Plus: 5 Seconds of Summer, Dua Lipa, Pearl Jam, PartyNextDoor, and Joyner Lucas hit top 10.

The Weeknd’s After Hours leads a very busy top 10 on the latest Billboard 200 albums chart, as the set spends a second week atop the tally. The album earned 138,000 equivalent album units in the U.S. in the week ending April 2 according to Nielsen Music/MRC Data. That’s down 69% as compared to the set’s first week, when it entered with 2020’s biggest week for an album: 444,000 units.

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). The new April 11-dated chart, where After Hours enters at No. 1, will be posted in full on Billboard‘s website on April 7.

Of After Hours’ second-week units, 86,000 are in SEA units, 47,000 are in album sales and 4,000 are in TEA units.

After Hours’ second week was goosed by the addition of three new songs to the set on Monday (March 30), which helped drive streaming activity for the album. Further, the album continued to benefit from more than 90 merchandise/album bundles available on The Weeknd’s official website, as well as sales generated by a concert/ticket album sale redemption offer with his upcoming tour.

After Hours is also basking the glow of a second No. 1 hit on the Billboard Hot 100 songs chart, as “Blinding Lights” reached the top of the most recently published chart (dated April 4). It became the second No. 1 from the album, following “Heartless” back in December.

On the all-format Radio Songs chart, which monitors the most heard songs across all formats of radio, “Blinding Lights” and “Heartless” ranked at Nos. 3 and 10 concurrently on the April 4-dated list.

5 Seconds of Summer scores its fifth top 10 album on the Billboard 200 chart as Calm surges from No. 62 to No. 2 with 133,000 equivalent album units earned (up 1,159%) in the week ending April 2. Of that sum, 113,000 are in album sales (up 970%), 19,000 are SEA units and 1,000 are TEA units. The set is also the best-selling album of the week, and is No. 1 on the Top Album Sales chart.

All five of 5 Seconds of Summer’s top 10 albums have also reached the top two. Calm is the quartet’s fourth full-length studio album.

Calm made an early arrival on the Billboard 200 chart dated April 4 at No. 62 with 11,000 in CD sales (in the tracking week ending March 26) from the band’s concert ticket/album bundle with its upcoming U.S. tour. The CDs were inadvertently fulfilled to customers prior to the album’s actual release date of March 27 due to a clerical error. Customers received the album as early as March 23. Longstanding Billboard policy is to reflect album sale activity in the tracking week that the paying customer receives the album.

Calm is the latest album to debut early on the Billboard 200 and then surge to the top 10 after its first proper tracking week of activity. A memorable recent example came when Rihanna’s Anti debuted at No. 27 in 2016 after two days of streaming activity at Tidal, and one day of sales at Tidal. It then vaulted to No. 1 the following week after its wide release to all digital retailers. Previous to Anti, such high-charting albums as Radiohead’s In Rainbows, The Notorious B.I.G.’s Life After Death and Destiny’s Child’s Destiny Fulfilled all debuted early due to street date violation sales at record stores (back when the Billboard 200 chart was based only on album sales) and then rushed to the top 10 in their second chart week.

Calm’s album sales in the tracking week ending April 2 were bolstered by dozens of merchandise/album bundles sold via the group’s official website, as well as its concert ticket/album sale redemption offer. (While 11,000 CDs from that offer were delivered in the tracking week ending March 26, the rest of the redemptions — and there was a sizable number — were fulfilled in the tracking week ending April 2.)

Calm was led by two charting singles on the Pop Songs airplay chart: “Easier” and “Teeth.” The former peaked at No. 12 last August, while the latter peaked at No. 21 in January. The album’s latest radio single, “Old Me,” is continuing to build momentum at top 40-formatted radio stations and could debut on the Pop Songs chart soon. “Easier” also reached No. 32 on the all-format Radio Songs chart.

All told, Calm is 5 Seconds of Summer’s sixth charting effort on the Billboard 200. The group visited the list with its three earlier full-length studio albums Youngblood (No. 1, 2018), Sounds Good Feels Good (No. 1, 2015) and its self-titled effort (No. 1, 2014). The act also hit the chart with a live project, LiveSOS (No. 13, 2015) and its introductory EP She Looks So Perfect (No. 2, 2014).

Continuing on the new Billboard 200, Lil Uzi Vert’s former No. 1 Eternal Atake falls one spot to No. 3, earning 84,000 equivalent album units (down 27%).

Dua Lipa lands her first top 10 album, as her second effort, Future Nostalgia, debuts at No. 4 with 66,000 equivalent album units earned. Of that sum, 44,000 are in SEA units, 18,000 are in album sales and 3,000 are in TEA units.

Future Nostalgia, released via Warner Records, easily beats the peak of the pop singer-songwriter’s self-titled debut effort, which topped out at No. 27 on the Feb. 17, 2018-dated chart.

The new album was led by the smash single “Don’t Start Now.” The track reached career-high peaks for the entertainer on both the Hot 100 (No. 2) and Radio Songs (No. 1 for three weeks, so far — it was No. 1 on the latest chart, dated April 4). The song also logged a sixth week at No. 1 on Pop Songs (as of the April 4 tally).

Dua Lipa’s first album yielded the high-charting single “New Rules,” which reached No. 6 on the Hot 100, No. 3 on Radio Songs, and No. 1 (for three weeks) on Pop Songs.

Notably, Future Nostalgia is the highest charting new pop album from Warner Records since December of 2018, when Michael Bublé’s Love (released via Reprise/Warner) debuted and peaked at No. 3. The last higher charting pop album from a woman on Warner was Cher’s Dancing Queen. The all-ABBA covers effort debuted and peaked at No. 3 on Oct. 13, 2018.

Since then, Warner has logged top four-charting efforts from rock acts Green Day (Father of All, No. 4; 2020, via Reprise/Warner) and The Black Keys (Let’s Rock, No. 4; 2019, Easy Eye Sound/Nonesuch/Warner), as well as Bublé’s vintage Christmas album (which was released in 2011 via 143/Reprise/Warner, but returned to the top four over both the 2018-19 and 2019-20 Christmas seasons). (Pop albums are those that did not chart on a genre-specific tally such as Alternative Albums or Top R&B/Hip-Hop Albums, etc.)

Pearl Jam returns to the Billboard 200 with its first studio album since 2013, as Gigaton jumps in at No. 5 with 63,000 equivalent album units earned. It’s the band’s 12th top 10 effort. Of the new album’s starting unit sum, 57,000 are in album sales, while 6,000 are in SEA units and less than 1,000 are in TEA units. The album performed particularly well on vinyl, selling 14,000 copies (the second-largest week on vinyl for a 2020 release).

Gigaton is Pearl Jam’s 11th studio album, and all 11 of those have reached the top five on the chart. Rounding out Pearl Jam’s 12 top 10 albums, the live compilation soundtrack album Pearl Jam Twenty debuted and peaked at No. 10 in 2011.

Lil Baby’s former No. 1 My Turn slips from No. 3 to No. 6 with 53,000 equivalent album units earned (down 12%) while Bad Bunny’s YHLQMDLG falls from No. 4 to No. 7 with 51,000 units (down less than 1%).

PartyNextDoor’s PartyMobile drives in at No. 8 with 50,000 equivalent album units earned. It’s the second top 10 effort for the act, who previously visited the region with PartyNextDoor 3 in 2016 (debuting and peaking at No. 3). The new album, released via OVO Sound/Warner, features a collaboration with Rihanna (“Believe It”), a track featuring OVO chief Drake (“Loyal”) and a remix of the latter tune boasting both Drake and Bad Bunny.

With both PartyMobile and Dua Lipa’s Future Nostalgia released via Warner Records, the label celebrates two concurrent albums in the top 10 for the first time in over a year, since the March 9, 2019-dated list, when Gary Clark Jr.’s This Land (Hotwire/Warner) and Lil Pump’s Harverd Dropout (Tha Lights Global/Warner) debuted at Nos. 6 and 7, respectively.

Back on the new Billboard 200, Roddy Ricch’s former No. 1 Please Excuse Me for Being Antisocial descends 6-9 with 40,000 equivalent album units earned (down 6%).

Closing out the new top 10 is Joyner Lucas, who makes his chart debut with his first studio album, ADHD. The set starts with 39,000 equivalent album units earned, with 28,000 of that sum in SEA units, 10,000 in album sales and a little over 1,000 in TEA units. The album includes collaborations with Logic, Young Thug, Chris Brown, Timbaland, King OSF and Fabolous.

Source: billboard.com

The Weeknd adds his fifth leader, while Doja Cat earns her first top 10.

The Weeknd‘s “Blinding Lights” lifts from No. 2 to No. 1 on the Billboard Hot 100 songs chart, becoming the pop/R&B singer-songwriter-producer’s fifth leader on the list.

The track is from The Weeknd’s new LP After Hours, which soars in at No. 1 on the Billboard 200 albums chart, marking his fourth leading title, as the set starts with the most equivalent album units earned in a week so far this year.

Plus, Doja Cat achieves her first Hot 100 top 10, as “Say So” jumps 14-9.

Let’s run down of the top 10 of the newest Hot 100, which blends all-genre U.S. streaming, radio airplay and sales data. All charts (dated April 4) will update on Billboard.com tomorrow (March 31).

“Lights,” released on XO/Republic Records, becomes the 1,097th No. 1 in the history of the Hot 100, which launched on Aug. 4, 1958.

The Weeknd’s fifth Hot 100 No. 1 follows After Hours lead single “Heartless,” which led the Dec. 14, 2019-dated chart, and this week soars 16-4; “Starboy,” featuring Daft Punk (one week, January 2017); “The Hills” (six weeks, October-November 2015); and “Can’t Feel My Face” (three weeks, August-September 2015).

Since his first week at No. 1, on Aug. 22, 2015, The Weeknd ties Justin Bieber and Drake for the most Hot 100 leaders.

“Lights” concurrently becomes The Weeknd’s second No. 1 on the Streaming Songs chart (after “The Hills”), surging 5-1, up 54% to 32.1 million U.S. streams in the week ending March 26, according to Nielsen Music/MRC Data. It pushes 5-3 on Radio Songs, gaining by 15% to 82.2 million all-format airplay audience impressions in the week ending March 29, while ranking at No. 3 on Digital Song Sales (after it led the March 28-dated chart), with 15,000 sold.

“Lights” spends a fifth week atop the Hot R&B Songs chart, where it’s The Weeknd’s seventh No. 1, and becomes his sixth No. 1 on Hot R&B/Hip-Hop Songs (with both rankings employing the same multi-metric methodology as the Hot 100).

The Weeknd (real name: Abel Tesfaye) adds his third Hot 100 No. 1 as a co-producer and has co-written all five of his leaders as an artist.

Meanwhile, “Lights” was co-written and co-produced by, among others, pop titan Max Martin, who earns his 23rd Hot 100 No. 1 as a writer. In the Hot 100’s archives, only Paul McCartney (32) and John Lennon (26) have notched more, thanks to their histories in The Beatles and as soloists. Martin had last led as a writer via Justin Timberlake’s “Can’t Stop the Feeling!,” for a week in May 2016.

Martin earns his 21st Hot 100 No. 1 as a producer, and also his first in that role since Timberlake’s “Feeling.” The sum is second only to that of another acclaimed Martin: late Beatles producer Sir George Martin, who totaled 23 (last thanks to Elton John’s 14-week 1997-98 No. 1 “Candle in the Wind”/”Something About the Way You Look Tonight”).

“Lights” stops the 11-week Hot 100 reign of Roddy Ricch’s “The Box,” which dips to No. 2. The latter continues atop the Hot Rap Songs chart, where it leads for a 13th week.

Dua Lipa’s “Don’t Start Now” keeps at No. 3 on the Hot 100, after reaching No. 2, as it logs a third week atop Radio Songs (98.2 million, essentially even week-over-week).

Below The Weeknd’s “Heartless” at No. 4 on the Hot 100 (up 157% to 19.4 million streams), Post Malone’s “Circles” repeats at No. 5, after notching three weeks at No. 1, and Future’s “Life Is Good,” featuring Drake, slips 4-6, after peaking at No. 2 for eight weeks.

Harry Styles’ “Adore You” holds at its No. 7 Hot 100 high and Justin Bieber’s “Intentions,” featuring Quavo, likewise keeps at its No. 8 best.

Doja Cat scores her first Hot 100 top 10, as “Say So” ascends 14-9.

The track by the singer-rapper (real name: Amalaratna Dlamini) rises 17-14 on Radio Songs, up 23% to 52.1 million in audience, while dipping 13-18 on Streaming Songs (15.4 million, down 7%) and 15-21 on Digital Song Sales, although up 2% to 6,000 sold.

“Say So” became Doja Cat’s third Hot 100 entry, following “Juicy,” with Tyga (No. 41 peak in February), and “Candy” (No. 86, December).

“I always knew I wanted to entertain people my whole life; I just didn’t know exactly how I was going to do it until I was 16 and everything blossomed on SoundCloud,” Doja Cat, 24, told Billboard in November. “That’s where it was all born.”

Meow-tstanding: Doja Cat is the fourth “cat”-monikered artist ever to pounce into the Hot 100’s top 10, following The Pussycat Dolls (four, 2005-08), Stray Cats (three, 1982-83) and Cat Stevens (four, 1971-74).

Rounding out the Hot 100’s top 10, Arizona Zervas’ “Roxanne” retreats 6-10, after reaching No. 4.

Find out more Hot 100 news on Billboard.com this week, and, for all chart news, you can listen (and subscribe) to Billboard‘s Pop Shop Podcast and This Week in Billboard News podcast and follow @billboard and @billboardcharts on both Twitter and Instagram. And again, be sure to visit Billboard.com tomorrow (March 31), when all charts, including the Hot 100 in its entirety, will refresh.

Source: billboard.com

Plus: Conan Gray and Kenny Rogers bow in top 10.

The Weeknd rocks the top of the Billboard 200 albums chart, as he scores his fourth No. 1 album with his latest release, After Hours. The set jumps in with the year’s biggest week for any album: 444,000 equivalent album units in the U.S. in the week ending March 26, according to Nielsen Music/MRC Data. The sum also marks The Weeknd’s personal weekly best.

After Hours was released on March 20 via XO/Republic Records, and is The Weeknd’s first release since his chart-topping six-song EP My Dear Melancholy in 2018.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new April 4-dated chart (where After Hours enters at No. 1) will be posted in full on Billboard‘s website on March 31.

After Hours’ first week total of 444,000 equivalent album units comprises 275,000 in album sales, 163,000 in SEA units and 6,000 in TEA units. The album’s SEA sum equates to 220.7 million on-demand streams of the set’s tracks in its first week.

After Hours’ streaming start was so big, the album would have been No. 1 on the Billboard 200 even if it hadn’t sold a single copy. The No. 2 album on the chart is Lil Uzi Vert’s Eternal Atake, which falls to No. 2 after two weeks at No. 1, with 115,000 units (down 53%, with 113,000 of that sum in SEA units).

After Hours includes the hits “Heartless,” “Blinding Lights” and the set’s title track. “Heartless” hit No. 1 on the all-genre Billboard Hot 100 dated Dec. 14, 2019 (his fourth No. 1), while “Blinding Lights” rose to a new peak of No. 2 on the most recently published Hot 100 (dated March 28). “After Hours” reached No. 20 on March 7.

Let’s take a closer look at some of the achievements The Weeknd earns with his newest No. 1 album:

Biggest Overall Week of 2020: After Hours’ debut frame of 444,000 units outpaces the year’s previous high-water mark, tallied by the debut of BTS’ Map of the Soul: 7. It entered at No. 1 on the March 7-dated list with 422,000 units.

The Weeknd’s Biggest Week Ever: After Hours also clocks The Weeknd’s single largest week for an album. It surpasses the 412,000-unit start of Beauty Behind the Madness at No. 1 on the Sept. 19, 2015-dated chart.

A Fourth No. 1: After Hours is The Weeknd’s fourth No. 1 album, and fourth in a row. It follows My Dear Melancholy (one week at No. 1, 2018), Starboy (five weeks at No. 1, 2016-17) and Beauty Behind the Madness (three weeks at No. 1, 2015).

2020’s Second-Biggest Sales Week: Album sales powered 62% of After Hours’ first week: 275,000 of 444,000 units. Those sales were driven largely by by a concert ticket/album sale redemption offer with The Weeknd’s upcoming tour (scheduled to launch in June), as well as more than 80 different merchandise/album bundles sold through The Weeknd’s official website. The largest sales week of 2020 remains the debut of BTS’ Map of the Soul: 7, with 347,000 sold in its first week. (Map didn’t have a ticket/album offer, nor any merchandise/album bundles – though it was released in four elaborate collectible CD packages.)

After Hours also starts at No. 1 on the Top Album Sales chart, The Weeknd’s fourth leader on that tally.

Biggest Week for an R&B Album in Nearly Four Years: After Hours’ big debut of 444,000 units is the largest week posted by an R&B album in nearly four years. The last R&B set to score a bigger week was Beyoncé’s Lemonade, which blasted in at No. 1 on the May 14, 2016-dated chart with 653,000 units. After Hours also lands the biggest week for an R&B album by a male artist since the chart began ranking album by equivalent album units in December 2014.

Biggest Streaming Week Ever for an R&B Album: With 220.7 million on-demand streams registered for After Hours’ songs in its first week, the album logs the largest streaming week ever for an R&B effort. It beats The Weeknd’s own Starboy, which launched with 175.2 million clicks (Dec. 17, 2016-dated chart).

Back on the new Billboard 200, as noted above, Lil Uzi Vert’s Eternal Atake falls to No. 2 after two weeks at No. 1. The set earned 115,000 equivalent album units (down 53%). Lil Baby’s former No. 1 My Turn drops one spot to No. 3 with 60,000 equivalent album units (down 22%), while Bad Bunny’s YHLQMDLG dips from No. 3 to No. 4 with 51,000 units (down 26%). 

Conan Gray’s debut full-length album, Kid Krow, flies in at No. 5 on the Billboard 200 chart with 49,000 equivalent album units earned. Of that sum, 37,000 were in album sales (assisted by a concert/ticket album sale redemption offer with his tour late last year, and merchandise/album bundles). The 21-year-old singer-songwriter signed to Republic Records in 2018 after finding YouTube success with his original music and personal vlogs. After signing with Republic, he hit the Billboard 200 chart with his debut EP, Sunset Season, which debuted and peaked at No. 118 on the Dec. 1, 2018-dated tally.

Roddy Ricch’s former No. 1 Please Excuse Me for Being Antisocial is steady at No. 6 on the new Billboard 200 (43,000 equivalent album units; down 13%), Post Malone’s chart-topping Hollywood’s Bleeding rises 8-7 (38,000 units; down 8%) and Jhené Aiko’s Chilombo descends 5-8 (37,000 units; down 34%).

The late Kenny Rogers logs his highest-charting album since 1983, as The Best of Kenny Rogers: Through the Years debuts at No. 9 (32,000 equivalent album units earned, with 10,000 of that sum in album sales).

The 20-track greatest hits collection was released in 2018 via Capitol Records Nashville, and contains such top 10 Hot 100 hits as “The Gambler,” “Lucille” and the No. 1 “Lady.” It does not, however, include one of his most popular hits, the No. 1 smash “Islands in the Stream,” with Dolly Parton. The single was released on RCA Records in 1983 and spent two weeks at No. 1.

Rogers, who died on March 20 at age 81, was last in the top 10 on the Billboard 200 with 1983’s RCA release Eyes That See in the Dark, which peaked at No. 6. The album’s lead single was “Islands in the Stream.”

In total, Rogers has now tallied five top 10 efforts on the all-genre Billboard 200: The Best of Kenny Rogers: Through the Years (No. 9), Eyes That See in the Dark (No. 6), Share Your Love (No. 6, 1981), Kenny Rogers’ Greatest Hits (No. 1 for two weeks, 1980) and Kenny (No. 5, 1980).

Rounding out the new top 10 on the Billboard 200 is the soundtrack to Frozen II. The former No. 1 holds steady at No. 10 with 31,000 equivalent album units earned (down 1%).

Source: billboard.com

Styles scores his second solo top 10 hit.

Roddy Ricch‘s “The Box” rules the Billboard Hot 100 chart for an 11th week.

Plus, Harry Styles‘ “Adore You” ascends to the Hot 100’s top 10, jumping from No. 16 to No. 7, marking his second solo top 10 hit.

Let’s run down of the top 10 of the newest Hot 100, which blends all-genre U.S. streaming, radio airplay and sales data. All charts (dated March 28) will update on Billboard.com tomorrow (March 24).

“The Box,” released on Bird Vision/Atlantic Records, is the 26th title to top the Hot 100 for at least 11 weeks.

The track tallies a 12th week at No. 1 on the Streaming Songs chart, down 8% to 41.4 million U.S. streams in the week ending March 19. It rebounds 9-7 on Digital Song Sales, although down 18% to 8,000 sold in the week ending March 19, and dips 10-11 on Radio Songs, decreasing by 1% to 65 million all-format airplay audience impressions in the week ending March 22.

“The Box” concurrently leads the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which employ the same multi-metric methodology as the Hot 100, for a 12th week each.

The Weeknd’s “Blinding Lights” pushes 4-2 on the Hot 100, hitting a new high. It becomes his fifth Digital Song Sales No. 1 (2-1; 16,000, down 28%) and his 10th Radio Songs top 10 (11-5; 72.7 million, up 13%). It rebounds 12-5 on Streaming Songs, after reaching No. 4 (20.8 million, down 3%).

The song, which rules Hot R&B Songs for a fourth week, is from The Weeknd’s album After Hours, which was released Friday, March 20, and is due for a strong start on next week’s Billboard 200. (Lead single “Heartless” topped the Hot 100, Hot R&B/Hip-Hop Songs and Hot R&B Songs charts dated Dec. 14, 2019.)

Dua Lipa’s “Don’t Start Now” drops to No. 3 from its No. 2 Hot 100 high, as it spends a second week at No. 1 on Radio Songs (99.9 million, up 2%).

Future’s “Life Is Good,” featuring Drake, slips 3-4 on the Hot 100, after peaking at No. 2 for eight weeks; Post Malone’s “Circles” is steady at No. 5, after logging three weeks at No. 1; and Arizona Zervas’ “Roxanne” rebounds 7-6, after reaching No. 4.

Harry Styles’ “Adore You” vaults into the Hot 100’s top 10, rising from No. 16 to No. 7.

The song becomes Styles’ first top five Radio Songs hit, lifting 6-4 (76 million, up 8%), while rising 19-17 on Digital Song Sales (6,000, down 15%) and re-entering Streaming Songs at No. 40 (10.7 million, down 6%). Boosting the profile of “Adore You,” Styles’ NPR Tiny Desk Concert premiered March 16, with the track closing the four-song set. (The gig followed another high-profile appearance by the pop singer-songwriter, who visited SiriusXM for an interview with Howard Stern on March 2.)

Styles adds his second solo Hot 100 top 10, after “Sign of the Times,” which debuted and peaked No. 4 in April 2017. He also made six trips to the top 10, in 2012-15, as a member of One Direction, rising as high as No. 2 with “Best Song Ever” in August 2013.

With the ascent of “Adore You,” Styles ties former 1D bandmate Zayn for the most solo Hot 100 top 10s by members of the group. Zayn’s “Pillowtalk” topped the chart for a week in 2016 and “I Don’t Wanna Live Forever (Fifty Shades Darker),” with Taylor Swift, hit No. 2 in 2017. The act’s Liam Payne has notched one top 10 to-date, “Strip That Down,” featuring Quavo (No. 10, 2017).

“Adore You” is from Styles’ second solo LP, Fine Line, which debuted as his second No. 1 on the Billboard 200 dated Dec. 28; One Direction boasts four No. 1s on the survey.

(“Adore”-able fun fact: “Adore You” is the third Hot 100 top 10 with “adore” in its title, following two No. 1s: Frankie Valli’s “My Eyes Adored You,” in 1975, and Color Me Badd’s “I Adore Mi Amor,” in 1991. Plus, Miley Cyrus took her own “Adore You,” a different composition than Styles’, to No. 21 in 2014.)

Rounding out the Hot 100’s top 10, Justin Bieber’s “Intentions,” featuring Quavo, reaches a new high, climbing 10-8; Lewis Capaldi’s “Someone You Loved” jumps 15-9, after posting three weeks at No. 1; and Billie Eilish’s “Everything I Wanted” elevates 14-10, after peaking at No. 8.

Find out more Hot 100 news on Billboard.com this week, and, for all chart news, you can listen (and subscribe) to Billboard‘s Pop Shop Podcast and This Week in Billboard News podcast and follow @billboard and @billboardcharts on both Twitter and Instagram. And again, be sure to visit Billboard.com tomorrow (March 24), when all charts, including the Hot 100 in its entirety, will refresh.

Source: billboard.com

Plus: Niall Horan & Don Toliver debut in top 10.

Lil Uzi Vert’s Eternal Atake secures a second week at No. 1 on the Billboard 200 albums chart, as the set earned 247,000 equivalent album units in the U.S. in the week ending March 19, according to Nielsen Music/MRC Data. That’s down just 14% compared to its debut atop the list a week ago with 288,000 units.

The small second-week decline is owed to the album’s surprise reissue on March 13, when a new deluxe edition arrived with 14 additional songs, expanding upon the original 18-song set. (All versions of the album are combined together for tracking and charting purposes.)

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). The new March 28-dated chart, where Eternal Atake holds at No. 1, will be posted in full on Billboard‘s website on March 24.

Eternal Atake is the first album to spend its first two weeks at No. 1 since Harry Styles’ Fine Line held at No. 1 for its first two frames on the charts dated Dec. 28, 2019 and Jan. 4, 2020.

Eternal Atake would have most likely held at No. 1 for a second week without the help of its deluxe reissue. Even if the album had declined by 70% in its second week, it still would have ranked ahead of the chart’s No. 2 album, Lil Baby’s former No. 1 My Turn (77,000 units). The latter set climbs two rungs, despite a 27% decline in units for the week.Bad Bunny’s YHLQMDLG is a non-mover at No. 3 with 69,000 equivalent album units earned (down 38%).

Niall Horan’s sophomore effort Heartbreak Weather debuts at No. 4, securing the pop singer-songwriter his second solo top five-charting album. It arrives with 59,000 equivalent album units earned, with 42,000 of that sum in album sales (making it the top-selling album of the week). The set got an assist from a concert ticket/album sale redemption offer with his upcoming tour, as well as an assortment of merchandise/album bundles sold via his webstore.

Heartbreak Weather also starts at No. 1 on the Top Album Sales chart, marking Horan’s second leader on the list, following his debut album, Flicker.

Flicker bowed at No. 1 on the Nov. 11, 2017-dated Billboard 200 chart with 152,000 units. Of that sum, 128,000 were in album sales (again, aided by a ticket/album sale redemption offer).

Jhené Aiko’s Chilombo falls from No. 2 to No. 5 in its second week (56,000 units; down 63%) and Roddy Ricch’s former leader Please Excuse Me for Being Antisocial is steady at No. 6 (49,000 units; down 14%).

Don Toliver’s debut studio album Heaven or Hell arrives at No. 7 with 44,000 equivalent album units earned (with 3,000 of that sum in album sales, aided by merchandise/album bundle offerings). It’s the first charting album for the rapper and singer, who released the Donny Womack mixtape in 2018. Heaven or Hell, released through Cactus Jack/Atlantic Records, also marks the fourth top 10 album for Cactus Jack. It follows the self-titled Jackboys project (No. 1 earlier in 2020), label chief Travis Scott’s Astroworld (No. 1, 2018) and Huncho Jack’s Huncho Jack, Jack Huncho (No. 3, 2018).

Post Malone’s former No. 1 Hollywood’s Bleeding slips from No. 7 to No. 8 (42,000 equivalent album units; down 19%) while Justin Bieber’s fellow former leader Changes is a non-mover at No. 9 (36,000 units; down 24%).

Closing out the new top 10 is the soundtrack to Frozen II, which climbs 18-10 with 31,000 equivalent album units earned (up 12%). The former No. 1 album rebounds thanks to the early release of its parent film to digital retail and rental services, as well as the Disney+ streaming platform (on March 14). In a statement, Disney announced the film’s accelerated digital release — three months earlier than scheduled — “for families during these challenging times.” The film’s digital arrival was likely warmly embraced by families and kids in self-quarantine owed to the coronavirus pandemic.

Source: billboard.com

“The Box” is the first song to reign for double-digit weeks since Lil Nas X’s “Old Town Road.”

Roddy Ricch‘s “The Box” leads the Billboard Hot 100 chart for a milestone 10th week.

Dua Lipa‘s “Don’t Start Now” rises to No. 2 on the Hot 100 and becomes the most-heard hit on U.S. radio, taking over at No. 1 on the Radio Songs ranking.

Plus, Lil Uzi Vert debuts three songs in the Hot 100’s top 10, led by “Baby Pluto” at No. 6, as parent album Eternal Atake launches at No. 1 on the Billboard 200 survey.

Let’s run down of the top 10 of the newest Hot 100, which blends all-genre U.S. streaming, radio airplay and sales data. All charts (dated March 21) will update on Billboard.com tomorrow (March 17).

“The Box,” released on Bird Vision/Atlantic Records, is the 39th title to rule the Hot 100 for at least 10 weeks, and the first such leader since Lil Nas X’s “Old Town Road” (featuring Billy Ray Cyrus), which dominated for a record 19 weeks last April through August.

(Notably, among the 39 Hot 100 No. 1s to reign for 10 weeks or more [of 1,096 total in the chart’s history, which dates to 1958], 37 have led since 1992, after the chart adopted its electronically-tracked Nielsen Music/MRC Data-based methodology in late 1991, a change that has resulted in longer average commands since.)

“The Box” posts an 11th week at No. 1 on the Streaming Songs chart, down 8% to 45.1 million U.S. streams in the week ending March 12. It dips 7-9 on Digital Song Sales, down 12% to 10,000 sold in the week ending March 12, and 8-10 on Radio Songs, although gaining by 3% to 65.6 million all-format airplay audience impressions in the week ending March 15.

“The Box” concurrently leads the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which employ the same multi-metric formula as the Hot 100, for an 11th week each.

Dua Lipa’s “Don’t Start Now” lifts from No. 3 to a new No. 2 Hot 100 high, as it hits No. 1 on Radio Songs (97.8 million, up 3%), becoming the pop singer-songwriter’s first leader on the latter list. (Meanwhile, with the song released on Warner Records, it’s the first Radio Songs No. 1 by a female artist on the label since Madonna’s “Take a Bow,” which ruled for nine weeks beginning in February 1995.)

Future’s “Life Is Good,” featuring Drake, drops to No. 3 on the Hot 100, after spending its first eight weeks on the chart at No. 2. (No songs had previously begun with more than four weeks at the runner-up rank.) It slides 2-6 on Streaming Songs (30.5 million, down 14%), although it pushes 15-13 on Radio Songs (51.6 million, up 4%).

The Weeknd’s “Blinding Lights” leaps 7-4 on the Hot 100, becoming his eighth top five hit. After he performed it on NBC’s Saturday Night Live March 7, it surges by 31% to 22,000 sold, as it holds at No. 2 on Digital Song Sales, good for top Sales Gainer honors on the Hot 100. It falls 6-12 on Streaming Songs (21.4 million, down 2%) and keeps at No. 11 on Radio Songs (64.2 million, up 14%). The track concurrently dominates Hot R&B Songs for a third week.

Post Malone’s “Circles” slips 4-5 on the Hot 100, after three nonconsecutive weeks at No. 1.

Lil Uzi Vert launches three songs on the Hot 100 in the top 10: “Baby Pluto” at No. 6, “Lo Mein” at No. 8 and “Silly Watch” at No. 9. He’s the fourth act to debut at least three titles in the top 10 simultaneously; Drake premiered four songs in the bracket on the chart dated July 14, 2018, and Lil Wayne matched the mark on Oct. 13, 2018, after J. Cole debuted three songs in the top 10 on the ranking dated May 5, 2018.

Like Lil Uzi Vert with Eternal Atake this week, Drake, Lil Wayne and J. Cole all opened atop the Billboard 200 in those respective frames.

Lil Uzi Vert doubles his career total of Hot 100 top 10s to six. He previously reached the region as featured on Migos’ “Bad and Boujee,” which spent three weeks at No. 1 in 2017, and with his own ” XO Tour Llif3″ (No. 7, 2017) and “Futsal Shuffle 2020” (No. 5, 2019).

Streaming drives Lil Uzi Vert’s trio of new top 10s, as “Pluto,” “Mein” and “Silly” start at Nos. 2, 3 and 4 on Streaming Songs, led by 37.5 million first-week streams for “Pluto.”

The rapper boasts 20 total songs on the latest Hot 100, including all 18 from Eternal Atake (16 of which debut).

Rounding out the Hot 100’s top 10, Arizona Zervas’ “Roxanne” descends 6-7, after peaking at No. 4, and Justin Bieber’s “Intentions,” featuring Quavo, holds at No. 10, after hitting No. 9.

Find out more Hot 100 news on Billboard.com this week, and, for all chart news, you can listen (and subscribe) to Billboard‘s Pop Shop Podcast and This Week in Billboard News podcast and follow @billboard and @billboardcharts on both Twitter and Instagram. And again, be sure to visit Billboard.com tomorrow (March 17), when all charts, including the Hot 100 in its entirety, will refresh.

Source: billboard.com

Gaga earns her 16th top 10, and highest debut in nine years.

Roddy Ricch‘s “The Box” spends a ninth week at No. 1 on the Billboard Hot 100.

Meanwhile, Lady Gaga‘s “Stupid Love” soars onto the Hot 100 at No. 5, becoming her 16th top 10 and highest-debuting entry since “The Edge of Glory” nearly nine years ago.

Let’s run down of the top 10 of the newest Hot 100, which blends all-genre U.S. streaming, radio airplay and sales data. All charts (dated March 14) will update on Billboard.com tomorrow (March 10).

“The Box,” released on Bird Vision/Atlantic Records, logs a 10th week at No. 1 on the Streaming Songs chart, up 2% to 49.1 million U.S. streams in the week ending March 5, according to Nielsen Music/MRC Data, helped by the long-awaited Feb. 28 premiere of its official video.

The song is the first to post double-digit weeks at No. 1 on Streaming Songs since Lil Nas X’s “Old Town Road” (featuring Billy Ray Cyrus), which ran up a record 20 weeks on top beginning last April.

The track rebounds 14-7 (returning to its peak) on Digital Song Sales, up 10% to 11,000 sold in the week ending March 5, while holding at its No. 8 high on Radio Songs, up less than 1% to 63.4 million all-format airplay audience impressions in the week ending March 8.

“The Box” concurrently rules the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which employ the same multi-metric methodology as the Hot 100, for a 10th week each.

Future’s “Life Is Good,” featuring Drake, notches its eighth consecutive week at No. 2 on the Hot 100, comprising its entire run on the chart so far. It also holds at No. 2 on Streaming Songs (35.4 million, down 13%), while rising 17-15 on Radio Songs (49.7 million, up 13%).

“Good” is first song ever to log its first eight weeks on the Hot 100 at No. 2 (after none previously began with more than four weeks at the rank). While the song could still ascend to No. 1, as of now it is one of just 10 entries in the Hot 100’s history to spend as many as eight weeks peaking at No. 2. It’s the first to do so since Ed Sheeran’s “Thinking Out Loud” logged eight frames at its No. 2 high in January-March 2015. (Missy “Misdemeanor” Elliott’s “Work It” and Foreigner’s “Waiting for a Girl Like You” share the mark for the most weeks peaking at No. 2: 10 each, in 2002-03 and 1981-82, respectively.)

Meanwhile, “Good” has posted all eight of its weeks at No. 2 on the Hot 100 below “The Box.” How rare is it for two songs to rank at Nos. 1 and 2 for at least eight weeks, specifically with the latter never reaching the top (a fate, again, not yet sealed for “Good”)? Here’s an updated look at the longest-stretching such pairings:

10 weeks
No. 1: “Lose Yourself,” Eminem / No. 2: “Work It,” Missy “Misdemeanor” Elliott, 2002-03

9 weeks
No. 1: “Macarena (Bayside Boys Mix),” Los Del Rio / No. 2: “I Love You Always Forever,” Donna Lewis, 1996
No. 1: “Physical,” Olivia Newton-John / No. 2: “Waiting for a Girl Like You,” Foreigner, 1981-82

8 weeks
No. 1: “The Box,” Roddy Ricch / No. 2: “Life Is Good,” Future feat. Drake, 2020
No. 1: “Uptown Funk!,” Mark Ronson feat. Bruno Mars / No. 2: “Thinking Out Loud,” Ed Sheeran, 2015
No. 1: “Smooth,” Santana feat. Rob Thomas / No. 2: “Back at One,” Brian McKnight, 1999-2000
No. 1: “The Boy Is Mine,” Brandy & Monica / No. 2: “You’re Still the One,” Shania Twain, 1998

(The stats above pertain only to songs when they ranked at Nos. 1 and 2 together; for instance, while Foreigner’s “Girl” peaked at No. 2 for nine weeks below “Physical,” it tacked on another week at the rank beneath Daryl Hall and John Oates’ “No Can Do [I Can’t Go for That],” for 10 total weeks at its No. 2 peak.)

Dua Lipa’s “Don’t Start Now” rises 5-3 on the Hot 100, marking a new high for the song and the singer-songwriter, who earns her first top three Hot 100 hit. It holds at No. 2 on Radio Songs (95.3 million, up 5%), while gaining by 5% to 18.4 million streams and 10% to 12,000 sold.

Post Malone’s “Circles” descends 3-4 on the Hot 100, after three nonconsecutive weeks at No. 1, as it adds an 11th week at No. 1 on Radio Songs (101.1 million, essentially even week-over-week).

Lady Gaga’s “Stupid Love” launches at No. 5 on the Hot 100, marking her 16th top 10, and first since “Shallow” (with Bradley Cooper), which became her fourth No. 1 when it topped the March 9, 2019-dated chart. She logs her seventh debut in the top 10; her first since “Dope” started at No. 8 in November 2013; and her highest-bowing since “The Edge of Glory” opened at No. 3 in May 2011.

Plus, thanks to “Shallow” and “Stupid Love,” Gaga boasts Hot 100 top 10s in consecutive years for the first time since she tallied two in 2010 and four in 2011.

Following its release (along with its official video) on Feb. 28, “Stupid Love” bounds in at No. 1 on Digital Song Sales with 53,000 sold, arriving as her seventh leader on the list. It begins at No. 9 on Streaming Songs with 19.7 million U.S. streams and No. 40 on Radio Songs with 23.7 million in audience.

Meanwhile, Gaga, who first hit the Hot 100’s top 10 with her first No. 1, “Just Dance,” featuring Colby O’Donis, in December 2008, becomes the fifth artist to have ranked in the top 10 in the 2000s, ’10s and ’20s, following Mariah Carey, Drake, Eminem and Maroon 5. (Carey also reached the top 10 in the 1990s.)

Somethin’ extra-“stupid”: “Stupid Love” is the second Hot 100 top 10 with “stupid” in its title. Nancy and Frank Sinatra’s “Somethin’ Stupid” spent four weeks at No. 1 in 1967.

“Stupid Love” concurrently vaults in at No. 1 on Hot Dance/Electronic Songs, becoming Gaga’s second leader, after “Applause” reigned for three weeks in August-September 2013 (following the chart’s inception that January).

“Stupid Love” is the first single from Gaga’s album Chromatica, due April 10.

Rounding out the Hot 100’s top 10, Arizona Zervas’ “Roxanne” keeps at No. 6, after peaking at No. 4; The Weeknd’s “Blinding Lights” lifts 8-7 for a new best rank; Tones and I’s “Dance Monkey” drops 7-8, after climbing to No. 4; Maroon 5’s “Memories” holds at No. 9, after hitting No. 2; and Justin Bieber’s “Intentions,” featuring Quavo, rebounds 11-10, after reaching No. 9.

Find out more Hot 100 news on Billboard.com this week, and, for all chart news, you can listen (and subscribe) to Billboard‘s Pop Shop Podcast and This Week in Billboard News podcast and follow @billboard and @billboardcharts on both Twitter and Instagram. And again, be sure to visit Billboard.com tomorrow (March 10), when all charts, including the Hot 100 in its entirety, will refresh.

Source: billboard.com

Plus: Bad Bunny, James Taylor, G Herbo and Five Finger Death Punch debut in top 10.

Lil Baby lands his first No. 1 album on the Billboard 200 chart as My Turn debuts atop the tally with the biggest streaming week of 2020 for an album.

The set, which was released via Quality Control/Motown on Feb. 28, earned 197,000 equivalent album units in the U.S. in the week ending March 5, according to Nielsen Music/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). The new March 14-dated chart, where My Turn debuts at No. 1, will be posted in full on Billboard‘s website on March 10.

My Turn is the rapper’s fifth charting album and fourth top 10. He previously visited the top tier with Street Gossip (No. 2, December 2018), Drip Harder with Gunna (No. 4, October 2018) and Harder Than Ever (No. 3, June 2018).

My Turn logs Lil Baby not only his first No. 1, but also his best week ever in terms of units earned. His previous high-water mark, in terms of units, came via Drip Harder, which launched with 130,000.

My Turn was powered overwhelmingly by streaming activity, as of the set’s total units earned, 184,000 are in SEA units (equating to 261.6 million on-demand streams for the album’s songs in its first week), making it the most-streamed album of the week. It also clears the largest streaming week for any album, even counting only audio streams, since Post Malone’s Hollywood’s Bleeding bowed at No. 1 with 365.3 million (Sept. 21, 2019-dated chart).

The album sold just under 10,000 copies, aided in part by more than a dozen merchandise/album bundles sold via the artist’s official website. The set also generated nearly 4,000 in TEA units. My Turn also marks the third No. 1 album for Quality Control, following Migos’ Culture II (2018) and Culture (2017).

Bad Bunny lands a historic debut on the new Billboard 200, as the Puerto Rican singer/rapper’s YHLQMDLG bows at No. 2 with 179,000 equivalent album units earned. Of that sum, 142,000 are in SEA units (which translates to 201.4 million on-demand streams of the set’s songs in its first week), 35,000 are in album sales (assisted by more than 25 merchandise/album bundles sold via the artist’s website) and a little more than 1,000 are in TEA units.

YHLQMDLG was released via Rimas late in the evening on Feb. 28 and is the second top 10 album for the artist. He previously reached No. 9 with Oasis (July 13, 2019), a collaborative set with J Balvin.

With YHLQMDLG’s arrival at No. 2 on the Billboard 200, Bad Bunny achieves the highest-charting all-Spanish-language album ever on the chart. (YHLQMDLG is performed almost entirely in Spanish, save for a smattering of English words; Its title is short for “Yo hago lo que me de la gana,” which essentially translates to “I do whatever I want.”)

Prior to YHLQMDLG, the highest rank logged for an all-Spanish-language effort was No. 4 by Mana’s Amar es Combatir (Sept. 9, 2006) and Shakira’s Fijación Oral: Vol. 1 (June 25, 2005). An honorable mention goes to Ricky Martin’s Música + Alma + Sexo, which hit No. 3 on Feb. 19, 2011. The 13-track album contains 11 Spanish recordings and two English tracks.

The last mostly Spanish-language album to reach the top two on the Billboard 200 chart was Il Divo’s Ancora, which debuted at No. 1 on the Feb. 11, 2006-dated chart. Of Ancora’s 10 songs, seven were performed in Spanish. So far, only two mostly-Spanish albums have reached No. 1: Ancora and Selena’s Dreaming of You (Aug. 5, 1995). The latter 13-track album includes six tracks in Spanish, five in English, and two duets that blend English and Spanish.

Further, YHLQMDLG nets the biggest week ever, in terms of equivalent album units, for a Latin release since Billboard began tracking titles by units in December of 2014. It beats the previous high, notched by the debut of Santana’s mostly-Spanish language effort Africa Speaks (57,000 units; June 22, 2019-dated chart). YHLQMDLG also tallies the largest week, in equivalent album units, for an all-Spanish language effort, trumping the opening week of Ozuna’s Aura (49,000 units; Sept. 8, 2018).

And, with 201.4 million on-demand streams generated by the songs on YHLQMDLG, the set additionally earns the biggest streaming week ever for a Latin album — even counting just audio streams alone. It wildly surpasses the record set by Ozuna’s Aura, which bowed with 53.2 million clicks (chart dated Sept. 8, 2018). Bad Bunny has charted 14 songs on the all-genre Billboard Hot 100 chart (through the March 7-dated tally), including two top 10s: the No. 1 smash “I Like It” with Cardi B and J Balvin, and “MIA,” a No. 5 hit featuring Drake (both in 2018). Neither song is on the new album.

Back on the new Billboard 200, BTS’ Map of the Soul: 7 falls from No. 1 to No. 3 in its second week, earning 84,000 equivalent album units (down 80% from its opening week of 422,000).

James Taylor’s American Standard starts at No. 4 with 82,000 equivalent album units earned. Of that sum, 81,000 is in album sales (boosted by a concert ticket/album sale redemption offer), making it the top selling album of the week. The set was released via Fantasy Records/Concord.

The appropriately titled album, which boasts Taylor taking on standards from the American songbook, gives Taylor his 13th top 10 effort on the chart. It also gives Fantasy Records its highest charting album since 1970, when Creedence Clearwater Revival’s Cosmo’s Factory spent nine weeks at No. 1.

Meanwhile, with American Standard’s bow at No. 3, Taylor becomes the first act with top 10 albums in each of the last six decades: the 1970s, ‘80s, ‘90s, ‘00s, ‘10s and ‘20s.  He logged his first six top 10s in the 1970s with Sweet Baby James (peaking at No. 3 in 1970), Mud Slide Slim and the Blue Horizon (No. 2, 1971), One Man Band (No. 4, No. 1973), Gorilla (No. 6, 1975), JT (No. 4, 1977) and Flag (No. 10, 1979). In the ‘80s and ‘90s, he managed one top 10 in each decade with Dad Loves His Work (No. 10 in 1981) and Hourglass (No. 9 in 1997). In the ‘00s, he claimed two top 10s with October Road (No. 4 in 2002) and Covers (No. 4, 2008). And, in the ‘10s, he reached the region with Live at the Troubadour (a collaborative set with Carole King; No. 4, 2010) and his first No. 1 album, and most recent release before his latest, Before This World (2015).

There are only a handful of acts that could join Taylor in this elite club. Here are the artists that have achieved top 10s in the ‘70s, ‘80s, ‘90s, ‘00s and ‘10s: Eric Clapton, Neil Diamond, Michael Jackson, Paul McCartney, Bette Midler, Tom Petty, The Rolling Stones, Santana, Bob Seger, Bruce Springsteen, Barbra Streisand and Van Halen. Of the above, The Rolling Stones, Santana and Streisand have scored top 10s in the ‘1960s through 2010s.

Meanwhile, Jackson, who died in 2009, achieved his two top 10s in the 2010s via posthumous efforts.

A pair of former No. 1s trail Taylor on the new Billboard 200, as Roddy Ricch’s Please Excuse Me for Being Antisocial is steady at No. 5 with 63,000 equivalent album units earned (down 2%), while Justin Bieber’s Changes falls from No. 4 to No. 6 with 62,000 units (down 6%).

Rapper G Herbo tallies his first top 10 album, as PTSD debuts at No. 7 with 59,000 equivalent album units earned (with 4,000 of that in album sales) powered by streaming activity. He’s visited the chart with four earlier albums, going as high as No. 15 in 2018 with Swervo, a collaborative effort with Southside.

Rock band Five Finger Death Punch captures its seventh top 10 album, as F8 debuts fittingly at No. 8. The set earned 55,000 equivalent album units in its first week, with 45,000 of that sum in album sales.

Closing out the new top 10: Post Malone’s Hollywood’s Bleeding falls from No. 7 to No. 9 with 50,000 equivalent album units (down less than 1%) and YoungBoy Never Broke Again’s Still Flexin, Still Steppin descends from No. 2 to No. 10 with 44,000 units in its second week (down 51%).

Source: billboard.com

“On” marks BTS’ third and highest-peaking top 10.

Roddy Ricch‘s “The Box” posts an eighth week at No. 1 on the Billboard Hot 100.

Meanwhile, BTS scores its third and highest-peaking Hot 100 top 10, and the highest-charting song ever for a K-pop group, as “On” roars in at No. 4. The song is from the South Korean pop septet’s album Map of the Soul: 7, which launches as its fourth No. 1 on the Billboard 200.

Let’s run down of the top 10 of the newest Hot 100, which blends all-genre U.S. streaming, radio airplay and sales data. All charts (dated March 7) will update on Billboard.com tomorrow (March 3).

“The Box,” released on Bird Vision/Atlantic Records, posts a ninth week at No. 1 on the Streaming Songs chart, despite an 8% slide to 48.2 million U.S. streams in the week ending Feb. 27, according to Nielsen Music/MRC Data. It pushes 10-8 on Radio Songs, gaining by 6% to 63.1 million all-format airplay audience impressions in the week ending March 1, while dropping 7-14 on Digital Song Sales, down 10% to 10,000 sold in the week ending Feb. 27.

The song should benefit on next week’s charts (dated March 14) from the Friday, Feb. 28, premiere of its official video.

“The Box” concurrently rules the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which employ the same multi-metric methodology as the Hot 100, for a ninth week apiece.

Future’s “Life Is Good,” featuring Drake, spends its seventh consecutive week at No. 2 on the Hot 100, encompassing its entire run on the chart so far. It also holds at No. 2 on Streaming Songs (40.6 million, down 3%), while surging 25-17 on Radio Songs (43.9 million, up 11%).

“Good” is first song ever to log its first seven weeks on the Hot 100 at No. 2 (after none previously began with more than four weeks at the rank). While the song could still, of course, ascend to No. 1, as of now it is one of 19 entries in the Hot 100’s history to spend as many as seven weeks peaking at No. 2. It’s the first to do so since DJ Khaled’s “Wild Thoughts,” featuring Rihanna and Bryson Tiller, logged seven frames at its No. 2 high in July-September 2017. (Missy “Misdemeanor” Elliott’s “Work It” and Foreigner’s “Waiting for a Girl Like You” share the mark for the most weeks peaking at No. 2: 10 each, in 2002-03 and 1981-82, respectively.)

Post Malone’s “Circles” stays at No. 3 on the Hot 100, after three nonconsecutive weeks at No. 1, as it notches a 10th week at No. 1 on Radio Songs (101.3 million, down 3%). It’s the first song to reach double-digits weeks atop the airplay survey since Khalid’s “Talk,” which reigned for 11 weeks beginning last June.

“Circles” concurrently becomes Post Malone’s first No. 1 on the Adult Pop Songs radio airplay chart. It advances 10-9 on Adult Contemporary, where it’s his first top 10, after it topped Pop Songs for 10 weeks.

BTS achieves its third and highest-peaking Hot 100 top 10, and the highest-charting song ever by a K-pop group (and first such top five hit), as “On” roars onto the chart at No. 4. The single is from Map of the Soul: 7, which bows as BTS’ fourth No. 1 on the Billboard 200, earning 422,000 equivalent album units, marking the biggest week for an album so far in 2020.

“On” previously reached the Hot 100’s top 10 with “Boy With Luv” (featuring Halsey), which debuted and peaked at No. 8 on the chart dated April 27, 2019, and “Fake Love,” which launched at No. 10 on June 2, 2018.

Now with three Hot 100 top 10s, BTS boasts the most of any K-pop act, besting rapper PSY, who has tallied two (and the only prior such top five titles): “Gangnam Style” (No. 2, 2012) and “Gentleman” (No. 5, 2013).

Meanwhile, “On” sets the record for the highest-debuting Hot 100 entry for a K-pop song, four ranks better than the arrival of “Boy With Luv.”

“On” charges onto Digital Song Sales at No. 1, becoming BTS’ third leader, after “Idol,” featuring Niki Minaj (Sept. 8, 2018), and “Fake Love” (June 2, 2018). “On” opens with 86,000 downloads sold, marking BTS’ best sales week for a song and the strongest for any title since Taylor Swift’s “Me!,” featuring Brendon Urie, bounded in with 193,000 on the chart dated May 11, 2019. “On” sports the highest sales frame for a song by a group since Jonas Brothers’ “Sucker” started with 88,000 (March 16, 2019).

On Streaming Songs, “On” debuts at No. 12 with 18.3 million U.S. streams. Meanwhile, the song’s official video premiered Friday, Feb. 28, and its arrival will bolster the track’s performances on next week’s, March 14-dated, charts.

Dua Lipa’s “Don’t Start Now” holds at its No. 5 Hot 100 high; Arizona Zervas’ “Roxanne” remains at No. 6, after reaching No. 4; and Tones and I’s “Dance Monkey” dips from its No. 4 peak to No. 7.

The Weeknd’s “Blinding Lights” lifts from No. 10 to a new No. 8 high on the Hot 100. Following the Feb. 18 announcement that his new album, After Hours, is due March 20, the song soars by 10% to 21.4 million U.S. streams. Meanwhile, the set’s title track flies 77-20 on the Hot 100, drawing 20.4 million clicks in the first full week of tracking after its release, also on Feb. 18.

Rounding out the Hot 100’s top 10, Maroon 5’s “Memories” falls 7-9, after hitting No. 2, and Lewis Capaldi’s “Someone You Loved” descends 8-10, after it spent three weeks at No. 1.

Find out more Hot 100 news on Billboard.com this week, and, for all chart news, you can listen (and subscribe) to Billboard‘s Pop Shop Podcast and This Week in Billboard News podcast and follow @billboard and @billboardcharts on both Twitter and Instagram. And again, be sure to visit Billboard.com tomorrow (March 3), when all charts, including the Hot 100 in its entirety, will refresh.

Source: billboard.com

Roddy Ricch‘s “The Box” notches a seventh week at No. 1 on the Billboard Hot 100.

Meanwhile, Dua Lipa‘s “Don’t Start Now” rises from No. 6 to No. 5, becoming her first top five Hot 100 hit, and two songs enter the top 10: Justin Bieber‘s “Intentions,” featuring Quavo, ascends from 11-9 and The Weeknd‘s “Blinding Lights” lifts 12-10.

Here’s a rundown of the top 10 of the newest Hot 100, which blends all-genre U.S. streaming, radio airplay and sales data. All charts (dated Feb. 29) will update on Billboard.com tomorrow (Feb. 25).

“The Box,” released on Bird Vision/Atlantic Records, posts an eighth week at No. 1 on the Streaming Songs chart, despite a 12% drop to 52.2 million U.S. streams in the week ending Feb. 25, according to Nielsen Music/MRC Data. It pushes 8-7 on Digital Song Sales, down 3% to 11,000 sold in the week ending Feb. 20, and 13-10 on Radio Songs, gaining by 12% to 59.3 million all-format airplay audience impressions in the week ending Feb. 23, as it leads the Mainstream R&B/Hip-Hop and Rhythmic Songs format airplay charts for a second week each.

“The Box” concurrently tops the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which employ the same multi-metric formula as the Hot 100, for an eighth week apiece.

As for Atlantic Records, “The Box” is the label’s seventh No. 1 ever to rule the Hot 100 for at least seven weeks, and it follows Lizzo’s “Truth Hurts,” which dominated for seven frames beginning in September:

Atlantic Records’ Longest-Leading Hot 100 No. 1s
Weeks at No. 1, Title, Year
13, “The Boy Is Mine,” Brandy & Monica, 1998
12, “Shape of You,” Ed Sheeran, 2017
11, “I Swear,” All-4-One, 1994
10, “Low,” Flo Rida feat. T-Pain, 2008
7, “The Box,” Roddy Ricch, 2020
7, “Truth Hurts,” Lizzo, 2019
7, “Whatever You Like,” T.I., 2008

Future’s “Life Is Good,” featuring Drake, spends its sixth consecutive week at No. 2 on the Hot 100, encompassing its entire, and unprecedented, run on the chart; a week ago, it became the first song ever to log its first five weeks on the Hot 100 at No. 2. It also keeps at No. 2 on Streaming Songs (42 million, up 6%), while surging 21-5 on Digital Song Sales (11,000, up 56%) and rising 26-25 on Radio Songs (39.5 million, up 12%). Helping spark the track’s gains, a remix, featuring Drake, DaBaby and Lil Baby, was released on Feb. 15.

Post Malone’s “Circles” is steady at No. 3 on the Hot 100, after three nonconsecutive weeks at No. 1, as it notches a ninth week at No. 1 on Radio Songs (104.5 million, essentially even week-over-week), and Tones and I’s “Dance Monkey” climbs from No. 5 to a new No. 4 Hot 100 high.

Dua Lipa’s “Don’t Start Now” rises 6-5 on the Hot 100, marking her first top five hit. Her sole prior top 10, “New Rules,” reached No. 6 in February 2018. “Start” also becomes Lipa’s second No. 1 on the Pop Songs airplay ranking, after “Rules” reigned for four weeks, also in February 2018.

Arizona Zervas’ “Roxanne” bumps 7-6 on the Hot 100, after reaching No. 4; Maroon 5’s “Memories” drops 4-7, after hitting No. 2; and Lewis Capaldi’s “Someone You Loved” keeps at No. 8, after it spent three weeks at No. 1.

Bieber’s “Intentions,” featuring Quavo, rises 11-9 on the Hot 100, as parent album Changes launches as Bieber’s seventh No. 1 on the Billboard 200. The track holds at No. 3 on Streaming Songs, up 10% to 24.3 million streams.

Bieber adds his 18th Hot 100 top 10, and second from Changes, after “Yummy” bowed and peaked at No. 2 in January. Quavo collects his sixth top 10, and third via a Bieber collab, after DJ Khaled’s “I’m the One,” featuring Bieber, Quavo, Chance the Rapper and Lil Wayne (No. 1, one week, May 2017), and “No Brainer,” by the same lineup minus Lil Wayne (No. 5, August 2018). Quavo further outpaces the top 10 total of Migos (the trio of himself, Offset and Takeoff), which has tallied four top 10s.

“Intentions” posts a second week at No. 1 on the multi-metric Hot R&B Songs chart.

Rounding out the Hot 100’s top 10, The Weeknd’s “Blinding Lights” lifts 12-10. It also ranks at No. 10 on Streaming Songs (19.4 million, up 11%). The Weeknd achieves his 10th Hot 100 top 10 and second from his album After Hours, due March 20, after “Heartless” topped the chart dated Dec. 14, becoming his fourth No. 1.

Find out more Hot 100 news on Billboard.com this week, and, for all chart news, you can listen (and subscribe) to Billboard‘s Pop Shop Podcast and This Week in Billboard News podcast and follow @billboard and @billboardcharts on both Twitter and Instagram. And again, be sure to visit Billboard.com tomorrow (Feb. 25), when all charts, including the Hot 100 in its entirety, will refresh.

Source: billboard.com