 SEA units (equaling 158.84 million on-demand streams of the set’s songs during the tracking week), 12,000 in album sales and 3,000 in TEA units.

Blame It on Baby gives the Billboard 200 its eighth week in a row where an R&B/hip-hop title is No. 1 — the longest stretch for the genre in over a year. It follows four weeks of The Weeknd’s After Hours at the top, two weeks at No. 1 for Lil Uzi Vert‘s Eternal Atake, and one week at No. 1 for Lil Baby’s My Turn. After Hours is an R&B effort, while the latter two are rap titles. All three also led the Top R&B/Hip-Hop Albums chart. The last time the Billboard 200 had a longer streak at No. 1 for R&B/hip-hop efforts was a nine-week run between Dec. 2, 2018 and Feb. 2, 2019.

Back on the new Billboard 200, The Weeknd’s After Hours falls to No. 2 after four weeks at No. 1. The set tallied 55,000 equivalent album units in the latest tracking week (down 26 percent). Meanwhile, Lil Uzi Vert’s former No. 1 Eternal Atake is a non-mover at No. 3 with 54,000 units (down 11 percent).

Fiona Apple returns to the Billboard 200 after nearly eight years, as her new album Fetch the Bolt Cutters debuts at No. 4. The new studio album earned 44,000 equivalent album units, with 30,000 of that sum in album sales, 13,000 in SEA units and less than 1,000 in TEA units.

Apple last debuted an album on the chart back in 2012, when The Idler Wheel Is Wiser Than the Driver of the Screw and Whipping Cords Will Serve You More Than Ropes Will Ever Do debuted and peaked at No. 3 on the July 7, 2012-dated list.

Apple is an infrequent visitor to the Billboard 200, having placed just five albums on the tally. Before The Idler Wheel…, she hit the chart with Extraordinary Machine (No. 7 in 2005), When the Pawn… (No. 13 in 1999) and her debut effort Tidal (No. 15, 1997). (When the Pawn’s actual 90-word album title is abbreviated for this story.)

Interestingly, her last three albums all made the top 10, one each in the last three decades (2020s, ‘10s and ‘00s).

Lil Baby’s My Turn dips from No. 4 to No. 5 on the new Billboard 200 (42,000 equivalent album units earned; down 6 percent), Post Malone’s Hollywood’s Bleeding is steady at No. 6 (37,000 units; up 2 percent) and Bad Bunny’s YHLQMDLG falls from No. 5 to No. 7 (36,000 units; down 7 percent).

Roddy Ricch’s Please Excuse Me for Being Antisocial falls 7-8 with 34,000 units (down 5 percent), Rod Wave’s Pray 4 Love is stationary at No. 9 with 32,000 units (down 4 percent) and Tory Lanez’s The New Toronto 3 drops 2-10 in its second week with 28,000 units (down 56 percent).

Source: billboard.com

“Blinding Lights” adds a third week on top.

The Weeknd‘s “Blinding Lights” rebounds from No. 2 to No. 1 the Billboard Hot 100 songs chart to log a third total week in the top spot.

The track dethrones Drake’s “Toosie Slide,” which dips to No. 2 following its debut at No. 1 a week ago.

Plus, Doja Cat notches her first top five Hot 100 hit, as “Say So” jumps 8-5, and Post Malone‘s “Circles,” at No. 7, ties the record for the most weeks (33) ever spent in the chart’s top 10.

Let’s run down the top 10 of the newest Hot 100, which blends all-genre U.S. streaming, radio airplay and sales data. All charts (dated April 25) will update on Billboard.com tomorrow (April 21).

With a third week at No. 1 on the Hot 100, “Blinding Lights,” released on XO/Republic Records, ties “Can’t Feel My Face” (in August-September 2015) for The Weeknd’s second-longest reign of his five leaders. He’s led longer only with “The Hills,” for six weeks (in October-November 2015).

“Lights” leads the Radio Songs chart for a second week, with 108.6 million audience impressions, up 4%, in the week ending April 19, according to Nielsen Music/MRC Data. It returns to No. 1, from No. 4, for a third total week atop Digital Song Sales, despite a 1% drop to 21,000 sold in the week ending April 16, and holds at No. 3 on Streaming Songs, down 6% to 25.4 million U.S. streams in the same span.

The track concurrently rises 2-1 for a third week atop the Hot R&B/Hip-Hop Songs chart and rules Hot R&B Songs for an eighth frame. (Both rankings employ the same multi-metric formula as the Hot 100.)

As previously reported, “Lights” parent album After Hours spends a fourth week at No. 1 on the Billboard 200 chart.

Drake’s “Toosie Slide” slips from No. 1 to No. 2 on the Hot 100, while leading Streaming Songs for a second week, with 37.2 million streams, down 33% from its opening week. It ascends 3-2 on Digital Song Sales, although with a 37% decline to 16,000 sold, and surges 22-14 on Radio Songs (47.8 million, up 38%), winning the Hot 100’s top Airplay Gainer award. It leads the multi-metric Hot Rap Songs chart for a second week.

Roddy Ricch’s “The Box” holds at No. 3 on the Hot 100, which it dominated for 11 weeks, and Dua Lipa’s “Don’t Start Now” is steady at No. 4, after reaching No. 2.

Doja Cat pounces to her first top five Hot 100 hit, as “Say So” bounds 8-5. It likewise lifts 8-5 on Radio Songs (78.6 million, up 14%) and rises 10-8 on Streaming Songs (15.2 million, up 4%) and 25-21 Digital Song Sales (6,000, up 1%).

With “Say So” released on RCA Records, Doja Cat is the first woman on the label to earn a first career top five Hot 100 hit in a lead role since Sia, whose “Cheap Thrills” (featuring Sean Paul) led for four weeks in August 2016. Prior to Sia, Kesha reigned for nine weeks with her debut hit “TiK ToK” in January-February 2010.

Harry Styles’ “Adore You” revisits its No. 6 Hot 100 high, climbing from No. 7.

Post Malone’s “Circles” descends 6-7 on the Hot 100, after notching three weeks at No. 1, and ties the record for the most weeks spent in the top 10 in the chart’s 61-year history, a mark that the rapper-singer already shared:

Most Weeks in Billboard Hot 100’s Top 10
33, “Circles,” Post Malone, 2019-20
33, “Sunflower (Spider-Man: Into the Spider-Verse),” Post Malone & Swae Lee, 2018-19
33, “Girls Like You,” Maroon 5 feat. Cardi B, 2018-19
33, “Shape of You,” Ed Sheeran, 2017
32, “Sicko Mode,” Travis Scott, 2018-19
32, “Closer,” The Chainsmokers feat. Halsey, 2016-17
32, “How Do I Live,” LeAnn Rimes, 1997-98
31, “Uptown Funk!,” Mark Ronson feat. Bruno Mars, 2014-15
30, “Bad Guy,” Billie Eilish, 2019
30, “Smooth,” Santana feat. Rob Thomas, 1999-2000

Plus, as “Circles” has logged all 33 of its weeks on the Hot 100 in the top 10, dating to its arrival at No. 7 on the Sept. 14, 2019-dated chart, it matches Ed Sheeran’s “Shape of You” for the most weeks tallied in the region from a song’s debut.

Rounding out the Hot 100’s top 10, Future’s “Life Is Good,” featuring Drake, falls 5-8, after peaking at No. 2 for eight weeks; Justin Bieber’s “Intentions,” featuring Quavo, keeps at No. 9, after reaching No. 8; and Billie Eilish’s “Everything I Wanted” is stationary at No. 10, also after hitting No. 8.

Just outside the Hot 100’s top 10, Camila Cabello’s “My Oh My,” featuring DaBaby, reaches a new best rank (13-12), as does Lil Mosey’s “Blueberry Faygo” (18-16), along with two country hits: Gabby Barrett’s “I Hope” (20-17) and Blake Shelton and Gwen Stefani’s “Nobody but You” (24-18).

Find out more Hot 100 news on Billboard.com this week, and, for all chart news, you can listen (and subscribe) to Billboard‘s Pop Shop Podcast and This Week in Billboard News podcast and follow @billboard and @billboardcharts on both Twitter and Instagram. And again, be sure to visit Billboard.com tomorrow (April 21), when all charts, including the Hot 100 in its entirety, will refresh.

Source: billboard.com