“Boy’s a Liar, Pt. 2” takes over as the week’s most-streamed song.

Miley Cyrus’ “Flowers” leads the Billboard Hot 100 for a sixth week, encompassing its full run on the chart so far, dating to its debut at No. 1.

The song has doubled the three-week command of Cyrus’ prior Hot 100 leader, “Wrecking Ball,” in 2013.

Meanwhile, PinkPantheress and Ice Spice’s “Boy’s a Liar, Pt. 2” pushes from No. 4 to No. 3 on the Hot 100 and is the newly minted most-streamed song in the United States, hitting No. 1 on the Streaming Songs chart.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated March 4, 2023) will update on Billboard.com tomorrow (Feb. 28). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“Flowers,” released on Smiley Miley/Columbia Records, drew 95.2 million radio airplay audience impressions (up 11%, good for the Hot 100’s top Airplay Gainer award for a fourth consecutive week – the longest such streak since Lizzo’s “About Damn Time” linked four wins in a row last June-July); logged 28.7 million streams (down 15%); and sold 18,000 (down 16%) Feb. 17-23, according to Luminate.

“Flowers” claims a fifth week at No. 1 on the Digital Song Sales chart and a second frame atop Radio Songs and slips 2-4 after four weeks atop Streaming Songs.

Plus, as “Flowers” adds a second week at No. 1 on the Pop Airplay chart, having become Cyrus’ third leader on the mainstream top 40-based radio ranking, it becomes her first No. 1 on the adult top 40-based Adult Pop Airplay chart.

SZA’s “Kill Bill” places at its No. 2 Hot 100 best for a seventh week. It leads Hot R&B/Hip-Hop Songs and Hot R&B Songs, which use the same methodology as the Hot 100, for an 11th week each. Meanwhile, parent album SOS crowns the Billboard 200 albums chart for a 10th week – the longest domination for an R&B album since the Whitney Houston-led soundtrack to The Bodyguard ruled for 20 weeks in 1992-93. (R&B albums are defined as those that have hit or are eligible for Billboard’s Top R&B Albums chart.)

Plus, “Kill Bill” tops its first airplay chart, rising to No. 1 on Rhythmic Airplay, scoring SZA her first leader on the rhythmic radio-based survey. It advances 6-4 on Radio Songs (71.5 million, up 11%), marking SZA’s third top five hit and first in a lead role.

PinkPantheress and Ice Spice’s “Boy’s a Liar, Pt. 2” climbs 4-3 on the Hot 100, a week after it became each act’s first top 10. The team-up, released Feb. 3, drew 33.7 million streams (up 8%) and rises from No. 3 to No. 1 to become the singer-songwriter and rapper’s first leader each on Streaming Songs. It marks the first No. 1 on the chart by multiple acts each achieving their first leader with an initial entry since Disney’s Encanto smash “We Don’t Talk About Bruno,” by Carolina Gaitán, Mauro Castillo, Adassa, Rhenzy Feliz, Diane Guerrero, Stephanie Beatriz and the Encanto Cast, reigned for 13 weeks in January-April 2022.

“Boy’s a Liar, Pt. 2” also drew 6.4 million in airplay audience (up 205%) – as it debuts at No. 32 on Rhythmic Airplay and jumps 39-33 on Pop Airplay – and sold 1,300 (up 36%) Feb. 17-23.

The track is a remix of PinkPantheress’ original solo “Boy’s a Liar,” released in November. (All versions of the song are combined into one listing on Billboard’s charts.)

Metro Boomin, The Weeknd and 21 Savage’s “Creepin’ ” recedes to No. 4 from its No. 3 Hot 100 high and Morgan Wallen’s “Last Night” holds at No. 5, after reaching No. 3, as it tops the multi-metric Hot Country Songs chart for a third week. (The latter is now being promoted as a pop radio single and debuts on Pop Airplay at No. 40.)

The Weeknd’s “Die for You” returns to its No. 6 Hot 100 best, from No. 7. It’s expected to gain on next week’s charts following the Friday (Feb. 24) release of its buzzworthy remix with Ariana Grande.

Elsewhere in the Hot 100’s top 10, Sam Smith and Kim Petras’ “Unholy” backtracks 6-7, after it led for a week in October; Taylor Swift’s “Anti-Hero” holds at No. 8, following a personal-best eight weeks at No. 1 in November-December; Beyoncé’s “Cuff It” keeps at No. 9, after hitting No. 6; and David Guetta and Bebe Rexha’s “I’m Good (Blue)” repeats at No. 10, after reaching No. 4, as it leads the multi-metric Hot Dance/Electronic Songs chart for a 23rd week.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated March 4), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Feb. 28).

Source: billboard.com

“Boy’s a Liar, Pt. 2” blasts from No. 14 to No. 4, marking PinkPantheress & Ice Spice’s first top 10 appearance each.

Miley Cyrus‘ “Flowers” rules the Billboard Hot 100 for a fifth week, encompassing its entire run on the chart so far, dating to its debut at No. 1.

The song also becomes the most-heard hit on U.S. airwaves, marking Cyrus’ first No. 1 on the Radio Songs chart.

Plus, PinkPantheress and Ice Spice each make their first appearance in the Hot 100’s top 10 as “Boy’s a Liar, Pt. 2” bounds from No. 14 to No. 4.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Feb. 25, 2023) will update on Billboard.com tomorrow (Feb. 22, a day later than usual due to the Presidents’ Day holiday in the U.S. Feb 20). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“Flowers,” released on Smiley Miley/Columbia Records, drew 85.8 million radio airplay audience impressions (up 15%, good for the Hot 100’s top Airplay Gainer award for a third consecutive week) and 33.7 million streams (down 13%) and sold 22,000 (down 18%) Feb. 10-16, according to Luminate.

The single jumps 4-1 in its fifth week on Radio Songs, becoming Cyrus’ first leader on the list, among four top 10s. “Flowers” wraps the fastest flight to the top of the chart in nearly seven years, since Justin Timberlake’s “Can’t Stop the Feeling!” also needed just five frames to reign in June 2016. Since Radio Songs became an all-format survey in December 1998, only three other songs have hit No. 1 in five weeks or fewer: Adele’s “Hello” (four weeks, 2015), Destiny’s Child “Survivor” (five, 2001) and TLC’s “No Scrubs” (five, 1999).

“Flowers” rebounds for a fourth week at No. 1 on Digital Song Sales and dips to No. 2 after four weeks atop Streaming Songs.

As previously reported, “Flowers” also hits No. 1 on the Pop Airplay chart, becoming Cyrus’ third leader and, as on Radio Songs, completing the quickest coronation (five weeks) since “Can’t Stop the Feeling!” in 2016. As Cyrus first topped Pop Airplay with “Party in the U.S.A.” in 2009 and led again with “Wrecking Ball” in 2013, she joins Maroon 5 and Taylor Swift as the only acts with No. 1s on the chart in the 2000s, ’10s and ’20s.

SZA’s “Kill Bill” ranks at its No. 2 Hot 100 best for a sixth week. It returns for a fourth week atop Streaming Songs and leads Hot R&B/Hip-Hop Songs and Hot R&B Songs, which use the same methodology as the Hot 100, for a 10th week each.

Metro Boomin, The Weeknd and 21 Savage’s “Creepin’ ” rebounds to its No. 3 Hot 100 high, from No. 5.

PinkPantheress and Ice Spice each claim their first Hot 100 top 10 as “Boy’s a Liar, Pt. 2” roars 14-4. The team-up, released Feb. 3, drew 31.1 million streams (up 54%, as it takes top Streaming Gainer honors) and 2.1 million in airplay audience (up 258%) and sold 1,000 (up 58%) Feb. 10-16. The track is a remix of PinkPantheress’ original solo “Boy’s a Liar,” released in November. (All versions of the song are combined into one listing on Billboard’s charts.)

Notably, “Liar” leaps to the Hot 100’s top 10 in just its second week on the chart. It’s the first duet by two acts each making a first top 10 appearance since Nicky Youre and Dazy hit No. 4 with “Sunroof” last September. That song took 10 weeks to hit the top 10; “Liar” is the first song between two acts each scoring a first top 10 to reach the region in two weeks or fewer since Lil Tjay’s “Calling My Phone,” featuring 6LACK, debuted at its No. 3 peak in February 2021.

“Liar” deconstructed: PinkPantheress wrote and produced the 2-minute, 15-second track with Mura Masa (who also appears on the Hot 100 for the first time). Notes Hit Songs Deconstructed, which analyzes the compositional traits of Hot 100 top 10s, “In addition to the strategic pairing of PinkPantheress and Ice Spice, one of the song’s core strengths is how it pushes the boundaries of the Hot 100’s top 10 while at the same time staying in line with current trends. On one hand, it features a unique lo-fi ‘bedroom’ production, classic 8-bit video game-sounding synths and a Jersey club beat, which separate it from many of its mainstream contemporaries and immediately captures the listener’s ear. On the other hand, its super-catchy and repetitive hook structure and troubled-love lyrics impart a sense of familiarity and relatability, along with its under 3-minute runtime, vibrant tempo, omission of a pre-chorus and synth-heavy production, all of which are in line with rising top 10 trends.”

Morgan Wallen’s “Last Night” dips to No. 5 on the Hot 100 from its No. 3 best. It concurrently tops the multi-metric Hot Country Songs chart for a second week.

Elsewhere in the Hot 100’s top 10, Sam Smith and Kim Petras’ “Unholy” descends 4-6, after it ruled for a week in October; The Weeknd’s “Die for You” rebounds 8-7, after reaching No. 6; Taylor Swift’s “Anti-Hero” retreats 7-8, following a personal-best eight weeks at No. 1; Beyoncé’s “Cuff It” backtracks to No. 9 from its No. 6 high; and David Guetta and Bebe Rexha’s “I’m Good (Blue)” slips 9-10, after reaching No. 4, as it leads the multi-metric Hot Dance/Electronic Songs chart for a 22nd week.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Feb. 25), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Feb. 22).

Source: billboard.com

Plus: Paramore’s “This Is Why” debuts at No. 2 & Rihanna’s “Anti” returns to top 10 after Super Bowl.

SZA’s SOS claims a ninth nonconsecutive week at No. 1 on the Billboard 200 albums chart (dated Feb. 25) — the most weeks atop the list for an album by a woman in nearly seven years. The last set by a female artist to spend at least nine weeks at No. 1 was Adele’s 25, which ruled for 10 nonconsecutive weeks between Dec. 12, 2015, and March 12, 2016.

SOS earned 93,000 equivalent album units in the U.S. in the week ending Feb. 16 (down 7%), according to Luminate.

Also in the top 10 of the new Billboard 200: Paramore’s This Is Why debuts at No. 2 — the highest charting alternative album in eight months, while Rihanna’s former No. 1 Anti returns to the top 10 for the first time since 2016, following her halftime show performance at the Super Bowl on Feb. 12.

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 Feb. 25, 2023-dated chart will be posted in full on Billboard‘s website on Wednesday (Feb. 22), one day later than usual, owed to Presidents’ Day holiday on Monday (Feb. 20) in the U.S. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of SOS’ 93,000 equivalent album units earned in the week ending Feb. 16, SEA units comprise 92,000 (down 7%, equaling 126.73 million on-demand official streams of the set’s tracks), album sales comprise 500 (down 1%) and TEA units comprise 500 (up 2%).

In the last 10 years, only three albums by women have spent at least nine weeks at No. 1 on the Billboard 200: SOS, Adele’s 25 (10 in 2015-16) and Taylor Swift’s 1989 (11, 2014-15).

The last R&B/hip-hop album with at least eight weeks atop the list was Drake’s Views, which 13 nonconsecutive weeks at No. 1 (May 21-Oct. 8, 2016). SOS has the most weeks at No. 1 for an R&B/hip-hop album by a woman, or an R&B album by a woman, since Mariah Carey’s self-titled debut spent 11 weeks, all consecutively, at No. 1 in 1991. (Honorable mention to the Whitney Houston-led soundtrack to The Bodyguard, which logged 20 nonconsecutive weeks at No. 1 in 1992-93. The 12-track album has six songs by Houston and six songs by other artists.) SOS has the most weeks at No. 1 for an R&B album by any act since Usher’s Confessions ruled for nine nonconsecutive weeks in 2004. (R&B/hip-hop and R&B albums are defined as those that have hit or are eligible for Billboard’s Top R&B/Hip-Hop Albums and Top R&B Albums charts, respectively.)

Paramore scores its highest-charting album in nearly a decade, as This Is Why debuts at No. 2 on the Billboard 200. It’s also the highest-charting alternative album in almost a year. This Is Why is the band’s first album since After Laughter was released in May 2017; it debuted and peaked at No. 6. The group’s last album to go higher was its self-titled 2013 release, which debuted at No. 1 on the April 27, 2013-dated list.

This Is Why begins with 64,000 equivalent album units earned. Of that sum, album sales comprise 47,000, SEA units comprise 17,000 (equaling 21.3 million on-demand official streams of the set’s songs) and TEA units comprise a negligible sum. The album was ushered in by the album’s title track, which became the act’s first No. 1 on the Alternative Airplay chart (in February) after 11 previous entries going back to 2007.

This Is Why is the highest-charting alternative album on the Billboard 200 since Red Hot Chili Peppers’ Unlimited Love debuted at No. 1 on the April 16, 2022-dated chart. (Alternative albums are defined as those that have hit or are eligible for Billboard’s Top Alternative Albums chart.)

Swift’s former No. 1 Midnights falls 2-3 on the Billboard 200 with 60,000 equivalent album units earned (down 3%).

Morgan Wallen’s chart-topping Dangerous: The Double Album is a non-mover at No. 4 with 44,000 equivalent album units earned (down 4%). Dangerous has now accumulated 107 nonconsecutive weeks in the top 10 on the Billboard 200. It now solely has the third-most weeks in the top 10 among all albums since the chart began publishing on a regular, weekly basis in March of 1956, surpassing the 106 weeks tallied by the soundtrack to the film West Side Story. Dangerous continues to have the most weeks in the top 10 for an album by a single artist. The all-time top 10 record-holder is 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
107, Morgan Wallen, Dangerous: The Double Album, 2021
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, Adele, 21, 2011
84, Bruce Springsteen, Born in the U.S.A., 1984
(through the Feb. 25, 2023-dated chart)

Bad Bunny’s chart-topping Un Verano Sin Ti rises 7-5 with nearly 44,000 equivalent album units (down 4%); Metro Boomin’s former leader Heroes & Villains falls 5-6 with 43,000 units (down 5%); and Drake and 21 Savage’s former No. 1 Her Loss climbs 8-7 with 40,000 (down 7%).

Rihanna’s chart-topping Anti roars back into the top 10 for the first time since its release year, 2016, as the set vaults 50-8 with 36,000 equivalent album units earned (up 166%). The album, Rihanna’s most recent studio effort, surges back up the list following Rihanna’s Super Bowl halftime show performance on Feb. 12, where her setlist included the album’s hit single “Work.” (She also wove in elements of the album’s “Pose” and “Kiss It Better” into the performances of “All of the Lights” and “Rude Boy,” respectively.)

Anti was released a little over seven years ago, on Jan. 28, 2016, and spent two nonconsecutive weeks at No. 1 (Feb. 20 and April 2, 2016-dated charts). It was last in the top 10 on the Oct. 16, 2016 chart (No. 9) and last at No. 8 or higher on the Sept. 24, 2016-dated list (when it was also at No. 8).

Anti is Rihanna’s longest-charting album on the Billboard 200, with 355 weeks on the list. That also marks the most weeks ever on the chart for an R&B/hip-hop album by a woman or R&B album by a woman.

Closing out the top 10 of the new Billboard 200 are a pair of former No. 1s: Harry Styles’ Harry’s House is stationary at No. 9 with 33,000 equivalent album units earned (down 13%) and TOMORROW X TOGETHER’s The Name Chapter: TEMPTATION falls 3-10 with 32,000 units (down 33%).

Source: billboard.com

Plus: Shania Twain’s “Queen of Me” debuts in top 10.

SZA’s SOS jumps back to No. 1 on the Billboard 200 albums chart (dated Feb. 18), collecting an eighth nonconsecutive week atop the list. It earned 100,000 equivalent album units in the U.S. in the week ending Feb. 9 (up less than 1%), according to Luminate.

The last album by a woman with eight weeks at No. 1 was Taylor Swift’s Folklore, more than two years ago, as it notched its eighth and final week atop the list on the chart dated Oct. 31, 2020.

Also in the top 10 on the new Billboard 200, Shania Twain captures her sixth top 10-charting album, as her latest studio effort, Queen of Me, debuts at No. 10.

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 Feb. 18, 2023-dated chart will be posted in full on Billboard‘s website on Tuesday (Feb. 14). For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of SOS’ 100,000 equivalent album units earned in the week ending Feb. 9, SEA units comprise 99,000 (up less than 1%, equaling 135.4 million on-demand official streams of the set’s tracks), album sales comprise 500 (up 2%) and TEA units comprise 500 (up 8%). SOS has yet to be released for sale on any configuration other than a digital download album.

The last R&B/hip-hop album with at least eight weeks atop the list was Drake’s Views, which 13 nonconsecutive weeks at No. 1 (May 21-Oct. 8, 2016). SOS has the most weeks at No. 1 for an R&B/hip-hop album by a woman, or an R&B album by a woman, since Mariah Carey’s Music Box spent eight nonconsecutive weeks at No. 1 in late 1993 and early 1994. SOS has the most weeks at No. 1 for an R&B album by any act since Usher‘s Confessions ruled for nine nonconsecutive weeks in 2004.

R&B/hip-hop and R&B albums are defined as those that have hit or are eligible for Billboard’s Top R&B/Hip-Hop Albums and Top R&B Albums charts, respectively.

Four former No. 1s trail SZA, as Swift’s Midnights rises 3-2 (62,000 equivalent album units; down 9%), TOMORROW X TOGETHER’s The Name Chapter: TEMPTATION falls 1-3 (48,000; down 70%), Morgan Wallen’s Dangerous: The Double Album climbs 6-4 (46,000; up 8%) and Metro Boomin’s Heroes & Villains dips 4-5 (nearly 46,000; down 3%).

The Weeknd’s The Highlights vaults 41-6 with 45,000 equivalent album units earned (up 207%). The best-of effort contains such hits as “Blinding Lights” and the resurgent “Die for You” (from The Weeknd’s studio albums After Hours and Starboy, respectively). 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 nearly 1,000 copies in the latest tracking week, while After Hours and Starboy each sold under 1,000.) A week ago, the TEA and SEA for the songs were directed to After Hours and Starboy, respectively, as they outsold The Highlights that week.

Bad Bunny’s chart-topping Un Verano Sin Ti rises 8-7 with 45,000 equivalent album units earned (up 16%), while Drake and 21 Savage’s former leader Her Loss falls 5-8 with 43,000 (down 2%).

Harry Styles’ former No. 1 Harry’s House returns to the top 10, climbing 13-9 (38,000; up 51%), following its win for album of the year at the Grammy Awards (Feb. 5). The set also took home the trophy for best pop vocal album, while Styles additionally performed on the show, singing the set’s single “As It Was.”

Twain closes out the top 10 of the new Billboard 200, as her latest studio album, Queen of Me, debuts at No. 10 with 38,000 equivalent album units earned. Of that sum, album sales comprise 34,000; SEA units comprise 3,500 (equaling 4.92 million official on-demand streams of the set’s tracks) and TEA units comprise 500. Twain previously visited the top 10 with Now (No. 1 in 2017), Greatest Hits (No. 2; 2004), Up! (No. 1, 2002), Come On Over (No. 2, 1997) and The Woman In Me (No. 5, 1996).

Source: billboard.com

Cyrus matches the three-week reign of her previous No. 1, “Wrecking Ball.” Plus, The Weeknd’s “Die for You” takes over as the most-heard hit on radio.

Miley Cyrus’ “Flowers” leads the Billboard Hot 100 for a third week, encompassing its entire run on the chart so far, dating to its launch at No. 1. With its continued command, it ties the three-week rule of her prior leader, “Wrecking Ball,” in 2013.

Meanwhile, The Weeknd’s “Die for You,” back up to its No. 6 best on the Hot 100, becomes the most-heard hit on radio, reaching the top of the Radio Songs chart, and Lil Uzi Vert notches his seventh Hot 100 top 10 as “Just Wanna Rock” rises from No. 12 to No. 10.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Feb. 11, 2023) will update on Billboard.com tomorrow (Feb. 7). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“Flowers,” released on Smiley Miley/Columbia Records, drew 56.4 million radio airplay audience impressions (up 38%) and 48 million streams (down 20%) and sold 37,000 (down 43%) Jan. 27-Feb. 2, according to Luminate.

The single spends a third week at No. 1 on both the Streaming Songs and Digital Song Sales charts and blasts 11-6 on Radio Songs, where it becomes Cyrus’ fourth top 10 – and first since “Wrecking Ball” (No. 4 peak, 2013). She first reached the region with “The Climb” (No. 7) and returned with “Party in the U.S.A.” (No. 8), both in 2009.

With “Flowers” having drawn 48 million weekly streams in the latest tracking week, after it posted 59.7 million the week before and 52.6 million the week before that, it’s the first non-holiday song with three consecutive weeks of 40 million streams or more since Olivia Rodrigo’s “Good 4 U” logged four such frames in a row (May 29-June 19, 2021).

“Flowers” likewise links a sales streak not achieved since 2021, as it’s the first song to sell over 30,000 in three consecutive weeks, after moving 65,000 a week ago and 70,000 the week prior to that, since Coldplay and BTS’ “My Universe” sold over 30,000 in each of its first four weeks (Oct. 9-30, 2021).

“Flowers” introduces Cyrus’ eighth studio album, Endless Summer Vacation, due March 10.

SZA’s “Kill Bill” ranks at its No. 2 Hot 100 best for a fourth week, with 48.6 million in radio reach (up 28%), 32.5 million streams (down 5%) and 2,000 sold (down 3%). It tops Hot R&B/Hip-Hop Songs and Hot R&B Songs, which use the same methodology as the Hot 100, for an eighth week each. The track also becomes her first top 10 as a lead artist on Radio Songs (15-10), and her third overall, following her featured roles on Maroon 5’s “What Lovers Do” (No. 5, 2017) and Doja Cat’s “Kiss Me More” (No. 2, 2021).

Metro Boomin, The Weeknd and 21 Savage’s “Creepin’ ” rises to a new No. 3 high on the Hot 100, from No. 4; Taylor Swift’s “Anti-Hero” slips 3-4, after leading for a personal-best eight weeks; and Sam Smith and Kim Petras’ “Unholy” holds at No. 5, after it ruled for a week in October.

The Weeknd’s “Die for You” rebounds to its No. 6 Hot 100 best, from No. 7, as it hits No. 1 on Radio Songs, up 5% to 85.2 million in airplay audience. The track tops Radio Songs over six years after its original release on The Weeknd’s album Starboy, sparked by a surge of interaction on TikTok in recent months, which led Republic Records to officially promote it to radio.

The Weeknd adds his fifth Radio Songs No. 1, following “Earned It (Fifty Shades of Grey)” (for four weeks), “Can’t Feel My Face” (seven) and “The Hills” (five), all in 2015, and “Blinding Lights,” which dominated for a record 26 weeks in April-October 2020.

Starboy previously generated two top-three Radio Songs hits: its title cut (No. 2, 2016) and “I Feel It Coming” (No. 3, 2017), both featuring Daft Punk. (“Die for You” completes the longest journey from a title’s release to its coronation on Radio Songs since the chart began in 1990.)

David Guetta and Bebe Rexha’s “I’m Good (Blue)” descends 6-7 on the Hot 100, after reaching No. 4, as it leads the multi-metric Hot Dance/Electronic Songs chart for a 20th week; Drake and 21 Savage’s “Rich Flex” is steady at No. 8 on the Hot 100, after it reached No. 2, as it tops the multi-metric Hot Rap Songs chart for a 12th week; and Harry Styles’ “As It Was” holds at No. 9 on the Hot 100, following 15 weeks at No. 1 beginning last April, the fourth-longest rule in the chart’s history.

Rounding out the Hot 100’s top tier, Lil Uzi Vert’s “Just Wanna Rock” jumps 12-10 with 28.7 million in airplay audience (up 10%), 15 million streams (up 5%) and 1,400 sold (up 14%).

The rapper lands his seventh Hot 100 top 10 with the stand-alone single, following his featured turn on Migos’ “Bad and Boujee” (three weeks at No. 1, 2017) and his own “XO TOUR Llif3” (No. 7, 2017), “Futsal Shuffle 2020” (No. 5, 2019), “Baby Pluto” (No. 6, 2020), “Lo Mein” (No. 8, 2020) and “Silly Watch” (No. 9, 2020).

Rock on: “Just Wanna Rock” is the first Hot 100 top 10 with “rock” in its title since … well, just last month, when two holiday classics decorated the tier: “Rockin’ Around the Christmas Tree,” by Brenda Lee, and “Jingle Bell Rock,” by Bobby Helms, ranked at their respective Nos. 2 and 3 peaks. One other such song has rolled to the top 10 in the ’20s: DaBaby’s “Rockstar,” featuring Roddy Ricch, reigned for seven weeks beginning June 2020. Not that “Just Wanna Rock” is considered a rock song (having not appeared on any of Billboard’s rock-based charts; it holds at its Nos. 2 and 5 highs on Hot Rap Songs and Hot R&B/Hip-Hop Songs, respectively). The last rock chart hit with “rock” in its title to hit the Hot 100’s top 10? Nickelback’s “Rockstar” smashed its way to No. 6 in 2007.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Feb. 11), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Feb. 7).

Source: billboard.com

Plus: Sam Smith and Lil Yachty debut in top 10.

TOMORROW X TOGETHER lands its first No. 1 album on the Billboard 200 albums chart, as The Name Chapter: TEMPTATION debuts atop the tally (dated Feb. 11). The five-song set earned 161,500 equivalent album units in the U.S. in the week ending Feb. 2, according to Luminate, largely driven by CD album sales

The Name Chapter: TEMPTATION is the third top 10-charting effort for the South Korean vocal group, which reached the top 10 previously in 2022 with Minisode 2: Thursday’s Child (No. 4) and in 2021 with The Chaos Chapter: Freeze (No. 5).

The Name Chapter: TEMPTATION halts the chart-topping run for SZA’s SOS, which falls to No. 2 (100,000 equivalent album units; down 10%) after spending its first seven weeks at No. 1.

Also in the top 10 of the new Billboard 200, Sam Smith achieves their fourth top 10-charting effort as Gloria debuts at No. 7, while Lil Yachty notches his third top 10 set with the No. 9 arrival of Let’s Start Here.

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 Feb. 11, 2023-dated chart will be posted in full on Billboard‘s website on Feb. 7. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of The Name Chapter: TEMPTATION’s 161,500 equivalent album units earned, album sales comprise 152,000, SEA units comprise 9,000 (equaling 13.24 on-demand official streams of the set’s five songs) and TEA units comprise 500.

The Name Chapter: TEMPTATION scores the largest sales week for any album since Taylor Swift’s Midnights debuted at No. 1 with 1.14 million copies sold on the Nov. 5, 2022-dated chart. Of The Name Chapter: TEMPTATION’s 152,000 sold, 98% were CD sales (148,500), while 2% were digital album sales (3,500). The set was not available to purchase in any other configuration (such as vinyl or cassette).

The CD configuration of The Name Chapter: TEMPTATION was issued in collectible packages (14 total, including exclusive editions for Barnes & Noble, Target and the Weverse webstore), each with a standard set of internal paper items and branded randomized mystery elements (photo cards, photo books, post cards). CD sales were also enhanced by autographed editions sold via the act’s webstore.

The Name Chapter: TEMPTATION is TOMORROW X TOGETHER’s seventh charting album on the all-genre Billboard 200, though the act has yet to reach the all-genre Billboard Hot 100 songs chart. TOMORROW X TOGETHER is the second act to top the Billboard 200 in the last year without also having previously logged a hit on the Hot 100, following fellow K-pop group Stray Kids, which notched two No. 1 albums in 2022 (ODDINARY and MAXIDENT).

The Name Chapter: TEMPTATION is recorded mostly in the Korean language, with some English lyrics. It is the 17th mostly non-English language album to hit No. 1. In 2022, there were four non-English No. 1s from BTS’ mostly-Korean Proof, Bad Bunny’s all-Spanish Un Verano Sin Ti and Stray Kids’ mostly-Korean ODDINARY and MAXIDENT. Of the 17 mostly non-English No. 1 albums, 10 have been Korean-language projects (six from BTS, two from Stray Kids, one from SuperM and one from TOMORROW X TOGETHER).

Four former No. 1s are Nos. 3-6 on the new Billboard 200, as Swift’s Midnights falls 2-3 with 68,000 equivalent album units earned (though up 1%), Metro Boomin’s Heroes & Villains rises 5-4 with 47,000 (down 12%), Drake and 21 Savage’s Her Loss climbs 6-5 with 44,000 (down 4%) and Morgan Wallen’s Dangerous: The Double Album bumps 8-6 with 42,000 (up 5%).

Sam Smith collects their fourth top 10-charting effort on the Billboard 200 as Gloria debuts at No. 7 with 39,000 equivalent album units earned. Of that sum, SEA units comprise 23,000 (equaling 30.75 million on-demand official streams of the set’s songs), album sales comprise 14,000 and TEA units comprise 2,000. Gloria was preceded by its hit single “Unholy,” a co-billed collaboration with Kim Petras, which became both artists’ first No. 1 on the Hot 100 in October.

Bad Bunny’s former leader Un Verano Sin Ti falls 7-8 on the Billboard 200 with 39,000 equivalent album units earned (down 5%).

Lil Yachty’s Let’s Start Here begins at No. 9 on the Billboard 200 with 36,000 equivalent album units earned. Of that sum, SEA units comprise 31,500 (equaling 41.34 million on-demand official streams of the set’s tracks), album sales comprise 4,500 and TEA units comprise a negligible sum. It’s the third top 10-charting effort for Lil Yachty on the Billboard 200.

Let’s Start Here is a sonic left turn for the artist, who previously charted six entries on the Top R&B/Hip-Hop Albums chart. The new project has been described by the artist as “non-rap” and as “a psychedelic alternative project.”

Rounding out the new Billboard 200’s top 10 is Zach Bryan’s American Heartbreak, falling 9-10 with 31,000 equivalent album units earned (down 4%).

Source: billboard.com

“Flowers” maintains its command in streaming and sales. Plus, David Guetta and Bebe Rexha’s “I’m Good (Blue)” takes over as the most-heard song on radio.

Miley Cyrus’ “Flowers” holds at No. 1 on the Billboard Hot 100, reigning for a second frame a week after it soared in at the summit, as it continues its dominance in both streaming and sales.

Meanwhile, David Guetta and Bebe Rexha’s “I’m Good (Blue),” at No. 6 on the Hot 100, becomes the most-heard song on radio, reaching the top of the Radio Songs chart, and JVKE scores his first Hot 100 top 10 as “Golden Hour” rises from No. 11 to No. 10.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Feb. 4, 2023) will update on Billboard.com tomorrow (Jan. 31). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“Flowers,” released on Smiley Miley/Columbia Records, drew 59.8 million streams (up 14%, good for the Hot 100’s top Streaming Gainer award) and 40.8 million radio airplay audience impressions (up 22%) and sold 65,000 (down 6%) in its second full tracking week, Jan. 20-26, according to Luminate (after it arrived Jan. 12 at 7 p.m. EST).

The single spends a second week at No. 1 on both the Streaming Songs and Digital Song Sales charts and surges 18-11 on Radio Songs.

Cyrus first announced during her Miley’s New Year’s Eve Party NBC special that “Flowers” would be released Jan. 13, which fans recognized as her ex-husband Liam Hemsworth’s birthday. That narrative and interaction on TikTok have helped grow the profile of the song, which ushers in Cyrus’ eighth studio album, Endless Summer Vacation, due March 10.

Propelled in part by that buzz, “Flowers” boasts the greatest weekly streaming sum since Drake’s “Way 2 Sexy,” featuring Future and Young Thug, totaled 67.3 million (Sept. 18, 2021).

“Flowers” is also the first song with consecutive weeks of 50 million or more streams in two years, since Olivia Rodrigo’s “Drivers License” arrived with 76.1 million and followed with 59.7 million (Jan. 23, 30, 2021).

Plus, with its gain from 52.6 million to 59.7 million weekly streams, “Flowers” is the first song to post at least 50 million streams in a week and gain the following frame in over three years, since Roddy Ricch’s “The Box” increased from 68.2 million to 77.2 million (Jan. 18, 25, 2020).

SZA’s “Kill Bill” ranks at its No. 2 Hot 100 best for a third week, with 38 million in radio reach (up 29%), 34.1 million streams (down 2%) and 2,000 sold (down 17%). It tops Hot R&B/Hip-Hop Songs and Hot R&B Songs, which use the same methodology as the Hot 100, for a seventh week each. The song is from her album SOS, which adds a seventh week at No. 1 on the Billboard 200.

Taylor Swift’s “Anti-Hero” repeats to No. 3 on the Hot 100, after leading for a personal-best eight weeks; Metro Boomin, The Weeknd and 21 Savage’s “Creepin’” is steady at its No. 4 high, as it wins the chart’s top Airplay Gainer trophy (67.2 million, up 16%); and Sam Smith and Kim Petras’ “Unholy” keeps at No. 5, after it ruled for a week in October.

David Guetta and Bebe Rexha’s “I’m Good (Blue)” holds at No. 6 on the Hot 100 after reaching No. 4, as it ascends to No. 1 on Radio Songs (85 million, up 2%). Guetta claims his first Radio Songs leader (among seven top 10s), while Rexha earns her second (among four top 10s), after “Meant To Be,” with Florida Georgia Line, dominated for five weeks in 2018. (The song that “I’m Good” prominently interpolates, Eiffel 65’s “Blue [Da Ba Dee],” hit No. 6 on Radio Songs in 2000.)

“I’m Good” tops the Pop Airplay chart for a second week and rises to No. 1 on Adult Pop Airplay, where it becomes Guetta’s first champ and Rexha’s second (likewise after “Meant To Be”). “I’m Good” leads the multi-metric Hot Dance/Electronic Songs chart for a 19th week.

The Weeknd’s “Die for You” keeps at No. 7 on the Hot 100, after hitting No. 6; Drake and 21 Savage’s “Rich Flex” is a non-mover at No. 8, after it reached No. 2, as it tops the multi-metric Hot Rap Songs chart for an 11th week; and Harry Styles’ “As It Was” rebounds 10-9 on the Hot 100, following 15 weeks at No. 1 beginning last April, the fourth-longest reign in the chart’s history.

Rounding out the Hot 100’s top tier, JVKE achieves his first top 10, with his initial entry, as “Golden Hour” climbs 11-10 with 29.1 million in radio reach (up 4%), 14 million streams (essentially even week-over-week) and 2,000 sold (up 2%).

Released on JVKE’s eponymous independent imprint, the ballad is being promoted by Sony Music Entertainment’s AWAL label, which notches its first Hot 100 top 10. Prior to “Golden Hour,” AWAL hit a No. 27 best via Lauv’s “I Like Me Better” in 2018.

“Golden Hour” concurrently becomes the first top 10 for Rhode Island native JVKE (born Jake Lawson), who broke through thanks in part to traction on TikTok, on the Pop Airplay chart (11-10). It’s his second title to make the tally, after “This Is What Falling in Love Feels Like” reached No. 35 last July.

(Small state, big hits: Other acts to score chart success with Rhode Island origins include Bill Conti, whose Rocky theme song “Gonna Fly Now” topped the Hot 100 for a week in 1977; John Cafferty & The Beaver Brown Band, whose “On the Dark Side,” from the film Eddie and the Cruisers, rose to No. 7 in 1984; and Blu Cantrell, whose “Hit ‘Em Up Style [Oops!]” reached No. 2 in 2001.)

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Feb. 4), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Jan. 31).

Source: billboard.com

‘SOS’ is the first R&B album to spend its first seven weeks at No. 1 since Whitney Houston’s ‘Whitney’ in 1987.

SZA’s SOS racks up a seventh consecutive week at No. 1 on the Billboard 200 chart (dated Feb. 4) – the entirety of its chart run. The last album by a woman with seven weeks at No. 1 was Taylor Swift’s Folklore, more than two years ago, as it notched its eighth and final week atop the list on the chart dated Oct. 31, 2020.

SOS earned 111,000 equivalent album units in the U.S. in the week ending Jan. 26 (down 7%), according to Luminate.

Also in the top 10 of the latest Billboard 200 chart: Trippie Redd logs his seventh top 10-charting effort with the No. 3 debut of Mansion Muzik, while HARDY clocks his first top 10 with the No. 4 arrival of The Mockingbird & The Crow.

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 Feb. 4, 2023-dated chart will be posted in full on Billboard‘s website on Jan. 31. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of SOS’ 111,000 equivalent album units earned in the week ending Jan. 26, SEA units comprise 109,500 (down 7%, equaling 148.87 million on-demand official streams of the set’s tracks), album sales comprise 1,000 (up 37%) and TEA units comprise 500 units (down 8%).

In the last year, only three albums have spent at least seven weeks at No. 1: SOS, Bad Bunny’s Un Verano Sin Ti (13 nonconsecutive weeks) and the Encanto soundtrack (nine nonconsecutive weeks).

Here are a few statistics about SOS’ seven-week run at No. 1 on the Billboard 200:

SZA Meets Whitney in Chart History: SOS is the first R&B/hip-hop album by a woman, or R&B album by any act, to spend its first seven weeks at No. 1 since Whitney Houston’s Whitney in 1987. The latter debuted at No. 1 on the June 27, 1987-dated list and spent its first 11 weeks at No. 1 (its total run at No. 1). Whitney was the first R&B/hip-hop album by a woman, or R&B album by a woman, to debut at No. 1 on the Billboard 200 chart.

R&B/hip-hop and R&B albums are defined as those that have hit or are eligible for Billboard’s Top R&B/Hip-Hop Albums and Top R&B Albums charts, respectively.

Drake’s Views was the last R&B/hip-hop set to spend its first seven weeks at No. 1 — it spent its first nine weeks at No. 1 (May 21-July 16, 2016 charts).

Most Consecutive Weeks at No. 1 in Nearly a Year: The last album, regardless of genre classification, with seven weeks in a row at No. 1 on the Billboard 200 was the Encanto soundtrack, with eight straight weeks atop the list (Jan. 29-March 19, 2022-dated charts). The Encanto soundtrack spent a total of nine weeks at No. 1, as it logged one earlier frame at No. 1 on the Jan. 15, 2022 chart.

The last album by a woman with seven consecutive weeks at No. 1 was Adele’s 25, which spent its first seven weeks at No. 1 in late 2015 and early 2016 (Dec. 12, 2015-Jan. 23, 2016). 25 spent 10 total nonconsecutive weeks at No. 1.

Most Weeks at No. 1 for an Album by a Woman Since 2020: Taylor Swift’s Folklore was the last album by a woman to score seven weeks atop the list. The album topped the list for its first six weeks (Aug. 8-Sept. 12, 2020) and then returned for two more nonconsecutive weeks (Oct. 3 and Oct. 31, 2020).

‘SOS’ Is the First Album by a Woman With its First Seven Weeks at No. 1 Since 2016: Adele’s 25 was the last album by a woman to spend its first seven weeks on the chart at No. 1. The 25 album ruled the list in its first seven weeks (Dec. 12, 2015-Jan. 23, 2016) and then logged three more later frames at No. 1, for a total of 10 nonconsecutive weeks at No. 1. (The last album with its first seven weeks at No. 1 was Morgan Wallen’s Dangerous: The Double Album, which spent it first 10 weeks at No. 1 [its total run at No. 1] from the Jan. 23-March 27, 2021-dated charts.)

Only Three Women Have Had Albums With Seven Weeks at No. 1 in the Last 20 Years: In the last two decades – from February 2003 through the latest chart – only three women have spent at least seven weeks at No. 1 on the Billboard 200 chart. Before SZA’s SOS, there was Swift’s Folklore (eight weeks, 2020), Adele’s 25 (10, 2015-16), Swift’s 1989 (11, 2014-15), Adele’s 21 (24, 2011-12) and Swift’s Fearless (11, 2008-09). Before Fearless, the last album by a woman with seven weeks at No. 1 was Alanis Morissette’s Jagged Little Pill, with 12 weeks in 1995-96.

Most Weeks at No. 1 for an R&B/Hip-Hop Album Since Drake’s ‘Views’ in 2016: The last R&B/hip-hop album with seven weeks atop the list was Drake’s Views, which spent 13 nonconsecutive weeks at No. 1 (May 21-Oct. 8, 2016). Views was also the last R&B/hip-hop set to spend its first seven weeks at No. 1 (it spent its first nine weeks at No. 1: May 21-July 16, 2016).

SOS has the most weeks at No. 1 for an R&B/hip-hop album by a woman, or an R&B album by a woman, since Mariah Carey’s Music Box spent eight nonconsecutive weeks at No. 1 in late 1993 and early 1994. SOS has the most weeks at No. 1 for an R&B album by any act since Usher’s Confessions ruled for nine nonconsecutive weeks in 2004.

At No. 2 on the new Billboard 200, Swift’s former No. 1 Midnights is a non-mover with 67,000 equivalent album units earned (down 8%). It has spent the entirety of its 14 weeks on the chart inside the top two. The last album by a woman to spend its first 14 weeks at either Nos. 1 or 2 was Swift’s own 1989, with its first 15 weeks in the top two (Nov. 15, 2014-Feb. 21, 2015).

Trippie Redd notches his seventh top 10-charting effort on the Billboard 200 as Mansion Muzik debuts at No. 3 with 56,000 equivalent album units earned. Of that sum, SEA units comprise 50,000 (equaling 68.1 million official on-demand streams of the set’s 25 tracks), album sales comprise 5,000 and TEA units comprise 1,000. Mansion Muzik is the hip-hop artist’s seventh consecutive top five-charting effort, stretching back to 2018’s Life’s a Trip, which debuted and peaked at No. 4 (Aug. 25, 2018-dated chart).

HARDY hits the top 10 of the Billboard 200 for the first time as his new double album The Mockingbird & The Crow arrives at No. 4 with 55,000 equivalent album units earned – easily his best week ever in terms of units. Of the starting sum, SEA units comprise 34,000 (equaling 44.68 million official on-demand streams of the set’s 17 tracks), album sales comprise 19,500 and TEA units comprise 1,500. The half-country/half-rock project includes guest turns from Jeremy McKinnon (of A Day To Remember), Lainey Wilson and Morgan Wallen.

The Mockingbird & The Crow marks the highest-debuting rock album since Red Hot Chili Peppers’ Return of the Dream Canteen entered at No. 3 (Oct. 29, 2022) and highest-bowing country album since Luke Combs’ Growin’ Up started at No. 2 (July 9, 2022).

Four former No. 1s are next on the Billboard 200, as Metro Boomin’s Heroes & Villains falls 3-5 (53,000 equivalent album units; down 4%), Drake and 21 Savage’s Her Loss dips 4-6 (46,000; down 4%), Bad Bunny’s Un Verano Sin Ti falls 6-7 (41,000; down 4%) and Wallen’s Dangerous: The Double Album descends 7-8 (nearly 41,000; down 2%).

Zach Bryan’s American Heartbreak falls 8-9 with 32,000 equivalent album units (though up 2%) and Lil Baby’s former No. 1 It’s Only Me slips 9-10 with 28,000 (down 5%).

Source: billboard.com

Cyrus adds her second leader, after “Wrecking Ball” in 2013. Plus, Bizarrap and Shakira launch at No. 9 with “Bzrp Music Sessions, Vol. 53.”

Miley Cyrus plants “Flowers” at No. 1 on the Billboard Hot 100 songs chart in its debut week. Her new single soars in as her second leader, after “Wrecking Ball” reigned for three weeks in 2013.

Plus, Bizarrap and Shakira’s “Bzrp Music Sessions, Vol. 53” blasts onto the Hot 100 at No. 9. The song marks Bizarrap’s first top 10 and Shakira’s fifth, and first since 2007.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Jan. 28, 2023) will update on Billboard.com tomorrow (Jan. 25). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

Streams, airplay & sales: “Flowers,” released on Smiley Miley/Columbia Records, ran up totals of 52.6 million streams, 33.5 million radio airplay audience impressions and 70,000 sold in its first full tracking week, Jan. 13-19, according to Luminate (after it arrived Jan. 12 at 7 p.m. EST; in its first five hours, it tallied 2.4 million in radio reach, 685,000 streams and 2,000 sold).

The single launches at No. 1 on the Streaming Songs chart, surges 21-1 on Digital Song Sales and debuts at No. 18 on Radio Songs.

Cyrus first announced during her Miley’s New Year’s Eve Party NBC special that “Flowers” would be released Jan. 13, which fans keenly recognized as her ex-husband Liam Hemsworth’s birthday. That narrative and rabid interaction on TikTok have helped swell the profile of the song, which introduces Cyrus’ eighth studio album, Endless Summer Vacation, due March 10.

Cyrus’ 2nd Hot 100 No. 1: “Flowers” bounds in as Cyrus’ second Hot 100 No. 1, after “Wrecking Ball” rose to the top (after it debuted at No. 50) for three weeks beginning in September 2013.

“Flowers” is the 65th title to roar in at No. 1 in the Hot 100’s history. It’s the 1,145th leader overall, and the first new No. 1 of 2023.

Cyrus ends a break of nine years, one month and two weeks between Hot 100 No. 1s, the longest between leaders since Coldplay went 13 years, three months and two weeks from “Viva La Vida” in 2008 to “My Universe,” with BTS, in 2021.

Cyrus also adds her 11th Hot 100 top 10 and first since The Kid LAROI’s “Without You” (which she joined for a remix) hit No. 8 in May 2021. Her previous top 10s, in order of peak date, including one under her Hannah Montana alter ego: “See You Again” (No. 10, 2008); “7 Things” (No. 9, 2008); “The Climb” (No. 4, 2009); “He Could Be the One” (Hannah Montana; No. 10, 2009); “Party in the U.S.A.” (No. 2, 2009 – it debuted at that spot, marking her top start until “Flowers”); “Can’t Be Tamed” (No. 8, 2010); “We Can’t Stop” (No. 2, 2013); “Wrecking Ball”; and “Malibu” (No. 10, 2017).

Cyrus’ first Hot 100 No. 1 as a writer: Cyrus co-wrote “Flowers” with Aldae (Gregory Hein) and Michael Pollack, each of whom achieves a first No. 1 Hot 100 writing credit. Cyrus adds her sixth top 10 as a writer; Pollack, his fifth; and Aldae, his first.

Kid Harpoon and Tyler Johnson co-produced “Flowers.” They notch their third shared and total Hot 100 No. 1 each, following their work on Harry Styles’ “Watermelon Sugar” (2020) and “As It Was” (2022).

Cyrus’ streaming & sales leaders: With “Flowers,” Cyrus claims her third Streaming Songs No. 1, following “We Can’t Stop,” for 11 weeks in 2013, “Wrecking Ball” (13, 2013-14) and “Adore You” (one, 2014) – all from her album Bangerz. With 52.6 million streams, “Flowers” marks the highest weekly sum since Taylor Swift’s “Anti-Hero” started with 59.7 (Nov. 5, 2022).

Cyrus scores her third Digital Song Sales No. 1, after “Party in the U.S.A.” reigned for six weeks in 2009, and “Wrecking Ball” for one week in 2013.

Meanwhile, “Flowers” begins with multi-format radio support, as starts at No. 14 on the Adult Pop Airplay chart, No. 15 on Adult Contemporary and No. 16 on Pop Airplay – Cyrus’ highest entrance on each ranking, as is the track’s No. 18 premiere on the all-format Radio Songs chart.

‘Flowers’ deconstructed: “The underlying strength of ‘Flowers’ is that it imparts an immediate sense of familiarity, while invoking strong, universal emotions such as nostalgia, loss and empowerment,” notes Hit Songs Deconstructed, which analyzes the compositional traits of Hot 100 top 10s. “This is achieved, in part, through its classic, inspirational ’70s disco influence, à la Gloria Gaynor’s ‘I Will Survive,’ also found in Lizzo’s recent Hot 100 No. 1, ‘About Damn Time.’ “

(“Your new song carries the torch of empowerment and encourages everyone to find strength in themselves to persevere & thrive. Well done Miley!,” Gaynor praised on Twitter Jan. 19. “I love you. Thank you,” Cyrus responded.)

“Flowers” additionally, per Hit Songs Deconstructed, “shares melodic, lyrical and rhyming commonalities with the chorus in Bruno Mars’ [No. 1] 2013 hit ‘When I Was Your Man,’ which also ties in with Miley’s story.”

Babs, Neil, Posty, Swae & Miley: Cyrus’ “Flowers” blooms as the third Hot 100 No. 1 with that word in its title. Barbra Streisand and Neil Diamond’s virtual duet “You Don’t Bring Me Flowers” reigned for two weeks in December 1978 and Post Malone and Swae Lee’s “Sunflower (Spider-Man: Into the Spider-Verse)” ruled for a week in January 2019.

Some dirt on similarly-themed Hot 100 No. 1s: “Roses Are Red (My Love),” by Bobby Vinton, led in 1962; “Every Rose Has Its Thorn,” by Poison, in 1988-89; and “Kiss From a Rose,” by Seal, in 1995. (We can also give flowers to past leading acts David Rose, Rose Royce and Guns N’ Roses. And Iggy Azalea.)

SZA’s “Kill Bill” holds at its No. 2 Hot 100 high, with 34.9 million streams (up 12%), 29.4 million in radio reach (up 106%) and 2,000 sold (up 69%), boosted by the Jan. 13 arrival of a four-track single option with the song’s original, sped-up, instrumental and a cappella versions. It ranks at No. 2 on Streaming Songs after three weeks at No. 1, jumps 49-21 on Digital Song Sales and debuts at No. 26 on Radio Songs. The track tops Streaming Songs for a fourth week and Hot R&B/Hip-Hop Songs and Hot R&B Songs, which use the same methodology as the Hot 100, for a sixth week each. The song is from her album SOS, which adds a sixth week at No. 1 on the Billboard 200.

Taylor Swift’s “Anti-Hero” falls to No. 3 on the Hot 100 after eight weeks at the summit, having rewritten her longest reign on the chart. The song rules Radio Songs for a fifth frame (88.5 million, down 1%). Helping power its radio reach, it leads Adult Pop Airplay for a ninth week, surpassing “Shake It Off” (eight weeks at No. 1 in 2014) for her longest command at the format among her nine leaders.

Metro Boomin, The Weeknd and 21 Savage’s “Creepin’” rises to No. 4, from No. 5, for a new Hot 100 high; Sam Smith and Kim Petras’ “Unholy” descends 3-5, after it topped the Oct. 29-dated chart; and David Guetta and Bebe Rexha’s “I’m Good (Blue)” dips to No. 6 from its No. 4 best, as it leads the multi-metric Hot Dance/Electronic Songs chart for an 18th week.

The Weeknd’s “Die for You” backtracks to No. 7 from its No. 6 Hot 100 high and Drake and 21 Savage’s “Rich Flex” drops 7-8, after spending its first three weeks on the chart at its No. 2 peak beginning in November, as it tops the multi-metric Hot Rap Songs chart for a 10th week.

Bizarrap and Shakira’s “Bzrp Music Sessions, Vol. 53” charges onto the Hot 100 at No. 9 with 20.2 million streams, 7.9 million in airplay audience and 9,000 sold Jan. 13-19 (its first full tracking week, following its Jan. 11 release at 7 p.m. EST). The buzzworthy latest edition of the Argentine DJ/producer’s series, new at No. 3 on Streaming Songs and up 23-3 on Digital Song Sales, arrives as his first Hot 100 top 10, after “Bzrp Music Sessions, Vol. 52,” with Quevedo, hit No. 79 in October – and crowned the Billboard Global Excl. U.S. and Billboard Global 200 charts for six and four weeks, respectively.

Shakira scores her fifth Hot 100 top 10, and first since 2007, following “Whenever, Wherever” (No. 6, 2001), “Underneath Your Clothes” (No. 9, 2002), “Hips Don’t Lie,” featuring Wyclef Jean (No. 1, two weeks, 2006), and “Beautiful Liar,” with Beyoncé (No. 3, 2007). She ends a 15-year and nine-month break between top 10s, the longest outside holiday titles since Elton John waited 23 years, 11 months and two weeks between 1998 and 2022, when he returned to the tier with “Cold Heart (Pnau Remix),” with Dua Lipa.

“Vol. 53” concurrently soars to the top of the multi-metric Hot Latin Songs chart, marking Bizarrap’s first No. 1 (after “Vol. 52” became his first top 10, reaching No. 9) and Shakira’s 12th; she ties Bad Bunny for the fourth-most Hot Latin Songs No. 1s, after Enrique Iglesias (27), Luis Miguel (16) and Gloria Estefan (15).

Rounding out the Hot 100’s top 10, Harry Styles’ “As It Was” slides 8-10, following 15 weeks at No. 1 beginning last April, the fourth-longest reign in the chart’s history (a list topped in part by another Cyrus).

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Jan. 28), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Jan. 25).

Source: billboard.com

The set has the most weeks at No. 1 among R&B albums since Usher’s Confessions in 2004.

SZA’s SOS is No. 1 on the Billboard 200 albums chart (dated Jan. 28) for a sixth consecutive week – the entirety of its chart run. The last album by a woman with six weeks atop the list was Adele’s 30 a little over a year ago, which also spent its first six weeks on the chart at No. 1 (Dec. 4, 2021-Jan. 8, 2022-dated charts).

SOS earned 119,000 equivalent album units in the U.S. in the week ending Jan. 19 (down 4%), according to Luminate.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multimetric 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 Jan. 28, 2023-dated chart will be posted in full on Billboard‘s website on Jan. 25 – one day later than usual due to data processing delays. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of SOS’ 119,000 equivalent album units earned in the week ending Jan. 19, SEA units comprise 118,000 (down 3%, equaling 160.1 million on-demand official streams of the set’s tracks), album sales comprise a little over 500 (down 77%) and TEA units comprise 500 units (up 18%).

SOS has the most weeks at No. 1 on the Billboard 200 among R&B/hip-hop albums since Drake’s Views notched 13 nonconsecutive weeks at No. 1 in 2016, and the most weeks at No. 1 for an R&B album since Usher’s Confessions was tops for nine nonconsecutive weeks in 2004.

SOS has the most weeks at No. 1 among R&B/hip-hop or R&B albums by women since Mariah Carey’s Daydream, which notched six nonconsecutive weeks at No. 1 in late 1995 and early 1996.

And, the last R&B/hip-hop or R&B album by a woman to spend its first six weeks at No. 1 was Janet Jackson’s janet., which led the list for its first six weeks (June 5-July 10, 1993). Further, SOS is the first R&B album, from any act, to spend its first six weeks at No. 1 since janet. (R&B/hip-hop and R&B albums are defined as those that have hit or are eligible for Billboard’s Top R&B/Hip-Hop Albums and Top R&B Albums charts, respectively.)

Incredibly, in the last decade-plus, the only albums by women with six or more weeks at No. 1 have been those by Adele, Taylor Swift and SZA. The last album by a woman not named Adele, Swift or SZA to spend at least six weeks at No. 1 was Susan Boyle, who saw her debut effort I Dreamed a Dream top the list for six total weeks (Dec. 12, 2009-Jan. 16, 2010).

Since I Dreamed a Dream, eight albums by women have spent at least six weeks at No. 1, and seven of them are by Adele and Swift. They are Swift’s Speak Now (six weeks, 2010-11), Adele’s 21 (24, 2011-12), Swift’s Red (seven, 2012-13), Swift’s 1989 (11, 2014-15), Adele’s 25 (10, 2015-16), Swift’s Folklore (eight, 2020), Adele’s 30 (six, 2021-22) and SZA’s SOS (six thus far, 2022-23).

Back on the new Billboard 200, the entire top four titles are all former No. 1s and are non-movers as compared to their ranks a week ago. Swift’s Midnights is No. 2 (73,000 equivalent album units; down 10%), followed by Metro Boomin’s Heroes & Villains (56,000; down 2%) and Drake and 21 Savage’s Her Loss (47,000; down 7%).

The Weeknd’s compilation album The Highlights jumps back to the top 10, climbing 36-5 with 44,000 equivalent album units earned (up 185%). The best-of effort contains such hits as “Blinding Lights” and the resurgent “Die for You” (from The Weeknd’s studio albums After Hours and Starboy, respectively). 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 nearly 1,000 copies in the latest tracking week, while After Hours and Starboy each sold under 1,000.) A week ago, the TEA and SEA for the songs were directed to After Hours and Starboy, respectively, as they outsold The Highlights that week.

Bad Bunny’s Un Verano Sin Ti falls 5-6 (43,000 equivalent album units; down 5%) and Morgan Wallen’s Dangerous: The Double Album dips 6-7 (41,000; down 4%).

Closing out the new Billboard 200’s top 10 are Zach Bryan’s American Heartbreak (falling 7-8 with 32,000 equivalent album units earned, down 5%), Lil Baby’s chart-topping It’s Only Me (8-9 with 29,000 units; down 7%) and Harry Styles’ former leader Harry’s House (holding at No. 10 with 24,000 units; down 7%).

Source: billboard.com