As Adele‘s new LP 30 blasts in at No. 1 on the Billboard 200 albums chart with the biggest week of 2021, lead single “Easy on Me” rebounds for a fifth week atop the Billboard Hot 100 songs chart.

The ballad reigns as the most-streamed and top-selling song of the week — and, for the first time, the most-heard hit on radio. Notably, it’s the first song to lead in all three metrics simultaneously since Luis Fonsi and Daddy Yankee’s “Despacito,” featuring Justin Bieber, in 2017.

Additionally, fellow 30 track “Oh My God” launches at No. 5 on the Hot 100.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Dec. 4) will update on Billboard.com tomorrow (Nov. 30). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“Easy on Me,” released Oct. 14 on Columbia Records, drew 93.2 million radio airplay audience impressions (up 11%) and 37.5 million U.S. streams (up 55%, as it claims the Hot 100’s top Streaming Gainer award) and sold 27,600 downloads (up 11%) in the Nov. 19-25 tracking week, according to MRC Data.

With its fifth week atop the Hot 100, the ballad ties for Adele’s third-longest Hot 100 reign among her five No. 1s:

“Hello,” No. 1 for 10 weeks, beginning Nov. 14, 2015
“Rolling in the Deep,” seven, May 21, 2011
“Easy on Me,” five, to-date, Oct. 30, 2021
“Someone Like You,” five, Sept. 17, 2011
“Set Fire to the Rain,” two, Feb. 4, 2012

“Easy on Me” concurrently returns for a fifth week atop the Streaming Songs chart and takes over atop Radio Songs, becoming Adele’s fifth No. 1 on the latter ranking, via the same titles as her Hot 100 No. 1s. “Easy on Me” reaches the Radio Songs summit in its sixth week on the chart, tying Silk Sonic’s “Leave the Door Open” for the quickest ascent to the top this year; before both songs, no track had led so quickly since Ed Sheeran’s “Shape of You” (also six weeks, in 2017).

Sporting top 10 showings at individual radio formats, “Easy on Me” tops Adult Pop Airplay for a second week; ranks at No. 2 on Adult Contemporary (after three weeks at No. 1) and Pop Airplay, No. 3 on Adult Alternative Airplay and No. 6 on Dance/Mix Show Airplay (thanks to remixes); and hits the top 10 (11-9) on Adult R&B Airplay.

Impressively, “Easy on Me” dominates in all three of the Hot 100’s metrics (airplay, streaming and sales), marking the first song to don such a triple crown in a single week since Luis Fonsi and Daddy Yankee’s juggernaut “Despacito,” featuring Justin Bieber, for five weeks in July-August 2017. (Note that while it sold the most of all songs in the Nov. 19-25 tracking week, “Easy on Me” does not appear on the Dec. 4 Digital Song Sales chart, which reflects total weekly sales activity, i.e., net sales based on both weekly purchases and total “returns” when consumers complete album purchases — which, in effect, count as a negative sale for tracks customers have already purchased — as with 30 in the latest tracking frame, via platforms such as the iTunes Store.)

Meanwhile, fellow 30 cut “Oh My God” roars onto the Hot 100 at No. 5, with 24.2 million streams, as it starts at No. 3 on Streaming Songs; 6.8 million in airplay audience; and 3,300 downloads sold, good for a No. 28 entrance on Digital Song Sales.

Adele adds her eighth Hot 100 top 10. In addition to her five No. 1s and “Oh My God,” she reached No. 8 with both “Skyfall” (October 2012) and “Send My Love (To Your New Lover)” (September 2016).

Plus, thanks to “Easy on Me” at No. 1 and “Oh My God” at No. 5, Adele boasts simultaneous top five Hot 100 hits for a second time; “Set Fire to the Rain” and “Rolling in the Deep” placed at Nos. 2 and 5, respectively, on the March 3, 2012, chart, after Adele performed the latter at that year’s Grammy Awards, while the song won for record and song of the year and parent LP 21 took the trophy for album of the year.

“Oh My God” is likewise already being supported at multiple radio formats, as it flies 40-22 on Adult Pop Airplay and debuts at No. 40 on Pop Airplay.

As previously reported, Adele’s album 30, released Friday, Nov. 19, rockets in at No. 1 on the Billboard 200 with 839,000 equivalent album units, including 692,000 in album sales, both weekly bests for a title this year.

The Kid LAROI and Bieber’s “Stay” rebounds 3-2 on the Hot 100, after seven weeks at No. 1. It concurrently leads Pop Airplay for a 13th week, moving to within one frame of Ace of Base’s record 14-week reign with “The Sign” in 1994.

Lil Nas X and Jack Harlow’s “Industry Baby” rises 4-3 on the Hot 100, after a week at No. 1, as it logs a 14th week atop both the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which employ the same multi-metric methodology as the Hot 100.

Taylor Swift’s “All Too Well (Taylor’s Version)” drops to No. 4 on the Hot 100, a week after it soared in at No. 1. After opening atop both Streaming Songs and Digital Song Sales, it descends to No. 2 on the former tally (25.8 million, down 53%) and No. 9 on the latter (6,300, down 89%). The track also tops the multi-metric Hot Country Songs chart for a second week.

Meanwhile, airplay for the song, which runs 10 minutes and 13 seconds in its longest mix, a record for a Hot 100 No. 1, is up 156% to 731,000 impressions (via all its versions). Although not being promoted as a proper radio single from Swift’s album Red (Taylor’s Version), seven stations that contribute to the Radio Songs chart played it 10 or more times in the tracking week (up from four a week earlier), led by Pop Airplay panelists WPRO Providence, R.I. (52), and WDJQ Canton, Ohio (32), and Adult Pop Airplay reporter WWBX Boston (20).

(“Message in a Bottle [Taylor’s Version] [From the Vault]” is the current radio single from Red [Taylor’s Version]; it jumps 22-16 on Adult Pop Airplay and 38-26 on Pop Airplay as the Greatest Gainer on both charts.)

Ed Sheeran’s “Shivers” ascends 7-6 on the Hot 100, after reaching No. 5, and Glass Animals’ “Heat Waves” climbs 8-7 for a new best, as it leads the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a 10th week each.

Sheeran’s “Bad Habits” dips 6-8 on the Hot 100, after reaching No. 2. It also hits No. 1 on Adult Contemporary, where it’s his fourth leader; his prior three all logged lengthy reigns: “Thinking Out Loud” (19 weeks at No. 1, beginning in March 2015), “Shape of You” (24 weeks, beginning in May 2017) and “Perfect” (22 weeks, beginning in February 2018).

Rounding out the Hot 100’s top 10, Doja Cat’s “Need to Know” holds at No. 9, after hitting No. 8, and Silk Sonic’s “Smokin Out the Window” slides to No. 10 from its No. 5 peak, although it wins top Airplay Gainer honors on the Hot 100 (23.2 million, up 72%) and leads the multi-metric Hot R&B Songs chart for a third week.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Dec. 4), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Nov. 30).

Reba McEntire will add a new business venture to her list of accomplishments next year, with the opening of the restaurant, bar, live music venue and retail store Reba’s Place in Atoka, Okla.

Reba’s Place is being constructed in a century-old Masonic Temple and will feature two floors of dining space, which will open up to a central performance stage. The venue will pay homage to McEntire’s western heritage and will feature a collection of memorabilia from the three-time Grammy winner’s personal archives. Reba’s Place was created in partnership with the Choctaw Nation of Oklahoma, as well as the city of Atoka.

McEntire revealed the news of the upcoming venue during a concert at the Choctaw Grand Theater in Durant, Okla., on Friday.

“I’m very excited to be opening a place so close to my roots,” McEntire said in a statement. “The Choctaw Nation and the city of Atoka are wonderful partners and I can’t wait to welcome our first guests to Reba’s Place. We are working very hard to create something not only for the local community, but that will also bring in folks from across the country.”

Among the foods to be featured on the Reba’s Place menu are the “Fancy” steak dinner, as well as chicken fried steak, street tacos and one of McEntire’s personal favorites, pinto beans and corn bread. The venue’s main floor will feature a restored antique bar that is more than a century old and will offer a range of beer, wine and spirits, crafted into signature cocktails.

In October, McEntire released the sprawling box set Revived, Remixed, Revisited, reimagining several of the singer’s biggest hits across three segments. Revived showcases some of McEntire’s hits such as “Is There Life Out There” as they have evolved over the past several years through her live shows. Remixed offers dance club remixes for songs such as “I’m A Survivor,” while on Revisited, McEntire worked with producer Dave Cobb to offer stripped-down, acoustic renditions of songs such as “Consider Me Gone,” as well as a duet with Dolly Parton on a remake of McEntire’s 1993 hit “Does He Love You.”

Terrence “Punch” Henderson is experiencing his third reinvention. As rapper, filmmaker and president of independent label Top Dawg Entertainment, Punch describes this moment as doing something that he’s never done before in the music business. After helping the Black Hippy crew — Kendrick Lamar, Jay Rock, Schoolboy Q and Ab-Soul — reach the top of the rap game as solo acts and getting SZA to superstar status, he’s looking to duplicate his previous success with his latest endeavor: the hip-hop collective A Room Full of Mirrors.

With Punch quarterbacking the project, ARFoM consists of Punch dropping free gems alongside talented lyricists: Daylyt, Nick Grant, Lyric Michelle, Ichiban Don, Billymaree, Jrias Law, Earlee Riser and producer Hari.

Hit play on the collective’s forthcoming visual EP — due Dec. 3 — and each artist gets their chance to shine. Inspired by Quentin Tarantino’s 1992 classic heist film Reservoir Dogs, the visual (titled Money Bags) follows the collective suiting up for a robbery and throwing down lyrically in front of the camera. While their voices and styles mesh sonically as a unit, Punch is quick to stress, “This is not a group. This is literally a collective and everybody’s an individual artist.”

Days after hosting an intimate screening of Money Bags in Compton, Calif., Punch hopped on the phone with Billboard to discuss the collective’s formation, the cinematic inspiration behind the EP and the future of TDE.

Tell me A Room Full of Mirrors’s origin story.

Room Full of Mirrors came about [while I was] actually working on my solo album. This was around the time we had just finished SZA’s CTRL Tour, so I had a little bit of idle time. I started finishing my album, and then some of the artists that are part of the collective had just started coming around. I knew all of them individually — so they would hang out, listen to the music, and some of them would add stuff to it. Then everybody started crossing paths within those sessions. It was to a point where my album was done and we was just in the studio. So I decided to record a song to see how it would come out with everybody on it.

You have a proven track record when it comes to recognizing talent and putting the right folks together on a track. In your eyes, what does each member contribute to the collective?

Daylyt is a pure lyricist, alien-like. Nick Grant is the same way, like the way he uses his metaphors. And you have Willie B, the Ichiban Don, who’s equally a producer and an MC, so he hears the music completely differently and his voice melts into the track. So his voice and approach was always better for the song. Then you have Jrias [Law], who’s pure passion. He brings the heart and the soul to the record. He’s almost like a method actor. Then you have Lyric Michelle, who’s talented and super creative all the way around. She’s a lyricist first, but then she’ll sing and might do some background [vocals]. She [also] directed the film.

We got Earlee Riser. He’s a different case, because he was still finding his voice when we started. So a lot of times he’d be in the background chilling — but we had this one song [where] he came out of his shell and found his voice as far as MCing and singing. Then Hari with the production, and Billymaree sings and raps as well. So it’s like everybody brings a completely different thing to the table, and I just want to utilize those things properly.

Did you have the vision for ARFoM first before building the collective, or the other way around?

Nah, it was the other way around. The name didn’t come about until later. It came about because we had a song called “Believer” and it got so deep and so personal. You start to realize that everybody is the same, even though everybody is so different and from all over the place, but they really reflecting each other. So it’s like, “Yo, I’m standing in a room full of mirrors.” It’s crazy.

Watching the Money Bags film and hearing the EP, it’s evident that you’re a fan of movies, history and pop culture. What fueled the inspiration for both?

I think Lyric said it [during the screening] — but we are all filmmakers who know how to rap. Daylyt is a cinematographer, who shoots and edits videos. Lyric is a director and she edits. We all do different things outside of music, on the film side. It’s always interesting, because we approach it differently than a normal rap collective would — but the idea and the concept [for the film] was that I always wanted to do what happened before the robbery in [Quentin Tarantino’s film] Reservoir Dogs, and what could have possibly happened after. I even thought about trying to do it with Black Hippy before.

What made now the perfect time?

I think it was the understanding of film and just this collective of different people. If you look at the movie Reservoir Dogs, none of the people knew each other. They was all coming together for this one job. So this is kind of what this is and what it felt like. It was like a marriage.

Why did you decide to break up the visual into three chapters?

I think the songs [I chose] just fit a certain mood and a certain pattern. Like, the first chapter, “Nobody Dies” — everybody’s getting ready for what’s going on. The mood, the beat and the lyrics all match that theme. Then the second one, “Woah,” is more of a frantic pace. It’s a lot of moving around. So it’s kind of like that scene when the robbery happens, dude gets shot in Reservoir Dogs and they’re in the car, so it matched. Then the cool-down after, which is “West Side,” riding out. Chapter-wise, I love how Tarantino breaks up some of his films, and even how the stuff is not in chronological order. We even did that in [Kendrick Lamar’s debut] good kid m.A.A.d city.

Do you feel like the collective is filling a void in the musical landscape that you’re not hearing from other artists right now?

I think what happens in music is the business. Like I said before, smart business is to duplicate what was successful. We’re doing what was the same principle at TDE: We don’t try to follow what’s popular. We follow what we feel, and that’s the only thing that dictates what we put out.

Are you keeping the collective separate from your TDE duties?

It’s tough to answer that, because I’m literally the same person in every single thing. So it’s really no separation with me outside of whatever the specific project is. I don’t have an alter ego.

It’s really one job for me, which is to learn and then to teach. So whether it be a business plan, rollout plan, creating a song, writing the song, it’s all the same thing. I’m learning and then I’m giving it back.

TDE is in a space now where the name is so recognizable that people know the type of quality to expect whenever Top Dawg releases a new project. With Kendrick producing his final TDE album, what does it mean for your partnership with Kendrick moving forward?

It’s a great thing, because he’s been signed to us for almost 20 years and we took it to heights to where he got a Pulitzer Prize. So it’s like, where do you really go at this point? He came in as a young man, and now he’s a grown man — and he has his own vision, his own dreams, and he has stuff that he wants to create. So that’s what he’s doing now. It’s how it’s supposed to be.

I think we paint it in our culture as a bad thing, but you raise your children to leave the nest so they can create their own and that’s how you continue. As far as the TDE side, we still doing what we do. We bringing in and developing new artists as we speak, and going to release [new projects]. So everything is positive and moving forward.

As far as everyone else on the roster, when will the new albums drop?

You’re going to hear from everybody within this next year coming up, for sure.

Singer-songwriter Chris Tomlin and producer-songwriter Jason Ingram have teamed up to form a new Nashville-based music publishing company, TIM Publishing, helmed by former EMI CMG, EMI Nashville and Capitol CMG executive Stacey Willbur.

The new venture has already signed songwriters including Steffany Gretzinger (“Defender,” “Faith of My Father”), Jess Cates (“You Keep Hope Alive,” “God Turn It Around”), Tommy Iceland (“Pause”), Benji Cowart (“Redeemed,” “When You Speak”) and Chris Davenport (“Another In The Fire,” “Hymn of Heaven”).

“What a dream come true, to be able to come alongside great songwriters, and help cultivate songs that make a difference in this world,” Tomlin said via a statement. “Jason and I have been thinking of partnering together for some time now. We believe songs matter and will do everything we can to create a publishing company that champions this vision. I am beyond grateful for the writers that have already said ‘yes’ to being a part of this with us. Truly some of the very best!”

Ingram said, “Chris and I have been friends and co-writers for many years now and it’s truly special for me to be able to start this company with someone I have so much respect for both personally and professionally. And as a songwriter I’ve often thought of songs as ‘life rafts’ and I’ve given my life’s work to building them. The chance to help other songwriters maximize their opportunity and potential is the best way I know to throw more ‘life rafts’ into the world.”

“I am honored to be part of this team alongside Jason & Chris,” Willbur added. “I have the utmost respect for them both as creatives and as leaders in the industry. They are trailblazers, visionaries & dream makers. This is an amazing opportunity to serve this team and songwriters. My hope is that we can encourage songwriters in a way that inspires them to be creative in their craft of songwriting.”

Tomlin, whose hits include “How Great Is Our God” and “Good Good Father,” is currently in the top 5 on Billboard’s Christian Airplay chart, with “Thank You Lord,” featuring Florida Georgia Line and Thomas Rhett.

Ingram, known for his production work on albums including Lauren Daigle’s Look Up Child and the Elevation Worship/Maverick City Music project Old Church Basement, as well as for penning songs such as “Forever Reign” and Brandon Heath’s “Give Me Your Eyes,” was named songwriter of the year (non-artist) at this year’s GMA Dove Awards.

Frank Ocean is the latest musician to pay tribute to Virgil Abloh, the former Louis Vuitton and Off-White designer, who passed away on Sunday (Nov. 29) at age 41 after a secret battle with a rare cancer. The Blonde singer took to his Instagram Stories and shared special moments from the times he interacted with the designer in a heartfelt statement.

“In 2018 I believe it was I called V and asked him how it was possible to play hundreds of shows a year and do numerous fashion collections a year and be a father and a husband and return EVERYONE’s texts with enthusiasm and emojis and encouragement and seemingly.. with ease,” the singer wrote.

“I cannot remember how he responded verbatim but I’m sure it was quotable whatever he said,” Ocean continued. “He was always quotable. But the gist of his response was that he was interested in living and living to the maximum extent of his level… which proved to be Impossible today because he was BEYOND.”

Ocean also took a moment in his statement to highlight the connection that Abloh had with his younger brother, Ryan, who died in a fatal car crash last year at 18. “When Ryan went to his prom you got him some pieces from your new collection at LV and he was GEEKed. Couldn’t get him to take it off,” he shared, later adding that his brother was inspired by Abloh. “When my brother passed I never said anything because it was way too much but he loved you and really looked up to you. He was going to fashion school and everything. He wanted to be a designer.”

Before concluding his tribute post, Ocean briefly touched on playing new music or sharing his own fashion plans with the late designer. “When I went to Miami and you played a set on the beach in 2016 you played ‘White Ferrari’ – a song with no drums or bars anywhere to be found lol – and started a sing-along,” he wrote. “When I played demos of s–t I was working on or showed you Homer way before it was ready you put the battery in my back.”

The 34-year-old closed his statement by writing, “My fam was proud of you like you were our family. I know grief is love that you don’t get to express so is an attempt at expressing it. Love you V. You’re a hero.”