Monthly Archives: July 2024

The crossover hit concurrently crowns its first radio chart.

Shaboozey’s “A Bar Song (Tipsy)” adds a third week at No. 1 to its Billboard Hot 100 tab. The single became the singer-songwriter’s first leader on the chart three weeks earlier.

The song, on American Dogwood/EMPIRE (with country radio promotion by Magnolia Music), is from the Virginia-born artist’s album Where I’ve Been, Isn’t Where I’m Going, which debuted at its No. 5 high on the Billboard 200 in June. It has spent two weeks at No. 1 on Americana/Folk Albums and reached No. 2 on Top Country Albums.

The track also became the first by a Black man, and second by a Black artist overall, after Beyoncé’s “Texas Hold ‘Em” earlier this year, to top both the Hot 100 and Hot Country Songs charts. “It’s a sign of the times – genres are merging, styles are blending and the audience’s music taste is broader than ever,” EMPIRE COO Nima Etminan recently told Billboard. “Artists don’t need to be put in boxes – whether it be by race, genre or eras. Good music is good music and the listeners largely get to dictate the charts.”

Elsewhere in the Hot 100’s top 10, Teddy Swims’ former No. 1 “Lose Control” reaches a notable mark, tying for the 10th-most weeks spent in the bracket by any song so far in the 2020s.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data, the lattermost metric reflecting purchases of physical singles and digital tracks from full-service digital music retailers; digital singles sales from direct-to-consumer (D2C) sites are excluded from chart calculations. All charts (dated Aug. 3, 2024) will update on Billboard.com tomorrow, July 30. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

“A Bar Song (Tipsy)” continues atop the Hot 100 with 85.1 million radio airplay audience impressions (up 10%, good for top Airplay Gainer honors for a fourth week), 37.3 million official streams (down 4%) and 15,000 sold (down 7%) in the United States July 19-25.

The track rebounds 2-1 for a second week atop the Streaming Songs chart, following a frame on top three weeks earlier; keeps at its No. 2 high on Radio Songs; and likewise holds at No. 2 after nine weeks ruling Digital Song Sales.

Reflecting its wide sonic appeal, “A Bar Song (Tipsy),” which interpolates J-Kwon’s 2004 hip-hop classic “Tipsy,” became the first song ever to go top 10 on all four of the following Billboard radio charts, where it continues to gain: It jumps 3-1 on Country Airplay – marking its first airplay chart domination – and 5-4 on Rhythmic Airplay and keeps at its Nos. 5 and 6 bests on Pop Airplay and Adult Pop Airplay, respectively.

“It’s important that Shaboozey has been able to show that you can do that as an independent artist,” Heather Vassar, senior vp of operations for EMPIRE in Nashville, told Billboard. “We had several offers from majors who wanted to work the record and it was really important that we were able to stay true to how we operate.”

“A Bar Song (Tipsy)” concurrently tops the multimetric Hot Country Songs chart for a seventh week.

Post Malone’s “I Had Some Help,” featuring Morgan Wallen, holds at No. 2 on the Hot 100 following six nonconsecutive weeks at No. 1 beginning in May. It leads Radio Songs for a fifth week (85.5 million, up 1%) – as it ascends to No. 1 on Pop Airplay – and shines atop the multimetric Songs of the Summer chart for a ninth week.

Kendrick Lamar’s “Not Like Us” keeps at No. 3 on the Hot 100, two weeks after it returned to the summit for a second frame on top. It tops the multimetric Hot Rap Songs chart for an 11th week and Hot R&B/Hip-Hop Songs for a ninth week.

Tommy Richman’s “Million Dollar Baby” repeats at No. 4 on the Hot 100, after hitting No. 2, as it banks a 13th week atop the multimetric Hot R&B Songs chart.

Sabrina Carpenter’s “Espresso” keeps at No. 5 on the Hot 100, after reaching No. 3, and her “Please Please Please” dips 6-7, after it became her first No. 1 in June. She claims a seventh week with multiple songs in the top 10, extending her mark for the most among all artists this year.

In between Carpenter’s two top 10s, Hozier’s “Too Sweet” rises 7-6 on the Hot 100, following a week at No. 1 in April. It commands the multimetric Hot Rock Songs and Hot Alternative Songs charts for a 17th week each and Hot Rock & Alternative Songs for a 16th week.

Teddy Swims’ “Lose Control,” which led for a week in March, is steady at No. 8 on the Hot 100, as it logs a key milestone: It ties for the 10th-most weeks tallied in the top 10 this decade.

Most Weeks in Hot 100’s Top 10 in the 2020s:

• 57, “Blinding Lights,” The Weeknd, 2020-21
• 44, “Stay,” The Kid LAROI & Justin Bieber, 2021-22
• 41, “Last Night,” Morgan Wallen, 2023-24
• 41, “Levitating,” Dua Lipa, 2021
• 38, “As It Was,” Harry Styles, 2022-23
• 37, “Heat Waves,” Glass Animals, 2021-22
• 34, “Cruel Summer,” Taylor Swift, 2023-24
• 31, “Mood,” 24kGoldn feat. iann dior, 2020-21
• 29, “Flowers,” Miley Cyrus, 2023-24
• 28, “Lose Control,” Teddy Swims, 2024
• 28, “Kill Bill,” SZA, 2022-23
• 28, “Anti-Hero,” Taylor Swift, 2022-23

“Lose Control” also becomes Teddy Swims’ first No. 1 on the Adult Contemporary chart. Among other radio rankings, it previously topped Radio Songs, Pop Airplay, Adult Pop Airplay and Adult R&B Airplay.

Rounding out the Hot 100’s top 10, Benson Boone’s No. 2-peaking “Beautiful Things” is a non-mover at No. 9 and Chappell Roan’s “Good Luck, Babe!” returns to the tier and its best rank (11-10).

Source: billboard.com

Plus: Twisters: The Album blows in at No. 7 with the year’s biggest debut for a soundrack.

K-pop superstars Stray Kids and Jimin make a splash atop the Billboard 200 (dated Aug. 3), as the acts’ latest albums, ATE and MUSE, debut at Nos. 1 and 2, respectively. In turn, it marks the first time the top two on the Billboard 200 are K-pop (Korean pop) albums.

Further, ATE lands Stray Kids their fifth No. 1 in a row, making the act the first group ever to debut at No. 1 with their first five charting albums. They previously opened atop the chart with ODDINARY, MAXIDENT (both in 2022), ROCK-STAR and 5-STAR (both in 2023).

The only other artist to debut at No. 1 with its first five chart entries was rapper DMX in 1998-2003 with It’s Dark and Hell Is Hot (1998), Flesh of My Flesh Blood of My Blood (1999), …And Then There Was X (2000), The Great Depression (2001) and Grand Champ (2003).

ATE arrives with 232,000 equivalent album units earned in the U.S. in the week ending July 25, according to Luminate. That’s the largest week of 2024 for any K-pop album, and the sixth-biggest debut for any album this year. MUSE moves in with 96,000 units, and gives BTS member Jimin his second solo album to reach No. 2 (after last year’s FACE).

Also in the top 10 of the new Billboard 200, the Twisters soundtrack debuts at No. 7 with 57,000 equivalent album units earned. The country music-heavy album is the first soundtrack to reach the top 10 in 2024, and it does so with the year’s biggest week, by units earned, for any soundtrack. Further, it’s the first country soundtrack from a theatrical film to reach the top 10 in over a decade.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Aug. 3, 2024-dated chart will be posted in full on Billboard‘s website on July 30. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

Of ATE’s 232,000 first-week units, album sales comprise 218,000, SEA units comprise 13,000 (equaling 19.05 million on-demand streams of the set’s songs) and TEA units comprise 1,000. With 218,000 copies sold, ATE is the top-selling album of the week, debuting at No. 1 on Top Album Sales. It also nets the largest sales week for any K-pop album this year and 2024’s second-largest sales week for any album of any genre (trailing only the 1.91-million sales debut of Taylor Swift’s The Tortured Poets Department). ATE’s sales were bolstered by its availability across 11 different CD variants, all containing collectible items like photocards, stickers and posters (some of which was randomized), including signed editions, as well as variants exclusive to Barnes & Noble, Target and Walmart.

As ATE is mostly in the Korean language, it is the 25th mostly non-English-language album to hit No. 1, and the second of 2024. On the March 9-dated chart, TWICE’s With YOU-th garnered the group its first leader when it opened at No. 1. Of the 25 mostly non-English-language albums to reach No. 1, 16 are mostly Korean, five mostly (or all) Spanish, one mostly Italian, one entirely French, and two mostly a blend of Spanish, Italian and French. Of the 25 almost all non-English-language albums to reach No. 1, 21 have topped the chart since 2018 (the year that K-pop superstars BTS scored their first of six No. 1s, with the chart’s first Korean-language No. 1s). Further, of the 16 K-pop albums that have reached No. 1, Stray Kids and BTS account for 11 (five and six, respectively).

Speaking of BTS, the group’s Jimin sees his latest solo project MUSE bow at No. 2 on the Billboard 200 with 96,000 equivalent album units earned. Of that sum, album sales comprise 74,000 (aided by its availability across nine CD variants, containing collectible posters, photocards and stickers; inclusive of exclusive editions sold at Barnes & Noble, Target and Walmart), SEA units comprise 15,000 and TEA units comprise 7,000. In 2023, Jimin’s first solo charting set, FACE, debuted and peaked at No. 2.

MUSE was preceded by the Billboard Hot 100-charting “Smeraldo Garden Marching Band” (with Loco), which debuted at No. 88 on the July 13-dated list.

Eminem’s The Death of Slim Shady (Coup de Grâce) falls to No. 3 in its second week with 79,000 equivalent album units earned (down 72%) after debuting at No. 1 a week ago. Swift’s former leader The Tortured Poets Department is a non-mover at No. 4 with 74,000 units (down 9%); Zach Bryan’s The Great American Bar Scene slips 3-5 with 71,000 (down 19%); and Morgan Wallen’s chart-topping One Thing at a Time dips 5-6 with 65,000 (down 2%).

Twisters: The Album debuts at No. 7 on the Billboard 200 with 57,000 equivalent album units earned — marking the first soundtrack the reach the top 10 in 2024 and the year’s biggest week, by units, for any soundtrack. Of that sum, SEA units comprise 40,000 (equaling 52.85 million on-demand official streams of the set’s 29 songs), album sales comprise 14,000 (it was available to purchase a digital download, CD and in three vinyl variants) and TEA units comprise 3,000.

The country music-heavy project is the companion album to the film Twisters, which blew into U.S. movie theaters on July 19. The film is a standalone sequel to 1996’s Twister, which boasted a rock-focused soundtrack (peaking at No. 28 on the Billboard 200).

The Twisters album features a wealth of new original material from country stars including Luke Combs, Jelly Roll, Miranda Lambert and Lainey Wilson, and was preceded by three charting hits on the Hot Country Songs chart (Combs’ “Ain’t No Love In Oklahoma,” Bailey Zimmerman’s “Hell or High Water” and Tyler Childers’ “Song While You’re Away”). Twenty of the album’s 29 songs appear in the movie, and over half of the album’s tracks were released over the course of the 10 weeks leading up to the set’s drop on July 19.

Twisters is the first country soundtrack to reach the top 10 since the Jan. 4, 2014-dated chart, when The Robertsons’ TV soundtrack Duck the Halls: A Robertson Family Christmas closed out its last week in the top 10, having peaked at No. 3 the previous November. As for country soundtracks to theatrical films, like Twisters, the last to reach the top 10 was Country Strong, which peaked at No. 6 on the Jan. 29, 2011, chart. The last country soundtrack from a theatrical film to debut in the top 10, like Twisters, was Hannah Montana: The Movie, which bowed at No. 2 on the April 11, 2009, chart, later reaching No. 1 on the May 2 list. (Soundtrack and country albums are defined as those that are eligible for, or have charted on, Billboard’s Soundtracks and Top Country Albums charts, respectively.)

Closing out the top 10 of the new Billboard 200 is Chappell Roan’s The Rise and Fall of a Midwest Princess (falling 7-8 with 54,000 equivalent album units; up less than 1%), Billie Eilish’s Hit Me Hard and Soft (6-9 with nearly 54,000; down 5%), and Noah Kahan’s Stick Season (holding at No. 10 with 43,000; up 10%).

Source: billboard.com

The song also continues its historic radio crossover.

Shaboozey is “A Bar Song (Tipsy)” is top shelf on the Billboard Hot 100 again, rebounding from the runner-up spot for a second week at No. 1. Two weeks earlier, the single became his first leader on the chart.

The song by the Virgina native (born Collins Obinna Chibueze) is from his LP Where I’ve Been, Isn’t Where I’m Going, which debuted at its No. 5 high on the Billboard 200 in June. It has spent two weeks at No. 1 on Americana/Folk Albums and reached No. 2 on Top Country Albums.

Of his breakthrough this year, Shaboozey, who has been releasing music for a decade, recently told Billboard, “We were pretty prepared for this moment.”

Plus, Eminem’s “Houdini” returns to the Hot 100’s top 10, wriggling 18-10, as his new album, The Death of Slim Shady (Coup de Grâce), soars in at No. 1 on the Billboard 200.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data, the lattermost metric reflecting purchases of physical singles and digital tracks from full-service digital music retailers; digital singles sales from direct-to-consumer (D2C) sites are excluded from chart calculations. All charts (dated July 27, 2024) will update on Billboard.com tomorrow, July 23. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

“A Bar Song (Tipsy),” on American Dogwood/EMPIRE (with country radio promotion by Magnolia Music), rules the Hot 100 with 77.2 million radio airplay audience impressions (up 11%, good for top Airplay Gainer honors for a third week), 39 million official streams (down 6%) and 16,000 sold (down 24%) in the United States July 12-18.

The track keeps at its No. 2 high on Radio Songs; holds at No. 2 on the Streaming Songs chart, following a week at No. 1; and dips to No. 2 after nine weeks atop Digital Song Sales.

Reflecting its mass appeal, “A Bar Song (Tipsy),” which interpolates J-Kwon’s 2004 hip-hop classic “Tipsy,” became the first song ever to go top 10 on all four of the following Billboard radio charts, where it continues to gain: It pushes 4-3 on Country Airplay and 7-5 on Pop Airplay; repeats at its No. 5 high on Rhythmic Airplay; and is steady at its No. 6 best on Adult Pop Airplay.

“A Bar Song (Tipsy)” concurrently crowns the multimetric Hot Country Songs chart for a sixth week.

Post Malone’s “I Had Some Help,” featuring Morgan Wallen, rebounds 3-2 on the Hot 100 following six nonconsecutive weeks at No. 1 beginning in May. It tops Radio Songs for a fourth week (84.8 million, up 5%) and the multimetric Songs of the Summer chart for an eighth frame.

Kendrick Lamar’s “Not Like Us” drops to No. 3 on the Hot 100, a week after it returned to the summit for a second week on top. It commands the multimetric Hot Rap Songs chart for a 10th week and Hot R&B/Hip-Hop Songs for an eighth week.

Tommy Richman’s “Million Dollar Baby” holds at No. 4 on the Hot 100, after hitting No. 2, as it leads the multimetric Hot R&B Songs chart for a 12th week.

Sabrina Carpenter’s “Espresso” keeps at No. 5 on the Hot 100, after reaching No. 3, and her “Please Please Please” repeats at No. 6, four weeks after it became her first No. 1. She claims a sixth week with multiple songs in the top 10, the most of any artist this year.

Hozier’s “Too Sweet” lifts 8-7 on the Hot 100, following a week at No. 1 in April. It rules the multimetric Hot Rock Songs and Hot Alternative Songs charts for a 16th week each and Hot Rock & Alternative Songs for a 15th week.

Teddy Swims’ “Lose Control,” which led for a week in March, rises 10-8 on the Hot 100 and Benson Boone’s No. 2-peaking “Beautiful Things” is stationary at No. 9.

Rounding out the Hot 100’s top 10, Eminem’s “Houdini” escapes from below the tier, bounding 18-10 as the top Streaming Gainer award winner (21.6 million, up 64%); it’s also up 11% to 24.6 million in airplay audience. The lead single from his new album, The Death of Slim Shady (Coup de Grâce), which launches at No. 1 on the Billboard 200, hit No. 2 on the Hot 100 upon its debut in June, becoming his 23rd top 10.

Source: billboard.com

Plus: ENHYPEN, Clairo and Megan Moroney debut in the top 10.

Eminem achieves his 11th No. 1 album on the Billboard 200 chart (dated July 27) as his latest studio album, The Death of Slim Shady (Coup de Grâce), debuts atop the list. The set launches with 281,000 equivalent album units earned in the U.S. in the week ending July 18, according to Luminate. It scores the largest week for any rap album in 2024.

With an 11th No. 1 on the Billboard 200 chart, Eminem ties Bruce Springsteen, Barbra Streisand and Ye (formerly Kanye West) for the fifth-most No. 1s on the Billboard 200. Ahead of them are The Beatles (a record 19 No. 1s), Jay-Z and Taylor Swift (each with 14) and Drake (13).

Also in the top 10 of the new Billboard 200, three acts all debut with their highest-charting albums ever, as ENHYPEN, Clairo and Megan Moroney’s latest releases enter at Nos. 2, 8 and 9, respectively. Plus, after 12 consecutive weeks at No. 1, Taylor Swift’s The Tortured Poets Department spends its first week outside the top slot, falling to No. 4 in its 13th week on the list.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new July 27, 2024-dated chart will be posted in full on Billboard‘s website on July 23. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

Of The Death of Slim Shady (Coup de Grâce)’s 281,000 first-week units, SEA units comprise 164,500 (equaling 220.08 million on-demand official streams of the tracks on the streaming edition of the album; Death also debuts at No. 1 on Top Streaming Albums), album sales comprise 114,000 (all from digital downloads; it wasn’t available as a physical album) and TEA units comprise 2,500.

Death’s first-week sales mark the biggest sales week in 2024 for a rap album. It also nets the second-largest sales week this year for a digital download album, behind only the debut of Swift’s Poets with 274,000 downloads sold in its opening week.

Death was available to purchase only as a digital download and was issued widely in both clean and explicit editions, in addition to three further variants sold exclusively in Eminem’s official webstore. Of the latter three, two were sold as a pre-order for a limited time before the set’s release, and each came with their own exclusive bonus track — one with “Kyrie & Luka,” featuring 2 Chainz, and one with “Like My Shit,” featuring FIFTEENAFTER. A third webstore variant dropped on Wednesday (July 17), carrying both bonus tracks and an exclusive “Steve Berman” skit. The CD and vinyl editions of The Death of Slim Shady are due for release on Sept. 13 and Oct. 25, respectively.

Eminem’s new album was preceded by two top 40-charting hits on the Billboard Hot 100, “Houdini,” which debuted and peaked at No. 2 on the June 15 chart, and “Tobey,” with Big Sean and BabyTron, which climbed to No. 27 on the July 20 chart.

ENHYPEN captures its highest-charting album ever, and fourth top 10, as Romance: Untold debuts at No. 2 on the Billboard 200 with 124,000 equivalent album units earned — the act’s largest week ever by units. Of that sum, album sales comprise 117,000 (the group’s best sales week ever; the set debuts at No. 1 on Top Album Sales), SEA units comprise 7,000 (equaling 9.53 million on-demand official streams of the album’s tracks) and TEA units comprise a negligible sum. The album’s sales were bolstered by its availability across 17 different CD variants, all containing collectible paper ephemera like photocards, stickers and a poster, as well as two vinyl editions.

Zach Bryan’s The Great American Bar Scene slips 2-3 in its third week on the list (88,000 equivalent album units; down 36%) while Taylor Swift’s The Tortured Poets Department falls 1-4 (82,000; down 50%). The latter spent its first 12 weeks on the chart at No. 1.

Morgan Wallen’s chart-topping One Thing at a Time dips 3-5 on the Billboard 200 with 66,000 equivalent album units earned (down 5%), Billie Eilish’s Hit Me Hard and Soft descends 4-6 with 57,000 units (down 2%) and Chappell Roan’s The Rise and Fall of a Midwest Princess falls 5-7 with 54,000 units (down less than 1%).

Clairo scores her highest-charting album ever, and first top 10, as Charm enters at No. 8 on the Billboard 200 with 47,000 equivalent album units earned — her best week ever by units. Of that sum, album sales comprise 32,000 (her best sales week ever), SEA units comprise 15,000 (equaling 19.78 million on-demand streams of the set’s tracks) and TEA units comprise a negligible sum. The set’s first-week sales was amplified by the album’s availability across eight vinyl variants and four deluxe boxed sets (containing branded merchandise and a CD). Vinyl sales comprise 15,000 of the album’s first week – Clairo’s best week ever on vinyl.

The album was preceded by the single “Sexy to Someone,” which has reached the top 20 of the Adult Alternative Airplay chart, and the top 30 of the Alternative Airplay and Hot Rock & Alternative Songs rankings.

Megan Moroney lands her first top 10-charting set on the Billboard 200 as her second full-length studio album Am I Okay? bows at No. 9 with 43,000 equivalent album units earned — the singer-songwriter’s largest week by units. Of that sum, SEA units comprise 30,000 (equaling 38.05 million on-demand official streams of the set’s tracks), album sales comprise 13,000 and TEA units comprise less than 500. The album was preceded by a trio of entries on the Hot Country Songs chart: “No Caller ID,” “28th of June” and “Indifferent.” The new album’s success follows Moroney’s chart breakthrough in 2023 with the single “Tennessee Orange,” from her debut full-length, Lucky (peaking at No. 38 on the Billboard 200 in 2023). “Tennessee” climbed to No. 10 on Hot Country Songs and garnered song of the year nominations at both the Country Music Association Awards and the Academy of Country Music Awards.

Closing out the top 10 of the new Billboard 200 is Noah Kahan’s Stick Season, slipping 7-10 with 40,000 equivalent album units earned (though up 4%).

Source: billboard.com

Plus, Morgan Wallen’s “Lies Lies Lies” debuts at No. 7.

Kendrick Lamar’s “Not Like Us” rebounds to No. 1, from No. 3, on the Billboard Hot 100 songs chart, sparked by the July 4 premiere of its official video.

The track adds a second week at the Hot 100’s summit, after it debuted at No. 1 nine weeks earlier. It became a pop-culture fixture and spent the next eight weeks after its arrival between Nos. 2 and 6, including the last two frames at No. 3. In that span, it was further boosted by Lamar’s Juneteenth The Pop Out: Ken & Friends concert – in which he performed the seething diss track five times – at the Kia Forum in Inglewood, Calif.

(Only two non-holiday songs have logged more time, nine weeks each, between stays at No. 1 on the Hot 100: Olivia Rodrigo’s “Vampire” in 2023 and Miley Cyrus’ “Wrecking Ball” in 2013.)

Meanwhile, Lamar lands his first multi-week Hot 100 No. 1 on his own; he previously led with no billed collaborators for a week in 2017 with “Humble.” He has ruled the Hot 100 for an overall personal-best three weeks in April with “Like That,” with Future and Metro Boomin. He earned the first of his four No. 1s for a week in 2015 as featured on Taylor Swift’s “Bad Blood.”

Also in the latest Hot 100’s top 10, Morgan Wallen’s “Lies Lies Lies” launches at No. 7, becoming his 10th song to reach the region.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data, the lattermost metric reflecting purchases of physical singles and digital tracks from full-service digital music retailers; digital singles sales from direct-to-consumer (D2C) sites are excluded from chart calculations. All charts (dated July 20, 2024) will update on Billboard.com tomorrow, July 16. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

Source: billboard.com

Plus: Zach Bryan’s “The Great American Bar Scene” jumps 17-2 after its first full tracking week.

Taylor Swift’s The Tortured Poets Department captures a 12th consecutive and total week at No. 1 on the Billboard 200 (dated July 20) — beating 1989 and Fearless (each with 11 weeks at No. 1) as her longest-leading No. 1 album.

The Tortured Poets Department earned 163,000 equivalent album units in the U.S. in the week ending July 11 (up 43% — its first gain in seven weeks), according to Luminate. The album debuted atop the chart dated May 4 and has yet to yield the No. 1 slot.

The Tortured Poets Department surpasses Whitney Houston’s 1987 album Whitney to become the only album by a woman to spend its first 12 weeks at No. 1. The latter spent all 11 of its weeks atop the list from its debut frame (June 27, 1987-dated chart).

Only two other albums have spent at least their first 12 weeks at No. 1: Morgan Wallen’s One Thing at a Time (first 12 weeks at No. 1, of its total 19 weeks at No. 1 in 2023-24) and Stevie Wonder’s Songs in the Key of Life (first 13 weeks at No. 1, of its total 14 weeks at No. 1 in 1976). (For context, today it’s common for albums to debut at No. 1. However, before 1991, when the Billboard 200 began utilizing Luminate’s electronically monitored tracking information, only six albums debuted at No. 1, including Whitney and Songs in the Key of Life.)

Also in the top 10 of the latest Billboard 200 chart, Zach Bryan’s The Great American Bar Scene soars 17-2 in its first full tracking week. The previous week’s list captured the tracking week of June 28-July 4, and Bryan’s album was released on Thursday, July 4. (Albums are typically released on Friday each week, which is the first day of the chart’s tracking week.)

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new July 20, 2024-dated chart will be posted in full on Billboard‘s website on July 16. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

Prior to Swift’s The Tortured Poets Department, the last album by a woman to spend at least 12 total weeks at No. 1 was Adele’s 21, which earned 24 nonconsecutive weeks on top in 2011-12. (Overall, the last album to spend at least 12 total weeks at No. 1 was Morgan Wallen’s One Thing at a Time, which logged 19 total weeks at No. 1 in 2023-24, of which its first 12 were consecutive from its debut week.)

The last album by a woman with at least 12 consecutive weeks at No. 1 was the Whitney Houston-led soundtrack to The Bodyguard, which strung together 13 straight weeks at No. 1 (of its total 20 nonconsecutive weeks atop the list) from December 1992 to March 1993.

Swift adds her 81st career week at No. 1 on the Billboard 200, extending her record among soloists. (Elvis Presley has the second-most among soloists, with 67.) The total encompasses her 14 No. 1 albums. (She’s tied with Jay-Z for the most No. 1s among soloists.)

Of The Tortured Poets Department’s 163,000 units earned in the week ending July 11, album sales comprise 90,000 (up 154%, making it the top-selling album of the week, and No. 1 on Top Album Sales for a sixth non-consecutive week), SEA units comprise 72,000 (down 7%, equaling 94.83 million on-demand official streams of the deluxe album’s 31 songs; it falls 1-2 on the Top Streaming Albums chart after 11 weeks in a row at No. 1) and TEA units comprise 1,000 (up 7%).

Of Swift’s overall album sales for the week, CD sales comprise 67,000 (up 127%), digital album download sales comprise 19,000 (up 1,266%) and vinyl sales comprise 4,000 (down 10%).

The Tortured Poets Department’s overall weekly increase was bolstered in part by sales generated from Swift’s official webstore, which restocked seven earlier-released CD variants of the album (including a signed edition). The restocked items were available to purchase for a few hours on Sunday, June 7, and shipped shortly afterwards. In addition, Swift released three new digital album download variants of the album on Thursday, July 11, sold exclusively in her webstore for $4.99 each, and were only available to purchase that day. Each contained the original standard 16-song album tracklist, along with one bonus live acoustic track, recorded during her The Eras Tour stop in Stockholm (“Guilty as Sin?,” “How Did It End?” or “Peter”).

The Tortured Poets Department also got a boost in the latest chart’s tracking week thanks to activity generated by the July 8 release of two versions of the album’s lead single, the Post Malone-featuring “Fortnight,” to streaming services and digital retailers: a Cults remix and an acoustic rendition. (The latter was previously available only as a bonus track on a limited-edition CD version of Poets.)

Zach Bryan’s The Great American Bar Scene rises 17-2 in its second week on the Billboard 200, following its first full tracking week of activity. The set earned 137,000 equivalent album units in the week ending July 11 (up 363% from its first day). The previous week’s list captured the tracking week of June 28-July 4, and Bryan’s album was released on Thursday, July 4. The set premiered on the previous week’s list with 32,000 units from first day of release. (Albums are typically released on Friday each week, which is the first day of the chart’s tracking week.)

Of The Great American Bar Scene’s second chart-week units, SEA units comprise 127,500 (up 390%, equaling 163.87 million on-demand official streams of the set’s 19 tracks; it jumps 18-1 on Top Streaming Albums), album sales comprise 8,500 (up 66%, it was only available to purchase as a digital download album) and TEA units comprise 1,000 (up 113%). The album will be released on CD and vinyl on Oct. 11.

The album was preceded by a pair of Billboard Hot 100-charting songs: “Pink Skies” (peaking at No. 6 in June) and “Purple Gas,” with Noeline Hofmann (No. 70).

The Great American Bar Scene marks the fourth top 10-charting effort for Bryan on the Billboard 200, following Boys of Faith (No. 8, October 2023) his-self titled set (No. 1, two weeks, September 2023) and American Heartbreak (No. 5, June 2022).

Morgan Wallen’s former leader One Thing at a Time falls 2-3 with 69,000 equivalent album units earned (down 6%); Billie Eilish’s Hit Me Hard and Soft is a non-mover at No. 4 with 58,000 (down 8%); and Chappell Roan’s The Rise and Fall of a Midwest Princess is stationary at No. 5 with 54,000 (down 10%).

Wallen’s chart-topping Dangerous: The Double Album holds at No. 6 (40,000; down 8%); Noah Kahan’s Stick Season rises 9-7 (38,000; down 3%); Shaboozey’s Where I’ve Been, Isn’t Where I’m Going is a non-mover at No. 8 (36,000; down 10%); and Megan Thee Stallion’s Megan falls 3-9 in its second week (32,000; down 50%).

Closing out the top 10 is a second Zach Bryan title, as his self-titled No. 1 rises 12-10 with nearly 32,000 equivalent album units (down 12%). It’s the second time Bryan has placed two titles in the top 10. He first did it on the Oct. 7, 2023-dated chart, when his self-titled set fell 3-5 in its fifth week, while his Boys of Faith project bowed at No. 8.

Source: billboard.com

His initial No. 1 is the first by a Black male artist to top both the Hot 100 and Hot Country Songs. Plus, Chappell Roan earns her first Hot 100 top 10 with “Good Luck, Babe!”

Shaboozey hoists “A Bar Song (Tipsy)” to No. 1 on the Billboard Hot 100 songs chart, marking his first leader on the list.

The track concurrently rebounds for a fourth week atop the Hot Country Songs chart, which uses the same multimetric methodology as the Hot 100. Previously, no song by a Black man, or one known to be biracial, had previously topped both charts. He is the second Black artist overall to achieve the feat – following Beyoncé with “Texas Hold ‘Em” earlier this year.

Virgina native Shaboozey (born Collins Obinna Chibueze) charted two Hot 100 hits, in April, prior to “A Bar Song (Tipsy),” both from Beyoncé’s LP Cowboy Carter: “Spaghettii” (also with Linda Martell; No. 31 peak) and “Sweet * Honey * Buckiin’ ” (No. 61).

“A Bar Song (Tipsy)” is from Shaboozey’s LP Where I’ve Been, Isn’t Where I’m Going, which debuted at its No. 5 high on the Billboard 200 in June. It has reached No. 2 on Top Country Albums and leads the Americana/Folk Albums chart for a third week.

Of his breakthrough this year, the 29-year-old, who has been releasing music for a decade, recently mused to Billboard, “We were pretty prepared for this moment.”

Also in the latest Hot 100 top 10, Chappell Roan achieves her first top 10 as “Good Luck, Babe!” ascends a spot to No. 10.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data, the lattermost metric reflecting purchases of physical singles and digital tracks from full-service digital music retailers; digital singles sales from direct-to-consumer (D2C) sites are excluded from chart calculations. All charts (dated July 13, 2024) will update on Billboard.com tomorrow, July 9. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

Below is a rundown of the latest Hot 100’s top 10.

Source: billboard.com

Plus: Megan Thee Stallion’s Megan debuts in the top three, while Beyoncé’s Cowboy Carter gallops back to the top 10.

Taylor Swift’s The Tortured Poets Department hits an 11th consecutive and total week at No. 1 on the Billboard 200 (dated July 13) — tying 1989 and Fearless as her longest-leading No. 1 albums. The last album by a woman to spend 11 weeks at No. 1 was 1989, which notched 11 nonconsecutive weeks atop the list in 2014-15. If Poets reaches a 12th week at No. 1, it will be the first album by a woman with at least 12 weeks at No. 1 since Adele’s 21 rang up 24 nonconsecutive weeks on top in 2011-12.

The Tortured Poets Department earned 114,000 equivalent album units in the U.S. in the week ending July 4 (down 1%), according to Luminate. The album debuted atop the chart dated May 4 and has yet to yield the No. 1 slot.

The Tortured Poets Department is the first album by a woman to spend 11 weeks in a row at No. 1 since the Whitney Houston-led soundtrack to The Bodyguard strung together 13 straight weeks at No. 1 (of its total 20 nonconsecutive weeks atop the list) from December 1992 to March 1993.

Also in the top 10 of the latest Billboard 200 chart, Megan Thee Stallion collects her sixth top 10 as Megan bows at No. 3, while Beyoncé’s chart-topping Cowboy Carter gallops 50-10 following the release of a deluxe vinyl edition.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new July 13, 2024-dated chart will be posted in full on Billboard‘s website on July 9. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

Of The Tortured Poets Department’s 114,000 equivalent album units earned, SEA units comprise 78,000 (down 10% — it’s No. 1 on Top Streaming Albums for an 11th week; its SEA units equal 102.09 million on-demand official streams of the deluxe edition’s 31 songs), album sales comprise 35,000 (up 27%; it’s No. 1 on Top Album Sales for a fifth nonconsecutive week) and TEA units comprise less than 1,000 (down 22%). The album’s sales grew 27% in the tracking week thanks largely to two new CD variants of the set that shipped to customers. The two CDs, which were sold exclusively in Swift’s webstore, were briefly available to pre-order in early June for $7.99 each. Both CDs contain the standard album’s 16 songs and an acoustic bonus track (one includes “Fortnight,” featuring Post Malone, and one includes “Fresh Out the Slammer”).

The Tortured Poets Department matches Whitney Houston’s 1987 album Whitney as the only two albums by women to spend their first 11 weeks at No. 1. All 11 of the latter’s total weeks at No. 1 were from its debut atop the chart.

Just two other albums have spent at least their first 11 weeks at No. 1: Morgan Wallen’s One Thing at a Time (first 12 weeks at No. 1, of its total 19 weeks at No. 1 in 2023-24) and Stevie Wonder’s Songs in the Key of Life (first 13 weeks at No. 1, of its total 14 weeks at No. 1 in 1976). (For context, today it’s common for albums to debut at No. 1. However, before 1991, when the Billboard 200 began utilizing Luminate’s electronically monitored tracking information, only six albums debuted at No. 1, including Whitney and Songs in the Key of Life.)

Swift is only the third act with three or more albums to spend 11 or more weeks at No. 1, following Whitney Houston (her self-titled album with 14 weeks in 1986, Whitney with 11 in 1987 and The Bodyguard soundtrack with 20 in 1992-93) and The Beatles (Meet the Beatles! with 11 in 1964, A Hard Day’s Night soundtrack with 14 in 1964, Sgt. Pepper’s Lonely Hearts Club Band with 15 in 1967 and Abbey Road with 11 in 1969-70).

Swift adds her 80th career week at No. 1 on the Billboard 200, extending her record among soloists. (Elvis Presley has the second-most among soloists, with 67.) The total encompasses her 14 No. 1 albums. (She’s tied with Jay-Z for the most No. 1s among soloists.)

At No. 2 on the latest Billboard 200, Morgan Wallen’s chart-topping One Thing at a Time rises 3-2 with 74,000 equivalent album units (up 1%). It’s also the last album to spend at least 11 weeks at No. 1, prior to Poets. Wallen’s album logged 19 total weeks at No. 1 in 2023-24 (spending its first 12 in the top slot).  

Megan Thee Stallion scores her sixth top 10-charting effort on the Billboard 200 as Megan enters at No. 3 with 64,000 equivalent album units earned. That marks the biggest debut, by units, for any rap album released by a woman in 2024. It’s also the first top 10-charting rap set by a woman released this year.

Of the album’s 64,000 units earned in its first week, SEA units comprise 47,000 (equaling 62.67 million on-demand official streams of the set’s 18 songs), album sales comprise 16,000 and TEA units comprise 1,000. The album was announced on June 2 and was preceded by a trio of charting songs on the Billboard Hot 100: “Cobra” (peaking at No. 32 last November), “Hiss” (No. 1, February) and “Boa” (No. 39, May). The set’s sales were aided by its availability across three CD variants (all with the same audio content, just different covers; all exclusively sold in the artist’s webstore) and five digital download album variants (a standard widely available edition; one exclusive to Amazon, with a bonus track; two with alternate covers; and one with a printed digital signature on its cover from Megan Thee Stallion. The latter three were exclusive to the artist’s webstore.)

Billie Eilish’s Hit Me Hard and Soft is a non-mover at No. 4 on the Billboard 200 (63,000 equivalent album units earned; down 10%) and Chappell Roan’s The Rise and Fall of a Midwest Princess reaches the top five for the first time, rising 6-5 (60,000; down 2%). With Swift, Megan Thee Stallion, Eilish and Chappell Roan at Nos. 1, 3, 4 and 5, there are four albums by women, or women-led acts, in the top five for the first time in over a year. It last happened on the March 25, 2023-dated list, when the all-women group TWICE was No. 2 with Ready to Be, followed by Miley Cyrus’ Endless Summer Vacation (No. 3), SZA’s SOS (No. 4) and Karol G’s Mañana Será Bonito at No. 5. (Wallen’s One Thing at a Time was No. 1 that week.)

Wallen’s former leader Dangerous: The Double Album rises 7-6 on the new Billboard 200 (44,000 equivalent album units; up 1%), Peso Pluma’s Éxodo falls 5-7 (just over 40,000; down 37%), Shaboozey’s Where I’ve Been, Isn’t Where I’m Going climbs 10-8 (40,000; down 1%) and Noah Kahan’s Stick Season rises 11-9 (39,000; up less than 1%).

Beyoncé’s former No. 1 Cowboy Carter charges back into the top 10 (50-10) after a deluxe edition of the album was released on vinyl. The set surges with 39,000 equivalent album units earned (up 133%), with 24,000 of that sum in traditional album sales (up 1,673%). Vinyl sales comprise a little over 23,000 of that figure (up 3,551%).

Source: billboard.com

The track also reaches the top of the Radio Songs ranking.

Post Malone’s “I Had Some Help,” featuring Morgan Wallen, rebounds from No. 2 for a sixth week at No. 1 on the Billboard Hot 100 songs chart. The song, Post Malone’s sixth leader and Wallen’s second, spent its first five weeks on the list at No. 1 beginning upon its debut in May.

The collaboration is the first to log six weeks at No. 1 on the Hot 100 in 2024, surpassing the five weeks on top, of six total dating to late 2023, for Jack Harlow’s “Lovin on Me.” No song has led longer since Wallen’s “Last Night” rang up 16 weeks, nonconsecutively, at No. 1 in March-August last year.

“I Had Some Help” also hits No. 1 on the Radio Songs chart, becoming a rare title that has topped the all-format airplay tally as well as the Country Airplay survey.

Plus, Shaboozey’s “A Bar Song (Tipsy)” rises to a new No. 2 Hot 100 high; Kendrick Lamar’s former leader “Not Like Us” jumps 6-3, and returns to No. 1 on the Streaming Songs chart, following his Juneteenth The Pop Out: Ken & Friends concert – in which he performed the track five times; and Sabrina Carpenter claims two songs in the Hot 100’s top five for a third week.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data, the lattermost metric reflecting purchases of physical singles and digital tracks from full-service digital music retailers; digital singles sales from direct-to-consumer (D2C) sites are excluded from chart calculations. All charts (dated July 6, 2024) will update on Billboard.com tomorrow, July 2. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

Source: billboard.com