Plus, SZA’s “Kill Bill,” at No. 2 on the Hot 100, ties for the longest reign ever on the Hot R&B/Hip-Hop Songs chart.

Morgan Wallen’s “Last Night” claims a sixth week at No. 1 on the Billboard Hot 100 songs chart.

SZA’s “Kill Bill” holds at No. 2 on the Hot 100, three weeks after it became her first No. 1, and ties for the longest command – 20 weeks – in the history of the Hot R&B/Hip-Hop Songs chart.

Plus, Toosii’s “Favorite Song” jumps from No. 11 to No. 8 on the Hot 100, becoming his first top 10 on the chart.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated May 20, 2023) will update on Billboard.com tomorrow (May 16). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

Wallen’s “Last Night,” released on Big Loud/Mercury/Republic Records, drew 60.2 million radio airplay audience impressions (up 8%) and 34.3 million streams (up 6%) and sold 9,000 downloads (down 2%) in the May 5-11 tracking week, according to Luminate.

The song, which first led the Hot 100 in March, becoming his initial leader on the list, rebounds from No. 2 for an eighth week at No. 1 on the Streaming Songs chart; holds at No. 2 on Digital Song Sales, following a week on top; and keeps at its No. 5 best on Radio Songs.

A week after becoming the first song ever to top the Hot 100 and the Country Airplay chart simultaneously, “Last Night” adds a second week atop the latter list. It also pushes 13-12 on Pop Airplay, 15-14 on Adult Pop Airplay and 22-19 on Adult Contemporary.

“Last Night” concurrently leads the Hot Country Songs chart, which uses the same methodology as the Hot 100, for a 14th week.

As previously reported, parent album One Thing at a Time tops the Billboard 200 for a 10th week. As Wallen’s last LP, Dangerous: The Double Album, also reigned for 10 frames, he becomes the first male soloist ever with back-to-back 10-week No. 1s, dating to the chart’s 1956 launch.

SZA’s “Kill Bill” keeps at No. 2 on the Hot 100, three weeks after it became her first No. 1. It rules the multi-metric Hot R&B/Hip-Hop Songs and Hot R&B Songs charts for a 20th and 21st week, respectively.

On Hot R&B/Hip-Hop Songs, “Kill Bill” makes history, as it ties Lil Nas X’s “Old Town Road,” featuring Billy Ray Cyrus, for the longest No. 1 run since the chart became an all-encompassing genre survey in 1958.

Most Weeks at No. 1 on Hot R&B/Hip-Hop Songs:

• 20, “Kill Bill,” SZA, 2022-23
• 20, “Old Town Road,” Lil Nas X feat. Billy Ray Cyrus, 2019
• 18, “Industry Baby,” Lil Nas X & Jack Harlow, 2021-22
• 18, “One Dance,” Drake feat. WizKid & Kyla, 2016
• 16, “Blurred Lines,” Robin Thicke feat. T.I. + Pharrell, 2013
• 15, “Be Without You,” Mary J. Blige, 2006

Miley Cyrus’ “Flowers” repeats at No. 3 on the Hot 100, after eight weeks at No. 1 beginning upon its debut in January. It posts a 13th week atop Radio Songs (91.5 million in audience, up 1%).

“Flowers” ties for the 10th-longest reign since Radio Songs began in December 1990. (It also matches Mariah Carey and Boyz II Men’s “One Sweet Day” for the second-longest domination for a Columbia Records single, after only Adele’s “Easy On Me.”)

Most Weeks at No. 1 on Radio Songs:

• 26, “Blinding Lights,” The Weeknd, 2020
• 18, “Iris,” Goo Goo Dolls, 1998
• 16, “Girls Like You,” Maroon 5 feat. Cardi B, 2018
• 16, “We Belong Together,” Mariah Carey, 2005
• 16, “Don’t Speak,” No Doubt, 1996-97
• 15, “Easy On Me,” Adele, 2021-22
• 14, “High Hopes,” Panic! At the Disco, 2018-19
• 14, “No One,” Alicia Keys, 2007-08
• 14, “Because You Loved Me,” Celine Dion, 1996
• 13, “Flowers,” Miley Cyrus, 2023
• 13, “No Scrubs,” TLC, 1999
• 13, “I Love You Always Forever,” Donna Lewis, 1996
• 13, “One Sweet Day,” Mariah Carey & Boyz II Men, 1995-96
• 13, “The Sign,” Ace of Base, 1994
• 13, “End of the Road,” Boyz II Men, 1992

Eslabon Armado and Peso Pluma’s “Ella Baila Sola” repeats at its No. 4 high on the Hot 100, the best rank ever for a regional Mexican song in the chart’s history. The collaboration notches a sixth week at No. 1 on the multimetric Hot Latin Songs chart.

Rema and Selena Gomez’s “Calm Down” rounds out the Hot 100’s top five, holding at its No. 5 best. It tops the Billboard U.S. Afrobeats Songs chart for a 37th week, extending the longest rule since the ranking began just over a year ago (in partnership with music festival and global brand Afro Nation).

Metro Boomin, The Weeknd and 21 Savage’s “Creepin’ ” is steady at No. 6 on the Hot 100, after hitting No. 3, and Grupo Frontera and Bad Bunny’s “Un x100to” is stationary at No. 7, after reaching No. 5.

“Favorite Song” surges from No. 11 to No. 8 on the Hot 100, where it becomes the first top 10 for Toosii, born Nau’Jour Grainger in Syracuse, N.Y., where he was raised before relocating to Raleigh, N.C., and pursuing a music career. The melodic rap song ascends with 28.5 million in airplay audience (up 11%), 20.7 million streams (up 6%) and 3,000 sold (down 2%). Aiding its counts, a remix featuring Khalid arrived May 5 (the first day of the tracking week). The single also tops the multimetric Hot Rap Songs chart for a second week.

TikTok has been key to the track’s profile, thanks to both its original and sped-up versions. Between the two, the song has soundtracked over 1 million clips on the platform. (Activity on TikTok does not directly contribute to Billboard’s charts.)

Top 10 ‘song’s: “Favorite Song” is the whopping 43rd Hot 100 top 10 with the word “song” in its title. The list began with The Chipmunks’ “The Chipmunk Song” with David Seville (No. 1 for four weeks in 1958-59), and was most recently bolstered by … a fellow Yuletide standard, Nat King Cole’s “The Christmas Song (Merry Christmas to You),” which reached the region for the first time over the latest holiday season (No. 9). Just before that, Post Malone’s “I Like You (A Happier Song)” featuring Doja Cat, hit No. 3 last October.

The Weeknd and Ariana Grande’s “Die for You” dips 8-9 on the Hot 100, following a week at No. 1 in March.

Capping the Hot 100’s top 10, Taylor Swift’s “Anti-Hero” keeps at No. 10. The song became her sole longest-leading No. 1, for eight weeks in November-January. It adds a 27th week in the top 10, likewise extending her longest stay in the tier.

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

Source: billboard.com

“Last Night” becomes the first song to top the Hot 100 and Country Airplay charts simultaneously.

Morgan Wallen’s “Last Night” adds a fifth week at No. 1 on the Billboard Hot 100 songs chart. It first led in March, becoming his initial leader on the list.

Notably, as “Last Night” ascends to No. 1 on the Country Airplay chart, it becomes the first song ever to have topped that tally and the Hot 100 simultaneously.

Elsewhere, Eslabon Armado and Peso Pluma’s “Ella Baila Sola” holds at its No. 4 Hot 100 high, the best rank ever for a regional Mexican song. It concurrently hits No. 1 on Streaming Songs – becoming the first regional Mexican title to rule that chart.

Plus, Rema and Selena Gomez’s “Calm Down” rises 6-5 on the Hot 100, marking the former’s first top five hit and Gomez’s fourth.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated May 13, 2023) will update on Billboard.com tomorrow (May 9). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

Wallen’s “Last Night,” released on Big Loud/Mercury/Republic Records, drew 55.9 million radio airplay audience impressions (up 17%) and 32.4 million streams (down 4%) and sold 9,000 downloads (down 7%) in the April 28-May 4 tracking week, according to Luminate.

The single slips to No. 2 after seven weeks atop the Streaming Songs chart; rebounds 4-2 on Digital Song Sales, following a week on top; and pushes 7-5 on Radio Songs, where Wallen earns his first top five hit.

As previously reported, “Last Night” crowns the Country Airplay chart, vaulting from No. 5 (as it also scales the top 15 of both Pop Airplay and Adult Pop Airplay). It makes history as the first song to top the Hot 100 and Country Airplay simultaneously, dating to the latter’s January 1990 inception. (The Hot 100 began in August 1958.) It’s just the second song to have ruled both the Hot 100 and Country Airplay overall, after Lonestar’s “Amazed” led the Hot 100 for two weeks in March 2000, propelled in part by pop and adult crossover airplay. The ballad had dominated Country Airplay for a then-record eight weeks in July-September 1999.

“Last Night” concurrently leads the Hot Country Songs chart, which uses the same methodology as the Hot 100, for a 13th week. It became just the 20th song to have topped both charts. As it has now ruled the Hot 100 for five weeks and Hot Country Songs for 13, among those 20 songs, its 18 combined weeks atop the rankings mark the most, surpassing Johnny Horton’s “The Battle of New Orleans,” which spent six and 10 weeks at No. 1, respectively, in 1959.

Songs to Have Topped Both the Hot 100 & Hot Country Songs Charts:
Combined Weeks at No. 1, Title, Artist, Year(s), Weeks atop Hot 100/Hot Country Songs
18 – “Last Night,” Morgan Wallen, 2023 – 5/13
16 – “The Battle of New Orleans,” Johnny Horton, 1959 – 6/10
13 – “We Are Never Ever Getting Back Together,” Taylor Swift, 2012-13 – 3/10
10 – “Amazed,” Lonestar, 1999-2000 – 2/8
9 – “El Paso,” Marty Robbins, 1959-60 – 2/7
8 – “Honey,” Bobby Goldsboro, 1968 – 5/3
7 – “Lady,” Kenny Rogers, 1980 – 6/1
7 – “Convoy,” C.W. McCall, 1975-76 – 1/6
7 – “Big Bad John,” Jimmy Dean, 1961 – 5/2
5 – “Rhinestone Cowboy,” Glen Campbell, 1975 – 2/3
5 – “The Most Beautiful Girl,” Charlie Rich, 1973 – 2/3
4 – “All Too Well (Taylor’s Version),” Taylor Swift, 2021 – 1/3
4 – “Islands in the Stream,” Kenny Rogers, duet with Dolly Parton, 1983 – 2/2
3 – “I Love a Rainy Night,” Eddie Rabbitt, 1981 – 2/1
3 – “9 to 5,” Dolly Parton, 1981 – 2/1
3 – “Southern Nights,” Glen Campbell, 1977 – 1/2
3 – “Before the Next Teardrop Falls,” Freddy Fender, 1975 – 1/2
2 – “I’m Sorry,” John Denver, 1975 – 1/1
2 – “Thank God I’m a Country Boy,” John Denver, 1975 – 1/1
2 – “(Hey Won’t You Play) Another Somebody Done Somebody Wrong Song,” B.J. Thomas, 1975 – 1/1

SZA’s “Kill Bill” keeps at No. 2 on the Hot 100, two weeks after it became her first No. 1. It concurrently commands the multi-metric Hot R&B/Hip-Hop Songs and Hot R&B Songs charts for a 19th and 20th week, respectively. On Hot R&B/Hip-Hop Songs, “Kill Bill” claims the sole second-longest No. 1 run – and moves to within a week of tying the record for the longest.

Most Weeks at No. 1 on Hot R&B/Hip-Hop Songs:
20, “Old Town Road,” Lil Nas X feat. Billy Ray Cyrus, 2019
19, “Kill Bill,” SZA, 2022-23
18, “Industry Baby,” Lil Nas X & Jack Harlow, 2021-22
18, “One Dance,” Drake feat. WizKid & Kyla, 2016
16, “Blurred Lines,” Robin Thicke feat. T.I. + Pharrell, 2013
15, “Be Without You,” Mary J. Blige, 2006

Miley Cyrus’ “Flowers” holds at No. 3 on the Hot 100, after eight weeks at No. 1, beginning upon its debut in January. It logs a 12th week atop Radio Songs (90.7 million in audience, down 1%).

Eslabon Armado and Peso Pluma’s “Ella Baila Sola” repeats at its No. 4 high on the Hot 100, the best rank ever for a regional Mexican song in the chart’s history. It concurrently climbs 2-1 on Streaming Songs (34.6 million, up 2%) – becoming the first regional Mexican song to lead the list. The collaboration also adds a fifth week at No. 1 on the multi-metric Hot Latin Songs chart.

Rema and Selena Gomez’s “Calm Down” rises 6-5 on the Hot 100, with 78.9 million in airplay audience (up 19%), 15.7 million streams (up 1%) and 5,000 sold (up 3%).

Rema released the original version of “Calm Down” in February 2022 as a single from his debut solo LP, Rave & Roses. Its remix with Gomez arrived last August, and that version’s official video premiered in September.

Rema hits the Hot 100’s top five with his first entry on the chart. Gomez adds her fourth top five hit, as “Calm Down” joins “Lose You To Love Me” (No. 1, one week, November 2019), “Same Old Love” (No. 5, January 2016) and “Good for You,” featuring A$AP Rocky (No. 5, October 2015).

“Calm Down” simultaneously tops the Billboard U.S. Afrobeats Songs chart for a 36th week, extending the longest rule since the ranking began just over a year ago (in partnership with music festival and global brand Afro Nation). As previously reported, it also ascends to No. 1 on the Pop Airplay chart, becoming the first hit to have led both Billboard U.S. Afrobeats Songs and Pop Airplay.

Metro Boomin, The Weeknd and 21 Savage’s “Creepin’ “ lifts 7-6 on the Hot 100, after hitting No. 3; Grupo Frontera and Bad Bunny’s “Un x100to” backtracks to No. 7 from its No. 5 high, a week after it became the chart’s second-ever top five regional Mexican hit; The Weeknd and Ariana Grande’s “Die for You” holds at No. 8, following a week at No. 1 in March; and PinkPantheress and Ice Spice’s “Boy’s a Liar, Pt. 2” is steady at No. 9, after reaching No. 3.

Rounding out the Hot 100’s top 10, Taylor Swift’s “Anti-Hero” keeps at No. 10. The song became her sole longest-leading No. 1, for eight weeks in November-January. It adds a 26th week in the top 10, likewise extending her longest run in the region.

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

Source: billboard.com

Plus: SEVENTEEN, Eslabon Armado and Jack Harlow debut in top 10.

Morgan Wallen’s One Thing at a Time continues to lead the Billboard 200 albums chart (dated May 13) for a ninth consecutive, and total, week on top. The set earned 138,000 equivalent album units in the United States in the week ending May 4 (down 8%), according to Luminate. The album bowed at No. 1 on the chart dated March 18 and has yet to depart the top slot.

The last album to spend nine weeks in a row at No. 1 was Wallen’s last release, Dangerous: The Double Album, which spent its first 10 weeks at No. 1 (its total run atop the list), from the Jan. 23-March 27, 2021-dated charts.

Meanwhile, thanks to extended runs at No. 1 on the Billboard 200 in recent months by both One Thing at a Time and SZA’s SOS, there have only been four No. 1 albums in the 21 weeks since the Dec. 24, 2022-dated list.

For the seven weeks from the Dec. 24, 2022, through Feb. 4 charts, SOS was No. 1. Then, on the Feb. 11, 2023 chart, TOMORROW X TOGETHER’s The Name Chapter: Temptation debuted at No. 1 and spent one week on top. SOS returned to No. 1 for three weeks (Feb. 18-March 3) and then Karol G’s Mañana Será Bonito debuted at No. 1 and spent one week in the lead (March 11). From March 18 onwards, One Thing at a Time has been No. 1.

Also in the top 10 of the new Billboard 200, SEVENTEEN, Eslabon Armado and Jack Harlow all see their latest releases debut.

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 May 13, 2023-dated chart will be posted in full on Billboard‘s website on May 9. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of One Thing at a Time’s 138,000 equivalent album units earned in the week ending May 13, SEA units comprise 130,000 (down 8%, equaling 174.18 million on-demand official streams of the set’s 36 songs), album sales comprise 5,500 (down 7%) and TEA units comprise 2,500 (down 10%).

SEVENTEEN notches its highest charting album yet on the Billboard 200, as 10th Mini Album FML debuts at No. 2. It’s the third top 10, all earned consecutively, for the 13-member Korean pop ensemble. The set bows with 135,000 equivalent album units earned, of which album sales comprise 132,000 (it’s the top-selling album of the week, with the fourth-largest sales week of 2023), SEA units comprise 3,000 (equaling 4.36 million on-demand official streams of the set’s six tracks) and TEA units comprise a negligible sum.

Like many K-pop releases, the CD edition of FML was issued in collectible CD packages (14 total, including exclusives for Barnes & Noble, Target and the Weverse webstore), each containing a standard set of items and randomized elements (postcards, mini posters, bookmarks and stickers). It was also available as a standard digital download album, as well as via 17 digital download variants that were sold exclusively through the act’s official webstore, each with alternate cover art. Four of them have two bonus tracks — one instrumental track and a voice memo from certain group members — that are different on each album. The remaining 13 alternate digital albums all have the album’s standard tracklist, just with a different cover (one for each of the group members). Of FML’s first-week album sales, 98% were CDs, while the remaining 2% were digital album downloads. The set was not available in any other retail format (such as vinyl or cassette).

Taylor Swift’s chart-topping Midnights rises 4-3 on the Billboard 200 with 57,000 equivalent album units (though down 7%), while SOS climbs 6-4 (56,000; down 5%) and Dangerous skips 7-5 (47,000; down 2%).

Eslabon Armado’s Desvelado debuts at No. 6 on the Billboard 200, making it the highest charting regional Mexican album ever on the list. It’s only the second regional Mexican set to reach the top 10, following the act’s No. 9 debut and peak of Nostalgia on the May 21, 2022-dated list. (Regional Mexican albums are defined as those that are eligible for, or have charted on, Billboard’s Regional Mexican Albums chart.)

Desvelado bows with 44,000 equivalent album units earned, with 43,500 of that sum in SEA units (equaling 63.51 million on-demand streams of the set’s 16 tracks) and album sales and TEA units comprise the remaining 500 units.

The album contains the hit single “Ella Baila Sola,” a co-billed collaboration with Peso Pluma, which ranked at No. 4 on the most recently published all-genre Billboard Hot 100 songs chart (dated May 6). The track — which initially garnered notoriety because of its popularity on TikTok — marks the first regional Mexican song to reach the top 10 on the Hot 100.

Luke Combs’ Gettin’ Old bumps 8-7 on the Billboard 200 with 37,000 equivalent album units earned (down 5%).

Jack Harlow achieves his third top 10-charting effort on the Billboard 200 albums chart as Jackman. enters at No. 8. The set starts with 35,500 equivalent album units earned. Of that sum, SEA units comprise 33,500 (equaling 43.37 million on-demand official streams of the set’s 10 tracks), album sales comprise 1,500 and TEA units comprise 500.

Jackman. was released with little warning, as it was announced on April 25, just before its April 28 release.

Two former No. 1s round out the top 10 on the new Billboard 200, as Metro Boomin’ Heroes & Villains is a non-mover at No. 9 (34,500 units; down 6%) and Swift’s Lover is stationary at No. 10 (just over 34,000; down 5%).

Source: billboard.com

A week after Eslabon Armado & Peso Pluma scored the Hot 100’s first top five regional Mexican hit, Grupo Frontera & Bad Bunny add the second.

Morgan Wallen’s “Last Night” returns to No. 1, from No. 2, for a fourth total week atop the Billboard Hot 100 songs chart. It first ruled in March, becoming the country singer-songwriter’s initial leader on the list.

Meanwhile, a week after Eslabon Armado and Peso Pluma scored the Hot 100’s first top five regional Mexican hit, Grupo Frontera and Bad Bunny add the second. The former pairing retains the mark for the highest-charting song ever for the genre, as “Ella Baila Sola” rises 5-4, while the latter leaps 15-5 with “Un x100to.”

Plus, Taylor Swift rewrites her longest run in the Hot 100’s top 10, as “Anti-Hero” spends a 25th week in the region, at No. 10, surpassing the 24-week top 10 stay of “Shake It Off” in 2014-15.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated May 6, 2023) will update on Billboard.com tomorrow (May 2). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

Wallen’s “Last Night,” released on Big Loud/Mercury/Republic Records, drew 47.7 million radio airplay audience impressions – up 20%, good for the chart’s top Airplay Gainer award for a fourth consecutive week – and 33.7 million streams (down 4%) and sold 10,000 downloads (down 9%) in the April 21-27 tracking week, according to Luminate.

The single scores a seventh week at No. 1 on the all-genre Streaming Songs chart; dips 2-4 on Digital Song Sales, following a week on top; and ascends 11-7 on Radio Songs, marking Wallen’s second top 10 (after “You Proof” hit No. 10 last October). “Last Night” pushes to No. 5 on the Country Airplay chart, while scaling the top 20 of both Pop Airplay and Adult Pop Airplay.

“Last Night” concurrently tops the Hot Country Songs chart, which uses the same methodology as the Hot 100, for a 12th week. It becomes the first song to have led the Hot 100 and Hot Country Songs and ranked in the top 10 on Streaming Songs, Radio Songs and Digital Song Sales simultaneously.

“Last Night” became just the 20th song to have topped both the Hot 100 and Hot Country Songs. As it has now ruled the former for four weeks and the latter for 12, among those 20 songs, its 16 combined weeks atop the charts ties for the most, matching Johnny Horton’s “The Battle of New Orleans,” which spent six and 10 weeks at No. 1, respectively, in 1959.

Songs to Have Topped Both the Hot 100 & Hot Country Songs Charts:
“Last Night,” Morgan Wallen, 2023 – 4 weeks atop the Hot 100 / 12 weeks atop Hot Country Songs
“All Too Well (Taylor’s Version),” Taylor Swift, 2021 – 1 week / 3 weeks
“We Are Never Ever Getting Back Together,” Taylor Swift, 2012-13 – 3 weeks / 10 weeks
“Amazed,” Lonestar, 1999-2000 – 2 weeks / 8 weeks
“Islands in the Stream,” Kenny Rogers, duet with Dolly Parton, 1983 – 2 weeks / 2 weeks
“I Love a Rainy Night,” Eddie Rabbitt, 1981 – 2 weeks / 1 week
“9 to 5,” Dolly Parton, 1981 – 2 weeks / 1 week
“Lady,” Kenny Rogers, 1980 – 6 weeks / 1 week
“Southern Nights,” Glen Campbell, 1977 – 1 week / 2 weeks
“Convoy,” C.W. McCall, 1975-76 – 1 week / 6 weeks
“I’m Sorry,” John Denver, 1975 – 1 week / 1 week
“Rhinestone Cowboy,” Glen Campbell, 1975 – 2 weeks / 3 weeks
“Thank God I’m a Country Boy,” John Denver, 1975 – 1 week / 1 week
“Before the Next Teardrop Falls,” Freddy Fender, 1975 – 1 week / 2 weeks
“(Hey Won’t You Play) Another Somebody Done Somebody Wrong Song,” B.J. Thomas, 1975 – 1 week / 1 week
“The Most Beautiful Girl,” Charlie Rich, 1973 – 2 weeks / 3 weeks
“Honey,” Bobby Goldsboro, 1968 – 5 weeks / 3 weeks
“Big Bad John,” Jimmy Dean, 1961 – 5 weeks / 2 weeks
“El Paso,” Marty Robbins, 1959-60 – 2 weeks / 7 weeks
“The Battle of New Orleans,” Johnny Horton, 1959 – 6 weeks / 10 weeks

SZA’s “Kill Bill” slips to No. 2 on the Hot 100 a week after it became her first No. 1. It concurrently crowns the multi-metric Hot R&B/Hip-Hop Songs and Hot R&B Songs charts for an 18th and 19th week, respectively.

On Hot R&B/Hip-Hop Songs, “Kill Bill” extends the longest reign for a song by a woman in a lead role since the survey became an all-encompassing genre chart in 1958, having passed Mary J. Blige’s “Be Without You” (15 weeks, 2006). Overall, “Kill Bill” ties for the second-longest Hot R&B/Hip-Hop Songs command.

Most Weeks at No. 1 on Hot R&B/Hip-Hop Songs (since 1958):
20, “Old Town Road,” Lil Nas X feat. Billy Ray Cyrus, 2019
18, “Kill Bill,” SZA, 2022-23
18, “Industry Baby,” Lil Nas X & Jack Harlow, 2021-22
18, “One Dance,” Drake feat. WizKid & Kyla, 2016
16, “Blurred Lines,” Robin Thicke feat. T.I. + Pharrell, 2013
15, “Be Without You,” Mary J. Blige, 2006

Miley Cyrus’ “Flowers” holds at No. 3 on the Hot 100, after eight weeks at No. 1, beginning upon its debut in January. It posts an 11th week atop Radio Songs (91.6 million in audience, down 1%). The song also spends a fourth week topping the Pop Airplay, Adult Pop Airplay and Adult Contemporary charts simultaneously, becoming just the third hit with that many weeks leading all three lists at the same time; it joins only Adele’s “Hello” (four, 2015) and Celine Dion’s “Because You Loved Me” (five, 1996).

Eslabon Armado and Peso Pluma’s “Ella Baila Sola” ascends 5-4 on the Hot 100. It claims another new all-time high rank for a regional Mexican song, a week after it became the chart’s initial top five hit, and two weeks after it became the first top 10, for the genre. The collaboration logs a fourth week at No. 1 on the multi-metric Hot Latin Songs chart.

Meanwhile, Grupo Frontera and Bad Bunny’s “Un x100to” becomes the Hot 100’s second-ever top five (and top 10) regional Mexican hit, surging 15-5. It drew 28.6 million streams, up 44%, as it wins the Hot 100’s top Streaming Gainer ribbon, along with 6.3 million in airplay audience and 3,000 sold.

Regional Mexican sextet Grupo Frontera, from Texas, achieves its first Hot 100 top 10, among six career entries dating to its first last October, while Bad Bunny adds his ninth.

Hot ‘100’: “Un x100to” is the first top 10, among over 5,000 top 10s in the Hot 100’s history, with “100” in its title. Special shout-outs to Gene McDaniels’ “A Hundred Pounds of Clay” (No. 3 peak, 1961) and “Somebody’s Been Seeping” by 100 Proof Aged in Soul (No. 8, 1970).

Rema and Selena Gomez’s “Calm Down” rebounds to its No. 6 Hot 100 high, from No. 7. It tops the Billboard U.S. Afrobeats Songs chart for a 35th week, extending the longest rule since the ranking began a year ago (in partnership with music festival and global brand Afro Nation).

Metro Boomin, The Weeknd and 21 Savage’s “Creepin’ “ descends 6-7 on the Hot 100, after hitting No. 3; The Weeknd and Ariana Grande’s “Die for You” holds at No. 8, following a week at No. 1 in March; and PinkPantheress and Ice Spice’s “Boy’s a Liar, Pt. 2” lifts 10-9, after reaching No. 3.

Rounding out the Hot 100’s top 10, Taylor Swift’s “Anti-Hero” returns to the tier, rising 11-10. The song became her sole longest-leading No. 1, for eight weeks in November-January, surpassing the seven-week reign of “Blank Space” in 2014-15. Now, with a 25th week in the top 10, it bests “Shake It Off” (24 weeks, 2014-15) for her longest run in the bracket. Next up in her catalog, “Blank Space” totaled 17 weeks in the top 10, also in 2014-15, followed by (each with 16), “I Knew You Were Trouble.” (2012-13) and “You Belong With Me” (2009).

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

Source: billboard.com

The song reigns following the release of its remix with Doja Cat. Plus, Ice Spice and Nicki Minaj’s “Princess Diana” debuts at No. 4.

SZA slices her way to her first Billboard Hot 100 No. 1, as “Kill Bill” jumps from No. 4 to the top spot, following eight weeks at its prior No. 2 high. The song reigns following the release of its remix adding Doja Cat.

Plus, Ice Spice and Nicki Minaj’s “Princess Diana” launches at No. 4 on the Hot 100, marking the second top 10 for the former rapper and the 22nd for the latter.

Also in the Hot 100’s top tier, Eslabon Armado and Peso Pluma log the first regional Mexican top five hit in the chart’s history, as “Ella Baila Sola” soars 10-5. A week earlier, the song became the chart’s first-ever regional Mexican top 10.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated April 29, 2023) will update on Billboard.com tomorrow (April 25). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

Here’s a rundown of the Hot 100 coronation for “Kill Bill.” The song is the 1,149th No. 1 since the chart originated in August 1958. It was released on her Top Dawg/RCA Records album SOS, which ranks at No. 3 on the Billboard 200 chart, after 10 weeks at the summit.

Airplay, streams & sales: “Kill Bill” drew 86.5 million radio airplay audience impressions (down 1%) and 28.3 million streams – up 32% – and sold 5,000 downloads – up 228% – in the April 14-20 tracking week, according to Luminate, as it claims both the Hot 100’s top Streaming Gainer and Sales Gainer awards.

Sparking the song’s surge, its remix with Doja Cat arrived April 14. (All versions of the song roll up into one chart listing; Doja Cat is not listed on “Kill Bill” on the Hot 100, as the remix did not account for the majority of the song’s overall consumption during the tracking week.)

The track rises 3-2 for a new high on the Radio Songs chart; ascends 4-3 on Streaming Songs, following four weeks at No. 1; and bounds 36-8, returning to its best rank, on Digital Song Sales.

SZA’s first No. 1: SZA claims her first Hot 100 No. 1 with “Kill Bill.”

Here’s a look at her seven career Hot 100 top 10s, ranked by peak position. She scored her prior best peak also thanks to collaborating with Doja Cat, as featured on 2021’s “Kiss Me More.”

• No. 1, one week, to-date, April 29, 2023, “Kill Bill”
• No. 3, July 10, 2021, “Kiss Me More” (Doja Cat feat. SZA)
• No. 7, Dec. 18, 2021, “I Hate U”
• No. 7, March 3, 2018, “All the Stars” (with Kendrick Lamar)
• No. 9, Feb. 6, 2021, “Good Days”
• No. 9, Nov. 25, 2017, “What Lovers Do” (Maroon 5 feat. SZA)
• No. 10, Dec. 24, 2022, “Nobody Gets Me”

Eight’s not too late: “Kill Bill” tops the Hot 100 after eight nonconsecutive weeks at No. 2. It debuted at No. 3 on the Dec. 24, 2022, chart – as SOS premiered at No. 1 on the Billboard 200.

The song ties for the second-most weeks spent at No. 2 on the Hot 100 before rising to No. 1 at last:

• 9 weeks at No. 2 on Hot 100 before hitting No. 1, “Bad Guy,” Billie Eilish, hit No. 1 Aug. 24, 2019
• 8, “Kill Bill,” SZA, April 29, 2023
• 8, “Starboy,” The Weeknd feat. Daft Punk, Jan. 7, 2017
• 8, “Sorry,” Justin Bieber, Jan. 23, 2016
• 8, “The Way You Move,” OutKast feat. Sleepy Brown, Feb. 14, 2004
• 7, “Havana,” Camila Cabello feat. Young Thug, Jan. 27, 2018
• 7, “Sexy and I Know It,” LMFAO, Jan. 7, 2012
• 6, “Girls Like You,” Maroon 5 feat. Cardi B, Sept. 29, 2018
• 6, “All of Me,” John Legend, May 17, 2014

‘Kill’-er hits: As SZA takes out all chart competition in her way, she notches the fourth Hot 100 No. 1 with “kill” (or any form of the word) in its title:

• “Kill Bill,” one week at No. 1, to-date, April 29, 2023
• “Stronger (What Doesn’t Kill You),” Kelly Clarkson, three weeks, beginning Feb. 18, 2012
• “A View to a Kill,” Duran Duran, two, July 13, 1985
• “Killing Me Softly With His Song” Roberta Flack, five, Feb. 24, 1973

Meanwhile, “Kill Bill” is the second Hot 100 No. 1 of the four above that doubles as a movie title, as it’s an ode to the 2003 Quentin Tarantino-directed, and likewise revenge-focused, martial arts favorite (subtitled Volume 1) starring Uma Thurman, among others (including David Carradine in the role of Bill). Duran Duran’s “A View to a Kill” is the theme from the same-named 1985 James Bond movie, and the only one from the franchise to have topped the Hot 100.

Record-extending R&B/hip-hop reign: “Kill Bill” concurrently rules the multi-metric Hot R&B/Hip-Hop Songs and Hot R&B Songs charts for a 17th and 18th week, respectively. On Hot R&B/Hip-Hop Songs, it boasts the longest command for a song by a woman in a lead role since the survey became an all-encompassing genre chart in 1958, having passed Mary J. Blige’s “Be Without You” (15 weeks at No. 1 in 2006).

Morgan Wallen’s “Last Night” dips to No. 2 on the Hot 100 after three nonconsecutive weeks at No. 1. It adds a sixth frame at No. 1 on Streaming Songs (35.1 million, down 4%), while winning top Airplay Gainer honors on the Hot 100 for a third week in a row (39.9 million, up 16%). The single from Wallen’s album One Thing at a Time, which spends a seventh week atop the Billboard 200, leads the multi-metric Hot Country Songs chart for an 11th week.

Miley Cyrus’ “Flowers” holds at No. 3 on the Hot 100, after eight weeks at No. 1, beginning upon its debut in January. It posts a 10th week atop Radio Songs (92.7 million in audience, down 1%) – where, since the survey began in December 1990, only 15% of all No. 1s have dominated for double-digit weeks. Notably, the song spends a third week topping the Pop Airplay, Adult Pop Airplay and Adult Contemporary charts simultaneously, becoming just the fourth hit with that many weeks leading all three lists at the same time; it joins Adele’s “Easy on Me” (three, 2022) and “Hello” (four, 2015) and Celine Dion’s “Because You Loved Me” (five, 1996).

Ice Spice and Nicki Minaj’s “Princess Diana” debuts at No. 4 on the Hot 100, with 21.8 million streams, 2.4 million in radio audience and 77,000 downloads sold, following the April 14 arrival of its remix with Minaj; the original version of the track was released by Ice Spice solo in January.

The song starts as Ice Spice’s second Hot 100 top 10 – her first, “Boy’s a Liar, Pt. 2,” with PinkPantheress, drops 8-10, after reaching No. 3. Minaj achieves her 22nd top 10, extending her record for the most among women rappers.

“Princess Diana” opens at No. 1 on Digital Song Sales, where it’s Minaj’s 13th leader, and Ice Spice’s first, and No. 6 on Streaming Songs. (Helping the song’s sales, along with Ice Spice’s solo version and the main [billed as “edited”] version of the duet remix, clean, explicit, extended, sped-up, slowed-down and instrumental versions of the Minaj remix were available for purchase in the tracking week.)

The single also begins atop the multi-metric Hot Rap Songs chart, where Minaj earns her 10th No. 1 and Ice Spice, her first.

Eslabon Armado and Peso Pluma’s “Ella Baila Sola” vaults 10-5 on the Hot 100, led by 31.8 million streams, up 31%. It becomes the first regional Mexican top five hit in the chart’s archives, a week after it became the list’s initial top 10 for the genre. The collaboration tallies a third week at No. 1 on the multi-metric Hot Latin Songs chart.

Metro Boomin, The Weeknd and 21 Savage’s “Creepin’ ” slips 5-6 on the Hot 100, after hitting No. 3, and Rema and Selena Gomez’s “Calm Down” descends to No. 7 from its No. 6 high. The latter tops the Billboard U.S. Afrobeats Songs chart for a 34th week, extending the longest rule since the ranking began a year ago (in partnership with music festival and global brand Afro Nation).

The Weeknd and Ariana Grande’s “Die for You” backtracks 7-8 on the Hot 100, following a week at No. 1 in March, and Drake’s “Search & Rescue” falls to No. 9, a week after it roared in at No. 2.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated April 29), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (April 25).

Source: billboard.com

Plus: Metallica scores the biggest week for a rock album in over three-and-a-half years as ’72 Seasons’ debuts at No. 2.

Morgan Wallen’s One Thing at a Time spends a seventh consecutive and total week at No. 1 on the Billboard 200 albums chart (dated April 29). The set earned 166,000 equivalent album units in the week ending April 20 (down 1%) in the United States, according to Luminate.

In the last 10 years, only two acts – Wallen and Taylor Swift – have had multiple albums with at least seven weeks at No. 1 each. Wallen has done so with One Thing at a Time and his previous release, Dangerous: The Double Album, which spent 10 weeks at No. 1 in 2021. Swift did it with Folklore (eight weeks in 2020) and 1989 (11 weeks in 2014-15).

Also in the top 10 of the new Billboard 200, Metallica blasts in at No. 2 with its new studio album, 72 Seasons. The set debuts with 146,000 units earned – achieving the largest week, by units, for any rock or hard rock album in over three-and-a-half years. It also marks the band’s 12th top 10 charting album – of which eight have reached the top two. 72 Seasons marks the band’s first original album in seven years.

Plus, Taylor Swift’s 2019 album Lover ranks in the Billboard 200’s top 10 for the first time in over three years, climbing 12-9.

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 April 29, 2023-dated chart will be posted in full on Billboard‘s website on April 25. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of One Thing at a Time’s 166,000 equivalent album units earned in the week ending April 20, SEA units comprise 151,000 (down 5%, equaling 201.71 million on-demand official streams of the set’s 36 songs), album sales comprise 12,000 (up 102% following the release of a new vinyl edition of the set) and TEA units comprise 3,000 (up 7%).

Metallica’s new studio album 72 Seasons starts at No. 2 on the Billboard 200, scoring the Rock & Roll Hall of Fame band its 12th top 10-charting effort. The set opens with 146,000 equivalent album units earned – the biggest week for any rock or hard rock album since Tool’s Fear Inoculum arrived with 270,000 equivalent album units at No. 1 (Sept. 14, 2019-dated chart). (Rock and hard rock albums are defined as those that have hit or are eligible to chart on Billboard’s Top Rock Albums and Top Hard Rock Albums chart.)

Of 72 Seasons’ 146,000 units earned, album sales comprise 134,000 — it’s the top-selling album of the week, and it bows with the biggest sales week for any rock or hard rock album since Fear Inoculum’s debut with 248,000 sold, SEA units comprise 11,500 (equaling 15.91 million on-demand official streams of the set’s 12 songs) and TEA units comprise 500.

72 Seasons was led by the single “Lux Æterna,” which racked up 11 weeks at No. 1 on the Mainstream Rock Airplay chart – tying the band’s cover of “Turn the Page” (1998-99) for its longest ruler atop the list. The album’s title track rose 8-6 on the most recently published Mainstream Rock Airplay chart (dated April 29), and marks the group’s 26th top 10-charting song on the tally.

SZA’s chart-topping SOS rises 4-3 on the Billboard 200 with 66,000 equivalent album units (up 9%), Taylor Swift’s former No. 1 Midnights falls 3-4 (60,000; up 1%) and Wallen’s former leader Dangerous: The Double Album rises 6-5 (49,000; up 3%). Luke Combs’ Gettin’ Old bumps 7-6 (43,000; down 7%), Metro Boomin’ chart-topping Heroes & Villains goes up 9-7 (37,000; up 1%) and Bad Bunny’s former No. 1 Un Verano Sin Ti steps 10-8 (36,000; up 5%).

Taylor Swift’s chart-topping Lover rises 12-9 (34,000; up 4%) – marking the first week in the top 10 for the set, which debuted at No. 1 in September 2019, in over three years – since the chart dated Feb. 22, 2020. The album has been bumping around the top 20 of the Billboard 200 in the last month, since Swift’s The Eras Tour launched on March 17. It’s moved 35-13-16-15-12-9 in the last six weeks.

Melanie Martinez’s Portals rounds out the top 10 of the Billboard 200, falling 5-10 with 33,000 (down 31%).

Source: billboard.com

“Last Night” leads for a third week, “Search & Rescue” starts at No. 2 and “Ella Baila Sola” becomes the first top 10 ever for a regional Mexican song.

Morgan Wallen’s “Last Night” leads a busy Billboard Hot 100 top 10, adding a third nonconsecutive week atop the chart. It first ruled last month, marking the country singer-songwriter’s initial No. 1.

The song is from Wallen’s LP One Thing at a Time, which notches a sixth week at No. 1 on the Billboard 200 albums chart.

Elsewhere in the Hot 100’s top tier, Drake’s “Search & Rescue” launches at No. 2. It marks the superstar’s record-extending 68th top 10.

Plus, Eslabon Armado and Peso Pluma log a historic Hot 100 top 10 with “Ella Baila Sola”: Their first top 10 each is also the first regional Mexican top 10 in the chart’s 64-year history.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated April 22, 2023) will update on Billboard.com tomorrow (April 18). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

Wallen’s “Last Night,” released on Big Loud/Mercury/Republic Records, drew 36.6 million streams (up 4%) and 34.5 million radio airplay audience impressions (up 16%, good for the chart’s top Airplay Gainer award for a second consecutive week) and sold 10,000 downloads (up 6%) in the April 7-13 tracking week, according to Luminate.

The track falls to No. 2 on the all-genre Streaming Songs chart, after five weeks at No. 1; holds at No. 3 on Digital Song Sales, following at the summit; and ascends 21-17 on Radio Songs. A multi-format radio hit, it pushes to No. 13 on the Country Airplay chart, No. 20 on Pop Airplay and No. 21 on Adult Pop Airplay and debuts at No. 27 on Adult Contemporary.

“Last Night” concurrently leads the Hot Country Songs chart, which uses the same methodology as the Hot 100, for a 10th week. It became just the 20th song to have topped both lists – and the first by a solo male unaccompanied by any other acts since Eddie Rabbitt’s “I Love a Rainy Night” ruled Hot Country Songs for a week and the Hot 100 for two weeks in 1981.

As “Last Night” has now ruled Hot Country Songs for 10 weeks and the Hot 100 for three, it’s the first song among those that have topped both charts with that many weeks atop that pair of tallies since Taylor Swift’s “We Are Never Ever Getting Back Together” also ran up 10 and three weeks at No. 1, respectively, in 2012-13.

Drake’s “Search & Rescue” bounds onto the Hot 100 at No. 4. After it premiered April 7 (a day after he announced the song’s pending release), it begins with 33.8 million streams, 6.9 million in radio airplay audience and 3,600 sold through April 13.

The track opens at No. 1 on Streaming Songs, becoming Drake’s record-furthering 16th leader. (While the song’s sum of raw streams is the week’s second highest, after Wallen’s “Last Night,” “Search & Rescue” tops the chart due to the application of weighting to all titles’ paid/subscription and ad-supported on-demand streams and programmed/radio streams.)

Drake posts his record-extending 68th Hot 100 top 10, and first of 2023.

Most Billboard Hot 100 Top 10s:

• 68, Drake
• 40, Taylor Swift
• 38, Madonna
• 34, The Beatles
• 32, Rihanna
• 30, Michael Jackson
• 29, Elton John
• 28, Mariah Carey
• 28, Stevie Wonder
• 27, Janet Jackson

“Search & Rescue” is also Drake’s record-padding 35th top five Hot 100 hit (distancing himself further from runners-up The Beatles’ 29); his 174th top 40 hit (ahead of Taylor Swift, second with 105); and his 294th entry overall (with the Glee Cast second with 207). (He adds his 20th top two hit; The Beatles and Mariah Carey lead with 23 each.)

The track concurrently crowns the multi-metric Hot R&B/Hip-Hop Songs and Hot Rap Songs charts upon its debut, marking Drake’s record-extending 27th and 28th No. 1s on the surveys.

We did some re-‘search’: “Search & Rescue” is the highest-charting Hot 100 hit with “search” in its title, surpassing Survivor’s No. 4-peaking love song “The Search Is Over” in 1985. (Honorable mention to the No. 3 classic “Love Potion Number Nine,” in 1965, by The Searchers.) Drake’s new hit is also the highest charting with “rescue” in its name. It bests The Rolling Stones’ “Emotional Rescue” (No. 3, 1980), followed by “Rescue Me” by Fontella Bass (No. 4, 1965).

Miley Cyrus’ “Flowers” keeps at No. 3 on the Hot 100, after eight weeks at No. 1, beginning upon its debut in January. It claims a ninth week atop Radio Songs (93.5 million in audience, down 9%).

SZA’s “Kill Bill” retreats to No. 4 on the Hot 100, from No. 2, where it has spent eight weeks at its highpoint. It also dominates the multi-metric Hot R&B Songs charts for a 17th week. (Its new remix featuring Doja Cat arrived Friday, April 14, and will begin contributing to next week’s charts [dated April 29], with all versions of the song rolling up into one chart listing.)

Metro Boomin, The Weeknd and 21 Savage’s “Creepin’ ” dips 4-5 on the Hot 100, after hitting No. 3, and Rema and Selena Gomez’s “Calm Down” climbs 7-6 for a new high. The latter tops the Billboard U.S. Afrobeats Songs chart for a 33rd week, extending the longest rule since the ranking began a year ago (in partnership with music festival and global brand Afro Nation).

The Weeknd and Ariana Grande’s “Die for You” drops 5-7 on the Hot 100, following a week at No. 1 in March, and PinkPantheress and Ice Spice’s “Boy’s a Liar, Pt. 2” slips 6-8, after reaching No. 3. Still, the latter becomes each act’s first top 10 on Radio Songs (14-10; 40.9 million, up 3%).

Taylor Swift’s “Anti-Hero” descends 8-9 on the Hot 100, following a personal-best eight weeks at No. 1 in November-January. It has now spent 24 weeks in the top 10 – equaling Swift’s longest stay in the region, first set by “Shake It Off” in 2014-15. Next up, her “Blank Space” totaled 17 weeks in the top 10, also in 2014-15, followed by “I Knew You Were Trouble.” (16 weeks, 2012-13) and “You Belong With Me” (16, 2009).

Rounding out the Hot 100’s top 10, Eslabon Armado and Peso Pluma’s “Ella Baila Sola” soars 17-10, led by 24.4 million streams, up 30%, as it wins the Hot 100’s top Streaming Gainer trophy, and jumps 6-3 on Streaming Songs.

Quartet Eslabon Armado, from California, and Peso Pluma, from Mexico, each reach the Hot 100’s top for the first time – as “Ella Baila Sola” makes history as the first regional Mexican song ever to hit the Hot 100’s top 10. The genre has surged this decade, thanks in part to exposure on TikTok and other social media, with Gera MX and Christian Nodal’s “Botella Tras Botella” having become the first regional Mexican Hot 100 hit in May 2021, peaking at No. 60.

After “Ella Baila Sola,” Peso Pluma also has the second-highest-charting regional Mexican Hot 100 hit: “La Bebe,” with Yng Lvcas, rises to a new No. 17 best on the latest, April 22-dated chart. The next-highest-peaking such hits: Yahritza y Su Esencia’s “Soy El Unico” (No. 20, April 2022 – it debuted at that rank, the highest entrance for a regional Mexican song) and Fuerza Regida and Grupo Frontera’s “Bebe Dame” (No. 25, this January).

Among Latin genres, regional Mexican’s arrival in the Hot 100’s top 10 follows that of Latin pop, which, after English-language hits by Gloria Estefan in the 1980s (plus Los Lobos’ “La Bamba,” in Spanish) surged in the late ‘90s and beyond thanks to songs (in varying degrees of English and Spanish) by Enrique Iglesias, Jennifer Lopez and Ricky Martin, among other stars. At the same time, Marc Anthony helped tropical break through on the chart. In more recent years, Daddy Yankee and Luis Fonsi’s pop-centered, mostly-Spanish-language “Despacito,” featuring Justin Bieber, spent a then-record-tying 16 weeks at No. 1 in 2017, while, this decade, Bad Bunny, with Spanish-language songs, has carried the torch for Latin rhythm in the top 10.

As for Latin music overall, Eslabon Armado and Peso Pluma earn the Hot 100’s third Spanish-language top 10 this year, following two Latin pop hits: Bizarrap and Shakira’s “Bzrp Music Sessions, Vol. 53” (No. 9, January) and Karol G and Shakira’s “TQG” (No. 7, March).

“Ella Baila Sola” was released on Prajin Parlay/DEL Records, both of which likewise appear in the Hot 100’s top 10 for the first time.

The collaboration concurrently achieves a second week at No. 1 on the multi-metric Hot Latin Songs chart, where it became the first leader for both Eslabon Armado and Peso Pluma. “We didn’t expect for the song to make so much noise!” Pedro Tovar, lead singer for the former act, and the song’s sole author, told Billboard upon its coronation. “I really liked the song when I first wrote it, but I didn’t really expect it to be such a big hit. I previewed it on my stories on Instagram and, two days after, it went viral on TikTok, and that’s when I knew that the song was going to do big numbers.”

“Normally I don’t expect to chart with songs,” Peso Pluma marveled. “We just enjoyed the process of doing it.”

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated April 22), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (April 18).

Source: billboard.com

Also in the top 10: NF’s “Hope” debuts, while Linkin Park’s “Meteora” returns after 20th anniversary reissue.

Morgan Wallen’s One Thing at a Time holds atop the Billboard 200 albums chart (dated April 22) for a sixth consecutive and total week at No. 1. The set earned 167,000 equivalent album units in the United States in the week ending April 13 (down 3%), according to Luminate. One Thing at a Time debuted at No. 1 on the chart dated March 18 and has held firm at No. 1 since.

Also in the top 10 of the new Billboard 200 chart, NF notches his fourth top 10-charting effort as Hope bows at No. 2, while Linkin Park’s former No. 1 Meteora re-enters the list at No. 8 after its 20th anniversary reissue.

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 April 22, 2023-dated chart will be posted in full on Billboard‘s website on Tuesday (April 18). For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of One Thing at a Time’s 167,000 equivalent album units earned in the week ending April 13, SEA units comprise 158,500 (down 2%, equaling 211.05 million on-demand official streams of the set’s 36 songs), album sales comprise 6,000 (down 24%) and TEA units comprise 2,500 (down 1%).

NF’s Hope debuts at No. 2 on the Billboard 200, scoring the artist his fourth top 10-charting effort. The set launches with 123,000 equivalent album units. Of that sum, album sales comprise 80,500 (making it the top-selling album of the week), SEA units comprise 41,500 (equaling 56.85 million on-demand official streams of the set’s 13 songs — NF’s biggest streaming week yet), and TEA units comprise 1,000.

Hope’s handsome first-week sales figure — NF’s second-largest sales week ever — was bolstered by the album’s availability in an autographed CD edition in his webstore, a Target-exclusive CD with a poster packaged inside, four deluxe CD/merch boxed sets, and a both a white vinyl and a standard black vinyl edition.

Hope is the fourth album to debut at No. 2 behind One Thing at a Time, following Melanie Martinez’s Portals (April 15-dated chart), Jimin’s FACE (April 8) and TWICE’s Ready to Be (March 25). It’s not unusual for an album to spend a lengthy amount of time at No. 1 and end up blocking a number of albums from the top slot. Last year, for example, eight different albums peaked at No. 2 behind Bad Bunny’s Un Verano Sin Ti.

Taylor Swift’s chart-topping Midnights rises 6-3 on the new Billboard 200 with 60,000 equivalent album units earned (down 2%), while SZA’s former leader SOS rises 5-4 with just under 60,000 units (down 7%). Martinez’s Portals dips 2-5 in its second week, with 48,000 (down 66%). Wallen’s former No. 1 Dangerous: The Double Album bumps 8-6 with 47,000 (up 7%), and Luke Combs’ Gettin’ Old is a non-mover at No. 7 with 46,000 (down 15%).

Linkin Park’s chart-topping Meteora re-enters the chart at No. 8, following the album’s 20th anniversary deluxe reissue on April 7. The set, which spun off such Billboard Hot 100 hits as “Numb” and “Faint” in 2003-04, returns with 38,500 equivalent album units earned (up 635%). Of that sum, album sales comprise 19,500, SEA units comprise 17,000 (equaling 23.65 million on-demand official streams of the set’s tracks) and TEA units comprise 2,000.

Meteora marked Linkin Park’s first of six No. 1s on the Billboard 200, when it debuted atop the chart dated April 12, 2003. The group’s second studio album spent two weeks atop the list. Previously, the rock band logged a pair of No. 2-peaking efforts with its debut studio set Hybrid Theory and the remix project Reanimation (both in 2002).

The 20th anniversary reissue was led by its first single, the from-the-vaults track “Lost” that was recorded for Meteora but didn’t make the original album’s final tracklist. The cut features the vocals of the band’s late lead singer Chester Bennington, who died in 2017. “Lost” debuted at No. 38 on the Billboard Hot 100 (Feb. 25, 2023 chart) and marked the group’s first new top 40 hit in over a decade. It’s one of a number of unreleased songs on the deluxe Meteora reissue, which also includes demo recordings, live cuts and other rarities.

Meteora was reissued in multiple expansive formats, including an 89-track digital download and streaming edition, a three-CD set, a four vinyl LP box and a super deluxe boxed set priced at $199.98 (containing five vinyl LPs, four CDs, three DVDs, a book and collectibles). All versions of the album, new and old, are combined for tracking and charting purposes.

Rounding out the top 10 of the new Billboard 200 is a pair of former No. 1s: Metro Boomin’s Heroes & Villains (steady at No. 9 with 36,000 equivalent album units earned; down 14%) and Bad Bunny’s Un Verano Sin Ti (11-10 with 35,000; down 2%).

Source: billboard.com

The song is the first by a solo male and no accompanying acts with multiple weeks atop both the Hot 100 and Hot Country Songs since 1975.

Morgan Wallen’s “Last Night” rebounds to No. 1 on the Billboard Hot 100 songs chart. It first reigned four weeks earlier, marking the country singer-songwriter’s initial leader on the list.

The track is from Wallen’s LP One Thing at a Time, which spends a fifth week at No. 1 on the Billboard 200 albums chart.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated April 15, 2023) will update on Billboard.com tomorrow (April 11). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

Up 3-1 on the Hot 100, “Last Night,” released on Big Loud/Mercury/Republic Records, drew 35.1 million streams (down 2%) and 29.7 million radio airplay audience impressions (up 25%, good for the chart’s top Airplay Gainer award) and sold 10,000 downloads (up 1%) in the March 31-April 6 tracking week, according to Luminate.

The track tops the all-genre Streaming Songs chart for a fifth week; holds at No. 3 on Digital Song Sales, following a week at No. 1; and jumps 30-21 on Radio Songs. A growing multi-format radio hit, it ascends to No. 17 on the Country Airplay chart, No. 21 on Pop Airplay and No. 23 on Adult Pop Airplay.

“Last Night” concurrently leads the Hot Country Songs chart, which uses the same methodology as the Hot 100, for a ninth week. It became just the 20th song to have topped both tallies – and the first by a solo male unaccompanied by any other acts in over 42 years, since Eddie Rabbitt’s “I Love a Rainy Night” ruled Hot Country Songs for a week in January 1981 and the Hot 100 for two weeks that February-March.

As “Last Night” has now ruled Hot Country Songs for nine weeks and the Hot 100 for two, it’s the first song with multiple weeks atop each chart since Taylor Swift’s “We Are Never Ever Getting Back Together” (10 and three weeks at No. 1, respectively) in 2012. It’s the first such hit by a solo male and no accompanying acts since Glen Campbell’s “Rhinestone Cowboy” (three and two weeks, respectively) in 1975. The only other titles by unaccompanied solo males to have topped Hot Country Songs and the Hot 100 for multiple weeks each: Charlie Rich’s “The Most Beautiful Girl” (1973), Bobby Goldsboro’s “Honey” (1968), Jimmy Dean’s “Big Bad John” (1961), Marty Robbins’ “El Paso” (1959-60) and Johnny Horton’s “The Battle of New Orleans” (1959).

SZA’s “Kill Bill” rises 4-2 on the Hot 100, adding an eighth week at its No. 2 high. It wins top Sales Gainer honors (6,000, up 158%, helped by 69-cent sale-pricing in the iTunes Store), as it zooms 25-8 to become her fifth top 10 on Digital Song Sales.

“Kill Bill” simultaneously dominates the multi-metric Hot R&B/Hip-Hop Songs and Hot R&B Songs charts for a 16th week each. On Hot R&B/Hip-Hop Songs, it passes Mary J. Blige’s “Be Without You” (15 weeks at No. 1 in 2006) for the longest reign for a song by a woman in a lead role since the survey became an all-encompassing genre chart in 1958.

Miley Cyrus’ “Flowers” slips 2-3 on the Hot 100, after eight weeks at No. 1, starting upon its debut in January. It logs an eighth week atop Radio Songs (102.2 million in audience, down 4%).

Metro Boomin, The Weeknd and 21 Savage’s “Creepin’ ” rebounds 5-4 on the Hot 100, after reaching No. 3; The Weeknd and Ariana Grande’s “Die for You” lifts 6-5, following a week at No. 1 in March; and PinkPantheress and Ice Spice’s “Boy’s a Liar, Pt. 2” pushes 7-6, after hitting No. 3.

Rema and Selena Gomez’s “Calm Down” climbs 8-7 for a new Hot 100 high. It tops the Billboard U.S. Afrobeats Songs chart for a 32nd week, extending the longest command since the list began a year ago (in partnership with music festival and global brand Afro Nation).

Taylor Swift’s “Anti-Hero” reverses course, 9-8, on the Hot 100, following a personal-best eight weeks at No. 1 in November-January. It has spent 23 weeks in the top 10 – one week shy of Swift’s longest stay in the region, set by “Shake It Off” in 2014-15.

Coi Leray’s “Players” rises 10-9 on the Hot 100, returning to its best rank, as it leads the multi-metric Hot Rap Songs chart for a fourth week.

Rounding out the Hot 100’s top 10, Bailey Zimmerman’s “Rock and a Hard Place” re-enters the tier, up 13-10, revisiting its best rank first reached two weeks earlier. As previously reported, the songs tops Country Airplay for a third week.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated April 15), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (April 11).

Source: billboard.com

Plus: Melanie Martinez & Boygenius debut in top 10, while Tyler, the Creator’s “Call Me If You Get Lost” surges back to top three after deluxe reissue.

Morgan Wallen’s One Thing at a Time continues to cruise at No. 1 on the Billboard 200, as the album spends a fifth straight and total week atop chart (dated April 15). The set earned 173,000 equivalent album units in the United States in the week ending April 6 (down 12%), according to Luminate. One Thing at a Time debuted at No. 1 on the Billboard 200 dated March 18 and has held in place ever since.

Across Wallen’s two No. 1 albums on the Billboard 200, One Thing at a Time and Dangerous: The Double Album, he has now spent a total of 15 weeks atop the chart. That surpasses Bad Bunny for the second-most weeks at No. 1 this decade. Only Taylor Swift has more weeks at No. 1 since the start of 2020, with 20 total.

Across Wallen’s two No. 1 albums on the Billboard 200, One Thing at a Time and Dangerous: The Double Album, he has now spent a total of 15 weeks atop the chart. That surpasses Bad Bunny for the second-most weeks at No. 1 this decade. Only Taylor Swift has more weeks at No. 1 since the start of 2020, with 20 total.

In total, Portals marks Martinez’s third top 10-charting set, following K-12 (No. 3 peak in 2019) and Cry Baby (No. 6 in 2015).

The new album was previewed by the songs “Void” (the set’s official first single) and “Death,” both of which have reached the top 40 on the Hot Rock & Alternative Songs chart, while “Death” debuted on the Billboard Hot 100 dated April 1 at No. 95. The latter debut is Martinez’s first appearance on the Hot 100 since 2012, and the first time she’s charted with anything that wasn’t part of her run as a contestant on NBC’s The Voice. (Her two previous entries on the Hot 100 were both covers from the reality competition show.)

Portals’ sizable first-week sales of 99,000 was supported by 21 different physical variants of the album — six vinyl LPs, 14 CDs and one cassette. The audio content across all of the editions is the same; the variations are mostly distinguished by their packaging (including color vinyl editions, alternative covers, a signed CD and four deluxe boxed sets with either a tank top or a shirt along with a CD).

Tyler, the Creator’s chart-topping Call Me If You Get Lost jumps from No. 137 to No. 3 following its deluxe reissue on March 31. The set, first released in 2021, was reintroduced to the market with eight additional songs (dubbed the Call Me If You Get Lost: The Estate Sale edition). All versions of the album, old and new, are combined for tracking and charting purposes.

In total, Call Me If You Get Lost earned 68,000 equivalent album units for the week, up 617%. The bulk of that sum was driven by SEA activity: 57,000 (up 734%, equaling 77.97 million on-demand official streams of all of the set’s songs, old and new). The set also sold 11,000 copies, including digital download and CD editions of the new deluxe version (though the CD is exclusively sold through the artist’s webstore at this time).

Call Me If You Get Lost was last in the top 10 almost a year ago, on the April 30, 2022-dated chart, when the album zoomed 120-1 after its belated release on vinyl pushed it back to the top. It first led in July 2021 upon its debut.

Rock supergroup Boygenius sees its debut full-length studio album — and major label debut — The Record launch at No. 3 on the Billboard 200. The trio comprises Julien Baker, Phoebe Bridgers and Lucy Dacus. The set starts with 67,000 equivalent album units earned. Of that sum, album sales comprise 53,000, SEA units comprise 14,000 (equaling 18.17 million on-demand official streams of the set’s songs) and TEA units comprise a negligible sum.

The Record was previewed by a trio of charting songs on Billboard’s tallies: “Emily I’m Sorry,” “Not Strong Enough” and “$20.” The latter two charted on the Adult Alternative Airplay chart (with “Not Strong Enough” hitting the top 10 on the April 15-dated list), while the former two both reached Hot Rock & Alternative Songs.

The Record was supported largely by vinyl sales. Of the album’s overall first-week units, vinyl sales represented 67% of the total sum (45,000 of 67,000). And, of the album’s traditional album sales number, vinyl accounts for 85% of the total (45,000 of 53,000). The Record was available in eight different-colored vinyl variants, including exclusives for indie stores, Target and Urban Outfitters.

SZA’s former No. 1 SOS is a non-mover at No. 5 on the Billboard 200 with 64,000 equivalent album units earned (down 8%), Swift’s chart-topping Midnights rises 7-6 with 61,000 (up 5%) and Luke Combs’ Gettin’ Old dips 4-7 with 54,000 (down 46% in its second week). Wallen’s chart-topping Dangerous: The Double Album climbs 9-8 with 45,000 (up 3%), Metro Boomin’s former No. 1 Heroes & Villains falls 8-9 with 42,000 (down 7%), and Lana Del Rey’s Did You Know That There’s a Tunnel Under Ocean Blvd. drops 3-10 with 38,000 (down 67% in its second week).

Source: billboard.com