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

“Break My Soul” and “I Like You (A Happier Song)” ascend to Nos. 6 and 9, respectively.

Lizzo‘s “About Damn Time” dominates the Billboard Hot 100 songs chart for a second week.

Concurrently, Beyoncé‘s “Break My Soul” rises to a new No. 6 Hot 100 high and Post Malone‘s “I Like You (A Happier Song),” featuring Doja Cat, returns to the top 10, rebounding to its No. 9 best, boosted by the July 25 premiere of its official video.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Aug. 6, 2022) will update on Billboard.com tomorrow (Aug. 2). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“About Damn Time,” released on Nice Life/Atlantic Records, drew 91.1 million radio airplay audience impressions (up 1%) and 12.5 million streams (down 13%) and sold 8,000 downloads (down 44%) in the July 22-28 tracking week, according to Luminate.

The track – which a week earlier became Lizzo’s second Hot 100 No. 1, following “Truth Hurts,” which reigned for seven weeks in 2019 – tallies a fourth week at No. 1 on the Radio Songs chart; drops to No. 3 after two weeks atop Digital Song Sales; and dips to No. 10 from its No. 8 best on Streaming Songs.

“Time” concurrently crowns the Hot R&B/Hip-Hop Songs and Hot R&B Songs charts, which use the same multi-metric methodology as the Hot 100, for a fourth and 11th week, respectively.

Harry Styles’ former 10-week Hot 100 No. 1 “As It Was” holds at No. 2. The single rules the Songs of the Summer chart for a ninth week, as it has led the seasonal survey, which tracks the top titles between Memorial Day and Labor Day, each week this year.

Kate Bush’s “Running Up That Hill (A Deal With God)” keeps at its No. 3 Hot 100 high. Its revival sparked by its sync in the fourth season of Netflix’s Stranger Things, the song, originally released in 1985 (when it reached No. 30), claims the Hot 100’s top Airplay Gainer award for a second week (48.4 million, up 17%). It simultaneously paces the multi-metric Hot Rock & Alternative Songs, Hot Rock Songs and Hot Alternative Songs charts for an eighth week each.

Jack Harlow’s “First Class” maintains its No. 4 cruising altitude on the Hot 100, after three weeks at No. 1 starting in its debut week in April, as it adds a 14th week atop the multi-metric Hot Rap Songs chart, and Future’s “Wait for U,” featuring Drake and Tems, is likewise stationary at No. 5 on the Hot 100, after a week at No. 1 beginning in its debut week in May.

Beyoncé’s “Break My Soul” rises 7-6 for a new Hot 100 high. The lead single from her album Renaissance, released July 29 and due on next week’s, Aug. 13-dated charts, sports across-the-board gains, as it holds at No. 4 on Radio Songs (56.5 million, up 10%) and climbs 7-4 on Digital Song Sales (6,000, up 18%) and 28-25 on Streaming Songs (8.8 million, up 6%). It tops the multi-metric Hot Dance/Electronic Songs chart for a fifth week.

Harry Styles’ “Late Night Talking,” whose official video premiered July 13, advances 9-7 on the Hot 100, after it reached No. 4 upon its debut in June. It also hits the top five on Radio Songs (6-5; 52.1 million, up 8%).

Bad Bunny and Chencho Corleone’s “Me Porto Bonito” retreats to No. 8 from its No. 6 Hot 100 best, as it leads Streaming Songs for a second week (19.7 million, down 6%). A week earlier, the track became the first all-Spanish-language No. 1 on Streaming Songs since the chart debuted in January 2013. The collaboration tops the multi-metric Hot Latin Songs chart for an 11th week and parent album Un Verano Sin Ti commands the Billboard 200 for a seventh frame.

Post Malone’s “I Like You (A Happier Song),” featuring Doja Cat, returns to the Hot 100’s top 10, rebounding from No. 12 to its No. 9 highpoint first reached in June. With its official video having premiered July 25, it pushes 15-11 on Streaming Songs (12.6 million streams in the week ending July 28, up 14%), 17-15 on Radio Songs (34.9 million, up 10%) and 33-17 on Digital Song Sales (3,000, up 11%).

Rounding out the Hot 100’s top 10, Glass Animals’ “Heat Waves” descends 8-10, following five weeks at No. 1 starting in March. Notably, it logs its 80th week on the chart, becoming just the third title in the chart’s 64-year history to reach the milestone (and is the only one of those hits to have ranked in the top 10 as late as its 80th frame).

Most Weeks Totaled on the Billboard Hot 100:
90, “Blinding Lights,” The Weeknd, No. 1 peak (for four weeks), beginning April 4, 2020
87, “Radioactive,” Imagine Dragons, No. 3, July 6, 2013
80, “Heat Waves,” Glass Animals, No. 1 (five weeks), beginning March 12, 2022
79, “Sail,” AWOLNATION, No. 17, Oct. 12, 2013
77, “Levitating,” Dua Lipa, No. 2, May 22, 2021
76, “I’m Yours,” Jason Mraz, No. 6, Sept. 20, 2008
69, “Save Your Tears,” The Weeknd & Ariana Grande, No. 1 (two weeks), beginning May 8, 2021
69, “How Do I Live,” LeAnn Rimes, No. 2, Dec. 13, 1997
68, “Counting Stars,” OneRepublic, No. 2, Jan. 18, 2014
68, “Party Rock Anthem,” LMFAO feat. Lauren Bennett & GoonRock, No. 1 (six weeks), beginning July 16, 2011

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

Source: billboard.com

Plus: SEVENTEEN and Jack White debut in top 10.

Bad Bunny’s Un Verano Sin Ti collects a seventh nonconsecutive week at No. 1 on the Billboard 200 chart (dated Aug. 6). The title earned 98,000 equivalent album units in the U.S. in the week ending July 28 (down 5%), according to Luminate. Un Verano Sin Ti is the album with the most weeks at No. 1 in over a year, since Morgan Wallen’s Dangerous: The Double Album spent its 10th and final week at No. 1 on the list dated March 27, 2021. (Since Dangerous, Adele’s 30 had clocked six weeks at No. 1.)

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Aug. 6, 2022-dated chart will be posted in full on Billboard‘s website on Tuesday (Aug. 2). For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Un Verano Sin Ti’s 98,000 equivalent album units earned, SEA units comprise 97,000 (down 5%; equaling 135.9 million on-demand official streams of the set’s tracks) and album sales and TEA units comprise the remainder of the week’s total.

Un Verano Sin Ti has exhibited strong staying power, as it earned in excess of 100,000 units in its first 11 weeks on the chart. The latest tracking frame is its first to dip below 100,000. Further, the album has declined less than 10% in weekly units in every week from its fourth through 12th frames. (The album eroded by 34% in its second week, then fell by 15% in its third, and then from its fourth week onwards has only dropped by 2-9% weekly.)

Un Verano Sin Ti has spent its first 12 weeks on the Billboard 200 chart lodged in the top two. The last album to start off as strong was Drake’s Views, which spent its first 17 weeks in the top two (May 21-Sept. 10, 2016-dated charts).

Un Verano Sin Ti bowed at No. 1 on the May 21-dated chart, then stepped away from the top slot for three weeks. It returned to No. 1 on June 18, and then moved aside for two more weeks, until coming back to No. 1 for the last five consecutive weeks.

Un Verano Sin Ti may vacate the No. 1 slot on the Aug. 13-dated chart, as Beyoncé’s seventh solo studio album, Renaissance, is due to debut on the tally, following its release on Friday (July 29). All six of Beyoncé’s previous solo studio sets opened at No. 1.

Wallen’s Dangerous rises 4-2 on the latest Billboard 200 with 49,000 equivalent album units earned (up 1%) while Harry Styles’ fellow former No. 1 Harry’s House is a non-mover at No. 3 with 48,000 units (down 8%).

SEVENTEEN logs its highest-charting album yet and second top 10, as 4th Album Repackage: Sector 17 debuts at No. 4 on the Billboard 200 with 34,000 equivalent album units earned. On the June 18 chart, the South Korean group debuted and peaked at No. 7 with SEVENTEEN 4th Album: Face the Sun. The new Sector 17 release contains Face the Sun’s same tracklist, but adds additional songs and retitles the album.

Of Sector 17’s first-week units of 34,000, album sales comprise 31,000; SEA units comprise 2,000 (equaling 3.31 million on-demand official streams of the set’s tracks); and TEA units comprise the remainder of the units.

Like many K-pop releases, the CD configuration of Sector 17 was issued in collectible deluxe packages (six total, including an exclusive version for Target), each with a standard set of items and randomized elements (such as photocards and photobooks); 99.8% of the album’s first-week sales were on CD. The other fraction of a percent were digital album purchases. (The set was not released in any other format, such as vinyl or cassette.)

Future’s former No. 1 I Never Liked You rises 6-5 on the Billboard 200 with 33,000 equivalent album units earned (down 5%) and Drake’s chart-topping Honestly, Nevermind dips 5-6 with 32,000 units (down 14%). Lizzo’s Special falls 2-7 in its second week with 29,000 units (down 58%) and Lil Durk’s former leader 7220 rises 10-8 with 28,000 (down 11%).

Jack White collects his sixth solo top 10 album on the Billboard 200 — and second of 2022 — as Entering Heaven Alive debuts at No. 9. The set starts with 27,000 equivalent album units earned. Of that sum, album sales comprise 25,000, SEA units comprise 2,000 (equaling 2.05 million on-demand official streams of the set’s tracks) and TEA units comprise a negligible sum. White previously hit the top 10 this year with Fear of the Dawn, which debuted and peaked at No. 4 on the April 23-dated list. He’s also claimed top 10s as a member of the bands The Raconteurs, The Dead Weather and The White Stripes (three each).

Rounding out the new top 10 is Olivia Rodrigo’s former No. 1 Sour, which rises 13-10 with 26,000 equivalent album units earned (down 5%).

Source: billboard.com

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

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

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

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

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

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

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

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

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

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

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

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

“Time” claims the Hot 100’s top spot from Harry Styles’ “As It Was,” which drops to No. 2 after 10 weeks at No. 1, with 73 million in airplay audience (down 2%), 17.4 million streams (down 4%) and 5,000 sold (up 6%). Still, “As It Was” tops the Songs of the Summer chart for an eighth week, as it has led the seasonal ranking, which tracks the top titles between Memorial Day and Labor Day, each week this year.

Kate Bush’s “Running Up That Hill (A Deal With God)” rises to a new No. 3 Hot 100 high, from No. 4. Again helped by its sync in the fourth season of Netflix’s Stranger Things, the song, originally released in 1985 (when it reached No. 30), bounds 15-10 on Radio Songs (39.8 million, up 26%, good for the Hot 100’s top Airplay Gainer trophy), becoming Bush’s first top 10 on the tally. It fell by 10% to 19.3 million streams and 23% to 10,000 sold in the tracking week.

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

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

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

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

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

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

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

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

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

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

Most Weeks Totaled on the Billboard Hot 100:
90, “Blinding Lights,” The Weeknd, No. 1 peak (for four weeks), beginning April 4, 2020
87, “Radioactive,” Imagine Dragons, No. 3, July 6, 2013
79, “Heat Waves,” Glass Animals, No. 1 (five weeks), beginning March 12, 2022
79, “Sail,” AWOLNATION, No. 17, Oct. 12, 2013
77, “Levitating,” Dua Lipa, No. 2, May 22, 2021
76, “I’m Yours,” Jason Mraz, No. 6, Sept. 20, 2008

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

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

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

Source: billboard.com

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

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

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

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new July 30, 2022-dated chart will be posted in full on Billboard‘s website on Tuesday (July 26). For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Un Verano Sin Ti’s 103,000 equivalent album units earned, SEA units comprise 102,000 (down 2%; equaling 143.15 million on-demand official streams of the set’s tracks) and album sales and TEA units comprise the remainder of the week’s total.

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

Additionally, Un Verano Sin Ti has spent its first 11 weeks on the Billboard 200 chart in the top two. The last album to start off as strong was Drake’s Views, which spent its first 17 weeks in the top two (May 21-Sept. 10, 2016-dated charts).

Un Verano Sin Ti bowed at No. 1 on the May 21-dated chart, then stepped away from the top slot for three weeks. It returned to No. 1 on June 18, and then moved aside for two more weeks, until coming back to No. 1 for the last four consecutive weeks.

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

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

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

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

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

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

ITZY’s Checkmate debuts at No. 8 on the Billboard 200, giving the South Korean quintet its first top 10 effort. The set starts with 33,000 equivalent album units earned, of which album sales comprise 31,000; SEA units comprise 2,000 (equaling 2.96 million on-demand official streams of the set’s tracks) and TEA units comprise the remainder of the units.

Like many K-pop releases, the CD configuration of Checkmate was issued in collectible deluxe packages (17 total, including exclusive versions for Target and Barnes & Noble) each with a standard set of items and randomized elements (such as photocards and posters); 98% of the album’s first-week sales were on CD. The other 2% were digital album sales. (The set was not released in any other format, such as vinyl or cassette.)

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

Source: billboard.com

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Source: billboard.com