Monthly Archives: September 2019

Post Malone’s Hollywood’s Bleeding nets a third straight week at No. 1 on the Billboard 200 albums chart, as it earned 149,000 equivalent album units in the U.S. in the week ending Sept. 26 (down 25%), according to Nielsen Music. The album is the first to spend its first three weeks at No. 1 in nearly a year.

Also in the top 10: Zac Brown Band’s The Owl and Blink-182’s Nine start at Nos. 2 and 3, respectively.

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. Units are comprised of traditional album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new Oct. 5-dated chart, where Hollywood’s Bleeding is steady at No. 1 for a third week, will be posted in full on Billboard‘s websites on Oct. 1.

As Hollywood’s Bleeding has spent its first three chart weeks at No. 1, it’s the first album to do so since Lady Gaga and Bradley Cooper’s A Star Is Born soundtrack also logged its first three frames atop the tally on the charts dated Oct. 20 – Nov. 3, 2018. (It later earned a fourth week at No. 1, on the March 9, 2019 chart.)

Between Star and Bleeding, two albums clocked three frames at No. 1 — just not consecutively from their debut weeks. A Boogie Wit da Hoodie’s Hoodie SZN achieved this (Jan. 19-26 and Feb. 16, 2019), as did Billie Eilish’s When We All Fall Asleep, Where Do We Go?, with three separate one-week visits to No. 1 (April 13, May 4 and June 8).

Hollywood’s Bleeding matches Post Malone’s three-week run at No. 1 with his other leader, beerbongs & bentleys. It, too, spent its first three weeks in the pole position (May 12-26, 2018).

Further, Hollywood’s Bleeding is just the third album in 2019 to tally three weeks of at least 100,000 equivalent album units earned. It follows Taylor Swift’s Lover and Ariana Grande’s Thank U, Next. All three did so in their first three weeks of release. (All three albums were released via Republic Records.)

At No. 2 on the new Billboard 200, Zac Brown Band’s The Owl debuts, scoring the group its sixth top 10 effort. The Owl flies in with 106,000 equivalent album units earned (with 99,000 of that sum in album sales). The act previously visited the top 10 with Welcome Home (No. 2 in 2017), Jekyll + Hyde (No. 1, 2015), Uncaged (No. 1, 2012), You Get What You Give (No. 1, 2010) and The Foundation (No. 9, 2010).

Blink-182’s new album Nine bows at No. 3 on the Billboard 200, granting the rock trio its eighth top 10 effort. Nine bows with 94,000 equivalent album units earned (with 77,000 of that sum in album sales). Nine was released via Viking Wizard Eyes/Columbia Records, and marks the act’s first album for Columbia.

Blink-182 previously logged top 10s with California (No. 1 in 2016), Neighborhoods (No. 2, 2011), Greatest Hits (No. 6, 2005), Blink-182 (No. 3, 2003), Take Off Your Pants and Jacket (No. 1, 2001), The Mark, Tom, and Travis Show (The Enema Strikes Back!) (No. 8, 2000) and Enema of the State (No. 9, 1999).

The debuts of both The Owl and Nine were boosted by sales of the albums registered from concert ticket/album sale redemption offers with each act’s most recent tour.

A pair of former No. 1s are up next on the new Billboard 200, as Swift’s Lover dips 3-4 with 65,000 equivalent album units (down 17%) and Young Thug’s So Much Fun falls 4-5 with 45,000 units (down 8%).

Lil Tecca’s We Love You Tecca descends 5-6 with 39,000 equivalent album units (down 10%), Chris Brown’s former No. 1 Indigo climbs 9-7 with 33,000 units (though down less than 1%) and Eilish’s previous leader When We All Fall Asleep, Where Do We Go? is down 7-8 with just under 33,000 units (down 7%).

Rounding out the new top 10: Lizzo’s Cuz I Love You falls 6-9 (nearly 33,000 equivalent album units; down 9%) and Lil Nas X’s 7 is steady at No. 10 (27,000 units; down 10%).

Source: billboard.com

Lizzo rewrites the record for the longest-leading rap No. 1 by a female unaccompanied by any other artist.

Lizzo lands a fourth week atop the Billboard Hot 100 with “Truth Hurts,” making history in the process.

With its latest frame on top, the song boasts the longest reign for a rap No. 1 by a female artist unaccompanied by another act in the chart’s history, surpassing Cardi B’s three-week reign with “Bodak Yellow (Money Moves)” in October 2017. (One other rap No. 1 by a female artist and no accompanying acts has led the list: Lauryn Hill’s “Doo Wop [That Thing],” for two weeks in 1998.)

Among all rap No. 1s by female artists, “Truth” claims the longest command in over five years, since Iggy Azalea spent seven weeks at No. 1 (a record for the category) with “Fancy,” featuring Charli XCX, in 2014.

“Truth” also takes over atop the Radio Songs chart, marking the first rap song to top the tally in over a year.

Plus, Lil Nas X notches his second Hot 100 top 10, as “Panini” bounds 14-5 after the Sept. 13 arrival of its remix with DaBaby (which followed the Sept. 5 premiere of its official video). Lil Nas X logged a record 19 weeks at No. 1 with his breakthrough smash “Old Town Road,” featuring Billy Ray Cyrus, in April through August.

Let’s run down the top 10 of the Hot 100 (dated Sept. 28), which blends all-genre U.S. streaming, radio airplay and sales data. All charts will update on Billboard.com tomorrow (Sept. 24).

“Truth,” released on Nice Life/Atlantic Records, rises 2-1 on Radio Songs, up 4% to 116.4 million audience impressions in the week ending Sept. 22, according to Nielsen Music. Lizzo earns not only her first Radio Songs No. 1, but the chart’s first rap leader in over year, after a 60-week drought that followed Cardi B, Bad Bunny and J Balvin’s rule with “I Like It” in July 2018. (Before “I Like It,” three years had passed since a rap title led Radio Songs, dating to Wiz Khalifa’s “See You Again,” featuring Charlie Puth, in 2015. The last rap No. 1 before that? Azalea’s “Fancy,” in 2014.)

“Truth” also dons the crown on the mainstream top 40-based Pop Songs radio airplay chart (2-1), while reaching the Mainstream R&B/Hip-Hop airplay chart’s top 10 (11-6). It concurrently tops Dance/Mix Show Airplay for a fourth frame, ranks at No. 5 on Rhythmic Songs, after three weeks at No. 1, lifts 14-11 on Adult Pop Songs and enters Adult Contemporary at No. 30.

The track totals a fourth week atop the Digital Song Sales chart, although down 12% to 27,000 sold, and rebounds 14-8 on Streaming Songs, up 1% to 29.4 million U.S. streams, in the week ending Sept. 19.

“Truth” additionally collects a fifth week at No. 1 on both the Hot R&B/Hip-Hop Songs and Hot Rap Songs genre charts (which employ the same methodology as the Hot 100).

Shawn Mendes and Camila Cabello’s “Señorita” holds at No. 2 on the Hot 100, after leading the Aug. 31-dated chart, and Billie Eilish’s “Bad Guy,” which topped the Aug. 24 tally, rebounds 5-3.

Lewis Capaldi‘s first Hot 100 hit, “Someone You Loved,” ascends to the top five with a 9-4 surge, a week after reaching the top 10. The ballad bumps 4-3 on Digital Song Sales (21,000, up 20%, good for top Sales Gainer honors on the Hot 100), reaches the Radio Songs top five (6-5; 86.9 million, up 10%) and jumps 23-13 on Streaming Songs (24.2 million, up 9%). It also becomes Capaldi’s first No. 1 on the Adult Pop Songs airplay chart (2-1).

Lil Nas X leaps to his second Hot 100 top 10, after “Old Town Road,” as “Panini” vaults 14-5. The song debuted at No. 16 on the July 16-dated chart and spent the next 10 weeks between Nos. 22 and 40 before roaring to No. 14 (from No. 29) a week ago, fueled by the Sept. 5 premiere of its official video.

Following the Sept. 13 arrival of its DaBaby remix, “Panini” soars 9-2 on Streaming Songs (43.7 million, up 22%, sparking its top Streaming Gainer award win on the Hot 100) and 33-17 on Digital Song Sales (9,000, up 56%). It also enters Radio Songs, up 30% to 22.2 million in all-format audience in the week ending Sept. 22.

Notably, “Panini” interpolates the melody of Nirvana’s “In Bloom,” a No. 5 hit on Mainstream Rock Songs in 1993 written solely by Kurt Cobain, the band’s late frontman. Cobain adds his second top 10 Hot 100 writing credit this decade via a reimagination: Jay-Z’s “Holy Grail,” featuring Justin Timberlake, hit No. 4 in 2013; it reworks Nirvana’s breakthrough classic “Smells Like Teen Spirit,” which reached No. 6 in 1992. (“In Bloom” has never appeared on the Hot 100.)

Lil Tecca’s “Ran$om” holds at No. 6 on the Hot 100, after reaching a No. 4 high, and spends a fifth week atop Streaming Songs (45 million, down 4%), while Chris Brown’s “No Guidance,” featuring Drake, is likewise steady at No. 7 on the Hot 100, after climbing to No. 6, and leads Hot R&B Songs for a fourth week.

Post Malone’s “Goodbyes” drops 3-8 on the Hot 100 and his “Circles” falls 4-9, each descending from peak positions. Last week, the songs surged as parent album Hollywood’s Bleeding debuted at No. 1 on the Billboard 200. Still, “Circles” scores top Airplay Gainer kudos on the Hot 100, increasing by 28% to 36.1 million in radio reach.

Rounding out the Hot 100’s top 10, Lil Nas X’s “Old Town Road” returns to the region (11-10).

Find out more Hot 100 news on Billboard.com this week, and, for all chart news, you can listen (and subscribe) to Billboard‘s Chart Beat Podcast and Pop Shop Podcast and follow @billboard and @billboardcharts on both Twitter and Instagram. And again, be sure to visit Billboard.com tomorrow (Sept. 24), when all charts, including the Hot 100 in its entirety, will refresh.

Source: billboard.com

Post Malone’s Hollywood’s Bleeding spends a second week at No. 1 on the Billboard 200 albums chart, as the set holds atop the tally with 198,000 equivalent album units earned in the U.S. in the week ending Sept. 19, according to Nielsen Music. That’s down 59% compared to its launch of 489,000 a week earlier at No. 1.

Meanwhile, The Lumineers’ III and Korn’s The Nothing debut in the top 10.   

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. Units are comprised of traditional album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new Sept. 28-dated chart (where Hollywood’s Bleeding holds at No. 1) will be posted in full on Billboard‘s websites on Sept. 24.

As Hollywood’s Bleeding holds for a second week at No. 1, it halts the revolving door at the top of the tally, where in the six weeks before Bleeding bowed at No. 1, there were six different No. 1s.

Bleeding remains at No. 1 with 198,000 units, of which 26,000 were in album sales, 6,000 were in TEA units, and 166,000 were in SEA units. The lattermost sum easily makes Bleeding the most-streamed album of the week, and the SEA total translates to 220.9 million on-demand streams for the album’s songs during the tracking week.

At No. 2 on the Billboard 200, The Lumineers’ III starts with 86,000 equivalent album units (of which 73,000 were in album sales). III is the band’s third studio effort, all of which have reached the top two of the tally. The group’s last album, 2016’s Cleopatra, bowed at No. 1, while their self-titled debut peaked at No. 2 in 2013.

III’s debut week sales were boosted by a concert ticket/album sale redemption offer with The Lumineers’ tour.

Taylor Swift’s former leader, Lover, dips 2-3 in its third week, with 79,000 equivalent album units earned (down 25%). Young Thug’s former No. 1, So Much Fun, is steady at No. 4 with 49,000 units (down 8%). Lil Tecca’s We Love You Tecca is also a non-mover, staying put at No. 5 with 44,000 units (down 11%).

Lizzo’s Cuz I Love You is stationary at No. 6 with 36,000 equivalent album units (down 8%) and Billie Eilish’s former No. 1, When We All Fall Asleep, Where Do We Go?, rises 8-7 with 35,000 units (down 4%).

Korn collects its 14th Billboard 200 top 10 album, as The Nothing debuts at No. 8 with 33,000 equivalent album units earned (of which 29,000 were in album sales). Korn ties Van Halen for the fifth-most top 10s on the chart among rock bands; ahead of them: The Rolling Stones, with 37, The Beatles (32), Dave Matthews Band (16) and Santana (16).

Rounding out the top 10: Chris Brown’s former No. 1 Indigo rises 11-9 with 33,000 equivalent album units earned (up 8%), while Lil Nas X’s 7 bounds 17-10 with 30,000 equivalent album units earned (up 28%). The latter set, which debuted at No. 2 in July, zips back into the top 10 thanks largely to interest generated by the album’s single “Panini,” which recently garnered a new remix featuring DaBaby.

Source: billboard.com

Post Malone snares 2019’s second-biggest week for an album. Plus: Melanie Martinez and The Highwomen debut in top 10.

Post Malone charges in at No. 1 on the Billboard 200 chart with Hollywood’s Bleeding. The set opens with 489,000 equivalent album units earned in the week ending Sept. 12 in the U.S., according to Nielsen Music — the second-biggest week of 2019 for any album. Of that total unit sum, 200,000 were in album sales.

Further, the album racked up 365.4 million on-demand audio streams for its tracks in its first week, delivering 2019’s biggest streaming week for an album.

Hollywood’s Bleeding is Post Malone’s second No. 1, following 2018’s beerbongs & bentleys, which debuted with 461,000 units (of which 153,000 were in album sales). The new album was released on Sept. 6 via Republic Records.

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. Units are comprised of traditional album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new Sept. 21-dated chart, where Hollywood’s Bleeding debuts at No. 1, will be posted in full on Billboard‘s websites on Sept. 17.

Hollywood’s Bleeding was preceded by four smash singles on the Billboard Hot 100: “Sunflower (Spider-Man: Into the Spider-Verse)” with Swae Lee (No. 1), “Wow.” (No. 2), “Goodbyes,” featuring Young Thug (No. 3) and “Circles” (No. 7, through the most recently published chart, dated Sept. 14).

2019’s Biggest Streaming Week: Of Hollywood’s Bleeding’s total debut of 489,000 units, album sales contributed 200,000, while TEA units were 11,000 and SEA units equaled 278,000. The latter sum translates to 365.4 million on-demand audio streams of the album’s 17 songs during the tracking week. As noted earlier, that sum is the biggest streaming week for an album in 2019. (The previous biggest streaming week of the year belonged to the debut frame of Ariana Grande’s Thank U, Next, with 307.1 million racked up in the week ending Feb. 14.)

The Year’s Second-Biggest Week for an Album in Total Units: Hollywood’s Bleeding’s total unit start logs the second-largest frame of 2019, trailing only the debut week of Taylor Swift’s Lover (867,000 on the chart dated Sept. 7).

Republic Rules: Notably, both Hollywood’s Bleeding and Lover were released via Republic Records. Republic now holds the four biggest weeks of 2019 for an album: the debut frames of Lover (867,000), Hollywood’s Bleeding (489,000), Jonas Brothers’ Happiness Begins (414,000; chart dated June 22) and Grande’s Thank U, Next (360,000; chart dated Feb. 23).

Sturdy Sales: Of Hollywood’s Bleeding total unit start, album sales comprised 200,000. That’s the biggest sales week yet for Post Malone, surpassing the 153,000 start of beerbongs & bentleys. The new album’s sales were boosted by a concert ticket/album sale redemption offer with Post Malone’s tour, as well as an array of merchandise/album bundles sold via the artist’s official webstore.

Hooray for Hollywood: Hollywood’s Bleeding is the second No. 1 album on the Billboard 200 with the word Hollywood in its title. Previously, Wiz Khalifa’s Blacc Hollywood topped the list for one week on Sept. 6, 2014.

Back on the new Billboard 200, Taylor Swift’s Lover holds in the runner-up slot for a second week, with 104,000 equivalent album units earned (down 42%). Lover is in its third week on the list, and bowed at No. 1 with 867,000. Thus, Lover has earned over 100,000 in its first three weeks on the list, making it just the second album to tally 100,000-plus units in three weeks in 2019 after Grande’s Thank U, Next (which claimed 100,000-plus in its first three weeks as well).

Melanie Martinez earns her second top 10 album and highest charting set yet, as K-12 debuts at No. 3 on the new Billboard 200 with 57,000 equivalent album units (with 30,000 of that sum in album sales). K-12 is Martinez’s second full-length studio set, following 2015’s Cry Baby, which debuted and peaked at No. 6 on the Sept. 5, 2015-dated list with 40,000 units in its first week (32,000 in album sales). Cry Baby went on to earn 1.4 million units, and collecting 1.1 billion on-demand audio streams for its tracks.

Young Thug’s former No. 1 So Much Fun rises one spot to No. 4 on the new Billboard 200, with 53,000 equivalent album units (down 14%). Lil Tecca’s We Love You Tecca dips 4-5 with 49,000 units (down 28%) and Lizzo’s Cuz I Love You is steady at No. 6 with 39,000 units (down 14%).

Tool’s Fear Inoculum falls from No. 1 to No. 7 in its second week, with 38,000 equivalent album units earned (down 86%).

Billie Eilish’s When We All Fall Asleep, Where Do We Go? descends 7-8 with 37,000 equivalent album units earned (down 4%). The album debuted at No. 1 six months ago, and has yet to depart the top 10.

Lana Del Rey’s Norman Fucking Rockwell! falls 3-9 in its second week, with 35,000 equivalent album units earned (down 66%).

Lastly, all-star quartet The Highwomen sees their self-titled debut album bow at No. 10 with 34,000 equivalent album units (with 29,000 of that sum in album sales). The four-member act comprises Brandi Carlile, Natalie Hemby, Maren Morris and Amanda Shires. Combined, the four performers have individually tallied 12 top 20-charting albums across the Top Country Albums and Americana/Folk Albums charts.

Source: billboard.com

Plus, top 10 debuts for Lana Del Rey & Lil Tecca.

Tool returns in strong form at the top of the Billboard 200 albums chart, as the band’s first album in 13 years, Fear Inoculum, debuts at No. 1 with the biggest week for any rock album in over one year.

The band’s third No. 1 bows with 270,000 equivalent album units earned in the week ending Sept. 5 in the U.S., according to Nielsen Music. Of that sum, 248,000 were in album sales.

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. Units are comprised of traditional album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new Sept. 14-dated chart (where Fear starts at No. 1) will be posted in full on Billboard‘s websites on Sept. 10.

Of Fear Inoculum’s total unit start of 270,000 units, album sales comprised 248,000, TEA units were under 1,000 and SEA units were 21,000 (equating to 27.6 million on-demand audio streams for the album’s 10 tracks in its first week).

Fear Inoculum was only sold in two formats: a digital download and a limited-edition CD, which was physically packaged with a 4-inch HD screen and exclusive video footage, a speaker and a 36-page booklet. The elaborate CD retailed for around $45-$50 and quickly became scarce at retail. (Following the huge demand, Tool announced a small batch of additional CDs would be manufactured and, in turn, sold a CD/download combo offer via its webstore on the final day of the tracking week. Customers received the download immediately, with the physical CD arriving later in the month.)

The over-the-top CD packaging is an extension of what other artists have employed in 2019 to enhance the allure of the CD purchase. Taylor Swift released four collectible CD editions of Lover via Target, while BTS also had four variants of its CD for Map of the Soul: Persona. Both albums debuted at No. 1 on the Billboard 200 with strong sales.

Remarkably, Fear Inoculum’s big debut is a now-rare example of a No. 1 album without the assistance of a concert ticket/album sale redemption offer, any sort of album pre-order/pre-sale access code promotion, or a single merchandise/album bundle — all of which have become the norm for most major albums in recent years as artists struggle to sell albums through more old-fashioned or traditional methods.

The last rock album to post a bigger week than Fear Inoculum — in either equivalent album units or album sales — was Dave Matthews Band’s Come Tomorrow, which bowed at No. 1 on the June 23, 2018-dated chart with 292,000 units (with 285,000 of that sum in album sales). However, Come Tomorrow’s first-week sales were goosed by a concert ticket/album sale redemption offer.

Fear Inoculum is Tool’s first studio album since 10,000 Days, which opened at No. 1 on the May 20, 2006-dated chart with 564,000 copies sold in its first week. (Until December of 2014, the Billboard 200 ranked albums only by weekly sales.)

In total, Fear Inoculum marks Tool’s third No. 1, following 2006’s 10,000 Days and 2001’s Lateralus. The act has also tallied three further top 40-charting efforts: Salival (No. 38, 2000), Aenima (No. 2, 1996) and the band’s 1993 full-length studio debut Undertow (No. 19 in 2019, following its digital and streaming release, along with most of the band’s catalog).

Back on the new Billboard 200, Taylor Swift’s Lover falls from No. 1 to No. 2 in its second week, earning 178,000 equivalent album units (down 79% from its big first week of 867,000 units).

Lana Del Rey’s Norman Fucking Rockwell! debuts at No. 3 with 104,000 equivalent album units (with 66,000 of that sum in album sales). Norman tallies Del Rey her sixth top 10 effort. Her last album, 2017’s Lust for Life, opened at No. 1 with 107,000 units (with 80,000 of that in album sales).

Coming in at No. 4 is Lil Tecca’s debut effort We Love You Tecca, starting with 68,000 equivalent album units (with just 4,000 in album sales). The set is powered by streaming activity, as it garnered just 1,000 in TEA units, but 64,000 SEA units (equaling 100.5 million on-demand audio streams for its tracks). The album is driven by the Billboard Hot 100 top 10 hit single “Ran$om,” which has spent the past two weeks at No. 1 on the Streaming Songs chart (through the most recently published chart, dated Sept. 7).

Young Thug’s former No. 1 So Much Fun falls from No. 2 to No. 5 in its third week (61,000 equivalent album units; down 21%), while Lizzo’s Cuz I Love You retreats from its No. 4 peak to No. 6 (45,000 units; down 8%).

Billie Eilish’s When We All Fall Asleep, Where Do We Go? dips 6-7 (38,000 units; down 6%), Chris Brown’s Indigo climbs 9-8 (34,000 units; down 1%) and Ed Sheeran’s No.6 Collaborations Project falls 8-9 (33,000 units; down 6%). Rounding out the top 10 is Travis Scott’s Astroworld, which vaults 20-10 with 31,000 units (up 55%). The set gets a big boost thanks to attention generated by the documentary film about Scott, Look Mom I Can Fly, which premiered on Aug. 28 on Netflix.

Source: billboard.com

Lizzo lands her first leader, while Swift scores her 25th top 10.

Lizzo lifts to her first No. 1 on the Billboard Hot 100 chart, as “Truth Hurts” rises from No. 3. The song reigns after Lizzo performed it on the MTV Video Music Awards (VMAs) on Aug. 26.

Plus, as Taylor Swift‘s new album Loverlaunches at No. 1 on the Billboard 200albums chart, two songs from the set infuse the Hot 100’s top 10: “You Need to Calm Down,” which debuted at its No. 2 high in June, surges 14-4 and the title track soars 19-10 in its second week on the survey.

Additionally, Ed Sheeran and Bieber’s “I Don’t Care,” at No. 9 on the Hot 100 after reaching No. 2, takes over as the most-heard song on U.S. radio, lifting 2-1 on the Radio Songs chart.

Let’s run down the top 10 of the Hot 100 (dated Sept. 7), which blends all-genre U.S. streaming, radio airplay and sales data. All charts will update on Billboard.com tomorrow (Sept. 4).

“Truth Hurts,” released on Nice Life/Atlantic Records, becomes the 1,089th No. 1 in the Hot 100’s 61-year history.

No. 1 in sales, Top five in streams & airplay: The track likewise becomes Lizzo’s first No. 1, rising from No. 2, on the Digital Song Sales chart, more than doubling from 26,000 to 53,000 sold in the week ending Aug. 29, according to Nielsen Music. It also pushes 6-4 on Streaming Songs, up 21% to 34.4 million U.S. streams in the same span.

Helping spark the gains were Lizzo’s buzzy VMAs performance (in which she sang “Truth Hurts” in a medley with her song “Good as Hell”), her four-song set on NBC’s Today on Aug. 23 and two newly released versions: a DaBaby remix and a CID remix.

On Radio Songs, “Truth Hurts” holds at No. 4, down 1% to 98.4 million audience impressions in the week ending Sept. 1.

Leading at last: “Truth Hurts” completes a lengthy journey to the top of the Hot 100, beyond its 17 total chart weeks, dating to its No. 50 debut on the May 18 ranking.

Lizzo (born Melissa Viviane Jefferson, in Detroit) originally released the song in September 2017. However, it received renewed attention after being featured in the Netflix film Someone Great, which premiered this April. The song was subsequently added to Lizzo’s 2019 LP Cuz I Love You, which debuted at No. 6 on the Billboard 200 in May.

While it’s rare for a song to top the Hot 100 relatively long after its original release, among other examples, UB40’s “Red Red Wine” hit No. 1 in 1988 thanks to renewed radio airplay and sales after it first reached No. 34 in 1984. “Truth Hurts” is also in good company with the Hot 100’s all-time top No. 1: Chubby Checker’s “The Twist” led in 1960 and again, after it grew in popularity among adult audiences, in 1962 (and is the only song to have topped the Hot 100 in two release cycles).

Notably, in the digital era, with songs of all eras just a click away (as opposed to when mostly only current singles were stocked in brick-and-mortar record stores), it’s far easier than before for fans to find relatively older songs that might’ve been somewhat overlooked originally.

Rap No. 1s by female artists: Singer/rapper (and flautist) Lizzo posts the first rap No. 1 on the Hot 100 by a female unaccompanied by any other act since another breakthrough hit by an Atlantic-signed artist: Cardi B’s “Bodak Yellow (Money Moves),” which reigned for three weeks in October 2017.

Most songs by women at No. 1 since 2014: “Truth Hurts” is the seventh song by a woman to spend time atop the Hot 100 in 2019. It follows Camila Cabello’s “Señorita,” with Shawn Mendes, which reached No. 1 last week; Billie Eilish’s “Bad Guy,” which led for a week before that; Lady Gaga’s “Shallow,” with Bradley Cooper (one week, March); Ariana Grande’s “7 Rings” (eight weeks, beginning in February); Halsey’s “Without Me” (two weeks, January); and Grande’s “Thank U Next” (which notched its seventh and final week at No. 1 on the Jan. 5 chart).

This year marks the most such No. 1s since 2014, when seven songs by women also reigned. As five of those seven 2014 leaders were by women in lead roles, 2019 marks the first year with as many as seven No. 1s by women billed as leads since 2012, when seven such songs also dominated, among nine No. 1s by women overall that year.

Three weeks, three No. 1 newcomers: As Lizzo lands her first Hot 100 leader, this week marks the third consecutive week in which an artist has tallied an initial No. 1 on the chart, after Mendes and Eilish the previous two frames, respectively.

The last such instance of three straight weeks bringing first No. 1s to three acts? Over 19 years ago, on charts dated July 15, 22 and 29, 2000, Vertical Horizon, matchbox twenty and *NSYNC made their first trips to the top with “Everything You Want,” “Bent” and “It’s Gonna Be Me,” respectively.

As it takes over atop the Hot 100, “Truth Hurts” notches a second week at No. 1 on both the Hot R&B/Hip-Hop Songs and Hot Rap Songs genre charts (which employ the same methodology as the Hot 100).

Mendes and Cabello’s “Señorita” retreats to No. 2 on the Hot 100, despite a 2% gain in overall metrics and after the pair performed it on the VMAs. (“Truth Hurts” bounds by 23%.)

Eilish’s “Bad Guy” backtracks 2-3 on the Hot 100.

Swift surges 14-4 on the Hot 100 with “You Need to Calm Down” and 19-10 with “Lover,” as the songs blast 22-9 (24.6 million, up 49%) and 21-7 (29.1 million, up 81%) on Streaming Songs, respectively; current radio single “Calm” additionally rises 13-12 on Radio Songs (52.7 million, down 2%). The official “Lover” video arrived Aug. 22, a day before the start of the Aug. 23-29 streaming tracking week.

With “Lover,” Swift scores her 25th Hot 100 top 10, tying Elvis Presley for the 10th-most top 10s all-time (with Presley’s career having predated the chart’s 1958 inception). The acts with the most Hot 100 top 10s: Madonna, 38; Drake, 35; The Beatles, 34; Rihanna, 31; Michael Jackson, 30; Mariah Carey, Stevie Wonder, 28 each; Janet Jackson, Elton John, 27 each; and Presley and Swift, 25 each.

Lil Nas X’s “Old Town Road,” featuring Billy Ray Cyrus, drops 4-5 on the Hot 100, after it commanded the chart for a record 19 weeks; Lil Tecca’s “Ran$om” dips from its No. 5 high to No. 6, as it spends a second week atop Streaming Songs (49.7 million, down 5%); Chris Brown’s No. 6-peaking “No Guidance,” featuring Drake, keeps at No. 7, as it rises to No. 1 on Hot R&B Songs; and Khalid’s No. 3 Hot 100 hit “Talk” tumbles 6-8.

Above Swift’s “Lover” at No. 10 on the Hot 100, Sheeran and Bieber’s No. 2-peaking “I Don’t Care” descends 8-9 and hits No. 1 on Radio Songs (111 million, essentially even week-over-week). Sheeran adds his third Radio Songs leader, after “Shape of You” (12 weeks, 2017) and “Perfect” (nine weeks, 2018), while Bieber banks his fourth, after his own “Sorry” (two weeks, 2016) and “Love Yourself” (11 weeks, 2016) and Luis Fonsi and Daddy Yankee’s “Despacito,” on which he’s featured (five weeks, 2017).

Find out more Hot 100 news on Billboard.com this week, and, for all chart news, you can listen (and subscribe) to Billboard‘s Chart Beat Podcast and Pop Shop Podcast and follow @billboard and @billboardcharts on both Twitter and Instagram. And again, be sure to visit Billboard.com tomorrow (Sept. 4), when all charts, including the Hot 100 in its entirety, will refresh.

Source: billboard.com

Of the set’s 867,000 equivalent album units earned, 679,000 were in album sales. Album marks superstar’s sixth No. 1.

Taylor Swift’s new album, Lover, blasts in at No. 1 on the Billboard 200 chart with the biggest week for any album since her last release, reputation, in 2017.

Lover earned 867,000 equivalent album units in the U.S. in the week ending Aug. 29, according to Nielsen Music. Of that sum, 679,000 were in album sales. Both figures are the largest registered for any album in a single week since Swift’s reputation debuted with 1.238 million units in its first week, of which 1.216 million were in album sales (in the week ending Nov. 16, 2017).

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. Units are comprised of traditional album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new Sept. 7-dated chart (where Lover enters at No. 1) will be posted in full on Billboard‘s websites on Wednesday, Sept. 4 (one day later than usual, due to the Labor Day holiday in the U.S. on Sept. 2).

In total, Lover begins with 867,000 equivalent album units earned, of which 679,000 were in album sales; 13,000 were in TEA units and 175,000 were in SEA units. The latter figure translates to 226 million on-demand audio streams earned for the album’s songs during its release week.

Let’s take a look at some of the highlights behind the numbers of Swift’s big week with Lover:

Biggest Overall Week for an Album Since Swift’s Last Album, reputation: As Lover starts with 867,000 equivalent album units earned, it logs the biggest single week for any album, in terms of units, since Swift’s last album, reputation. It debuted with 1.238 million equivalent album units earned in the week ending Nov. 16, 2017 (and bowed at No. 1 on the Billboard 200 chart dated Dec. 2 of that year).

Biggest Sales Week for an Album Since reputation: Lover sold 679,000 copies in its first week, which is the largest sales week for any album since reputationentered with 1.216 million sold.

Aiding Lover’s first week: the set’s release in four collectible deluxe CD editions at Target, as well as dozens of merchandise/digital album bundles sold through Swift’s official website. The album also had a standard CD edition that was available widely at retail, along with an equivalent digital album that was available via all digital retailers.

Comparably, the reputation album was supported by two deluxe editions available exclusively at Target, and a standard CD and digital edition. Notably, during reputation’s first week, its digital edition was exclusively sold via the Apple iTunes Store. It became widely available via all digital retailers in its second week. Further, reputation’s sales were also likely goosed by fan participation in the Taylor Swift Tixpowered by Ticketmaster Verified Fan program, where the purchase of an album would help secure greater access to tickets for Swift’s then-upcoming reputation stadium tour. (Swift has announced no plans to tour in support of Lover.)

In addition, Lover is Swift’s first album to be available to stream in full across all streaming services in its first week. Reputation was not available to stream in full during its debut week — just four pre-release tracks were streamable. Reputationeventually premiered on streaming services on Dec. 1, 2017 — three weeks after the album’s release on Nov. 10. Reputation’s lack of streaming availability may have driven some fans to purchase the album in its first week, instead of waiting to stream it weeks later. Conversely, Lover racked up a sizable streaming debut (more on that in a moment) likely thanks to its wide availability on streaming services.

Only Woman With Six Albums to Sell at Least 500,000 Copies in a Single Week:With Lover’s sales debut of 679,000 copies sold, Swift becomes the first woman to have six different albums each sell at least 500,000 copies in a single week. (The only other act to do so is Eminem.) Swift previously managed the half-million one-week sales feat with the debut weeks of her last five full-length studio albums: reputation (1.216 million, in 2017), 1989 (1.287 million, 2014), Red (1.208 million, 2012), Speak Now (1.047 million, 2010) and Fearless (592,000; 2008). Swift also remains the only act to have four different albums each sell a million copies in a single week.

Swift’s Sixth No. 1 Album: Lover is Swift’s sixth No. 1 album on the Billboard 200 chart. It follows five other Swift sets that also started atop the list: reputation (four nonconsecutive weeks at No. 1, 2017-18); 1989 (11 nonconsecutive, 2014-15); Red(seven nonconsecutive, 2012-13); Speak Now (six nonconsecutive, 2010-11); and Fearless (11 nonconsecutive, 2008-09).

Five No. 1s This Decade: Lover grants Swift her fifth No. 1 album on the Billboard 200 this decade (2010-present). In turn, she ties Lady Gaga for the most No. 1s this decade among women. (Drake has the most No. 1s this decade among all acts, with nine.)

Second-Biggest Streaming Week Ever for an Album by a Woman, or Pop Album: With Lover’s robust streaming start of 175,000 SEA units, which equates to 226 million on-demand audio streams for its songs during the tracking week, the album notches the second-biggest streaming week ever for an album by a woman, the second-largest for a pop album, and the second-biggest of any album in 2019. In all three metrics, Lover was only beat by the debut week of Ariana Grande’s Thank U, Next, which entered with 228,000 SEA units (equaling 307 million on-demand audio streams).

The rest of the new top 10 of the Billboard 200 chart dated Sept. 7, where Loveropens at No. 1, is scheduled to be announced later today (Sept. 1).

Source: billboard.com