Billboard Hot 100: 05/04/2024

[Choco]

Taylor Swift left local-US-fueled town between Red and 1989. The notion that the US is fuelling her success singlehandedly is also outdated.

[mms82]

Apr 30, 2024 7:31:07 GMT -5 Ｓｏｕｎｄｃｌ🕤ｃｋ said:

Apr 30, 2024 6:59:51 GMT -5 mms82 said:

Also, no song truly peaks at #1 everywhere (except Macarena maybe haha). Blinding Lights didn’t peak in the top 50 in Japan, Korea, Colombia. Doesn’t mean it wasn’t a mega global hit. Even with the Mexico Fortnight example, that’s still pretty massive for an Anglo debut in Mexico and she did just sell out 4 massive shows in Mexico City

I think Hello was the closest one. We don't have data for every country ofc, but it peaked at #1 everywhere music charts existed, besides Japan Hot 100 (#17) and some airplay charts.

Hello and Macarena - big ballads and dancing bring us all together as humanity 🌍

[GW]

Apr 29, 2024 18:24:07 GMT -5 badrobot said:

Apr 29, 2024 17:16:47 GMT -5 mms82 said:

Do people think this is bigger than 25? I’m trying to imagine the numbers this would be in a similar sales / streaming environment to 2015 and I think 25 would still be bigger. However, if these both came out in a similar sales / streaming environment to 2024 I think TTPD would outperform 25.

I’d say 25 is still bigger.

Adele at her peak was crossing over to virtually everyone. Taylor, while undeniably massive, seems to have an overwhelmingly huge fan base audience that powers her success. Yes she crosses over to casual listeners too, there’s no denying that, but Adele’s peak I think is a notch above, although Adele didn’t sustain it.

Lest anyone think I’m being negative against Taylor, I think it is pretty fair to say Taylor’s overall career has made her the most successful commercial artist in history (at least in the US, I don’t know if this dominance is worldwide), perhaps second only to the Beatles. Adele just happened to have a once-in-a-generation mega peak that no one has surpassed.

Valid points.  I would say that 25 undoubtedly benefited from being released during the holiday season, and its Black Friday release date was key to its massive opening.  In addition to all of the fans who waited a long time for it, Adele's brand of music (established with her first two albums) appealed to people of all ages, making 25 a go-to holiday gift option for kids through seniors.  (Sidebar: Given her popularity, I have to wonder how many of those gifts got returned because the recipient had already bought it?)

TTPD obviously benefits from Taylor's massive, hyper-engaged fanbase (which arguably rivals Beatlemania?) and their willingness to buy one or all of the album variants (on various formats) as collectors, while also streaming as their main consumption method. This multiplies her numbers substantially.  I also think Taylor's appeal to an older demo is undervalued - I have some friends and coworkers who have swifties for kids and they've become fans by proxy and are really into her output, specifically since Folklore.

Hello was more of an event record and cultural behemoth than Fortnight, for sure, but it also had a different rollout.  Ultimately, I do think Hello was key to 25 at least feeling bigger than TTPD.

[Baby Yoda Hot100Fan]

Taylor Swift Breaks a Pair of Streaming Songs Chart Records With ‘The Tortured Poets Department’

4/30/2024

By Kevin Rutherford

Songs from her new album storm the Streaming Songs chart, with Swift occupying the entire top 15 and 31 of the 50 spots.

Taylor Swift breaks a pair of records on Billboard’s Streaming Songs chart dated May 4 with music from new album The Tortured Poets Department.

She becomes the first act to occupy the entire top 15 of the Streaming Songs list, and she also appears on the ranking with 31 different songs – the most in one week by any act. (Streaming Songs’ inaugural chart was published in 2013.)

She leads the survey with “Fortnight,” featuring Post Malone. The song bows at No. 1 with 76.2 million official U.S. streams accrued April 19-25, according to Luminate.

It’s Swift’s ninth No. 1 and first since “Is It Over Now? (Taylor’s Version) [From the Vault],” which crowned the tally for two weeks last November. She first reigned with “Shake It Off” in 2014.

With nine No. 1s, Swift puts some distance between herself and Ariana Grande and Justin Bieber for the second-most rulers in the chart’s history.

Most No. 1s, Streaming Songs

20, Drake
9, Taylor Swift
6, Ariana Grande
6, Justin Bieber
5, Travis Scott

As for featured artist Post Malone, it’s his third Streaming Songs leader and first since 2019, following “Sunflower (Spider-Man: Into the Spider-Verse)” with Swae Lee.

“Fortnight” is followed by “Down Bad,” which ranks at No. 2 with 50.1 million streams. Swift occupies the entire top 15, down to “I Can Fix Him (No Really I Can),” via 28.1 million streams.

Grabbing the top 15 breaks a record previously held by Drake, who snagged the top 14 of the Sept. 18, 2021, ranking via songs from his album Certified Lover Boy.

The entirety of The Tortured Poets Department – 31 songs in all – also makes the chart, down to “Robin,” which debuts at No. 44 with 12.5 million streams. That’s also a record; the mark for most songs on a single Streaming Songs survey had previously gone to Morgan Wallen, who occupied 30 of the 50 positions on the March 18, 2023, list with music from the set One Thing at a Time.

Concurrently, as previously reported, “Fortnight” debuts at No. 1 on the multimetric Billboard Hot 100, taking the top 14 in the process. The Tortured Poets Department also debuts atop the Billboard 200.

[mms82]

Apr 30, 2024 4:54:06 GMT -5 dremolus - solarpunk said:

BUBBLING UNDER
#5. Chappell Roan - Red Wine Supernova (-2)

I think this is going to rocket in next week! Go our Midwestern Princess, so well deserved. I love the trend of a new hit bringing their old bops to chart for the first ever time — can't say I'm a Lizzo fan but it's definitely a great contribution she's had on the chart process

[rockgolf]

Okay, I just did the math here:

If the methodology Billboard uses for the GOAT chart is as has been used in our other streams, there are a total of 431,145 points for the sum of all songs 1-100. (Going non-linearly from 39,000 points for #1, 26,000 for #2, and working down to 390 for #100...

And the way points are divided on songs with featured artists is 70% to main act, 30% to featured act....

Then Taylor Swift's artist points this week are 299,351.

That a spectacular 69.43% of all the points available on the Hot 100 this week!

Taylor earned more artist points this week than every other act combined. Actually more than twice as many as every other act combined.

[Caviar]

http://instagram.com/p/C6ZKBZzuK1y

[85la]

Apr 30, 2024 12:42:16 GMT -5 Caviar said:

http://instagram.com/p/C6ZKBZzuK1y

Yes, you see, this is the perfect example of what some of us fear, that stats such as these will be mentioned without regard to overall chart runs, the simple fact that most of those Taylor top 10s were from album bombs, mostly only spending a week or two in the top 10 and just a few on the chart in general, painting the picture that they are somehow more impressive than the 7 top 10s from Rhythm Nation or the 6 from Teenage Dream, all of which were released as separate singles and were bonafide, lengthy chart successes. (Also, if were going to count album bombs, can we for christ's sake count TD's 8 top 10 hits and all re-releases as well!!)

[neogale]

Apr 30, 2024 12:42:16 GMT -5 Caviar said:

http://instagram.com/p/C6ZKBZzuK1y

Let's contextualize this post and adequately measure the more recent additions when compared to the others:

- Fortnight: 1 entry so far (Fortnight).
- 1989 (TV): 1 entry (Is It Over Now?).
- Midnights: 2 entries (Anti-Hero and Karma; Lavenzer Haze failed at re-entering the top 10 once the album's impact was gone).

If you like, you could say that the post is correct, but it makes that achievement kinda iffy: you're comparing apples to oranges and ignoring the context that allowed three of those albums to sneak in.

[dremolus - solarpunk]

Apr 29, 2024 12:05:53 GMT -5 dremolus - solarpunk said:

Swift’s Record-Breaking Streak of Albums With Hot 100 No. 1s

As noted last October, when the revived “Cruel Summer” hit No. 1 on the Hot 100, four years after its release on her 2019 album Lover, Swift tied Rihanna for the most consecutive studio albums of all-new material – seven – each generating at least one Hot 100 No. 1.

Now, with the reign of “Fortnight,” Swift solely boasts a record eight consecutive albums of all-new music (excluding her rerecorded projects) each spinning off Hot 100 No. 1s. Here’s a recap:

The Tortured Poets Department: “Fortnight” (feat. Post Malone), 2024
Midnights: “Anti-Hero,” 2022
Evermore: “Willow,” 2020
Folklore: “Cardigan,” 2020
Lover: “Cruel Summer,” 2023 (originally released in 2019)
Reputation: “Look What You Made Me Do,” 2017
1989: “Shake It Off,” “Blank Space,” “Bad Blood” (feat. Kendrick Lamar), 2014-15
Red: “We Are Never Ever Getting Back Together,” 2012

Btw, I think this stat is kinda bogus because they are excluding the TVs. I understand they're re-releases but:

a. Billboard treats the original recordings and the new ones as seperate
b. Both 1989 TV and Red TV have their own #1 singles that are left out

[Gary]

Key words from that "studio albums of all new material"

[badrobot]

I am surprised that there hasn't been more of a distinction for "radio singles" when these records are being discussed. That seems like the closest terminology to indicating the difference between a fully-promoted single vs an album cut charting.

[Choco]

These days songs don't even need radio to attain long and healthy chart runs. Actually it feels often like radio is playing catch up with the latest TikTok or Spotify sensations.

[Baby Yoda Hot100Fan]

The Outfield Scores a Hit Again With ‘Your Love,’ Sparked by New Diplo Remix

4/30/2024

By Gary Trust

The new version debuts on the Hot Dance/Electronic Songs chart, while the 1986 original scales the Global 200.

Thirty-eight years after it first became a hit, The Outfield’s “Your Love” is back on Billboard’s charts.

Originally a No. 6-peaking single on the Billboard Hot 100 in May 1986, the pop-rock classic climbs from No. 199 to No. 189 in its second week on the Billboard Global 200, dated May 4. It gained by 6% to 13.4 million official streams worldwide April 19-25, according to Luminate. (At the beginning of February, the song was drawing over 8 million weekly streams globally.)

Meanwhile, a new version debuts on Hot Dance/Electronic Songs: “Your Love (Remix),” by The Outfield and Diplo, enters at No. 48. It also opens at No. 6 on the Dance/Electronic Song Sales chart.

Thanks to the song’s reimagination, The Outfield charts a newly-released entry on Billboard’s surveys for the first time since 1992, when “Closer to Me” became the band’s eighth Hot 100 hit. The group logged five top 40 Hot 100 titles in 1986-91, with “Your Love” followed by “All the Love in the World” (No. 19, August 1986), “Since You’ve Been Gone” (No. 31, August 1987), “Voices of Babylon” (No. 25, May 1989) and “For You” (No. 21, January 1991). 

“Your Love (Remix)” is from Diplo Presents Thomas Wesley: The Mixtape, released April 26.

The original was released on The Outfield’s debut LP Play Deep, which rose to No. 9 on the Billboard 200 in June 1986. (The mid-‘80s were teeming with baseball-themed chart hits, with “Your Love” among a lineup of songs also including John Fogerty’s “Centerfield” and Bruce Springsteen’s “Glory Days.”)

Meanwhile, other favorites are enjoying new lives via dance makeovers. Here’s a rundown of six such tracks on the latest Hot Dance/Electronic Songs chart:

No. 10, “Whatever,” Kygo with Ava Max / reworks “Wherever, Whenever” by Shakira (No. 9 peak in 2001 on the Hot 100)
No. 19, “Thank You (Not So Bad),” Dimitri Vegas & Like Mike x Tiesto x W&W & Dido / “Thank You,” Dido (No. 3, 2001, Hot 100)
No. 21, “The Sound of Silence (CYRIL Remix),” Disturbed / “The Sound of Silence,” Disturbed (No. 3, 2016, Hot Rock & Alternative Songs; Simon & Garfunkel’s original hit No. 1 on the Hot 100 for two weeks in 1966)
No. 27, “Somebody (2024),” Gotye, Kimbra, Fisher, Chris Lake & Sante Sansone / “Somebody That I Used To Know,” Gotye feat. Kimbra (No. 1, eight weeks, 2012, Hot 100)
No. 42, “It’s Not Right (But It’s Ok),” Mr. Belt & Wezol / “It’s Not Right But It’s Ok,” Whitney Houston (No. 4, 1999, Hot 100)
No. 48, “Your Love (Remix),” The Outfield & Diplo / “Your Love,” The Outfield (No. 6, 1986, Hot 100)

The Outfield formed in London and comprised guitarist John Spinks, vocalist/bassist Tony Lewis and drummer Alan Jackman. After Spinks died in 2014, the group disbanded. Lewis passed in 2020.

“We are astounded with the recent 10.4 million monthly Spotify listener milestone and wanted to say thank you for rocking with us in 2024,” a March post on the group’s official site reads; the band now boasts over 15 million monthly listeners on the platform. “We will always have music as a safe place. All the love in the world.”

[balletgirlmom]

I still think radio matters. Yes, we all stream but so much of that is just for us personally. With Radio, it just goes out to anyone listening.  It shows why iHeart Radio is a big deal for all artists.  

[badrobot]

May 1, 2024 17:50:21 GMT -5 Choco said:

These days songs don't even need radio to attain long and healthy chart runs. Actually it feels often like radio is playing catch up with the latest TikTok or Spotify sensations.

This is true, but I feel like it’s pretty rare that a long running chart hit doesn’t at least make the radio songs chart for a little bit.

Do labels still do the concept of servicing a song to radio? That’s more what I meant by “radio single” — not necessarily that a song was a radio hit, but that the label at least tried to promote it as one.

[bbfan97]

Apr 30, 2024 7:31:07 GMT -5 Ｓｏｕｎｄｃｌ🕤ｃｋ said:

Apr 30, 2024 6:59:51 GMT -5 mms82 said:

Also, no song truly peaks at #1 everywhere (except Macarena maybe haha). Blinding Lights didn’t peak in the top 50 in Japan, Korea, Colombia. Doesn’t mean it wasn’t a mega global hit. Even with the Mexico Fortnight example, that’s still pretty massive for an Anglo debut in Mexico and she did just sell out 4 massive shows in Mexico City

I think Hello was the closest one. We don't have data for every country ofc, but it peaked at #1 everywhere music charts existed, besides Japan Hot 100 (#17) and some airplay charts.

also Asereje (Ketchup Song) was #1 almost everywhere, but not the US lol

[85la]

May 1, 2024 23:13:21 GMT -5 bbfan97 said:

Apr 30, 2024 7:31:07 GMT -5 Ｓｏｕｎｄｃｌ🕤ｃｋ said:

I think Hello was the closest one. We don't have data for every country ofc, but it peaked at #1 everywhere music charts existed, besides Japan Hot 100 (#17) and some airplay charts.

also Asereje (Ketchup Song) was #1 almost everywhere, but not the US lol

And of course don't forget the 90s classic ballads, like My Heart Will Go On and I Will Always Love You.

[Baby Yoda Hot100Fan]

Taylor Swift’s ‘The Tortured Poets Department’ Breaks Global Streaming Record in Its First Week

5/2/2024

By Eric Frankenberg

With 1.76 billion streams worldwide, the album rewrites Swift's own mark for the biggest global streaming week for an album dating to the global charts' start in 2020.

Taylor Swift has already broken, re-broken and extended several records across the Billboard charts this week. In addition to her staggering sales and streaming totals in the U.S., as reflected on charts dated May 4, The Tortured Poets Department is a certified global phenomenon: Its 31 songs on the LP’s deluxe version combined for the biggest global streaming week since the Billboard Global 200, which reflects consumption in over 200 territories, including the U.S., launched in September 2020. According to Luminate, the album drew 1.76 billion streams worldwide in the week ending April 25, following the set’s April 19 release. 

Swift is no stranger to the global streaming record, as her new collection breaks the previous high set by her own Midnights. In October 2022, the then-20-song deluxe edition album logged 1.16 billion streams. That means that Swift hasn’t just set a new benchmark, but rather entered a new realm entirely, improving upon her previous best by 52%.

It would be easy to attribute The Tortured Poets Department’s gargantuan streaming total to its extended track listing, as Swift added 15 songs (dubbed collectively as The Anthology) just two hours after releasing the 16-song standard edition. And while those tracks certainly helped, with nearly half a billion streams among them, she still would have broken the record with the original 16 songs, which combined for 1.27 billion first-week global clicks.

Overall, Swift averaged 56.8 million streams per song across all 31 tracks, falling just short of Midnights’ 57.8 million.

But while The Tortured Poets Department’s original track listing made up the lion’s share of the album’s streaming total, the extra Anthology titles sold more. Swifties already owned the standard-edition songs after breaking vinyl-sales records but could only listen to the 15 additional tracks via streaming platforms or digital purchase. They sold a total of 95,000 copies worldwide, April 19-25, compared to 82,000 for the standard tracks.

Just over half of Swift’s first-week streams came from the U.S., with 869.6 million coming from beyond. So while she is based in America and even began her career in the U.S.-dominated country genre, her starpower knows no geographical bounds, as The Tortured Poets Department also claims the biggest streaming week for an album outside the U.S. (since September 2020). In setting this international record, she surpasses Bad Bunny’s Un Verano Sin Ti, whose 23 songs collectively drew 704.7 million non-U.S. streams upon its arrival in the week ending May 12, 2022 (for charts dated May 21).

The six biggest non-U.S. debut streaming weeks are all belong to Swift and Bad Bunny. Besides The Tortured Poets Department, Swift logged 606 million for Midnights and 440.8 million for 1989 (Taylor’s Version) in their opening weeks. And in addition to Un Verano Sin Ti, Bad Bunny clocked 502.1 million for nadie sabe lo que va a pasar manana and 378 million for El Ultimo Tour Del Mundo in their first frames.

“Fortnight,” featuring Post Malone, leads the charge, debuting atop the Billboard Global 200 and Billboard Global Excl. U.S., starting atop the former with 176.8 million streams – or 10% of the album’s total streams – and 27,000 downloads sold worldwide. On the Global 200, Swift scores her fifth No. 1, the most for a soloist in the survey’s history. On Global Excl. U.S., she lands her third leader, tying for the most among soloists.

Meanwhile, “Fortnight” appears of 34 of Billboard’s Hits of the World Charts, topping tallies in Australia, Hong Kong, Malaysia, New Zealand, the Philippines, Singapore, and the United Kingdom.

Swift scores the top nine spots – marking a first – on the Global 200 and six of the top 10 on Global Excl. U.S., while all 16 standard-edition titles on the album place in each list’s top 30. “Robin,” the lowest-ranked song from the full album, ranks at No. 57 on the former chart and No. 123 on the latter. Swift ties Morgan Wallen (March 18, 2023) for the most entries – 34 – in a single week on the Global 200, while her 34 titles on Global Excl. U.S. marks a new one-week record. Swift (July 22, 2023) and Bad Bunny (May 21, 2022) previously shared the mark with 28 each.

[mms82]

I don’t think we’re ever getting to 30 pages again if this thread only got to 22