Plus: Thomas Rhett’s “Country Again (Side A)” debuts in the top 10.

DJ Khaled nets his third No. 1 album on the Billboard 200 chart as Khaled Khaled debuts atop the list.

The 14-track album was released on April 30 via We the Best/Epic Records and features a galaxy of guest stars, ranging from Drake and Jay-Z to Justin Timberlake and Justin Bieber. Khaled Khaled starts with 93,000 equivalent album units earned in the U.S. in the week ending May 6, according to MRC Data.Khaled Khaled follows DJ Khaled’s previous leaders, Grateful (in 2017) and Major Key (2016), both of which also boasted a bevy of A-list collaborators.

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 May 15-dated chart (where Khaled Khaled debuts at No. 1) will be posted in full on Billboard‘s website on May 11. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Khaled Khaled’s 93,000 equivalent album units earned in the tracking week ending May 6, SEA units comprise 76,000 (equaling 106.87 million on-demand streams of the album’s tracks), album sales comprise 14,000 and TEA units comprise 3,000. Khaled Khaled was preceded by a pair of top 10-charting songs on the Billboard Hot 100 chart, both featuring Drake: “Popstar” and “Greece,” which reached Nos. 3 and 8, respectively, on the Aug. 1, 2020-dated chart.

The next five albums on the Billboard 200 are all former No. 1s. Moneybagg Yo’s A Gangsta’s Pain slips 1-2 in its second week (70,000 equivalent album units earned; down 37%), Morgan Wallen’s Dangerous: The Double Album is a non-mover at No. 3 (53,000; down 2%), Justin Bieber’s Justice rises 5-4 (42,000; down 12%), the Slime Language 2 project led by Young Thug falls 2-5 (40,000; down 34%) and Rod Wave’s SoulFly is steady at No. 6 (a little more than 35,000; down 11%).

Dua Lipa’s Future Nostalgia rises 8-7 for its 12th straight week in the top 10, earning nearly 35,000 units (down less than 1%). The album debuted at No. 4 on the April 11, 2020-dated chart, then spent two more weeks in the top 10 (April 18-25) before falling out of the region until the Feb. 27, 2021-dated chart, when it began its current top 10 streak.

Future Nostalgia is the only album by a woman in the top 10 this week. It’s just the second time in 2021 where the top 10 has held just one album by a woman. On the Feb. 20-dated list, Ariana Grande’s Positions was the only set by a leading lady in the top 10. (The last time the top 10 did not have an album credited to a woman was the Nov. 7, 2020 chart. It’s worth noting that week’s top 10 did feature the multi-artist original Broadway cast recording of Hamilton: An American Musical, which boasted a number of female performers.)

Pop Smoke’s former No. 1 Shoot for the Stars Aim for the Moon rises 10-8 on the new Billboard 200 with 32,000 equivalent album units earned (down 2%). The Weeknd’s previous leader After Hours dips 7-9 with nearly 32,000 units (down 18%).

Thomas Rhett rounds out the new top 10 with the No. 10 debut of his latest studio album Country Again (Side A). Of that sum, SEA units comprise 15,000 (equaling 19.34 million on-demand streams of the album’s tracks), album sales comprise 14,000 and TEA units comprise 1,000. The album was led by the single “What’s Your Country Song?” which marked his 16th No. 1 on the Country Airplay chart (dated March 27) and his second leader on the Hot Country Songs chart.

Country Again (Side A) is the fifth top 10 album for Rhett, all consecutive, from his debut full-length project It Goes Like This in 2013 (which peaked at No. 6).

The 11-track Country Again (Side A) project is the first of a two-part project from Rhett, with Country Again (Side B) set to arrive later this year.

Source: billboard.com

The song leads following the release of its remix with Grande.

The Weeknd and Ariana Grande‘s “Save Your Tears” bounds from No. 6 to No. 1 for its first week atop the Billboard Hot 100 songs chart. The track, originally released solely by The Weeknd on his 2020 album After Hours, reigns following the first week of tracking for its remix with Grande.

The song marks the sixth Hot 100 No. 1 each for The Weeknd and Grande (the latter of whom is credited on the track on the chart for the first time, as the new version drew the majority of the title’s overall activity in the tracking week).

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated May 8) will update on Billboard.com tomorrow (May 4). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“Save Your Tears,” released on XO/Republic Records, is the 1,123rd No. 1 in the Hot 100’s 62-year history.

Streams, sales & airplay: Following the April 23 release of its remix with Grande, “Save Your Tears,” all versions combined, drew 30.4 million U.S. streams (up 111%) and sold 18,000 downloads (up 265%) in the week ending April 29, according to MRC Data, as it wins the Hot 100’s top Streaming and Sales Gainer awards. It also attracted 67.3 million radio airplay audience impressions (up 5%) in the week ending May 2.

The track blasts 19-1 on the Digital Song Sales chart and 17-2 on Streaming Songs and holds at No. 2 on Radio Songs. Grande adds her eighth Digital Song Sales No. 1 and The Weeknd scores his sixth.

The Weeknd’s sixth Hot 100 No. 1: Here’s a recap of The Weeknd’s six Hot 100 No. 1s.

“Can’t Feel My Face,” three weeks at No. 1, beginning Aug. 22, 2015
“The Hills,” six weeks, Oct. 3, 2015
“Starboy,” feat. Daft Punk, one week, Jan. 7, 2017
“Heartless,” one week, Dec. 14, 2019
“Blinding Lights,” four weeks, April 4, 2020
“Save Your Tears,” with Ariana Grande, one week (to-date), May 8, 2021

Albums with three No. 1s: With “Heartless,” “Blinding Lights” and “Save Your Tears” all originally released on The Weeknd’s album After Hours, the set is the first to spin off three Hot 100 No. 1s since Drake’s Scorpion, which yielded the leaders “God’s Plan,” “Nice for What” and “In My Feelings” in 2018.

Released in March 2020, After Hours is the first album released in the ’20s to generate a trio of Hot 100 leaders. Six albums released in the ’10s each produced at least three, including Scorpion. Katy Perry’s Teenage Dream, from 2010, became the first, reeling off a record-tying five in 2010-11: “California Gurls,” featuring Snoop Dogg; the title track; “Firework”; “E.T.,” featuring Kanye West; and “Last Friday Night (T.G.I.F.)”

The other sets released in the ’10s with three Hot 100 No. 1s each: Rihanna’s Loud (“What’s My Name?,” featuring Drake, “Only Girl (In the World)” and “S&M,” featuring Britney Spears, 2010-11); Adele’s 21 (“Rolling in the Deep,” “Someone Like You” and “Set Fire to the Rain,” 2011-12); Taylor Swift’s 1989 (“Shake It Off,” “Blank Space” and “Bad Blood,” featuring Kendrick Lamar, 2014-15); and Justin Bieber’s Purpose (“What Do You Mean?,” “Sorry” and “Love Yourself,” 2015-16).

Of the seven albums above, After Hours is the fourth with three or more Hot 100 No. 1s thanks to a remix of a single adding another artist, joining Teenage Dream (“E.T.”), Loud (“S&M”) and 1989 (“Bad Blood”). 21, Purpose and Scorpion each generated three No. 1s credited only to Adele, Bieber and Drake, respectively.

Albums with three No. 1s … in 3 distinct years: Much rarer, After Hours‘ three Hot 100 No. 1s have led in three distinct years: “Heartless” in 2019, “Blinding Lights” in 2020 and now “Save Your Tears” in 2021.

Only one other album has achieved the honor: Janet Jackson’s Rhythm Nation 1814. When “Love Will Never Do (Without You),” the seventh single from Jackson’s 1989 set, hit No. 1 on the Hot 100 dated Jan. 19, 1991, Paul Grein noted its historic nature in that issue’s Chart Beat column: “It makes Rhythm Nation the first album to spawn No. 1 hits in three calendar years. ‘Miss You Much’ topped the chart in 1989 (and) ‘Escapade’ and ‘Black Cat’ scored in 1990.”

Most No. 1s by Canadians: As The Weeknd adds his sixth Hot 100 No. 1, he moves closer to the record for the most among Canadians, whose leaderboard has been overhauled in recent years.

Here is an updated rundown of Canadian artists with the most Hot 100 No. 1s:

8, Drake
7, Justin Bieber
6, The Weeknd
4, Bryan Adams
4, Celine Dion
3, Nelly Furtado
2, Paul Anka

Drake, from Toronto, achieved his first Hot 100 No. 1 in 2010, while Bieber (London, Ontario) and The Weeknd (Toronto), whom Drake, of course, helped introduce, each led for the first time in 2015.

Ariana Grande’s sixth Hot 100 No. 1: Like The Weeknd, Grande notches her sixth Hot 100 leader. Here’s a recap.

“Thank U Next,” seven weeks at No. 1, beginning Nov. 17, 2018
“7 Rings,” eight weeks, Feb. 2, 2019
“Stuck With U,” with Justin Bieber, one week, May 23, 2020
“Rain on Me,” with Lady Gaga, one week, June 6, 2020
“Positions,” one week, Nov. 7, 2020
“Save Your Tears,” with The Weeknd, one week (to-date), May 8, 2021

(Notably, “Save Your Tears” is Grande’s first Hot 100 No. 1 that didn’t debut in the top spot. She is the only artist with as many as five No. 1 debuts on the chart, as well as the only act whose first five leaders entered at the summit, a streak that, thus, ends this week.)

Just duet: Grande’s latest Hot 100 leader makes her own history, as she becomes the first woman with three No. 1 duets (counting songs by two soloists, both in lead roles, not known for regularly recording together). “Save Your Tears,” with The Weeknd, follows “Rain on Me,” with Lady Gaga, and “Stuck With U,” with Justin Bieber.

Overall, Grande joins the elite company of a Beatle, as only one other act has led the Hot 100 with three co-billed duets with other soloists: Paul McCartney, with “Uncle Albert/Admiral Halsey,” with Linda McCartney (1971); “Ebony and Ivory,” with Stevie Wonder (1982); and “Say Say Say,” with Michael Jackson (1983-84).

Plus, with Grande’s three No. 1 duets reigning within a year’s span (May 23, 2020-May 8, 2021), she rewrites the mark for the fastest accumulation of three such leaders.

Max-imum exposure: Max Martin co-wrote and co-produced “Save Your Tears” and the Swedish pop titan earns his 24th Hot 100 No. 1 as a writer and 22nd as a producer. Only McCartney (32) and John Lennon (26) have written more Hot 100 No. 1s, while Martin moves to within one of George Martin (23) for the most among producers.

Before “Tears,” Max Martin last topped the Hot 100 as a writer and producer via The Weeknd’s “Blinding Lights.” He first led in both roles thanks to Britney Spears’ “…Baby One More Time” on the chart dated Jan. 30, 1999.

20 weeks to No. 1: “Save Your Tears” tops the Hot 100 in its 20th total week on the chart. It wraps the longest ascent to the summit since Harry Styles’ “Watermelon Sugar” also hit No. 1 in its 20th frame last August.

“Tears” debuted at No. 41 on the Hot 100 dated April 4, 2020, the week that parent album After Hours opened at No. 1 on the Billboard 200. After a second week on the Hot 100 the following week, it didn’t return until the list dated Jan. 9, 2021; its original version’s official video premiered Jan. 5.

“Save” “your” “tears”: Saving one more angle for last, “Save Your Tears” is the fourth Hot 100 No. 1 with the word “save” in its title, after The Drifters’ “Save the Last Dance for Me” (1960), Jackson 5’s “The Love You Save” (1970) and Vanessa Williams’ “Save the Best for Last” (1992).

Three other No. 1s also include “tears” in their titles: ? (Question Mark) & the Mysterians’ “96 Tears” (1966), Smokey Robinson & the Miracles’ “The Tears of a Clown” (1970) and Barbra Streisand and Donna Summer’s “No More Tears (Enough Is Enough)” (1979). (Honorary “shout”-out to Tears for Fears, who notched two No. 1s in 1985: “Everybody Wants to Rule the World” and “Shout.” Meanwhile, Grande has a new highest-charting hit with “tears” in its title: her “No More Tears Left to Cry” reached No. 3 in 2018.)

As for Hot 100 No. 1s with “your” in their titles, “Save Your Tears” is the hefty 30th (counting two with “yourself”). The Platters’ “Smoke Gets in Your Eyes” became the first in 1959, while last month Lil Nas X led with “Montero (Call Me by Your Name).”

“Leave the Door Open” by Silk Sonic, the duo of Bruno Mars and Anderson .Paak, holds at No. 2 on the Hot 100, three weeks after reaching No. 1. It logs a third week at No. 1 on Radio Songs (77 million, up 8%), while leading Hot R&B Songs for a sixth week and Hot R&B/Hip-Hop Songs for a second frame; both charts use the same methodology as the Hot 100.

Justin Bieber’s “Peaches,” featuring Daniel Caesar and Giveon, keeps at No. 3 on the Hot 100, five weeks after it debuted at No. 1. The song claims the Hot 100’s top Airplay Gainer nod for a fifth consecutive week (up 21% to 61.5 million).

Polo G’s “Rapstar” drops to No. 4 on the Hot 100 after arriving and spending its first two weeks on the chart at No. 1. It rules Streaming Songs (34.5 million, down 14%) and the multi-metric Hot Rap Songs ranking for a third week each.

Dua Lipa’s “Levitating,” featuring DaBaby, holds at its No. 5 Hot 100 high; Doja Cat’s “Kiss Me More,” featuring SZA, reaches a new best rank, rising 8-6; and Lil Nas X’s “Montero” slides 4-7, four weeks after it launched at No. 1.

Rounding out the Hot 100’s top 10, Masked Wolf’s “Astronaut in the Ocean” slips to No. 8 from its No. 7 best; Cardi B’s “Up” repeats at No. 9, five weeks after reaching No. 1; and Olivia Rodrigo’s former eight-week No. 1 “Drivers License” idles at No. 10.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated May 8), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (May 4).

Source: billboard.com

Plus: Eric Church’s “Soul” debuts in top five.

After notching four earlier top 10 albums on the Billboard 200 chart, rapper Moneybagg Yo earns his first No. 1 as his latest effort, A Gangsta’s Pain, debuts atop the tally.

The 22-track set was released on April 23 via CMG/N-Less/Interscope and earned 110,000 equivalent album units in the U.S. in the week ending April 29, according to MRC Data. Nearly all of that total is powered by streaming activity.

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 May 8, 2021-dated chart (where A Gangsta’s Pain debuts at No. 1) will be posted in full on Billboard‘s website on May 4. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of A Gangsta’s Pain’s 110,000 equivalent album units earned in the tracking week ending April 29, SEA units comprise 106,000 (equaling 147.4 million on-demand streams of the album’s tracks), album sales comprise 4,000 and TEA units comprise less than 1,000. The set was previewed by the top 20-charting Hot Rap Songs hits “Time Today” and “Hard for the Next,” the latter with Future.

Moneybagg Yo first hit the Billboard 200 in 2017 with Heartless, which peaked at No. 177. He’s been prolific on the chart since, as A Gangsta’s Pain is his 11th charting effort, and ninth album to reach the top 25. Pain is his fifth top 10 album overall, and fourth consecutive top 10, following Code Red (No. 6 in 2020, with Blac Youngsta), Time Served (No. 3, 2020) and 43VA Heartless (No. 4, 2019). He got his first top 10 with 2017’s Federal 3X (No. 5).

The Slime Language 2 compilation from Young Thug and his Young Stoner Life Records family of artists falls from No. 1 to No. 2 in its second week with 62,000 equivalent album units earned (down 46%). Morgan Wallen’s former No. 1 Dangerous: The Double Album is a non-mover at No. 3 with 54,000 units (down 3%).

Eric Church’s Soul debuts at No. 4 with 53,000 equivalent album units earned. Of that sum, album sales comprise 42,000 (making it the top-selling album of the week), SEA units comprise 10,000 (equaling 13.3 million on-demand streams of the album’s tracks) and TEA units comprise 1,000. Soul follows Church’s top 10 debut with Heart a week ago (at No. 5), making Church the first act with back-to-back top 10 debuts in successive weeks since 2017, when Future debuted at No. 1 on the March 11, 2017-dated chart with his self-titled album and followed it a week later with another No. 1 debut, HNDRXX (March 18).

Heart was released on April 16 as the first of three new albums from Church, collectively referred to as Heart & Soul. The & album was released on April 20 exclusive to members of Church’s Church Choir fan club, while the Soul album was released on April 23. (The & album debuts at No. 83 on the new Billboard 200 with 11,000 units — all from album sales. Heart falls 5-68 with 12,000 units — down 76%.)

Three former No. 1s are next on the Billboard 200. Justin Bieber’s Justice falls 4-5 with 47,000 equivalent album units (down 12%), while Rod Wave’s SoulFly is steady at No. 6 with 40,000 units (down 13%).

The Weeknd’s After Hours re-enters at No. 7 with 39,000 units (up 711%). Meanwhile, his best-of compilation The Highlights falls 8-22 with 20,000 units (down 49%). The two albums share a pair of songs, “Blinding Lights” and “Save Your Tears.” On the latest chart, the TEA and SEA units for both songs contribute to After Hours, as a song’s activity is assigned to the artist’s album with the most sales in a week. (After Hours sold 1,500 copies in the latest tracking week, while The Highlights sold 1,000.) A week ago, the TEA and SEA for both songs was directed to The Highlights (which in that frame outsold After Hours). In turn, with the songs’ activity reverting back to After Hours, the album rises re-enters at No. 7.

Rounding out the new top 10 are Dua Lipa’s Future Nostalgia, rising 9-8 with 35,000 equivalent album units earned (down 1%), Taylor Swift’s former No. 1 Fearless (Taylor’s Version), dropping 2-9 with 33,000 units (down 42%), and Pop Smoke’s former leader Shoot for the Stars Aim for the Moon, a non-mover at No. 10 with nearly 33,000 units (down 3%).

Source: billboard.com

“Levitating” revisits its No. 5 high, sparked by TikTok momentum.

Polo G‘s “Rapstar” spends a second week at No. 1 on the Billboard Hot 100 songs chart, a week after it debuted at the top spot.

Plus, Dua Lipa‘s “Levitating,” featuring DaBaby, returns to its No. 5 Hot 100 high (rising from No. 6), first reached two months earlier, thanks in part to momentum for its profile on TikTok.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated May 1) will update on Billboard.com tomorrow (April 27). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“Rapstar,” released on Columbia Records, drew 40.3 million U.S. streams (down 25%) and sold 2,400 downloads (down 55%) in the week ending April 22, according to MRC Data. It also attracted 3 million radio airplay audience impressions (up 254%) in the week ending April 25.

The track adds a second week atop the Streaming Songs chart, as it becomes the second song in 2021 to tally at least 40 million streams in multiple frames, after it started with 53.6 million a week earlier. Olivia Rodrigo’s “Drivers License” debuted with 76.1 million streams in its first week (as reflected on charts dated Jan. 23) and followed with 59.7 million (Jan. 30) and 42.6 million (Feb. 6).

Meanwhile, “Rapstar” is the 22nd title to debut at No. 1 on the Hot 100 and log a second consecutive week on top, among 52 total No. 1 arrivals (a second-week success rate of 42%). It’s the second among five such songs this year, after “Drivers License” spent its first eight weeks at No. 1 (encompassing its entire reign).

“Rapstar” concurrently claims a second week at No. 1 on the multi-metric Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which use the same methodology as the Hot 100.

Silk Sonic’s “Leave the Door Open” rebounds 3-2 on the Hot 100, two weeks after reaching No. 1. It adds a second week at No. 1 on Radio Songs (71.3 million, up 9%), as it tops the multi-metric Hot R&B Songs chart for a fifth frame.

Justin Bieber’s “Peaches,” featuring Daniel Caesar and Giveon, rises 4-3 on the Hot 100, four weeks after it debuted at No. 1. The song posts its first week in the Radio Songs top 10, charging 12-5 (51 million, up 23%). It becomes Bieber’s 18th Radio Songs top 10, breaking him out of a 10-way tie for the fifth-most in the chart’s 30-year history, after Rihanna (29), Drake (24), Mariah Carey (23) and Lil Wayne (20). Caesar and Giveon each earn their first Radio Songs top 10.

“Peaches” wins the Hot 100’s top Airplay Gainer award for a fourth consecutive week (marking Bieber’s longest such streak in a lead role since “Love Yourself” achieved the honor for four straight weeks in January-February 2016).

Lil Nas X’s “Montero (Call Me by Your Name)” dips 2-4 on the Hot 100, three weeks after it launched at No. 1.

Dua Lipa’s “Levitating,” featuring DaBaby, returns to its No. 5 Hot 100 high, first reached two months ago, on the charts dated Feb. 6 and 13. It has ranked in the top 10 each week except for one frame since, returning to the tier (13-7) on the chart dated March 27 after Lipa and DaBaby performed it during the Grammy Awards March 14 as part of a medley with Lipa’s “Don’t Start Now” (which reached No. 2 in March 2020). Further sustaining it, it has soundtracked numerous TikTok clips since mid-April.

“Levitating” ascends 9-6 on Streaming Songs (20.7 million, up 13%), a new best rank, and 13-6 on Digital Song Sales (9,600, up 34%, aided by 69-cent sale-pricing in the iTunes Store between April 20 and 22) and holds at No. 14 on Radio Songs (37.3 million, up 7%), where it reached No. 6 in January.

(Plus, “We’re Good,” Lipa’s follow-up single to “Levitating,” hits the Hot 100’s top 40 for the first time, pushing 45-38, up 4% to 23.3 million in airplay audience and 12% to 7.7 million streams.)

The Weeknd’s “Save Your Tears” backtracks 5-6 on the Hot 100, after reaching No. 4. Its remix with Ariana Grande was released Friday, April 23, and streaming and sales increases for the song overall in the tracking week ending April 29 will be reflected on next week’s Hot 100 (dated May 8).

Rounding out the Hot 100’s top 10, Masked Wolf’s first entry on the chart, “Astronaut in the Ocean,” jumps 10-7 for a new high; Doja Cat’s “Kiss Me More,” featuring SZA, drops to No. 8 a week after it debuted at No. 7; Cardi B’s “Up” descends 8-9, four weeks after reaching No. 1; and Olivia Rodrigo’s former eight-week No. 1 “Drivers License” shifts 9-10 in reverse.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated May 1), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (April 27).

Source: billboard.com

Plus: Eric Church and Greta Van Fleet bow in the top 10.

The star-studded Slime Language 2 project from Young Thug’s Young Stoner Life Records debuts at No. 1 on the Billboard 200 albums chart, earning 113,000 equivalent album units in the U.S. in the week ending April 22, according to MRC Data. The vast majority of that sum was driven by streaming activity.

Slime Language 2 was released on April 16 via Young Stoner Life/300. It’s the third No. 1 for the Young Stoner Life label, following Gunna’s Wunna in 2020 and label chief Young Thug’s So Much Fun in 2019.

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 May 1, 2021-dated chart (where Slime Language 2 debuts at No. 1) will be posted in full on Billboard‘s website on April 27. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.ARTISTS MENTIONED

Of Slime Language 2’s 113,000 equivalent album units earned in the tracking week ending April 22, SEA units comprise 106,000 (equaling 142.68 million on-demand streams of the album’s tracks), album sales comprise 6,000 and TEA units comprise 1,000.

The 23-track Slime Language 2 project showcases Young Stoner Life’s family of artists such as Gunna, Yak Gotti, Lil Duke, T-Shyne and Lil Keed, as well as acts from outside the Young Stoner Life camp, including Drake, Lil Uzi Vert, Big Sean, NAV and Future. Young Thug himself performs on more than half of the album (13 of the 23 tracks), and, in turn, the set is billed on the chart to Young Thug & Various Artists. Slime Language 2 marks Young Thug’s second No. 1 album, following So Much Fun.

Slime Language 2 is the second R&B/hip-hop album released in 2021 to lead the Billboard 200, following Rod Wave’s SoulFly (April 10-dated chart).

Taylor Swift’s Fearless (Taylor’s Version) falls 1-2 in its second week on the Billboard 200 with 57,000 equivalent album units earned (down 80%). The album debuted with 2021’s biggest week yet, 291,000 units earned.

Morgan Wallen’s former No. 1 Dangerous: The Double Album rises one spot to No. 3 with 56,000 equivalent album units earned (down 4%), and Justin Bieber’s previous leader Justice dips 3-4 in its fifth week with 54,000 units (down 10%).

Eric Church’s Heart debuts at No. 5 with 49,000 equivalent album units earned, marking his sixth top 10 (and sixth top five). Of Heart’s starting sum, 40,000 comprise album sales (making it the top-selling album of the week), 8,000 comprise SEA units (equaling 10.54 million on-demand streams of the album’s songs) and 1,000 comprise TEA units.Heart was released on April 16 and is one of three new albums from Church, collectively referred to as Heart & Soul. The & album is available only to members of the artist’s Church Choir fan club, and Soul was released on April 23.

With Fearless (Taylor’s Version), Dangerous: The Double Album and Heart at Nos. 2, 3 and 5, it’s the first time three country albums are in the top five together in over five years. It last happened on the Nov. 28, 2015-dated chart, when Chris Stapleton’s Traveller was at No. 1, followed by Church’s Mr. Misunderstood at No. 2 and Tim McGraw’s Damn Country Music at No. 5. That week, the chart was still basking in the glow of that year’s Country Music Association Awards (held on Nov. 4), where Stapleton and Church both performed. (Country albums are defined as those that have charted on Billboard’s Top Country Albums chart.)

Rod Wave’s former No. 1 SoulFly falls 5-6 on the new Billboard 200 with 46,000 equivalent album units earned (down 16%).

Rock band Greta Van Fleet scores its second Billboard 200 top 10, as The Battle at Garden’s Gate debuts at No. 7 with 44,000 equivalent album units earned. Of Battle’s starting sum, 39,000 comprise album sales, 5,000 comprise SEA units (equaling 6.28 million on-demand streams of the album’s songs) and less than 1,000 comprise TEA units.

The new album was preceded by the single “My Way, Soon,” which marked the group’s fifth No. 1 on the Mainstream Rock Airplay chart (dated Jan. 30). A second track, “Heat Above,” climbed 15-14 (a new peak) on the most recently published chart (dated April 24).

The Weeknd’s The Highlights falls 7-8 on the Billboard 200 with 40,000 equivalent album units earned (down 2%), Dua Lipa’s Future Nostalgia rises 10-9 with 35,000 units (up 6%) and Pop Smoke’s former leader Shoot for the Stars Aim for the Moon dips 9-10 with 34,000 units (down 5%).

Source: billboard.com

Billboard’s two worldwide tallies rank songs based on streaming and sales data from more than 200 territories.

Lil Nas X and Justin Bieber again boast the biggest songs in the world, as the former’s “Montero (Call Me by Your Name)” spends a second week at No. 1 on the Billboard Global 200 and the latter’s “Peaches,” featuring Daniel Caesar and Giveon, tallies a fourth week atop the Billboard Global Excl. U.S. chart.

Plus, Polo G’s “Rapstar” debuts at No. 3 on the Global 200; Doja Cat’s “Kiss Me More,” featuring SZA, starts at No. 7; and Giveon’s “Heartbreak Anniversary” hits the top 10 with an 11-10 lift.

Also on the Global Excl. U.S. chart, Los Legendarios, Wisin and Jhay Cortez climb to the top 10 (15-8) with “Fiel.”

Billboard‘s two global charts (the latest of which are dated April 24) began last September and rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by MRC Data. The Billboard Global 200 is inclusive of worldwide data and the Billboard Global Excl. U.S. chart comprises data from territories excluding the U.S.

Chart rankings are based on a weighted formula incorporating official-only streams on both subscription and ad-supported tiers of audio and video music services, as well as download sales, the latter of which reflect purchases from full-service digital music retailers from around the world, with sales from direct-to-consumer (D2C) sites excluded from the charts’ calculations.

‘Montero’ Holds Atop Global 200

Lil Nas X’s “Montero (Call Me by Your Name)” logs a second week at No. 1 on the Billboard Global 200, with 107.1 million streams (down 2%) and 25,500 sold (up 27%) worldwide in the April 9-15 tracking week. The sums mark the week’s top streaming and sales totals.

Justin Bieber’s “Peaches,” featuring Daniel Caesar and Giveon, keeps at No. 2 on the Global 200, following its two-week reign.

Polo G’s “Rapstar” bounds onto the Global 200 at No. 3 with 77.7 million streams and 6,300 sold globally in its first week. As previously reported, the track from the Chicago native launches as his first No. 1 on the U.S.-based Billboard Hot 100.

“Leave the Door Open” by Silk Sonic, the duo of Bruno Mars and Anderson .Paak, dips 3-4 on the Global 200, after reaching No. 2, and Masked Wolf’s “Astronaut in the Ocean” slips 4-5, after hitting No. 3.

Two other songs, by American acts, make their first appearances in the Global 200’s top 10. Doja Cat’s “Kiss Me More,” featuring SZA, arrives on the chart at No. 7 (49.7 million streams; 9,900 sold worldwide) and Giveon’s “Heartbreak Anniversary” ascends 11-10 (49.1 million streams; 2,800 sold). Thanks to “Peaches” and his new top 10, Giveon becomes the sixth act this year with concurrent top 10s in at least one week, joining Bieber, Drake, Ariana Grande, Olivia Rodrigo and The Weeknd.

‘Peaches’ No. 1 Again Outside U.S.

Justin Bieber’s “Peaches,” featuring Daniel Caesar and Giveon, adds a fourth week at No. 1 on the Billboard Global Excl. U.S. chart, encompassing its entire run on the ranking so far, with 67.2 million streams and 7,600 sold (up 2% in each metric) in territories outside the U.S. in the April 9-15 tracking week.

Lil Nas X’s “Montero (Call Me by Your Name)” keeps at its No. 2 high on the Global Excl. U.S. survey; Masked Wolf’s “Astronaut in the Ocean” rises 4-3, after reaching No. 2; Silk Sonic’s “Leave the Door Open” lifts 5-4 for a new high; and The Weeknd’s “Save Your Tears” pushes 6-5, after hitting No. 2.

Further in the Global Excl. U.S. chart’s top 10, Los Legendarios, Wisin and Jhay Cortez, all from Puerto Rico, surge 15-8 with the all-Spanish-language “Fiel,” which drew 33.5 million streams (up 11%) outside the U.S. in the tracking week. The collaboration also reaches the top 10, jumping 12-7, on the U.S-based Hot Latin Songs chart.

The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated April 24) will update on Billboard.com tomorrow (April 20). For both charts, the top 100 titles are available to all readers on Billboard.com, while the complete 200-title rankings are visible on Billboard Pro, Billboard‘s subscription-based service. For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

Source: billboard.com

Plus: She’s the first woman with three new No. 1 albums in less than a year.

More than 12 years after Taylor Swift notched her first No. 1 album on the Billboard 200 chart in 2008 with her second studio set Fearless, she’s back atop the list with a re-recorded version of the album, titled Fearless (Taylor’s Version). The new set is her ninth No. 1 and scores the biggest week of 2021 for any album. It launches with 291,000 equivalent album units earned in the U.S. in the week ending April 15, according to MRC Data.

The original Fearless album debuted at No. 1 on the Billboard 200 chart dated Nov. 29, 2008, and spent 11 nonconsecutive weeks atop the chart.

On Feb. 11, 2021, Swift announced she had re-recorded the 2008 album Fearless as Fearless (Taylor’s Version). The new 26-track album has re-recordings of all 13 songs on Fearless, along with the six bonus songs added to a 2009 reissue of Fearless (dubbed the Platinum Edition) and the 2010 single “Today Was a Fairytale.” Beyond those 20 re-recordings, Fearless (Taylor’s Version) also boasts six newly recorded “from the vault” songs that were written for the original Fearless album, but were never recorded and released until now.ARTIST MENTIONED

Fearless (Taylor’s Version) is the only No. 1 album of its kind: a re-recording of an artist’s (own or another’s) previously released album.

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 April 24, 2021-dated chart (where Fearless [Taylor’s Version] debuts at No. 1) will be posted in full on Billboard‘s website on April 20. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Fearless (Taylor’s Version)’s 291,000 equivalent album units earned in the tracking week ending April 15, album sales comprise 179,000 (making it the top-selling album of the week), SEA units comprise 109,000 units (equaling 142.98 million on-demand streams of the album’s tracks) and TEA units comprise 3,000.

Re-recordings of older songs or albums are treated separately from their originals, with independent chart histories for each version. Thus, Fearless (Taylor’s Version) charts separately from the original album. The 2008 Fearless album falls off the new chart, after having re-entered a week earlier at No. 157 (chart dated April 17). In the latest tracking week, the 2008 Fearless album earned 6,200 equivalent album units (down 19%). Of that 6,200 sum, SEA units comprise 5,700 (down 21%, equaling 7.71 million on-demand streams of its tracks), album sales comprise 400 (up 15%) and TEA units comprise 100 (down 8%).

Let’s take a look at some of notable feats Swift achieves with the debut of Fearless (Taylor’s Version):

Ninth No. 1 Album: As Fearless (Taylor’s Version) marks Swift’s ninth Billboard 200 No. 1, she ties Madonna for the second-most No. 1 albums among women. Swift is closing in on Barbra Streisand’s all-time record among women of 11 No. 1 albums. Among all artists, The Beatles have the most No. 1s, with 19. Among all soloists, Jay-Z leads with 14.

Biggest Week of 2021 by Units Earned: With 291,000 equivalent album units earned, Fearless (Taylor’s Version) scores the largest week for any album in 2021. It jumps past the previous high-water mark, set when Morgan Wallen’s Dangerous: The Double Album bowed at No. 1 with 265,000 units (chart dated Jan. 23).

The Three Largest Weeks for an Album in the Last Eight Months All Belong to Swift: Since August of 2020, Swift has not only claimed three No. 1s, but also the three biggest weeks among albums in units earned. On the Aug. 8, 2020-dated chart, Folklore debuted at No. 1 with 846,000 units. Evermore arrived at No. 1 on the Dec. 26, 2020, chart with 329,000 units. And now Fearless (Taylor’s Version) starts with 291,000 units.

Biggest Week for a Country Album Since 2015: As Fearless (Taylor’s Version) bows with 291,000 units, it logs the largest week for a country album since 2015. The last country set to post a bigger frame was Luke Bryan’s Kill the Lights, which debuted at No. 1 with 345,000 units (Aug. 29, 2015-dated chart). (Country albums are defined as those that have charted on Billboard’s Top Country Albums chart. Both the original Fearless album and the new Fearless [Taylor’s Version] are charting on Top Country Albums.)

Fearless (Taylor’s Version) has the biggest week for a country album by a female artist since the Billboard 200 chart transitioned from an album-sales only ranking to an equivalent album units-based chart on the Dec. 13, 2014, survey.

Strong Sales: With 179,000 copies sold in its first week, Fearless (Taylor’s Version) logs the largest sales week for an album released in 2021, surpassing the opening week of Wallen’s Dangerous (74,000). Fearless (Taylor’s Version) also has the biggest sales week for any album since Swift’s last release, Evermore, sold 102,000 in its second week (Jan. 2-dated chart).

Largest Streaming Week for a Country Album by a Woman: Fearless (Taylor’s Version) bows with 109,000 SEA units — totaling 142.98 million on-demand streams of the album’s tracks. That hefty sum marks the biggest streaming week for a country album by a woman.  It surpasses the previous record of 44.67 million streams tallied by songs on the Brenda Lee collection Rockin’ Around the Christmas Tree: The Decca Christmas Recordings (Jan. 2, 2021, chart). The album was powered by Lee’s evergreen holiday track “Rockin’ Around the Christmas Tree.”

Swift also scores the biggest debut streaming week for a country album by a woman, blowing past Maren Morris’ former high-water mark of 23.96 million streams earned by Girl on the March 23, 2019-dated chart. (Morris had a hand in helping Swift to her record — she’s featured on the Fearless [Taylor’s Version] song “You All Over Me [Taylor’s Version] [From the Vault].)

The biggest streaming week registered by any country album remains Wallen’s Dangerous, with 240.18 million streams registered in its debut frame (chart dated Jan. 23).

Swift Now Has Three of the Top Five-Selling Albums of 2021: In terms of traditional album sales, Swift already has three of the top five-selling albums of 2021 so far. Wallen’s Dangerous is tops with 218,000 copies sold, Fearless (Taylor’s Version) is No. 2 with 179,000, Carrie Underwood’s My Savior is No. 3 with 114,000, Folklore is No. 4 with just over 111,000 and Evermore is No. 5 with a little under 111,000.

Shortest Wait Between New No. 1 Albums by a Woman: Swift waited just four months between the first weeks at No. 1 for Evermore (Dec. 26, 2020) and Fearless (Taylor’s Version) (April 24, 2021). That’s the shortest gap between new No. 1 albums by a woman. Swift beats her own record, set with the four months and two weeks between the first weeks at No. 1 for Folklore (Aug. 8, 2020) and Evermore.

The last time an act had a shorter wait between No. 1s before Swift was BTS, when the group waited a little over three months between Love Yourself: Tear (June 2, 2018) and Love Yourself: Answer (Sept. 8, 2018). Prior to that, Future achieved a first by landing back-to-back new No. 1s in successive weeks in 2017 (with his self-titled album March 11, 2017 and HNDRXX on March 18, 2017).

First Woman With Three New No. 1 Albums in Less Than a Year: With eight months and two weeks between the first weeks at No. 1 for Folklore, Evermore and Fearless (Taylor’s Version), Swift becomes the first woman in the 65-year history of the chart with three new No. 1s in less than 12 months. Previously, the fastest a female artist had notched three new No. 1s was just under 14 months, when Donna Summer topped the list with Live and More (Nov. 11, 1978), Bad Girls (June 16, 1979) and On the Radio: Greatest Hits Volumes I & II (Jan. 5, 1980).

The last act to score three No. 1s faster than Swift was Future, when he logged his first three No. 1s in just six months and three weeks with DS2 (Aug. 8, 2015); What a Time to Be Alive, with Drake (Oct. 10, 2015); and Evol (Feb. 27, 2016).

Back on the new Billboard 200, DMX’s greatest hits compilation The Best of DMX soars from No. 73 (its prior peak) to No. 2 following the rapper’s death on April 9. The set earned 77,000 equivalent album units (up 544%) in the week ending April 15. Of that sum, 59,000 comprise SEA units (up 508%, equaling 88.56 million on-demand streams of the album’s songs), 9,000 comprise album sales (up 733%) and 9,000 comprise TEA units (up 666%).

The 21-track Best of DMX includes such hit singles as “Ruff Ryders’ Anthem,” “Party Up (Up in Here)” and “X Gon’ Give It to Ya.”

The Best of DMX marks the late star’s highest charting album, and first top 10, since 2006’s Year of the Dog… Again debuted and peaked at No. 2. In total, The Best of DMX marks his seventh top 10 album, as he also opened his chart career with five consecutive No. 1s between 1998 and 2003.

DMX has two more albums on the latest Billboard 200, as his former No. 1s It’s Dark and Hell Is Hot, from 1998 (No. 46; 14,000 equivalent album units, up 458%), and Flesh of My Flesh Blood of My Blood, from 1999 (No. 107; 9,000 units, up 469%) re-enter the list.

Justin Bieber’s Justice falls 1-3 in its third week on the Billboard 200, earning 60,000 equivalent album units (down 20%). Three more former No. 1s are next on the list, as Wallen’s Dangerous is steady at No. 4 with 58,000 units (down 8%), Rod Wave’s SoulFly dips 3-5 with 55,000 units (down 19%) and Ariana Grande’s Positions bolts 17-6 with 54,000 units (up 138%). Positions zooms back into the top 10 following the April 9 release of its vinyl LP and cassette, which powers the bulk of the set’s 35,000 in album sales for the week (up 1,613%).

The Weeknd’s best-of set The Highlights slips 6-7 with 41,000 equivalent album units (down 4%), Lil Tjay’s Destined to Win falls 5-8 with 38,000 units (down 39%), Pop Smoke’s former No. 1 Shoot for the Stars Aim for the Moon descends 7-9 with 36,000 units (down 5%) and Dua Lipa’s Future Nostalgia slips down 9-10 with 33,000 units (down 3%).

Source: billboard.com

Plus, Olivia Rodrigo’s “Deja Vu” debuts at No. 8 and Masked Wolf’s “Astronaut in the Ocean” reaches the top 10.

“Leave the Door Open” by Silk Sonic, the duo of Bruno Mars and Anderson .Paak, rises from No. 3 to No. 1 for its first week atop the Billboard Hot 100 songs chart.

Mars unlocks his eighth Hot 100 No. 1 and Anderson. Paak earns his first.

Plus, Olivia Rodrigo’s “Deja Vu” enters the Hot 100 at No. 8 and Masked Wolf notches his first top 10 as his breakthrough hit “Astronaut in the Ocean” ascends 12-10.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated April 17) will update on Billboard.com tomorrow (April 13). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“Door,” released on Aftermath/Atlantic Records, is the 1,121st No. 1 in the Hot 100’s 62-year history.

Streams, sales & airplay: “Door” drew 21.5 million U.S. streams (up 13%) and sold 28,600 copies, downloads and CDs combined (up 138%), in the week ending April 8, according to MRC Data. It also attracted 59.1 million radio airplay audience impressions (up 9%) in the week ending April 11.

The track pushes 5-2 for a new high on Radio Songs and climbs 4-2 on Digital Song Sales and 7-3 on Streaming Songs, returning to its best rank on each of the latter two charts. Combining digital and physical sales, the song was the most-sold of the tracking week, aided by two CD versions that shipped to purchasers in that span (one for $2.50 and a live version for the standard $1.29 single price), as it wins the Hot 100’s top Sales Gainer award.

Mars’ eighth Hot 100 No. 1: As the Silk Sonic billing counts for both Bruno Mars and Anderson. Paak’s individual chart histories, “Door” marks the former’s eighth Hot 100 No. 1 and the latter’s first.

Bruno Mars’ Hot 100 No. 1s:
“Nothin’ on You” (B.o.B feat. Mars), two weeks, beginning May 1, 2010
“Just the Way You Are,” four weeks, Oct. 2, 2010
“Grenade,” four weeks, Jan. 8, 2011
“Locked Out of Heaven,” six weeks, Dec. 22, 2012
“When I Was Your Man,” one week, April 20, 2013
“Uptown Funk!” (Mark Ronson feat. Mars), 14 weeks, Jan. 17, 2015
“That’s What I Like,” one week, May 13, 2017
“Leave the Door Open” (Silk Sonic [Mars & Anderson. Paak]), one week to-date, April 17, 2021

With eight Hot 100 No. 1s dating to his first, as featured on B.o.B’s “Nothin’ on You” on the chart dated May 1, 2010, Mars ties Drake, Katy Perry and Rihanna for the most in that span. Mars becomes one of 18 artists in the Hot 100’s entire history with at least eight leaders.

Meanwhile, “Door” reaches No. 1 in its fifth week on the Hot 100, completing Mars’ quickest coronation. He wrapped a prior-best eight-week ascent to the summit with “Uptown Funk!” in 2015.

Anderson .Paak reigns in his second Hot 100 visit, after he reached No. 89 in February 2020 as featured on Eminem’s “Lock It Up.”

(Mars is the second artist in less than a year to top the Hot 100 via a collaborative billing that expands beyond his name; Travis Scott did so with “The Scotts,” credited to The Scotts, Travis Scott and Kid Cudi, when it debuted atop the May 9, 2020, chart.)

An Atlantic Records record: “Door” is Mars’ seventh Hot 100 No. 1 credited to Atlantic Records (encompassing all his leaders except for Mark Ronson’s “Uptown Funk!,” featuring Mars, released on RCA). His latest leader is historic in the label’s archives, as he ties Phil Collins for the most Atlantic No. 1s. Collins logged his seven leaders in 1984-90 (and made another trip to the top, also on Atlantic, with “Invisible Touch” by trio Genesis, of which he was a member, in 1986).

‘Door’ No. 1: Meanwhile, an act walks a song with “door” in its title to No. 1 for the first time in the Hot 100’s history. The song one-ups the No. 2-peaking “Lookin’ Out My Back Door” by Creedence Clearwater Revival in 1970. Three other songs with “door” in their titles have hit the Hot 100’s top 10: Neil Sedaka’s “Next Door to an Angel” (No. 5, 1962); Dean Martin’s “The Door Is Still Open to My Heart” (No. 6, 1964); and Pete Townshend’s “Let My Love Open the Door” (No. 9, 1980).

As for artists, The Doors notched two Hot 100 No. 1s: “Light My Fire” (three weeks, 1967) and “Hello, I Love You” (two weeks, 1968).

Plus, Silk Sonic is the second “Silk”-named act to top the Hot 100. Two weeks shy of 28 years earlier, R&B vocal group Silk began a two-week reign with “Freak Me” on the May 1, 1993, chart.

No. 1 R&B and hip-hop: Silk Sonic pushes “Door” from No. 2 to No. 1 for its first week atop the multi-metric Hot R&B/Hip-Hop Songs chart, where it’s Mars’ fourth leader, after “That’s What I Like” (10 weeks, 2017), “Finesse” (one week, 2018) and “Please Me” (one week, 2019), the latter two with Cardi B. Anderson. Paak scores his first No. 1 on the chart.

“Door” concurrently rebounds 2-1 for a third week atop the Hot R&B Songs chart, which, like Hot R&B/Hip-Hop Songs, uses the same methodology as the Hot 100.

Lil Nas X’s “Montero (Call Me by Your Name)” drops to No. 2 after it launched atop the Hot 100 a week earlier. It adds a second week atop Streaming Songs (38.1 million, down 19%) and slips 2-3 on Digital Song Sales (14,500, down 31%), while gaining by 189% to 3.2 million in airplay audience.

Justin Bieber’s “Peaches,” featuring Daniel Caesar and Giveon, descends 2-3, two weeks after debuting atop the Hot 100, while claiming the chart’s top Airplay Gainer nod (31.6 million, up 37%), and Cardi B’s “Up” holds at No. 4, three weeks after reaching No. 1. “Up” adds a seventh week atop the multi-metric Hot Rap Songs chart.

Olivia Rodrigo’s former eight-week Hot 100 No. 1 “Drivers License” keeps at No. 5, as it spends a fifth week at No. 1 on Radio Songs (62.8 million, down 6%); The Weeknd’s “Save Your Tears” is steady at No. 6 on the Hot 100, after reaching No. 4; and Dua Lipa’s “Levitating,” featuring DaBaby, repeats at No. 7, after hitting No. 5.

Olivia Rodrigo’s “Drivers License” follow-up “Deja Vu” debuts at No. 8 on the Hot 100, marking her second top 10. Released April 1, it enters at No. 4 on Streaming Songs with 20.3 million streams and No. 7 on Digital Song Sales with 7,400 sold in the April 2-8 tracking week; it also drew 9.3 million in radio reach in the week ending April 11.

As “License,” which soared onto the Hot 100 at No. 1 in January and “Deja Vu” are Rodrigo’s first two singles promoted to radio, streaming services and other platforms (and mark her second and third Hot 100 entries, respectively, after “All I Want,” from High School Musical: The Musical: The Series [Music From the Disney+ Original Series], reached No. 90 in January 2020), she is the first artist to send her first two proper singles straight onto the Hot 100 in the top 10.

The Weeknd’s “Blinding Lights” backtracks 8-9 on the Hot 100, after spending four weeks at No. 1 in April-May 2020. It adds a record-extending 57th week in the top 10, after it became the first song to total a year in the region.

The track also tallies a 70th total week on the Hot 100, becoming the fourth single to reach the milestone, while extending its run as the longest-charting No. 1 hit.

Most Weeks on the Billboard Hot 100:
87, “Radioactive,” Imagine Dragons, No. 3 peak, 2012-14
79, “Sail,” AWOLNATION, No. 17, 2011-14
76, “I’m Yours,” Jason Mraz, No. 6, 2008-09
70, “Blinding Lights,” The Weeknd, No. 1 (four weeks), 2020-21
69, “How Do I Live,” LeAnn Rimes, No. 2, 1997-98
68, “Counting Stars,” OneRepublic, No. 2, 2013-14
68, “Party Rock Anthem,” LMFAO feat. Lauren Bennett & GoonRock, No. 1 (six weeks), 2011-12

Rounding out the Hot 100’s top tier, Masked Wolf’s first entry on the chart, “Astronaut in the Ocean,” rises 12-10. It also reaches the Streaming Songs top 10 (11-8; 18 million, up 9%), while dipping 3-4 on Digital Song Sales (12,000, down 1%) and debuting at No. 50 on Radio Songs (15.5 million, up 26%).

The single from the Australian rapper, born Harry Michael, spends a sixth week in the top 10 of both the Billboard Global 200 and Billboard Global Excl. U.S. charts, where it has hit Nos. 3 and 4, respectively.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated April 17), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (April 13).

Source: billboard.com

It’s his first multi-week No. 1 since 2010. Plus: Demi Lovato notches highest charting album since 2015, and Lil Tjay debuts in the top five.

Justin Bieber’s Justice returns to No. 1 on the Billboard 200 albums chart (dated April 17), scoring its second nonconsecutive week atop the list – and becomes his first multi-week No. 1 album since 2010. Plus, Demi Lovato lands her highest charting album since 2015, and Lil Tjay debuts in the top five.

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 April 17, 2021-dated chart (where Justice returns to No. 1) will be posted in full on Billboard‘s website on April 13. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Justice rises 2-1 on the Billboard 200 in its third week on the chart, having earned 74,000 equivalent album units in the U.S. in the week ending April 8 (down 25%), according to MRC Data. Of that sum, 67,000 comprise SEA units (down 23%, equaling 89.44 million on-demand streams of the set’s songs), 6,000 comprise album sales (down 43%) and 2,000 comprise TEA units (down 38%). Justice debuted at No. 1 on the chart dated April 3, and fell to No. 2 on the April 10 chart.

As Justice notches a second week at No. 1, it marks Bieber’s first album to spend more than one week at No. 1 since 2010, when his first leader, My World 2.0, spent four nonconsecutive weeks atop the list. In total, Bieber has eight No. 1 albums, and the six No. 1 albums in between My World 2.0 and Justice all spent one week at No. 1.

Justice continues to profit from the success of its smash single “Peaches,” featuring Daniel Caesar and Giveon. On the most recently published Billboard Hot 100 and Streaming Songs charts (dated April 10), the song sat at No. 2, after it debuted atop both charts the previous week (April 3).

Demi Lovato lands her highest charting album since 2015 on the Billboard 200, as her new effort Dancing With the Devil… The Art of Starting Over debuts at No. 2. It’s also her seventh consecutive top five-charting album – the entirety of her charting efforts.

Dancing bows with 74,000 equivalent album units earned. Of that sum, 38,000 comprise album sales (making it the top-selling album of the week), 33,000 comprise SEA units (equaling 46.50 million on-demand streams of the album’s songs) and 2,000 comprise TEA units.

The album was supported by the four-episode YouTube Originals documentary Demi Lovato: Dancing With the Devil, which premiered on March 23. Collectively, the episodes have garnered over 30 million global views on YouTube.

The Dancing album also got a boost from the availability of a Target-exclusive CD edition of the set with two bonus tracks, a signed CD sold via Lovato’s official website, multiple CD cover variants and two digital deluxe editions of the album (each with bonus tracks).Here’s a recap of Lovato’s seven charting albums on the Billboard 200: Dancing With the Devil… (No. 2), Tell Me You Love Me (No. 3, 2017), Confident (No. 2, 2015), Demi (No. 3, 2013), Unbroken (No. 4, 2011), Here We Go Again (No. 1, 2009) and Don’t Forget (No. 2, 2008).

Rod Wave’s SoulFly falls 1-3 in its second week on the Billboard 200, earning 67,000 equivalent album units (down 48%). Morgan Wallen’s former No. 1 Dangerous: The Double Album rises 5-4 with 63,000 units (down 1%).

Lil Tjay’s Destined 2 Win is the only other debut in the top 10, as the album bows at No. 5 with 62,000 equivalent album units earned. Of that sum, 58,000 comprise SEA units (equaling 86.14 million on-demand streams of the album’s songs), 3,000 comprise album sales and 1,000 comprise TEA units.

The album was led by the single “Calling My Phone,” featuring 6LACK, which became his first top 10 hit on the all-genre Hot 100 chart, reaching No. 3 in February. Destined 2 Win is the rapper’s second top 10 effort on the Billboard 200, and matches his high on the chart. He previously debuted and peaked at No. 5 with True 2 Myself (Oct. 26, 2019-dated chart).

The Weeknd’s The Highlights is a non-mover at No. 6 on the new Billboard 200 (43,000 equivalent album units earned; down 4%), Pop Smoke’s former No. 1 Shoot for the Stars Aim for the Moon is also stationary at No. 7 (37,000 units; down 2%), Carrie Underwood’s My Savior falls 4-8 in its second week (35,000 units; down 52%), Dua Lipa’s Future Nostalgia is a non-mover at No. 9 (34,000 units; down 3%) and Luke Combs’ former leader What You See Is What You Get rises 14-10 (28,000 units; up 2%).

Source: billboard.com

It’s his second leader, after “Old Town Road” reigned for a record 19 weeks in 2019.

Lil Nas X launches at No. 1 on the Billboard Hot 100 songs chart with “Montero (Call Me by Your Name).”

The song, propelled by its buzzy official video, is his second Hot 100 No. 1, after his breakthrough smash “Old Town Road,” featuring Billy Ray Cyrus, reigned for a record 19 weeks in 2019.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated April 10) will update on Billboard.com tomorrow (April 6). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“Montero,” released March 26 on Columbia Records, is the 1,120th No. 1 in the Hot 100’s 62-year history. It’s the 51st single to debut at No. 1, and Lil Nas X’s first.

“Montero” drew 46.9 million U.S. streams and sold 21,000 downloads in the week ending April 1, according to MRC Data. It also attracted 1.1 million radio airplay audience impressions in the week ending April 4.

The track opens at No. 1 on the Streaming Songs chart, where it’s Lil Nas X’s second leader, after “Old Town Road” ruled for a record 20 weeks, and No. 2 on Digital Song Sales. It was available in three versions in its first week: its original version; its “Satan’s Extended Version”; and its “But Lil Nas X Is Silent the Entire Time” instrumental version (all sale-priced as of March 30 to 69 cents).

Lil Nas X’s “Old Town Road” dominated the Hot 100 for 19 weeks beginning on the April 13, 2019-dated chart. On the Aug. 3, 2019, survey, it spent its record-breaking 17th week on top, passing the 16-week No. 1s “Despacito” by Luis Fonsi and Daddy Yankee, featuring Justin Bieber, in 2017, and Mariah Carey and Boyz II Men’s “One Sweet Day,” in 1995-96.

“Montero” is Lil Nas X’s fifth Hot 100 entry, all of which have hit the top 40. Between his two leaders, he charted with “Rodeo,” with Cardi B/Nas (No. 22 peak, July 2019); “Panini” (No. 5, September 2019); and “Holiday” (No. 37, November 2020).

“Montero” references Lil Nas X’s real name, Montero Lamar Hill (and is the second Hot 100 No. 1 in less than a year to shout-out the name of the artist that recorded it, after “The Scotts” by The Scotts, Travis Scott and Kid Cudi). In a statement accompanying the release of “Montero” (whose profile was also boosted in the tracking week by the arrival of, and subsequent legal action regarding, his #satanshoes line), Lil Nas X wrote that the song “begs the question: do you truly love your neighbor as yourself, enough to call them by your own name?”

Justin Bieber’s “Peaches,” featuring Daniel Caesar and Giveon, drops to No. 2 a week after debuting atop the Hot 100. The song slips from No. 1 to No. 2 on Streaming Songs (27.1 million, down 12%) and falls 3-7 on Digital Song Sales (11,000, down 31%), while entering Radio Songs at No. 35 (23.2 million, up 92%), as it wins the Hot 100’s top Airplay Gainer award.

“Peaches” posts a second week at No. 1 on the multi-metric Hot R&B/Hip-Hop Songs and Hot R&B Songs charts, which use the same methodology as the Hot 100.

“Leave the Door Open” by Silk Sonic, the duo of Bruno Mars and Anderson .Paak, holds at No. 3 on the Hot 100, after hitting No. 2, and Cardi B’s “Up” slips 2-4, two weeks after reaching No. 1. “Up” adds a sixth week atop the multi-metric Hot Rap Songs chart.

Olivia Rodrigo’s former eight-week Hot 100 No. 1 “Drivers License” backs up from No. 4 to No. 5, as it spends a fourth week at No. 1 on the Radio Songs chart (68.2 million, down 3%).

The Weeknd’s “Save Your Tears” retreats 5-6 on the Hot 100, after reaching No. 4, and Dua Lipa’s “Levitating,” featuring DaBaby, holds at No. 7, after lifting to No. 5.

The Weeknd’s “Blinding Lights” descends 6-8 on the Hot 100, after spending four weeks at No. 1 in April-May 2020. It adds a record-extending 56th week in the top 10, after it became the first song to total a year in the bracket.

The track ties for the fourth-longest overall stay in the Hot 100’s history and makes more history: It passes LMFAO’s “Party Rock Anthem,” featuring Lauren Bennett and GoonRock, for the most weeks spent on the Hot 100 among No. 1 hits.

Most Weeks on the Billboard Hot 100:
87, “Radioactive,” Imagine Dragons, No. 3 peak, 2012-14
79, “Sail,” AWOLNATION, No. 17, 2011-14
76, “I’m Yours,” Jason Mraz, No. 6, 2008-09
69, “Blinding Lights,” The Weeknd, No. 1 (four weeks), 2020-21
69, “How Do I Live,” LeAnn Rimes, No. 2, 1997-98
68, “Counting Stars,” OneRepublic, No. 2, 2013-14
68, “Party Rock Anthem,” LMFAO feat. Lauren Bennett & GoonRock, No. 1 (six weeks), 2011-12

24kGoldn’s “Mood,” featuring Iann Dior, repeats at No. 10 on the Hot 100, after eight nonconsecutive weeks at No. 1 in October through mid-January. It concurrently leads the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a 31st week each.

Rounding out the Hot 100’s top 10, Pop Smoke’s “What You Know Bout Love” drops to No. 10 from its No. 9 peak.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated April 10), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (April 6).

Source: billboard.com