Morgan Wallen’s Dangerous: The Double Album makes chart history as the only country album to spend its first seven weeks at No. 1 in the 64-year history of the Billboard 200. The set rules the list for a seventh total week, all consecutive, after having debuted atop the list six weeks ago (chart dated Jan. 23).

Dangerous earned 89,000 equivalent album units in the U.S. in the week ending Feb. 25 (down 5%), according to MRC Data.

The only other country set to tally its first six weeks at No. 1 was Garth Brooks’ The Chase. It debuted at No. 1 on the Oct. 10, 1992-dated list and spent six weeks in the lead (through Nov. 14, 1992). It then slipped from the top slot for two weeks, returning for one more week at No. 1 (Nov. 28, 1992).
Dangerous and The Chase are two of only eight country albums that have spent at least seven weeks in total at No. 1.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. 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 6, 2021-dated chart (where Dangerous is No. 1 for a seventh week) will be posted in full on Billboard‘s website on March 2. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Dangerous’ 89,000 equivalent album units earned in the tracking week ending Feb. 25, SEA units comprise 80,000 (down 1%, equaling 110.79 million on-demand streams of the album’s songs), album sales comprise 7,000 (down 31%) and TEA units comprise 2,000 (down 22%).

Dangerous is one of just eight country albums that have spent at least seven weeks in total at No. 1 since the Billboard 200 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 the only country set to spend its first seven 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, seven to-date (2021)
Taylor Swift, Red, seven (2012-13)
Garth Brooks, The Chase, seven (1992)

The last album to spend seven weeks in a row at No. 1, regardless of genre, was Drake’s Views, which spent its first nine weeks at No. 1 in 2016 (May 21-July 16-dated charts). Views spent a total of 13 nonconsecutive weeks at No. 1, all in 2016. Only three albums of any genre have spent at least seven weeks at No. 1 in the last five years: Dangerous, Taylor Swift’s Folklore (eight nonconsecutive weeks, 2020) and Drake’s Views (13 nonconsecutive weeks, 2016).

At No. 2 on the Billboard 200, Ariana Grande’s former No. 1 Positions rises seven spots with 49,000 equivalent album units earned (up 66%). The album was reissued on Feb. 19 with five additional tracks. Pop Smoke’s Shoot for the Stars Aim for the Moon rises 4-3 with 43,000 units (up 13%).

Lil Durk’s The Voice falls 3-4 with 38,000 equivalent album units earned (down 3%), Pooh Shiesty’s Sheisty Season is a non-mover at No. 5 with 37,000 units (up less than 1%) and The Weeknd’s former No. 1 After Hours falls 2-6 with just under 37,000 units (down 13%).

BTS’ former No. 1 Be bounds 74-7 with 36,000 equivalent album units earned (up 254%) after the album was issued on Feb. 19 in a new deluxe CD package, dubbed the “essential edition.” Of the album’s units earned in the week ending Feb. 25, album sales comprise 28,000 (up 888%). No additional tracks were added to the essential edition of the album, which sells for $30.98 on BTS’ official U.S. webstore. The essential edition offers different packaging and internal paper goods (including one randomized collectible photocard) as compared to Be’s original CD release, which sold for $50.98 and had more paper goods (though none were randomized).

Dua Lipa’s Future Nostalgia slips 7-8 on the latest Billboard 200 with 30,000 equivalent album units earned (down 7%), Luke Combs’ former No. 1 What You See Is What You Get climbs 11-9 with just over 28,000 units (up 4%) and Lil Baby’s former leader My Turn bumps 13-10 with 28,000 units (up 11%).

Source: billboard.com

Plus, Ariana Grande’s “34+35” returns to its No. 2 high following the premiere of its video with Doja Cat & Megan Thee Stallion.

Olivia Rodrigo‘s “Drivers License” rolls to a sixth week at No. 1 on the Billboard Hot 100, encompassing its entire run on the chart so far after it debuted atop the chart five weeks ago.

Ariana Grande‘s “34+35” returns to its No. 2 Hot 100 best, from No. 6, following the arrival of its official video with Doja Cat and Megan Thee Stallion.

Plus, Lil Tjay‘s “Calling My Phone,” featuring 6LACK, launches at No. 3 on the Hot 100, marking the highest career rank for each artist.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Feb. 27) will update on Billboard.com tomorrow (Feb. 23). 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 atop the Jan. 23-dated Hot 100, marking Rodrigo’s first No. 1. 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 22.4 million U.S. streams (down 19%) and 10,000 downloads sold (down 42%) in the week ending Feb. 18, according to MRC Data. It also drew 59.1 million radio airplay audience impressions (up 11%) in the week ending Feb. 21.

The track holds at No. 2 after four weeks atop the all-genre Streaming Songs chart, reaches the Radio Songs top five, pushing 7-5, and retreats 4-8 after three weeks atop Digital Song Sales.

“License” claims top Airplay Gainer honors on the Hot 100 for a fifth consecutive week, becoming the first song to achieve such a streak since Post Malone’s “Circles” in September-October 2019.

Plus, “License” is just the eighth single to have debuted at No. 1 on the Hot 100 and spent at least its first six weeks on top. It’s the first to earn the distinction for a female artist’s first No. 1 with a song on which she’s the sole billed act.

Singles to Spend First Six 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
6 weeks, “Drivers License,” Olivia Rodrigo, 2021
6 weeks, “Born This Way,” Lady Gaga, 2011

(The hit’s latest week atop the Hot 100 makes for a slightly belated birthday present for Rodrigo, as her real-life driver’s license surely reflects that she was born Feb. 20, 2003.)

Ariana Grande’s “34+35” surges 6-2 on the Hot 100 after first reaching the rank four weeks earlier, when it was sparked by the Jan. 15 release of its remix featuring Doja Cat and Megan Thee Stallion. Now, the song returns to its high following the Feb. 12 premiere of its official video starring all three artists, and the release that day of the deluxe edition of parent album Positions.

“34+35” ascends with 60.2 million in airplay audience (up 2%), 18.1 million streams (up 35%) and 16,000 sold (up 863%), the latter two metrics good for the song’s dual wins for top Streaming and Sales Gainer on the Hot 100.

(Doja Cat and Megan Thee Stallion are not credited on the Hot 100 this week on “34+35”; they were listed in the song’s first frame at No. 2, when, unlike this week, the trio’s version drew the majority of its activity; Still, and regardless of future activity, they will remain credited in their individual chart histories on the song.)

Lil Tjay’s “Calling My Phone,” featuring 6LACK, bounds onto the Hot 100 at No. 3, after buzz for the song built via previews on TikTok. Released in full Feb. 12, it opens with 34 million streams, 1.4 million in radio reach and 3,000 sold.

Lil Tjay (born Tione Jayden Merritt) earns his first Hot 100 top 10, after reaching a prior No. 11 best as featured on Polo G’s “Pop Out” in June 2019. 6LACK (born Ricardo Valentine Jr.) also achieves his first top 10, after never before appearing in the chart’s upper half.

“Phone” rings in at No. 1 on Streaming Songs, where it’s each artist’s first leader. It also arrives as each act’s first 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” dips 3-4 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 logs its 63rd total week on the chart. It adds a record-extending and landmark 50th week in the top 10 and record-furthering 41st week in the top five. The track also claims a record-padding 47th frame atop the multi-metric Hot R&B Songs chart.

Cardi B’s “Up” drops to No. 5 a week after it debuted at No. 2 on the Hot 100, and The Weeknd’s “Save Your Tears” falls to No. 6 from its No. 4 high.

24kGoldn’s “Mood,” featuring Iann Dior, descends 5-7 on the Hot 100, after eight nonconsecutive weeks at No. 1 in October through mid-January. It leads the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a 25th week each.

Chris Brown and Young Thug’s “Go Crazy” backtracks 7-8 on the Hot 100, after hitting No. 5, as it adds a sixth week atop Radio Songs (79.1 million in audience, down 1%).

Rounding out the Hot 100’s top 10, Dua Lipa’s “Levitating,” featuring DaBaby, slips 8-9, after reaching No. 5, and Grande’s “Positions” falls 9-10, after spending its first week on the chart at No. 1 in November.

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

Source: billboard.com

Plus: Dua Lipa’s ‘Future Nostalgia’ returns to top 10, after 10 months, following deluxe reissue.

Morgan Wallen’s Dangerous: The Double Album snares a sixth total week, all in a row, at No. 1 on the Billboard 200 chart (dated Feb. 27), capturing the most weeks atop the list for a male artist’s album since Drake’s Views logged 13 nonconsecutive weeks in the lead in 2016 (May 21-Oct. 8, 2016-dated charts).

Dangerous earned 93,000 equivalent album units in the U.S. in the week ending Feb. 18 (down 38%), according to MRC Data.

Dangerous bowed atop the list five weeks ago, on the chart dated Jan. 23. Only three albums have spent at least six weeks at No. 1 in the last five years: Dangerous, Taylor Swift’s Folklore (eight nonconsecutive weeks, 2020) and Drake’s Views (13).ARTIST MENTIONED

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 Feb. 27, 2021-dated chart (where Dangerous is No. 1 for a sixth week) will be posted in full on Billboard‘s website on Feb. 23. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Dangerous’ 93,000 equivalent album units earned in the tracking week ending Feb. 18, SEA units comprise 81,000 (down 24%, equaling 112.11 million on-demand streams of the album’s songs), album sales comprise 10,000 (down 74%) and TEA units comprise 2,000 (down 64%).

Among albums that have charted on both Top Country Albums and the Billboard 200 (like Dangerous), the last to earn six total weeks at No. 1 on the Billboard 200 was Swift’s Red, with seven nonconsecutive weeks atop the list in 2012-13.

Dangerous is the first country album by a man with six total weeks at No. 1 since Garth Brooks’ The Hits ruled for eight nonconsecutive weeks in 1995, and the first non-best-of country album by a man with six total weeks at No. 1 since Brooks’ The Chase net seven total weeks at No. 1 in 1992.

Dangerous is also the first country album to spend its first six weeks at No. 1 since The Chase, which ruled the list in its first six weeks. The Chase debuted at No. 1, spent six weeks in charge (Oct. 10-Nov. 14, 1992), then slipped from the top slot for two weeks, returning for one more week at No. 1 (Nov. 28, 1992).

At No. 2 on the Billboard 200, The Weeknd’s After Hours surges 37-2 with 42,000 equivalent album units earned (up 183%). It’s the first of two albums in the top 10 by The Weeknd, as his best-of package The Highlights dips 2-8 in its second week with 31,000 units (down 65%).

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 6,000 copies in the latest tracking week, while The Highlights sold 4,000.) A week ago, the TEA and SEA for both songs was directed to The Highlights (which in that frame outsold After Hours 10,000 to 6,000). In turn, with the songs’ activity reverting back to After Hours, the album vaults from 37-2.

With After Hours’ rise to No. 2, it lands its highest rank since the May 2, 2020-dated chart, when it fell to the runner-up spot after spending its first four weeks at No. 1.

Lil Durk’s The Voice climbs 5-3 on the Billboard 200 with 40,000 equivalent album units earned (down 20%), while Pop Smoke’s former No. 1 Shoot for the Stars Aim for the Moon rises 6-4 with 38,000 units (down 8%) and Pooh Shiesty’s Shiesty Season falls 4-5 in its second week with 37,000 units (down 40%).

Taylor Swift’s former No. 1 Evermore bumps back into the top 10 with an 11-6 rise (33,000 equivalent album units earned; up 16%). Of that sum, 12,000 are in album sales — up 70%. The album had a robust sales bump thanks to the release of the cassette edition of the album, as well as buzz and promotion generated by Swift’s Feb. 10 announcement that she would be re-recording her chart-topping 2008 Fearless album.

Dua Lipa’s Future Nostalgia surges back into the top 10 for the first time in 10 months, as the album jumps 21-7 with 32,000 equivalent album units earned (up 58%). Its big gain is owed to the album’s deluxe reissue on Feb. 12 with six additional songs, including its new radio hit “We’re Good.” The cut debuted at No. 31 on the most recently published Pop Airplay chart (dated Feb. 20). Among the other newly added songs are two earlier Pop Airplay hits that didn’t previously have a home on a Dua Lipa album: “Un Dia (One Day),” with J Balvin, Bad Bunny and Tainy, and her featured turn on Miley Cyrus’ “Prisoner.”

Future Nostalgia debuted and peaked at No. 4 on the April 11, 2020-dated chart, and has now spent a total of four weeks in the top 10.

Rounding out the rest of the top 10 on the latest Billboard 200, below The Weeknd’s The Highlights at No. 8, are two former No. 1s: Ariana Grande’s Positions (7-9 with 30,000 equivalent album units earned; down 7%) and Juice WRLD’s Legends Never Die (8-10 with 28,000 units; down 5%).

Source: billboard.com

Plus, The Weeknd scores two songs in the top five & Pop Smoke’s “What You Know Bout Love” ascends to the top 10.

Olivia Rodrigo‘s “Drivers License” dominates the Billboard Hot 100 chart for a fifth week, after soaring in at the summit four weeks ago.

Plus, Cardi B‘s “Up” blasts onto the Hot 100 at No. 2; The Weeknd doubles up in the top five following his Super Bowl LV halftime show performance, with “Blinding Lights” at No. 3 and “Save Your Tears” at No. 4; and the late Pop Smoke‘s “What You Know Bout Love” enters the top 10, rising from No. 13 to No. 10.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Feb. 20) will update on Billboard.com tomorrow (Feb. 17, a day later than usual in observance of the Presidents Day holiday in the U.S. Feb 15). 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 atop the Jan. 23-dated Hot 100, marking Rodrigo’s first No. 1. 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 27.6 million U.S. streams (down 14%) and 16,000 downloads sold (up 29%) in the week ending Feb. 11, according to MRC Data. It also drew 54.3 million radio airplay audience impressions (up 16%) in the week ending Feb. 14, as it wins the Hot 100’s top Airplay Gainer award for a fourth consecutive frame.

The track slips to No. 2 after four weeks atop the all-genre Streaming Songs chart and 3-4 after three weeks atop Digital Song Sales, while reaching the Radio Songs top 10, pushing 11-7.

“License” is just the 10th single to have debuted at No. 1 on the Hot 100 and spent at least its first five weeks on top. It’s the first to earn the distinction for a female artist’s first No. 1 with a song on which she’s the sole billed act.

Singles to Spend First Five 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
6 weeks, “Born This Way,” Lady Gaga, 2011
5 weeks, “Drivers License,” Olivia Rodrigo, 2021
5 weeks, “7 Rings,” Ariana Grande, 2019
5 weeks, “Harlem Shake,” Baauer, 2013

Cardi B’s “Up” roars onto the Hot 100 at No. 2, following its Feb. 5 release. It launches with 31.2 million streams, 14.9 million in airplay audience and 37,000 sold (digital and physical singles combined; in addition to “explicit,” “clean” and “instrumental” download options for $1.29 during the tracking week, a “limited CD single” and “alternative cover” CD single were available for purchase in Cardi B’s official webstore for $9.99 each).

The rapper/singer collects her ninth Hot 100 top 10, a sum that includes four No. 1s. She has notched at least one top 10 in each of the last five years, dating to her debut No. 1 “Bodak Yellow (Money Moves)” in 2017.

“Up” opens at No. 1 on both Digital Song Sales and Streaming Songs, where it’s Cardi B’s fifth and fourth leader, respectively. It enters Radio Songs at No. 50.

The track also premieres at No. 1 on both the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which use the same methodology as the Hot 100. Cardi B achieves her sixth No. 1 on the former chart and fifth on the latter list.

After The Weeknd included portions of each song in his Super Bowl LV halftime performance Feb. 7, his “Blinding Lights” (which closed the set) holds at No. 3 on the Hot 100 and “Save Your Tears” surges 8-4, becoming his ninth top five hit. Both songs are from his latest studio LP, 2020’s After Hours (which now sports three top five hits, as “Heartless” hit No. 1 for a week in December 2019) and appear on his new hits collection The Highlights, which debuts at No. 2 on the Billboard 200.

“Lights” tallied 58.7 million in airplay audience (up 2%), 21.8 million streams (up 45%) and 30,000 sold (up 247%) in the tracking week; “Tears” earned 32.1 million in radio reach (up 14%) and 21.7 million streams (up 45%) and sold 14,000 (up 152%). The former takes top Sales Gainer honors on the Hot 100 and the latter is the chart’s top Streaming Gainer.

“Lights” spent four weeks at No. 1 on the Hot 100 last April-May (eventually finishing as the chart’s top hit of all of 2020) and logs its 62nd total week on the chart. It adds a record-extending 49th week in the top 10 and record-furthering 40th week in the top five. The track also posts a record-padding 46th frame atop the multi-metric Hot R&B Songs survey.

Rounding out the Hot 100’s top five, 24kGoldn’s “Mood,” featuring Iann Dior, dips 2-5, after eight nonconsecutive weeks at No. 1 in October through mid-January. It tops the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a 24th week each.

Ariana Grande’s “34+35” descends 4-6 on the Hot 100, after reaching No. 2 three weeks earlier; Chris Brown and Young Thug’s “Go Crazy” slips 6-7, after hitting No. 5, as it adds a fifth week atop Radio Songs (81.1 million in audience, down 2%); Dua Lipa’s “Levitating,” featuring DaBaby, drops to No. 8 from its No. 5 Hot 100 high; and Grande’s “Positions” falls 7-9, after spending its first week on the chart at No. 1 in November.

Closing the Hot 100’s top 10, Pop Smoke’s “What You Know Bout Love” rises 13-10, with 43.7 million in airplay audience (up 9%), 11 million streams (down 6%) and 2,000 sold (down 5%).

The rapper appears in the Hot 100’s top 10 with a second hit, after “For the Night,” featuring Lil Baby and DaBaby, debuted at its No. 6 high last July. Both songs are from his album Shoot for the Stars Aim for the Moon, released that month. The artist born Bashar Barakah Jackson, from Brooklyn, was fatally shot at age 20 on Feb. 19, 2020, during a home invasion in Los Angeles.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Feb. 20), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Feb. 17).

Source: billboard.com

Plus: The Weeknd, Foo Fighters and Pooh Shiesty debut in top 10.

Morgan Wallen’s Dangerous: The Double Album continues to rule the Billboard 200 chart for a fifth straight week, while Wallen’s previous set, 2018’s If I Know Me, reaches the top 10 for the first time.

Dangerous earned 150,000 equivalent album units in the U.S. in the week ending Feb. 11 (up 1%), according to MRC Data. Dangerous bowed atop the list four weeks ago, on the chart dated Jan. 23. It’s just the third album to spend five weeks at No. 1 in the last 12 months, following Taylor Swift’s Folklore (eight weeks) and Lil Baby’s My Turn (five weeks). My Turn and Folklore were also the two most popular albums of 2020, 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 Feb. 20, 2021-dated chart (where Dangerous is steady at No. 1) will be posted in full on Billboard‘s website on Feb. 17 (one day later than usual, owed to the Presidents’ Day holiday in the U.S. on Feb. 15). For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Dangerous’ 150,000 equivalent album units earned in the tracking week ending Feb. 11, SEA units comprise 107,000 (down 9%, equaling 146.38 million on-demand streams of the album’s songs), album sales comprise 37,000 (up 49%) and TEA units comprise 5,000 (down 6%).

During the new chart’s tracking week, on Feb. 10, Wallen issued a five-minute video via social media addressing the Feb. 2 emergence of an earlier video showing him using the N-word. Reaction to the Feb. 2 clip was swift – he was “suspended” from his recording contract with Big Loud Records, his music was removed from dozens of high profile playlists on streamers such as Apple Music and Spotify, and multiple radio groups dropped his music. In the tracking week that captured the initial fallout from the Feb. 2 video, Dangerous spent a fourth week at No. 1 (with a 14% gain in units earned in the week ending Feb. 4).

Among albums that charted on both Top Country Albums and the Billboard 200, the last to notch five total weeks at No. 1 on the Billboard 200 was Taylor Swift’s Red, with seven nonconsecutive weeks atop the list in 2012-13. The last country set to log its first five weeks at No. 1 was Shania Twain’s Up (Dec. 7, 2002 through Jan. 4, 2003). The last country album by a male artist to score five weeks at No. 1 on the Billboard 200 – and its first five weeks in the lead – was Garth Brooks’ Double Live in late 1998 and early 1999, which spent its first five (and total) weeks at No. 1 (Dec. 5, 1998 – Jan. 2, 1999).

While Dangerous remains at No. 1, Wallen’s previous album, 2018’s If I Know Me, reaches the top 10 for the first time, as it climbs 17-10 – surpassing its previous high of No. 13 (reached on the chart dated Aug. 20, 2020). If I Know Me rises with 29,000 equivalent album units earned in the week ending Feb. 11 (up 33%) – which also marks the album’s best weeks, in terms of units earned.

Of If I Know Me’s 29,000-unit sum, 17,000 comprise SEA units (up 12%, equaling 24.95 million on-demand streams of the songs), 10,000 comprise album sales (up 101%, the album’s best sales week yet) and 2,000 comprise TEA units (up 16%).

Back up near the top of the chart, The Weeknd’s new 18-song retrospective compilation The Highlights debuts at No. 2 (89,000 equivalent album units earned) — the highest charting greatest hits set in over a year. The last best-of to see such great heights on the chart was Blake Shelton’s Fully Loaded: God’s Country, which debuted and peaked at No. 2 on the Dec. 28, 2019-dated list.

The Highlights was released on Feb. 5, two days before The Weeknd played the Super Bowl halftime show on Feb. 7.

Of The Highlights’ 89,000-unit sum, 70,000 comprise SEA units (equaling 101.94 million on-demand streams of the songs), 10,000 comprise album sales and 9,000 comprise TEA units.

The Highlights boasts 11 of The Weeknd’s 12 top 10-charting hits on the Billboard Hot 100. Among the album’s songs are two that are also on his most recent studio album, 2020’s After Hours: “Blinding Lights” and “Save Your Tears.” The TEA and SEA units for both songs contribute to The Highlights on the chart as a song’s activity is assigned to the artist’s album with the most sales in a week. (After Hours sold 6,000 copies in the latest tracking week, while The Highlights sold 10,000. Due to the track reassignment, After Hours moves 4-37 on the Billboard 200, with 15,000 units earned – down 57%.)

In total, The Highlights is The Weeknd’s seventh top 10 album, the entirety of his charting efforts – and all of them have reached the top five of the list.

Foo Fighters fly in at No. 3 with the band’s new studio album Medicine at Midnight, marking the group’s ninth top 10. The set launches with 70,000 equivalent album units earned. Of that sum, 64,000 comprise album sales (it’s the No. 1-selling album of the week), 6,000 comprise SEA units (equaling 7.66 million on-demand streams of the set’s songs) and a negligible number comprise TEA units.

The third and final debut in the top 10 is Pooh Shiesty’s Shiesty Season, which bows at No. 4 with 62,000 equivalent album units earned. It’s the rapper’s first album release, and was led by his first Hot 100 hit, the top 40-charting “Back in Blood,” featuring Lil Durk. The 21-year-old Pooh Shiesty was previously named as one of Billboard’s 2021 Artists to Watch, and also deemed February’s Hip-Hop and R&B Rookie of the Month.

Lil Durk’s The Voice falls 2-5 with 49,000 equivalent album units earned (down 43%), while Pop Smoke’s former leader Shoot for the Stars Aim for the Moon dips 3-6 with 41,000 units (down 4%). Three more previous chart-toppers are next in the top 10, as Ariana Grande’s Positions climbs 9-7 with 32,000 units (up 14%), Juice WRLD’s Legends Never Die descends 5-8 with 30,000 units (down 2%) and Luke Combs’ What You See Is What You Get drops 6-9 with nearly 30,000 units (down 1%).

As previously noted, Wallen’s If I Know Me closes out the top 10, jumping 17-10 with 29,000 units (up 33%).

Source: billboard.com

The Weeknd’s “Save Your Tears” surges 14-8 and CJ’s “Whoopty” soars 16-10.

Olivia Rodrigo’s “Drivers License” rules the Billboard Hot 100 chart for a fourth week, after launching at the top spot three weeks ago.

Plus, two songs hit the Hot 100’s top 10 for the first time, as The Weeknd‘s “Save Your Tears” jumps from No. 14 to No. 8, becoming his 12th top 10, and CJ’s debut hit “Whoopty” climbs 16-10.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Feb. 13) will update on Billboard.com tomorrow (Feb. 9). 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 atop the Jan. 23-dated Hot 100, marking Rodrigo’s first No. 1. The single from the singer-songwriter and actress, 17, who broke through with roles on Disney Channel’s Bizaardvark and Disney+’s High School Musical: The Musical: The Series, totaled 32.2 million U.S. streams (down 24%) and 13,000 downloads sold (down 26%) in the week ending Feb. 4, according to MRC Data. It also drew 46.8 million radio airplay audience impressions (up 32%) in the week ending Feb. 7, as it wins the Hot 100’s top Airplay Gainer award for a third consecutive frame.

The track adds a fourth week at No. 1 on the all-genre Streaming Songs chart, drops to No. 3 after three weeks atop Digital Song Sales and charges 16-11 on Radio Songs.

Meanwhile, of the 48 singles ever to debut at No. 1 on the Hot 100, “License” is the 12th to hold at No. 1 in its first four weeks (a level that, thus, 25% of all such leaders have reached). “License” is the first to do so since Ariana Grande’s (Tom Brady theme song) “7 Rings” spent its first five weeks at No. 1 in February-March 2019.

Among artists’ first Hot 100 No. 1s, “License” is the fourth to spend its first four weeks or more on the chart at the summit, and the first by a woman and no other credited artists. It follows Baauer’s “Harlem Shake” (five, 2013), Aerosmith’s “I Don’t Want to Miss a Thing” (four, 1998) and Puff Daddy and Faith Evans’ “I’ll Be Missing You,” featuring 112, the first leader each for Evans and 112 (11, 1997).

24kGoldn’s “Mood,” featuring Iann Dior, holds at No. 2 on the Hot 100, after eight nonconsecutive weeks at No. 1 in October through mid-January. It tops the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a 23rd week each and Hot Rap Songs for a 17th frame; all three charts use the same methodology as the Hot 100.

The Weeknd’s “Blinding Lights” repeats at No. 3 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 logs its 61st total week on the chart. It adds a record-extending 48th week in the top 10 and record-furthering 39th week in the top five. The track also claims an 11th week at No. 1 on the multi-metric Hot R&B/Hip-Hop Songs chart and a record-padding 45th frame atop Hot R&B Songs.

The Weeknd’s “Save Your Tears” concurrently reaches the Hot 100’s top 10 for the first time, climbing 14-8 with 28 million airplay audience impressions (up 20%), 15 million streams (up 7%) and 6,000 sold (up 6%). The song becomes The Weeknd’s 12th Hot 100 top 10, with both of his current top 10s from his latest LP, 2020’s After Hours. (The set now sports three top 10s, as “Heartless” hit No. 1 for a week in December 2019.)

Both “Lights” and “Tears” are likely to show big gains on next week’s Hot 100 (dated Feb. 20), reflecting the Feb. 5-11 sales and streaming tracking week, after The Weeknd included portions of each in his Super Bowl LV halftime performance (Feb. 7), with “Lights” closing out the hit-packed set.

Grande’s “34+35” keeps at No. 4 on the Hot 100 after reaching No. 2 two weeks earlier, when it was sparked by the Jan. 15 release of its remix featuring Doja Cat and Megan Thee Stallion. (The latter two artists are no longer credited on the song, as Grande’s solo version has drawn the majority of its activity in the latest two tracking weeks, although the pair will remain credited in their individual chart histories on the song.)

Dua Lipa’s “Levitating,” featuring DaBaby, holds at its No. 5 Hot 100 high; Chris Brown and Young Thug’s “Go Crazy” is steady at No. 6, after hitting No. 5, as it notches a fourth week atop Radio Songs (83 million in audience, essentially even week-over-week); Grande’s “Positions” stays at No. 7, after spending its first week on the Hot 100 at No. 1 in November; and, below The Weeknd’s “Tears,” Justin Bieber’s “Holy,” featuring Chance the Rapper, descends 8-9, after it debuted at its No. 3 peak in October.

Capping the Hot 100’s top 10, CJ’s “Whoopty” whooshes 16-10, with 23.2 million in airplay audience (up 12%), 14.6 million streams (down 4%) and 7,000 sold (up 132%, aided by a 69-cent sale price in the iTunes Store).

The Staten Island, N.Y., rapper, who signed to Warner Records in January, reaches the Hot 100’s top 10 in his first visit to the chart. “There’s a lot of pressure on me, especially with coming out of Staten Island,” he recently told Billboard. “People have high expectations, since Wu-Tang [Clan] came out of there. It’s a blessing, too. I’m sticking with that and I’m running with it.”

(Note: Streams from Audiomack and Sonos Radio and Sonos Radio HD now contribute to the data that informs the Hot 100, Billboard 200, Artist 100 and Billboard Global 200 charts, as well as all other Billboard U.S. and global charts that include streaming data.)

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

Source: billboard.com

Morgan Wallen’s Dangerous: The Double Album holds at No. 1 on the Billboard 200 chart for a fourth consecutive week. The set earned 149,000 equivalent album units in the U.S. in the week ending Feb. 4 (up 14%), according to MRC Data. The album arrived atop the list three weeks ago, on the chart dated Jan. 23.

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 Feb. 13, 2021-dated chart (where Dangerous holds at No. 1) will be posted in full on Billboard‘s website on Feb. 9. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Dangerous’ 149,000 equivalent album units earned in the tracking week ending Feb. 4, SEA units comprise 118,000 (up 3%, equaling 159.76 million on-demand streams of the album’s songs), album sales comprise 25,000 (up 102%) and TEA units comprise 6,000 (up 67%).

The album’s across-the-board gains came during the same tracking week in which TMZ published a video showing Wallen using a racial slur. As previously reported, TMZ posted a video on Feb. 2 of Wallen, who was positioned to be the next global country star, yelling expletives, including the N-word. He subsequently issued an apology, while his record label, Big Loud Records, suspended his recording contract indefinitely. The news broke with two full days left in the chart’s tracking week (which ended on Feb. 4).

On Feb. 6, Billboard reported that Wallen’s airplay had collapsed to a nominal amount through Feb. 5, after multiple radio groups dropped his music. Concurrently, his songs were removed from over 30 influential playlists across Spotify, Apple Music, Amazon Music and Pandora (though his music remained available on all services). Also, though Big Loud suspended Wallen’s recording contract indefinitely, his music was not removed from any digital retailers (like iTunes), and remains available in brick-and-mortar retail stores.

With Dangerous having spent its first four weeks at No. 1, it’s the first country album to do so since January 2003.

The last album to log its first four weeks at No. 1 that also appeared on the Top Country Albums chart was Shania Twain’s Up! It spent its first five (and total) weeks at No. 1 (Dec. 7, 2002 through Jan. 4, 2003). The last album by a male artist to spend its first four weeks at No. 1 that also appeared on Top Country Albums was Garth Brooks’ Double Live in late 1998 and early 1999, which spend its first five (and total) weeks at No. 1 (Dec. 5, 1998 – Jan. 2, 1999).

The last country album to spend at least four total weeks at No. 1 was Taylor Swift’s Red, with seven nonconsecutive weeks in the lead in late 2012 and early 2013. Red spent its first three weeks at No. 1 (Nov. 10-24, 2012), then stepped away from the top slot for three weeks and then returned for four more weeks in a row (Dec. 22, 2012 – Jan. 12, 2013). The last country album by a male artist to spend at least four total weeks at No. 1 was Alan Jackson’s Drive, which notched four nonconsecutive weeks in the lead (Feb. 2-16, and March 2, 2002).

Back on the new Billboard 200, Lil Durk’s The Voice jumps 5-2, matching its peak first reached four weeks ago, following its deluxe reissue on Jan. 29 with 14 additional tracks. The set, originally released Dec. 24, earned 86,000 equivalent album units (up 167%) in the week ending Feb. 4. All versions of the album, new and old, are combined for tracking purposes.

The next eight albums on the chart are all former No. 1s. Pop Smoke’s Shoot for the Stars Aim for the Moon dips 2-3 (43,000 equivalent album units earned; down 4%), The Weeknd’s After Hours is a non-mover at No. 4 (34,000; down 1%) and Juice WRLD’s Legends Never Die rises 6-5 (just over 30,000; down 3%).

Luke Combs’ What You See Is What You Get pushes 8-6 (30,000 equivalent album units earned; down 2%), Taylor Swift’s Evermore falls 3-7 (29,500; down 15%), Lil Baby’s My Turn rises 9-8 (29,000; down 3%) and Ariana Grande’s Positions dips 7-9 (28,000; down 9%).

Closing the Billboard 200’s top tier, Megan Thee Stallion’s No. 2-peaking Good News bumps back into the top 10 (12-10) with 26,000 equivalent album units earned (down 5%).

Source: billboard.com

Plus, The Weeknd’s “Blinding Lights” joins an exclusive group of hits to spend at least 60 weeks on the Hot 100.

Olivia Rodrigo’s “Drivers License” logs a third week at No. 1 on the Billboard Hot 100 chart, after soaring in at the summit two weeks ago.

Plus, The Weeknd‘s “Blinding Lights,” at No. 3 on the Hot 100, enters an exclusive club of hits that have spent at least 60 weeks on the chart and Dua Lipa‘s “Levitating,” featuring DaBaby, reaches the top five, rising from No. 6 to No. 5.

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

“Drivers License” was released Jan. 8 on Geffen/Interscope Records and debuted atop the Jan. 23-dated Hot 100, marking Rodrigo’s first No. 1. The track from the singer-songwriter and actress, 17, who broke through with roles on Disney Channel’s Bizaardvark and Disney+’s High School Musical: The Musical: The Series, totaled 42.6 million U.S. streams (down 29%) and 17,000 downloads sold (down 37%) in the week ending Jan. 28, according to MRC Data. It also drew 35.3 million radio airplay audience impressions (up 63%) in the week ending Jan. 31, as it wins the Hot 100’s top Airplay Gainer award for a second consecutive frame.

The track adds a third week at No. 1 on both the all-genre Streaming Songs and Digital Song Sales charts and blasts 36-16 on Radio Songs. It bounds 20-10 on Pop Airplay and 24-18 on Adult Pop Airplay and enters Rhythmic Airplay at No. 36.

Meanwhile, of the 48 singles ever to debut at No. 1 on the Hot 100, “License” is the 14th to hold at No. 1 in its first three weeks (a level that, thus, 29% of all such leaders have reached). Notably, none of the last 14 songs before “License” to launch at No. 1 spent as many as their first three weeks on top; “License” is the first to do so since Ariana Grande’s “7 Rings” spent its first five frames at No. 1 in February-March 2019. Grande also logged the previous such leader, as “Thank U, Next,” her first No. 1, posted its first three weeks on the chart at No. 1 in November-December 2018.

24kGoldn’s “Mood,” featuring Iann Dior, rebounds 3-2 on the Hot 100, after eight nonconsecutive weeks at No. 1 in October through mid-January. It tops the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a 22nd week each and Hot Rap Songs for a 16th frame; all three charts use the same methodology as the Hot 100.

The Weeknd’s “Blinding Lights” rises 4-3 on the Hot 100. The song spent four weeks at No. 1 (eventually ranking as the Hot 100’s top hit of all of 2020) and logs its 60th total week on the chart. It adds a record-extending 47th week in the top 10 and record-padding 38th week in the top five. The track also claims a 10th week at No. 1 on the multi-metric Hot R&B/Hip-Hop Songs chart and a record-furthering 44th frame atop Hot R&B Songs.

“Lights” is just the 16th hit in the Hot 100’s 62-year history to spend at least 60 weeks on the chart. It’s the first, however, to rank in the top 10 at the time of its 60th week.

Here’s a look at all the singles that have reached 60 or more weeks on the Hot 100, and their placements in those frames:

Weeks on Hot 100, Title, Artist, Rank in 60th Week
87, “Radioactive,” Imagine Dragons, No. 16
79, “Sail,” AWOLNATION, No. 19
76, “I’m Yours,” Jason Mraz, No. 33
69, “How Do I Live,” LeAnn Rimes, No. 37
68, “Counting Stars,” OneRepublic, No. 35
68, “Party Rock Anthem,” LMFAO feat. Lauren Bennett & GoonRock, No. 44
65, “Rolling in the Deep,” Adele, No. 23
65, “You Were Meant for Me”/”Foolish Games,” Jewel, No. 25
64, “Before He Cheats,” Carrie Underwood, No. 40
62, “Ho Hey,” The Lumineers, No. 47
62, “You and Me,” Lifehouse, No. 45
61, “Circles,” Post Malone, No. 19
61, “Demons,” Imagine Dragons, No. 45
60, “Blinding Lights,” The Weeknd, No. 3
60, “Need You Now,” Lady A, No. 48
60, “Macarena (Bayside Boys Mix),” Los Del Rio, No. 44

All the songs above have charted since the Hot 100 adopted a rule in the early ’90s by which titles are removed after 20 weeks if below No. 50; since December 2015, songs are also removed after 52 weeks if below No. 25. As for two of the songs above, Imagine Dragons’ “Radioactive,” while at No. 16 in its 60th week, subsequently charted as high as No. 13 (in its 75th week), the highest a song had placed in its 60th frame or later until “Lights” this week. Plus, Adele’s “Rolling in the Deep” rebounded to No. 5 in its 59th week, following the 54th annual Grammy Awards in 2012, on which she performed the smash and it won for record and song of the year (among her six wins, the most of any artist that year).

“Lights” will receive a platform befitting its title this Sunday (Feb. 7), with The Weeknd almost certain to perform it as part of his Super Bowl LV halftime performance, likely sparking its continued run in the Hot 100’s upper reaches. (His latest single, “Save Your Tears,” should also benefit; it hits a new high this week, rising 20-14.)

Grande’s “34+35” backtracks to No. 4 from its No. 2 Hot 100 high, reached a week ago following the Jan. 15 release of its remix featuring Doja Cat and Megan Thee Stallion. (The latter two artists are no longer credited on the song, as Grande’s solo version drew the majority of its activity in the latest tracking week, although the pair will remain credited in their individual chart histories on the song.)

Dua Lipa’s “Levitating,” featuring DaBaby, lifts 6-5 on the Hot 100, with 54.3 million in radio audience, 13 million streams and 8,000 sold.

Lipa adds her second top five Hot 100 hit, among three top 10s, following “Don’t Start Now” (No. 2 peak, March 2020); she first reached the top 10 with “New Rules” (No. 6, February 2018). DaBaby earns his third top five entry, among five top 10s.

Chris Brown and Young Thug’s “Go Crazy” ascends 7-6 on the Hot 100, after hitting No. 5, as it notches a third week atop Radio Songs (82.4 million in audience, down 1%).

Rounding out the Hot 100’s top 10, Grande’s “Positions” drops 5-7, after spending its first week on the chart at No. 1 in November; Justin Bieber’s “Holy,” featuring Chance the Rapper, holds at No. 8, after it debuted at its No. 3 peak in October; SZA’s “Good Days” rises 10-9 for a new best rank; and AJR’s “Bang!” backtracks 9-10, after reaching No. 8.

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

Source: billboard.com

Plus: Anuel AA and Ozuna’s ‘Los Dioses’ debuts in the top 10.

Morgan Wallen’s Dangerous: The Double Album stays put at No. 1 on the Billboard 200 for a third straight week, becoming the first country album to spend three weeks atop the list in eight years. The set earned 130,000 equivalent album units in the U.S. in the week ending Jan. 28 (down 18%), 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 Feb. 6, 2021-dated chart (where Dangerous holds at No. 1) will be posted in full on Billboard‘s website on Feb. 2. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Dangerous’ 130,000 equivalent album units earned in the tracking week ending Jan. 28, SEA units comprise 115,000 (down 14%, equaling 154.13 million on-demand streams of the album’s 30 songs), album sales comprise 12,000 (down 44%) and TEA units comprise 3,000 (down 22%).

Dangerous is just the second album in the last 12 months to notch three weeks of at least 125,000 units earned. It follows Taylor Swift’s Folklore, which debuted with 846,000 units (Aug. 8, 2020, chart) and then tallied 135,000 and 136,000 in its second and third weeks.

Speaking of Swift, with Dangerous holding at No. 1 for a third week on the Billboard 200, a country album holds court for a third straight week. The last album to score three weeks at No. 1, that also appeared on the Top Country Albums chart, was Taylor Swift’s Red, which tallied seven nonconsecutive weeks in the pole position between the charts dated Nov. 10, 2012, and Jan. 12, 2013. Red also spent its first three weeks at No. 1 (Nov. 10-24, 2012).

The last album by a male artist to log three weeks at No. 1 on the Billboard 200, and its first three weeks at No. 1 — and also appear on Top Country Albums — was Elvis Presley’s Elv1s: 30 #1 Hits, which clocked a total of three weeks in the lead on the Billboard 200 (Oct. 12, 2002 — its debut week — and then Oct. 19 and 26).

The last album of new material by a male artist to spend three weeks at No. 1, and also appear on Top Country Albums, was Alan Jackson’s Drive in 2002, with a total of four weeks in the lead. It spent its first three weeks at No. 1 on the Billboard 200 (Feb. 2-16) and then notched one more week at No. 1 on the March 2 list.

Three former No. 1s trail Dangerous (released via Big Loud/Republic Records) on the new Billboard 200, as Pop Smoke’s Shoot for the Stars Aim for the Moon (Victor Victor Worldwide/Republic) is steady at No. 2 (45,000 equivalent album units earned; down 4%), Swift’s Evermore (Republic) rises 4-3 (35,000; down 15%) and The Weeknd’s After Hours (XO/Republic) climbs 8-4 (nearly 35,000; up 6%).

Republic Records is the distributing label for all four albums — the first time since 1996 that one label has monopolized Nos. 1-4 on the Billboard 200. On the Dec. 7, 1996, chart, Interscope held the top four with Bush’s Razorblade Suitcase (Trauma/Interscope), Snoop Doggy Dogg’s Tha Doggfather (Death Row/Interscope), No Doubt’s Tragic Kingdom (Trauma/Interscope) and Makaveli’s The Don Killuminati: The 7 Day Theory (Death Row/Interscope).

Back on the new Billboard 200, Lil Durk’s The Voice rises 6-5 with 32,000 equivalent album units earned (down 13%), while Juice WRLD’s former No. 1 Legends Never Die bumps 9-6 (just over 31,000; down 2%) and Ariana Grande’s previous leader Positions falls 5-7 (31,000; down 22%). Universal Music Group (UMG) distributes the top seven albums — the first time a company has held Nos. 1-7 since UMG last did it on the Nov. 17, 2018-dated chart.

Two more former No. 1s are up next, as Luke Combs’ What You See Is What You Get rises 10-8 (30,000 equivalent album units earned; down 4%) and Lil Baby’s My Turn ascends 11-9 (30,000; up less than 1%).

Closing out the new top 10 is arrival of Anuel AA and Ozuna’s collaborative album Los Dioses, which debuts at No. 10 with 29,000 equivalent album units earned. Of Los Dioses’ 29,000 equivalent album units earned, SEA units comprise 23,000 (equaling 34.44 million on-demand streams of the album’s songs), album sales comprise 6,000 and TEA units comprise a negligible number.

Los Dioses is the second top 10 for both acts. Anuel AA nabbed his first top 10 visit with Emmanuel (No. 8 on June 13, 2020) and Ozuna reached the region with Aura (No. 7; Sept. 18, 2018).

Source: billboard.com

The latter leaps following the release of its remix featuring Doja Cat and Megan Thee Stallion.

Olivia Rodrigo’s “Drivers License” spends a second week at No. 1 on the Billboard Hot 100 chart, after soaring in atop the tally a week ago.

Plus, Ariana Grande‘s “34+35” leaps from No. 11 to No. 2 on the Hot 100, surpassing its prior No. 8 peak, following the release of its remix featuring Doja Cat and Megan Thee Stallion (both of whom receive chart credit on the song for the first time).

Notably, “34+35” marks the highest-charting Hot 100 by a trio of women soloists in nearly 20 years. (See below for details.)

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

“Drivers License” was released Jan. 8 on Geffen/Interscope Records and debuted atop the Jan. 23-dated Hot 100, marking Rodrigo’s first No. 1 on the chart. The singer-songwriter and actress, 17, initially broke through with roles on Disney Channel’s Bizaardvark and Disney+’s High School Musical: The Musical: The Series. Her background helped spark the song’s high profile, which has also been boosted by scrutiny about its lyrics, the song’s TikTok presence and a co-sign from Taylor Swift, among others.

“Drivers License” drew 59.7 million U.S. streams (down 22%) and sold 27,000 downloads (down 27%) in the week ending Jan. 21, according to MRC Data. It also earned 21.5 million radio airplay audience impressions (up 168%) in the week ending Jan. 24, good for the Hot 100’s top Airplay Gainer award.

The track adds a second week at No. 1 on both the all-genre Streaming Songs and Digital Song Sales charts and enters Radio Songs at No. 36. It climbs 31-20 on Pop Airplay and 37-24 on Adult Pop Airplay.

“Drivers License” is the first song to draw over 50 million U.S. streams in its first two weeks since Cardi B’s “WAP,” featuring Megan Thee Stallion, started with 93 million in the week ending Aug. 13, 2020, the most for any track in its first week of availability, and followed with 72.2 million in the week ending Aug. 20.

Meanwhile, of the 48 singles ever to debut at No. 1 on the Hot 100, “Drivers License” is the 21st to hold at No. 1 in its second week, making for a 44% repeat success rate.

“Drivers License” is so far a stand-alone single, with Rodrigo’s debut EP expected this year.

Ariana Grande’s “34+35” surges 11-2 on the Hot 100, following the Jan. 15 release of its remix featuring Doja Cat and Megan Thee Stallion. The song debuted, as Grande’s 18th and most recent Hot 100 top 10, at its previous No. 8 high on the chart dated Nov. 14. That week, parent album Positions debuted at No. 1 on the Billboard 200; a week earlier, the set’s title cut and lead focus track launched at No. 1 on the Hot 100.

“34+35” vaults 15-2 on Streaming Songs (24.2 million, up 83%) and re-enters Digital Song Sales at No. 8 (8,000, up 313%), as it wins the Hot 100’s top Streaming and Sales Gainer trophies. Being promoted to radio alongside “Positions,” “34+35” jumps 14-10 on Radio Songs (45.5 million, up 21%), where it becomes Grande’s 15th top 10.

Doja Cat adds her second Hot 100 top 10, after “Say So,” featuring Nicki Minaj, led the May 16, 2020-dated chart. Megan Thee Stallion scores her third Hot 100 top 10, also after reigning in her prior time in the tier: “Savage,” featuring Beyoncé, led the May 30-dated Hot 100 and “WAP” ruled for four weeks last August-September.

Grande has now charted four Hot 100 hits credited to three women (and no other acts): previously, “Bang Bang,” with Jessie J and Minaj, reached No. 3 in October 2014; “Don’t Call Me Angel,” with Miley Cyrus and Lana Del Rey, hit No. 13 in September 2019; and Mariah Carey’s 2020 update of her 2010 carol “Oh Santa!,” featuring Grande and Jennifer Hudson, appeared for a week at No. 76 in December.

The last time before this week that a song credited to at least three solo women (and no other artists) ranked as high as No. 2 on the Hot 100? Almost 20 years ago: Christina Aguilera, Lil’ Kim, Mya and P!nk ruled for five weeks in June 2001 (and then spent a week at No. 2 that July) with “Lady Marmalade.”

(Cat lady: Having now charted a hit with Doja Cat, Grande, a noted cat-ear fan and entrepreneur, previously shared a Hot 100 hit with Cashmere Cat. The latter’s “Adore,” featuring Grande, spent a week at No. 93 in 2015. No kitten.)

24kGoldn’s “Mood,” featuring Iann Dior, drops 2-3 on the Hot 100, after eight weeks at No. 1. It leads the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a 21st week each and Hot Rap Songs for a 15th frame; all three charts use the same methodology as the Hot 100.

The Weeknd’s “Blinding Lights” holds at No. 4 on the Hot 100. The song spent four weeks at No. 1 (eventually ranking as the Hot 100’s top hit of all of 2020) and logs its 59th total week on the chart. It adds a record-extending 46th week in the top 10 and record-padding 37th week in the top five. The track also claims a ninth week at No. 1 on the multi-metric Hot R&B/Hip-Hop Songs chart and a record-furthering 43rd frame atop Hot R&B Songs.

Grande’s “Positions” falls 3-5 on the Hot 100; Dua Lipa’s “Levitating,” featuring DaBaby, keeps at its No. 6 high; and Chris Brown and Young Thug’s “Go Crazy” slips to No. 7 from its No. 5 best as it posts a second week atop Radio Songs (82.1 million in audience, up 3%).

Rounding out the Hot 100’s top 10, Justin Bieber’s “Holy,” featuring Chance the Rapper, backtracks 7-8, after it debuted at its No. 3 peak in October; AJR’s “Bang!” retreats to No. 9 from its No. 8 high; and SZA’s “Good Days” holds at its No. 10 best, a week after entering the top 10.

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

Source: billboard.com