Joji soars in with his first Hot 100 top 10.

Harry Styles‘ “As It Was” logs a seventh week atop the Billboard Hot 100 songs chart.

Meanwhile, Joji‘s “Glimpse of Us” launches at No. 10 on the Hot 100, marking the singer-songwriter’s first visit to the region.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated June 25, 2022) will update on Billboard.com tomorrow (June 21). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“As It Was,” released on Erskine/Columbia Records, tallied 77 million radio airplay audience impressions (up 3%), 22.4 million streams (down 10%) and 6,000 downloads sold (down 13%) in the June 10-16 tracking week, according to Luminate.

The track keeps at No. 2 after four weeks atop the Radio Songs chart and No. 3 after two weeks atop Streaming Songs and falls 4-10 on Digital Song Sales, following a week on top. Notably, the song debuts at No. 37 on Alternative Airplay, marking Styles’ first appearance on the ranking, led by support on KYSR Los Angeles (62 plays in the tracking week), KUCD Honolulu (58) and SiriusXM’s Alt Nation (38). The song tops Pop Airplay for a sixth week and Adult Pop Airplay for a fifth frame, rises 8-7 on Adult Contemporary and holds at No. 16 on Adult Alternative Airplay (where it reached No. 15).

“As It Was” concurrently crowns the Songs of the Summer chart for a third week, after the seasonal survey, which tracks the top titles between Memorial Day and Labor Day, returned two weeks ago.

Jack Harlow’s “First Class” is steady at No. 2 on the Hot 100, after three nonconsecutive weeks at No. 1, as it notches a second week atop Radio Songs (82.1 million, up 4%). The single rules the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which use the same multi-metric methodology as the Hot 100, for a ninth week each.

Future’s “Wait For U,” featuring Drake and Tems, is likewise stationary at No. 3 on the Hot 100, after a week at No. 1, as it rebounds for a fourth frame atop Streaming Songs (28.5 million, down 6%).

Lizzo’s “About Damn Time” rebounds 5-4 to its Hot 100 high, as it wins the chart’s top Airplay Gainer award for a third consecutive week (64.9 million in audience, up 30%). It leads the multi-metric Hot R&B Songs chart for a fifth week.

Kate Bush’s “Running Up That Hill (A Deal With God)” slips to No. 5 from its No. 4 Hot 100 best, two weeks after it re-entered the chart at No. 8 – far outperforming its prior No. 30 high, reached in 1985 when it was first released – fueled by its sync in Netflix’s Stranger Things. The fourth season of the ’80s-set show, which premiered May 27, incorporates the song in multiple episodes, serving as a recurring theme for the character of Max Mayfield, played by Sadie Sink. (Bush is a fan of the series and approved the song’s usage in it.)

“Hill” retreats to 23.2 million streams (down 20%) and 16,000 downloads sold (down 26%), as it falls to No. 2 on both Streaming Songs and Digital Song Sales from the top of each tally. Conversely, it boasts a 159% gain to 6.3 million airplay impressions among Radio Songs reporters, as it jumps 26-17 on the Alternative Airplay chart and debuts on Adult Contemporary (No. 22), Adult Pop Airplay (No. 27) and Pop Airplay (No. 36). Meanwhile, it claims a second week each atop the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts.

Glass Animals’ “Heat Waves” repeats at No. 6 on the Hot 100, after five weeks at No. 1; Latto’s “Big Energy” holds at No. 7, after reaching No. 3; Bad Bunny and Chencho Corleone’s “Me Porto Bonito” is steady at No. 8 after hitting No. 7, as it rules the multi-metric Hot Latin Songs chart for a fifth week; and Bad Bunny’s own “Tití Me Preguntó” rises 10-9 on the Hot 100, after it debuted at its No. 5 high.

Rounding out the Hot 100’s top 10, Joji’s “Glimpse of Us” soars onto the chart at No. 10, driven most heavily by its No. 6 start on Streaming Songs with 18.3 million streams in its first week.

With the ballad, Joji’s first release since his second album, 2020’s Nectar, the Japanese-born singer-songwriter – who originally broke through as a comedian/personality on YouTube (helping spark buzz for Baauer’s eventual 2013 five-week Hot 100 No. 1 “Harlem Shake”) – achieves his first top 10, following three prior entries: “Sanctuary” (No. 80, June 2019), “Slow Dancing in the Dark” (No. 69, November 2019) and “Run” (No. 68, February 2020).

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated June 25), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (June 21).

Source: billboard.com

Plus: Carrie Underwood scores her 10th consecutive top 10 on the Billboard 200 with ‘Denim & Rhinestones.’

BTS’ new compilation album Proof debuts at No. 1 on the Billboard 200 chart (dated June 25), garnering the pop group its sixth chart-topper. The retrospective – consisting mostly of previously released material – bows with 314,000 equivalent album units earned in the U.S. in the week ending June 16, according to Luminate. The overwhelmingly majority of that unit figure was driven by CD album sales.

The anthology was released on June 10, four days before the group announced an indefinite “hiatus” to focus on solo ventures. The seven-member South Korean act was formed in 2010 and made its U.S. Billboard chart debut in 2013. BTS has tallied 15 entries on the Billboard 200 albums chart.

Also in the new top 10, Carrie Underwood notches her 10th consecutive top 10 album on the Billboard 200 – the entirety of her charting efforts – as her new studio release Denim & Rhinestones launches in the region.

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 June 25, 2022-dated chart will be posted in full on Billboard‘s website on June 21. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Proof’s 314,000 equivalent album units earned, album sales comprise 266,000; SEA units comprise 36,000 (equaling 52.84 million on-demand official streams of the set’s tracks) and TEA units comprise 12,000.

Proof registers the year’s biggest week for an album by a group, both in units earned and in album sales. The only larger week overall in 2022 was the debut frame of Harry Styles’ Harry’s House, with 521,000 units, of which 330,000 were in album sales.

Proof was released as a 35-track digital download and streaming album, and an expanded 48-track album on CD. The latter edition has 13 exclusive tracks – mostly demo recordings – not available on the digital or streaming album. Proof was not issued on any other format, such as vinyl LP or cassette.

All versions of the album contain eight of BTS’ 13 top 40-charting songs on the Billboard Hot 100 (through the most recently published chart, dated June 18), including three of the act’s six No. 1s (“Dynamite,” “Life Goes On” and “Butter”). Proof also features three all-new tracks, including the set’s lead single, “Yet to Come (The Most Beautiful Moment).”

As is typical with many K-pop releases, the CD edition of the album was issued in elaborate collectible packages. There are two CD variants available in total: a $24 version and a $70 version (specific retailers may have sale priced them for less). Both have the same tracklist, just different packaging and internal paper goods (such as booklets and posters). Each also contains randomized elements (photocards and postcards). (Pricey CD albums are not new for BTS. The act’s last new studio album, 2020’s eight-track Be, was initially available in only two retail formats: a $9 digital album and a $50 CD.)

Proof sold nearly 266,000 in traditional album sales – of which digital albums comprise 6,500. The remaining sum of a little over 259,000 were all in CD sales. That marks the largest sales week for an album on CD in the U.S. since Adele’s 30 sold 378,000 CDs in its first week (ending Nov 25, 2021; chart dated Dec. 4, 2021). Comparably, Adele’s 30 CD was issued in three variants, a 12-track standard edition (which carried a list price of $11.98), a Target-exclusive pressing with three bonus tracks ($13.98) and a deluxe boxed set ($40) containing the standard CD, a T-shirt and a photo print. The vast majority of the CD sales for 30 came from the $11.98 and $13.98 editions.

Proof – recorded mostly in the Korean language – is the 15th mostly non-English language album to hit No. 1 and the third in 2022. This year also saw non-English No. 1s from Bad Bunny (the all-Spanish Un Verano Sin Ti) and Stray Kids (the mostly-Korean Oddinary). Of the 15 leaders that were recorded mostly in a language other than English, six have been by BTS.

Speaking of Bad Bunny, Un Verano Sin Ti falls a spot to No. 2 on the new Billboard 200 with 129,000 equivalent album units earned (down 6%). Un Verano Sin Ti is the first album in nearly four years to exceed 100,000 equivalent album units earned in each of its first six weeks. The last title to do so was Drake’s Scorpion, which saw its first seven weeks all exceed 100,000 units (July 28-Aug. 25, 2018 charts).

Harry Styles’ chart-topping Harry’s House is a non-mover on the Billboard 200 at No. 3 with 91,000 equivalent album units (down 20%). Post Malone’s Twelve Carat Toothache falls 2-4 in its second week with 59,000 (down 51%). Rounding out the top five is Future’s former No. 1 I Never Liked You, which dips 4-5 with 55,000 (down 10%). A trio of former leaders are next on the chart, as Morgan Wallen’s Dangerous: The Double Album is stationary at No. 6 (52,000; down less than 1%), Kendrick Lamar’s Mr. Morale & The Big Steppers descends 5-7 (42,000; down 23%) and Olivia Rodrigo’s Sour is steady at No. 8 (32,000; down 14%).

SZA’s Ctrl vaults from No. 35 to No. 9 following a fifth anniversary deluxe reissue on June 10 which added seven previously unreleased tracks. The album, which debuted and peaked at No. 3 on the July 1, 2017-dated chart, rallies with 32,000 equivalent album units earned (up 109%).

Closing out the new Billboard 200 top 10 is Carrie Underwood’s new studio album Denim & Rhinestones, which debuts at No. 10 with 31,000 equivalent album units earned. Of that sum, album sales comprise 22,000; SEA units comprise nearly 9,000 (equaling 11.19 million on-demand official streams of the set’s tracks) and TEA units comprise less than 1,000.

Denim & Rhinestones is Underwood’s 10th consecutive top 10 album – the entirety of her charting efforts. And all 10 have debuted in the top 10, stretching back to her first release, Some Hearts, which was released in 2005.

Source: billboard.com

Bush’s 1985 classic tops the Streaming Songs and Digital Song Sales charts, sparked by its “Stranger Things” sync.

Harry Styles‘ “As It Was” adds a sixth week atop the Billboard Hot 100 songs chart. It launched at No. 1 in April.

Concurrently, Kate Bush‘s 1985 classic “Running Up That Hill (A Deal With God)” surges to No. 4 on the Hot 100, a week after it re-entered at No. 8 – far surpassing its prior No. 30 peak and becoming Bush’s first top 10 on the chart – sparked by its sync in the new fourth season of Netflix’s Stranger Things. The song is the top-selling and most-streamed title in the U.S., as it tops the Digital Song Sales chart for a second week and rises to No. 1 on Streaming Songs.

“Hill” also completes the longest run to the Hot 100’s top five in terms of years from a debut to the top five – 36 years, nine months and two weeks – for a non-holiday hit in the chart’s 63-year history.

Elsewhere, Jack Harlow‘s “First Class,” at No. 2 on the Hot 100, after three weeks at the summit, takes over as the most-heard song on radio, rising to the top of the Radio Songs chart, and Post Malone‘s “I Like You (A Happier Song),” featuring Doja Cat, debuts at No. 9 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 June 18, 2022) will update on Billboard.com tomorrow (June 14). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“As It Was,” released on Erskine/Columbia Records, tallied 75.1 million radio airplay audience impressions (up 2%), 25 million streams (down 9%) and 6,900 downloads sold (up 6%) in the June 3-9 tracking week.

The track dips to No. 2 after four weeks atop the Radio Songs chart; slips 2-3 after two weeks atop Streaming Songs; and lifts 6-4 on Digital Song Sales, following a week in the top spot.

“As It Was” concurrently crowns the Songs of the Summer chart for a second week, after the seasonal ranking, which tracks the top titles between Memorial Day and Labor Day, returned a week ago.

Jack Harlow’s “First Class” keeps at No. 2 on the Hot 100, after three nonconsecutive weeks at No. 1. It rises 2-1 on Radio Songs (79.3 million, up 8%), becoming the rapper’s first leader on the list. (The song that it interpolates, Fergie’s “Glamorous,” featuring Ludacris, spent two weeks atop the Hot 100 and reached No. 3 on Radio Songs in 2007.)

“First Class” concurrently cruises at No. 1 for an eighth on the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which use the same multi-metric methodology as the Hot 100.

Future’s “Wait for U,” featuring Drake and Tems, is likewise steady at No. 3 on the Hot 100, after a week at No. 1.

Kate Bush’s “Running Up That Hill (A Deal With God)” bounds to No. 4 on the Hot 100, a week after it re-entered at No. 8 – blasting past its prior No. 30 high, reached in 1985 when it was first released – fueled by its sync in Netflix’s Stranger Things. The fourth season of the ’80s-set show, which premiered May 27, incorporates the song in multiple episodes, serving as a recurring theme for the character of Max Mayfield, played by Sadie Sink. (Bush is a fan of the series, and, in a rare move for her music, approved the song’s usage in it.)

“Hill” drew 29 million streams (up 65%) and 2.4 million airplay impressions among Radio Songs reporters (up 519%) and sold 22,200 downloads (up 21%) in the June 3-9 tracking week. It spends a second week at No. 1 on Digital Song Sales and rises to No. 1 on Streaming Songs, marking Bush’s first leader on each list, while winning top Sales and Streaming Gainer honors on the Hot 100.

Notably, “Hill” wraps the longest run to the Hot 100’s top five in terms of years from a debut on the chart to the top five – 36 years, nine months and two weeks – for a non-holiday hit in the list’s 63-year history, and the third-longest such rise overall.

Longest Climbs to the Hot 100’s Top Five (from debut date):
61 years, two weeks: “Jingle Bell Rock,” Bobby Helms, Dec. 22, 1958-Jan. 4, 2020
59 years, one week: “Rockin’ Around the Christmas Tree,” Brenda Lee, Dec. 12, 1960-Dec. 21, 2019
36 years, nine months, two weeks: “Running Up That Hill (A Deal With God),” Kate Bush, Sept. 7, 1985-June 18, 2022
19 years: “All I Want for Christmas Is You,” Mariah Carey, Jan. 8, 2000-Jan. 5, 2019
16 years, three months, two weeks: “Bohemian Rhapsody,” Queen, Jan. 3, 1976-April 18, 1992

Three of the songs above are holiday tracks, spurred in recent years by the growth of streaming, while Queen’s classic, like Bush’s, benefited from its own sync, in the 1992 box office hit Wayne’s World.

“Hill” is Bush’s first top five Hot 100 hit – having outperformed her prior No. 30 career high during the song’s original run. It was first released on her 1985 album Hounds of Love, which soars 28-12 as the Greatest Gainer on the Billboard 200 albums chart (27,000 equivalent album units, up 59%), likewise granting Bush a new personal best on the survey.

Meanwhile, as Bush solely wrote, produced and performs “Hill,” the song is the first top five Hot 100 hit by a solo singer, writer and producer and no accompanying credited talents since Hozier’s “Take Me to Church,” which hit No. 2 in December 2014. Before that, Pharrell Williams’ self-performed, -penned and -produced “Happy” dominated for 10 weeks beginning in March 2014. “Hill” is the first such top five hit by a female artist in nearly 18 years, since Alicia Keys’ “If I Ain’t Got You,” which reached No. 4 in July 2004.

“Hill” concurrently climbs to No. 1 on the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts, becoming Bush’s first leader on each ranking.

Lizzo’s “About Damn Time” backtracks to No. 5 from its No. 4 Hot 100 high, as it claims the chart’s top Airplay Gainer trophy for a second week (50.4 million in audience, up 22%). It tops the multi-metric Hot R&B Songs chart for a fourth week.

Glass Animals’ “Heat Waves” falls 5-6 on the Hot 100, after five weeks at No. 1; Latto’s “Big Energy” slides 6-7, after reaching No. 3; and Bad Bunny and Chencho Corleone’s “Me Porto Bonito” drops to No. 8 from its No. 7 best, as it rules the multi-metric Hot Latin Songs chart for a fourth week.

Post Malone’s “I Like You (A Happier Song),” featuring Doja Cat, debuts at No. 9 on the Hot 100. The song – from the former’s new album Twelve Carat Toothache, which opens at No. 2 on the Billboard 200 – starts at No. 6 on Streaming Songs (18.9 million streams) and No. 10 on Digital Song Sales (4,100 sold); it also drew 5.6 million in radio reach in the tracking week.

Post Malone adds his 11th Hot 100 top 10, as well as his 22nd on Streaming Songs and his 14th on Digital Song Sales. Doja Cat ups her totals to five, seven and seven top 10s on the respective charts.

Capping the Hot 100’s top 10, Bad Bunny’s “Tití Me Preguntó” rebounds 11-10, after it debuted at its No. 5 high four weeks earlier; the track, and “Me Porto Bonito,” at No. 8, are from his LP Un Verano Sin Ti, which returns for a second week atop the Billboard 200, becoming the first all-Spanish-language album ever to have reigned for multiple weeks.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated June 18), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (June 14).

Source: billboard.com

Plus: Post Malone and SEVENTEEN debut in the top 10.

Bad Bunny’s Un Verano Sin Ti rebounds to No. 1 on the Billboard 200 albums chart (dated June 18) for a second week on top (rising from No. 2), following its debut at No. 1 on the May 21 chart. After its chart-topping opening, the album sat in the No. 2 slot for the next three weeks. The set earned 137,000 equivalent album units (down 3%) in the U.S. in the week ending June 9, according to Luminate.

Un Verano Sin Ti is the first album released in 2022 to exceed 100,000 equivalent album units earned in each of its first five weeks. (The last title to do so was Adele’s late 2021 release 30, on the Dec. 4, 2021-Jan. 1, 2022 charts.)

Also in the new top 10, Post Malone lands his fourth top 10 effort with the No. 2 arrival of Twelve Carat Toothache, while SEVENTEEN logs its first top 10 with the debut of SEVENTEEN 4th Album: Face the Sun.

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 June 18, 2022-dated chart will be posted in full on Billboard‘s website on June 14. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Un Verano Sin Ti’s 137,000 equivalent album units earned, SEA units comprise 135,500 (down 3%; equaling 189.47 million on-demand official streams of the set’s tracks), album sales comprise 1,000 (down 9%) and TEA units comprise 500 (up 4%).

Notably, Un Verano Sin Ti marks the first all-Spanish-language album to spend multiple weeks at No. 1 in the Billboard 200’s 66-year history. Only one other such set has led for even one week: Bad Bunny’s last album, El Último Tour del Mundo, which arrived atop the Dec. 12, 2020 tally.

Post Malone’s new album Twelve Carat Toothache debuts at No. 2 on the Billboard 200 – scoring the artist his fourth straight top five-charting effort (the entirety of his charting releases). The set launches with nearly 121,000 equivalent album units earned. Of that sum, SEA units comprise 98,000 (equaling 127.82 million on-demand official streams of the set’s tracks), album sales comprise 21,000 and TEA units comprise 2,000.

Twelve Carat Toothache was released June 3 as a standard 14-track album via streamers and through retailers as a digital download and on CD. A deluxe version of the set, with two additional tracks, arrived June 7 via streamers and digital retail. A cassette edition of the album is due on June 24, while a vinyl edition of the standard album is scheduled for release on Feb. 10, 2023.

Twelve Carat Toothache was preceded by one top 10-charting single on the Billboard Hot 100, “One Right Now,” with The Weeknd. It peaked at No. 6 in November of 2021. Pre-album release, the set notched one more top 40 hit, with “Cooped Up,” featuring Roddy Ricch, when it debuted in the top 30 on the May 28-dated Hot 100.

Post Malone’s last album, the 17-track Hollywood’s Bleeding, debuted at No. 1 on the Billboard 200 dated Sept. 21, 2019, and spent five weeks atop the list. It was previewed by four top 10 Hot 100 hits: “Sunflower (Spider-Man: Into the Spider-Verse)” with Swae Lee; “Wow;” “Goodbyes;” featuring Young Thug and “Circles.” Two of those cuts reached No. 1: “Sunflower” hit the top in January 2019 and “Circles” climbed to No. 1 that November.

Four former No. 1s are next up on the Billboard 200. Harry Styles’ Harry’s House falls from the summit to No. 3 in its third week on the list, after spending its first two weeks atop the tally (113,500 equivalent album units earned; down 29%). Future’s I Never Liked You is a non-mover at No. 4 with 61,000 units (down 10%); Kendrick Lamar’s Mr. Morale & The Big Steppers descends 3-5 with 54,000 units (down 40%) and Morgan Wallen’s Dangerous: The Double Album dips 5-6 with 52,000 units (down 3%).

Dangerous: The Double Album has now accumulated 73 nonconsecutive weeks in the top 10 on the Billboard 200. It surpasses Alanis Morissette’s Jagged Little Pill for the second-most weeks spent in the top 10 among all albums released since 1990, trailing only Adele’s 21 (84 weeks in the top 10; 2011-16).

SEVENTEEN notches its first top 10 album on the Billboard 200 as SEVENTEEN 4th Album: Face the Sun debuts at No. 7 with 44,000 equivalent album units earned. Of that sum, album sales comprise 42,000, SEA units comprise 2,000 (equaling 2.71 million on-demand official streams of the set’s tracks) and TEA units comprise a negligible sum. The group has previously visited the Billboard 200 with two top 20-charting efforts (Your Choice: 8th Mini Album, peaking at No. 15, and SEVENTEEN 9th Mini Album: Attacca,  peaking at No. 13 – both in 2021).

Like many K-pop releases, the CD configuration of the new album was issued in collectible deluxe packages (seven total, including an exclusive edition for Target) each with a standard set of items and randomized elements (such as photocards, postcards and a poster).

Olivia Rodrigo’s chart-topping Sour is a non-mover on the Billboard 200 at No. 8 with nearly 37,000 equivalent album units (down 6%), Zach Bryan’s American Heartbreak falls 7-9 with 34,000 units (down 17%) and Jack Harlow’s Come Home the Kids Miss You drops 9-10 with 31,500 units (down 9%).

Source: billboard.com

Bush’s 1985 classic re-enters at No. 8, soaring past its prior No. 30 peak, thanks to its “Stranger Things”-sparked revival.

Harry Styles‘ “As It Was” scores a fifth week atop the Billboard Hot 100 songs chart. It premiered at No. 1 eight weeks earlier.

Concurrently, Kate Bush‘s 1985 classic “Running Up That Hill (A Deal With God)” re-enters the Hot 100 at No. 8, far surpassing its prior No. 30 peak – and becoming Bush’s first top 10 on the chart – sparked by its synch in the new fourth season of Netflix’s Stranger Things.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated June 11, 2022) will update on Billboard.com tomorrow (June 7). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“As It Was,” released on Erskine/Columbia Records, tallied 72.4 million radio airplay audience impressions (down 2%), 27.6 million streams (down 22%) and 6,500 downloads sold in the May 27-June 2 tracking week.

The track spends a fourth week at No. 1 on the Radio Songs chart; dips to No. 2 after two weeks atop Streaming Songs; and rises 10-6 on Digital Song Sales, following a week at the top spot.

Meanwhile, Styles’ “Late Night Talking” slides 4-9 in its second week on the Hot 100. The song, like “As It Was” from his LP Harry’s House, which crowns the Billboard 200 albums chart for a second week, is scaling the Pop Airplay chart (35-25, with Greatest Gainer honors, up 127% in plays), while “As It Was” leads the list for a fourth week.

Jack Harlow’s “First Class” holds at No. 2 on the Hot 100, after three nonconsecutive weeks at No. 1. It concurrently claims a seventh week atop both the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which use the same multi-metric methodology as the Hot 100.

Future’s “Wait for U,” featuring Drake and Tems, is likewise steady at No. 3 on the Hot 100, after a week at No. 1. It rules Streaming Songs for a third frame (31.5 million, down 2%).

Lizzo’s “About Damn Time” hits a new No. 4 Hot 100 high, up from No. 5, and reaches the Radio Songs top 10 (14-10; 40.9 million, up 16%, good for top Airplay Gainer honors on the Hot 100). Lizzo notches her third Radio Songs top 10, following her 2019 No. 1s “Truth Hurts” (for six weeks beginning that September) and “Good as Hell” (four, November). “Time” tops the multi-metric Hot R&B Songs chart for a third week.

Glass Animals’ “Heat Waves” rises 6-5 on the Hot 100, after five weeks at No. 1, as it leads the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a 37th week each, and Latto’s “Big Energy” pushes 7-6 on the Hot 100, after reaching No. 3.

Bad Bunny and Chencho Corleone’s “Me Porto Bonito” ascends 10-7 for a new Hot 100 best, as it rules the multi-metric Hot Latin Songs chart for a third week.

Kate Bush’s 1985 hit “Running Up That Hill (A Deal With God)” re-enters the Hot 100 at No. 8, surging past its prior No. 30 high, fueled by its synch in Netflix’s Stranger Things. The fourth season of the ’80s-set show, which premiered May 27, incorporates the song in multiple episodes, serving as a recurring theme for the character of Max Mayfield, played by Sadie Sink. (Bush is a fan of the series, and, in a rare move for her music, approved the song’s usage in it after reviewing script pages and footage outlining how it would be incorporated.)

“Hill” roars onto Digital Song Sales at No. 1, where it’s Bush’s first leader, with 18,300 sold, up from a nominal sum, and onto Streaming Songs at No. 6, with 17.5 million streams, also vaulting from a negligible total. It additionally drew 392,000 in radio airplay audience among Radio Songs reporters, again up from a minimal count. (Dating to the inception of Luminate data tracking in 1991, the song has totaled 62.5 million in radio reach, 52.4 million official streams and 151,000 in digital sales in the U.S.)

The English singer-songwriter, who first appeared on Billboard‘s charts in 1979, logs her first Hot 100 top 10, after “Hill” hit No. 30, her prior highpoint on the chart, on the Nov. 30, 1985, survey. (That week, Phil Collins and Marilyn Martin’s “Separate Lives” rose to No. 1, dethroning Starship’s “We Built This City”; Eddie Murphy’s “Party All the Time” hit the top 10; Wham!’s “I’m Your Man” scored the list’s highest debut, at No. 55; and Madonna’s “Dress You Up” rounded out the chart at No. 100.)

“Hill” was originally released on Bush’s 1985 album Hounds of Love and now also appears on Stranger Things: Soundtrack From the Netflix Series, Season 4; released May 27, the latter enters Billboard‘s Soundtracks chart at No. 18.

The song, which Bush solely wrote and produced, completes the longest journey from a title’s Hot 100 debut to its first week in the top 10 – 36 years, nine months and a week – since Chuck Berry’s “Run Rudolph Run” jingled to the tier in the 2020 holiday season after a record wait of 62 years and two weeks. Among non-holiday catalog songs this decade, the resurgence of “Hill” is similar to that of Fleetwood Mac’s 1977 No. 1 “Dreams,” which returned to the Hot 100, reaching No. 12, in October 2020 as it went viral on TikTok.

(Also notably, “Hill” received relatively recent renewed attention thanks to Meg Myers, whose faithful cover led the Alternative Airplay chart for two weeks in February 2020.)

Capping the Hot 100’s top 10, The Kid LAROI and Justin Bieber’s “Stay” returns to the region (12-10). It adds a 44th week in the top 10, second only to The Weeknd’s “Blinding Lights” (57 weeks, 2020-21) for the most in the chart’s history; “Stay” spent its first 43 weeks on the tally in the top 10, a record for the most time spent in the bracket consecutively from a song’s debut.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated June 11), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (June 7).

Source: billboard.com

Harry Styles’ Harry’s House holds atop the Billboard 200 albums chart (dated June 11) for a second week, following its debut at No. 1 a week ago. The set earned 160,500 equivalent album units (down 69%) in the U.S. in the week ending June 2, according to Luminate. It launched with 521,500 units.

Harry’s House is the first album to spend its first two weeks on the chart at No. 1 since Adele’s 30 spent its first six weeks atop the list (charts dated Dec. 4, 2021-Jan. 8, 2022).

Also in the new top 10, Def Leppard scores its eighth top 10 album on the Billboard 200 with the debut of Diamond Star Halos.

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 June 11, 2022-dated chart will be posted in full on Billboard‘s website on June 7. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Harry’s House’s 160,500 equivalent album units earned, album sales comprise 56,500 (down 83%), SEA units comprise 102,500 (down 46%; equaling 134.36 million on-demand streams of the set’s tracks) and TEA units comprise 1,500 (down 33%).

Four former No. 1s are next up on the Billboard 200, as Bad Bunny’s Un Verano Sin Ti is a non-mover at No. 2 with 141,500 equivalent album units (down 9%), Kendrick Lamar’s Mr. Morale & The Big Steppers is a non-mover at No. 3 with 89,500 units (down 7%), Future’s No. 1 I Never Liked You is stationary at No. 4 with 68,000 units (down 12%) and Morgan Wallen’s Dangerous: The Double Album rises 6-5 with 53,500 units (up 4%).

Following its release on vinyl, Doja Cat’s Planet Her jumps 12-6 with 41,500 equivalent album units (up 60%). It sold 16,500 copies on vinyl. (It debuted at its No. 2 high in 2021.) Zach Bryan’s American Heartbreak falls 5-7 in its second week with 40,500 units (down 43%) and Olivia Rodrigo’s former No. 1 Sour is stationary at No. 8 with 39,000 units (up 20%) following the release of deluxe one-year anniversary editions of the album. Jack Harlow’s Come Home the Kids Miss You dips 7-9 with 34,500 units (down 15%).

Def Leppard scores the Billboard 200’s highest debut as its latest studio effort, Diamond Star Halos, launches at No. 10 — scoring the rock band its eighth top 10 album. The set bows with 34,000 equivalent album units earned. Of that sum, album sales comprise 32,000; SEA units comprise 2,000 (equaling 2.7 million on-demand official streams of the album’s songs) and TEA units comprise less than 500 units.

Def Leppard notched its first top 10 on the Billboard 200 with Pyromania, which peaked at No. 2 in 1983. The act has since visited the top 10 with Hysteria (No. 1 for six weeks in 1988), Adrenalize (No. 1 for five weeks in 1992), Retro Active (No. 9; 1983), Rock of Ages: The Definitive Collection (No. 10; 2005), Songs From the Sparkle Lounge (No. 5; 2008), a self-titled album (No. 10; 2015) and now Diamond Star Halos (No. 10).

Source: billboard.com

Styles joins The Beatles as the only British acts ever with four concurrent Hot 100 top 10s, as his new album ‘Harry’s House’ launches with the biggest week for a set this year.

Harry Styles‘ “As It Was” rebounds for a fourth week at No. 1 on the Billboard Hot 100 songs chart. It soared in at the summit seven weeks earlier.

The track is the lead single from Styles’ new album Harry’s House. Released May 20 on Erskine/Columbia Records, the set blasts in at No. 1 on the Billboard 200 albums chart with 521,500 equivalent album units earned in the week ending May 26, according to Luminate – the biggest week for an album in the U.S. this year.

Concurrently, three other songs from Harry’s House debut in the Hot 100’s top 10: “Late Night Talking” (No. 4), “Music for a Sushi Restaurant” (No. 8) and “Matilda” (No. 9).

Styles is the first British soloist to chart as many as four songs in the Hot 100’s top 10 simultaneously. Among all British acts, he joins only The Beatles, who achieved the feat for five weeks in 1964, including two frames in which they logged five each.

Additionally, Lizzo‘s “About Damn Time” hits the Hot 100’s top five, climbing 9-5.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated June 4, 2022) will update on Billboard.com tomorrow (June 1, a day later than usual due to the Memorial Day holiday in the U.S. May 30). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“As It Was” tallied 73.7 million radio airplay audience impressions (up 5%) and 35.6 million streams (up 58%) in the May 20-26 tracking week. The song scores its highest weekly radio reach and its second-best streaming sum, following its debut (43.8 million; April 16).

The track spends a third week at No. 1 on the Radio Songs chart and surges 10-1 for a second week atop Streaming Songs, after it debuted at the summit.

“As It Was” is joined in the Hot 100’s top 10 by three debuts also from Harry’s House: “Late Night Talking” (No. 4), “Music for a Sushi Restaurant” (No. 8) and “Matilda” (No. 9). The cuts start at Nos. 3, 4 and 5 on Streaming Songs with 27 million, 20.8 million and 20.4 million streams, respectively.

“Talking” additionally drew 6.1 million in radio audience and debuts at No. 35, as an unpromoted track, on the Pop Airplay chart; “As It Was” leads the list for a third week.

Styles ups his count to seven solo Hot 100 top 10s – one more than One Direction, in which he broke through, achieved (in 2012-15).

As Styles becomes the first British soloist with four concurrent Hot 100 top 10s, he’s the 12th act overall to land the honor, following Drake (a record nine on the Sept. 18, 2021, chart), Juice WRLD (five, July 25, 2020), The Beatles (five, April 4 and 11, 1964), Kendrick Lamar, Bad Bunny, Future, J. Cole, Post Malone, Lil Wayne, T-Pain and 50 Cent (highs of four each).

Meanwhile, after a sluggish start for new music this year – as only two of the 26 songs to appear in the Hot 100’s top 10 between January and the April 9 chart were released in 2022 – a hefty 20 top 10s released this year have reached the region in the eight weeks since, by Styles, Jack Harlow, Morgan Wallen, Future, Lizzo, Bad Bunny and Lamar. The latest list marks the fourth in a row on which an artist has logged four top 10s from a new album, as Styles follows Lamar (May 28), Bad Bunny (May 21) and Future (May 14).

Harlow’s “First Class” descends to No. 2 on the Hot 100, after three nonconsecutive weeks at No. 1; it flew in atop the April 23 tally. The song wins the Hot 100’s top Airplay Gainer award for a sixth straight week (tying Imagine Dragons and JID’s “Enemy,” in February-April, for the best such streak this year), as it pushes 3-2 on Radio Songs, up 14% to 68 million in audience.

“First Class” concurrently claims a sixth week atop both the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which use the same multi-metric methodology as the Hot 100.

Future’s “Wait for U,” featuring Drake and Tems, rebounds 4-3 on the Hot 100, three weeks after it debuted at No. 1.

Lizzo’s “About Damn Time” reaches the Hot 100’s top five, leaping 9-5, fueled by its 25% gain to 35.3 million in radio audience. All four of her top 10s have now reached the top five, as her latest follows “Truth Hurts” (seven weeks at No. 1, beginning in September 2019), “Good as Hell” (No. 3, November 2019) and “Rumors,” featuring Cardi B (No. 4, August 2021).

“Time” clocks in at No. 1 on Digital Song Sales for the first time (despite a 14% drop to 11,900 sold). Lizzo adds her third leader on the chart, after “Truth Hurts” (for five weeks in 2019) and “Good as Hell” (one, 2020).

“Time” concurrently returns for a second week atop the multi-metric Hot R&B Songs chart.

Glass Animals’ “Heat Waves” rebounds 12-6 on the Hot 100, after five weeks at No. 1, as it rules the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a 36th week each, and Latto’s “Big Energy” bumps 10-7 on the Hot 100, after hitting No. 3.

Elsewhere in the Hot 100’s top 10, Bad Bunny and Chencho Corleone’s “Me Porto Bonito” rises 14-10, revisiting its highpoint first reached in its debut frame two weeks earlier. The track tops the multi-metric Hot Latin Songs chart for a second week.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated June 4), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (June 1).

Source: billboard.com

The set is only the fourth album in the last 18 months to earn 500,000-plus units in a single week.

Harry Styles’ Harry’s House debuts atop the Billboard 200 albums chart (dated June 4) with a massive 521,500 equivalent album units earned in the U.S. in the week ending May 26, according to Luminate. It’s the largest week of 2022 for any album and only the fourth album in the last 18 months to earn at least 500,000 units in a single week. It logs the biggest week for an album since Adele’s 30 debuted with 839,000 units in the week ending Nov. 25, 2021 (chart dated Dec. 4, 2021). (Styles and Adele also are labelmates — both are on Columbia Records.)

Harry’s House is Styles’ third No. 1 on the Billboard 200 — the entirety of his solo releases. And all three have bowed at No. 1. He also topped the list with 2019’s Fine Line and his 2017 self-titled debut. Harry’s House was released on May 20.

Harry’s House also logs a modern-era record for single-week vinyl album sales, as it sold 182,000 copies on vinyl in the U.S. That marks the largest week for an album on vinyl since Luminate began tracking music sales in 1991. It beats the previous high, set last year, when Taylor Swift’s Red (Taylor’s Version) sold 114,000 vinyl copies in the week ending Nov. 18, 2021.

The vinyl sales for Harry’s House were so large that vinyl sales alone would have made the album No. 1 on the Billboard 200 in all but three weeks of 2022 thus far.

Harry’s House was preceded by the No. 1 Billboard Hot 100 hit song “As It Was,” which has spent three weeks atop the list (through the most recently published chart, dated May 28).

Styles ushered in the album with interviews and/or performances on Apple Music with Zane Lowe (May 16), SiriusXM’s The Howard Stern Show (May 18), NBC’s Today (May 19) and NPR’s Morning Edition (May 20). Apple Music also live streamed Styles’ One Night Only in New York concert from UBS Arena on May 20.

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 June 4, 2022-dated chart will be posted in full on Billboard‘s website on June 1 (one day later than usual, owed to the Memorial Day holiday on May 30 in the U.S.). For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Harry’s House’s 521,500 equivalent album units earned, album sales comprise 330,000 (the largest sales week of 2022), SEA units comprise 189,000 (equaling 246.96 million on-demand streams of the set’s 13 tracks — 2022’s largest streaming week for a non-R&B/hip-hop or Latin album) and TEA units comprise 2,500.

In the last 18 months, only four albums have earned at least 500,000 equivalent album units in a single week, and all did so in their debut frames: Harry’s House (521,500), Adele’s 30 (839,000); Swift’s Red (Taylor’s Version) (604,500) and Drake’s Certified Lover Boy (612,500; chart dated Sept. 18, 2021).

In terms of traditional album sales, the last album to sell more copies than Harry’s House in a single week was Adele’s 30, when it debuted with 692,000 copies sold in its first week (ending Nov. 25, 2021; chart dated Dec. 4, 2021). The only other album to sell more than Harry’s House in the past 18 months was Swift’s Red (Taylor’s Version), when it sold 369,000 copies in its opening frame (week ending Nov. 18, 2021; chart dated Nov. 27, 2021).

Bad Bunny’s Un Verano Sin Ti holds at No. 2 on the latest Billboard 200 (155,000 equivalent album units; down 15%) after bowing at No. 1 three weeks ago. Kendrick Lamar’s Mr. Morale & The Big Steppers falls 1-3 in its second week with 96,000 units (down 68%). Future’s former No. 1 I Never Liked You rounds out the top four, slipping 3-4 in its fourth week with 77,000 units (down 14%).

Singer-songwriter Zach Bryan makes his Billboard 200 debut with his first major label album, American Heartbreak, bowing at No. 5. The 34-track set enters with 71,500 equivalent album units earned — the biggest week for a country album in 2022. Of the set’s starting sum, SEA units comprise 64,500 (equaling 84.09 million on-demand official streams of the album’s 34 songs), album sales comprise 6,000 and TEA units comprise 1,000.

American Heartbreak was preceded by three top 40-charting hits on Billboard’s Hot Country Songs chart, including the breakout single “Something in the Orange.” The cut became his first entry on the all-genre Billboard Hot 100 chart on May 7.

Bryan made his Billboard chart debut in September of 2019 when his DeAnn album reached No. 10 on Heatseekers South Central regional chart (which ranked the week’s top albums by new and developing artists in the south central region of the U.S.). By the end of 2021, Bryan had charted a trio of top 20-charting efforts on Billboard’s Americana/Folk Albums chart.

Morgan Wallen’s former No. 1 Dangerous: The Double Album falls 5-6 on the new Billboard 200 with 51,500 equivalent album units earned (down 7%), Jack Harlow’s Come Home the Kids Miss You dips 6-7 (41,000; down 26%), Olivia Rodrigo’s chart-topping Sour rises 9-8 (32,500; up 1%), TOMORROW X TOGETHER’s Minisode 2: Thursday’s Child falls 4-9 in its second week (30,500; down 55%) and Lil Durk’s former No. 1 7220 is a non-mover at No. 10 (27,000; down 7%).

Source: billboard.com

“First Class” claims a third week atop the Hot 100; Kendrick Lamar debuts four songs in the top 10, led by “N95” at No. 3; and Morgan Wallen’s “You Proof” bows at No. 6.

Jack Harlow‘s “First Class” holds the No. 1 spot on the Billboard Hot 100 songs chart for a third total week, five weeks after it flew in at No. 1.

The track paces a top 10 that features five debuts, led by Kendrick Lamar, who launches four songs in the region – all from his new album, Mr. Morale & The Big Steppers, which soars in at No. 1 on the Billboard 200 with 295,500 equivalent album units, the top weekly sum for a set in 2022.

Plus, Morgan Wallen‘s “You Proof” opens at No. 6 on the Hot 100, marking his fourth top 10 and tying his best career rank.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated May 28, 2022) will update on Billboard.com tomorrow (May 24). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“First Class,” released on Generation Now/Atlantic Records, drew 60.3 million radio airplay audience impressions – up 23%, as it wins the Hot 100’s top Airplay Gainer award for a fifth consecutive week – and 25.2 million streams (down 19%) and sold 8,600 downloads (up 8%) in the May 13-19 tracking week, according to Luminate.

The track jumps 8-3 for a new high on Radio Songs and 7-4 on Digital Song Sales, after a week on top, and drops 2-6 on Streaming Songs, following three weeks at No. 1.

“First Class” concurrently claims a fifth week atop both the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which use the same multi-metric methodology as the Hot 100.

Harry Styles’ “As It Was” keeps at No. 2 on the Hot 100, after three weeks at No. 1, with 70.1 million in airplay audience (up 6%) – as it rules Radio Songs for a second week – 22.5 million streams (down 3%) and 7,900 sold (up 5%). The track tops the Pop Airplay chart for a second week and ascends to No. 1 on Adult Pop Airplay, where it’s Styles’ second leader, following “Watermelon Sugar” for a week in October 2020.

Kendrick Lamar debuts four songs in the Hot 100’s top 10, led by “N95” at No. 3, as it opens with 37.2 million streams, 942,000 airplay audience impressions and 2,300 sold. The track starts as his third No. 1 on Streaming Songs, following “Humble.” (for four weeks, beginning in April 2017) and his featured turn on Lil Wayne’s “Mona Lisa” (one, October 2018).

Lamar’s other top 10 premieres on the latest Hot 100, also from his new album Mr. Morale & The Big Steppers: “Die Hard,” with Blxst and Amanda Reifer, at No. 5 (driven primarily by 27 million streams, as well as 2.4 million in airplay audience); “Silent Hill,” with Kodak Black, at No. 7 (26.5 million streams; 1.8 million in radio reach); and “United in Grief,” at No. 8 (25 million streams).

“Die Hard” concurrently begins atop the Hot R&B Songs chart, becoming Lamar’s first leader on the list.

Lamar ups his Hot 100 top 10 total to 12. Blxst and Reifer each appear in the chart’s top tier for the first time and Kodak Black adds his fourth top 10.

Meanwhile, Lamar logs the eighth week in which an act has posted four or more concurrent top 10 Hot 100 debuts – and the third in a row, a week after Bad Bunny bowed with four and two weeks after Future arrived with a quartet. Before that, Drake bounded in with a record nine top 10 chart entrances (Sept. 18, 2021), after J. Cole (May 29, 2021), Juice WRLD (July 25, 2020), Lil Wayne (Oct. 13, 2018) and Drake (July 14, 2018) each debuted four tracks in the top 10 simultaneously.

Future’s “Wait for U,” featuring Drake and Tems, descends 3-4 on the Hot 100, two weeks after it debuted at No. 1.

Morgan Wallen’s “You Proof” roars in at No. 6 on the Hot 100. The song, released May 13 – Wallen’s birthday, after he had teased it on TikTok May 1 – debuts at No. 1 on Digital Song Sales (23,100 sold), where it’s his fourth top 10, all achieved this year, and No. 8 on Streaming Songs (22.4 million).

Wallen notches his fourth Hot 100 top 10, all of which have debuted in the bracket, and ties “7 Summers,” which bowed and peaked at No. 6 in August 2020, for his highest placement. He returned to the top 10 with “Wasted on You,” which started at its No. 9 best in January 2021, and “Don’t Think Jesus,” which began at its No. 7 peak on the April 30, 2022, chart.

“You Proof” also debuts as Wallen’s fifth No. 1 – and his record-extending fourth to open at the summit – on the multi-metric Hot Country Songs chart. It follows “Whiskey Glasses,” which rose to No. 1 for two weeks in May 2019; “7 Summers,” which ruled in its debut week in August 2020; “Wasted on You,” which led in its first frame in January 2021; and “Don’t Think Jesus” last month.

Notably, “You Proof” is the sixth track to debut at No. 1 on Hot Country Songs and in the Hot 100’s top 10 simultaneously; all of have done so since August 2020 (after Hot Country Songs adopted the Hot 100’s methodology in October 2012). Of the six songs, four are by Wallen.

Songs to Debut at No. 1 on Hot Country Songs & In the Hot 100’s Top 10 Simultaneously:
“7 Summers,” Morgan Wallen, No. 6 Hot 100 debut, Aug. 29, 2020
“Forever After All,” Luke Combs, No. 2, Nov. 7, 2020
“Wasted on You,” Wallen, No. 9, Jan. 23, 2021
“All Too Well (Taylor’s Version),” Taylor Swift, No. 1, Nov. 27, 2021
“Don’t Think Jesus,” Wallen, No. 7, April 30, 2022
“You Proof,” Wallen, No. 6, May 28, 2022

Wallen’s “You Proof,” “Jesus” and “Thought You Should Know” – which debuted at its No. 12 high on last week’s May 21-dated Hot 100 and No. 1 on Hot Country Songs – along with Lil Durk’s “Broadway Girls,” featuring Wallen, which entered at its No. 14 Hot 100 peak and No. 1 on Digital Song Sales in January, mark Wallen’s first music released since he was caught on video using a racial slur in February 2021. None are yet confirmed to be on a Wallen album; he last released Dangerous: The Double Album (in January 2021), which ranks at No. 5 on the Billboard 200 and spends a record-extending 59th week at No. 1 on Top Country Albums (up 5% to 55,000 units, helped by his May 15 performance of the set’s “Wasted on You,” as well as “Jesus,” on the 2022 Billboard Music Awards).

Elsewhere in the Hot 100’s top 10, Lizzo’s “About Damn Time” holds at its No. 9 high and Latto’s “Big Energy” retreats 8-10, after hitting No. 3.

Meanwhile, after a slow start for new music this year – as only two of the 26 songs to appear in the Hot 100’s top 10 between January and the April 9 chart were released in 2022 – a robust 17 top 10s released this year have reached the region in the seven weeks since, by Styles, Harlow, Wallen, Future, Lizzo, Bad Bunny and Lamar.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated May 28), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (May 24).

Source: billboard.com

Plus: TOMORROW X TOGETHER, Florence + The Machine & The Black Keys bow in top 10.

Kendrick Lamar lands his fourth No. 1 album on the Billboard 200 chart as his latest release, Mr. Morale & The Big Steppers, launches atop the list (dated May 28). He’s debuted at No. 1 with each of his last four albums.

Mr. Morale & The Big Steppers charges in with 295,500 equivalent album units earned in the U.S. in the week ending May 19, according to Luminate — the largest week of the year for any album. It’s the third straight week in which that benchmark has been crushed. A week ago, Bad Bunny’s Un Verano Sin Ti did the trick with its No. 1 debut of 274,000, and in the week before that, Future’s I Never Liked You bowed at No. 1 with 222,000.

Mr. Morale & The Big Steppers was announced on April 18 and released on May 13. It’s Lamar’s first album in just over five years. His last project was DAMN., released in April 2017. DAMN. spent four weeks atop the Billboard 200 (his longest run at No. 1), was 2017’s year-end No. 1 album on the tally and was awarded the 2018 Pulitzer Prize in Music.

Mr. Morale & The Big Steppers’ 18 tracks are split evenly on the album into two parts, each with nine tracks. The first half is named Big Steppers and the second half is named Mr. Morale. The album was not preceded by any pre-release singles (though, Lamar did drop the non-album track “The Heart Part 5” on May 8, along with an eye-catching music video). Following the album’s arrival, Lamar released the official music video for “N95,” a song that is on the album.

Also in the Billboard 200’s new top 10, TOMORROW X TOGETHER notches its highest-charting album yet with the No. 4 debut of Minisode 2: Thursday’s Child, Florence + The Machine captures its fourth top 10 album with the No. 7 arrival of Dance Fever and The Black Keys land their sixth top 10 effort with the No. 8 start of Dropout Boogie.

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 May 28, 2022-dated chart will be posted in full on Billboard‘s website on May 24. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Mr. Morale & The Big Steppers’ 295,500 equivalent album units earned, SEA units comprise 258,500 (equating to 343.02 million on-demand official streams of the set’s 18 tracks), album sales comprise 35,500 and TEA units comprise 1,500.

Mr. Morale & The Big Steppers claims the biggest week, by equivalent album units, for any album since Adele’s 30 debuted with 839,000 units in the week ending Nov. 25, 2021 (chart dated Dec. 4, 2021).

Mr. Morale & The Big Steppers logs 2022’s largest streaming week for an R&B/hip-hop album, and the second-biggest streaming week of 2022 for any album. The year’s largest streaming week is currently owned by the debut frame of Bad Bunny’s 23-track Un Verano Sin Ti: 261,000 SEA units; equating to 356.55 million on-demand official streams of its tracks.

Notably, Mr. Morale & The Big Steppers claims the year’s highest weekly equivalent album units total over Bad Bunny’s Un Verano Sin Ti, despite having five fewer tracks (18 vs. 23) to contribute to its SEA unit sum. (Mr. Morale & The Big Steppers’ overall unit total jumped past Un Verano Sin Ti thanks largely its traditional album sales.)

Mr. Morale & The Big Steppers’ starting sales figure of 35,000 came solely from digital album sales, as the set won’t be issued on CD until May 27. That sales sum marks the largest sales week for a digital album in 2022, and the biggest for any album since Adele’s 30 bowed with 205,000 digital albums sold in its first week (chart dated Dec. 4, 2021).

At No. 2 on the new Billboard 200, Bad Bunny’s Un Verano Sin Ti falls from the No. 1 slot in its second week (182,000 equivalent album units earned; down 34%). Future’s former No. 1 I Never Liked You slips from No. 2 to No. 3 with 89,500 units (down 23%).

TOMORROW X TOGETHER scores its second top 10 album and highest-charting effort yet on the Billboard 200, as Minisode 2: Thursday’s Child bows at No. 4. It surpasses the No. 5 debut and peak of The Chaos Chapter: Freeze, in June 2021. (In total, Minisode 2: Thursday’s Child is the sixth charting effort on the Billboard 200 for the South Korean pop quintet.)

Minisode 2: Thursday’s Child starts with 68,500 equivalent album units earned. Of that sum, album sales comprise 65,500; SEA units comprise 3,000 (equaling 4.37 million on-demand official streams of the set’s five tracks) and TEA units comprise a negligible sum.

Minisode 2: Thursday’s Child enters at No. 1 on the Top Album Sales chart with the third-largest sales week of any album in 2022 — 65,500 sold. Effectively all of that sum was sold through CDs while only about 500 were sold via digital download. The album was not available on any other configuration (such as vinyl LP or cassette).

Like many K-pop releases, the CD configuration of the album was issued in collectible packages (eight total, including exclusive versions for Target and Barnes & Noble), each with a standard set of internal paper items and randomized elements (such as photocards and post cards).

Morgan Wallen’s chart-topping Dangerous: The Double Album is pushed down one spot to No. 5 despite a 5% gain (55,500 equivalent album units earned). Jack Harlow’s Come Home the Kids Miss You falls three rungs to No. 6 in its second week with 55,000 units (down 51%).

Florence + The Machine collects its fourth top 10 album on the Billboard 200 as Dance Fever debuts at No. 7 with 54,000 equivalent album units earned. Of that sum, album sales comprise 42,500, SEA units comprise 11,000 (equaling 14.5 million on-demand official streams of the set’s 14 tracks) and TEA units comprise 500 units.

Dance Fever was ushered in by single “My Love,” which spent two weeks at No. 1 on the Adult Alternative Airplay chart (the group’s sixth No. 1) and climbed into the top 10 on the Alternative Airplay tally on the most recently published chart (dated May 21). On the latter chart, “My Love” is the act’s fourth top 10 and first since 2015’s “Ship to Wreck.”

The Black Keys round out the week quartet of debuts in the Billboard 200’s top 10, as Dropout Boogie bows at No. 8. The set starts with 33,000 equivalent album units earned. Of that sum, album sales comprise 27,500; SEA units comprise 5,000 (equaling 6.5 million on-demand official streams of the set’s 10 tracks) and TEA units comprise 500 units. In total, Dropout Boogie is the duo’s sixth top 10 album on the Billboard 200 and comes only a year after its last release, Delta Kream, which debuted and peaked at No. 6 on the May 29, 2021-dated chart.

Dropout Boogie was preceded by the single “Wild Child,” which topped both the Adult Alternative Airplay and Alternative Airplay charts, and reached the top 15 on the Mainstream Rock Airplay tally.

Closing out the new top 10 on the Billboard 200 are two former No. 1s: Olivia Rodrigo’s Sour falls 5-9 with 32,000 equivalent album units earned (though up less than 1%) and Lil Durk’s 7220 slips 7-10 with 29,000 units (down 7%).

Source: billboard.com