Alex Warren's ‘Ordinary' Adds Third Week at No. 1 on Billboard Hot 100
Alex Warren's 'Ordinary' rebounds for a third week at No. 1 on the Billboard Hot 100.
More from Billboard
Nicole Scherzinger Gives Surprise 'Buttons' Performance at Broadway Bares
Live Aid to Be Re-Broadcast for 40th Anniversary on U.K. Radio
Lana Del Rey Taps Addison Rae, BANKS and London Grammar for U.K. Stadium Tour
The singer-songwriter's first Hot 100 leader returns to the top, from No. 2, a week after Sabrina Carpenter's 'Manchild' soared in at the summit. Carpenter's second chart-topper dips to No. 2 in its second week.
Concurrently, 'Ordinary' takes over as the most-heard hit on radio, becoming Warren's first No. 1 on Billboard's Radio Songs chart. The single, which Warren co-wrote, spends a fourth week at No. 1 on the Adult Pop Airplay list and a second week at No. 1 on Pop Airplay, while reaching the top 10 (11-9) on Adult Contemporary. ('Ordinary' dethrones Doechii's 'Anxiety' on Radio Songs after the latter led the past five weeks; 'Anxiety' hit No. 9 on the Hot 100 in May.)
Browse the full rundown of this week's top 10 below.
The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data, the lattermost metric reflecting purchases of physical singles and digital tracks from full-service digital music retailers; digital singles sales from direct-to-consumer (D2C) sites are excluded from chart calculations. All charts (dated June 28, 2025) will update on Billboard.com tomorrow, June 24. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
'Ordinary' tallied 20.4 million official streams (down 3% week-over-week), 61.5 million radio airplay audience impressions (up 14%) and 7,000 sold (down 2%) in the United States June 13-19.
As the track ascends 3-1 on Radio Songs, it drops to No. 2 after seven weeks atop the Digital Song Sales chart and holds at No. 4 on Streaming Songs, following four weeks at No. 1.
'Ordinary' is also the hottest hit on the Songs of the Summer chart for a fourth frame, having led each week since the seasonal survey made its annual return.
This o-bservation from chart-watcher Pablo Nelson:
'Yes, the category here is rather specific: For all the Hot 100 No. 1s whose titles are one-word adjectives – from 'Amazed' by Lonestar to 'Windy' by The Association – 'Ordinary' is the first to begin with the letter 'O.' '
Per that official stat, however obscure (but original!), one-word Hot 100 No. 1 titles, adjectives or not, continue to be fairly prominent in recent years, influenced by social media, among other factors. 'Ordinary' is the third such leader this year, joining Sabrina Carpenter's 'Manchild' and Kendrick Lamar and SZA's 'Luther.'
Three one-word titles also ruled the Hot 100 in both 2024 and 2023, following two in 2022, five in 2021 and a single-year record 10 in 2020.
Carpenter's 'Manchild' descends to No. 2 in its second week on the Hot 100. It drew 21.1 million streams (down 22%), 16.8 million in radio audience (up 20%) and 3,000 sold (down 83%). It surges to the top 20 on both Pop Airplay and Adult Pop Airplay.
Morgan Wallen's 'What I Want,' featuring Tate McRae, holds at No. 3 on the Hot 100, after it launched in May as Wallen's fourth No. 1 and McRae's first. It rebounds for a fourth week atop Streaming Songs (21.7 million, down 2%) and notches a fifth week at No. 1 on the multimetric Hot Country Songs chart.
Wallen follows on the Hot 100 with the No. 2-peaking 'Just in Case,' which keeps at No. 4, and 'I'm the Problem,' which is steady at No. 6 – as Wallen logs his fifth week with at least three simultaneous top 10s this year, matching Kendrick Lamar for the most. Wallen's I'm the Problem, the parent set of all three of his current top 10s, claims a fifth week at No. 1 on the Billboard 200.
Lamar and SZA's 'Luther' repeats at No. 5 after 13 weeks atop the Hot 100 beginning in March. It adds a 26th week at No. 1 on both the multimetric Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, extending the longest command on Hot R&B/Hip-Hop Songs (dating to October 1958, when the chart became the genre's all-encompassing songs ranking).
Shaboozey's 'A Bar Song (Tipsy)' stays at No. 7 on the Hot 100, following its record-tying 19 weeks at No. 1 beginning last July, and Lady Gaga and Bruno Mars' 'Die With a Smile' is stationary at No. 8 after five weeks at No. 1 beginning in January.
Teddy Swims' 'Lose Control,' which led the Hot 100 for a week in March 2024, and became the year's No. 1 song, remains at No. 9. It posts a record-extending 66th week in the top 10 and a record-padding 96th week on the chart overall.
Rounding out the Hot 100's top 10, Benson Boone's 'Beautiful Things' is a non-mover at No. 10, after it reached No. 2.
Best of Billboard
Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1
Four Decades of 'Madonna': A Look Back at the Queen of Pop's Debut Album on the Charts
Chart Rewind: In 1990, Madonna Was in 'Vogue' Atop the Hot 100
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Los Angeles Times
an hour ago
- Los Angeles Times
Jake Brasch's ‘The Reservoir' suffers from arrested character development at the Geffen Playhouse
All unhappy families of addicts are unhappy in their own way. Unless, of course, you're a stage family, overrun with 'characters' who don't so much speak as deliver laugh lines and dispense nuggets of moral wisdom. Those families tend to be all alike, regardless of the superficial differences among them. Grandparents play a larger role than usual in Jake Brasch's 'The Reservoir,' which opened Thursday at the Geffen Playhouse under the direction of Shelley Butler. But the theater's ability to turn family dysfunction, be it alcoholism, Alzheimer's or just garden-variety existential agony, into entertainment and instant illumination, has long been a staple of the American stage. My tolerance for the artificiality of the genre may be lower than most theatergoers. Some take comfort in hoary comic patterns, souped-up eccentricity and reassuring pieties. Overexposed to this species of drama, I slump in my seat. Indeed, my patience was as thin for 'The Reservoir' as it was for 'Cult of Love,' Leslye Headland's drama about a family breakdown during the holidays that made it to Broadway last season after its 2018 premiere at L.A.'s IAMA Theatre. Neither play is beyond pandering to its audience for an easy laugh. Serving as protagonist and narrator, Josh (Jake Horowitz), the queer Jewish theater student on medical leave from NYU who wakes up one morning after an alcoholic bender at a reservoir in his hometown of Denver, exhibits the snappy, manic banter of a drunk not able to face up to his problem. Patricia (Marin Hinkle), his long-suffering mother, has had it with Josh's relapses, but how can she turn away her son who lies bleeding on her couch? With his mother's help, Josh gets a job as a clerk at a bookstore as he tries once again to pull his life together. Fortunately, Hugo (Adrián González), his manager, is quick to overlook his lax performance. Apparently, drinking has so scrambled Josh's brain that alphabetizing books takes every ounce of his strength. I didn't quite feel as indulgent toward Josh, but not because I didn't sympathize with his struggles. My beef was that he sounded like an anxious playwright determined to string an audience along without forced exuberance and sitcom-level repartee. (Compare, say, one of Josh's rants with those of a character in a Terrence McNally, Richard Greenberg or Jon Robin Baitz comedy, and the drop off in verbal acuity and original wit will become crystal clear.) What gives 'The Reservoir' a claim to uniqueness is the way Josh's four grandparents are conscripted not just into the story but into the staging. Seated in a row onstage, they serve as chorus to their grandson's travails, chiming in with their own opinions and acting out his description of the way his thoughts compulsively take over his mind, like an unstoppable train or a raging river. Each also has an individual role to play in Josh's recovery. Patricia's mother, Irene (Carolyn Mignini), for example, has been transformed by dementia since Josh has seen her last. She's always been his favorite grandparent. He fondly recalls baking cookies, playing Uno and singing along to 'The Sound of Music' with her. Even when she pulled away after he came out in high school, his affection has remained steadfast. He would like to connect with her again and fears he has lost his chance. At the bookstore, he reads up on Alzheimer's disease and hatches a plan to build up the cognitive reserve of all his grandparents by feeding them spinach and keeping them mentally engaged. He's trying, in effect, to save himself by saving them, but they're too feisty to be corralled by their unstable grandson. Irene's fiercely protective husband, Hank (Geoffrey Wade), an arch religious conservative, is too grumpy. As for Josh's paternal Jewish grandparents, Shrimpy (Lee Wilkof) is too much of a practical joker with sex on his mind. And Beverly (Liz Larsen), an electrical engineer who doesn't mince words, is too gimlet-eyed not to see that Josh is focusing on his grandparents to avoid doing the hard work of recovery. Having been sober for many decades herself, Bev recognizes the narcissism of addiction, the way addicts have a tendency to put themselves at the center of the universe. She offers Josh the tough love that he needs, forcing him to see that a grandparent isn't just a grandparent but a human being with a complicated history that needn't be worn like a Kleenex visible from under a sleeve. Josh sets out to be a savior but ends up getting an education in the reality of other people. Brasch's intentions are noble, but 'The Reservoir' doesn't plunge all that deep. The play draws out the distinctiveness of the grandparents by ratcheting up their zingy eccentricities. How easily these characters fall into a punch-line rhythm. Larsen has the most consequential role and she imparts just the right note of astringency. But the staginess of the writing makes it difficult for any of the actors to transcend the shtick that's been assigned to them. Hinkle brings a depth of realism to her portrayal of Patricia, but the character isn't fully developed. Whole dimensions of Patricia's life are veiled to us. Both Hinkle and Gonazález gamely play other characters, but these sketched presences compound the general impression of a comic world drawn without much nuance. The staging is frolicsome but visually monotonous — a problem for a play that is much longer than it needs to be. More than two hours of looking at the fey-preppy outfit costume designer Sara Ryung Clement prepared for Horowitz's Josh becomes a kind of fashion purgatory for audience and protagonist alike. I'm not sure why a production that doesn't take a literal approach to settings has to repeatedly trot out the front seat of a car. The spry assistance of stagehands, who not only move set pieces but help flesh out the world of the play, is a jaunty touch. But the sound and lighting effects get rather heavy-handed during Josh's hallucinatory meltdowns. Blame for the inexcusably clunky dream scenes, a writing fail, can't be pinned on the designers. Horowitz had the Geffen Playhouse's opening-night audience in the palm of his hand, but I heard an actor playing his comic lines more than his character. Horowitz, however, is only following the direction of a playwright, who has a harrowing story to tell and needs you to enjoy every tricked-up minute of the zany-schmaltzy telling.
Business Insider
2 hours ago
- Business Insider
Lorde's new album 'Virgin' is messy, emotional, and perfectly suited for the moment
For most of us, the first words we heard come out of Lorde's mouth took the shape of a disavowal: "I've never seen a diamond in the flesh." Lorde wrote "Royals" in 30 minutes when she was 15 years old. Growing up in New Zealand, disillusioned with materialism and flex culture — especially in the US — she proudly cast herself as a distant observer. She saw, she understood, but she didn't participate. This posture resonated with millions. "Royals" topped the Billboard Hot 100, where it remained for nine weeks. The smash hit was later certified diamond and won two Grammy Awards, including song of the year. Lorde has spent much of her career being portrayed as elusive and infallible by fans and media outlets alike. She tends to release an album every four years, and in between, she retreats from the spotlight. Even her stage name (Lorde's real name is Ella Yelich-O'Connor) evokes an office that's separate and superior. But a lot has changed since "Royals" was released as a single in 2013, just a few years after Instagram was launched. At the time, the platform was generally used for sharing one perfectly posed (and heavily filtered) photo at a time. Now, Instagram timelines look much less curated, with the savviest social media enthusiasts sharing unrefined "photo dumps" and spontaneous Instagram Stories instead. Pop culture has tilted dramatically in favor of relatability, transparency, and authenticity, too. Consumers no longer demand polish, poise, or aloof nonchalance from celebrities. "Mess is in," DJ Louie XIV, music critic and host of the Pop Pantheon podcast, recently told me while discussing the state of pop music. Several of last year's biggest hits corroborate his thesis: Taylor Swift embraced chaos and lust in writing " The Tortured Poets Department," and it became the best-selling album of her career. Chappell Roan canceled concerts, shared off-the-cuff videos on TikTok, scolded photographers on red carpets, and then won best new artist at the Grammys. Charli XCX's summer-defining album " Brat" — which the singer described as "my flaws, my fuck ups, my ego all rolled into one" — offers perhaps the clearest example of how this aesthetic has taken over. "Even Charli's outfits are tattered. She can't sing except in autotune. The whole album is about emotional messiness," Louie said. Charli XCX even recruited Lorde for a remix of the track "Girl, So Confusing," to hash out their long-simmering tension in real time. For the new wave of pop stars, he added, fans "seeing the seams is a plus." Lorde's journey from 'Royals' to 'Virgin' reflects a cultural shift Lorde has surely noticed this trend because there's plenty of mess in her fourth album, "Virgin," released on Friday. Gone is the detached, enigmatic attitude from Lorde's debut album, when she insisted, "I'm kind of over getting told to throw my hands up in the air, so there." Now, she won't only throw her hands up, but she'll admit to getting them dirty, just like the rest of us. Lorde has said that "Virgin" represents a sort of rebirth — a newfound willingness to follow her gut and experience the world without a protective veil. The album's 11 tracks tackle an array of knotty topics, from enjoying unprotected sex ("Clearblue") and yearning for her mother's approval ("Favourite Daughter") to dabbling with drugs ("What Was That") and struggling with an eating disorder ("Broken Glass"). Lorde's honest lyricism is punctuated with palpable details: a discarded at-home pregnancy test, a dead uncle whom she resembles, blown-up pupils, and rotting teeth. These images make her life feel real and human. "Mystique is dead," she sings bluntly. This is not to say Lorde has never used personal details in her music. However, her last two albums, " Melodrama" and " Solar Power," offered confessions often cloaked in self-conscious theatrics, metaphor, or irony. When Lorde sang, "I can't feel a thing / I keep looking at my mood ring / Tell me how I'm feeling" in the 2021 single "Mood Ring," she was poking fun at the cult of wellness and the blonde caricature she adopted in the music video. By contrast, when she sings, "Take an aura picture, read it, and tell me who I am" in the new album's opening track, "Hammer," it's clear that she's disclosing a raw moment of self-doubt. (And her habit of taking aura photos in New York City's Chinatown is well-documented.) Lorde's "Virgin" co-producer, Jim-E Stack, told GQ how the duo intentionally added sounds that felt raw or jarring to reflect the author's mindset. With AI and modern technology, he pointed out, it's easy for artists to make perfect-sounding records with no hiccups or texture. And when it comes to art, easy usually translates to boring. "That is what's exciting in music right now, and where innovation is happening: People channeling their imperfections and saying stuff that's a little scary," Stack told the publication. "There [are] definitely songs on Ella's record that are like, 'Whoa, can you say this as a pop star?'" He was right to be concerned; a lesser artist wouldn't be able to pull it off. But Lorde can, she should — and she did.
Yahoo
4 hours ago
- Yahoo
Friday Music Guide: New Music From Lorde, Alex Warren & ROSÉ, KATSEYE and More
Billboard's Friday Music Guide serves as a handy guide to this Friday's most essential releases — the key music that everyone will be talking about today, and that will be dominating playlists this weekend and beyond. This week, Lorde reinvents herself, Alex Warren brings ROSÉ into his sonic world, and KATSEYE continue a 'Gnarly' run of success. Check out all of this week's picks below: More from Billboard Adrian Quesada's Psychedelic Journey: How the Black Pumas Co-Founder Delved Into Latin America's Romantic Past LL Cool J Gives Fans an NYC Rap History Crash Course in 'Hip Hop Was Born Here' Trailer Teddy Swims Welcomes His First Child With Girlfriend Raiche Wright: 'We Love You Lil Man' Lorde, The promotional campaign for Lorde's long-awaited fourth album has involved tales of a bitter breakup and body dysmorphia, creeping feelings of stage fright and questions about her gender identity. Instead of retreating from the intimate pressure points and personal changes that have defined her mid-twenties, she poured them into a new album, and is now hoisting them up for the world to see. One listen to Lorde's Virgin confirms that it is by far the bravest album of her career. Read the full review of Lorde's new album. Alex Warren & ROSÉ, 'On My Mind' A No. 1 smash will often result in some interesting phone calls about potential collaborations, and after Alex Warren followed up his enormous hit 'Ordinary' with the Jelly Roll team-up 'Bloodline,' ROSÉ has now hopped on the latest single from his upcoming album You'll Be Alright, Kid, with the BLACKPINK star holding her own amidst the horns and kick drum on the somber, likable folk-pop sing-along. KATSEYE, More pop songs should sound as audacious as 'Gnarly,' KATSEYE's off-the-wall breakthrough single that leads off their new five-song EP — and while that hyperpop sledgehammer sets up a slightly more subdued project, the girl group scores with slinky pop harmonies ('Gameboy'), dance balladry ('Mean Girls') and a smart twist on the anthemic 'Gnarly' sound to close things out ('M.I.A'). Lizzo, Although Lizzo has released a handful of pop-leaning singles so far in 2025, My Face Hurts From Smiling features none of them — instead, the surprise mixtape is a full-throated foray into rap music, designed to let her have a blast on tracks alongside SZA and Doja Cat and further regain her mojo before a presumably more mainstream-focused new album. Don Toliver, 'FWU' Don Toliver's helium-coated voice joins forces with Mustard's hard-clapping production on 'FWU,' a new single that serves as Toliver's first solo single of the year and boosts his momentum without high stakes — 'FWU' rolls along ceaselessly and purposefully, meant to be played loud and more than twice. Various Artists, On the same day that the Brad Pitt racing drama zooms into theaters, the full F1 album is unveiled as the most star-studded soundtrack of the year, with previously released tracks by Don Toliver and Doja Cat, Tate McRae, Ed Sheeran and ROSÉ complemented by new offerings from Burna Boy, RAYE, Madison Beer and more — just be sure to save time for Peggy Gou's bright, shuffling 'D.A.N.C.E' in the back half. Barbra Streisand, Barbra Streisand's elegant sequel to her 2014 duets album Partners succeeds due to its smart guest list: while legends like Paul McCartney, Bob Dylan and James Taylor swing by to sing and pay homage, the appearance of artists like Hozier and Laufey nicely shake up the sound, and the Babs-Mariah Carey-Ariana Grande summit 'One Heart, One Voice' lives up to its high-powered pedigree. Editor's Pick: Blood Orange, 'The Field' On the same day that a major new pop release that Dev Hyne contributed to, Lorde's Virgin, is unveiled, indie fans can be equally enthralled by the first song in three years from his Blood Orange project: 'The Field' — which melds the voices of Caroline Polachek, Daniel Caesar and others with Hynes' own — is hauntingly gorgeous, a hymn-like variation on Blood Orange's danceable pop-R&B that hopefully previews more to come from the studio master. Best of Billboard Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1 Janet Jackson's Biggest Billboard Hot 100 Hits H.E.R. & Chris Brown 'Come Through' to No. 1 on Adult R&B Airplay Chart
