Justin Bieber Replaces Himself at No. 1 on Hot 100 With ‘Love Yourself’
Justin Bieber earns the rare honor of replacing himself at No. 1 on the Billboard Hot 100 (dated Feb. 13), as "Love Yourself" rises 2-1, unseating "Sorry" (1-2) after three weeks atop the chart…
Justin Bieber earns the rare honor of replacing himself at No. 1 on the Billboard Hot 100 (dated Feb. 13), as “Love Yourself” rises 2-1, unseating “Sorry” (1-2) after three weeks atop the chart. Plus, Flo Rida and Selena Gomez each add new top 10s, and Rihanna debuts at No. 9 with “Work.”
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As we do every Monday, let’s run through the Hot 100’s top 10, and beyond. Highlights of the airplay/sales/streaming-based Hot 100 post on Billboard.com each Monday, with all charts updated each Tuesday.
With the coronation of “Love Yourself,” released on SchoolBoy/Raymond Braun/Def Jam, Bieber becomes only the 12th act in the Hot 100’s 57-year history to succeed himself at No. 1. He’s the second in four months, however, as The Weeknd‘s “The Hills” supplanted “Can’t Feel My Face” at the top spot on the chart dated Oct. 3. Before that, Taylor Swift became the first woman to earn the honor when “Blank Space” followed her “Shake It Off” to the top on Nov. 29, 2014. The other acts to switch out songs successively at No. 1: the Beatles, who scored a record three leaders in a row (“I Want to Hold Your Hand,” “She Loves You” and “Can’t Buy Me Love”) in 1964; Boyz II Men (1994); Puff Daddy (as he was then billed, in 1997); Ja Rule (2002); Nelly (2002); OutKast (2004); Usher (2004); T.I. (2008); and the Black Eyed Peas (2009). (Puff Daddy and Ja Rule each doubled up thanks to a lead and featured role.)
“Love Yourself” is the Hot 100’s 1,050th No. 1 and Bieber’s third, with “Sorry” and first leader “What Do You Mean?” (which falls 10-17 after spending its record-tying first 21 weeks in the top 10) all from his album Purpose. He’s the first artist to score three No. 1s from an album since Swift (“Shake,” “Space” and “Bad Blood,” featuring Kendrick Lamar), via 1989 in 2014-15. Bieber is the first male to notch three Hot 100 No. 1s from an album since another Justin almost 10 years ago: Justin Timberlake tallied three from FutureSex/LoveSounds in 2006-07: “SexyBack,” “My Love” (featuring T.I.) and “What Goes Around…Comes Around.”
Congratulations are also in order for “Love Yourself” co-writer Ed Sheeran, who makes his first trip to No. 1 on the Hot 100 in any capacity. He’d previously peaked as high as No. 2 as an artist and writer with last year’s “Thinking Out Loud.” As for the new No. 1’s other two authors: Bieber inks his third topper as a writer (thanks to his now-three leaders from Purpose) and Benjamin “Benny Blanco” Levin achieves his seventh and first since Rihanna’s “Diamonds” in 2012. (He’s also co-written No. 1s for Kesha, Katy Perry and Maroon 5.)
“Love Yourself” holds at No. 2 on the Streaming Songs chart with 16.4 million U.S. streams (down 2 percent) in the week ending Jan. 28, according to Nielsen Music. It lifts 4-3 on Radio Songs (132 million audience impressions, up 13 percent), adding top Airplay Gainer honors on the Hot 100 for a fourth week, while falling 1-3 on Digital Songs after three weeks on top (116,000 downloads, down 17 percent). It leads the subscription services-based On-Demand Songs chart for a second week (9.7 million on-demand streams, down 6 percent) and becomes Bieber’s third No. 1 on the Pop Songs airplay chart (after “Sorry” and “Mean”).
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Meanwhile, despite slipping from the top position on the Hot 100, “Sorry” scores an impressive consolation prize, becoming Bieber’s first No. 1 on the all-format Radio Songs chart (2-1; 141 million, down 2 percent). He’d previously peaked as high as No. 2 on Radio Songs with “As Long as You Love Me” (featuring big Sean) in 2012. “Sorry” scores a seventh week at No. 1 on Streaming Songs (18.6 million, down 7 percent) and tumbles 5-9 on Digital Songs (61,000, down 24 percent).
As Bieber dominates the Hot 100’s top two, Twenty One Pilots cruise at a new high altitude on the Hot 100, as “Stressed Out” elevates 4-3. The single stays at No. 2 on Digital Songs (117,000, down 8 percent) and keeps climbing Streaming Songs (5-4; 12.7 million, up 8 percent) and Radio Songs (6-4; 120 million, up 14 percent). The duo’s first top five Hot 100 hit leads Billboard‘s Hot Rock Songs chart for a sixth week. Rock resurgence of sorts: “Stressed” is the first title to hit the Hot 100’s top three that has also appeared on Hot Rock Songs in nearly a year, since Hozier‘s “Take Me to Church” ranked at No. 3, after peaking at No. 2, on the Feb. 28, 2015, Hot 100.
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Adele‘s “Hello” descends 3-4 on the Hot 100 after spending its first 10 weeks at No. 1. It falls to No. 2 on Radio Songs after logging 11 weeks at No. 1 (138 million, down 9 percent). Still, follow-up “When We Were Young” rises 35-29 on the Hot 100, as parent album 25 returns to the top of the Billboard 200.
Flo Rida flies into the Hot 100’s top five (and top 10), as “My House” surges 12-5. With his highest-ranking Hot 100 hit since “Whistle” led for two weeks in 2012, the Sunshine State rapper collects his 11th top 10, dating to his first, the 10-week No. 1 “Low” in 2008; with all his top 10s in lead roles, Flo Rida boasts the most top 10s as a lead artist among solo males in the past eight years. “House” dips 3-4 on Digital Songs (98,000, down 12 percent) but bounds 29-19 on Streaming Songs (7.6 million, up 26 percent) and 32-20 on Radio Songs (49 million, up 29 percent).
The Chainsmokers‘ “Roses” (featuring Rozes) rises to a new peak on the Hot 100 (8-6). The track becomes the DJ duo’s first Radio Songs top 10 (13-10; 74 million, up 9 percent) and rules the Hot Dance/Electronic Songs chart for a sixth week.
Selena Gomez‘s “Hands to Myself” vaults 21-7 on the Hot 100 following the Jan. 20 premiere of its official video and her Jan. 23 appearance as the musical guest on NBC’s Saturday Night Live. The track claims dual top Digital and Streaming Gainer applause on the Hot 100, thanks to its 10-6 jump on Digital Songs (67,000, up 41 percent) and 19-6 blast on Streaming Songs (11.5 million, up 53 percent). It also debuts on Radio Songs at No. 37 (35 million, up 27 percent). Gomez earns her fifth Hot 100 top 10 and third from her album Revival; first single “Good for You” (featuring A$AP Rocky) and follow-up “Same Old Love” each reached No. 5, her best rank. And, oh look: Gomez ranks back-to-back on the Hot 100, as “Same” drops 7-8. With “Hands” and “Same” in the top tier, Gomez sports concurrent Hot 100 top 10s for the first time.
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Rihanna roars in at No. 9 on the Hot 100 with “Work” (featuring Drake), from her new album Anti, which enters the Billboard 200 at No. 27. “Work” debuts at No. 1 on Digital Songs (126,000 sold in its first week; the song sold that sum in just more than a day of the tracking week ending Jan. 28, as it was commercially released at 9 a.m. ET on Jan. 27), marking Rihanna’s record-extending 14th No. 1 on the sales chart. “Work” also launches at No. 27 on Radio Songs (44 million in just more than four days of availability), marking her highest career debut on the airplay ranking, and drew 2.2 million streams (in just more than a day, as the Digital Songs and Streaming Songs tracking week runs Friday-Sunday; Radio Songs covers Monday-Sunday each week).
“Work” arrives as Rihanna’s milestone 50th Hot 100 hit, and ties for her third-highest debut. And, now with 27 top 10s, she ties Mariah Carey, Janet Jackson and Elton John for the fifth-most top 10s in the Hot 100’s history. (Madonna leads with 38.) Drake adds his 15th Hot 100 top 10. “Work” additionally starts atop Billboard‘s Hot R&B/Hip-Hop Songs chart, where it’s Rihanna’s fifth No. 1, and Drake’s 14th.
Capping the Hot 100’s top 10, Alessia Cara‘s “Here” retreats from its No. 5 high to No. 10 (and cedes the top spot on Hot R&B/Hip-Hop Songs to “Work” after three weeks).
Among action outside the Hot 100’s top 10, G-Eazy and Bebe Rexha‘s “Me, Myself & I” pushes 16-11 and DNCE, led by Joe Jonas, reaches the top 20 with “Cake by the Ocean” (22-18).
Before we go, a math-related note: As of this week, a slight change is implemented regarding the Hot 100’s methodology (as is occasionally done), moderately tempering the influence of streaming, due to its hefty growth over the past year, while also increasing the contribution of digital song sales. With the formula change, which also affects Billboard‘s genre-specific hybrid charts, the ratios for the three contributing sources to the Hot 100 (sales, streaming and airplay) are more equally balanced.
Find out more noteworthy news in the weekly “Hot 100 Chart Moves” column to post later this week. And, visit Billboard.com on Tuesday (Feb. 2), when all rankings, including the Hot 100 in its entirety, will refresh, as they do each Tuesday. The Hot 100 and other charts will also appear in the next issue of Billboard magazine, on sale Friday (Feb. 5).