Taylor Swift is back on Australia’s chart throne, as 1989 (Taylor’s Version) returns to the summit.

The best-selling album for 2023 in Australia, according to trade body ARIA, 1989 (Taylor’s Version) racks up its 12th non-consecutive week at the top of the ARIA Albums Chart, published Friday, Jan. 26.

21 Savage’s American Dream last week bumped Swift’s re-recorded LP from top spot. But the dream didn’t last. Savage’s set dips 1-7, as Swift moves back to the top, 2-1, on the latest tally.

1989 (Taylor’s Version) is one of four TayTay albums in the top 10. With the start of the U.S. pop superstar’s The Eras Tour of Australia less than a month away, expect Swifties to keep her music at or near the top of the albums chart.

The top debut this week belongs to Green Day with Saviors, arriving at No. 2. The U.S. pop-punk trio’s 14th and latest studio album becomes their 12th top 10 album in these parts. The Rock Hall-inducted Bay Area band has topped the ARIA Chart on three occasions, with Dookie (1994), American Idiot (2004) and Father Of All Motherf—ers (2020).

Noah Kahan makes a move on both main Australian charts with Stick Season and its title track. The U.S. singer and songwriter’s album lifts 10-6, for a new peak, while “Stick Season” improves 3-2, also a new high on the ARIA Singles Chart. Further down the singles tally, a new version of the album track “Homesick,” featuring English singer Sam Fender, bows at No. 57.

At the top of the ARIA Singles Chart is Jack Harlow’s “Lovin On Me,” which enters a 10th non-consecutive week at No. 1, ahead of “Stick Season” and Tate McRae’s “Greedy” (up 4-3), respectively.

The Saltburn bump can be felt on the singles chart as Sophie Ellis-Bextor‘s 2001 hit “Murder On The Dancefloor” gains 12-7. The single, which is synced to the dark drama, peaked at No. 3 following its initial release.

U.S. singer and TikTok star Benson Boone bags a career high with “Beautiful Things,” new at No. 18, besting the No. 34 peak for his 2022 single “In The Stars.”

Finally, homegrown EDM DJ and producer Dom Dolla cracks the top 50 with “Saving Up.” The reigning ARIA Award-winner for best dance release, Dolla’s latest release starts at No. 44.

Muni Long banks her second top 10 on Billboard’s Hot R&B Songs chart as “Made for Me” races 15-8 on the list dated Jan. 27. The single, already a major airplay hit, finds its new wind thanks to the release of its music video and a resulting social media trend that fueled streaming and sales bumps.

“Made for Me,” released on Supergiant/Def Jam Records, earned 3.9 million official U.S. streams in the tracking week of Jan. 12 – 18, according to Luminate, up from 125% to 1.8 million the previous week. The nearly 2-million stream improvement comes largely thanks to the song’s growing viral profile from a video started by TikTok creator @milck.marie, in which participants (usually in blue pajamas) sing the song’s hook while walking toward the camera. On TikTok, the track’s main audio has swelled to soundtracking 163,000 clips – up from 44,000 on Jan. 18. In addition, the song’s official music video, which stars actor and singer Luke James, dropped at the tail end of the tracking week, on Jan. 17.

As “Made for Me” rallies, the track also climbs to 1,000 sales downloads in the week, a gain of 128% from the prior week. The sales bump also sparks the single’s No. 2 debut on R&B Digital Song Sales.

While “Made for Me” enjoys fresh viral buzz, the single has already proven a strong airplay hit on the R&B formats. The tune drops 2-3 on the Adult R&B Airplay chart, with an 8% decline in plays in the latest tracking week, after five nonconsecutive weeks in the runner-up spot. Notably, “Made for Me” tied the singer-songwriter’s “Hrs and Hrs” as her highest peak on the radio ranking.

Anchored by the adult R&B format support, “Made for Me” reached a No. 14 best on the R&B/Hip-Hop Airplay chart, which combines audience from both adult R&B and mainstream R&B/hip-hop radio stations. On the latest chart, the track slides 14-15, though it improves in audience to 7.4 million, a 9% increase from the previous week. Given the renewed social media activity, it’s possible that the single could attract additional radio gains in the coming weeks. There’s already positive momentum – “Made for Me” sits just outside the 40-position cutoff for the Mainstream R&B/Hip-Hop Airplay chart but improved 101% in plays in the latest tracking week compared to the one prior.

Elsewhere, “Made for Me” impresses on two other main Billboard charts: It moves 45-39 in its second week on the Hot R&B/Hip-Hop Songs list and debuts at No. 93 on the all-genre Billboard Hot 100.

Mesita, Nicki Nicole, Emilia and Tiago PZK‘s “Una Foto” holds at No. 1 on the Billboard Argentina Hot 100 chart (dated Jan. 27) for a second week.

The song earned Uruguayan Santiago Messano, better known as Mesita, his first champ on the overall Argentina songs chart, when it flew from No. 30 to No. 1 (list dated Jan. 20). While Nicki Nicole added her fourth leader and Emilia her third, Tiago PZK secured his sixth, entering into a tie with Maria Becerra for the second-most, both with six No. 1s, trailing only Bizarrap’s long-standing crown with nine rulers.

Argentinian rapper Khea earns his first top 10 in 2024, and sixth overall, as “Hola Perdida,” with Luck Ra, rises 8-2. Luck Ra captures his fourth top 10.

Young Miko nabs her highest-charting song with her first Bizarrap collab, “Bzrp Music Sessions, Vol. 58”. The song, which gives the Puerto Rican her second top 10, picks up the Greatest Gainer honors of the week, as it climbs 55 rankings, from No. 58 to No. 3. Bizarrap ups his top 10 career count to 20. Young Miko is also set to receive the Impact Award at the 2024 Billboard Women in Music Awards, taking place March 6 and streaming on March 7.

Elsewhere, Emilia notches her 29th entry on the Billboard Argentina Hot 100 as “Jet_Set.Mp3,” her team-up with Nathy Peluso, debuts at No. 30. The song, the Hot Shot Debut of the week, gifts Peluso her highest debut thus far, after “Argentina,” with Trueno, debuted and peaked at No. 48 in May 2022.

Further, two other songs debut this week, starting with “Tal Para Cual” by Salastkbron and Omar Varela, which starts at No. 55. The track brings back Varela to the tally, after “P Rreo,” with Kaleb Di Masi, Salas, and Alejo Isakk, took him to a No. 99 high in April 2022. Lastly, Ariana Grande secures her 11th chart entry with “Yes, And?” at No. 61.

Forever No. 1 is a Billboard series that pays special tribute to the recently deceased artists who achieved the highest honor our charts have to offer — a Billboard Hot 100 No. 1 single — by taking an extended look back at the chart-topping songs that made them part of this exclusive club. Here, we honor the late Shangri-Las frontwoman Mary Weiss by looking at their lone No. 1 as a group: the spellbinding tragi-pop classic “Leader of the Park.”

By the time “Leader of the Pack” hit No. 1 in late 1964, the first golden age of girl-group pop was already nearing its end. Groups like The Shirelles, The Angels and The Orlons had seen the hits dry up, while super-producer Phil Spector — who had set much of the sonic and structural template for the era with outfits like The Crystals and The Ronettes — was enjoying his final hits with the latter trio before turning his attention to The Righteous Brothers and Ike & Tina Turner. The Supremes would dominate throughout the ’60s, and their Motown labelmates Martha & The Vandellas and The Marvelettes were able to successfully evolve their sound to the changing era, but they were increasingly the exceptions to the rule. The Beatles were in the midst of modernizing the music world, scoring six Hot 100-toppers in ’64 alone, and the Brill Building pop production model that powered most of the girl group era suddenly didn’t seem quite so fresh.

What was fresh, though, was The Shangri-Las. Making their name with a street-tougher image and more emotionally complex songs than the glammed-out girl groups of the early decade, the quartet fit in just fine with the British-invaded pop world of the mid-’60s — touring with rock hitmakers The Animals and Vanilla Fudge and even performing with proto-punks The Sonics as their backing band. Betty Weiss sang lead on the group’s earliest songs, but she was soon eclipsed as frontwoman by younger sister Mary, whose more expressive and adaptable voice was better suited for the increasingly dramatic songs and rich productions given to the group by George “Shadow” Morton — who brought the Shangri-Las to Red Bird Records as teenagers and ultimately wrote and produced the majority of their hits. (Weiss died earlier this month at age 75.)

“Remember (Walkin’ in the Sand)” was first up for the group in the summer of ’64. Its mix of pounding piano chords, tempo switches, histrionically belted and tensely sung-spoken vocals, despairing lyrics and evocative sound effects proved a perfect introduction to the teenage mini-operas that would ultimately became their signature. It also made for one of the most striking pop singles of its era, as “Remember” peaked at No. 5 on the Billboard Hot 100, establishing the group as stars. But it would turn out to just be the warm-up for the group’s biggest hit, and the one they remain most known for 60 years later: The tearjerking story song “Leader of the Pack,” a doomed wrong-side-of-the-tracks romance that ends with its titular rogue speeding off to his tragic death.

Tragedy was nothing new in the pop music of the time: So-called “death discs” had made for one of the most bankable top 40 themes of the turn of the ’60s, with smashes like Ray Peterson’s “Tell Laura I Love Her” and J. Frank Wilson and the Cavaliers’ “Last Kiss” hinging on such fatalities. The overwhelming majority of these hits were male-sung, however, and a girl group had yet to find major success with one. But with several such groups singing songs in praise of the misunderstood Bad Boy — The Crystals’ Hot 100-topping 1962 gem “He’s a Rebel” being the most obvious and popular example — it made perfect commercial sense to mix such a star-crossed lover ballad with a teen tragedy song, delivered from the girl-group perspective.

But “Leader of the Pack” really revved up the melodrama — somewhat literally, in the case of its recurring motorcycle-engine sound effects — from its opening seconds, with one of the most show-stopping intros in pop history. A single, thundering piano chord is repeatedly struck, as backing vocals hum elegiacally in the background, and intra-Las spoken dialogue introduce the song’s central narrative, first through side gossip (“Is she really going out with him?”) and then through direct questioning (“Betty, is that Jimmy’s ring you’re wearing?”). It establishes everything about the song’s tone and content before the first verse, and also makes it clear that despite its obvious influences, “Leader” doesn’t follow in the path of any pop song before it.

And yes, despite “Betty” being the name of the “Leader” narrator, it was in fact Mary singing lead on the single, and delivering one of the unforgettable vocal performances of ’60s pop. Just 15 years old at the time of recording, there was a rawness and unguardedness to her wailing vocal (“He stood there and asked me wuhhhhh-eyyyyeeee“) that even brilliant young pop peers like Ronnie Spector and Diana Ross were a little too polished for. That was by design, according to legendary songwriter Jeff Barry (who composed the song along with Morton and usual songwriting partner Ellie Greenwich), telling Fred Bronson for The Billboard Book of Number One Hits that he sat close to her while recording “Leader” to give her stability and allow her to “feel free to let it out emotionally.” He notes that her emotional connection to the song is audible on the final product: “She was crying, you can hear it on the record.”

It’s almost unfair to evaluate Weiss’ performance on “Leader” strictly in musical terms, since it was every bit as much a theatrical performance. The single was structured less like a pop song than a radio play — with the backing Las prodding the narrative along with further questioning (“What’cha mean when you say that he came from the wrong side of town?“) and bombastic sound effects providing the necessary punctuation to the story when needed. But it all pivoted on Weiss as its leading lady, torn between her parents and her Jimmy, selling the combined devastation of both young heartbreak and young loss. “I was asking her to be an actress, not just a singer,” Morton later said.

Of course, Weiss was helped in her star vehicle by having pro’s pros as screenwriters and director. Barry and Greenwich were among the most accomplished songwriters of their era (“Be My Baby,” “Doo Wah Diddy Diddy,” “Chapel of Love”), and they establish the teen-soap story and feelings of “Leader” with maximum lyrical efficiency: “They told me that he was bad/ But I knew that he was sad.” Meanwhile, the song’s melodic instincts are sharp enough that the song never feels too stagey for the top 40: Note how after Weiss spends the verse waxing nostalgic with long, over-drawn phrases and her Las classmates answer her with clipped, staccato responses, they all come together at the end of the refrain to punch in the title phrase with maximum sing-song clarity and impact.

And Morton’s production is what brings the whole song together. It clearly follows from Spector’s Wall of Sound pocket symphonies, but with the added stakes of “Leader,” the song’s sonics are heightened to near-operatic levels: drum thumps approximate loudly echoing heartbeats on the chorus, reverb-soaked, minor-key piano gives the feeling of an impending thunderstorm on the bridge, and the group is elevated to an angelic choir on the heavenly outro, singing the fallen Leader home. And of course, there’s that incessant motorcycle engine: one of the all-time on-record sound effects, as crucial to the song’s pop appeal as any of the more obviously melodic hooks, and also serving as a much-needed act break following each emotionally exhausting verse and refrain. Throw in an unsettlingly vivid crash scene on the bridge — complete with skidding sounds, chilling “LOOK OUT! LOOK OUT!” cries from the backing La’s, and (of course) a climactic key change — and “Leader” was very likely the most action-packed pop single ever released to that point.

Appropriately, “Leader of the Pack” was received like a late-season blockbuster. It debuted at No. 86 on the Hot 100 dated Oct. 10, 1964, and was No. 1 just seven weeks later, ending the four-week reign of the ascendant Supremes and their second Hot 100-topper “Baby Love.” It spent just one week on top, before being replaced by a very different sort of story song, Lorne Greene’s “Ringo.” The Shangri-Las would never return to the chart’s top spot again, but dizzying follow-up “Give Him a Great Big Kiss” reached No. 18, and 1965’s “I Can Never Go Home Anymore” returned them to the top 10, peaking at No. 6. Even several Shangri-Las singles that failed to reach the top 40, like 1965’s heart-rending “Out in the Streets” (No. 53) and 1966’s absolutely harrowing “Past, Present and Future” (No. 59) made huge impressions not just on fans of the time but future generations of pop listeners, playing a large part in the cult fandom the group inspires to this day.

Indeed, though the Shangri-Las would only be major hitmakers for a couple years, their influence would be widespread for many decades to come. Several key figures from the first generation of punk rockers in the ’70s would cite the Las as formative influences, with The Damned even borrowing the “Is she really going out with him?” intro from “Leader” — which would also title famed angry young rocker Joe Jackson’s breakthrough hit just a couple years later — on their debut single “New Rose.” Later noise-pop merchants like Sonic Youth and The Jesus and Mary Chain similarly found inspiration in the group’s edgy melodrama, and retro-minded 21st century pop stars like Amy Winehouse and Lana Del Rey venerated their fashion, attitude and still-shattering songs. And while the girl group would be less impactful on the top 40 of the late ’60s than it was in the decade’s first half, there would be additional golden ages to come, with the Shangri-Las enduring as one of the gold standards of the form. Despite being perhaps the defining “death disc” of them all, “Leader of the Pack” has proven thoroughly eternal.

Taylor Swift spends a record-extending 95th week at No. 1 on the Billboard Artist 100 chart (dated Jan. 27), continuing her reign as the top musical act in the U.S. thanks to 10 charting albums on the Billboard 200 and two songs on the Billboard Hot 100.

1989 (Taylor’s Version) leads Swift’s titles on the Billboard 200, at No. 5 with 50,000 equivalent album units earned Jan. 12-18, according to Luminate. It spent six weeks at No. 1 beginning in November.

Here’s a recap of Swift’s current Billboard 200-charting albums:

No. 5, 1989 (Taylor’s Version)
No. 8, Folklore
No. 10, Lover
No. 11, Midnights
No. 22, reputation
No. 25, Speak Now (Taylor’s Version)
No. 26, Evermore
No. 28, Red (Taylor’s Version)
No. 57, Fearless (Taylor’s Version)
No. 63, 1989

This is the first week that Midnights has not ranked in the Billboard 200’s top 10 since it debuted on the chart dated Nov. 5, 2022. It logged 64 consecutive weeks in the region, making it the third-longest-running top 10 album this century, after Morgan Wallen’s Dangerous: The Double Album (137 total weeks in the top 10) and Adele’s 21 (84).

On the Hot 100, Swift charts her former four-week No. 1 “Cruel Summer” at No. 3 and former one-week leader “Is It Over Now (Taylor’s Version) (From the Vault)” at No. 17.

Kali Uchis re-enters the Artist 100 at No. 2, a new high, thanks to her new album Orquídeas. The set debuts at No. 2 on the Billboard 200 with 69,000 units, becoming her highest-charting album, and second top 10.

Ariana Grande returns to the Artist 100 at No. 5, as her new single “Yes, And?” debuts at No. 1 on the Hot 100, becoming her eighth leader.

Elsewhere in the Artist 100’s top five, 21 Savage vaults 35-3, as his new album American Dream launches at No. 1 on the Billboard 200, and Morgan Wallen falls 2-4.

The Artist 100 measures artist activity across key metrics of music consumption, blending album and track sales, radio airplay and streaming to provide a weekly multi-dimensional ranking of artist popularity.

Two acts earn new No. 1s on Billboard’s rock-, alternative- and hard rock-based digital song sales charts dated Jan. 27, one for the first time and the other for a seventh.

Michael Marcagi’s “Scared To Start” tops the Alternative Digital Song Sales ranking, while Disturbed’s “Don’t Tell Me,” featuring Ann Wilson, rules Hard Rock Digital Song Sales.

“Scared To Start” bows with 3,000 downloads sold in the U.S. in the Jan. 12-18 tracking week, according to Luminate. It’s Marcagi’s first No. 1 on a Billboard chart, with his first song to appear as a solo artist.

Concurrently, the Warner Records-signed Marcagi opens at No. 2 on Rock Digital Song Sales. On the multi-metric Hot Rock & Alternative Songs list, the track debuts at No. 21; in addition to its download count, it earned 2.6 million official U.S. streams.

“Scared To Start” isn’t Marcagi’s first brush with Billboard charts. He previously fronted the band The Heavy Hours, which nabbed a pair of Adult Alternative Airplay entries with “Don’t Walk Away” (No. 21 peak, November 2020) and “Wildfire” (No. 33, September 2021).

His burgeoning solo career has been spurred by success on TikTok, with “Scared To Start” and additional song “The Other Side” (released in December 2023) racking up impressive metrics on the user-generated content platform.

Meanwhile, Disturbed’s “Don’t Tell Me” re-enters Hard Rock Digital Song Sales at No. 1, a new peak, thanks to 1,000 downloads, up 937%. The song debuted at No. 2 on the Dec. 3, 2022, survey; it returns thanks to the release of its official video Jan. 12.

Disturbed now boasts seven Hard Rock Digital Song Sales No. 1s, dating to the chart’s 2011 inception. The David Draiman-led rockers first reigned with “Hell” in October 2011, and prior to “Don’t Tell Me,” most recently ruled with “Unstoppable” in October 2022.

Seven No. 1s gives the band sole possession of the fourth-most in the tally’s history; Five Finger Death Punch leads all acts with 16.

Most No. 1s, Hard Rock Digital Song Sales:
16, Five Finger Death Punch
9, Linkin Park
8, Bring Me the Horizon
7, Disturbed
6, Breaking Benjamin
6, Falling in Reverse
6, Foo Fighters

Concurrently, “Don’t Tell Me” breaks into the top 10 of the Mainstream Rock Airplay chart, jumping 13-10. It’s Disturbed’s 27th top 10, tying the band with Metallica for the sixth-most top 10s in the history of the 33-year-old ranking. Foo Fighters and Shinedown lead with 31 top 10s apiece.

Most Top 10s, Mainstream Rock Airplay:
31, Foo Fighters
31, Shinedown
29, Five Finger Death Punch
28, Godsmack
28, Tom Petty (solo and with the Heartbreakers)
27, Disturbed
27, Metallica
26, Papa Roach
26, Van Halen

The new ranking marks featured act Ann Wilson’s first on the chart as a soloist since “The Best Man in the World” peaked at No. 5 in January 1987. Heart, with Wilson as lead singer, boasts 10 top 10s, through “Black on Black II,” which peaked at No. 4 in November 1993.

“Don’t Tell Me” is the fourth single from Divisive, Disturbed’s eighth studio album, following “Hey You,” “Bad Man” and “Unstoppable.” The set debuted at No. 1 on the Hard Rock Albums chart in December 2022 and has earned 138,000 equivalent album units to date.

Ariana Grande earns her fifth No. 1 on Billboard’s Streaming Songs chart with “Yes, And?,” which starts atop the Jan. 27-dated tally.

In the Jan. 12-18 tracking week, “Yes, And?” earned 27.2 million official U.S. streams, according to Luminate.

It’s Grande’s first ruler since “Die for You,” her collaboration with The Weeknd, led for a week in March 2023. Her other Streaming Songs leaders include “Thank U, Next” (seven weeks, beginning in November 2018), “7 Rings” (eight weeks, beginning in February 2019) and “Positions” (two weeks in November 2020). All but “Die for You” debuted at No. 1.

With five No. 1s, Grande moves into a tie for the fourth-most rulers in the 11-year history of Streaming Songs, alongside Travis Scott. Drake leads all acts with 20 toppers.

Most No. 1s, Streaming Songs:

Concurrently, as previously reported, “Yes, And?” debuts at No. 1 on the multimetric Billboard Hot 100, Grande’s seventh leader and sixth No. 1 debut. In addition to its streams, the song earned 24.8 million radio audience impressions and 41,000 digital downloads toward its Hot 100 premiere.

“Yes, And?” is the lead single from Eternal Sunshine, Grande’s seventh studio album. It’s expected March 8 via Republic Records, and will be her first full-length since 2020’s Positions. Positions led the Billboard 200 for two weeks and has earned 2.5 million equivalent album units to date.

Trans-Siberian Orchestra (TSO) once again rules Billboard’s monthly Top Tours chart in December, with the act now ringing the No. 1 bell for the final month of the year in 2023, 2022, 2021 and 2019. (Of note, there was no chart in 2020 due to COVID-19’s impact on touring.) Over 73 shows between Dec. 1-30, the classical holiday collective grossed $51.5 million and sold 657,000 tickets according to figures reported to Billboard Boxscore.

With ensembles on both the East and West Coasts, TSO was able to play at least two shows per day — and used the additional bandwidth to its advantage, squeezing the most performances into this December than it has in any year since 2016. Despite a 6% dip in attendance compared with last year, revenue increased by 1%, marking the highest grossing month for TSO in its illustrious 25-year touring history.

Overall, TSO grossed $68.2 million and sold 873,000 tickets on its 2023 tour. The group saw consistent increases in its annual grosses through the end of the 2010s, up 10%, 13%, and 18% in 2017, 2018 and 2019, respectively.

The 2021 season, flanked by the first wave of COVID-19’s Omicron, dipped back by 18%, while last year’s tour came within half a percentage point of the 2019 peak. Finally, with the effect of COVID in the rearview mirror, this year’s revue establishes a new high dating back to the collective’s 1999 touring debut.

TSO hit 21 markets in November and another 42 in December. As always, major markets prime for double-headers are saved for mid-to-late December when seasonal hype reaches its apex. The average gross per city in November was $835,000, while December’s pace rose to $1.2 million.

Cleveland and Tampa were standout markets, and the first to ever generate more than $2 million in TSO history. Two shows at the former’s Rocket Mortgage Fieldhouse grossed $2.02 million from 26,000 tickets, and a double-header at the latter’s Amalie Arena earned $2.08 million from 25,600 tickets.

Including its Y2K launch (Dec. 10, 1999, to be exact), TSO has grossed a reported $802.4 million and sold 15 million tickets from 1,893 shows. While that situates it just outside the top 20 grossing acts in Boxscore history, its rank based on attendance makes it one of the top 10 artists since Boxscore’s late-‘80s start.

TSO’s fourth month at No. 1 ties Bad Bunny and Beyoncé. Only Elton John has spent more time on top, having reigned for seven months, spread between 2019, 2020, 2022 and 2023. While its annual touring window is limited to holiday months, its dominance is reliable, likely to be repeated in Decembers to come.

Given the sheer abundance of shows in TSO’s calendar throughout all of December — compared with most tours wrapping up halfway through the month — the group’s victory this time of year can feel inevitable. Still, the No. 1 spot was claimed by just a 3% margin, narrowly fending off U2’s eight-show run at Las Vegas’ Sphere.

U2 earned just over $50 million and sold 133,000 tickets during the Dec. 1-16 leg of its residency at Sphere, claiming the No. 1 spot on Top Boxscores. Combined with the first leg, which stretched from late September to early November, the rock legends have earned $159.8 million at the groundbreaking Vegas arena. Beginning this weekend, Bono & Co. are slated for 15 more shows through March 2.

U2 isn’t the only Vegas residency act to impact the December recap. Bruno Mars is No. 4 on Top Boxscores with a five-show return to MGM’s Dolby Live. The pop-R&B chart-topper grossed $10.3 million toward the end of the month, including a New Year’s Eve performance. At the same venue, Usher is No. 30 with the final two shows of a 12-date leg that began in early November. At Resorts World Theatre, Carrie Underwood pops up at No. 22, with $4.1 million from eight of nine shows that kicked off on Nov. 30.

While Vegas leads the way, half of the 30-position Top Boxscores chart took place outside of the mainland U.S., ranging from Latin America (RBD) and Europe (Madonna) to Asia (SEVENTEEN) and Australia (50 Cent). Paul McCartney takes up the most real estate with four appearances, all of which were in Brazil. Shows in Sao Paulo, Belo Horizonte, Rio de Janeiro and Curitiba rank at Nos. 3, 12-13 and 18, respectively. Three shows at Allianz Parque lead the pack with a $16.2 million gross and 149,000 attendance count over three shows.

And while Sphere enjoys a commanding lead over the Top Venues (15,001+ capacity) chart, it’s a New York theater that reigns over all concert halls in December. Radio City Music Hall crowns the Top Venues (5,001-10,000 capacity) list with $80.6 million and 133 shows. Even more efficient than TSO, The Radio City Rockettes headlined this year’s annual Christmas Spectacular, earning a gargantuan $116.7 million over 193 shows between Nov. 17 and Jan. 4.

A version of this story will appear in the Jan. 27, 2024, issue of Billboard.

Flo Milli’s “Never Lose Me” ranks at No. 1 on the TikTok Billboard Top 50 chart for a second week, while He Is We’s “I Wouldn’t Mind” vaults to No. 2 on the ranking dated Jan. 27.

The TikTok Billboard Top 50 is a weekly ranking of the most popular songs on TikTok in the United States based on creations, video views and user engagement. The latest chart reflects activity Jan 15-21. Activity on TikTok is not included in Billboard charts except for the TikTok Billboard Top 50.

“Never Lose Me” attains a second week at No. 1 concurrent with continued gains on streaming services that report to the Billboard Hot 100 and its genre-based charts. The song, released in November 2023, tops 10 million official U.S. streams for the first time, jumping 24% from 9.9 million to 12.1 million streams Jan. 12-18, according to Luminate. As such, the song leaps 42-37 on the Hot 100 as the tally’s greatest gainer in streaming.

As previously reported, “Never Lose Me” is largely driven by a variety of trends, with a more recent theme being uploads highlighting the “never had a bitch like me” lyric.

He Is We’s “I Wouldn’t Mind” has also been previously highlighted, following its debut on the Jan. 20 survey at No. 8. A sped-up edition of the 2010 track continues to drive the most attention, with the song’s TikTok uploads spanning a viral dance trend, POV videos and more. The song concurrently sports a 16% gain in official U.S. streams to 2.5 million.

@hotaltdilf

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♬ I Wouldnt Mind – ♱

A few more previously covered songs – Sophie Ellis-Bextor’s “Murder on the Dancefloor,” Cordelia’s “Little Life” and Project Pat’s “Choose U” – round out the top five, with the latter two reaching the top five for the first time.

“Choose U” isn’t the only place where you’ll find Project Pat in the top 10. “Good Googly Moogly,” featuring DJ Paul and Juicy J, joins the track in the top 10 by vaulting 18-7.

@trap4nick

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♬ GoodGooglyMooglyyy – Undergroundmusiclover

The main trend for “Good Googly Moogly” on TikTok features creators ogling someone, showing surprise at a passerby or other eyebrow-raising reactions, set to the “good googly moogly” line in the 2006 track’s chorus. Some more recent uploads with higher volume of interactions on the platform include photos and videos of users’ newborn babies, showing how people announced the birth of their children vs. how the child actually looked like when they were born.

Project Pat becomes the fifth different act to land more than one song in the TikTok Billboard Top 50’s top 10 in a single week since the ranking’s September 2023 inception. Nicki Minaj has done so three times, while Lana Del Rey, Kanye West and Drake have accomplished the feat once apiece.

One final song appears in the chart’s top 10 for the first time: MGMT’s “Time to Pretend,” which debuts at No. 9. The lead track from the duo’s 2007 breakout Oracular Spectacular, “Time to Pretend’s” overarching trend involves creators using the same or similar photos, both with the same caption – but using different emojis to represent that the same phrase can mean different things for one’s life.

“Time to Pretend” was MGMT’s first Billboard-charting song when it peaked at No. 23 on the Alternative Airplay survey in May 2008. The song snagged 1.8 million official U.S. streams in the latest tracking week, a 28% gain.

Just outside the TikTok Billboard Top 50’s top 10, Muni Long’s “Made for Me” debuts at No. 12. Its trend highlights the song’s “Twin/ where have you been? / nobody knows me like you do” lyric, with users making videos with friends, family or significant others. Long herself has also posted TikToks lip-synching to the song, as have Chloe, That Girl Lay Lay and more.

@munilongstans

🤣🤣 partners in shenanigans #munilong #summerwalker #tink #ellamai #queennaija #chloebailey #rnb #relationshipgoals #couplestok

♬ Made For Me – Muni Long

“Made for Me” debuts on the Hot 100 dated Jan. 27 at No. 93, Long’s third appearance on the ranking and first solo since breakthrough “Hrs and Hrs” peaked at No. 16 in February 2022.

Ariana Grande’s “Yes, And?,” which debuts at No. 1 on the Hot 100, makes an appearance on the TikTok Billboard Top 50, bowing at No. 23. It’s Grande’s third song on the tally since it began and first non-holiday entry, as “Santa Tell Me” and “Last Christmas” comprised her previous appearances.

@peachprc

i cannot stop thinking about this

♬ yes, and? – Ariana Grande

See the full TikTok Billboard Top 50 here and on the TikTok app. You can also tune in each Friday to SiriusXM’s TikTok Radio (channel 4) to hear the premiere of the chart’s top 10 countdown at 3 p.m. ET, with reruns heard throughout the week.

Jack Harlow attains a new milestone on Billboard’s Hot R&B/Hip-Hop Songs chart as “Lovin on Me” adds a 10th week at No. 1 on the list. With the latest week in charge, on the chart dated Jan. 27, Harlow becomes only the third artist to have three No. 1 hits that have each ruled for double-digit weeks.

Before “Lovin on Me,” the rapper’s first No. 1 on the list, the Lil Nas X-collaboration “Industry Baby” dominated for 19 weeks in 2021 – the third-longest run in the chart’s history – while 2022’s “First Class” ruled for 10 frames.

Thanks to the triple-double, Harlow joins Drake and Rihanna as the only acts to own at least three songs that posted at least 10 weeks at No. 1 on Hot R&B/Hip-Hop Songs. Drake claims six double-digit champs, with four from lead roles — “One Dance,” featuring Wizkid and Kyla (18 weeks), “Hotline Bling” (15), “God’s Plan” and “In My Feelings” (each 11) — and twice in supporting spots — DJ Khaled’s “I’m on One,” featuring Drake, Rick Ross and Lil Wayne and Rihanna’s “Work” (11). Rihanna’s three double-digit leaders break down into two lead roles: “Diamonds” (14) and “Work” (11), and an assist on Eminem’s “The Monster” (13).

Diving further into the current champ, “Lovin on Me” wins another term atop Hot R&B/Hip-Hop Songs with radio gains and steady strong streaming and sales results. In the tracking week of Jan. 12-18, according to Luminate, “Lovin on Me” collected 26.7 million official U.S. streams; despite the 5% slip compared with last week’s 27.9 million, it remains at No. 1 on the R&B/Hip-Hop Streaming Songs chart for an eighth overall week. The track rebounds 2-1 for a ninth frame leading the R&B/Hip-Hop Digital Song Sales list, overcoming a 10% slide to 7,000 downloads sold in the tracking window.

In the radio world, “Lovin on Me” reinforces its position as a multi-format hit as the song registered 67.5 million in total audience in the tracking period, up 15% from the prior week. The single nabs a fourth week at No. 1 on Rhythmic Airplay after a 3% gain in plays for the week, rockets 7-1 on Mainstream R&B/Hip-Hop Airplay following a 20% surge in weekly plays, and steps 4-3 on Pop Airplay thanks to a 15% improvement there. The strength at multiple sectors pushes “Lovin on Me” 2-1 to crown the all-genre Radio Songs list for the first time.