Kenny Chesney lands his milestone 100th entry on Billboard’s Hot Country Songs chart as “Carry On” opens at No. 31 on the May 23 list. It totaled 1.5 million chart-eligible U.S. streams, 10.5 million in radio airplay audience and 2,000 sold May 8-14, according to Luminate.

The track marks Chesney’s first single on Hey Now Records, which launched in March, and previews his 21st album, due later this year. He has scored 55 top 10s, including 23 No. 1s. The song also starts at No. 20 on Country Airplay, where it’s likewise his 100th appearance.

“When I think about ‘American Kids,’ ‘Young,’ ‘You and Tequila,’ ‘When the Sun Goes Down,’ all the way back to ‘The Tin Man,’ it’s hearing my life in music,” Chesney tells Billboard, referencing some his most beloved hits. “To be told ‘Carry On’ is my 100th charting single, I feel like this is a life that’s not just well-lived, but has so much more great music ahead.”

The 100-title milestone lifts Chesney into elite company among acts with 100 or more hits on Hot Country Songs, which dates to October 1958. George Jones leads with 157. Dating to Chesney’s first charted title, “Whatever It Takes,” in December 1993, he boasts the third-most, after Morgan Wallen (119) and Taylor Swift (108). (The chart adopted its current multimetric methodology — a combination of streaming, airplay and sales — in October 2012.)

On Country Airplay, which began in January 1990 and solely tracks country radio airplay, Chesney’s 100th charted title ties him for the lead with George Strait. Garth Brooks (93), Tim McGraw (91) and Alan Jackson (82) round out the top five.

Chesney also stands out among Hot Country Songs’ most prolific No. 1 artists. His 23 leaders place him 11th overall, behind Strait’s 44, Conway Twitty’s 40, Merle Haggard’s 38, Ronnie Milsap’s 35, Alabama’s 33, Charley Pride’s 29, Jackson and McGraw’s 26 each, Dolly Parton’s 25 and Reba McEntire’s 24. In that legacy-heavy group, Chesney earned a first No. 1 most recently, with “She’s Got It All” in 1997.

Chesney’s power is even more apparent at country radio. His 33 Country Airplay No. 1s put him firmly in first place, ahead of Blake Shelton (30), McGraw (29), Jason Aldean, Luke Bryan, Jackson, Strait (26 each), Thomas Rhett, Keith Urban (21 each), Brooks & Dunn, Luke Combs, Toby Keith, Brad Paisley and Wallen (20 each).

Plus, since Chesney notched his first No. 1 on Top Country Albums, his Greatest Hits, in October 2000, his 17 leaders are the most among all artists in that span.

The milestones underscore the scope of Chesney’s career, one that has made him both a country radio standard-bearer and one of the most prolific hitmakers in the nine-decade history of Billboard’s country charts.

Bruno Mars makes a comeback to the Billboard Latin charts with “Lo Arriesgo Todo,” the Spanish-language version of his latest single “Risk It All.”

The track, his first Spanish-language studio recording, was released May 8 on Atlantic Records. “Lo Arriesgo Todo” debuts at No. 20 on the Hot Latin Songs chart, claims the No. 1 spot on both the Hot Latin Pop Songs and Latin Digital Songs Sales charts, and bows at No. 6 on the Latin Pop Airplay chart (dated May 23).

“Risk It All” was issued in its original English version on Mars’ The Romantic album, released on Feb. 27.

Meanwhile, “Risk It All” — combining all versions of the song, both English and Spanish — re-enters the top 10 on the overall Billboard Hot 100 chart (rising 15-8), climbs 11-9 on the all-format Radio Songs ranking and 5-3 on the Adult R&B Airplay chart and holds at its No. 9 high on Pop Airplay. Following the Hot 100 No. 1 hit “I Just Might,” “Risk It All” is the second single from The Romantic, which gave him his second chart-topper on the all-genre Billboard 200 albums chart in March.

On the Hot Latin Songs chart — which incorporates streams, airplay and sales of the Spanish version of the track into its formula — “Lo Arriesgo Todo” debuts at No. 20, fueled by activity across all three metrics. According to Luminate, in the week ending May 14 in the United States, the track generated 1.6 million official streams, earned 1.9 million airplay audience impressions and sold 1,000 downloads. The latter yields Mars’ first entry, and No. 1, on Latin Digital Song Sales.

The debut marks a notable return to the chart for Mars after a decade and secures his highest-charting entry to date. His previous peak arrived through his featured role on Bad Meets Evil’s “Lighters,” which climbed to No. 22 in 2011. Plus, “Lo Arriesgo Todo” becomes his first and only Spanish-language track among his seven career entries on Hot Latin Songs. Before October 2012, the chart was solely based on radio airplay, prior to its evolution into a multimetric system combining streams, airplay and sales.

On the Latin Pop Airplay chart, the No. 6 start for “Lo Arriesgo Todo” marks Mars’ second top 10, following his featured turn on Mark Ronson’s “Uptown Funk,” which peaked at No. 8 in 2015.

Welcome to Billboard Pro’s Trending Up newsletter, where we take a closer look at the songs, artists, curiosities and trends that have caught the music industry’s attention. Some have come out of nowhere, others have taken months to catch on, and all of them could become ubiquitous in the blink of a TikTok clip. 
 
This week: Drake’s biggest Iceman hit changes hands day-to-day, Yung Miami has a breakout solo hit, Noah Kahan’s blockbuster new album has a viral bonus cut and more.

‘Janice STFU’ Takes Over as Drake’s Top Iceman Song

Drake has obviously been the story of the streaming world this week, as his triple-release of new albums — Iceman, Maid of Honour and Habibti — has been setting all sorts of first-day and first-week marks on DSPs, and generally taking over discussion, as fans debate the merits of the albums and the strategy behind them. But while fans ingest the three albums and the combined 43 tracks between them, one song has begun to separate from the pack as the streaming favorite: “Janice STFU.”

In the days since the albums’ release, the Sopranos-referencing (and even Sopranos-sampling) Iceman cut has taken over as Drake’s top song — and indeed, the top song period — on the U.S. daily streaming charts for both Spotify and Apple Music. While its release Friday (May 16) saw Iceman opener “Make Them Cry” as the sets’ most-streamed cut with 14.1 million first-day official on-demand U.S. streams, according to early data provided by Luminate, by Saturday “STFU Janice” had taken over as the most-streamed cut with just over 6.2 million, narrowly beating out the Future- and Molly Santana-featuring “Ran 2 Atlanta” at just under 6.2 million. (“Make Them Cry” had dropped to 5.1 million.)

As of Monday, “Janice” was still pacing the set with 5.4 million daily plays, while also delighting fans and superproducers and NBA MVPs and even the progeny of West Coast rap royalty. In other words, if you’re wondering about the most likely breakout hit from the 43 new Drake songs in our lives this week — or maybe even the biggest threat to take over at No. 1 on next week’s Billboard Hot 100 — you should probably start here. – ANDREW UNTERBERGER

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Yung Miami Eyes New Solo Hit As ‘Spend Dat’ Takes Off on Streaming 

It’s been almost five years since Yung Miami scored her first unaccompanied Hot 100 entry with “Rap Freaks” (No. 81) — and it looks like her second is on the way. 

Co-signed by Fat Joe and Jadakiss and steadily winning over social media, “Spend It” arrived on April 24, alongside its official music video. The hook-laden mid-tempo track finds the former City Girls member exploring familiar territory — scamming and contemporary romance — and its catchy hook has won over audiences due to its sing-songy cadence and Miami’s Opa-locka-rooted accent. 

Miami has also been hitting the promo circuit in anticipation of her forthcoming solo debut studio album, even sharing an EP of alternate version for fans who felt the song would sound better if sped up. Her presence and dedication to the record — combined with early skeptics eventually coming around — have resulted in notable streaming gains. According to Luminate, “Spend Dat” collected a little over 1 million official on-demand U.S. streams during the week of May 1-7. That figure leapt 107% to over 2.23 million official streams the following week (May 8-14). 

On May 9, TikTok user @/mrflawdaaa (a popular creator who’s launched viral dances for artists like Bossman Dlow), shared a “Spend Dat” dance challenge, racking up nearly 600,000 views and sparking a legitimate trend. Yung Miami hopped on the trend by May 17, with her post earning over 1.3 million views. During the weekend of May 8-10, “Spend Dat” earned over 870,000 official on-demand U.S. streams, with that figure jumping 107% to over 1.8 million official streams the following weekend, which reflects about a week of the dance trend’s burgeoning virality. 

On TikTok, the official “Spend Dat” sound plays in nearly 8,000 clips, while the sound attached to her On the Radar performance of the song can be heard in 17,000 additional posts. “Spend Dat” also plays in over 3,300 Instagram Reels. With a “Spend Dat” Goyard giveaway in process, a gas drive in her hometown of Miami on May 17 and the full album still on the way — expect “Spend Dat” to continue growing as the summer heats up. — KYLE DENIS 

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Noah Kahan’s ‘Orbiter’ Is Becoming a Breakout Bonus Track

Not far behind Drake, the reception for Noah Kahan’s The Great Divide album is undoubtedly becoming one of the streaming stories of the year. Not only did the album generate enough blockbuster-sized numbers during its debut week to chart all 17 tracks on the Hot 100 — as well as four extra bonus cuts, added to the album before the end of its first day of release — but the 21 combined Kahan songs all continued to stream well enough in the album’s second week to spend a second week on the chart, a rare level of week-over-week consistency for such a big debut.

While the decline has been slow, the great majority of the 21 songs have slipped week-to-week in streams from that debut week. But “Orbiter,” a tender ballad included as one of the four bonus cuts added to the album slightly after the fact, has actually begun to gain, and is now positioned to be one of the biggest and longest-lasting hits from this Kahan era.

The growth has come from TikTok’s embrace of the song as a trending audio, with its sentimental “I circle you” chorus soundtracking many thousands of clips — most from one half of a couple paying tribute to the other, but also including infinite varieties on that theme. Another similar audio focusing on the “even anxious pups need the moon” part of the refrain has become a predictable favorite among pet-owners, with Kahan himself indulging in such a video last week, captioning it “This trend is making my eyes dusty.”

The impact of these trends has been evident in the song’s official on-demand U.S. audio streams, which have climbed from 4.6 million for the tracking week ending Apr. 30 (just after the album’s release) to 5.3 million the week ending May 7 and 6.7 million the week ending May 14 — in total a 46% gain from release week. Meanwhile, the song has climbed from No. 79 to No. 56 on the Hot 100, leapfrogging several songs on the album that initially debuted higher than it, and threatening to jump into the chart’s top half next week as it continues to dustify eyes of listeners across the country. – AU

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PinkPantheress Celebrates One Year of ‘Fancy That’ Era with One More Streaming Hit 

From “Illegal” to “Stateside” — not to mention double Grammy nominations — PinkPantheress’ Fancy That era has been a resounding success. On May 8, she shared the official “Girl Like Me” music video to celebrate her mixtape’s first birthday — and sneakily launch her latest streaming hit. 

About a month before the music video arrived, “Girl Like Me” earned just over one million official on-demand U.S. streams during the week of April 10-16. That figure jumped 56% over the following two weeks to over 1.69 million official streams during the period of April 24-30, according to Luminate. By the week of May 8-14, which accounts for the first full week of the music video’s release, “Girl Like Me” leapt a further 69% to over 2.85 million official weekly streams. Over the past four weeks, “Girl Like Me” has exploded by over 165% in streaming activity. 

Notably, there’s also a mashup of “Girl Like Me” and Snow Strippers’ “Under Your Spell” that’s been dominating TikTok over the past 4-5 months, playing in over 125,000 clips on the platform, with most of those finding users recreating Pink’s live choreography for her song. “Girl Like Me” also currently plays in over 12,000 Instagram Reels. 

Already a No. 13 hit on Billboard‘s Dance/Pop Songs chart, “Girl Like Me” could potentially make Fancy That the soundtrack for a second consecutive summer. — K.D. 

Josiah Queen earns his first No. 1 on Billboard’s Hot Christian Songs chart as “Demons” rises three spots to lead the ranking dated May 23. It totaled 3.1 million official U.S. streams, 23.9 million in radio airplay audience and 1,000 sold in the May 8-14 tracking week, according to Luminate.

Written by Queen, John Michael Howell, Zac “ZVC” Lawson and Dylan Thomas, the song previously became one of six top 10s among 27 career Hot Christian Songs entries for the Tampa, Florida, native, who first made the list in 2023 with “I Am Barabbas.” He has since developed into one of Christian music’s most prolific young chart presences, averaging a new chart entry roughly every other month.

Queen is part of a new wave of Christian artists whose rise has been fueled by streaming and social media as well as radio. He broke through in 2023, with “The Prodigal,” his second entry, hitting No. 4 and spending a year on the chart. He followed with 2025 top 10s “Can’t Steal My Joy,” with Brandon Lake, “Dusty Bibles” and “Jesus Is Coming Back Soon,” with Forrest Frank. This April, “Judas” reached the region.

Queen has also found success at Christian radio. “Can’t Steal My Joy” hit No. 1 on Christian Airplay after first appearing on Hot Christian Songs, while “Dusty Bibles” entered the Hot Christian Songs top 10 before climbing to No. 9 on Christian Airplay in late December.

Both of Queen’s full-length albums, 2024’s The Prodigal and 2025’s Mt. Zion, debuted at No. 1 on Top Christian Albums and have spent a combined 141 weeks on the chart.

Rawayana reaches new heights as “Inglés en Miami,” with Manuel Turizo, hits No. 1 on Billboard’s Latin Airplay chart (dated May 23). As the song ascends 4-1, it earns the Venezuelan group its first chart-topper on the overall Latin radio ranking, and becomes Turizo’s 10th champ.

“This achievement belongs to our people, so we dedicate it to all our fans around the world,” Rawayana’s Beto Montenegro tells Billboard. “Seeing ‘Inglés en Miami’ reach No. 1 on the overall Latin Airplay chart is something really special for us, and it wouldn’t be possible without the love and support we’ve received everywhere we go. Thank you for making this journey part of your lives and thank you to Manuel Turizo for being part of this song with us.”

“Inglés en Miami” ascends to No. 1 on the Latin Airplay chart following a 22% surge in audience impressions, to 7.5 million in the United States, during the tracking week of May 8-14, according to Luminate. This marks a significant milestone for Rawayana, whose previous chart peak was No. 42 with “La Culpa,” a 2025 collaboration with Kany García.

Turizo secures his 10th career No. 1 on the overall Latin Airplay chart—and his first alongside a group. The Colombian singer last topped the chart nearly a year ago through “En Privado,” with Xavi (June 2025).

“Happy, super happy that people have connected with and felt the same vibe with which we created the song, the same vibe with which we sat down to enjoy, to connect, and to create something beautiful and unique for everyone,” Turizo tells Billboard. “That they enjoyed it seems amazing to me, it’s incredible. I am grateful. A shoutout to all the guys at Rawa; what a hit we made!”

Beyond its Latin Airplay coronation, “Inglés en Miami” holds steady for a second week atop Latin Rhythm Airplay. The track also marks a career win for Rawayana and Turizo, who earn their first top 10 on Hot Latin Rhythm Songs, as it rises 13-8 in just its second week.

Elsewhere, the song reaches a new peak on the Hot Latin Songs chart, climbing 28-21. The chart combines airplay, digital sales and streaming data into its formula.

Nearly two decades after his death, Michael Jackson is the biggest artist in the United States. The late superstar, who died in 2009, tops the Billboard Artist 100 chart for the first time, powered by the continued success of the Michael biopic and a massive resurgence across streaming, radio and sales.

The Artist 100, which Billboard launched in 2014, ranks the top artists in the U.S. based on artists’ activity across streaming, radio airplay, album sales and track sales. The chart combines those metrics into a weekly multidimensional ranking of artist popularity.

Here’s a closer look at the numbers behind Jackson’s historic week.

Streaming Is Soaring

Jackson’s solo catalog generated 161.2 million chart-inclusive on-demand official U.S. streams during the May 8-14 tracking week, according to Luminate (up 6% week to week). That’s the third highest total of the week among all artists, after only Drake (248.6 million) and Morgan Wallen (201.4 million).

Radio Airplay Continues to Thrive

Jackson’s music has continued to thrive on radio, drawing a combined 93.4 million radio airplay audience impressions in the U.S. during the tracking week (up 2%). That’s the eighth-most among all artists, after Bruno Mars (197.1 million), Wallen (172.3 million), Taylor Swift (143.7 million), Olivia Dean (139.6 million), Ella Langley (129.5 million), Luke Combs (128.3 million) and Justin Bieber (98.3 million), all of whom are fueled by current releases.

Album Sales Are Spiking

Jackson’s solo catalog sold a combined 46,000 albums in the U.S. during the week (up 8%) — the second-highest total among all acts. Only CORTIS sold more (86,000), largely driven by its new EP GREENGREEN, which sold 81,000 alone.

Digital Song Sales Are Booming

Jackson’s songs sold 20,000 digital downloads combined during the tracking week, placing him narrowly behind Langley (also roughly 20,000) for the second highest total among all acts.

Together, those metrics make Jackson the biggest artist in the U.S. this week, a feat sparked by the major cultural and commercial impact of Michael. The film has become second-highest grossing film of the year and has reignited interest in Jackson’s catalog, which in turn has sent many of his songs and albums back onto Billboard’s charts.

On the latest Billboard Hot 100, Jackson places six songs — the most he’s ever charted simultaneously: “Billie Jean” (up 17-15), “Human Nature” (29-21), “Beat It” (32-29), “Don’t Stop ‘Til You Get Enough” (42-36), “Dirty Diana” (No. 44 reentry) and “Rock With You” (No. 47 reentry). Five of those classics topped the chart between 1979 and 1988, while “Human Nature” hit the top 10 in 1983.

“Billie Jean” also rises to No. 1 on the Billboard Global 200 chart for the first time, becoming the biggest song in the world this week.

Jackson additionally places six albums on the Billboard 200: Thriller (No. 5), Number Ones (No. 6), The Essential Michael Jackson (No. 83), Off the Wall (No. 93), Dangerous (No. 135) and Xscape (No. 192 reentry).

Jackson becomes the sixth artist to top the Artist 100 posthumously. He joins David Bowie, who led the week after his death in January 2016; Prince, who spent two weeks at No. 1 following his death the same year; XXXTentacion, who led twice following his death in 2018; Juice WRLD, who returned to No. 1 after he died in December 2019; and Pop Smoke, who was No. 1 in July 2020 after the posthumous release of Shoot for the Stars, Aim for the Moon.

Notably, the Jacksons are also benefiting from the Michael resurgence, as the group reenters the latest Artist 100 at No. 98.

Noah Kahan’s The Great Divide scores a third week atop the Billboard 200 (dated May 23), making it the first rock album with three weeks at No. 1 in more than a decade. The last rock set with as many weeks at No. 1 was Mumford & Sons’ Babel, with five, nonconsecutively, in 2012-13.

The last rock set by a soloist to spend at least three weeks at No. 1 was Jack Johnson’s Sleep Through the Static, with three total in 2008. Rock albums are defined as those that are eligible for, or have charted on, Billboard’s Top Rock Albums chart.

The Great Divide earned 132,000 equivalent album units in the United States in the week ending May 14 (down 19%), according to Luminate.

Also in the top 10 of the latest Billboard 200, CORTIS clocks its first top 10 as GREENGREEN debuts at No. 3, while Chris Brown lands his 13th top 10 as BROWN bows at No. 7.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 2,500 ad-supported or 1,000 paid/subscription on-demand official audio and video streams generated by songs from an album. The new May 23, 2026-dated chart will be posted in full on Billboard‘s website on May 19. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

Of The Great Divide’s 132,000 equivalent album units earned in the latest tracking week, SEA units comprise 109,000 (down 20%, equaling 111.46 million on-demand official streams of the set’s tracks; it spends a third week at No. 1 on Top Streaming Albums), album sales comprise 22,000 (down 85%; it holds at No. 2 on Top Album Sales) and TEA units comprise the remainder (up 18%).

Ella Langley’s former leader Dandelion is a non-mover at No. 2 on the Billboard 200 with 100,000 equivalent album units earned (down 3%).

CORTIS earns its first top 10 with the No. 3 debut of GREENGREEN, starting with 87,000 equivalent album units, the group’s best week by units. Of that sum, album sales comprise 81,500 (the quintet’s best sales week; it debuts at No. 1 on Top Album Sales), SEA units comprise 5,500 (equaling 5.91 million on-demand official streams of the set’s songs) and TEA units comprise a negligible sum. First-week album sales were bolstered by the set’s availability across more than 20 physical variants on CD and vinyl, all containing collectible items such as photocards and stickers, with some items randomized.

GREENGREEN was preceded by the act’s first Pop Airplay hit, “REDRED,” which climbed 31-30 (a new peak) on the latest chart (dated May 23).

CORTIS charted one earlier album on the Billboard 200, COLOR OUTSIDE THE LINES, which peaked at No. 15 last year.

Morgan Wallen’s chart-topping I’m the Problem is steady at No. 4 on the latest Billboard 200 with 85,000 equivalent album units earned (up 2%).

Michael Jackson has the Nos. 5 and 6 albums, as his former No. 1 Thriller is steady at No. 5 (66,000 equivalent album units, up 6%) and Number Ones is also stationary at No. 6 (just more than 65,000, up 6%). Both titles continue to bask in the glow of the success of the Michael biopic film.

Chris Brown’s new studio effort, BROWN, bows at No. 7 on the Billboard 200, earning the singer-songwriter his 13th top 10-charted project. The new set launches with 65,000 equivalent album units earned. Of that sum, SEA units comprise 60,000 (equaling 60.31 million on-demand official streams of the sets tracks; it debuts at No. 4 on Top Streaming Albums), album sales comprise 5,000 (it debuts at No. 19 on Top Album Sales, and was only available to purchase as a digital download) and TEA units comprise the remainder.

The BROWN album was preceded by four hits on the Hot R&B Songs chart: “Holy Blindfold” (No. 8), “It Depends,” featuring Bryson Tiller (No. 3), “Obvious” (No. 5) and “Fallin’,” featuring Leon Thomas (No. 12). All four also reached the all-genre Billboard Hot 100.

Brown’s co-headlining stadium tour with Usher launches June 26 at Denver’s Empower Field at Mile High and continues through Dec. 12 at Tampa’s Raymond James Stadium.

Rounding out the rest of the top 10 on the latest Billboard 200: BTS’s former leader ARIRANG (falling 7-8 with 44,000 equivalent album units, down 10%), Wallen’s chart-topping One Thing at a Time (holding at No. 9 with 41,000, up 3%) and Olivia Dean’s The Art of Loving (8-10 with nearly 41,000, down 3%).

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.

Michael Jackson continues his renewed dominance on the U.K. charts, as The Essential Michael Jackson spends a second consecutive week at No. 1 on the Official Albums Chart dated May 15.

The greatest-hits collection leads the tally ahead of Westlife’s new compilation 25 – The Ultimate Collection, which debuts at No. 2 after leading the midweek race earlier in the week. The hit-packed release becomes the Irish boyband’s 15^th top 10 LP in the U.K.

Renewed interest in Jackson’s catalogue follows the blockbuster Michael biopic, which has fueled strong streaming and physical sales across the singer’s discography in recent weeks. The Essential returned to No. 1 for the first time in 17 years on the previous chart frame (May 8) and now extends its reign atop the summit.

Elsewhere, Noah Kahan’s The Great Divide rises one spot to No. 3, while Olivia Dean’s The Art of Loving follows at No. 4. Jackson also places another title inside the top five, as 1982 classic Thriller climbs to No. 5.

Sheffield indie favorites Reverend and The Makers return to the top 10 as Is This How Happiness Feels? debuts at No. 7. The record becomes the band’s third U.K. Top 10 entry, following 2007 breakthrough The State of Things and 2023 release Heatwave in the Cold North. Speaking exclusively to the Official Charts Company, frontman Jon McClure said: “Number 1 Official Independent album and a third Top Ten. Enjoying being a chart veteran!”

Harry Styles’ former chart-topper Kiss All the Time. Disco, Occasionally. soars back into the chart (No. 9) again in anticipation of his Together, Together Tour, which kicks off this weekend in Amsterdam. 

Katy Perry and her compilation The One That Got the Plays, containing some of the superstar’s greatest hits, comes in at No. 13. 2010 pop opus Teenage Dream also scales three spots in the process (No. 36). Billie Eilish’s Hit Me Hard and Soft also returns to the top 40, placing at No. 32.

Jujutsu Kaisen ≡ Vol. 3 by Yuji Iwasaki and Gege Akutami holds at No. 1 on the Billboard Japan Book Hot 100 released May 14, retaining the top spot for a second straight week.

In the chart week that spans the Golden Week holiday period, the concluding volume of Jujutsu Kaisen ≡ (Modulo) — the spinoff of Gege Akutami’s blockbuster manga Jujutsu Kaisen — maintains its dominance. The title again leads in brick-and-mortar and keeps three metrics in the top 10, the other two being e-books (No. 3) and e-commerce (EC, No. 8).

Takeru Hokazono’s Kagurabachi Vol. 11 holds at No. 2. Ryo Asai’s In The Megachurch, which ranked No. 4 last week, climbs a spot to No. 3. Mamoru Nagano’s The Five Star Stories Vol. 19, the latest installment of the series marking its 40th anniversary of serialization in the monthly Gekkan Newtype magazine, enters at No. 5.

Debuting at No. 4 is Michiro Ueyama’s Akuyaku Reijo Tensei Ojisan Vol. 10, a comedy manga in which a straight-laced 52-year-old civil servant is reincarnated as the villainess of an otome game. The volume claims No. 1 in e-books. The title is one of several isekai reincarnation titles charting this week: Vol. 7 of the “Dinners with My Darling” comic edition enters at No. 7, and Vol. 23 of the “7th Prince” series lands at No. 13.

The Billboard Japan Book Hot 100 is a comprehensive chart combining physical sales, e-books, library loans, subscription data and social media activity. See the top 10 titles on this week’s list, tracking the period from May 4 to May 10 below.

(Numbers in parentheses indicate the title’s metric placements for brick-and-mortar, EC, e-books, subscriptions, and social media, top 20 only. English title given if translations or adaptations exist.)

1. Jujutsu Kaisen ≡ (Jujutsu Kaisen Modulo) Vol. 3, Yuji Iwasaki, Gege Akutami (1/8/3/–/–)

2. Kagurabachi Vol. 11, Takeru Hokazono (3/12/5/–/–)

3. In The Megachurch, Ryo Asai (9/–/–/3/1)

4. Akuyaku Reijo Tensei Ojisan (From Bureaucrat to Villainess: Dad’s Been Reincarnated!) Vol. 10, Michiro Ueyama (–/–/1/–/–)

5. The Five Star Stories Vol. 19, Mamoru Nagano (2/3/–/–/–)

6. SAKAMOTO DAYS Vol. 27, Yuto Suzuki (5/–/8/–/–)

7. Aisanai to Iwaremashite mo — Moto Maou no Hakushaku Reijo wa Kimajime Gunjin ni Ezuke wo Sarete Shiawase ni Naru (Dinners with My Darling: How the Former Monster King Ate Her Way to Happiness) Vol. 7 (comic edition), Toi Ishino, Mugi Mameta (–/–/2/–/–)

8. Ao no Hako (Blue Box) Vol. 25, Kouji Miura (4/–/–/–/–)

9. Madan no Ichi (Ichi the Witch) Vol. 6, Shiro Usazaki, Osamu Nishi (6/–/10/–/–)

10. Ao no Exorcist (Blue Exorcist) Vol. 33, Kazue Kato (7/–/12/–/–)