“As It Was” boasts the longest reign since Lil Nas X’s record 19-week domination with “Old Town Road.”

Harry Styles‘ “As It Was” rules the Billboard Hot 100 songs chart for a 12th week. The song claims outright the longest stay at the summit this decade, breaking out of a tie with Roddy Ricch’s “The Box,” which led for 11 weeks in 2020.

“As It Was” boasts the longest Hot 100 domination since Lil Nas X’s “Old Town Road,” featuring Billy Ray Cyrus, reigned for a record 19 weeks in 2019.

Plus, Steve Lacy‘s “Bad Habit” rises to a new No. 2 Hot 100 best and Elton John and Britney Spears‘ “Hold Me Closer” bounds onto the chart at No. 6. The latter, the latest mash-up of John classics, marks his 29th Hot 100 top 10 and Spears’ 14th, and her first in nearly 10 years. Earlier this year, John added his first top 10 since 1998, when his previous multi-song reworking of his own catalog, “Cold Heart (Pnau Remix),” with Dua Lipa, reached No. 7.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Sept. 10, 2022) will update on Billboard.com Wednesday (Sept. 7, a day later than usual due to the Monday Labor Day holiday in the U.S.) For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“As It Was,” released on Erskine/Columbia Records, tallied 69.9 million radio airplay audience impressions (down 3%), 15.4 million streams (up 2%) and 4,000 downloads sold (up 9%) in the Aug. 26-Sept. 1 tracking week, according to Luminate.

The single, from Styles’ album Harry’s House, holds at No. 2 after four weeks atop the Radio Songs chart, beginning in May; dips 6-7 on Streaming Songs, after two weeks on top starting in its debut week in April; and rebounds 22-19 on Digital Song Sales, following a week in charge in May.

Longest Hot 100 reign this decade

“As It Was” moves into sole possession of the most weeks spent atop the Hot 100 in the 2020s. Here’s a recap of the longest commands so far this decade:

• 12 weeks at No. 1, “As It Was,” Harry Styles, beginning April 16, 2022
• 11, “The Box,” Roddy Ricch, Jan. 18, 2020
• 10, “Easy on Me,” Adele, Oct. 30, 2021
• 10, “Butter,” BTS, June 5, 2021
• 8, “Drivers License,” Olivia Rodrigo, Jan. 23, 2021
• 8, “Mood,” 24kGoldn feat. iann dior, Oct. 24, 2020

Notably, four of the six songs above were released on Columbia (with “The Box” on Atlantic Records and “Drivers License” on Interscope Records). (“Old Town Road,” as noted above, is also a Columbia release.)

Most weeks ever in Hot 100’s top two

In addition to logging the longest Hot 100 rule of the 2020s so far, “As It Was” ties the record for the most weeks spent in the chart’s top two positions over the list’s entire 64-year history, having logged 21 of its 22 weeks on the chart in the top two, from its April 16 debut through the newest, Sept. 10-dated survey.

Here’s a look at the titles to post the most weeks in the Hot 100’s top two spots:

• 21 weeks in the top two, “As It Was,” Harry Styles, beginning April 16, 2022 (12 weeks at No. 1, 9 weeks at No. 2)
• 21, “Stay,” The Kid LAROI & Justin Bieber, Aug. 14, 2021 (7, 14)
• 19, “Old Town Road,” Lil Nas X feat. Billy Ray Cyrus, April 13, 2019 (19, 0)
• 18, “Uptown Funk!,” Mark Ronson feat. Bruno Mars, Jan. 17, 2015 (14, 4)
• 17, “Despacito,” Luis Fonsi & Daddy Yankee feat. Justin Bieber, May 27, 2017 (16, 1)
• 16, “Shape of You,” Ed Sheeran, Jan. 28, 2017 (12, 4)
• 16, “I Gotta Feeling,” The Black Eyed Peas, July 11, 2009 (14, 2)
• 16, “We Belong Together,” Mariah Carey, June 4, 2005 (14, 2)
• 16, “One Sweet Day,” Mariah Carey & Boyz II Men, Dec. 2, 1995 (16, 0)

The Kid LAROI and Justin Bieber’s “Stay” added its 21st week in the Hot 100’s top two on the chart dated this April 9, a week after becoming the first song to spend 20 weeks in the top two. “No one seems to be tired of this earworm,” Brady Bedard, Columbia senior vp of pop promotion, told Billboard of “Stay” at the time – with the label having released the hits with the three longest runs in the Hot 100’s top two spots.

No. 1 for 12 weeks over 22 weeks

Plus, as updated from a week earlier, “As It Was” has now ranked atop the Hot 100 for 12 weeks over a span of 22 weeks, from its debut through the current chart. (In its other 10 weeks on the tally, it placed at either No. 2 or No. 3.) That’s the third-longest span for a song topping the tally, over the chart’s archives – and the most for a song in a single release cycle.

Mariah Carey’s “All I Want for Christmas Is You” holds the record for the longest stretch from a song’s first to its most recent week at No. 1: two years and three weeks (Dec. 21, 2019-Jan. 8, 2022), having passed Chubby Checker’s “The Twist,” which led in two distinct runs spanning a year and four months (Sept. 19, 1960-Jan. 20, 1962).

No. 1 Adult Contemporary

“As It Was” simultaneously tops the Adult Contemporary radio airplay chart, jumping from No. 4. Styles scores his second AC leader, after “Adore You” ruled for 10 weeks beginning in August 2020. Among other Billboard format airplay charts, “As It Was” has led Adult Pop Airplay (for eight weeks), Pop Airplay (seven) and Dance/Mix Show Airplay (two). (It also reached No. 14 on Adult Alternative Airplay and No. 34 on Alternative Airplay.)

Steve Lacy’s first Hot 100 hit, “Bad Habit,” bumps from No. 3 to a new No. 2 high, as it posts a third week at No. 1 on Streaming Songs (20.3 million, down 2%). The track also tops the multi-metric Hot Rock & Alternative Songs, Hot Rock Songs and Hot Alternative Songs charts for a second week each and ascends to No. 1 on both the multi-metric Hot R&B/Hip-Hop Songs and Hot R&B Songs charts – making history as the first song to rule all five lists, or even Hot Rock & Alternative Songs and Hot R&B/Hip-Hop Songs (each genre’s overarching songs survey), dating to October 2012, when Billboard‘s main genre-based song charts adopted the Hot 100’s methodology.

Being promoted to multiple radio formats, by RCA Records, “Bad Habit” concurrently hits the Pop Airplay chart’s top 10 (11-10) and climbs 20-19 on Rhythmic Airplay, 27-19 on Adult Alternative Airplay and 33-28 on Adult Pop Airplay, while building on both alternative and mainstream R&B/hip-hop stations. On the all-format Radio Songs chart, it leaps 24-19 (27.5 million, up 18%).

Elsewhere in the Hot 100’s top five, Lizzo’s “About Damn Time” descends 2-3, after two weeks at No. 1, as it adds a ninth week atop Radio Songs (70 million, down 7%); Kate Bush’s “Running Up That Hill (A Deal With God)” is steady at No. 4 on the Hot 100, after hitting No. 3, with top Sales Gainer honors (7,000, up 72%, sparked by a new CD single option and 69-cent sale-pricing during the tracking week); and Nicky Youre and dazy’s “Sunroof” reaches the region, rising 6-5.

Elton John and Britney Spears’ “Hold Me Closer” roars in at No. 6 on the Hot 100. The mash-up of three John hits, released Aug. 26, on Interscope, opens with 20.9 million in radio airplay audience, 11.1 million streams and 48,000 sold. It debuts at No. 1 on Digital Song Sales (marking Spears’ eighth leader and John’s second), No. 17 on Streaming Songs and No. 31 on Radio Songs.

John’s 29th Hot 100 top 10

John banks his 29th Hot 100 top 10, and his second this year. He notched his first top 10 since 1998 when his previous multi-song re-imagination of his own work, “Cold Heart (Pnau Remix),” with Dua Lipa, reached No. 7 in January.

John has logged the seventh-most Hot 100 top 10s. Among solo males, he has earned the third-most, after Drake and Michael Jackson, as he breaks out of a tie with (his good friend) Stevie Wonder.

John sports his highest Hot 100 rank since the chart dated Jan. 24, 1998, when his “Candle in the Wind 1997″/”Something About the Way You Look Tonight” placed at No. 5 after 14 weeks at No. 1.

John also expands his span of Hot 100 top 10s to 51 years, seven months and three weeks, dating to his first frame in the top 10 with “Your Song” (Jan. 23, 1971) – the longest such span among all acts not involving holiday titles.

Spears’ 14th Hot 100 top 10

Spears achieves her 14th Hot 100 top 10 and her first since “Scream & Shout,” with will.i.am, hit No. 3 in 2013. She first appeared in the top 10 on the chart dated Dec. 12, 1998, when her debut smash “…Baby One More Time” surged 18-9 (before becoming her first of five No. 1s). Overall, Spears places on the Hot 100 for the first time since the chart dated Dec. 10, 2016.

Spears also joins John and 10 other stars with Hot 100 top 10s in at least four decades, padding her résumé to include top 10s in the 1990s, 2000s, ’10s and now ’20s. The other acts in the exclusive (and eclectic) club: Aerosmith, Mariah Carey, Cher, Whitney Houston, Michael Jackson, Jay-Z, Madonna, Snoop Dogg, Barbra Streisand and Andy Williams.

‘Tiny Dancer’ & ‘The One’ hit new heights

Just as “Cold Heart” brought newfound chart success for four John classics, “Hold Me Closer” does the same for three more songs from his iconic catalog. The new mash-up blends the chorus of his 50-year-old “Tiny Dancer” and the verses of his 30-year-old “The One.” It also includes elements of “Don’t Go Breaking My Heart,” his four-week 1976 Hot 100 No. 1 with Kiki Dee. (Says Erik Bradley, assistant program director/music director at WBBM-FM Chicago, citing the latest among numerous current hit reboots, “Familiarity always is a bonus.”)

While not outranking “Breaking,” “Hold Me Closer,” upon its No. 6 start, marks new Hot 100 highs for the songs that make up the bulk of the mash-up: “Tiny Dancer” fell a spot shy of the top 40, reaching No. 41 in April 1972, and “The One” rose to No. 9 in September 1992. Despite its relatively modest Hot 100 history, “Tiny Dancer” previously received renewed attention thanks to the composition’s prominent sync in the acclaimed 2000 film Almost Famous. Plus, Tim McGraw’s cover spent 15 weeks on the Hot Country Songs chart in 2002-03 (with he and John having performed it on the 30th American Music Awards in 2003, and McGraw having served up an impromptu version this February on CBS’ The Late Show With Stephen Colbert).

“The One,” meanwhile, marks John’s impressive fifth song to have hit the Hot 100’s top 10 via two interpretations each.

(“Breaking” previously returned to the Hot 100 thanks to John and RuPaul’s update, which hit No. 92 in 1994, and the Glee Cast’s cover, which spent a week on the chart at No. 50 in 2010.)

Just duet

John charts his fourth top 10 duet, and his fifth top 10 collaboration, on the Hot 100, as “Hold Me Closer” follows “Cold Heart”; “Don’t Let the Sun Go Down on Me,” with George Michael (No. 1 for one week, 1992); and “Don’t Go Breaking My Heart.” He also led for four weeks in 1986 with “That’s What Friends Are For,” credited to Dionne & Friends, the foursome of Dionne Warwick, John, Gladys Knight and Stevie Wonder.

Spears scores her fourth accompanied Hot 100 top 10, after “Scream & Shout”; “Till the World Ends,” featuring Nicki Minaj and Kesha (No. 3, 2011); and her featured turn on Rihanna’s “S&M” (No. 1, one week, 2011).

No. 1 Dance/Electronic

“Hold Me Closer” additionally arrives at No. 1 on the multi-metric Hot Dance/Electronic Songs chart. John and Spears each claim their second leader on the list, after “Cold Heart” and “Scream & Shout,” respectively.

Nicki Minaj’s “Super Freaky Girl” holds at No. 7 on the Hot 100, two weeks after it premiered at No. 1, as it wins the chart’s top Airplay Gainer award (13.9 million, up 51%). It leads the multi-metric Hot Rap Songs chart for a third week.

Rounding out the Hot 100’s top 10, Post Malone’s “I Like You (A Happier Song),” featuring Doja Cat, pushes 10-8 for a new high; Beyoncé’s “Break My Soul” slides 5-9, after two weeks on top in August; and Future’s “Wait for U,” featuring Drake and Tems, slips 8-10, following a week at No. 1 beginning in its debut week in May.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Sept. 10), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Sept. 7).

Source: billboard.com

Also in the top 10: TWICE and Nicki Minaj debut, while Silk Sonic and Kendrick Lamar both return to the region after vinyl releases.

DJ Khaled lands his fourth No. 1 on the Billboard 200 albums chart (dated Sept. 10) as God Did debuts atop the list. The star-studded collection earned 107,500 equivalent album units in the U.S. in the week ending Sept. 1, according to Luminate. It’s Khaled’s 10th top 10-charting effort, as well.

Also in top 10 of the new Billboard 200, TWICE collects its third top 10 with the debut of Between 1&2 at No. 3 while Nicki Minaj scores her sixth total and consecutive top 10 with the bow of her greatest hits set, Queen Radio: Volume 1. In addition, Silk Sonic’s An Evening With Silk Sonic and Kendrick Lamar’s Mr. Morale & The Big Steppers both return to the region after their vinyl releases.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Sept. 10, 2022-dated chart will be posted in full on Billboard‘s website on Wednesday, Sept. 7 (one day later than usual, owed to the Labor Day holiday in the U.S. on Sept. 5). For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of God Did’s 107,500 equivalent album units earned, SEA units comprise 96,000 (equaling 129.82 million on-demand official streams of the set’s tracks), album sales comprise 9,500 and TEA units comprise 2,000.

God Did boasts 31 guest artists, including 16 acts that have previously topped the Billboard 200. Among them: Drake, Eminem, Future, Jay-Z, Jadakiss, Lil Baby and Travis Scott.

In total, God Did is Khaled’s 10th top 10-charting album and fourth to hit No. 1. He previously led the list with Khaled Khaled (2021), Grateful (2017) and Major Key (2016).

Bad Bunny’s Un Verano Sin Ti falls to No. 2 following nine nonconsecutive weeks at No. 1 with 106,000 equivalent album units (up 1%). The set has yet to depart the top two rungs of the chart for its entire 17-week run on the list thus far. The last album to start off as strong was Drake’s Views, which also spent its first 17 weeks in the top two (May 21-Sept. 10, 2016-dated charts).

TWICE collects its third top 10 on the Billboard 200 as Between 1&2 bows at No. 3 with a career-high 100,000 equivalent album units earned. Of that sum, album sales comprise 94,000 (another career-best week); SEA units comprise 6,000 (equaling 9.18 million on-demand official streams of the set’s seven tracks); and TEA units comprise a negligible sum.

Like many K-pop releases, the CD configuration of Between 1&2 was issued in collectible deluxe packages (17 total, including versions exclusively sold through Target, Barnes & Noble and the group’s official webstore), each with a standard set of items and randomized elements (such as photocards, posters and stickers); 96.5% of the album’s first-week sales were on CD. The other 3.5% were digital album sales (a little over 3,000). The set was not released in any other format, such as vinyl or cassette.

Lamar’s former No. 1 Mr. Morale & The Big Steppers returns to the top 10, bounding 24-4, following its vinyl release on Aug. 26. In the week ending Sept. 1, the set earned 55,000 equivalent album units (up 188%), with 38,000 of that sum in album sales (up 2,408%). Vinyl sales comprise nearly 36,000 of that 38,000 figure.

Mr. Morale & The Big Steppers debuted at No. 1 on the May 28-dated chart and spent its first six weeks in the top 10.

Morgan Wallen’s former leader Dangerous: The Double Album falls 4-5 with 50,000 equivalent album units earned (up 3%). Dangerous: The Double Album has now accumulated 85 nonconsecutive weeks in the top 10 on the Billboard 200. Since the chart began publishing on a regular, weekly basis in 1956, Dangerous ties Peter, Paul and Mary’s self-titled album for the most weeks in the top 10 among singular acts, with 85 nonconsecutive weeks in 1962-64. However, there are seven albums that have more weeks in the top 10 than Dangerous and Peter, Paul and Mary — and all are multi-artist soundtracks and cast recordings, led by the all-time top 10 record holder, the original cast recording of My Fair Lady, with 173 weeks in the top 10 between 1956-60. See list, below.

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

Beyoncé’s chart-topping Renaissance falls 3-6 on the new Billboard 200 with 46,000 equivalent album units (down 12%).

Silk Sonic — the duo of Bruno Mars and Anderson .Paak — jumps back into the top 10 with An Evening With Silk Sonic, vaulting 200-7, after the set’s vinyl release on Aug. 26. In the week ending Sept. 1, the album earned 44,000 equivalent album units (up 509%), with 38,000 of that sum in album sales (up 4,595%). Vinyl sales comprise nearly 37,000 of the album’s sales for the week.

An Evening With Silk Sonic debuted and peaked at No. 2 on the Nov. 27, 2021-dated chart. It spent its first three weeks in the top 10.

A pair of former No. 1s is up next on the new Billboard 200, as Rod Wave’s Beautiful Mind falls 2-8 with 43,000 equivalent album units earned (down 24%) and Harry Styles’ Harry’s House dips 5-9 with just under 43,000 units (down 5%).

Minaj’s greatest hits compilation Queen Radio: Volume 1 bows at No. 10 on the Billboard 200 with 32,000 equivalent album units earned. Of that sum, SEA units comprise 27,500 (equaling 38.43 million of the set’s tracks), album sales comprise 3,000 and TEA units comprise 1,500. It’s the sixth consecutive top 10 album for Minaj — the entirety of her charting efforts.

Queen Radio: Volume 1 was initially available as a 27-track standard set, and was reissued during its debut week with an additional bonus track, a remix of “Likkle Miss,” credited to Minaj and Skeng.

Queen Radio: Volume 1 includes 15 top 40-charting hits for Minaj on the Billboard Hot 100, including her recent No. 1, “Super Freaky Girl.”

Source: billboard.com

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Source: billboard.com

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Source: billboard.com

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Source: billboard.com

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Source: billboard.com

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Source: billboard.com

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Source: billboard.com

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Source: billboard.com

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Source: billboard.com