Plus: NF, Carrie Underwood, Young Dolph & Key Glock and AJR debut in top 10.

Rod Wave earns his first No. 1 album on the Billboard 200 chart, as SoulFly opens with 130,000 equivalent album units earned in the U.S. in the week ending April 1, according to MRC Data. With the arrival, SoulFly also notches the biggest week for an R&B/hip-hop album in 2021 in terms of units earned.

Also debuting in the top 10: NF’s Clouds (The Mixtape), Carrie Underwood’s My Savior, Young Dolph and Key Glock’s Dum and Dummer 2 and AJR’s OK Orchestra.

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 10, 2021-dated chart (where SoulFly bows at No. 1) will be posted in full on Billboard‘s website on April 6. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of SoulFly’s 130,000 equivalent album units earned in the tracking week ending April 1, SEA units comprise 126,000 (equaling 189.2 million on-demand streams of the album’s songs — the largest streaming week of 2021 for an R&B/hip-hop set), album sales comprise 4,000 and TEA units comprise less than 1,000. SoulFly logs the biggest week for an R&B/hip-hop set released in 2021 in terms of units earned, surpassing the 88,000-unit launch of The Weeknd’s The Highlights (Feb. 20-dated chart).

In total, SoulFly is the rapper’s third charting album, and all three have reached the top 10, each peaking higher than the last. Ghetto Gospel topped out at No. 10 (Nov. 23, 2019-dated chart) and Pray 4 Love debuted and peaked at No. 2 (April 18, 2020).

The 19-track SoulFly album also handily outpaces the opening week of 14-track Pray 4 Love, which launched with 72,000 units.

SoulFly is just the second R&B/hip-hop album to hit No. 1 the last five months. The last R&B/hip-hop effort to lead the tally was Playboi Carti’s Whole Lotta Red, which spent one week at No. 1 on the Jan. 9 chart. Before that, the last R&B/hip-hop leader was Pop Smoke’s Shoot for the Stars Aim for the Moon, which spent its second of two nonconsecutive weeks at No. 1 on the Oct. 24, 2020-dated chart.

SoulFly was previewed by the tracks “Street Runner” and “Tombstone,” which both debuted in the top 40 of the Hot R&B/Hip-Hop Songs chart. The former also launched in the top 40 of the all-genre Billboard Hot 100 tally, giving Wave his third top 40-charting hit on the list.

Justin Bieber’s Justice falls to No. 2 in its second week on the Billboard 200, earning 100,000 equivalent album units (down 35%). Justice’s second-week decline was eased by the release of a deluxe edition of the album on March 26, dubbed the Triple Chucks Deluxe, which added six bonus tracks to the album’s original 16 tracks.

NF’s Clouds (The Mixtape) starts at No. 3 on the Billboard 200 with 86,000 equivalent album units earned. Of that figure, 58,000 comprise album sales, 27,000 comprise SEA units (equaling 40.51 million on-demand streams of the album’s songs) and less than 1,000 comprise TEA units. It’s the rapper’s third top 10 effort and fifth charting album overall. He previously hit the list with The Search (No. 1 in 2019), Perception (No. 1, 2017), Therapy Session (No. 12, 2016) and Mansion (No. 62, 2015).

Carrie Underwood’s My Savior debuts at No. 4 on the Billboard 200, marking her ninth consecutive top five-charting album – the entirety of her charting efforts. The set starts with 73,000 equivalent album units earned. Of that sum, 68,000 comprise album sales (making it the top-selling album of the week), 4,000 comprise SEA units (equaling 5.32 million on-demand streams of the album’s songs) and 1,000 comprise TEA units.

My Savior features Underwood covering traditional hymns such as “Amazing Grace,” “How Great Thou Art” and “The Old Rugged Cross.” The set was ushered in with a performance by Underwood on NBC’s Today on March 26. My Savior’s second-week on the chart will be supported by an Easter Sunday (April 4) virtual live concert performance by Underwood at the Ryman Auditorium in Nashville, streamed from the star’s Facebook page.

Morgan Wallen’s former No. 1, Dangerous: The Double Album, falls 3-5 with 63,000 equivalent album units earned (down 5%). The set spent its first 10 weeks at No. 1 before dropping to No. 3 a week ago.

The Weeknd’s hits compilation The Highlights moves 15-6 with 45,000 equivalent album units earned (up 89%). Highlights includes “Blinding Lights” and “Save Your Tears” – both of which are also on his last studio album, 2020’s After Hours. On the new chart, the TEA and SEA units for both songs contribute to The Highlights, as a song’s activity is assigned to the artist’s album with the most sales in a week. (The Highlights sold a little over 2,000 copies in the latest tracking week, while After Hours sold under 2,000.) A week ago, the TEA and SEA for both songs were directed to After Hours (which in that frame outsold The Highlights).

Pop Smoke’s former No. 1 Shoot for the Stars Aim for the Moon dips 4-7 with 38,000 equivalent album units earned (down 4%).

The teaming of rappers Young Dolph and Key Glock continues to be prosperous, as the pair score its second top 10 album together with the No. 8 arrival of Dum and Dummer 2. The twosome previously hit the top 10 with Dum and Dummer, debuting and peaking at No. 8 in 2019.

Dum and Dummer 2 bows with nearly 36,000 equivalent album units earned. Of that sum, 31,000 comprise SEA units (equaling 42.73 million on-demand streams of the set’s songs), 4,000 comprise album sales and less than 1,000 comprise TEA units.

Dum and Dummer 2 is Young Dolph’s third top 10, following Dum and Dummer and a solo project Rich Slave (No. 4 in 2020), and the second top 10 for Key Glock.

Dua Lipa’s Future Nostalgia slips 5-9 on the Billboard 200 with 35,500 equivalent album units earned (down 1%).

AJR closes out the top 10 as the trio’s new album OK Orchestra debuts at No. 10 with 32,000 equivalent album units earned. It’s the second top 10 for the band, which previously hit the region with its last release, 2019’s Neotheater (No. 9 on the May 11, 2019, chart). The new album was led by the group’s first top 10 hit song on the Hot 100, “Bang!,” which peaked at No. 8 in January.

Of OK Orchestra’s launch of 32,000 units, 18,000 comprise SEA units (equaling 26.17 million on-demand streams of the album’s songs), 13,000 comprise album sales and less than 1,000 comprise TEA units.

Source: billboard.com

Plus, “Peaches” featured artists Daniel Caesar and Giveon top the Hot 100 for the first time.

Justin Bieber becomes the first solo male to debut at No. 1 on the Billboard Hot 100 songs chart and the Billboard 200 albums chart simultaneously, as “Peaches,” featuring Daniel Caesar and Giveon, launches atop the Hot 100. As previously reported, Bieber’s new LP Justice enters atop the Billboard 200.

Among all acts, Bieber joins only BTS and Taylor Swift in having started at No. 1 on both the Hot 100 and Billboard 200 simultaneously, with Swift having accomplished the feat twice.

“Peaches” premieres as Bieber’s seventh Hot 100 No. 1 and the first each for Caesar and Giveon.

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

Here’s a look at the coronation of “Peaches,” released on Raymond Braun/Def Jam and the 1,119th No. 1 in the Hot 100’s 62-year history. The song is the 50th single to debut at No. 1.

Streams, Sales & Airplay: “Peaches” drew 30.6 million U.S. streams and sold 16,000 downloads in the week ending March 25, according to MRC Data. It also attracted 12.1 million radio airplay audience impressions in the week ending March 28. (Parent album Justice arrived March 19.)

The track opens at No. 1 on the Streaming Songs chart, where it’s Bieber’s fifth leader and Caesar and Giveon’s first each, and No. 3 on Digital Song Sales.

Bieber, BTS & Taylor Swift: Bieber blasts in atop the Billboard 200 with Justice, his eighth No. 1 set on the survey.

Bieber joins only BTS and Taylor Swift in having debuted at No. 1 on both the Hot 100 and Billboard 200 simultaneously, with Swift having achieved the honor twice. Swift inaugurated the elite club when “Cardigan” and Folklore began atop the respective charts dated Aug. 8, 2020. BTS’ “Life Goes On” and Be soared in atop the tallies dated Dec. 5 and Swift repeated the feat with “Willow” and Evermore on the charts dated Dec. 26.

Bieber’s 7th Hot 100 No. 1: Here’s an updated look at Bieber’s Hot 100 No. 1s.

Title, Weeks at No. 1, Date Reached No. 1
“What Do You Mean?,” one, Sept. 19, 2015
“Sorry,” three, Jan. 23, 2016
“Love Yourself,” two, Feb. 13, 2016
“I’m the One,” DJ Khaled feat. Bieber, Quavo, Chance the Rapper & Lil Wayne, one, May 20, 2017
“Despacito,” Luis Fonsi & Daddy Yankee feat. Bieber, 16, May 23, 2017
“Stuck With U,” with Ariana Grande, one, May 23, 2020
“Peaches,” feat. Daniel Caesar & Giveon, one to-date, April 3, 2021

Dating to his first week at No. 1 on the Hot 100, Bieber ties Drake for the most leaders in the span since.

4th No. 1 debut: “Peaches” is Bieber’s fourth song to debut at No. 1 on the Hot 100, tying him with Drake for the most among male artists. Overall, only Ariana Grande boasts more No. 1 starts, with five. Prior to “Peaches,” Bieber began at the summit with “What Do You Mean?,” “I’m the One” and “Stuck With U.”

23rd top 10: “Peaches” also arrives as Bieber’s 23rd Hot 100 top 10, making him the 16th artist with at least that many top 10s. The updated leaderboard: Drake, 45 top 10s; Madonna, 38; The Beatles, 34; Rihanna, 31; Michael Jackson, 30; Taylor Swift, 29; Mariah Carey, Stevie Wonder, 28 each; Janet Jackson, Elton John, 27 each; Lil Wayne, Elvis Presley, 25 each (with Presley’s career having predated the Hot 100’s inception); Bieber, Whitney Houston, Paul McCartney and The Rolling Stones, 23 each.

Caesar, Giveon reign: Daniel Caesar crowns the Hot 100 after charting two previous entries: “Get You,” featuring Kali Uchis (No. 93 peak, March 2018), and “Best Part,” featuring H.E.R. (No. 75, October 2018). In July 2019, he achieved his first Billboard 200 with Case Study 01 (No. 10).

“Peaches” is Giveon’s fourth Hot 100 entry and one of two currently in the top 40: “Heartbreak Anniversary” rises to No. 29, a new high. His “Like I Want You” reached No. 87 a week ago, while he made his first appearance as featured on Drake’s “Chicago Freestyle” (No. 14, May 2020). A week ago, Giveon earned his first Billboard 200 top 10 with When It’s All Said and Done… Take Time (No. 5).

‘Peach’ perfect: “Peaches” is ripe for the Hot 100’s top spot in a song title for the first time, although the word has appeared at No. 1 in the artist field: Peaches & Herb’s “Reunited” reigned for four weeks in May 1979. (Shout-out to reader Jesper Tan of Subang Jaya, Malaysia, for the fun fact, sent in anticipation of the new No. 1’s sweet success.)

“Peaches” also takes over as the highest-charting Hot 100 hit with that word in its title, surpassing 112’s “Peaches & Cream,” which reached No. 4 in July 2001.

More food for thought: Per research by Billboard‘s Paul Grein and Andrew Unterberger, “Peaches” is the fourth Hot 100 No. 1 whose title includes a fruit reference, and the second in less than a year. The refreshingly flavorful four:

“I Heard It Through the Grapevine,” Marvin Gaye, seven weeks at No. 1, beginning Dec. 14, 1968
“One Bad Apple,” The Osmonds, five, Feb. 13, 1971
“Watermelon Sugar,” Harry Styles, one, Aug. 15, 2020
“Peaches,” Justin Bieber feat. Daniel Caesar & Giveon, one to-date, April 3, 2021

R&Bieber: “Peaches” concurrently debuts 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. On the former ranking, Bieber adds his second No. 1, following his featured turn on DJ Khaled’s “I’m the One” in 2017. On the latter list, he adds his fourth leader, after DJ Khaled’s “No Brainer,” featuring Bieber, Chance the Rapper and Quavo (2017), and his own “Yummy” and “Intentions,” the latter featuring Quavo, both in 2020. Daniel Caesar and Giveon each top the charts for the first time.

Cardi B’s “Up” drops to No. 2 on the Hot 100 a week after reaching No. 1. The song drew 35.2 million in radio airplay audience (up 1%) and 23.5 million streams (up 3%) and sold 17,000 (down 8%) in the tracking week. The track tallies a fifth week atop the multi-metric Hot Rap Songs chart.

Silk Sonic’s “Leave the Door Open” descends to No. 3 from its No. 2 high, as the song by the duo of Bruno Mars and Anderson .Paak surges to the top 10 of the Radio Songs chart (12-8; 48.5 million, up 26%). The track, Mars’ 17th Radio Songs top 10 and Anderson .Paak’s first, reaches the region in just its third week on the chart, completing the fastest rise to the top 10 in over a year, since Justin Bieber’s “Yummy” needed only two frames in January 2018. Mars ties his fastest flight to the Radio Songs top 10, previously achieved with “24K Magic” in 2016 and “Finesse,” with Cardi B, in 2018.

Olivia Rodrigo’s former eight-week Hot 100 No. 1 “Drivers License” dips 3-4, as it spends a third week at No. 1 on Radio Songs (70 million, down 3%).

The Weeknd’s “Save Your Tears” holds at No. 5 on the Hot 100, after reaching No. 4, and his “Blinding Lights” also stays in place, at No. 6, after spending four weeks at No. 1 last April-May. “Lights” adds a record-extending 55th week in the top 10, after it became the first song to total a year in the bracket.

“Blinding Lights” ties for the fifth-longest overall stay in the Hot 100’s history: 68 weeks. It also equals 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, “How Do I Live,” LeAnn Rimes, No. 2, 1997-98
68, “Blinding Lights,” The Weeknd, No. 1 (four weeks), 2020-21
68, “Counting Stars,” OneRepublic, No. 2, 2013-14
68, “Party Rock Anthem,” LMFAO feat. Lauren Bennett & GoonRock, No. 1 (six weeks), 2011-12

Dua Lipa’s No. 5-peaking “Levitating,” featuring DaBaby, holds at No. 7 on the Hot 100; Drake’s former one-week No. 1 “What’s Next” falls 4-8; and Pop Smoke’s “What You Know Bout Love” returns to the top 10, and its peak, rising 12-9.

Rounding out the Hot 100’s top 10, 24kGoldn’s “Mood,” featuring Iann Dior, slips 8-10, after eight nonconsecutive weeks at No. 1 in October through mid-January, as it leads the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a 30th week each.

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

Source: billboard.com

Plus: Lana Del Rey’s ‘Chemtrails Over the Country Club’ bows at No. 2.

Justin Bieber achieves his eighth No. 1 album on the Billboard 200 chart, as Justice debuts atop the tally with 154,000 equivalent album units earned in the U.S. in the week ending March 25, according to MRC Data. The album was released via Raymond Braun/Def Jam on March 18.

Justice halts the chart-topping domination of Morgan Wallen’s Dangerous: The Double Album, which spent 10 consecutive weeks in a row, all from its debut, at No. 1. It falls to No. 3 on the new chart.

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 3, 2021-dated chart (where Justice opens at No. 1) will be posted in full on Billboard‘s website on March 30. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Justice’s 154,000 equivalent album units earned in the tracking week ending March 25, SEA units comprise 119,000 (equaling 157.02 million on-demand streams of the album’s songs), album sales comprise just over 30,000 and TEA units comprise a little more than 4,000.

Justice’s start of 154,000 represents the second-biggest debut week for an album in 2021, following Dangerous’ start of 265,000 (Jan. 23-dated chart).

The new album was previewed by a quartet of top 40-charting hits on the Billboard Hot 100 songs chart: “Holy,” featuring Chance the Rapper (No. 3; Oct. 3, 2020-dated chart); “Lonely,” with Benny Blanco (No. 12; Jan. 23); “Anyone” (No. 6; Jan. 16) and “Hold On” (No. 26; March 20).  The album’s newest single is “Peaches,” featuring Giveon and Daniel Caesar.The track was released alongside the album, and it’s likely to bow on an array of Billboard charts dated April 3.

All 10 of Bieber’s charting albums have reached the top 10. He’s only missed the top slot twice. Here’s a recap of all 10 of his charting sets: Justice (No. 1), Changes (No. 1; Feb. 20, 2020), Purpose (No. 1; Dec. 5, 2015), Believe: Acoustic (No. 1; Feb. 16, 2013), Believe (No. 1; July 7, 2012), Under the Mistletoe (No. 1; Nov. 19, 2011), Never Say Never: The Remixes EP (No. 1; March 5, 2011), My Worlds Acoustic (No. 7; Dec. 11, 2010), My World 2.0 (No. 1 for four weeks; April 10, 2010) and My World EP (No. 5; April 10, 2010).

As Bieber is a youthful 27 years and one month old (he turned 27 on March 1), he also happens to be the youngest soloist with eight No. 1 albums. He was already the youngest to notch seven. Elvis Presley was previously the youngest soloist with either seven or eight leaders, until Bieber’s latest No. 1s came long. Presley was 26 years and 11 months, and then 29 years and 11 months, respectively, when the soundtracks to Blue Hawaii and Roustabout topped the chart in 1961 and 1965, respectively. If one also counted groups in these calculations, all four members of The Beatles were younger than 26 at the time of the band’s eighth No. 1, 1965’s Yesterday and Today.

For the first time in nearly three months, the Nos. 1 and 2 albums on the Billboard 200 are both debuts, as Lana Del Rey’s Chemtrails Over the Country Club bows at No. 2. The set starts with 75,000 equivalent album units earned. Of that sum, 58,000 comprise album sales (making it the top-selling album of the week), 16,000 comprise SEA units (equaling 21.19 million on-demand streams of the album’s songs) and less than 1,000 comprise TEA units.

Chemtrails Over the Country Club is Lana Del Rey’s seventh top 10 album, of eight total charting sets, following Norman Fucking Rockwell! (No. 3; Sept. 14, 2019), Lust for Life (No. 1; Aug. 12, 2017), Honeymoon (No. 2; Oct. 10, 2015), Ultraviolence (No. 1; July 5, 2014), Paradise (No. 10; Dec. 1, 2012) and Born to Die (No. 2; Feb. 18, 2012). Her only album to miss the top 10 was her self-titled release, which peaked at No. 20 on Jan 28, 2012.

The last time both the Nos. 1 and 2 albums on the Billboard were debuts was on the Dec. 26, 2020-dated list, when Taylor Swift’s Evermore and Kid Cudi’s Man on the Moon III: The Chosen debuted in the top two slots, respectively.

Back on the new chart, Wallen’s Dangerous falls 1-3 in its 11th week on the list, with 66,000 equivalent album units earned (down 4%).

Pop Smoke’s former leader Shoot for the Stars Aim for the Moon is pushed down two spots to No. 4 with 40,000 equivalent album units earned (up less than 1%).

Dua Lipa’s Future Nostalgia descends 3-5 with 36,000 equivalent album units earned (down 5%), Pooh Shiesty’s Shiesty Season is a non-mover at No. 6 with 31,000 units (up 3%) and The Weeknd’s former No. 1 After Hours dips 4-7 with nearly 31,000 units (down 5%).

Lil Baby’s previous leader My Turn falls 7-8 with 30,000 equivalent album units earned (down less than 1%), Lil Durk’s The Voice lowers 8-9 with 28,000 units (down 3%) and Luke Combs’ former No. 1 What You See Is What You Get rises 11-10 with 27,000 units (up 2%).

Source: billboard.com

The song is Cardi B’s fifth Hot 100 leader dating to her first, “Bodak Yellow,” in October 2017.

Cardi B‘s “Up” surges from No. 6 to No. 1 on the Billboard Hot 100 to spend its first week atop the tally. The song, which becomes Cardi B’s fifth Hot 100 No. 1, debuted at No. 2 five weeks earlier and tallied three weeks at the runner-up spot before reaching the summit.

Helping power its ascent, Cardi B performed “Up” as part of a medley, with Megan Thee Stallion, of their four-week 2020 Hot 100 No. 1 “WAP” on the 63rd annual Grammy Awards, broadcast on CBS, March 14.

Plus, Dua Lipa‘s “Levitating,” featuring DaBaby, rebounds to the Hot 100’s top 10 (13-7) after the pair performed it on the Grammys (also as part a medley, with her prior hit “Don’t Start Now”).ARTIST MENTIONED

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

Here’s a look at Cardi B’s coronation with “Up,” released on Atlantic Records and the 1,118th No. 1 in the Hot 100’s 62-year history.

Streams, Airplay & Sales: “Up” drew 22.7 million U.S. streams (down 5%) and 18,000 downloads sold (up 96%, good for the Hot 100’s top Sales Gainer award) in the week ending March 18, according to MRC Data. It also attracted 34.9 million radio airplay audience impressions (up 7%) in the week ending March 21.

The track rises 5-3 on the Streaming Songs chart, which it led for two weeks; 7-3 on Digital Song Sales, where it spent a week in the lead; and 17-14 on Radio Songs.

Cardi B’s 5th Hot 100 No. 1: Here’s an updated look at Cardi B’s Hot 100 No. 1s:

Title, Weeks at No. 1, Date Reached No. 1
“Bodak Yellow (Money Moves),” three, Oct. 7, 2017
“I Like It,” with Bad Bunny & J Balvin, one, April 21, 2018
“Girls Like You,” Maroon 5 feat. Cardi B, seven, Sept. 29, 2018
“WAP,” with Megan Thee Stallion, four, Aug. 22, 2020
“Up,” one (to date) March 27, 2021

Cardi B extends her record for the most Hot 100 No. 1s among female rappers. (Of her five leaders, four have also topped the multi-metric Hot Rap Songs chart, all except Maroon 5’s “Girls Like You,” on which she’s featured.)

Meanwhile, “Up” is Cardi B’s first Hot 100 No. 1 with no accompanying acts since “Bodak Yellow.” Thanks to the two leaders, Cardi B is the first female rapper with two Hot 100 No. 1s with no accompanying artists.

Dating to her first week atop the Hot 100 with “Bodak Yellow” (Oct. 7, 2017), Cardi B ties for the most No. 1s among all acts in the span since, matching the five each earned in that stretch by Drake and Ariana Grande.

“Up” to No. 1: Amid an onslaught of No. 1 Hot 100 debuts, “Up” is the first song to rise from another rank to No. 1 for its first week atop the chart in five months, since 24kGoldn’s “Mood,” featuring Iann Dior, elevated 4-1 on the Oct. 24, 2020-dated chart. All five new No. 1s in between spent their first weeks on the chart at No. 1: Ariana Grande’s “Positions”; BTS’ “Life Goes On”; Taylor Swift’s “Willow”; Olivia Rodrigo’s “Drivers License”; and Drake’s “What’s Next.”

(In that stretch, one No. 1 returned to the top, twice from No. 2, for its fourth and fifth weeks at the apex: Mariah Carey’s “All I Want for Christmas Is You.”)

In a word … Only one all-time No. 1 Hot 100 song title is shorter than “Up”: Britney Spears’ “3,” from 2009. “Up” is the shortest proper one-word No. 1 title and ties two other hits for the fewest letters in a leading song: Rihanna’s “S&M,” featuring Spears, and Katy Perry’s “E.T.,” featuring Kanye West, both from 2011.

Here’s a recap of the briefest No. 1 Hot 100 song titles (those encompassing three or fewer letters):

“3,” Britney Spears, 2009
“Up,” Cardi B, 2021
“S&M,” Rihanna feat. Britney Spears, 2011
“E.T.,” Katy Perry feat. Kanye West, 2011
“WAP,” Cardi B, 2020
“Sad!,” XXXTENTACION, 2018
“OMG,” Usher feat. will.i.am, 2010
“Low,” Flo Rida, 2008
“SOS,” Rihanna, 2006
“Bad,” Michael Jackson, 1987
“Ben,” Michael Jackson, 1972
“War,” Edwin Starr, 1970
“ABC,” Jackson 5, 1970
“Why,” Frankie Avalon, 1959

Notably, nine of the 14 titles above have led in the last 15 years, with the advent of social media and hashtags playing into the increase.

Word “up”: “Up” is the 16th Hot 100 No. 1 with the word “up” in its title, including those with variations of the word, such as “upside” or “uptown.” It’s the first since Mark Ronson’s “Uptown Funk!,” featuring Bruno Mars, reigned for 14 weeks beginning in January 2015. The first such “up”-standing hit? Neil Sedaka’s “Breaking Up Is Hard to Do” in August 1962. (You can go to @billboardcharts for the full list.)

Optimists, celebrate (as you figured you would): The 16 No. 1 titles that include “up” outpace the 10 leaders whose titles include “down.” The latter group includes this week’s polar-opposite No. 1 title “Down,” by Jay Sean featuring Lil Wayne, from 2009.

No. 1, R&B/hip-hop, rap: “Up” concurrently rebounds 5-1 and 4-1, respectively, for a fourth week each atop the multi-metric Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which use the same methodology as the Hot 100.

“Up” is the first song by a solo female and no accompanying artists to top the Hot 100, Hot R&B/Hip-Hop Songs and Hot Rap Songs since Lizzo’s “Truth Hurts” in 2019. Before that, Cardi B’s “Bodak Yellow” last earned the honor.

Silk Sonic’s “Leave the Door Open” ascends 4-2 in its second week on the Hot 100. The song by the duo of Bruno Mars and Anderson .Paak, which they performed on the Grammy Awards March 14, claims the chart’s top Airplay Gainer trophy, as it bounds 31-12 on Radio Songs (38.7 million, up 65%). It holds at No. 2 on Digital Song Sales (21,000, down 21%) and No. 4 on Streaming Songs (19.4 million, down 16%).

The collab, billed on the Hot 100 as by Silk Sonic (Bruno Mars & Anderson .Paak), and which contributes to the chart histories of both artists, adds a second week at No. 1 on the multi-metric Hot R&B Songs chart.

Olivia Rodrigo’s former eight-week Hot 100 No. 1 “Drivers License” rises 5-3, as it spends a second week at No. 1 on Radio Songs (72.3 million airplay audience impressions, down 3%).

Drake’s “What’s Next” falls to No. 4 on the Hot 100 a week after it launched at No. 1. It tallies a second week at No. 1 on Streaming Songs (23 million, down 53%) and 3-24 on Digital Song Sales (4,000, down 78%), while debuting on Radio Songs at No. 42 (17.3 million, up 45%).

The Weeknd’s “Save Your Tears” pushes 7-5 on the Hot 100, after reaching No. 4, and his “Blinding Lights” also reverses course by two spots, rising 8-6, after spending four weeks at No. 1 last April-May. “Lights” adds a record-extending 54th week in the top 10, two weeks after it became the first song in the chart’s history to total a year in the bracket.

Dua Lipa’s No. 5-peaking “Levitating,” featuring DaBaby, returns to the Hot 100’s top 10, jumping 13-7 following the act’s Grammy Awards performance of the song March 14 (as part a medley, with Lipa’s “Don’t Start Now,” which reached No. 2 in March 2020).

“Levitating” sports gains of 102% to 12,000 sold and 12% to 14.2 million streams in the week ending March 18.

24kGoldn’s “Mood,” featuring Iann Dior, lifts 10-8 on the Hot 100, after eight nonconsecutive weeks at No. 1 in October through mid-January, as it tops the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a 29th week each, and Ariana Grande’s “34+35” holds at No. 9 on the Hot 100, after it reached No. 2.

Rounding out the Hot 100’s top 10, Drake’s “Wants and Needs,” featuring Lil Baby, falls from No. 2, where it debuted a week earlier, to No. 10. Drake’s “What’s Next,” “Wants and Needs” and “Lemon Pepper Style,” featuring Rick Ross (down 3-31), soared in at Nos. 1, 2 and 3, respectively, on the Hot 100 a week ago, making Drake the first artist ever to open in the chart’s top three spots simultaneously.

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

Source: billboard.com

Drake is the first artist ever to debut three songs in the top three simultaneously.

The lyrics of Drake‘s new song “What’s Next” have proven prophetic, as the track debuts at numero uno on the Billboard Hot 100 (aka, the “Hot one hundo”). He also becomes the first artist to enter the chart at Nos. 1, 2 and 3 simultaneously, as the song is joined by his “Wants and Needs,” featuring Lil Baby, new at No. 2, and “Lemon Pepper Freestyle,” featuring Rick Ross, new at No. 3.

The tracks were released March 5 on OVO Sound/Republic Records (packaged under the title “Scary Hours 2”).

With “What’s Next,” Drake adds his eighth Hot 100 No. 1, while the three songs up his total to a record-extending 45 top 10s. Drake also joins The Beatles and Ariana Grande as the only acts ever to rank at Nos. 1, 2 and 3 on the Hot 100 simultaneously.

Meanwhile, the week’s top four songs on the Hot 100 are all debuts for the first time in the chart’s six-decade history — as, below Drake’s three-song launch, Silk Sonic’s “Leave the Door Open” enters at No. 4. The duo comprises Bruno Mars and Anderson .Paak.

Plus, as it cedes the Hot 100’s summit after eight weeks at No. 1, Olivia Rodrigo’s “Drivers License” takes over atop the Radio Songs chart.

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

Here’s a look at Drake’s unprecedented week with “What’s Next,” the 1,117th No. 1 in the Hot 100’s archives, and his two other new entries. The song is the 49th single to debut at No. 1 (and the second in a row, following Rodrigo’s “License”).

Streams, Airplay & Sales: “What’s Next” opens with 49.1 million U.S. streams and 19,000 downloads sold in the week ending March 11, according to MRC Data. It also drew 11.9 million radio airplay audience impressions in the week ending March 14.

“Wants and Needs” arrives with 41.5 million streams, 17,000 sold and 2.1 million in airplay audience, while “Lemon Pepper Freestyle” starts with 32.1 million streams, 15,000 sold and 869,000 in radio reach.

As on the Hot 100, the tracks start at Nos. 1, 2 and 3, respectively, on the Streaming Songs chart, where Drake widens his lead for the most No. 1s (10) and top 10s (51). On Digital Song Sales, they debut at Nos. 3, 4 and 5, respectively.

Drake’s record arrival at Nos. 1, 2 & 3 / Top four all debuts: Drake is the first artist to debut at Nos. 1, 2 and 3 on the Hot 100 in the same week, while the arrival of Silk Sonic’s “Leave the Door Open” makes this week’s chart the first ever with four simultaneous debuts in the top four.

Previously, songs debuted at Nos. 1 and 2 simultaneously on the Hot 100 three times, and never by the same artist. Most recently, Ariana Grande’s “Positions” and Luke Combs’ “Forever After All” launched at Nos. 1 and 2, respectively, on the chart dated Nov. 7, 2020. Before that, Adele’s “Hello” debuted at No. 1 and Bieber’s “Sorry” started at No. 2 on Nov. 14, 2015, while Clay Aiken’s “This Is the Night” and Ruben Studdard’s “Flying Without Wings” entered at Nos. 1 and 2, respectively (reversing their finishes that season on American Idol), on June 28, 2003.

Beatles, Ariana & Drake: Drake, meanwhile, joins The Beatles and Ariana Grande as the only acts ever to rank at Nos. 1, 2 and 3 on the Hot 100 simultaneously. He’s thus the first solo male to earn the honor.

Grande achieved the feat with “7 Rings,” “Break Up With Your Girlfriend, I’m Bored” and “Thank U, Next” on the Hot 100 dated Feb. 23, 2019. No such triple had occurred in 55 years to that point, since The Beatles did so for five weeks in 1964, that March 14, 21 and 28 and April 4 and 25, with “Can’t Buy Me Love,” “Twist and Shout” and “Do You Want to Know a Secret,” respectively, on the last of those dates; on April 4, 1964, the group claimed the entire top five.

Drake’s 8th No. 1: Drake notches his eighth Hot 100 No. 1 with “What’s Next.”

Here’s a recap of all his leaders:

“What’s My Name?,” Rihanna feat. Drake (one week at No. 1, beginning Nov. 20, 2010)
“Work,” Rihanna feat. Drake (nine weeks, beginning March 5, 2016)
“One Dance,” Drake feat. WizKid & Kyla (10 weeks, beginning May 21, 2016)
“God’s Plan,” Drake (11 weeks, beginning Feb. 3, 2018)
“Nice for What,” Drake (eight weeks, beginning April 21, 2018)
“In My Feelings,” Drake (10 weeks, beginning July 21, 2018)
“Toosie Slide,” Drake (one week, April 18, 2020)
“What’s Next,” Drake (one week to-date, March 20, 2021)

“Next” is Drake’s fourth song to debut at No. 1 on the Hot 100, the most among male artists, following “God’s Plan,” “Nice for What” and “Toosie Slide.” Overall, only Ariana Grande boasts more No. 1 beginnings, with five.

With his three latest entrances, Drake also swells his record total to 30 career debuts in the Hot 100’s top 10.

Most weeks at No. 1 among solo males: Drake extends his mark for the most total weeks at No. 1 on the Hot 100 among solo males to 51. Usher ranks second with 47.

Here’s an updated leaderboard among all acts:

84, Mariah Carey
60, Rihanna
59, The Beatles
51, Drake
50, Boyz II Men

Drake ups record to 45 top 10s: Drake pads his record total to 45 Hot 100 top 10s, thanks to “What’s Next,” “Wants and Needs” and “Lemon Pepper Freestyle.” Madonna ranks second with 38 top 10s, followed by The Beatles with 34.

Drake further extends his records to 119 top 40 Hot 100 hits and 231 entries overall.

Lil Baby, Ross reach top 10: With “Wants and Needs,” Lil Baby adds his sixth Hot 100 top 10.

Thanks to “Lemon Pepper Freestyle,” Rick Ross lands his second Hot 100 top 10, and highest placement, following his fellow featured turn on Drake’s “Money in the Grave” (No. 7, 2019). Ross earns his 50th total Hot 100 entry, dating to his first in 2006.

Drake extends R&B/hip-hop No. 1 record: “What’s Next” concurrently launches at No. 1 on on the multi-metric Hot R&B/Hip-Hop Songs chart, where Drake achieves his record-extending 22nd leader. Aretha Franklin and Stevie Wonder share the second-most No. 1s in the chart’s history (20 each).

The track likewise debuts atop the multi-metric Hot Rap Songs chart, where it’s also Drake’s record-furthering 22nd No. 1.

Rounding out the record run of four simultaneous Hot 100 debuts, Silk Sonic’s “Leave the Door Open” starts at No. 4. The song by the duo of Bruno Mars and Anderson .Paak begins with 23.5 million airplay audience impressions, 23.2 million streams and 27,000 sold, as it debuts at No. 2 on Digital Song Sales, No. 4 on Streaming Songs and No. 31 on Radio Songs.

The collab, billed on the Hot 100 as by Silk Sonic (Bruno Mars & Anderson .Paak), contributes to the chart histories of both artists, becoming Mars’ 17th top 10 and Anderson .Paak’s first (after he charted one prior entry, reaching No. 89 in February 2020 as featured on Eminem’s “Lock It Up”).

“Door” debuts at No. 1 on the multi-metric Hot R&B Songs chart, where it’s Mars’ third leader and Anderson .Paak’s first.

Olivia Rodrigo’s “Drivers License” falls to No. 5 after spending its first eight weeks on the Hot 100 at No. 1. Still, it rises 2-1 on Radio Songs (74.3 million, up 1%). It dips 4-9 on Streaming Songs (17.3 million, down 12%) and 5-11 on Digital Song Sales (7,000, down 23%).

“License,” Rodrigo’s first Radio Songs entry, hits No. 1 in its eighth week on the chart. It completes the quickest coronation in nearly two years, since Jonas Brothers’ “Sucker” took over on top in its seventh week in April 2019. Among acts’ first Radio Songs entries (in lead roles), “License” wraps the fastest run to No. 1 since Meghan Trainor’s “All About That Bass” (seven weeks, 2014).

Cardi B’s “Up” drops to No. 6 from its No. 2 Hot 100 high, as it wins the chart’s top Airplay Gainer award (32.4 million, up 17%), and The Weeknd’s “Save Your Tears” slips 6-7, after reaching No. 4, and his “Blinding Lights” falls 3-8, after spending four weeks at No. 1 last April-May. “Lights” adds a record-extending 53rd week in the top 10, a week after becoming the first song in the chart’s history to total a year in the region.

Ariana Grande’s “34+35” slides 4-9 on the Hot 100, after it reached No. 2, and 24kGoldn’s “Mood,” featuring Iann Dior, backtracks 7-10, after eight nonconsecutive weeks at No. 1 in October through mid-January. The latter leads the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a 28th week each.

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

Source: billboard.com

Morgan Wallen’s Dangerous: The Double Album logs a ninth week at No. 1 on the Billboard 200 chart, all consecutively, after having arrived atop the list eight weeks ago (chart dated Jan. 23).

Dangerous now has the most weeks at No. 1 among all albums since Drake’s Views scored 13 nonconsecutive weeks at No. 1 in 2016. Dangerous is also one of just four country albums ever to spend at least nine weeks in the lead.

Dangerous earned 78,000 equivalent album units in the U.S. in the week ending March 11 (down 6%), according to MRC Data.

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 March 20, 2021-dated chart (where Dangerous is No. 1 for a ninth week) will be posted in full on Billboard‘s website on March 16. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Dangerous’ 78,000 equivalent album units earned in the tracking week ending March 11, SEA units comprise 71,000 (down 5%, equaling 98.10 million on-demand streams of the album’s songs), album sales comprise 6,000 (down 10%) and TEA units comprise 1,000 (down 14%). Dangerous is also the first album to string together nine weeks in a row at No. 1 since Drake’s Views also notched its first nine weeks atop the list.

Dangerous is now one of only four country albums to spend at least nine weeks at No. 1 on the Billboard 200 — since the chart began publishing on a regular weekly basis in March of 1956. (Country albums are defined as those that have charted on Billboard’s Top Country Albums chart.) Dangerous is also the only country set to spend its first nine weeks on the chart at No. 1. Ahead of Dangerous among country sets with the most weeks at No. 1: Garth Brooks’ Ropin’ the Wind (18 weeks, 1991-92), Billy Ray Cyrus’ Some Gave All (17, 1992) and Taylor Swift’s Fearless (11, 2008-09).

Pop Smoke’s former No. 1 Shoot for the Stars Aim for the Moon rises 3-2 on the latest Billboard 200 with 40,000 equivalent album units earned (down 4%).

Pooh Shiesty’s Shiesty Season hits a new chart peak, as the set climbs 4-3 with 32,000 equivalent album units earned (down 10%). It surpasses its previous high of No. 4, first achieved in its debut week (chart dated Feb. 20).

The Weeknd’s After Hours moves 163-4 with just under 32,000 equivalent album units earned (up 331%). Meanwhile, his best-of compilation The Highlights falls 2-16 with 24,000 units (down 54%). 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 3,000 copies in the latest tracking week, while The Highlights sold 2,000.) 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 163-4.

Lil Durk’s The Voice is steady at No. 5 with 31,000 equivalent album units earned (down 12%), Dua Lipa’s Future Nostalgia rises 8-6 with 29,500 units (up 1%), Lil Baby’s former No. 1 My Turn is a non-mover at No. 7 with 29,000 units (down 2%) and Ariana Grande’s former leader Positions dips 6-8 with just over 28,000 units (down 13%).

Rock act Chevelle scores its fifth Billboard 200 top 10 album as Niratias debuts at No. 9 with 28,000 equivalent album units earned. Of the album’s starting sum, a little over 24,000 comprise album sales, a little more than 3,000 comprise SEA units (equaling 4.45 million on-demand streams of the songs) and a negligible sum comprises TEA units. Chevelle previously hit the top 10 with The North Corridor (No. 8 in 2016), La Gargola (No. 3, 2014), Sci-Fi Crimes (No. 6, 2009) and This Type of Thinking (Could Do Us In) (No. 8, 2004). The new album was led by the single “Self Destructor,” which rose 3-2 on the most recently published Mainstream Rock Airplay chart (dated March 13). It’s the act’s 15th top 10. Niratias gives the Billboard 200’s top 10 its first debut after a three-week drought of new arrivals.

Rounding out the latest top 10 is Luke Combs’ former chart-topper What You See Is What You Get, shifting 9-10 with nearly 28,000 units (down less than 1%).

Source: billboard.com

“Blinding Lights” is the first song to spend 52 weeks in the Hot 100’s top 10.

Olivia Rodrigo‘s “Drivers License” adds an eighth week at No. 1 on the Billboard Hot 100, encompassing its entire run on the chart so far.

Meanwhile, The Weeknd‘s former leader “Blinding Lights,” at No. 3, becomes the first song in the Hot 100’s history to spend a year in the top 10, as it logs its 52nd week in the region.

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

“License” was released Jan. 8 on Geffen/Interscope Records and debuted at No. 1 on the Jan. 23-dated Hot 100, marking Rodrigo’s first leader (after her debut entry, “All I Want,” reached No. 90 in January 2020). The song from the singer-songwriter and actress, who broke through with roles on Disney Channel’s Bizaardvark and Disney+’s High School Musical: The Musical: The Series, totaled 19.7 million U.S. streams (down 9%) and 9,000 downloads sold (down 30%) in the week ending March 4, according to MRC Data. It also drew 73.2 million radio airplay audience impressions (up 7%) in the week ending March 7.

The track holds at its No. 2 high on the Radio Songs chart; slips 3-4 on Streaming Songs, after four weeks at No. 1; and drops 2-5 on Digital Song Sales, after three weeks at No. 1.

“License” also wins the Hot 100’s top Airplay Gainer award for a seventh consecutive week, becoming the first song to link such a streak since Pharrell’s “Happy” claimed the honor for eight straight weeks in February-March 2014.

Additionally, “License” is just the seventh single to have debuted at No. 1 on the Hot 100 and spent at least its first eight weeks on top. It’s the first to earn the distinction for an artist’s first No. 1 as the sole billed act.

Singles to Spend First Eight Weeks or More on Hot 100 at No. 1
16 weeks, “One Sweet Day,” Mariah Carey & Boyz II Men, 1995-96
14 weeks, “Candle in the Wind 1997″/”Something About the Way You Look Tonight,” Elton John, 1997-98
11 weeks, “God’s Plan,” Drake, 2018
11 weeks, “I’ll Be Missing You,” Puff Daddy & Faith Evans feat. 112, 1997
10 weeks, “Hello,” Adele, 2015-16
8 weeks, “Drivers License,” Olivia Rodrigo, 2021
8 weeks, “Fantasy,” Mariah Carey, 1995

Cardi B’s “Up” keeps at its No. 2 high on the Hot 100; it debuted at the runner-up spot three weeks ago. It returns for a second week atop Streaming Songs (23.9 million, down 1%), repeats at No. 4 on Digital Song Sales (10,000, up 9%) and climbs 33-28 on Radio Songs (27.4 million, up 19%).

“Up” posts a third week at No. 1 on both the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which employ the same methodology as the Hot 100.

The Weeknd’s “Blinding Lights” rebounds 5-3 on the Hot 100. The smash spent four weeks at No. 1 last April-May, eventually finishing as the Hot 100’s top hit of all of 2020, and adds a record-extending 52nd week in the top 10, becoming the first song in the history of the chart (which began Aug. 4, 1958) to total a full year’s time in the top 10. After debuting at No. 11 on the chart dated Nov. 14, 2019, it reached the top 10 on Feb. 29, 2020, and has spent all but two frames in the top tier since (ranking at Nos. 11 and 18 for two weeks in December).

Here’s an updated look at the songs that have spent the most time in the Hot 100’s top 10.

Most Weeks in Billboard Hot 100’s Top 10
52, “Blinding Lights,” The Weeknd, 2020-21
39, “Circles,” Post Malone, 2019-20
33, “Sunflower (Spider-Man: Into the Spider-Verse),” Post Malone & Swae Lee, 2018-19
33, “Girls Like You,” Maroon 5 feat. Cardi B, 2018-19
33, “Shape of You,” Ed Sheeran, 2017
32, “Sicko Mode,” Travis Scott, 2018-19
32, “Closer,” The Chainsmokers feat. Halsey, 2016-17
32, “How Do I Live,” LeAnn Rimes, 1997-98
31, “Uptown Funk!,” Mark Ronson feat. Bruno Mars, 2014-15
30, “Bad Guy,” Billie Eilish, 2019
30, “Smooth,” Santana feat. Rob Thomas, 1999-2000

Meanwhile, “Lights” ties for the most time totaled in the Hot 100’s top three, 21 weeks, equaling the sums of The Chainsmokers’ “Closer” and Mark Ronson’s “Uptown Funk!”

Further, “Lights” achieves a record-padding 43rd week in the Hot 100’s top five (no other song has logged more than 27 weeks in the region) and becomes one of just nine hits to have totaled at least 65 weeks on the chart overall, and the first since OneRepublic’s “Counting Stars” wrapped a 68-week run in October 2014. Imagine Dragons’ “Radioactive” spent a record 87 weeks on the Hot 100 in 2012-14.

“Lights” also notches a record-extending 48th week at No. 1 on the multi-metric Hot R&B Songs chart.

Ariana Grande’s “34+35” holds at No. 4 on the Hot 100, two weeks after it revisited its No. 2 peak (sparked by the Feb. 12 premiere of its official video starring Grande, Doja Cat and Megan Thee Stallion).

Chris Brown and Young Thug’s “Go Crazy” dips to No. 5 from its No. 3 Hot 100 high and tallies an eighth week atop Radio Songs (74.7 million in audience, down 5%).

The Weeknd’s other current Hot 100 top 10, “Save Your Tears,” is steady at No. 6, two weeks after reaching its No. 4 high. It becomes his 11th top 10 on Radio Songs (13-10; 42.9 million, up 6%), where, to note yet another superlative, “Blinding Lights” reigned for a record 26 weeks in April-October 2020.

24kGoldn’s “Mood,” featuring Iann Dior, is stationary at No. 7 on the Hot 100, after eight nonconsecutive weeks at No. 1 in October through mid-January. It rules the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a 27th week each.

Rounding out the Hot 100’s top 10, Lil Tjay’s “Calling My Phone,” featuring 6LACK, holds at No. 8, two weeks after it launched at No. 3; Pop Smoke’s “What You Know Bout Love” re-enters the region at a new No. 9 high, up from No. 11; and Dua Lipa’s “Levitating,” featuring DaBaby, keeps at No. 10, after hitting No. 5.

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

Source: billboard.com

Morgan Wallen’s Dangerous: The Double Album continues to rule the Billboard 200 chart for an eighth week, all consecutively, after having bowed atop the tally seven weeks ago (chart dated Jan. 23). Dangerous is now one of only six country albums that have spent at least eight weeks in total at No. 1.

Dangerous earned 82,000 equivalent album units in the U.S. in the week ending March 4 (down 7%), according to MRC Data.

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 March 13, 2021-dated chart (where Dangerous is No. 1 for an eighth week) will be posted in full on Billboard‘s website on March 9. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Dangerous’ 82,000 equivalent album units earned in the tracking week ending Feb. 25, SEA units comprise 75,000 (down 7%, equaling 103.33 million on-demand streams of the album’s songs), album sales comprise 6,000 (down 4%) and TEA units comprise 1,000 (down 13%).

Dangerous now ties Taylor Swift’s 2020 album Folklore for the second-most weeks at No. 1 on the Billboard 200 in the last five years — among albums of all genres. Each has tallied eight weeks at No. 1. Drake’s Views has the most weeks at No. 1 in the last five years, with 13 nonconsecutive weeks at No. 1 (all in 2016).

Dangerous continues to move up the list of country albums with the most weeks at No. 1 on the Billboard 200, since the chart began publishing on a regular weekly basis in March of 1956. (Country albums are defined as those that have charted on Billboard’s Top Country Albums chart.) Dangerous is also the only country set to spend its first eight weeks on the chart at No. 1.

Country Albums With Most Weeks at No. 1 on Billboard 200:

Artist, Title, Weeks at No. 1 (Year[s])
Garth Brooks, Ropin’ the Wind, 18 (1991-92)
Billy Ray Cyrus, Some Gave All, 17 (1992)
Taylor Swift, Fearless, 11 (2008-09)
Garth Brooks, The Hits, eight (1995)
Eagles, Hotel California, eight (1977)
Morgan Wallen, Dangerous: The Double Album, eight to-date (2021)

For the third week in a row, no albums debut in the top 10 on the Billboard 200. The chart last housed top 10 arrivals on the Feb. 20-dated list, when Foo Fighters’ Medicine at Midnight and Pooh Shiesty’s Sheisty Season debuted at Nos. 3 and 4, respectively.

The last time the chart went without top 10 debuts for three straight weeks in January of 2019 on the Jan. 12, 19 and 26-dated charts (thanks to a quiet post-Christmas release schedule). The last time the top 10 was absent of debuts for three weeks in a row outside of the post-Christmas period was on the charts dated Dec. 16, 23 and 30, 2000 (when the chart ranked titles only by album sales, before it transitioned to a multi-metric consumption ranking in December 2014). In 2000, the only album released after Thanksgiving (Nov. 23) to bow in the top 10 was Snoop Dogg’s Tha Last Meal, which was released on Dec. 19 and debuted at No. 9 on the Jan. 6, 2001-dated chart.

Back on the new Billboard 200, The Weeknd’s compilation album The Highlights rises 12-2, matching its peak, with 52,000 equivalent album units earned (up 96%). The set includes many of the artist’s best-known hits, including “Blinding Lights” and “Save Your Tears” — both of which are also on his last studio album, 2020’s After Hours.

On the latest chart, the TEA and SEA units for both songs contribute to The Highlights, as a song’s activity is assigned to the artist’s album with the most sales in a week. (The Highlights sold 3,000 copies in the latest tracking week, while After Hours sold 2,000.) A week ago, the TEA and SEA for both songs were directed to After Hours (which in that frame outsold The Highlights 3,000 to 2,000). In turn, with the songs’ activity moving to The Highlights, the After Hours album moves 6-163.

Pop Smoke’s former No. 1 Shoot for the Stars Aim for the Moon is a non-mover at No. 3 with 42,000 (down 1%), Pooh Sheisty’s Sheisty Season climbs 5-4 with 36,000 (down 4%) and Lil Durk’s The Voice dips 4-5 with 36,000 (down 7%).

A pair of former No. 1s are next, as Ariana Grande’s Positions falls 2-6 with 32,000 units (down 34%) and Lil Baby My Turn rises 10-7 with 30,000 units (up 4%). Dua Lipa’s Future Nostalgia is steady at No. 8 with 29,000 units (down 2%), Luke Combs’ former chart-topper What You See Is What You Get is stationary at No. 9 with 28,000 units (down 2%) and Juice WRLD’s former leader Legends Never Die is up 11-10 with 27,000 units (down 2%).

Source: billboard.com

Brown claims his highest Hot 100 rank since 2008.

Olivia Rodrigo‘s “Drivers License” logs a seventh week at No. 1 on the Billboard Hot 100, encompassing its entire run on the chart so far.

The song also accelerates to No. 1 on the Pop Airplay radio chart.

Meanwhile, Chris Brown and Young Thug‘s “Go Crazy” vaults from No. 8 to No. 3 on the Hot 100, surpassing its prior No. 5 high, aided by a new remix.

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

“License” was released Jan. 8 on Geffen/Interscope Records and debuted at No. 1 on the Jan. 23-dated Hot 100, marking Rodrigo’s first leader. The song from the singer-songwriter and actress, who broke through with roles on Disney Channel’s Bizaardvark and Disney+’s High School Musical: The Musical: The Series, totaled 21.5 million U.S. streams (down 4%) and 13,000 downloads sold (up 38%) in the week ending Feb. 25, according to MRC Data. It also drew 67.3 million radio airplay audience impressions (up 13%) in the week ending Feb. 28.

Enhancing the song’s profile in the tracking week, NBC’s Saturday Night Live aired a skit Feb. 20 in tribute to its popularity. (Rodrigo, who celebrated her birthday that day, approved of the gift.)

The track rebounds 8-2 on the Digital Song Sales chart (after three weeks at No. 1), as it wins the Hot 100’s top Sales Gainer award; pushes 5-2 on Radio Songs; and slips 2-3 on Streaming Songs (after four weeks at No. 1).

“License” also claims top Airplay Gainer honors on the Hot 100 for a sixth consecutive week, becoming the first song to link such a streak since Sia’s “Cheap Thrills,” featuring Sean Paul, in June-July 2016.

Helping power its radio surge, “License” shifts 2-1 on the Pop Airplay chart (which reflects plays on a panel of over 160 mainstream top 40 stations). The song reaches the summit in its seventh week, completing the fastest trip to the top since Ed Sheeran’s “Shape of You” (also seven weeks, in 2017).

As “License” is Rodrigo’s first Pop Airplay entry, it’s the first initial hit by an artist in a lead role to rule the chart so quickly since fun.’s “We Are Young,” featuring Janelle Monae (seven, 2012), and the first maiden entry by a soloist in a lead role in almost 18 years — since 50 Cent’s “In Da Club” (seven, 2003). No woman with lead billing had sent a first Pop Airplay entry to No. 1 as fast as Rodrigo has in nearly 20 years — since Blu Cantrell’s “Hit ‘Em Up Style (Oops!)” (seven, 2001).

Additionally, “License” is just the seventh single to have debuted at No. 1 on the Hot 100 and spent at least its first seven weeks on top. It’s the first to earn the distinction for an artist’s first No. 1 as the sole billed act.

Singles to Spend First Seven Weeks or More on Hot 100 at No. 1
16 weeks, “One Sweet Day,” Mariah Carey & Boyz II Men, 1995-96
14 weeks, “Candle in the Wind 1997″/”Something About the Way You Look Tonight,” Elton John, 1997-98
11 weeks, “God’s Plan,” Drake, 2018
11 weeks, “I’ll Be Missing You,” Puff Daddy & Faith Evans feat. 112, 1997
10 weeks, “Hello,” Adele, 2015-16
8 weeks, “Fantasy,” Mariah Carey, 1995
7 weeks, “Drivers License,” Olivia Rodrigo, 2021

Cardi B’s “Up” jumps 5-2 on the Hot 100, returning to its highpoint where it debuted two weeks ago. It rises 3-2 on Streaming Songs (24.3 million, up 8%), 5-4 on Digital Song Sales (9,000, down 17%) and 41-33 on Radio Songs (22.8 million, up 20%).

“Up” rebounds for a second week at No. 1 on both the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which employ the same methodology as the Hot 100.

Chris Brown and Young Thug’s “Go Crazy” soars 8-3 for a new Hot 100 high, besting its prior No. 5 peak, following the Feb. 19 release of its remix featuring Future, Lil Durk and Mulatto. The track adds a seventh week atop Radio Songs (77.6 million in audience, down 2%); blasts 50-12 on Streaming Songs (13.2 million, up 74%); and re-enters Digital Song Sales at No. 35 (3,000 sold, up 76%). (Future, Lil Durk and Mulatto are not credited on the song on the Hot 100, as the remix did not draw the majority of its activity in the tracking week.)

Brown posts his highest Hot 100 rank in over a dozen years, since “Forever” peaked at No. 2 for two weeks in summer 2008.

“Go Crazy” concurrently scores a third week atop the multi-metric Hot R&B Songs chart.

Ariana Grande’s “34+35” drops to No. 4 on the Hot 100, a week after it revisited its No. 2 high (when it was sparked the Feb. 12 premiere of its official video starring Grande, Doja Cat and Megan Thee Stallion).

The Weeknd’s “Blinding Lights” dips 4-5 on the Hot 100. The song spent four weeks at No. 1 last April-May (eventually finishing as the Hot 100’s top hit of all of 2020) and posts its 64th total week on the chart. It adds a record-extending 51st week in the top 10 and record-padding 42nd week in the top five.

The Weeknd boasts back-to-back hits in the Hot 100’s top 10, as “Save Your Tears” holds at No. 6, two weeks after reaching its No. 4 high.

24kGoldn’s “Mood,” featuring Iann Dior, keeps at No. 7 on the Hot 100, after eight nonconsecutive weeks at No. 1 in October through mid-January. It rules the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a 26th week each.

Lil Tjay’s “Calling My Phone,” featuring 6LACK, falls to No. 8 on the Hot 100, a week after it launched at No. 3. It adds a second week atop Streaming Songs (25.4 million, down 25%).

Rounding out the Hot 100’s top 10, Grande’s “Positions” rises 10-9, after spending its first week on the chart at No. 1 in November, and Dua Lipa’s “Levitating,” featuring DaBaby, backtracks 9-10, after reaching No. 5.

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

Source: billboard.com