Country Billboard Chart News November 18, 2019
In
Brief: Billboard Country Charts (Chart issue week of November 23, 2019)
Country Album Chart ** No.1 (1 week)
** WHAT YOU SEE
IS WHAT YOU Luke Combs
Hot Country Songs **
No.1 (6 weeks) ** “10,000 Hours” Dan + Shay &
Justin Bieber
Country Airplay ** No.1 (1 week) ** “Even Though I’m Leaving” Luke
Combs
Country Digital Songs ** No.1 (1 week) ** "One Man
Band" Old Dominion
The
Billboard 200 chart measures multi-metric album consumption, which includes
traditional album sales, track equivalent albums (TEA) and streaming equivalent
albums (SEA).
Luke Combs Bundles First No. 1 Album With Record-Setting Week on
Billboard 200 Chart
Luke
Combs blasted in at No.1 on the
Billboard Top 200 Albums Chart with his new release, WHAT YOU SEE IS WHAT
YOU GET. The country album, which was released on Nov. 8 via River
House/Columbia Nashville, launched with 172,000 equivalent album units
earned in the U.S. in the week ending Nov. 14, according to Nielsen Music. Of
that sum, 109,000
were in album, TEA
units equal 6,000 and SEA units total 58,000. The latter sum translates to 74
million on-demand audio streams for the album’s 17 tracks..
WHAT
YOU SEE IS WHAT YOU GET marked Combs’ first No. 1 on the all-genre Billboard
200 chart, it logged the largest week for a country album in over a year,
and it's the biggest streaming week ever for a country album.
What
You See Is What You Get is Combs' second full-length studio album, follows
2017's THIS ONE'S FOR YOU. The latter peaked at No. 4 and has been in
the top 40 every week since June 2018.
Biggest
Week for a Country Album in Over a Year:
With
172,000 equivalent album units earned, What You See Is What You Get tallies the
largest week for a country album in over a year. The last larger week earned by
a country set came when Carrie Underwood’s CRY PRETTY bowed at No. 1 with
266,000 units on the Sept. 29, 2018-dated chart.
Second
No. 1 Country Album in 2019:
What
You See Is What You Get is just the second country album to top the
Billboard 200 in 2019, of a total of 35 No. 1 albums. Earlier in the year,
Thomas Rhett's CENTER POINT ROAD logged country's first No. 1 of 2019, when it
debuted atop the list dated June 15 and spent one week in the penthouse. In all
of 2018, there were 40 total No. 1s, with three country leaders: Jason Aldean's
REARVIEW TOWN (one week, April 28), Underwood's CRY PRETTY (Sept. 29) and Kane
Brown's EXPERIMENT (one week, Nov. 24).
Combs’
Biggest Week in Units & Album Sales:
WHAT
YOU SEE IS WHAT YOU GET logged Combs his largest week in both total units
earned, and in album sales. His previous high in units came when THIS ONE’S FOR
YOU garnered 55,000 units (June 16, 2018-dated chart) after it was reissued
with bonus tracks a year after its initial release. Combs’ previous high in
album sales was registered in the debut week of This One’s for You, with 35,000 sold (June 24, 2017 chart).
What You See Is What You Get’s debut week was bolstered by a concert
ticket/album sale redemption offer (AXS.com) with Combs’ upcoming tour,
in addition to some merchandise/album bundles sold via Combs’ official website.
Record
Streaming Week for a Country Album:
What
You See Is What You Get logged 58,000 in SEA units, which translates to 74
million on-demand audio streams for the album's 17 tracks during the tracking
week ending Nov. 14. That easily smashes the previous one-week streaming record
for a country album. Previously, Gene Autry’s Rudolph the Red Nosed Reindeer
and Other Christmas Classics held the record for the biggest streaming week for
a country album, when it earned 43.71 million streams for its tracks on the
Jan. 5-dated list -- thanks heavily to Christmastime plays of the album’s
holiday favorites “Here Comes Santa Claus (Right Down Santa Claus Lane)” and
“Rudolph the Red-Nosed Reindeer.”
Top
Country Albums now ranks the most popular country albums of the week, as
compiled by Nielsen Music, based on multi-metric consumption (blending traditional album sales, track equivalent albums (TEA), and streaming equivalent albums (SEA)).
10 digital track sales from an
album = 1 track equivalent album (TEA)
“sale”
1,500 on demand song streams from
an album to one streaming equivalent album (SEA) “sale”.
Nielsen
Music compiles the sales and streaming data. Billboard continues to publish pure album sales charts (subscription to
billboard biz ), exclusively comprising
Nielsen’s sales data.
Luke
Combs with second full-length, WHAT
YOU SEE IS WHAT YOU GET (River House/ Columbia Nashville/Sony Music Nashville),
blasted in at No. 1 on the Nov. 23-dated Top Country Albums chart (#1
New Entry Billboard 200), starting with 172,000 equivalent album units (109,000 in album sales) in the week
ending Nov.14, according to Nielsen Music.
The
set is Combs’ third leader on the list, following his first LP, 2017’s This
One’s for You, and this year’s 5-track EP, THE PREQUEL (River House/Columbia
Nashville/ Sony Music Nashville) which stormed to the top of Billboard’s Top
Country Albums chart (dated June 22), earning 48,000 equivalent album units
in its first week (ending June 13), according to Nielsen Music. Of that sum, 22,000 copies were from traditional
album sales; the set earned 25.3 million on-demand audio streams for its
songs in its debut frame.
As
for Combs’ prior history on Top Country Albums, THIS ONE’S FOR YOU arrived
atop the chart dated June24, 2017 (with 43,000 units; 35,009 in traditional album sales).
The set followed his same-named EP, which debuted at No. 36 in December 2015
and peaked at No. 24 in May 2017. A deluxe version of the LP, released on June 1, 2018, sparked the title’s
top weekly unit count (55,000, as reflected on the chart dated June 16, Combs’
former biggest week). The LP (River House/Columbia Nashville/Sony Music
Nashville),, at No. 2 on Top Country Albums (#18-14 Billboard 200, 21,000,
up 11%’ #14-5 Country Sales), has logged 50 weeks at No. 1, tying Shania
Twain’s Come on Over for the most weeks at the summit — 50 each — in the chart’s
nearly 56-year history.
Critical reception for Luke Combs’ What You See Is What You
Get:
Exclaim (Rating:90/100) ….The quality
of musicianship, lyrical content and melodies on What You See Is What You Get
marks one of the top calibre country albums of the decade.
Allmusic (Rating: 4 STARS) … At 60 minutes, the album
runs through so many sturdy midtempo tunes about family, heartbreak, and love
that the seams holding Combs' everyday persona together start to show -- all
the variations on a theme can't help but reveal the calculation behind the
image -- but taken on a song-by-song basis, What You See Is What You Get is a
solid album, proudly made just the way they used to be back in the '90s.
Variety (Rating: 78/100) Did the album, as good as it is, need to be 17 songs
long? No; it feels less like taking listeners on an old-school album journey
than just flooding the streaming zone with potential hits.
Rollingstone (Rating: 3.1/2 STARS) Over 17 songs (five of which were released
this summer on The Prequel EP), Combs doubles down on the Miller-chugging bona
fides he’s sculpted in the process of becoming country’s most relatable
everyman. His second LP reworks and revamps the now-quaint Nineties country
styles of Brooks & Dunn (who appear on the clever drinking anthem “1, 2
Many”) and Alan Jackson, and is littered not just with crushed beer cans but
also resolute life lessons….Combs’ second full-length, then, sounds less like
an album and more like a collection of singles that will be crowding country
radio for the next two years.
The New York Times (Rating: 50/100)…“What You See Is What
You Get” challenges him less than his debut album did. It is mundanely
forceful, laden with chunky guitars and hard-snap drums, and just barely
ambitious. Which is to say, in the current country ecosystem, reasonably
effective. Where Combs shows the most promise is in his emergent desire to
restore the genre to the high-octane pep of the 1990s.
Entertainment Focus by Pip Ellwood-Hughes (Rating: 3.5/5) …At 17 songs long there’s bound to
be filler and it’s true that some of these songs are indistinguishable from one
another. All Over Again sounds pretty much the same as his hit Hurricane while
Every Little Bit Helps and the title track What You See Is What You Get are
Luke Combs by numbers. 1, 2 Many featuring Brooks & Dunn is a nice
throwback to the 90s and it works far better than Does To Me, the collaboration
with Eric Church.
Following several listens I’m still not fully in the Luke Combs camp.
The album is too long and there are too many similar sounding tracks.
HE GOOD: There are glimpses of Combs' potential, His vocals are strong,
The more sensitive moments are the best
THE BAD: The album is very samey, The production often removes Combs'
personality
Your Life In A Song by James Daykin (Rating: Positive) ..Don’t
get me wrong, Luke Combs is a special artist. What he has, right now, is
exactly what Country music needs. A humble, unassuming, down to earth guy that
could just be one of us is up there on stage, filling arenas with simple songs
about love, loss and the vagaries of life. Backed by a honky-tonk attitude,
Combs is leading the charge against the clean-cut pretty boys of Country pop
and is doing a damn fine job of it too. He just needs to be careful that, going
forward, across all the albums yet to come, he doesn’t become a parody of
himself or begin to plagiarise himself in an effort to meet the demands of his
rabid fan base. Someone in his team needs to be brave enough to say no to him
and to point out that he’s already written ‘Hurricane’ and ‘When it Rains it
Pours’. Combs needs someone to push him on in his creative endeavours so that
he evolves and develops into the genre-defining artist that he could, quite
clearly, so easily become. ‘What You See is What You Get’ is a great album but
it’s a relatively safe album.
Last
weeks’ No.1 Miranda Lambert with WILDCARD (Vanner/RCA Nashville/Sony Music
Nashville) fell 1- 3 (#4-26 Billboard 200).
Former No.1 Old Dominion with self-titled third LP (RCA
Nashville/Sony Music Nashville | Amazon UK - iTunes - Amazon.com) held at No.4 (#34-33
BB200) in their third frame.
Dan
+ Shay with their self-titled album
(Warner Bros./Warner Music Nashville) held at No.5 (#53-47 BB200) in their 73rd
frame.
Morgan Wallen with IF I KNOW ME (Big Loud Digital EX) climbed
7-6 (#64 non-mover) in his 76th frame.
Former
No.1 Maren
Morris with GIRL (Columbia
Nashville/ Sony Music Nashville [SMN]) rose 10-7 (#89-66 BB200) in her 36th frame.
Former
No.1 Kane
Brown with sophomore album, entitled EXPERIMENT slipped 6-8 (#59-70 BB200) in his 53rd week as his self-titled
album held at No.12 (#128-126 BB200).
Chris Stapleton’s 237-week TRAVELLER (MERCURY/ UMGN) held at No.9 (#71-79 BB200).
Former No.1 Thomas Rhett with CENTER POINT ROAD (Valory Music/ Big Machine
Records) moved 13-10 (#138-93 BB200;) in his 24th frame.
Outside the
Top 10
Former
No.1 Kacey
Musgraves with GOLDEN HOUR (MCA
Nashville) pushed 14-11 (148-115 BB200) in her 80th frame.
Former No.1 Brantley Gilbert with FIRE
& BRIMSTONE (Valory/Big Machine Label Group) fell 11-13 (#117-136
BB200) in his 6th frame.
Former 6-week non-consecutive week No.1 Jason Aldean with REARVIEW
TOWN (Macon/Broken Bow Records) moved 15-14 (#150-144 BB200) in
his 83rd week.
In their second week Hootie & The Blowfish with their first country LP, IMPERFECT
CIRCLE (Capitol Nashville/Universal Music Group Nashville | Amazon
UK - iTunes - Amazon.com) fell 3-16 (#26-179 Billboard 200).
Florida Georgia Line with CAN’T SAY I AIN’T COUNTRY (Big Machine Label Group) rose 22-19
in their 39th chart frame.
Jon Pardi with
HEARTACHE MEDICATION (Capitol Nashville/Universal Music Group Nashville)
fell 17-20 (#187 – off the
Billboard 200) in his 7th frame.
Former No.1 Carrie Underwood with CRY PRETTY climbed 37-25 in her 61st frame.
Bed
FALLING
SHORT of Top 50:
On the Country Album Sales list (pure sales;
old methodology)
Ned LeDoux with 13-track NEXT IN
LINE (Powder River Records/ Thirty Tigers | Amazon UK - iTunes) made a debut at No.11.
Year-To-Date Albums
8,954,000 sales which is 25.2% down at the same point in 2018
(11,964,000 sales).
Album consumption is 47,304,000 units which is 8.7% up at the same point in 2018 (43,520,000 units)
On Billboard’s Hot Country Songs chart - which
blends:
a) All-format airplay, as monitored by BDS
b) Sales, as tracked by Nielsen SoundScan and
c) Streaming, (tracked by
Nielsen BDS from such services as Spotify, Muve, Slacker, Rhapsody, Rdio and
Xbox Music, among others) according to BDS it results in:
Dan
+ Shay and Justin Bieber’s “10,000 Hours”
(Warner Music Nashville/ WAR) held at No. 1 (chart dated Nov 16) for
their sixth week at the summit.
Thomas Rhett earned his
14th top 10
as “Remember You Young” (Valory) jumped 11-6. The
track, which Rhett performed at the Country Music Association Awards on Nov.
13, rocketed by 99% to 6,000 sold and by
15% to 3.7 million U.S. streams in the week ending Nov. 14. It also bumped 5-3
on Country Airplay (31.3 million, up 8%).
Lady Antebellum with “What
If I Never Get Over You” (Big Machine Label Group) jumped 17-7
on Hot Country Songs, likewise awarding the trio its 14th top 10 via a CMAs
assist, as Lady A performed the song with Halsey at the festivities. The
song surged by 288% to 10,000 sold and
pushed by 6% to 4.2 million clicks. On Country Airplay, it rose 10-8 (24.2
million, up 10%).
Hot County
Songs
** No.1 (6 weeks) ** “10,000 Hours” Dan + Shay & Justin
Bieber ** Airplay Gainer” No.
** Airplay Gainer/ Streaming & Sales Gainer ** No.2
“Even Though I'm Leaving” Luke Combs
** Hot Shot Debut ** No.14 “Better Together” Luke Combs
Debut
No. 32 “Does To
Me” Luke Combs featuring Eric Church
Debut
No.38 “All Over Again” Luke Combs
Debut
No.39 “Reasons” Luke Combs
Debut
No.41 “Nothing Like You” Luke Combs
Debut
No.42 “Blue Collar Boys” Luke Combs
Debut
No.43 “Dear Today” Luke Combs
Debut
No.45 “New Every Day” Luke Combs
Debut
No.47 “Every Little Bit Helps” Luke Combs
Debut
No.49 “Angels Workin' Overtime” Luke Combs
Luke Combs banked his record-extending
seventh straight career-opening No. 1 single on Country Airplay, as “Even
Though I’m Leaving” ascended 2-1 in its 15th week, up 12% to 41.5
million audience impressions in the week ending Nov. 17.
The track, which Combs co-wrote with Wyatt Durrette and Ray Fulcher, is
the second single from What You See Is What You Get.
It followed “Beer Never Broke My Heart,” which became Combs’ sixth No. 1
for two weeks in August.
Combs concurrently sent titles to their first weeks at No.1 on both
Country Airplay and Top Country Albums. He is the first to achieve the feat
since Dan+ Shay, whose “Tequila” hit the top of Country Airplay as the duo’s
self-titled set opened at No. 1 on Top Country Albums on July7, 2018.
Combs is the first solo male to earn such a double since Blake Shelton,
whose “Came Here to Forget” and If I’m Honest took over atop their respective
tallies on the charts dated June 11, 2016.
Jon Pardi added his
fifth Country Airplay top10 as “Heartache
Medication” (Capitol Nashville) lifted 11-7 (24.5
million, up 9%).
Dustin Lynch banked his
sixth Country Airplay top10 as “Ridin’
Roads” cruised 12-10 (22.5 million, up 14%).
Country
Airplay
***
No.1 (1 week)/ Most Increased Audience *** “Even Though I'm Leaving” Luke
Combs 41.463 million audience (+4.595 million) / 8,154 radio plays (+718)
** Hot
Shot Debut ** No.57 “Big, Big Plans” Chris Lane
Debut
No.60 “One Night Standards” Ashley McBryde
Billboard Country Digital
Singles Chart
Performances
at the CMA Awards give sales boosts and chart re-entries.
Old Dominion with “One
Man Band” (RCA Nashville) climbed 3-1 (#10-4 Digital
Songs) to top the chart for the first time in their 22nd frame.
They were three places behind Taylor Swift's "Lover" (which became
her 25th Hot 100 top 10 in September) which surged 43-26, as it returned for a
second week atop Digital Song Sales, blasting
17-1 with a 192% gain to 20,000 sold in the
week ending Nov. 14 after the Nov. 13 arrival of its remix with Shawn Mendes.
The ballad also climbed 33-26 on Radio Songs (33.1 million, up 14%), while
soaring by 33% to 10.2 million streams.
Dan + Shay and Justin Bieber with "10,000 Hours" held at
No.2 (#9-10 Digital
Song Sales) in their sixth week.
Luke Combs with new track
“Better Together” (Columbia Nashville, River
House) made a debut at No.3 (#11 New Entry Digital Songs).
Additionally, 35 NEW 1 - Luke Combs featuring Eric
Church with “Does To Me” (Columbia
Nashville, River House) blew in at No.13 (#35 New Entry
Digital Songs).
Lady Antebellum with “What
If I Never Get Over You” (BMLG) advanced 21-4 (#13 Re-Entry
Digital Songs).
Blake Shelton with 2019 CMA
Song of the Year “God’s Country” (Warner
Music Nashville) climbed 16-5 (#15 Re-Entry Digital Songs) in
his 33rd frame. Also Blake Shelton featuring
Trace Adkins with “Hell Right” (Warner
Music Nashville) dropped 8-16 (#27-42 Digital Songs) in their
13th week.
Marshmello
& Kane Brown with “One
Thing Right” fell 4-6 (#11-19 Digital Songs) in their 19th
frame.
CMA nominated Dan
+ Shay with “Speechless” (Warner
Music Nashville) made a re-entry at No.7 (#20 Re-Entry Digital Songs).
Luke Combs with “Beautiful
Crazy” (River House/Columbia
Nashville/Sony Music Nashville) pushed 22-8 (#28 Re-Entry
Digital Songs).
Thomas Rhett with
“Remember You Young” (Valory) rose 17-9 (#30 Re-Entry
Digital Songs).
Maren Morris with “The
Bones“ (Columbia Nashville)
retreated 7-10 (#25-31 Digital Songs) in her 13th frame.
Additionally, 7 “GIRL” made a re-entry at No.15 (#40 Re-Entry
Digital Songs).
Outside
the Top 10
Kelsea Ballerini with
“Club” (Black River) made a debut at No.11 (#32 New Entry
Digital Songs) as her song
“homecoming queen?” made a
re-entry at No.12 (#33 Re-Entry Digital Songs).
14 non-consecutive week No1. chart topper Blanco Brown with “The
Git Up” (Trailer Trap Music/BMG/Broken Bow) fell 6-14 (#24-39 Digital
Songs) in its 24th week.
Kacey Musgraves with “Rainbow”
(MCA Nashville), which she performed with Willie Nelson at the CMA Awards, made
a return at No.17 (#43 Re-Entry Digital Songs).
Re-entered at No.
Carrie Underwood’s latest
radio single “Drinking Alone” (Capitol Nashville) re-entered at No.18
(#46 Re-Entry Digital Songs).
Riley
Green with “I Wish Grandpas Never Died”
(BMLG) fell 10-19 (#41-50 Digital Songs).
Keith Urban with “We
Were” (Capitol Nashville, Hit Red) made a re-entry at No.20.
Ingrid Andress with “More
Hearts Than Mine” (Atlantic, Warner Music Nashville) fell 12-22 in
her 8th frame.
Following Little Big Town’s performance
at the CMA Awards on Nov. 13 with Lindsay Ell, Maddie & Tae, Ashley
McBryde, Carly Pearce and Runaway June, the 2015 smash re-entered Country
Digital Song Sales at No. 24, up 649% to 3,000 sold.
Country Aircheck MEDIABASE
Chart
November
18, 2019
Luke Combs Scores #1 With 'Even Though I'm Leaving'
Congratulations
to Luke Combs, Steve Hodges, Shane Allen
and the Columbia promotion team on landing at No. 1 with “Even
Though I’m Leaving.” The song is the seventh consecutive career
chart-topper and second single from Combs’ recently released second studio
album, WHAT YOU SEE IS WHAT YOU GET. Songwriters are Wyatt Durrette, Ray
Fulcher and Combs.
“Even Though I’m Leaving” (River House/Columbia) climbed 2-1 logging 8,641
radio spins (+751),
51.169 million audience impressions (+5.659) with 27233 Total Points (+2381) from 157 tracking stations (157 ADDS)
for the tracking week November 10 to November 16, 2019 and published chart
dated November 18, 2019.
Granger Smith Is Most-Added With 'That's Why I Love Dirt Roads'Kudos to Ken Tucker and the
Wheelhouse reps on notching 44 adds for Granger Smith’s “That’s Why I Love
Dirt Roads”. The song topped the "Most Added" board this chart
week.
 |
| Wheelhouse Records celebrated Granger Smith's "That's Why I Love Dirt Roads" being most-added at Country radio this week with a bagel delivery from All Access. The song earned 44 Mediabase adds. Pictured (L-R): Wheelhouse Records Dir./Regional Promotion Cait Gordon, BBR Music Group Coord./Promotion Ashley Wojcinski, cardboard Earl Dibbles, Jr (a.k.a. Smith), Wheelhouse VP/Promotion Ken Tucker and Wheelhouse Dir./Regional Promotion Brittany Pellegrino-Pittman |
Mediabase
Adds (Selective)
Artist/Title
(Label) TW Total Historic Adds
GRANGER
SMITH/That's
Why I Love Dirt Roads (Wheelhouse) 44 45
MITCHELL
TENPENNY f/SEAFORTH/Anything She Says (Riser House/Columbia) 26 29
CARRIE
UNDERWOOD/Drinking
Alone (Capitol) 17 80
RUNAWAY
JUNE/Head
Over Heels (Wheelhouse) 14 58
BRETT
YOUNG/Catch (BMLGR) 7 137
CARLY
PEARCE & LEE BRICE/I Hope
You're Happy Now (Big Machine/Curb) 7 134
CHRIS
YOUNG/Drowning (RCA) 7 79
ASHLEY
MCBRYDE/One
Night Standards (Warner/WAR) 6 46
MAREN
MORRIS/The
Bones (Columbia) 5 119
MORGAN
WALLEN/Chasin' You (Big Loud) 5 104
INGRID
ANDRESS/More
Hearts Than Mine (Warner/WEA) 3 144
BRANTLEY
GILBERT/Fire't Up (Valory) 2 2
LINDSAY
ELL/I Don't
Love You (Stoney Creek) 2 2
MATT
STELL/Everywhere But On (Wide Open/Records/GCE/Arista) 2 2
STEPHANIE
QUAYLE/Whatcha
Drinkin 'Bout (Rebel Engine) 2 19
LUKE
COMBS f/BROOKS & DUNN/1, 2 Many (River House/Columbia) 1 4
MORGAN
EVANS/Diamonds (Warner/WEA) 1 3
For
a detailed report check out Country Aircheck Weekly November 18, 2019, Issue 679
- Magazine View
Billboard Boxscores (Selective Country
concerts)
Rank
Artist: #30
Event
Venue City/State: Florida Georgia Line Zappos Theater
at Planet Hollywood Las Vegas, Nev.
Dates:
Nov.
06-12, 2019 Gross
Sales: $1,704,327 Attend: 17728/ 20361
Shows/
Sellouts: 4/0 (2,633 unsold tickets)
Prices: $317, $132, $95, $59,
$31
Promoters: Caesars
Entertainment
Latest Billboard Boxscore Chart
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