Month: August 2022

Happy 64th birthday, Billboard Hot 100!

In honor of the anniversary of the Aug. 4, 1958, launch of the premier songs chart in the U.S., here are 64 fun facts (as 64 candles on a cake would be a bit risky) celebrating the survey’s storied archives.

All stats below are from the Hot 100’s start date through the most-recently published chart, dated Aug. 6, 2022.

1, The Hot 100’s debut was announced in an Aug. 4, 1958, editorial item succinctly headlined “The Billboard Hot 100”: “On pages 36 and 37 of this issue, we are proud to present The Billboard Hot 100, the fastest, most complete and most sensitive index to the popularity of recorded music in America. This new chart feature, which each week will list the 100 most popular recorded sides, is a guide to potential, as well as the current hits.”

2, Upon its inception, the Hot 100 encompassed radio airplay, store sales and juke box activity. Today, airplay is still among the chart’s data mix, with downloads largely continuing the legacy of sales, and streaming – now the chart’s most dominant metric, on average – essentially a modern-era, more personalized digital jukebox.

3, As for the origin of the chart’s name? Recalled Sire Records co-founder and Rock and Roll Hall of Fame enshrinee Seymour Stein, who was a 16-year-old Billboard intern in 1958, “I can only imagine that what the industry was looking for was a hotter, quicker way of getting chart information.” Who specifically named it? “I certainly did not,” Stein said. “I just don’t remember.”

4, Ricky Nelson’s “Poor Little Fool,” released on Imperial Records, ruled the inaugural Hot 100. Lizzo’s “About Damn Time,” on Nice Life/Atlantic Records, leads the latest list, having become the tally’s 1,139th No. 1 a week earlier.

5, Music fans could reportedly buy a vinyl single for 65 cents around the time of the Hot 100’s arrival. “About Damn Time” was sale-priced at 69 cents for digital purchase in its run up to No. 1. (Prices for other items, however, have since risen substantially more.)

6, Following Nelson, The Elegants became the first group to top the Hot 100, with “Little Star” (Aug. 25, 1958). The act continues to tour, in its current iteration, with shows scheduled through late 2023.

7, Connie Francis became the first solo woman to crown the Hot 100, with “Everybody’s Somebody’s Fool” (June 27, 1960). Less than a month later, Brenda Lee led with “I’m Sorry” and each artist added a second No. 1 that year: Francis with “My Heart Has a Mind of Its Own” and Lee with “I Want to Be Wanted.”

8, The Beatles boast the most Hot 100 No. 1s of any act: 20. (Sadly, because it would’ve worked so well for this story, their “When I’m Sixty-Four” was never released as a single and has never appeared on the chart. The same for their “Birthday.”)

9, Mariah Carey has achieved the most Hot 100 No. 1s among soloists: 19, most recently having reigned this past holiday season, as well as the previous two, with “All I Want for Christmas Is You.” Carey is also the only artist to have ranked at No. 1 on the Hot 100 in as many as four distinct decades (the 1990s, 2000s, ’10s and ’20s).

10, Michael Jackson is the male soloist with the most Hot 100 No. 1s: 13 (apart from four that The Jacksons/Jackson 5 tallied with him as a member).

11, For this entry, let’s celebrate 11 songs that peaked at No. 11 on the Hot 100, and, despite stopping one spot shy of the top 10, remain classics: Four Tops’ “Baby I Need Your Loving” (1964); The Beatles’ “Eleanor Rigby” (1966); Fleetwood Mac’s “Rhiannon (Will You Ever Win)” (1976); The Trammps’ “Disco Inferno” (1978); Meat Loaf’s “Two Out of Three Ain’t Bad” (1978); Prince’s “I Wanna Be Your Lover” (1980); Stevie Nicks’ “Edge of Seventeen (Just Like the White Winged Dove)” (1982); Dead or Alive’s “You Spin Me Round (Like a Record)” (1985); Haddaway’s “What Is Love” (1993); Corona’s “The Rhythm of the Night” (1995); and Paula Cole’s “I Don’t Want to Wait” (1998).

12, … and 11 more recent, and likewise enduring, No. 11 Hot 100 hits: Britney Spears’ “Stronger” (2001); Linkin Park’s “Numb” (2004); Fall Out Boy’s “Thnks Fr Th Mmrs” (2007); Taylor Swift’s “You’re Not Sorry” (2008) … and “Mean” (2010); Willow’s “Whip My Hair” (2010); Macklemore & Ryan Lewis’ “Same Love,” featuring Mary Lambert (2013); Demi Lovato’s “Cool for the Summer” (2015); Kendrick Lamar’s “Love.,” featuring Zacari (2018); DJ Snake’s “Taki Taki,” featuring Selena Gomez, Ozuna and Cardi B (2018); and Megan Thee Stallion, Nicki Minaj and Ty Dolla $ign’s “Hot Girl Summer” (2019).

13, The Beatles and Mariah Carey share the most top two-peaking Hot 100 hits: 23 each (with The Beatles claiming 20 No. 1s and three No. 2 hits and Carey’s totals at 19 and four, respectively).

14, The Beatles and Drake share the most top five Hot 100 hits: 29 each. Drake recently matched the mark when “Jimmy Cooks,” featuring 21 Savage, soared in at No. 1.

15, Drake is the record-holder for the most Hot 100 top 10s: 58 …

16, … most top 40 Hot 100 hits: 157 …

17, … and most overall Hot 100 entries: 276.

18, Who has notched the most Hot 100 No. 1s this century? Rihanna, with 14, followed by Drake (11) and Katy Perry (nine).

19, BTS has amassed the most Hot 100 No. 1s this decade: six. Drake ranks second with five, followed by Ariana Grande with four.

20, Rihanna reigned with nine Hot 100 No. 1s in the 2010s …

21, Usher ruled with seven Hot 100 No. 1s in the 2000s …

22, Mariah Carey dominated with 14 Hot 100 No. 1s in the 1990s …

23, Michael Jackson was king of the Hot 100 with nine No. 1s in the ’80s …

24, Bee Gees paced the Hot 100 with nine No. 1s in the ’70s …

25, The Beatles tallied 18 of their No. 1s in the ’60s, the most for any act in any decade …

26, And, Frankie Avalon and The Fleetwoods are tied for the most Hot 100 No. 1s in the ’50s: two each, in 1958-59. (Despite his haul of iconic hits that decade, Elvis Presley released many of them prior to the Hot 100’s start.)

27, Last November, The Weeknd’s “Blinding Lights,” released on XO/Republic Records, was revealed as the No. 1 song in the chart’s entire history, topping Billboard‘s Greatest of All Time Hot 100 Songs recap, based on its performance on the chart; it spent a record 90 weeks on the survey, including four at No. 1, in 2019-21. “I don’t think [it] has hit me yet,” The Weeknd told Billboard upon learning of the honor. “I try not to dwell on it too much. I just count my blessings, and I’m just grateful.”

28, Chubby Checker’s “The Twist” previously held the accolade as the Hot 100’s top all-time song and currently ranks at No. 2, followed by Santana’s “Smooth,” featuring Rob Thomas (No. 3), Bobby Darin’s “Mack the Knife” (No. 4), and Mark Ronson’s “Uptown Funk!,” featuring Bruno Mars (No. 5).

29, The Beatles command Billboard‘s Greatest of All Time Hot 100 Artists chart, followed by Madonna (No. 2), Elton John (No. 3), Elvis Presley (again, despite his career predating the Hot 100’s inception; No. 4) and Mariah Carey (No. 5).

30, Lil Nas X’s “Old Town Road,” featuring Billy Ray Cyrus, has spent the most time atop the Hot 100: 19 weeks, in 2019. The former found out that the song had begun its reign that April 9, sweetening the celebration of his 20th birthday that day.

31, The smash dethroned two 16-week Hot 100 No. 1s, and fellow all-star collaborations, for the record: Luis Fonsi and Daddy Yankee’s “Despacito,” featuring Justin Bieber (2017), and Mariah Carey and Boyz II Men’s “One Sweet Day” (1995-96).

32, Michael Jackson’s Bad became the first album to generate as many as five Hot 100 No. 1s, in 1987-88: “I Just Can’t Stop Loving You,” with Siedah Garrett; the title track; “The Way You Make Me Feel”; “Man in the Mirror”; and “Dirty Diana.”

33, Katy Perry tied the mark with a quintet of Hot 100 No. 1s from Teenage Dream, in 2010-11: “California Gurls,” featuring Snoop Dogg; the title cut; “Firework”; “E.T.,” featuring Kanye West; and “Last Friday Night (T.G.I.F.)”

34, Drake’s Certified Lover Boy yielded the record for the most Hot 100 top 10s from a single album: nine. As all nine stormed onto the survey dated Sept. 18, 2021, Drake also holds the mark for the most simultaneous top 10s. (Breaking up the shutout: The Kid LAROI and Justin Bieber’s “Stay” ranked at No. 6 that week.)

35, More Jackson: his “You Are Not Alone” became the first single to launch at No. 1 on the Hot 100, dated Sept. 2, 1995 (helped, in part, by the first in a string of chart rule changes that paved the way for more hits to soar in at the summit).

36, Even more Drake: he has peaked at the most Hot 100 positions of any artist: 91. (Only peaks for him at Nos. 31, 43, 46, 59, 77, 93, 96, 98 and 99 remain elusive.) He has also ranked at all 100 spots on the chart.

37, Paul McCartney has written the most Hot 100 No. 1s: 32. His Beatles co-writer John Lennon ranks second with 26, followed by Max Martin, with 25.

38, Longtime Beatles producer George Martin and Max Martin share the lead for the most Hot 100 No. 1s among producers: 23 each.

39, Most common Hot 100 song title: “Hold On,” with 18 such hits by that name having reached the chart, from Radiants’ such song in 1968 to Adele’s last December. One has hit No. 1: Wilson Phillips’, which held onto the top spot for a week in 1990.

40, Five notable songs that can forever be called top 40 Hot 100 hits, having peaked at No. 40: Paul Simon’s “Still Crazy After All These Years” (1976); Tom Petty & The Heartbreakers’ “Breakdown” (1978); The Buggles’ “Video Killed the Radio Star” (1979); The Cure’s “Just Like Heaven” (1987); and Taylor Swift’s “Tim McGraw” (2007).

41, And, similar to the No. 11-peaking nuggets above, here are 11 songs that, even though they peaked at No. 41 on the Hot 100, remain revered: The Beatles’ “From Me to You” (1964, after becoming their first No. 1 on the Official UK Singles chart in 1963); Lalo Schifrin’s “Mission: Impossible” (1968); Elton John’s “Tiny Dancer” (1972); David Bowie’s “Changes” (1975); Diana Ross and Michael Jackson’s “Ease on Down the Road” (1979); The Cars’ “Good Times Roll” … and “It’s All I Can Do” (both 1979); Huey Lewis & The News’ “Workin’ for a Livin’ ” (1982); Nine Inch Nails’ “Closer” (1994); The Wonders’ “That Thing You Do!” (1996); and The Chicks’ “Wide Open Spaces” (1998).

42, … and five more recent, and likewise prominent, No. 41 Hot 100 hits: Kanye West’s “Can’t Tell Me Nothing” (2007); Beyoncé’s “Daddy Lessons” (2016); Auli’i Cravalho’s “How Far I’ll Go” (2017); Lady Gaga’s “Always Remember Me This Way” (2018); and Billie Eilish’s “You Should See Me in a Crown” (2019).

43, After “Poor Little Fool” became the Hot 100’s inaugural No. 1 on the Aug. 4, 1958, chart, Marty Robbins’ “El Paso” marked the first leader of the ’60s …

44, B.J. Thomas’ “Raindrops Keep Fallin’ on My Head” became the first Hot 100 No. 1 of the ’70s …

45, KC and the Sunshine Band’s “Please Don’t Go” ushered in the ’80s at No. 1 …

46, Michael Bolton’s ballad “How Am I Supposed to Live Without You” welcomed the ’90s as the list’s first new No. 1 that decade …

47, Christina Aguilera’s “What a Girl Wants” encountered no Y2K glitches and became the first new Hot 100 No. 1 of the 2000s …

48, Ke$ha clocked the first Hot 100 No. 1 of the 2010s with (the presciently titled) “TiK ToK” …

49, And, Roddy Ricch scored the first new No. 1 this decade with “The Box.”

50, Shortest Hot 100 No. 1 by runtime: Maurice Williams & The Zodiacs’ “Stay,” from 1960, at just 1:38 in length.

51, Longest Hot 100 No. 1 by runtime: Considering hits’ single edits or dominant versions, Taylor Swift’s “All Too Well (Taylor’s Version)” made history when the 10-minute, 13-second story song roared in atop the chart dated Nov. 27, 2021. (It arrived accompanied by the 14-minute, 56-second All Too Well: The Short Film, directed by Swift and starring Dylan O’Brien, Sadie Sink and Swift, and which serves as the song’s official video.)

52, Speaking of Sink, and syncs, Kate Bush’s “Running Up That Hill (A Deal With God),” at its No. 3 Hot 100 high on the current, Aug. 6 chart, broke the record for the longest climb to the top three for a non-holiday song: 36 years, 10 months and three weeks, dating to its debut on the Sept. 7, 1985, survey. It re-entered, at No. 8, this June sparked by its central placement in Netflix’s Stranger Things, as the fourth season of the ’80s-set show, which premiered May 27, incorporates the song in multiple episodes, serving as a recurring theme for the character of Max Mayfield … played by Sadie Sink.

53, Six songs with the word “hot” in their titles have sizzled atop the Hot 100: Nick Gilder’s “Hot Child in the City” (1978); Donna Summer’s “Hot Stuff” (1979); Ini Kamoze’s “Here Comes the Hotstepper” (1994); Nelly’s “Hot in Herre” (2002); Snoop Dogg’s “Drop It Like It’s Hot,” featuring Pharrell (2004); and Mims’ “This Is Why I’m Hot” (2007).

54, One song with “hundred” in its title has hit the Hot 100’s top 10: Gene McDaniels’ “A Hundred Pounds of Clay,” which rose to No. 3 in 1961. Just below the tier, Crystal Waters has charted the highest-placing song with “100” in its name (and one more No. 11-peaking classic): 1994’s “100% Pure Love.”

55, 1955 is often considered the start of the rock era, three years before the Hot 100 began, tied to the reign on predecessor charts of Bill Haley and His Comets’ “Rock Around the Clock.” (Lizzo is the latest in a storied tradition of artists singing about time.) Still, the song returned and became a No. 39 Hot 100 hit in 1974, fueled by its usage in the movie American Graffiti. A rerecorded version by the band subsequently served as the TV theme to (fellow memorable Ron Howard vehicle) Happy Days.

56, … um, since 56 equals the total number of party popper (28), bottle (15) and confetti (13) emojis that a joyous Lizzo posted on Twitter upon learning that “About Damn Time” secured a second week at No. 1 on the Hot 100 this week.

!!!!!!!!!!!!!WE DID IT AGAIN pic.twitter.com/XG5rwodir8

— FOLLOW @YITTY (@lizzo) August 1, 2022

57, “Achieving a No. 1 on the Hot 100 is the culmination of a full team’s effort,” says Joe Gallo, Columbia Records executive vp. Prior to Lizzo’s command, the label’s “As It Was” by Harry Styles ran up 10 weeks at No. 1, the longest reign on the chart this year. “It starts with the art, and we’re grateful to have been part of so many of these campaigns over the years.”

58, In March, “We Don’t Talk About Bruno,” the ensemble smash from Disney’s Encanto, extended its Hot 100 domination to five weeks, the longest ever for a song from a Disney film, after the track became the first leader released on the Walt Disney label. “For over 60 years, the Hot 100 has been evolving to highlight the top songs in our culture,” says Ken Bunt, Disney Music Group president. Hitting No. 1 is “always a memorable moment for the artists and all those at the label that help shine a light on their work.”

59, Muses Rick Sackheim, Epic Records executive vp/general manager, of the label’s, and its acts’, successes: “I think a quote from Robert F. Kennedy states why the Hot 100 is important: ‘Few will have the greatness to bend history itself; but each of us can work to change a small portion of events, and in the total of all those acts will be written the history of this generation.’ ” In 2022, Epic has led via Future’s “Wait for U,” featuring Drake and Tems, for a week in May.

60, From August 1958 through June 1970, the Hot 100 drew readers. As of July 4, 1970, Casey Kasem was instrumental in transforming the chart into landmark listening experience (in reverse order, from No. 40 to No. 1, of course), with that week’s debut of American Top 40.

61, Likewise, late renowned researcher Joel Whitburn became the foremost historian of the Hot 100 and charts covering numerous genres, with the genial Menomonee Falls, Wisc., native’s work/passion spanning Billboard‘s early to modern eras.

62, Louis Armstrong was 62 years young (and nine months) when he topped the Hot 100 with “Hello, Dolly!” in May 1964 and remains the most-senior artist to lead the list. Notably, the late legendary trumpeter shares a birthday with the Hot 100: he was born Aug. 4, 1901, exactly 57 years before the chart began.

63, Meanwhile, Billboard was a spry 63 (and nine months) when the Hot 100 originated, stretching to the first issue dated Nov. 1, 1894. With the chart turning 64, Billboard‘s history now includes more time publishing the Hot 100 than without.

64, Among achievements on the latest Hot 100, Bizarrap and Quevedo round out the week’s debuts, at No. 98, with “Bzrp Music Sessions, Vol. 52” – the No. 1 song on the Billboard Global 200 chart, which tracks the biggest hits in the U.S. and around the world. Reflecting the forward-leaning nature that has always defined the Hot 100, Quevedo told Billboard what he thinks is an ingredient to the song’s success: “I’m a new artist, so I think people are intrigued about what I’m doing.” He also described the song in a way fitting for so many of the approximately 30,000 titles that have hit the Hot 100 over the past 64 years, including in August 1958: “The song is perfect for summer, and people can sing along and dance to it.”

At Sam Smith’s country home in Buckinghamshire, England, there’s a little barnhouse tucked to the side of the sprawling property. A small faux menagerie — turtles, flamingos, even a sloth named Keith — overlooks a patio where Smith’s year-old Bernadoodle, Velma (named for the merry murderess in Chicago), suns herself. Inside, there’s a billiards table, a sparkling crystal chandelier and a full bar; feathered, palm tree-shaped lamps and a 2-foot-tall, stuffed Ewok round out the cozily jumbled decor. It might be the perfect facsimile of the pub in town — well, except for the neon sign hanging in the rafters that reads “Fist Me.”

“I was like, ‘What do we call the pub?’ — I know it’s not really a pub, it’s a little barn,” Smith says, taking in the scene. “My sister actually wanted to call it The Tadpole, which I think is a fabulous name for a bar. But I just think The Fat Fairy beat that.”

A custom-designed spill mat on the bar bears that name, and Smith excitedly rattles off a to-do list for further furnishing: getting a working beer tap, installing wood flooring matching the rustic walls, as a “proper pub” would. After working in London through the week, this is where Smith spends weekends — so it’s nice to have, as they put it, “my own, private queer club in the middle of the countryside.”

Steps away from The Fat Fairy, there’s a building dedicated to a different sort of celebration: a shed-turned-studio space, where Smith has spent the last two years making new music that, as they put it, finally reflects their truest self. Sitting on a turquoise couch inside of it, sporting a Balenciaga T-shirt with two gender-neutral stick figures holding hands, Smith — who came out publicly as nonbinary in late 2019 — radiates a newfound sense of comfort: no more hiding, no more questioning, just living life on their terms. “I can’t express how incredible I feel every day,” they say with a wide grin.

This Sam Smith, who laughs easily and jokes about balancing exercise with their love of fast food (“It helps a little bit to move, but so does McDonald’s”), seems a world away from the Smith of a decade ago, who shot to international superstardom with one of the most singular voices in modern pop music — one most often compared to Adele’s.

But along the way, Sam Smith, Actual Person got a little overshadowed by Sam Smith, The Voice. Smith remembers a “crazy journey of trial and error, bad advice and good advice” that forced them to constantly reconfigure their life around their skyrocketing career. Of their last world tour (120 dates that ended in April 2019), they say, “I don’t think I’ve ever felt burnout like that before.” Amid that fatigue, falling in and out of love — and constantly channeling that into their music — took an emotional toll.

“My 20s were my heartbreak years, they were my drama years, I really went through it,” Smith says, chuckling. “I didn’t have a lot of boundaries in place, not just in relationships necessarily, but in life in general.” They pause for a moment, then look up: “Though, you’re not meant to, right? You’re meant to learn what your boundaries are.”

During the pandemic, Smith finally had the time to consider that, as well as find a brighter outlook on their career — one that had remained elusive even amid their years of huge commercial success (7.86 billion catalog streams, according to Luminate), monster radio hits and prestigious awards. “It was really a coming-of-age moment for me,” Smith says. “I was turning 30, we went through COVID-19, and I got the opportunity to sit down and really ask myself what it is I want to do, the type of music I want to make, and also ask myself how involved I want to be [in it].”

In April, Smith released a song hinting at the answers they found. “Love Me More,” with its lyrics tracing a journey from “trying not to hate myself” to finding the “self-worth I had to earn,” feels like the start of a new era for Smith. Melding the soul of their early ballads with the dance beats they’ve occasionally dipped into over the years, the track still foregrounds their impressive voice, but places it atop slick drums and a grooving bassline. In the video, Smith fully inhabits their nonbinary identity, wearing looser, more affirming clothes and joyfully communing with their found family in a club. “People sometimes come out the gate in such a big way,” Smith says. “I really wanted to start things off in a kind way.”

Jack Street, co-founder of Method Music, has managed Smith since the outset of their career in 2012, so he knows when he’s seeing something new from the artist. “They’ve been so creatively free this time around, in a way they weren’t before,” he says. “They have really explored every area they could have.”

Since the release of their third studio album, Love Goes, in October 2020, Smith has been working with a close-knit team of producers (including longtime collaborator Jimmy Napes and pop auteur Ilya Salmanzadeh) to craft their next full album. “For the first time I think in my career, I really just stepped into the room and said, ‘I want to learn how to produce more. I want to vocal arrange more than I have. I want to be more involved in everything,’ ” Smith recalls. “Obviously, I’ve been involved in everything since the beginning, but now I’ve just grown up a bit.”

That album is a work-in-progress, with no title or release date yet announced, and when asked about other songs on it, Smith smiles and simply says, “I’m not going to say any names of them yet.” But the few songs they play for Billboard all share the same spirit that suffuses their country home: joy. Gone are the heartbroken torch songs that defined so much of their early career; in their place are jubilant sounds ranging from dance-pop kiss-offs to choral expressions of elation. And for Smith, leaning into happiness may be the greatest risk of all.

“I think joy for me, and for a lot of queer people, is quite a dangerous place,” Smith says, their gaze becoming downcast. “We’re all masters of pain, and I think it’s actually a very courageous act to step into the queer joy of it all.”’

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Street distinctly recalls the day, 10 years ago, when Napes (also his client) sent him an email with no subject or text, just an attached MP3 file. When Street and Method Music co-founder Sam Evitt heard Smith’s voice singing the aching “Lay Me Down,” “You can kind of imagine [our reaction],” he says. “We were just blown away by the voice. We were calling Jimmy pretty immediately going, ‘Who is this, what’s going on, how can we meet them?’ ”

The pair quickly signed Smith and introduced them to another act they managed, British dance duo Disclosure. Within a matter of months, Smith’s debut feature on Disclosure’s “Latch” came out, kicking off a meteoric rise: signing with Capitol Records in 2013, then releasing “Stay With Me” and their debut album, In the Lonely Hour, which would win four Grammy Awards, an RIAA diamond certification and an over six-year stay on the Billboard 200 after a No. 2 debut.

Almost immediately, Smith’s voice was inescapable stateside, because they were omnipresent on American radio. “The love for me in America still baffles me,” Smith says. “It was always a dream of mine — American music was a huge percentage of the music I listened to as a kid.” To date, Smith has charted 16 songs on Billboard’s Pop Airplay chart, with seven in the top 10 (“Stay With Me” remains their sole No. 1 hit). A strong radio presence was simply a necessity: “Streaming hadn’t quite kicked in when I released my first album — it was halfway through my first album that it started to take over,” Smith says.

Even after streaming became dominant, radio remained a cornerstone of Smith’s strategy. “You have to be everywhere to truly be at the top, especially if you’re someone like Sam,” says Greg Marella, Capitol’s executive vp and president of promotion, who joined the label in 2016. “It’s not something, both in 2016 and now, that you look at and go, ‘OK, we’re going to run an influencer campaign, which will lead us to the next cycle with Sam.’ That’s just not realistic for the type of artist Sam is and for the type of music they make.”

The relationship between Smith and radio, Marella explains, was mutually beneficial: “Once you get to that level where [the general population] knows who that artist is by the very first note of the song, that artist and their music becomes important to the platform,” he says. “It is better for radio’s business to have superstars with music that is connecting and resonating. Radio wants to have superstars and recognizable voices and names on their stations all of the time.”

The airplay Smith received led to a near-instant international breakthrough, cementing them as a global household name within a year. And nearly as quickly, Smith was thrown into a global touring schedule.

“From the get-go, we wanted to do shows as quickly as possible, because Sam’s voice is such a weapon,” Street recalls. “As soon as we had booked headline shows in England, we immediately made sure we were booking them in New York and Los Angeles, and stuck with that mentality all the way through — we knew that we were handling their career in both countries in tandem.” To this day, Smith says, that mindset informs their team’s strategy. “When it comes to releasing songs and singles, I try to hold in my mind everyone and try to be everywhere at once,” they say. “It comes down to putting in the work, honestly, and making sure I am everywhere at once.”

Those early years of commercial success weren’t entirely smooth. In 2015, Smith underwent surgery for a hemorrhage on their vocal cords. (They fully recovered, but it brought their world tour to a standstill for months.) That same year, Smith amicably reached a copyright settlement with Tom Petty and Jeff Lynne on “Stay With Me,” acknowledging its melodic similarity to “I Won’t Back Down.” Months later, Smith and Napes shared an Academy Award win for “Writing’s on the Wall” from the James Bond film Spectre, and Smith (who had not yet come out as nonbinary) mistakenly claimed in their acceptance speech that “no openly gay man” had won an Oscar, drawing the ire of openly gay, Oscar-winning filmmaker Dustin Lance Black — as well as much of the internet.

“I think people need to get used to being wrong and making mistakes,” Smith now reflects. “That’s the biggest thing, getting comfortable with that uncomfortable feeling. That’s a hard thing to do, because I think we just strive for perfection.”

That Smith has weathered those missteps with their brand intact is, they say, a credit to the largely unchanged team they’ve maintained since the outset of their career. Throughout the day at their country home, Smith regularly kicks back and chats with Street and co-manager Kara Tinson, as well as creative director Ben Reardon and a few makeup artists.

“It’s such an intense relationship, being a manager — you have to go through everything together, and that naturally creates bonds that are very close,” Street says. “It’s a tricky industry, and I think having that tight-knit team around you keeps that continuity.”

Smith has always kept a cocoon around them in the studio as well, working almost exclusively with Napes and a handful of other producers like Steve Fitzmaurice and StarGate, only occasionally reaching outside that inner circle for assists. “I can’t do that with everyone,” they say. “It’s only a few special people that know how to trigger me and create that safe space.”

Even with that streamlined group of creatives around them, a kind of dichotomy has always existed in Smith’s output, between the moody ballads that dependably became hits and the more dancefloor-friendly tracks — like “La La La,” “Promises” and “Diamonds” — that show Smith’s emotional range. And for Smith, sadness has often been what sells. Love Goes leaned further in a dance direction, yet didn’t approach the sales heights of predecessors In the Lonely Hour or The Thrill of It All, peaking on the Billboard 200 with its No. 5 debut.

But in 2019, those two sides of Smith did find a vehicle for coexistence. The rhythmic, R&B-infused “Dancing With a Stranger,” featuring Normani, felt like a stylistic bridge between Smith’s preferred soundscapes; it also proved the slow road to radio success could be fruitful, rising to the top of the Radio Songs and Adult Top 40 charts after 15 and 17 weeks, respectively, ultimately becoming Smith’s sixth top 10 hit on the Billboard Hot 100 and their longest-running song on Pop Airplay.

Now, “Love Me More” seems to also be benefiting from a slow-burn: It made a brief appearance on the Hot 100 at No. 94 in May before falling off the chart, but has lately gained traction thanks to steadily increasing radio play, climbing to No. 73 in the tracking week of July 30 and hitting No. 14 on Adult Pop Airplay one month prior. “Radio is driving it,” Marella says. “Even if the song isn’t a smash hit, there is still tremendous value in having a good Sam Smith record on the radio station because of the brand of Sam Smith.”

Smith acknowledges “Dancing With a Stranger” as something of a turning point, though they say it shouldn’t have come as a surprise. “My first song was ‘Latch,’ which was in and of itself a very joyful song. But I think that In the Lonely Hour ultimately did so well that it sort of dwarfed any of those happier songs,” they say. “When something sells, people want you to do the same thing again. ‘Dancing With a Stranger’ ended up being a release for me — it was my way of saying, ‘Look, I’m not good with boxes.’ ” (Smith is currently named in a lawsuit alleging that “Stranger” was not an original song; their lawyers have called these claims “rambling” and “nonsensical.”)

After “Dancing With a Stranger,” Capitol A&R coordinator Charlie Knox pitched Ilya Salmanzadeh on working with Smith. The producer was immediately enamored by the idea. “I’ve been a huge fan of Sam since way back before I started working,” says Salmanzadeh, a Max Martin protegé who had worked extensively with Ariana Grande as well as Demi Lovato, Ellie Goulding, Justin Bieber and Jennifer Lopez. “It just felt like, at that time, it was a right fit for what I wanted to do, what I felt was exciting.”

Their first co-write was “How Do You Sleep?,” Smith’s follow-up to “Stranger” that leaned further into dance-pop. Approaching the song as a piece of “soulful pop with hip-hop-leaning beats,” Salmanzadeh was able to break into Smith’s creative inner circle, and they later reunited for tracks that pushed Smith further stylistically, like “I’m Ready,” an uplifting duet with Lovato, and “My Oasis,” with Afrobeats superstar Burna Boy.

“You have that pressure when you come into a tight group like that, where you’re the outsider for a second,” Salmanzadeh says. “I never felt that pressure with Sam — I was really lucky that we got to hit it off with ‘How Do You Sleep?,’ because it just felt great from there.”

For Smith, bringing in Salmanzadeh on Love Goes unlocked something new in their songwriting. “At that time I was probably the most heartbroken I’d ever been, but I wasn’t finding comfort anymore in sitting there and writing about it,” they say. “I wanted to cheer myself up and talk about things that were maybe a little bit lighter.”

A look of genuine relief comes across Smith’s face, as if they’re realizing anew that it’s possible to just leave pain behind and not write it into music. “It’s just organically moved over into that realm,” they say, breaking into a small smile.

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At the end of 2019, ­Merriam-Webster announced its word of the year: “they.” Several months earlier, the dictionary had expanded its definition of the word to include it as a singular gender-neutral pronoun for individuals who identify as nonbinary, which in turn led to increased searches for the word online. In Merriam-Webster’s announcement, one name came up as a key reason for that spike in searches: Sam Smith.

Shortly before the dictionary’s change, Smith had come out publicly as nonbinary and changed their pronouns to “they/them,” writing on Instagram that “after a lifetime of being at war with my gender I’ve decided to embrace myself for who I am, inside and out.” Merriam-Webster wasn’t alone in noticing the power of Smith’s declaration: in November 2021, the BRIT Awards removed gendered categories from its lineup and replaced them with gender-neutral awards after Smith called on them to do so.

“I can speak on behalf of all of my queer friends and say that recognition like that, and just people talking and understanding us like that, is just the best feeling in the world,” Smith says. “Because there’s nothing bad happening here, it’s all love. No one’s taking anything from anyone; people are just trying to live in their own skin on this earth.”

Freely inhabiting their identity has, Smith says, made them appreciate the smaller changes life brings, too. In the few weeks after their 30th birthday in May, they haven’t experienced the dread of aging as so many do. “I think I always knew I was going to be like a fine wine or a blue cheese,” they say with a giggle. “I am not afraid of age. I love it.”

Another small but powerful realization came this year, at a performance of theirs during Pride Month. “I was singing the same songs that I’ve always done, but this time I was just wearing this beautiful lace top,” Smith recalls. “I said to my manager, ‘It’s mad how just those little things completely change my mental health.’ It has been nothing but a positive for me and my body and my mind.”

Being nonbinary wasn’t a new concept — for Smith or the rest of the world — in 2019. But publicly acknowledging it made Smith the most famous nonbinary artist using gender-neutral pronouns, starting much needed conversations in the industry about inclusion for artists who identified similarly.

As Michelle Jubelirer, chair/CEO at Capitol, tells it, Smith’s second coming out didn’t require any label conversation. “We never needed or even had any sort of internal debate or discussion about Sam’s gender identity at the company,” she says. “The only question we asked Sam at the time was, ‘How can we support you?’ ” (Capitol has a growing number of LGBTQ+ artists on its roster, including Halsey, Troye Sivan and Christine and the Queens; Jubelirer ascribes that fact simply to the label being “a safe space for our artists to be exactly who they are.”)

Still, in the world outside their label, Smith’s announcement met its share of hate. “It takes a village,” Smith sighs as they remember the social media fallout. “It was so crucial to have people around me who told me to put my phone down and to concentrate on myself and my life.” Focusing on the larger impact of their actions — particularly on nonbinary kids who “do not have the luxuries and privileges that I have, who can’t necessarily do this, and who get chucked out of their family homes if they do” — helped. “Hopefully, I can push some doors down so that people can get through them easier than I did.”

For decades, coming out in the music industry was considered taboo, not only due to bigotry, but also to a fear that it would diminish an artist’s career prospects. But Marella says Smith’s haven’t suffered; in fact, radio programmers have gone out of their way to properly address Smith’s identity. “Radio has been so good and so supportive of referencing and acknowledging Sam as ‘they/them’ in promos and intros leading into the song, and talking about Sam,” Marella says. “I was, frankly, really pleased that there was so much thought going into it from so many people.”

Thus unencumbered by weighty expectations, Smith was able to approach new music with a revitalized attitude, too. “This album, for me, marks the beginning of doing exactly what I want to do,” they say. That has included taking an increased role in production and vocal arrangement, even attempting to learn piano. “It feels like maths to me,” they admit, laughing at their struggle. “I think I truly just need to be by myself, go on YouTube and just start learning.”

Their piano skills may have a long way to go, but Smith’s production contributions are “very meticulous,” Salmanzadeh says. “As a producer, sometimes when an artist or someone that hasn’t done that before comes with a lot of requests and opinions and advice on the sonics — it could be a little jarring. But with Sam, it’s not that experience at all. It has been very easy for me as a producer. I know exactly what they mean with their notes.”

Before, for instance, Smith says they had never focused much on their own backing vocals, instead doing “two or three takes” per song and letting their voice stay uninhibited. On “Love Me More,” however, Smith decided to “focus in on my voice and just kind of layer everything in different ways,” creating harmonies they had only dabbled in before. “I got a little bit obsessive,” they say with a laugh.

Smith and their team have high hopes for the upcoming release, which Smith triumphantly calls their “first nonheartbreak album.” If that sounds like a clean break from the sounds that have become Smith’s trademark, Street isn’t worried. “I think that is what’s sort of amazing about Sam’s ability as a songwriter and an artist — they can and always have been able to naturally flow between genres.”

Besides, if fans like what they hear, he adds, “everything else works itself out.” And Marella is quick to note that slower-burning hits, like “Dancing With a Stranger,” just make Smith more fascinating to follow. “When Harry Styles does something, it is Beatlesesque. Sam is not that kind of artist, nor do I think they’ve ever been that kind of artist,” he says. “Sam is not of the moment; Sam is very much timeless. And when you’re timeless, you will always be a threat and will always have a shot.”

That doesn’t mean they’re not willing to try out some new tricks — like the rest of the world, Smith started using TikTok amid the pandemic. Though they blush and call their early days on the app “a minefield,” they say they’ve found a way to use it that feels right — to “stop taking yourself so seriously” and use it as “a performance space to share music,” especially the music they’re the most excited about. “I’m trying my best — I think I’m always going to try and embrace whatever apps and stuff that come and are going to help get the music to people.”

There’s a lightness to Smith as they sit in their home studio, imagining what the future might hold. “Maybe the music I make in the future won’t sit as well on the radio,” they say with a shrug. “It takes a bit of courage to maybe try something that maybe people aren’t going to like.”

A cheeky smile returns to their face, and their eyes light up. “But I like it,” they say, grinning. “And that’s all that matters.”

This story will appear in the Aug. 6, 2022, issue of Billboard.

Selena Gomez is taking a much-needed break during her beachy summer vacation, and while she’s traveling, she’s been keeping fans entertained by sharing her goofy and raw side on TikTok.

In the newest video she shared to the platform on Wednesday (Aug. 3), the 30-year-old “Lose You to Love Me” singer is seen relaxing on a boat in a lavender and orange swimsuit, lip-syncing to a sound in which someone is advising to “suck it in” — referring to her stomach.

“I’m not sucking s— in,” Gomez mouths along with the reply. “Real stomachs is coming the f— back, OK?”

“Vaca self,” the Only Murders in the Building star captioned the clip.

Gomez has always been one to speak candidly about how her health conditions impacted her body. In a 2019 interview on Raquelle Stevens’ podcast Giving Back Generation, she shared that the medication she takes for her lupus diagnosis is one of the main things that affects her weight.

“I deal with a lot of health issues, and for me that’s when I really started noticing more of the body image stuff,” said the star, who also got a kidney transplant in 2017. “It’s the medication I have to take for the rest of my life — it depends on even the month, to be honest.”

“I really noticed when people started attacking me for that. And in reality, that’s just my truth. I fluctuate.”

In a TikTok posted back in April, Gomez took aim at haters who pick apart her body. “I don’t care about my weight because people b—h about it anyway,” she said. “‘You’re too small,’ ‘you’re too big,’ ‘that doesn’t fit.’ ‘Meh meh meh meh.’”

“B—h, I am perfect the way I am,” she concluded. “Moral of the story? Bye.”

Chrissy Teigen announced Wednesday (Aug. 3) that she and husband John Legend are expecting a baby.

Teigen took to Instagram to post two mirror selfies in a cropped black T-shirt and black sheer underwear, showing off her baby bump.

“The last few years have been a blur of emotions to say the least, but joy has filled our home and hearts again,” Teigen wrote in her Instagram caption. “1 billion shots later (in the leg lately, as u can see!) we have another on the way. Every appointment I’ve said to myself, ‘ok if it’s healthy today I’ll announce’ but then I breathe a sigh of relief to hear a heartbeat and decide I’m just too nervous still. I don’t think I’ll ever walk out of an appointment with more excitement than nerves but so far, everything is perfect and beautiful and I’m feeling hopeful and amazing. Ok phew it’s been very hard keeping this in for so long!”

The Instagram caption about Teigen’s “blur of emotions” is likely in reference to the pregnancy loss she suffered in September 2020, when she lost her son Jack at 20 weeks pregnant, as well as the torrent of bad press she received after she was accused of cyberbullying Courtney Stodden and others in years-old tweets. In addition, just over a year ago, Teigen went public with her decision to stop drinking alcohol. In a post last month, Teigen wrote, “I drank to end crazy anxiety that later mostly went away when I – get this – quit drinking! sigh. anyhow I feel really good.”

Legend and Teigen are parents to 5-year-old Luna and 3-year-old Miles.

In February, she told her followers that she was undergoing IVF treatment to get pregnant again but requested that people stop asking her if she’s pregnant. “I honestly don’t mind the shots…they make me feel like a doctor/chemist…but the bloating is a bi—, so I humbly beg you to stop asking if I’m pregnant because while I know it’s said with excited, good intentions, it just kind of sucks to hear because I am the opposite of pregnant!”

See Teigen’s post below:

View this post on Instagram

A post shared by chrissy teigen (@chrissyteigen)

Beyoncé unleashed Renaissance on July 29, and ever since, fans have been flooding the Internet with excited reactions to the 16-song set.

While every single song is a dancefloor-ready hit, we at Billboard want to know which track off Renaissance is the soundtrack to your summer. Is it lead single “Break My Soul,” which has been climbing the Billboard Hot 100 since debuting at No. 15, or maybe you’re into the zodiac-themed “Virgo’s Groove?”

No matter your favorite hit, let us know by voting below.

J-Hope‘s performance at Lollapalooza — playfully dubbed “HOBIPALOOZA” by the members of BTS ARMY — made history. The rapper’s set on the final night of the festival (Sunday) marked the first time a South Korean artist headlined a main stage at a major American music festival.

For the set, J-Hope went completely solo to perform hits from his debut studio album Jack in the Box, sans assistance from fellow BTS members Jin, Suga, RM, Jimin, V or Jung Kook by his side. More than 100,000 fans showed up for Hope’s high-energy set, but for those who were not lucky enough to be in attendance, fear not: There is a way to watch it in full.

BANGTANTV, BTS’ official YouTube page, uploaded J-Hope’s Lollapalooza performance in its entirety. Each of the set’s one hour and 16 minutes are included in the YouTube video, and fans have already started devouring every moment of Hope’s performance.

The rapper’s 18-song set featured the best and brightest hits from his catalog, including “More,” “Arson,” “HANGSANG” and “P.O.P. (Peace of Piece)” from the newly released LP; tracks from his debut mixtape Hope World, such as Becky G collab “Chicken Noodle Soup,” with a cameo from the “Mamiii” singer; and festival-ready remixed versions of BTS hits “Dynamite” and “BTS Cypher Pt. 1.”

Watch J-Hope’s full Lollapalooza performance below and see a series of photos from the set — including a picture of the rapper backstage just moments before hitting the stage — in a gallery here.