Jack Harlow’s ‘Lovin on Me’ Rebounds for Fifth Week Atop Billboard Hot 100

Jack Harlow’s “Lovin on Me” returns to No. 1, from No. 2, for a fifth nonconsecutive week atop the Billboard Hot 100. The song first led for a week in December, followed by two frames at the summit in January.

Elsewhere, Benson Boone’s “Beautiful Things” reaches the Hot 100’s top five (8-3) and hits No. 1 on the Streaming Songs chart, while three songs soar in the Hot 100’s top 10 following spotlights at the Grammy Awards Feb. 4: SZA’s “Snooze” (10-5), Luke Combs’ “Fast Car” (20-8) and Miley Cyrus’ “Flowers” (32-10).

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 Feb. 17, 2024) will update on Billboard.com tomorrow, Feb. 13. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

Harlow’s “Lovin on Me,” released on Generation Now/Atlantic Records, drew 76.7 million radio airplay audience impressions (up 1%) and 23.2 million streams (down 10%) and sold 6,000 downloads (down 39%) in the Feb. 2-8 tracking week, according to Luminate.

The single adds a fourth week at No. 1 on the Radio Songs chart and dips 2-3 after five weeks atop Streaming Songs and 6-20 after two frames atop Digital Song Sales. It concurrently leads the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which use the same methodology as the Hot 100, for a 12th week each.

Teddy Swims’ “Lose Control” hits a new No. 2 Hot 100 high, rising from No. 4.

Benson Boone’s “Beautiful Things” bounds 8-3 on the Hot 100, a week after it became his first top 10. It becomes his first Streaming Songs No. 1, with 22.8 million streams (up 23%). (The song’s sum of raw streams is the week’s second-highest, after Harlow’s “Lovin on Me,” but “Beautiful Things” tops Streaming Songs due to the application of weighting to all titles’ paid/subscription and ad-supported on-demand streams and programmed/radio streams.)

Taylor Swift’s “Cruel Summer” retreats 3-4 on the Hot 100, following four nonconsecutive weeks at No. 1 beginning in October. It also becomes the sixth of her 232 charted titles (the most among women) to log at least 40 weeks on the tally, joining “Anti-Hero” (53 weeks; 2022-23), “Shake It Off” (50; 2014-15), “You Belong With Me” (50; 2008-10), “Love Story” (49; 2008-09) and “Teardrops on My Guitar” (48; 2007-08).

SZA’s “Snooze” reawakens with a 10-5 jump on the Hot 100, after reaching No. 2, up 29% to 16.5 million streams and 284% to 3,000 sold, as well as 1% to 45 million in airplay audience. SZA performed the song, in a medley with her 2023 No. 1 “Kill Bill,” at the Grammys, broadcast on CBS from Crypto.com Arena in Los Angeles, while “Snooze” additionally won for best R&B song.

Notably, “Snooze” scores its 60th week on the Hot 100. It’s just the 26th title to reach the milestone (among the over 30,000 that have hit the chart dating to its Aug. 4, 1958, inception).

“Snooze” concurrently leads the multimetric Hot R&B Songs chart for a 28th week.

Zach Bryan’s “I Remember Everything,” featuring Kacey Musgraves, keeps at No. 6 on the Hot 100, after it led for a week upon its debut last September. The collab, which won the Grammy Award for best country duo/group performance, tops the multimetric Hot Rock & Alternative Songs and Hot Rock Songs charts for a 24th week each and Hot Country Songs for a 20th frame.

Tate McRae’s “Greedy” descends 5-7 on the Hot 100, after reaching No. 3. It sports a 6% gain to 1,000 sold after she performed it at the NHL All-Star Game Feb. 3 in Toronto (broadcast in the U.S. on ABC).

Luke Combs’ “Fast Car” revs 20-8 on the Hot 100, after peaking at No. 2, up 26% to 13.6 million streams and 1,185% to 17,000 sold, as well as 1% to 39.4 million in radio reach. Combs performed the song, which was nominated for best country solo performance, at the Grammys with Tracy Chapman, whose original version hit No. 6 on the Hot 100 in 1988.

Chapman’s “Fast Car” meanwhile, re-enters Digital Song Sales at No. 1 with 35,000 sold (up 8,215%). It marks the singer-songwriter’s first leader on a Billboard chart since 2000, when “Telling Stories (There Is Fiction in the Space Between)” topped Adult Alternative Airplay for eight weeks. Plus, with 6 million streams (up 153%) and 1.3 million airplay audience impressions (up 67%), Chapman’s “Fast Car” re-enters the Hot 100 at No. 42. She appears on the chart for the first time since the survey dated Dec. 28, 1996, while her recording of “Fast Car” reaches the ranking for the first time since it wrapped its original 21-week run on the list dated Oct. 22, 1988.

(Chapman has won four Grammy Awards, including best female pop vocal performance for “Fast Car,” which she wrote solo, in 1989; she also won for best new artist, while “Fast Car” parent LP Tracy Chapman won for best contemporary folk album that year.)

Doja Cat’s “Agora Hills” backtracks to No. 9 from its No. 7 Hot 100 high.

Rounding out the Hot 100’s top 10, Miley Cyrus’ “Flowers” (32-10) likewise benefits from buzz at the Grammys, where it won for record of the year and best pop solo performance – marking her first career Grammy wins – and she performed the song. After dominating the chart for eight weeks starting upon its debut in January 2023, it surges with gains in streams (11.3 million, up 51%) and sales (26,000, up 2,160%), along with 33 million in radio audience.

Again, for all chart news, you can follow @billboard and @billboardcharts on Billboard’s social accounts, and all charts (dated Feb. 17), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Feb. 13).

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.