The soundtrack smash is the second Hot 100 leader ever from a Disney animated film, as well as the first for its writer and co-producer, Lin-Manuel Miranda.

“We Don’t Talk About Bruno,” from Disney’s Encanto, makes a magical move to No. 1 on the Billboard Hot 100 songs chart.

The ensemble song – by Carolina Gaitán, Mauro Castillo, Adassa, Rhenzy Feliz, Diane Guerrero, Stephanie Beatriz and the Encanto Cast – rises from the Hot 100’s runner-up spot and becomes just the second No. 1 ever from a Disney animated film.

“Bruno” also marks the first Hot 100 leader for the song’s sole writer, Lin-Manuel Miranda. He and Mike Elizondo co-produced it and earn their first and second trips to No. 1, respectively, in those roles.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Feb. 5, 2022) will update on Billboard.com tomorrow (Feb. 1). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

Let’s talk, a lot, about “Bruno,” which becomes the Hot 100’s 1,133rd No. 1 over the chart’s 63-year history.

Streams, airplay & sales: “Bruno” drew 34.9 million U.S. streams (up 8%) and 1.5 million radio airplay audience impressions (up 239%) and sold 12,300 downloads (up 32%, aided by 69-cent discount pricing in the iTunes Store, good for the Hot 100’s top Sales Gainer award) in the Jan. 21-27 tracking week, according to MRC Data.

The track tops the Streaming Songs chart for a fourth week and ranks at No. 3 on Digital Song Sales, a week after it reached the summit.

“Bruno” rules the Hot 100 in its fifth week on the chart, after it debuted at No. 50 on the Jan. 8 survey. Encanto arrived Dec. 24 on the Disney+ streaming service, after it premiered in U.S. theaters Nov. 24.

‘World’ Meets ‘Bruno’: “Bruno” becomes only the second Hot 100 No. 1 from a Disney animated film. It follows Peabo Bryson and Regina Belle’s Aladdin theme “A Whole New World,” which topped the March 6, 1993, chart.

“Bruno” was released on Walt Disney Records, while “World” was released on Columbia Records. That leads, in part, to …

Disney domination: “Bruno” marks the first Hot 100 No. 1 for Walt Disney Records. (The label formed in 1956, just before the Hot 100 began in 1958.)

Prior to “Bruno,” another collaborative song represented Walt Disney Records’ highest Hot 100 rank: “Breaking Free,” by Zac Efron, Andrew Seeley and Vanessa Anne Hudgens, from High School Musical, hit No. 4 on the Feb. 11, 2006, chart. The label has also reached the top five via Idina Menzel’s “Let It Go,” from Frozen (No. 5, 2014).

(The Disney Music Group, which includes the Walt Disney Records and Hollywood Records labels, notched one prior Hot 100 No. 1: the latter label’s “Hey There Delilah” by Plain White T’s led for two weeks in 2007.)

“The [Encanto] rollout began with a fantastic film, incredible music and a strong marketing campaign,” Disney Music Group president Ken Bunt recently told Billboard, adding that one reason he feels that “Bruno,” specifically, has connected is that it “includes the entire Family Madrigal, which reflects the dynamics of so many families.”

Soundtrack & song both No. 1: As “Bruno” crowns the Hot 100, its parent album, the Encanto soundtrack, tops the Billboard 200 albums chart for a third week, up 11% to 115,000 equivalent album units, its best weekly total so far.

Notably, the Aladdin soundtrack, from which “A Whole New World” was released, peaked at No. 6 on the Billboard 200, in February 1993. Thus, this week marks the first frame that a soundtrack to a Disney animated movie and one of its songs simultaneously lead the Billboard 200 and Hot 100, respectively.

Until this week, no soundtrack and corresponding song at all had led the charts simultaneously since A Star Is Born and Lady Gaga and Bradley Cooper’s “Shallow” ruled the respective rankings dated March 9, 2019.

Lin-Manel leads: “Bruno” was written by Lin-Manuel Miranda, who achieves his first No. 1 writing credit on the Hot 100. The Emmy, Grammy and Tony Award winner, among numerous other honors, previously reached a No. 20 best in October 2017 as both a recording artist and writer thanks to “Almost Like Praying,” his charity single featuring Artists for Puerto Rico.

“It’s been really amazing because ensemble numbers don’t usually get this kind of love,” Miranda mused of “Bruno” on Billboard‘s latest Pop Shop Podcast. “My job is to raise my hand and let this room of animators and incredibly creative people know what music can do.”

Single writer on a No. 1 single: As Miranda wrote “Bruno” solo, the song is the first Hot 100 No. 1 by only one writer in over four years, since Ed Sheeran’s self-penned “Perfect” wrapped its six-week reign in January 2018.

In a topic that received renewed attention last week, “Bruno,” thus, the first No. 1 of the 2020s by a single writer, follows four in the ’10s and nine in the ’00s (as such songs have plummeted in prominence atop the Hot 100 dating back even further).

Elizondo’s second No. 1: Miranda and Mike Elizondo co-produced “Bruno.” Miranda earns his first Hot 100 No. 1 as a producer, among two top 10s (joined by Encanto‘s “Surface Pressure”; see below), while Elizondo adds his second No. 1, nearly 19 years after his first: he and Dr. Dre co-produced 50 Cent’s “In Da Club,” which reigned for nine weeks beginning in March 2003.

Thanks to “Bruno” and “Surface Pressure,” Elizondo has upped his count to eight Hot 100 top 10s as a producer. Prior to Encanto, he had last ranked in the tier as a producer in 2016 via two No. 2 hits by twenty one pilots, “Stressed Out” and “Heathens.”

Most credited artists on a No. 1: While one person wrote “Bruno,” the song, conversely, sets the record for the most credited recording artists ever on a Hot 100 No. 1.

The billing of Carolina Gaitán, Mauro Castillo, Adassa, Rhenzy Feliz, Diane Guerrero, Stephanie Beatriz and the Encanto Cast outpaces the quintet of DJ Khaled featuring Justin Bieber, Quavo, Chance the Rapper and Lil Wayne, whose “I’m the One” topped the May 20, 2017, chart.

(Notably, the superstar-infused “We Are the World,” which topped the Hot 100 for four weeks in 1985, was billed as by USA for Africa.)

Gaitán, Castillo, Adassa, Feliz, Guerrero and Beatriz each lead the Hot 100 for the first time. They voice Encanto characters, and Madrigal family members, Pepa, Félix, Dolores, Camilo, Isabela and Mirabel, respectively.

As for Bruno …

‘Encanto’ enchants the top 40 & beyond: John Leguizamo voices Encanto‘s Bruno Madrigal. While his character is the subject of the Hot 100’s new No. 1 but he’s not one of its singers, the acclaimed (and socially-conscious) veteran actor is scaling the chart with his first entry thanks to another Encanto song, “All of You.”

Seven Encanto tracks, all written solely by Miranda and produced by Miranda and Elizondo, place on the Feb. 5 Hot 100, and all reach new highs:

No. 1, “We Don’t Talk About Bruno,” Carolina Gaitán, Mauro Castillo, Adassa, Rhenzy Feliz, Diane Guerrero, Stephanie Beatriz & Encanto Cast
No. 9, “Surface Pressure,” Jessica Darrow
No. 20, “The Family Madrigal,” Beatriz, Olga Merediz & Encanto Cast
No. 27, “What Else Can I Do?,” Guerrero & Beatriz
No. 36, “Dos Oruguitas,” Sebastián Yatra (up from No. 44, as the song, shortlisted for a best original song Oscar nomination, brings Yatra to the Hot 100’s top 40 in his first appearance on the chart)
No. 48, “Waiting On a Miracle,” Beatriz
No. 82, “All of You,” Beatriz, Merediz, John Leguizamo, Adassa, Maluma & Encanto Cast

Just as “A Whole New World” dethroned a long-leading ballad (Whitney Houston’s 14-week No. 1 “I Will Always Love You”) atop the Hot 100, “Bruno” succeeds Adele’s “Easy on Me,” which ranks at No. 2 after 10 weeks on top. Still, “Easy” tops the Radio Songs chart for a 10th week (94.6 million, down 1%) and drew 14.1 million streams (down 2%) and sold 5,200 downloads (up 1%) in the tracking week.

The songs at Nos. 3 through 8 on the Hot 100 all maintain their ranks from a week earlier, led by Glass Animals’ “Heat Waves.” The track, which holds at its best rank, also tops the Hot Rock & Alternative Songs and Hot Alternative Songs charts, both of which use the same multi-metric methodology as the Hot 100, for a 19th week each.

The Kid LAROI and Justin Bieber’s “Stay” keeps at No. 4 on the Hot 100 after seven weeks at No. 1 and Kodak Black’s “Super Gremlin” repeats at its No. 5 high, as it leads the multi-metric Hot R&B/Hip-Hop Songs and Hot Rap Songs charts for a third week each.

Ed Sheeran’s “Shivers” is steady at No. 6 on the Hot 100 after hitting No. 4; Gunna and Future’s “Pushin P,” featuring Young Thug, remains at its No. 7 best; and GAYLE’s “abcdefu” holds at its No. 8 high, as it claims the chart’s top Airplay Gainer nod (37.9 million, up 27%).

Encanto‘s “Surface Pressure” by Jessica Darrow, who voices the film’s Luisa Madrigal, rises 10-9 for a new Hot 100 highpoint, swapping spots with Elton John and Dua Lipa’s “Cold Heart (Pnau Remix)” (9-10), after the latter reached No. 7. Meanwhile, John expands his span of top 10s to 51 years and two weeks, dating to his first appearance in the top 10 with “Your Song” (Jan. 23, 1971), the longest such stretch among all acts not involving holiday songs. “Cold Heart” also tops the multi-metric Hot Dance/Electronic Songs chart for a 16th week.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Feb. 5), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Feb. 1).

Source: billboard.com

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

The Encanto soundtrack collects a third nonconsecutive week at No. 1 on the Billboard 200 albums chart (dated Feb. 5). The set earned a new weekly-best 115,000 equivalent album units in the U.S. in the week ending Jan. 27 — up 11%, according to MRC Data.

In the last 10 years, only four soundtracks have spent at least three weeks at No. 1 on the Billboard 200: Encanto (three), Lady Gaga and Bradley Cooper’s A Star Is Born (four in 2018-19), Black Panther: The Album (three, 2018) and Frozen (13, 2014).

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 MRC Data. 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. 5, 2022-dated chart (where Encanto holds at No. 1) will be posted in full on Billboard‘s website on Feb. 1. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Encanto’s 115,000 equivalent album units earned, SEA units comprise 93,000 (up 11%, equaling 138.51 million on-demand official streams of the set’s songs), album sales comprise 19,000 (up 10%) and TEA units comprise 3,000 (up 17%).

YoungBoy Never Broke Again’s Colors debuts at No. 2 on the Billboard 200, marking the rapper’s eighth top 10 album, all earned in less than four years. (His first top 10 came in May of 2018 with Until Death Call My Name.)

The new album begins with 79,000 equivalent album units earned. Of that sum, SEA units comprise 77,000 (equaling 118.56 million on-demand official streams of the set’s songs), album sales comprise a little under 2,000 and TEA units comprise a negligible sum.

Gunna’s former No. 1 DS4Ever falls 2-3 in its third week with 69,000 equivalent album units earned (down 28%), and The Weeknd’s Dawn FM dips 3-4 with 43,000 units (down 30%).

Morgan Wallen’s former No. 1 Dangerous: The Double Album is a non-mover at No. 5 on the Billboard 200, collecting 41,000 equivalent album units (down less than 1%).

Dangerous: The Double Album has now accumulated 54 nonconsecutive weeks in the top 10 on the Billboard 200 — the second-most of any country album ever, surpassing the 53 weeks registered by Shania Twain’s Come On Over (in 1997-2000). Among country efforts, only Taylor Swift’s Fearless has more, with 58 (in 2008-10).

Among all genres, Dangerous now has the most weeks in the top 10 for an album released by a male artist since 2000, surpassing the 53 weeks Ed Sheeran’s ÷ (Divide) logged in the top 10 in 2017-18. Among all albums released since 2000, Dangerous has the fourth-most weeks in the top 10, trailing only Adele’s 21 (84 weeks), Swift’s 1989 (59) and Swift’s Fearless (58).

Dangerous continues to profit from streaming activity of its super-sized tracklist, as the effort was released in January of 2021 with 30 songs. Recent No. 1s, including Adele’s 30 and Gunna’s DS4Ever, had 12 and 18 songs, respectively, on their initially released streaming editions. (The latter’s track count was 19, including two versions of the same song, “Too Easy.”) The chart’s current No. 1, Encanto, has 44 tracks on its streaming album — however, most of those are score and instrumental tracks. The vast majority of the album’s weekly units are from the nine songs with vocals on the album, including the Billboard Hot 100 top 10s “We Don’t Talk About Bruno” and “Surface Pressure.”

Adele’s 30 falls 4-6 on the new Billboard 200 with 39,000 equivalent album units earned (down 10%), and Drake’s fellow former leader Certified Lover Boy climbs 8-7 with 35,000 units (up 2%). The Weeknd’s compilation The Highlights slips 7-8 with 34,000 units (down 1%).

Walker Hayes collects his first top 10 album on the Billboard 200, as Country Stuff: The Album, debuts at No. 9 with 33,000 equivalent album units earned. Of that sum, album sales comprise 16,000, SEA units comprise 14,000 (equaling 19.66 million on-demand official streams of songs on the album) and TEA units comprise 2,000.

The set, released via Monument Records, was led by the smash single “Fancy Like,” which has spent 24 weeks at No. 1 on the Hot Country Songs chart and climbed to No. 3 on the all-genre Billboard Hot 100.

Country Stuff is also the first top 10 album on the Billboard 200 for Monument since 2003, when The Chicks’ Home closed out a 26-week run in the top 10, including four nonconsecutive weeks at No. 1. (The Monument label was founded in 1958 and continued until 1987. It was revived from 1997 through 2010. Monument relaunched in 2017 with Hayes as one if its first signings.)

Doja Cat’s Planet Her closes out the new top 10 on the Billboard 200, holding at No. 10 with 32,000 equivalent album units earned (down 2%).

Source: billboard.com

Plus, “We Don’t Talk About Bruno” climbs to No. 2, and fellow ‘Encanto’ hit “Surface Pressure” reaches the top 10.

Adele‘s “Easy on Me” claims a 10th week at No. 1 on the Billboard Hot 100 songs chart. With her latest week at the summit, she equals her longest reign, previously established by the 10-week command of her 2015-16 smash “Hello.”

Meanwhile, “We Don’t Talk About Bruno,” from Encanto, pushes 4-2 on the Hot 100 as the week’s most-streamed and top-selling song. It becomes just the second song from a Disney animated film to have reached the chart’s top two positions.

Plus, fellow Encanto track “Surface Pressure” by Jessica Darrow hits the Hot 100’s top 10, jumping 14-10 and making the movie the first Disney animated film to have generated multiple top 10s on the chart.

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

“Easy on Me,” released on Columbia Records and which first led the Hot 100 in late October, drew 99 million radio airplay audience impressions (down 1%) and 14.3 million U.S. streams (down 5%) and sold 5,200 downloads (down 14%) in the Jan. 14-20 tracking week, according to MRC Data.

The ballad spends a ninth week at No. 1 on the Radio Songs chart; drops 5-7 on Digital Song Sales, following two weeks on top; and rebounds 16-9 on Streaming Songs, after five weeks at No. 1.

“Easy on Me” becomes the 41st single in the Hot 100’s 63-year history to spend 10 or more weeks at No. 1. It’s the first since BTS’ “Butter” logged 10 weeks on top in June-September 2021.

“Easy on Me” also matches Adele’s longest Hot 100 domination, after “Hello” reigned for 10 weeks in 2015-16. She is the seventh artist with at least two No. 1s that have each ruled for double-digit weeks, joining Boyz II Men, Drake (each with three such leaders), The Black Eyed Peas, Mariah Carey, Santana and Pharrell Williams (two each).

Plus, Adele ties for the ninth-most cumulative weeks spent at No. 1 on the Hot 100, as she has totaled 34 frames on top among her five leaders; before “Easy on Me” and “Hello,” she reigned with “Rolling in the Deep” (seven weeks, 2011), “Someone Like You” (five, 2011) and “Set Fire to the Rain” (two, 2012).

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

Also notably, Adele becomes the first artist with both two Hot 100 No. 1s and two Billboard 200 No. 1s that have led for 10 or more weeks each. While “Easy on Me” and “Hello” have topped the Hot 100 for 10 frames each, her LPs 21 and 25 commanded the Billboard 200 albums chart for 24 and 10 weeks, in 2011-12 and 2015-16, respectively. (“Easy on Me” parent album 30 has ruled the Billboard 200 for six weeks; it ranks at No. 4 on the latest, Jan. 29-dated list.)

“We Don’t Talk About Bruno,” by Carolina Gaitán, Mauro Castillo, Adassa, Rhenzy Feliz, Diane Guerrero, Stephanie Beatriz and the Encanto Cast, ascends 4-2 for a new Hot 100 high. It drew 32.4 million streams (up 12%) and sold 9,400 (up 17%), as it tops Streaming Songs for a third week and pushes 3-1 to take over atop Digital Song Sales.

“Bruno,” from the Encanto soundtrack, which returns for a second week at No. 1 on the Billboard 200 after becoming just the sixth animated film soundtrack to rule the ranking, now solely boasts the second-highest rank for a song from a Disney animated film, dating to the chart’s August 1958 start. It trails only Peabo Bryson and Regina Belle’s “A Whole New World,” from Aladdin, a No. 1 for one week in March 1993. (Be our guest: Check out the 25 greatest Hot 100 hits from Disney animated films.)

Notably, as “Bruno” dominates in streaming and sales, it drew a modest 457,000 in airplay audience among Radio Songs reporters, with over half its reach in the tracking week from adult pop KIOI San Francisco’s 34 plays (up from four the week before); the Walt Disney label is not actively promoting the song to radio.

Glass Animals’ “Heat Waves” holds at its No. 3 Hot 100 high, as it leads the Hot Rock & Alternative Songs and Hot Alternative Songs charts, both of which use the same multi-metric methodology as the Hot 100, for an 18th week each. As previously reported, it hits No. 1 on the Pop Airplay chart.

The Kid LAROI and Justin Bieber’s “Stay” slides 2-4 on the Hot 100, after seven weeks at No. 1 beginning in August 2021, and Kodak Black’s “Super Gremlin” rises 6-5 for a new best, as it tops the multi-metric Hot R&B/Hip-Hop Songs and Hot Rap Songs charts for a second week each.

Ed Sheeran’s “Shivers” dips 5-6 on the Hot 100, after hitting No. 4; Gunna and Future’s “Pushin P,” featuring Young Thug, repeats at No. 7 in its second week on the chart; and GAYLE’s “abcdefu” ascends 9-8 for a new best rank.

Elton John and Dua Lipa’s “Cold Heart (Pnau Remix)” rebounds 10-9 on the Hot 100, after reaching No. 7. John expands his span of top 10s to 52 years and a week, dating to his first week in the top 10 with “Your Song” (Jan. 23, 1971), the longest such stretch among all acts not involving holiday songs. Concurrently, “Cold Heart” tops the multi-metric Hot Dance/Electronic Songs chart for a 15th week.

Rounding out the Hot 100’s top 10, Encanto track “Surface Pressure” by Jessica Darrow darts 14-10. The song reaches the bracket with 22.5 million streams (up 2%) and 6,500 sold (down 6%). It holds at No. 4 on both Streaming Songs and Digital Song Sales.

Darrow, who voices Encanto character Luisa Madrigal, scores a Hot 100 top 10 in her first visit to the chart.

Meanwhile, thanks to “Bruno” and “Pressure” (both solo written by Lin-Manuel Miranda), Encanto becomes the first soundtrack from a Disney animated film to have yielded multiple Hot 100 top 10s. (The Lion King previously came closest to the achievement: Elton John’s “Can You Feel the Love Tonight” roared to No. 4 and follow-up “Circle of Life” reached No. 18 in 1994.)

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

Source: billboard.com

Plus: The Lumineers’ “Brightside” debuts in top 10.

The Encanto soundtrack returns to No. 1 on the Billboard 200 albums chart for a second nonconsecutive week on top, as the set steps 3-1 on the list dated Jan. 29. The companion set to the Disney animated film earned 104,000 equivalent album units in the U.S. in the week ending Jan. 20 (up 9%), according to MRC Data. Encanto was released on Nov. 19, 2021, via Walt Disney Records and first topped the chart dated Jan. 15, 2022.

Encanto is the first soundtrack with more than one week at No. 1 since Lady Gaga and Bradley Cooper’s A Star Is Born spent four nonconsecutive weeks in the lead in 2018-19. And, Encanto is Walt Disney Records’ first No. 1 album to spend more than a week atop the list since Frozen ruled for 13 nonconsecutive weeks in 2014. (In between Frozen and Encanto, Walt Disney Records topped the chart with the soundtracks to Descendants, in 2015, and Frozen II, in 2019, each for one week.)

Encanto continues to profit from the popularity of its hit songs, all written by Lin-Manuel Miranda, including “We Don’t Talk About Bruno,” “Surface Pressure” and “What Else Can I Do?” — all of which were in the top 40 of the most recently published Billboard Hot 100 songs chart (dated Jan. 22). As reported last week, “Bruno” rose 5-4 on the chart, marking the highest-charting song from a Disney animated film since 1995.

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 MRC Data. 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 29, 2022-dated chart (where Encanto returns to No. 1) will be posted in full on Billboard‘s website on Jan. 25. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Encanto’s 104,000 equivalent album units earned, SEA units comprise 84,000 (up 10%, equaling 125.33 million on-demand official streams of the set’s songs), album sales comprise 17,000 (up 4%) and TEA units comprise 3,000 (down less than 1%).

Gunna’s DS4Ever falls to No. 2 in its second week (96,000 equivalent album units earned, down 36%), while The Weeknd’s Dawn FM also slips a spot in its second frame (2-3), with 61,000 units (down 59%). A pair of former No. 1s are next on the chart, as Adele’s 30 is a non-mover at No. 4 with 43,000 units (down 10%) and Morgan Wallen’s Dangerous: The Double Album is also stationary at No. 5 with 41,000 units (down 5%).

The Lumineers’ Brightside debuts at No. 6 on the Billboard 200, scoring the act its fourth consecutive, and total, top 10 album — the entirety of its charting efforts. The act’s fourth full-length studio album launches with 37,000 equivalent album units earned. Of that sum, album sales comprise 26,000 (making it the top-selling album of the week), SEA units comprise 11,000 (equaling 14.33 million on-demand official streams of the set’s songs) and TEA units comprise a negligible sum. The Lumineers previously visited the top 10 with III (No. 2 in 2019), Cleopatra (No. 1, 2016) and their self-titled full-length debut (No. 2, 2013).

The Weeknd places a second album in the top 10 for a second straight week, as his best-of compilation The Highlights slips one spot to No. 7 (34,000 equivalent album units earned, down 6%).

Drake’s former leader Certified Lover Boy is steady at No. 8 with nearly 34,000 equivalent album units earned (down 3%), Olivia Rodrigo’s chart-topping Sour falls 7-9 with 33,000 units (down 8%) and Doja Cat’s Planet Her dips 9-10 with 32,000 units (down 4%).

MRC Data, the independent data provider to the Billboard charts, completes an exhaustive and thorough review of all data submissions used in compiling the weekly chart rankings. MRC Data reviews and authenticates data, removing any suspicious or unverifiable activity using established criteria before final chart calculations are made and published. In partnership with Billboard, data deemed suspicious and unverifiable is disqualified prior to the final calculation.

Source: billboard.com

“Easy on Me” adds a ninth week at No. 1, while “Pushin P” and “abcdefu” ascend to the top tier.

Adele‘s “Easy on Me” notches a ninth week at No. 1 on the Billboard Hot 100 songs chart.

Meanwhile, “We Don’t Talk About Bruno,” from Encanto, rises 5-4 on the Hot 100, becoming the highest charting song from a Disney animated film in over 26 years.

Plus, two songs reach the Hot 100’s top 10: Gunna and Future‘s “Pushin P,” featuring Young Thug, a debut at No. 7 and from Gunna’s new LP DS4Ever, which launches at No. 1 on the Billboard 200, and GAYLE‘s breakthrough hit “abcdefu,” up 11-9.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Jan. 22) will update on Billboard.com Wednesday (Jan. 19, a day later than usual due to the Martin Luther King Jr. Day holiday in the U.S. Jan. 17). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“Easy on Me,” released on Columbia Records and which first led the Hot 100 in late October, drew 101.2 million radio airplay audience impressions (up 2%) and 15.1 million U.S. streams (down 4%) and sold 6,000 downloads (down 24%) in the Jan. 7-13 tracking week, according to MRC Data.

The ballad spends an eighth week at No. 1 on the Radio Songs chart and drops 4-5 on Digital Song Sales, following two weeks on top, and 5-16 on Streaming Songs, after five weeks at No. 1.

Notably, the song is the first to surpass 100 million in radio reach in over a year-and-a-half, since The Weeknd’s “Blinding Lights” drew 115 million as reflected on the Radio Songs chart dated May 23, 2020 (on its way to a record 26-week Radio Songs command, and its status atop the Greatest of All Time Hot 100 Songs chart).

Among individual formats, “Easy on Me” continues atop Adult Pop Airplay (nine weeks at No. 1), Pop Airplay (seven) and Adult Contemporary (six). It also returns to its No. 6 best on Adult R&B Airplay and holds at No. 10 on Dance/Mix Show Airplay (sparked by remix rotation).

Further, “Easy on Me” moves to within a week of Adele’s longest Hot 100 domination: “Hello” reigned for 10 weeks in 2015-16.

The Kid LAROI and Justin Bieber’s “Stay” holds at No. 2 on the Hot 100, after seven weeks at No. 1 beginning in August, and Glass Animals’ “Heat Waves” keeps at its No. 3 high, as it leads the Hot Rock & Alternative Songs and Hot Alternative Songs charts, both of which use the same multi-metric methodology as the Hot 100, for a 17th week each.

“We Don’t Talk About Bruno,” by Carolina Gaitán, Mauro Castillo, Adassa, Rhenzy Feliz, Diane Guerrero, Stephanie Beatriz and the Encanto Cast, ascends 5-4 for a new Hot 100 highpoint. It drew 29 million streams (up 15%) and tops Streaming Songs for a second week and sold 8,000 (up 10%) and pushes 6-3 on Digital Song Sales.

“Bruno,” from the Encanto soundtrack, which ranks at No. 3 on the Billboard 200 a week after becoming just the sixth animated film soundtrack ever to top the ranking, is now tied for the second-highest rank for a song from a Disney animated film, dating to the list’s August 1958 start. It trails only Peabo Bryson and Regina Belle’s “A Whole New World,” from Aladdin (No. 1, one week, March 1993), and matches the No. 4 highs for Elton John’s “Can You Feel the Love Tonight,” from The Lion King (August 1994), and Vanessa Williams’ “Colors of the Wind,” from Pocahontas (August 1995). One other song from a Disney animated film has hit the top five: Idina Menzel’s “Let It Go,” from Frozen (No. 5, April 2014).

Closing out the Hot 100’s top five, Ed Sheeran’s “Shivers” dips to No. 5 from its No. 4 high.

Kodak Black’s “Super Gremlin” surges 10-6 for a new Hot 100 best. It concurrently takes over atop the multi-metric Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, becoming his second No. 1 on each survey, after “ZEZE,” featuring Travis Scott and Offset, led each list for a week in October 2018.

Gunna and Future’s “Pushin P,” featuring Young Thug, bounds onto the Hot 100 at No. 7, powered by its No. 2 start on Streaming Songs (22.5 million streams). The track is from Gunna’s album DS4Ever, which soars in as his second Billboard 200 No. 1.

Gunna earns his third Hot 100 top 10, and first to debut in the region, following “Drip Too Hard,” with Lil Baby (No. 4 peak, October 2018), and “Lemonade,” with Internet Money and featuring Don Toliver and NAV (No. 6, November 2020).

Future and Young Thug add their fifth and sixth Hot 100 top 10s, respectively; it’s their second shared top 10, after Drake’s “Way 2 Sexy,” on which they’re both featured, roared in atop the Sept. 18, 2021, chart.

Doja Cat’s “Need to Know” rises 9-8 on the Hot 100, returning to its high first reached in November.

GAYLE’s “abcdefu” climbs 11-9 on the Hot 100, marking her first top 10 in her first visit to the chart. The song drew 25.4 million in radio airplay audience (up 22%) and 16.5 million U.S. streams (up 2%) and sold 10,200 in the tracking week.

The single becomes GAYLE’s first leader on Digital Song Sales (2-1); ranks at No. 9 on Streaming Songs, after reaching No. 4 a week earlier; and jumps 39-28 on Radio Songs.

The track by the Dallas-born, Nashville-based singer-songwriter has grown thanks to multiple versions, including “angrier,” “chill” and “nicer” (i.e., no expletives) mixes; a demo; a remix with Royal & the Serpent; and its “The Wild Mix.” The song has also been featured in over 2 million clips on TikTok.

Rounding out the Hot 100’s top 10, Elton John and Dua Lipa’s “Cold Heart (Pnau Remix)” ranks at No. 10, a week after it entered the tier at No. 7 (marking John’s 28th top 10; his first top 10 in nearly 24 years; and his latest update of his own writing to chart in the top 10 twice). The track tops the multi-metric Hot Dance/Electronic Songs chart for a 14th week.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Jan. 22), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Jan. 19).

Source: billboard.com

Plus: The Weeknd’s ‘Dawn FM’ arrives at No. 2.

Gunna scores his second No. 1 on the Billboard 200 albums chart as DS4Ever debuts atop the tally (dated Jan. 22). The rapper previously led the list with his last release, Wunna, which bowed at No. 1 on the June 6, 2020-dated chart. In total, DS4Ever is his fifth charting album and fourth top 10.

The star-studded, 19-track DS4Ever album was released on Jan. 7 and boasts collaborations with and/or featured turns from 21 Savage, Chris Brown, Future, Lil Baby, Roddy Ricch and Young Thug, among others. The album and its release date were announced on Jan. 1, after months of speculation.

DS4Ever launches with 150,300 equivalent album units earned in the U.S. in the week ending Jan. 13, according to MRC Data, nearly all from streaming activity. The launch marks his best week yet in terms of units earned. His previous largest week, by units, was the opening frame of Drip Harder, a joint album with Lil Baby, and its 130,000 units in 2018.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). 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 22, 2022-dated chart (where DS4Ever bows No. 1) will be posted in full on Billboard‘s website on Jan. 19 – one day later than usual, owed to the Martin Luther King Jr. Day holiday on Jan. 17 in the U.S. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of DS4Ever’s 150,300 equivalent album units earned, SEA units comprise 144,600 (equaling 193.5 million on-demand official streams of the set’s songs in its first week, making it the most-streamed album of the week), album sales comprise 4,700 and TEA units comprise 1,000.

DS4Ever dropped on Jan. 7 as a 19-track standard album via streaming services and digital retail. On Jan. 11, a deluxe edition with four bonus tracks was briefly released to streamers and digital retail, but was pulled down that same day. A 20-track edition of the album, which added “P Power” featuring Drake, was released late in the day on Jan. 13, the final day of the tracking week.

DS4Ever sold for as low as $7.99 in the iTunes Store during its first week, while Gunna’s official webstore sold the digital album for $4.

A CD edition of DS4Ever will not become widely available until late February or early March. However, a standard edition of the album garnered a limited release during street week, including its availability at Rough Trade in New York in conjunction with Gunna’s in-store appearance at the location on Jan. 13.

DS4Ever is the fourth release in Gunna’s Drip Season mixtape series. The first to chart from the series was Drip Season 3, which debuted and peaked at No. 55 in 2018. Gunna then followed it up with Drip Harder, a collaborative album with Lil Baby, which hit No. 4 later that year. In 2019, he released Drip or Drown 2, which peaked at No. 3.

The Weeknd’s album Dawn FM arrives at No. 2 on the Billboard 200, securing the superstar his eighth top 10 album – the entirety of his charting releases. The 16-track Dawn FM was released on Jan. 7 and includes featured guest turns from Tyler, the Creator and Lil Wayne, and guest appearances by Quincy Jones and Jim Carrey.

Dawn FM tunes in with 148,000 equivalent album units earned in the U.S. in the week ending Jan. 13, according to MRC Data. Of that sum, SEA units comprise 131,300 (equaling 173.04 million on-demand official streams of the set’s songs), album sales comprise 14,800 and TEA units comprise 1,900.

Dawn FM is the follow-up to The Weeknd’s No. 1 2020 release After Hours, which launched a trio of No. 1 singles on the Billboard Hot 100 chart: “Heartless,” “Blinding Lights” and “Save Your Tears” (with Ariana Grande).

Dawn FM was led by the single “Take My Breath,” which debuted and peaked at No. 6 on the Hot 100 dated Aug. 21, 2021.

The album’s title and its release date were formally announced on Jan. 3 by The Weeknd after months of build-up. The set was initially teased in mid-2021, and the artist even noted on the May 23 Billboard Music Awards that “the After Hours are done and the dawn is coming.”

Dawn FM was only available via streamers and digital download during its release week. Its CD edition is slated to be released on Jan. 28, while its vinyl LP and cassette editions are scheduled to bow on April 29.

Dawn FM garnered a 19-track deluxe edition release in the midst of its first week, as on Jan. 12 an expanded version of the album, dubbed Dawn FM (Alternate World), hit streaming services and digital retailers. The deluxe set included three new tracks: the previously released stand-alone single “Moth to a Flame,” with Swedish House Mafia, and a pair of remixes (for the album’s lead single “Take My Breath” and the new cut “Sacrifice”).

On Jan. 13, the final day of the tracking week, The Weeknd released three “collector’s” digital album variants for the standard 16-track Dawn FM album via his webstore (each with alternative cover art, priced at $3.49), as well as a “digitally signed” Dawn FM (Alternate World) digital album (priced at $5). In addition, The Weeknd’s webstore sold the standard digital version of Dawn FM for as low as $3.49 during release week, while the iTunes Store sold the standard edition for $7.99.

At No. 3 on the new Billboard 200, the Encanto film soundtrack is pushed down from No. 1 to No. 3 – though with a 32% gain in equivalent album units earned, as the album continues to grow in popularity. The set tallied 95,700 units for the week – its highest single-week sum.

Adele’s former leader 30 falls 2-4 with 48,300 equivalent album units earned (down 15%) and Morgan Wallen’s chart-topping Dangerous: The Double Album dips 3-5 with 42,800 units (up 2%).

The Weeknd’s hits compilation The Highlights climbs 8-6 with 36,300 equivalent album units (up 8%), Olivia Rodrigo’s former No. 1 Sour falls 4-7 with 35,600 units (down 14%), Drake’s chart-topping Certified Lover Boy slips 6-8 with 35,100 units (down 4%) and Doja Cat’s Planet Her dips 7-9 with 33,600 units (down 2%). Rounding out the top 10 is Taylor Swift’s former leader Red (Taylor’s Version) descends 5-10 with 33,200 units (down 12%).

Source: billboard.com

It’s the first soundtrack to hit No. 1 since Disney’s own “Frozen II” in 2019.

The soundtrack to the Walt Disney animated musical film Encanto surges to No. 1 on the Billboard 200 albums chart (dated Jan. 15), as the set jumps 7-1 in its sixth week on the list. It’s the first soundtrack to hit No. 1 in more than two years — since Disney’s own Frozen II chilled atop the list for one week, on the chart dated Dec. 14, 2019.

Encanto earned 72,000 equivalent album units in the U.S. in the week ending Jan. 6 (up 76%), according to MRC Data. Streaming activity of the set’s songs drove the majority of that unit sum.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). 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 15, 2022-dated chart (where Encanto hits No. 1) will be posted in full on Billboard‘s website on Jan. 11. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Encanto’s 72,000 equivalent album units earned in the U.S. in the week ending Jan. 6, SEA units comprise 58,000 (up 91%; equaling 87.69 million on-demand official streams of the set’s tracks), album sales comprise 11,000 (up 33%) and TEA units comprise 3,000 (up 33%). The album’s two most popular songs of the week, by SEA units, are “We Don’t Talk About Bruno” and “Surface Pressure.” “Bruno” and “Surface” both debuted on the Billboard Hot 100 chart dated Jan. 8 and should jump up the list dated Jan. 15.

The Encanto soundtrack, with songs written by Lin-Manuel Miranda, was released on Nov. 19, before the film arrived in U.S. theaters on Nov. 24. The movie was released via the Disney+ streaming service a month later — which is likely helping the album’s exposure and promotion in the last two tracking weeks. A week ago, the album leaped 110-7 after its premiere on Disney+.

Sixth Animated Film Soundtrack to Hit No. 1: Encanto is just the sixth animated film soundtrack to hit No. 1 since the Billboard 200 began regularly publishing on a weekly basis in 1956. Encanto follows Frozen II (one week at No. 1, 2019), Frozen (13 weeks, 2014), Jack Johnson’s Curious George (one, 2006), Pocahontas (one, 1995), The Lion King (10, 1994-95). (All but Curious George were Disney films.)

Over Two Years Between No. 1 Soundtracks: It’s been two years and one month since a soundtrack was No. 1 on the Billboard 200 (since Frozen II led for one week on the Dec. 14, 2019, chart). That’s the longest the chart had gone without a soundtrack at No. 1 since the two year and six-month gap between Bad Boys II’s fourth and final week at No. 1 (Aug. 23, 2003) and Johnson’s Curious George soundtrack’s one week atop (Feb. 25, 2006).

A Rare No. 1 Album That Did Not Debut at No. 1: Notably, Encanto is a somewhat rare example of a No. 1 album on the Billboard 200 that did not debut at No. 1. Encanto debuted at No. 197 on the chart dated Dec. 11, 2020, then moved 162-179-110-7-1. Most of the albums that reach No. 1 on the chart do so by debuting at No. 1. The last album to climb to No. 1, before Encanto, was The Kid LAROI’s F*ck Love, on the Aug. 7, 2021 chart. It reached No. 1 in its 53rd week — following multiple deluxe reissues that added additional songs. (F*ck Love debuted at No. 8 on the Aug. 8, 2020-dated chart.)

Reflecting a trend for soundtracks, which can build as buzz for their parent films, Encanto is the first album to debut outside the top 10 to go No. 1 since Frozen II bowed at No. 15 on the Nov. 30, 2019, chart, and hit No. 1 in its third week (Dec. 14, 2019). The last album to debut outside the top 40 and go to No. 1 was the soundtrack to The Greatest Showman, which launched at No. 71 on the Dec. 30, 2017, chart, and reached No. 1 in its fourth week (Jan. 13, 2018).

Stunningly, as Encanto debuted at No. 197, it’s only the third album to debut between Nos. 197-200 to reach No. 1. Led Zeppelin’s Led Zeppelin II debuted at No. 199 on Nov. 8, 1969, and reached No. 1 in its eighth week (Dec. 27, 1969). Before that, The Monkees’ Headquarters bowed at No. 197 on June 10, 1967, and reached No. 1 in its third week (June 24, 1967).

Adele’s chart-topping 30 album falls to No. 2 after spending its first six weeks on the Billboard 200 at No. 1. It earned 57,000 equivalent album units in the week ending Jan. 6 (down 43%).

Morgan Wallen’s former No. 1 Dangerous: The Double Album celebrates a full year on the chart, as it rises 5-3 with 42,000 (down 4%) in its 52nd week on the chart. It debuted at No. 1 on the Jan. 23, 2021-dated list and spent 10 weeks atop the tally. It recently closed 2021 as MRC Data’s most popular album of the year.

Many albums this time of year, like Dangerous, make positional moves up the Billboard 200 despite declines in activity (or very small gains), as the chart readjusts to normal following weeks of the chart being filled with older Christmas albums. On the new chart, there isn’t a single Christmas album on the tally – while in the previous week, there were 37 on the tally, including five in the top 10.

Dangerous: The Double Album has now accumulated 51 nonconsecutive weeks in the top 10 on the Billboard 200 — the most of any country album by a male artist. It surpasses the 50 weeks that Garth Brooks’ Ropin the Wind collected in 1991-92. Among all country sets, Taylor Swift’s Fearless has the most weeks in the top 10, with 58, followed by Shania Twain’s Come On Over (53), and then Dangerous.

Among all genres, Dangerous is just the seventh album released since 2000 to spend 50 weeks in the top 10. Among all albums released since January of 2000, only Adele’s 21 (84 weeks), Swift’s 1989 (59), Swift’s Fearless (58), Ed Sheeran’s ÷ (Divide) (53), Lady Gaga’s The Fame (51), Post Malone’s Hollywood’s Bleeding (50) and Dangerous have logged at least 50 weeks in the top 10.

A trio of former No. 1’s are next up on the Billboard 200, as Olivia Rodrigo’s Sour is a non-mover at No. 4 (41,000 equivalent album units earned; down 10%), Swift’s Red (Taylor’s Version) falls 3-5 (38,000; down 19%) and Drake’s Certified Lover Boy rises 11-6 (37,000; up 2%).

Doja Cat’s Planet Her bumps 15-7 with 34,000 equivalent album units (up 5%).

The Weeknd’s hits compilation The Highlights rises 13-8 with 34,000 units (up less than 1%). The Weeknd should make a splashy debut on the Jan. 22-dated Billboard 200 with his surprise new studio album, Dawn FM, which was released with little warning on Jan. 7. The set was released via streaming services and as a digital download album for purchase. Its CD edition is due out on Jan. 28, while its cassette and vinyl LP editions are scheduled for release on April 29. If Dawn FM bows at No. 1, it would mark The Weeknd’s fifth chart-topping effort, and eighth top 10 overall. (All of his charting entries have debuted in the top four of the list.)

Source: billboard.com

Carey’s carol reigns for an eighth total week, reflecting the Dec. 24-30 tracking frame.

Even with the latest data tracking week encompassing five days after Christmas (Dec. 24-30), Mariah Carey‘s “All I Want For Christmas Is You” holds at No. 1 on the Billboard Hot 100 songs chart.

The song, released in 1994, logs its eighth total week atop the Hot 100, after notching three weeks at No. 1 beginning in December 2019, two more starting in December 2020 and now three this holiday season, beginning two weeks ago.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Jan. 8) will update on Billboard.com tomorrow (Jan. 5). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

Here’s a deeper look as Carey’s “Christmas” continues atop the Hot 100 (even after Santa has returned to the North Pole).

Streams, airplay & sales: Carey’s “Christmas,” on Columbia Records/Legacy Recordings, drew 35.4 million U.S. streams (down 25%) and 16.5 million radio airplay audience impressions (down 49%) and sold 4,900 downloads (down 39%) in the Dec. 24-30 tracking week, according to MRC Data.

The carol claims a 15th total week at No. 1 on the Streaming Songs chart (the third-best sum in the list’s history) and drops 6-11 on Digital Song Sales and 13-40 on Radio Songs.

Unsurprisingly, holiday songs logged the bulk of their activity over the first two days of the Dec. 24-30 tracking week, with totals plunging the following five days. Still, that robust activity in those two days was enough to result in six seasonal songs in the Hot 100’s top 10, as well as 18 in the Streaming Songs chart’s top 19 positions.

“Christmas” was first released on Carey’s album Merry Christmas in 1994 and its success on the Hot 100 has snowballed in recent years as streaming has grown and holiday music has become more prominent on streaming services’ seasonal playlists.

Longest span atop the Hot 100: Carey’s “Christmas” extends its mark for the longest span from a song’s first week at No. 1 on the Hot 100 to its latest: two years and 18 days (Dec. 21, 2019-Jan. 8, 2022).

Plus, the latest week atop the Hot 100 for “Christmas” extends Carey’s record for the longest span of an artist ranking at No. 1 on the chart: 31 years, five months and a week, dating to her first week at No. 1 on the chart dated Aug. 4, 1990, with her debut single “Vision of Love.”

Carey’s record 87th week atop Hot 100: With “Christmas,” Carey claims her record-extending 87th week at No. 1 on the Hot 100, dating to the chart’s Aug. 4, 1958, inception.

Most Weeks at No. 1 on Hot 100
87, Mariah Carey
60, Rihanna
59, The Beatles
52, Drake
50, Boyz II Men

“Christmas” became Carey’s 19th Hot 100 No. 1, the most among soloists and one away from The Beatles’ overall record 20. It also made Carey the only artist that has ranked at No. 1 on the chart in four distinct decades.

Fifth for eight: Carey claims her fifth Hot 100 No. 1 to rule for eight weeks or more, tying her with Drake for the most such leaders. She matches the mark thanks to “One Sweet Day,” with Boyz II Men (16 weeks, 1995-96); “We Belong Together” (14, 2005); “Christmas” (eight, 2019-22); “Fantasy” (eight, 1995); and “Dreamlover” (eight, 1993).

Beyoncé and Boyz II Men follow with three such No. 1s each.

Most weeks at No. 1 for a holiday hit: Plus, with its eighth week atop the Hot 100, Carey’s “Christmas” extends its record for the most time at No. 1 among holiday songs. It has doubled the reign of the only other seasonal single to lead the list: “The Chipmunk Song” by David Seville & the Chipmunks spent four weeks on top beginning in December 1958.

Carey’s “Christmas” also leads the multi-metric Holiday 100 chart for a 51st week, of the survey’s 56 total weeks since the ranking began in 2011; it has topped the tally for 36 consecutive weeks, dating to the start of the 2015-16 holiday season. It also dominates as the top title on the recently-revealed Greatest of All Time Holiday 100 Songs retrospective. (This week marks the final Holiday 100 chart this season.)

Adele’s “Easy on Me” rebounds 5-2 on the Hot 100, after seven nonconsecutive weeks at No. 1. It spends a sixth week atop Radio Songs, with 94 million in reach (up 7%, helped by many stations returning to non-holiday programming after Dec. 25) and rises 4-3 on Digital Song Sales (9,100, up 5%) and 25-22 on Streaming Songs (15.2 million, down 10%).

Three holiday hits round out the Hot 100’s top five, all down a notch from their peak positions: Brenda Lee’s “Rockin’ Around the Christmas Tree,” originally released in 1958 (2-3, with 34.8 million streams, down 27%, and 12.6 million in radio audience, down 45%); Bobby Helms’ “Jingle Bell Rock,” from 1957 (3-4); and Burl Ives’ “A Holly Jolly Christmas,” from 1964 (4-5).

The Kid LAROI and Justin Bieber’s “Stay” reverses course on the Hot 100, climbing 9-6, after seven weeks at No. 1.

Glass Animals’ “Heat Waves” returns to the Hot 100’s top 10, and its best rank (15-7). It rules the Hot Rock & Alternative Songs and Hot Alternative Songs charts, both of which use the same multi-metric methodology as the Hot 100, for a 15th week each.

Andy Williams’ 1963 classic “It’s the Most Wonderful Time of the Year” retreats 6-8 on the Hot 100; it hit a No. 5 high last holiday season. (With the song’s latest week in the top 10, Williams’ record for the longest span of appearing in the tier is extended to 62 years and three months, dating to his first week in the top 10 with “Lonely Street,” on the chart dated Oct. 12, 1959.)

Closing out the Hot 100’s top 10, Ed Sheeran’s No. 5-peaking “Shivers” returns to the region (23-9) and José Feliciano’s “Feliz Navidad,” from 1970, descends 8-10; it reached No. 6 last holiday season.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Jan. 8), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Jan. 5).

Source: billboard.com

Plus: The classic holiday compilation ‘A Christmas Gift for You From Phil Spector’ reaches the top 10 for the first time.

Adele’s 30 holds court atop the Billboard 200 albums chart for a sixth consecutive, and total, week at No. 1 (chart dated Jan. 8, 2022). The effort earned 99,000 equivalent album units (down 53%) in the U.S. in the week of Dec. 24-30, according to MRC Data.

30 is the second album released in 2021 to spend at least six weeks at No. 1 in total on the Billboard 200, following Morgan Wallen’s Dangerous: The Double Album (with 10 weeks atop the tally).

Also in the new top 10, a pair of albums hit the region for the first time: the new Encanto film soundtrack bounds 110-7, while the classic holiday compilation A Christmas Gift for You From Phil Spector jumps 11-10.

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. 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 8, 2022-dated chart (where 30 spends a sixth week at No. 1) will be posted in full on Billboard‘s website on Jan. 5 (one day later than usual, owed to the holiday week). For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of 30’s 99,000 equivalent album units earned in the U.S. in the week ending Dec. 30, album sales comprise 71,500 (down 60%), SEA units comprise 26,000 (down 13%; equaling 35.45 million on-demand streams of the set’s tracks) and TEA units comprise 1,500 units (up less than 1%).

30 debuted at No. 1 on the chart dated Dec. 4 with 839,000 units earned. It then saw its second through sixth weeks tally 288,000; 193,000; 183,000; 212,000 and 99,000 units, respectively.

30 logs the biggest sixth week for any album since Roddy Ricch’s Please Excuse Me for Being Antisocial logged 110,000 units in its sixth frame on the Jan. 25, 2020-dated tally.

Michael Bublé’s former No. 1 Christmas holds at No. 2 with 53,000 equivalent album units earned (down 31%). The set also spends its 100th nonconsecutive week on the chart, Bublé’s third album to reach that threshold, following 2007’s Call Me Irresponsible (113 weeks) and 2005’s It’s Time (143).

Three more former No. 1s round out the top five, as Taylor Swift’s Red (Taylor’s Version) is a non-mover at No. 3 with 47,000 units (down 39%), Olivia Rodrigo’s Sour rises 5-4 with 46,000 units (down 25%) and Morgan Wallen’s Dangerous: The Double album returns to the top 10 after a one-week dip outside the region. It climbs 12-5 with 43,000 units (down 10%).

Dangerous spent its first 49 weeks on the chart in the top 10, after debuting at No. 1 on the list dated Jan. 23, 2021. It fell out of the top 10 in its 50th chart week, when it dropped 6-12 on the Jan. 1, 2022-dated list. With its climb back to the top 10, Dangerous now has a total of 50 weeks in the top 10. It’s one of only four country albums with at least 50 weeks in the region in the 65-year history of the chart. Among country sets, Taylor Swift’s Fearless has the most weeks in the top 10, with 58, followed by Shania Twain’s Come On Over (53), Dangerous and Garth Brooks’ Ropin’ the Wind (the latter two each with 50). (Country albums are defined as those that have hit Billboard’s Top Country Albums chart).

Among all genres, Dangerous is just the seventh album released since 2000 to spend 50 weeks in the top 10. Among all albums released since 2000, only Adele’s 21 (84 weeks), Swift’s 1989 (59), Swift’s Fearless (58), Ed Sheeran’s ÷ (Divide) (53), Lady Gaga’s The Fame (51), Post Malone’s Hollywood’s Bleeding (50) and Dangerous have logged at least 50 weeks in the top 10.

Nat King Cole’s The Christmas Song climbs 8-6, matching its peak first achieved on the Jan. 2, 2021-dated chart. The set earned 42,000 equivalent album units in the latest tracking week (down 23%).

The soundtrack to the Walt Disney animated film Encanto vaults 110-7 for its first week in the top 10. The set earned 41,000 equivalent album units (up 220%) in its fifth week on the chart. The soundtrack album, with songs written by Lin-Manuel Miranda, was released on Nov. 19, before the film arrived in U.S. theaters on Nov. 24. The movie was released via the Disney+ streaming service a month later (Dec. 24, the first day of the chart’s latest tracking week). Encanto is the most recently released soundtrack to reach the top 10 since Frozen II jumped 15-3 on the Dec. 7, 2019 chart, on its way to No. 1 a week later.

Vince Guaraldi Trio’s soundtrack to the animated TV special A Charlie Brown Christmas dips 6-8 with 41,000 equivalent album units earned (down 33%), and Mariah Carey’s Merry Christmas falls 7-9 with 39,000 units (down 30%).

The classic holiday compilation A Christmas Gift for You From Phil Spector, released in 1963, reaches the top 10 for the first time, as it steps 11-10. The set earned 39,000 equivalent album units in the week ending Dec. 30 (down 21%). The album, produced by Spector, includes familiar favorites heard during the holiday season – and featured prominently in playlists on streaming services – such as The Ronettes’ “Sleigh Ride” and Darlene Love’s “Christmas (Baby Please Come Home.”

Source: billboard.com

Carey’s carol reigns for a seventh total week, while The Ronettes rank in the top 10 for the first time since “Be My Baby” in 1963, ending a record 58-year, two-month break from the bracket.

Mariah Carey‘s “All I Want for Christmas Is You” holds at No. 1 on the Billboard Hot 100 songs chart. The carol, released in 1994, adds its seventh total week on top, after notching three weeks at No. 1 beginning in December 2019 and two more starting in December 2020, before it returned to the summit a week ago.

Notably, with this week’s Hot 100 dated Jan. 1, 2022, Carey’s “Christmas” is the first song to lead Hot 100 charts dated in four distinct years (2019, 2020, 2021 and 2022). (It was already the only song to reign in as many as three years.)

The song leads eight Yuletide favorites in the Hot 100’s top 10, including one in the tier for the first time: The Ronettes‘ “Sleigh Ride,” up from No. 13 to No. 10. The track was originally released in 1963, just after the group posted its lone top 10: its classic “Be My Baby,” which hit No. 2. The act’s return to the top 10 is record-breaking, as it ranks in the region after a break of 58 years and two months.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Jan. 1) will update on Billboard.com Wednesday (Dec. 29). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

Here’s a deeper look as Carey’s “Christmas” repeats at the Hot 100’s (north) pole position.

Streams, airplay & sales: Carey’s “Christmas,” on Columbia Records/Legacy Recordings, drew 47.5 million U.S. streams (up 26%) and 32 million radio airplay audience impressions (up 25%, good for top Airplay Gainer honors on the Hot 100) and sold 8,100 downloads (up 9%) in the Dec. 17-23 tracking week, according to MRC Data.

The song claims a 14th total week at No. 1 on the Streaming Songs chart and rises 7-6 on Digital Song Sales and 23-13 on Radio Songs. It also leads the multi-metric Holiday 100 chart for a 50th week, of the chart’s 55 total weeks since the list launched in 2011; it has topped the tally for 35 consecutive weeks, dating to the start of the 2015-16 holiday season, and dominates as the top title on the recently-revealed Greatest of All Time Holiday 100 Songs chart.

The song was first released on Carey’s album Merry Christmas in 1994 and has increased its Hot 100 fortunes in recent years as streaming has grown and holiday music has become more prominent on streaming services’ seasonal playlists.

No. 1 in its 50th week on Hot 100: As it spends its 50th week on the Hot 100, Carey’s “Christmas” is the first song to lead in as late as its 50th frame on the survey. A week earlier, when it reigned in its 49th week, it passed Los Del Rio’s “Macarena (Bayside Boys Mix),” which led through its 46th week on the chart in November 1996. (The latter also logged multiple runs on the Hot 100, first running up 20 weeks in September 1995-January 1996 before it resurged and returned in May 1996 and lasted on the list through February 1997.)

Longest span atop the Hot 100: Carey’s “Christmas” extends its mark for the longest span from a song’s first week at No. 1 on the Hot 100 to its latest: two years and 11 days (Dec. 21, 2019-Jan. 1, 2022).

Plus, the latest week atop the Hot 100 for “Christmas” extends Carey’s record for the longest span of an artist ranking at No. 1 on the chart: 31 years and five months, dating to her first week at No. 1 on the chart dated Aug. 4, 1990, with her debut single “Vision of Love.”

When “Christmas” first hit No. 1 on the Hot 100 dated Dec. 21, 2019, Carey passed Cher, whose solo No. 1s span 27 years and five months, from “Gypsys, Tramps & Thieves,” from its first week at No. 1 in 1971, through “Believe,” through its last week on top in 1999. (If Cher’s career as half of duo Sonny & Cher were combined with her solo output, her No. 1 span would cover 33 years, seven months and two weeks, from Sonny & Cher’s “I Got You Babe,” which reached the top in 1965, through “Believe.”)

Happy new year: Carey has now placed at No. 1 on the Hot 100 in a record-extending 18 distinct years (per Hot 100 chart dates): 1990-2000, 2005-06, 2008 and, thanks to “Christmas,” 2019-22.

Next up are three acts that have each spent time atop the Hot 100 in 10 individual years: Paul McCartney/Wings (1971, 1973-76, 1978, 1980, 1982-84; additionally, The Beatles, with him as a member, led in eight years: 1964-70); Michael Jackson (1972, 1979-80, 1983-84, 1987-88, 1991-92, 1995); and Madonna (1984-87, 1989-92, 1995, 2000).

Carey’s record 86th week atop Hot 100: With “Christmas,” Carey claims her record-extending 86th week at No. 1 on the Hot 100, dating to the chart’s Aug. 4, 1958, inception.

Most Weeks at No. 1 on Hot 100
86, Mariah Carey
60, Rihanna
59, The Beatles
52, Drake
50, Boyz II Men

“Christmas” became Carey’s 19th Hot 100 No. 1, the most among soloists and one away from The Beatles’ overall record 20. It also made Carey the only artist that has ranked at No. 1 on the chart in four distinct decades.

5 x 7: “Christmas” is Carey’s fifth Hot 100 No. 1 to rule for seven weeks or more, tying her with Drake for the most such leaders. Adele, Beyoncé, Boyz II Men and Rihanna follow with three each.

Most weeks at No. 1 for a holiday hit: Plus, with its seventh week atop the Hot 100, Carey’s “Christmas” extends its record for the most time at No. 1 among holiday songs. The only other seasonal single to reign, “The Chipmunk Song,” by David Seville & the Chipmunks, spent four weeks on top beginning in December 1958.

Carey’s “Christmas” paces an all-holiday top four on the Hot 100, with all titles at their peak positions. Brenda Lee’s “Rockin’ Around the Christmas Tree,” originally released in 1958, keeps at No. 2 (47.5 million streams, up 33%, as it wins the Hot 100’s top Streaming Gainer award); the late Bobby Helms’ “Jingle Bell Rock,” from 1957, rises 4-3; and the late Burl Ives’ “A Holly Jolly Christmas,” from 1964, pushes 5-4. The tracks rank at Nos. 1, 2, 4 and 3, respectively, on Streaming Songs. (They also line up at the same positions on the Hot 100 that they held both a year ago and two years ago this week.)

Adele’s “Easy on Me” dips 3-5 on the Hot 100, after seven nonconsecutive weeks at No. 1. The ballad spends a fifth week atop Radio Songs, with 86 million in reach (up 2%).

The late Andy Williams’ “It’s the Most Wonderful Time of the Year” rises 7-6 on the Hot 100. Originally released in 1963, it hit a No. 5 high last holiday season. With the song’s latest week in the top 10, Williams’ record for the longest span of appearing in the tier is extended to 62 years, two months and three weeks, dating to his first week in the top 10 with “Lonely Street,” on the chart dated Oct. 12, 1959.

Wham!’s “Last Christmas” jingles 9-7 for a new Hot 100 high (adding the chart’s top Sales Gainer nod for its 21% increase to 4,100 sold). A year ago this week, the song, released in 1984, hit the top 10 for the first time, becoming the seventh top 10 for the duo of George Michael (who died Dec. 25, 2016) and Andrew Ridgeley. The pair charted its first six top 10s, including three No. 1s, in 1984-86; Michael subsequently notched 14 solo top 10s, including seven No. 1s, through 1996.

José Feliciano’s 1970 holiday chestnut “Feliz Navidiad” returns to the Hot 100’s top 10, dashing 11-8. It hit a No. 6 high last holiday season, two weeks after becoming his second top 10.

The Kid LAROI and Justin Bieber’s “Stay” slips 6-9 on the Hot 100, after seven weeks at No. 1.

Rounding out the Hot 100’s top 10, The Ronettes’ “Sleigh Ride” gallops from its prior No. 13 best to No. 10, with 27.1 million streams (up 27%), 17.1 million in airplay audience (up 10%) and 1,000 sold (up 9%).

The song, released in late 1963, is The Ronettes’ second Hot 100 top 10, and first in 58 years and two months, since “Be My Baby” hit a No. 2 high for three weeks in October 1963. The act (whose original three members reportedly did not record together after the ’60s) rewrites the record for the longest gap between top 10s, previously held by Ives, who went 56 years, seven months and two weeks from “Funny Way of Laughin’ ” in 1962 to “Holly Jolly Christmas,” which hit the top 10 for the first time during the 2018-19 holiday season.

In between top 10s, and despite the original lineup’s dissolution, The Ronettes maintained a notable pop culture presence, particularly via “Be My Baby.” The song was interpolated, spotlighting lead singer Ronnie Spector’s “oh-oh-oh-oh … be my little baby” signature lines, in Eddie Money’s “Take Me Home Tonight,” which hit No. 4 on the Hot 100 in November 1986. The next year, “Be My Baby” received prominent placement in the blockbuster film Dirty Dancing, and on its soundtrack which topped the Billboard 200 for 18 weeks in 1987-88.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Jan. 1), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Dec. 29).

Source: billboard.com