Plus, three acts score their first top five hits: Tommy Richman, new at No. 2, Shaboozey (27-3) and Sabrina Carpenter (22-4).

Taylor Swift’s “Fortnight,” featuring Post Malone, notches a second week at No. 1 on the Billboard Hot 100 songs chart (fittingly given its title).

A week earlier, Swift made history by infusing the Hot 100’s top 14 positions, all from her new Republic Records LP, The Tortured Poets Department, which concurrently adds a second week at No. 1 on the Billboard 200 albums chart. Swift claims three Hot 100 top 10s in the set’s second chart frame, with “Fortnight” joined by “I Can Do It With a Broken Heart” at No. 9 and “Down Bad” at No. 10.

Plus, three acts soar to their first top five Hot 100 appearances: Tommy Richman’s “Million Dollar Baby” debuts at No. 2; Shaboozey’s “A Bar Song (Tipsy)” bounds 27-3, after it began at No. 36 two weeks earlier; and Sabrina Carpenter’s “Espresso” surges 22-4, two weeks after it entered the chart at No. 7, becoming her first top 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 May 11, 2024) will update on Billboard.com tomorrow, May 7. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

Source: billboard.com

Plus: PARTYNEXTDOOR debuts in the top 10.

Taylor Swift’s The Tortured Poets Department holds steady at No. 1 on the Billboard 200 (dated May 11) in its second week, earning 439,000 equivalent album units in the U.S. in the week ending May 2 (down 83%), according to Luminate. It arrived atop the chart a week ago with a massive 2.61 million units.

Though the set declines by 83%, it still logs the biggest second-week, by units, for any album since Adele’s 25 tallied 1.162 million units in its second week (Dec. 12, 2015-dated chart, down from its 3.482 million in its opening week).

Also in the top 10 of the new Billboard 200, PARTYNEXTDOOR debuts at No. 10 with PARTYNEXTDOOR 4 (P4).

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 11, 2024-dated chart will be posted in full on Billboard‘s website on May 7. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

Of The Tortured Poets Department’s second-week unit sum of 439,000, SEA units comprise 330,000 (down 52%, equaling 428.54 million on-demand official streams of the set’s songs), traditional album sales comprise 107,000 (down 94%) and TEA units comprise 2,000 (down 82%).

The rest of the top four titles on the Billboard 200 comprises former No. 1s. Morgan Wallen’s One Thing at a Time rises 4-2 (69,000 equivalent album units; up 8%), Future and Metro Boomin’s We Don’t Trust You falls 2-3 (61,000; down 11%) and Beyoncé’s Cowboy Carter dips 3-4 (52,000; down 21%). Noah Kahan’s Stick Season rounds out the top five, stepping 7-5 (41,000; down 10%).

Wallen’s chart-topping Dangerous: The Double Album climbs 11-6 (its highest rank since it was No. 5 on the July 29, 2023, chart) with 40,000 equivalent album units (up 9%). Benson Boone’s Fireworks & Rollerblades glides 8-7 (40,000; down 1%), Future and Metro Boomin’s former leader We Still Don’t Trust You falls 6-8 (39,000; down 28%) and SZA’s chart-topping SOS is steady at No. 9 (nearly 39,000; down 1%).

Closing out the top 10 of the new Billboard 200 is PARTYNEXTDOOR and the arrival of his PARTYNEXTDOOR 4 (P4) at No. 10. It launches with 37,000 equivalent album units earned. Of that sum, SEA units comprise 34,000 (equaling 45.94 million on-demand official streams of the set’s songs), album sales comprise 3,000 and TEA units comprise a negligible sum. PARTYNEXTDOOR4 marks the third top 10-charting set for the singer/songwriter and producer, following PARTYMOBILE (No. 8 in 2020) and PARTYNEXTDOOR 3 (P3) (No. 3 in 2016).

Source: billboard.com

Already the only artist ever to monopolize the top 10, in 2022, Swift makes more history thanks to her new album, The Tortured Poets Department.

Taylor Swift achieves one of the most record-shattering weeks in the history of the Billboard Hot 100 songs chart – surpassing unprecedented heights that she previously set – as she claims the top 14 positions on the survey dated May 4. All 14 songs, led by “Fortnight,” featuring Post Malone, are from her new album, The Tortured Poets Department, which, following the Republic Records set’s April 19 release, blasts in at No. 1 on the Billboard 200 chart.

Swift was already the only artist ever to dominate the Hot 100’s entire top 10 — thanks to tracks from her last album of all-new material, Midnights, in 2022, led by the collection’s “Anti-Hero.”

Among other new chart feats for Swift, “Fortnight” becomes her 12th Hot 100 No. 1, as she ties for the sixth-most leaders in the chart’s archives; she ups her career count of top 10s from 49 to 59, the most among women; and she charts 32 songs – all 31 from the deluxe version of The Tortured Poets Department plus established smash “Cruel Summer” – on the latest list overall, the most ever in a single week by a woman.

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 May 4, 2024) will update on Billboard.com tomorrow, April 30. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

Source: billboard.com

The set launches with the largest streaming week ever for an album and marks her 14th No. 1, tying her for the most among soloists.

As expected, Taylor Swift’s The Tortured Poets Department makes a gigantic debut at No. 1 on the Billboard 200 albums chart (dated May 4), securing the superstar her 14th chart-topping album. She ties Jay-Z for the most No. 1s among soloists in the nearly-70-year history of the chart. Only The Beatles, with 19 No. 1s, have more.

The Tortured Poets Department launches with 2.61 million equivalent album units earned in the U.S. in the week ending April 25, with traditional album sales (purchases of digital download albums, CDs, vinyl LPs and cassettes) comprising 1.914 million of that sum. Of that sales figure, vinyl sales represent a staggering 859,000. The collected 31 songs on the deluxe edition of the album generated 891.34 million on-demand official streams.

Those eye-popping figures mark the largest streaming week for an album ever, the second-largest week for an album (by total equivalent album units earned) since the Billboard 200 began measuring by units in December 2014, the third-largest sales week (by traditional album sales) in the modern era (since Luminate began electronically tracking sales in 1991) and the largest sales week for an album on vinyl in the modern era.

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 4, 2024-dated chart will be posted in full on Billboard‘s website on April 30. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

Of The Tortured Poets Department’s first-week unit sum of 2.61 million, album sales comprise 1.914 million (a number bolstered by its availability across more than 20 different iterations of the album), SEA units comprise 683,000 (equaling 891.37 million on-demand official streams of the set’s 31 songs, on its deluxe edition) and TEA units comprise 14,000. (All figures are rounded.)

With 1.914 million sold, The Tortured Poets Department is instantly the top-selling album of 2024, year-to-date. The second-biggest selling album, counting weekly sales from January through the present, is Beyoncé’s Cowboy Carter, with 228,000 copies sold in total.

Swift announced the album during the Grammy Awards on Feb. 4, and her official webstore began accepting pre-orders for the project that same day. The set was released on April 19, alongside its first single, “Fortnight,” featuring Post Malone.

The Tortured Poets Department (abbreviated as TTPD) was initially released at midnight ET on April 19 as a standard 16-song digital download album, as well as an array of 17-song physical configurations (more details on the assorted versions later in this story). Two hours after the album’s release, Swift announced an expanded 31-song edition of the set and released it as a digital download and streaming album. She wrote: “It’s a 2am surprise: The Tortured Poets Department is a secret DOUBLE album. I’d written so much tortured poetry in the past 2 years and wanted to share it all with you, so here’s the second installment of TTPD: The Anthology. 15 extra songs. And now the story isn’t mine anymore… it’s all yours.”

Source: billboard.com

Plus, Sabrina Carpenter scores her first Hot 100 top 10 as “Espresso” debuts at No. 7.

Hozier’s “Too Sweet” ascends to No. 1, from No. 2, on the Billboard Hot 100 songs chart, three weeks after it debuted at No. 5. The Irish singer-songwriter achieves his first Hot 100 leader. In his sole prior run in the top 10, he hit No. 2 with his breakthrough hit “Take Me to Church” in 2014-15.

“Too Sweet” is from Hozier’s EP Unheard, which debuted three weeks ago as his fourth Billboard 200 top 10. In 2023, he began his first U.S. tour since the onset of the coronavirus pandemic; the trek continues with international dates scheduled through November. He told Billboard ahead of the tour’s start, and reflecting anticipation for his new music, “I’m just excited to share the work live with a fan base that has been with me now for 10 years.”

Plus, Sabrina Carpenter earns her first Hot 100 top 10 as “Espresso” enters the chart at No. 7. The song follows her first top 40 hit, “Feather,” which concurrently flies to a new No. 21 high on the latest list.

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 April 27, 2024) will update on Billboard.com tomorrow, April 23. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

Below is a look at Hozier’s Hot 100 coronation and Carpenter’s top 10 launch.

Source: billboard.com

The set reigns only three weeks after the pair’s “We Don’t Trust You” bowed at No. 1. Plus: Linkin Park’s first hits set “Papercuts” debuts in the top 10.

Future and Metro Boomin’s second collaborative album, We Still Don’t Trust You, debuts at No. 1 on the Billboard 200 chart (dated April 27), with 127,500 equivalent album units earned in the U.S. in the week ending April 18, according to Luminate. It’s the sequel project to the pair’s We Don’t Trust You, which opened at No. 1 on the April 6-dated chart (with 251,000 units in its first week).

With We Still Don’t Trust You arriving atop the Billboard 200 only three weeks after We Don’t Trust You debuted at No. 1, that marks the shortest gap between new No. 1s by an artist since Future replaced himself at No. 1 in 2017 in successive weeks with his self-titled album (March 11, 2017, chart) and HNDRXX (March 18, 2017), both of which debuted at No. 1.

On the latest Billboard 200, We Don’t Trust You rises 4-3 with 83,000 equivalent album units earned (down 17%). In the last 20 years, there have only been seven instances of acts charting two albums in the top three at the same time. Prince did it twice following his death in 2016 (The Very Best of Prince and the Purple Rain soundtrack on the May 7-14, 2016 charts), Future did so once in 2017 with his back-to-back No. 1s (Future and HNDRXX on the March 18, 2017, chart), Taylor Swift achieved the feat three times (Dec. 26, 2020, with Evermore and Folklore; and Dec. 9 and 23, 2023, with 1989 [Taylor’s Version] and Midnights) and now Future and Metro Boomin on the latest chart with We Don’t Trust You and We Still Don’t Trust You.

Future’s total No. 1 count on the Billboard 200 now rises to 10, while Metro Boomin collects his fifth leader. Only 10 acts have earned at least 10 No. 1s: The Beatles (a record 19), Jay-Z (14), Drake and Swift (13 each), Bruce Springsteen, Barbra Streisand and Ye (formerly Kanye West) (11 each), Eminem, Future and Elvis Presley (10 each).

Also in the top 10 of the new Billboard 200, Linkin Park’s first hits compilation, Papercuts, debuts at No. 6, marking the 11th top 10-charting effort for the rock band.

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 April 27, 2024-dated chart will be posted in full on Billboard‘s website on April 23. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

Of We Still Don’t Trust You’s first-week unit sum of 127,500, SEA units comprise 124,500 (equaling 162.57 million on-demand official streams of the set’s 25 tracks), traditional album sales comprise 2,500 (the album was only available to purchase as a digital download) and TEA units comprise 500.

A CD configuration of We Still Don’t Trust You is due for release on April 26, while its vinyl is scheduled to drop in July. We Don’t Trust You, meanwhile, was issued on CD on April 19, while its vinyl is also due in July.

Beyoncé’s Cowboy Carter slips to No. 2 after spending its first two weeks atop the Billboard 200. It earned 98,000 equivalent album units in its third week (down 24%). Morgan Wallen’s former No. 1 One Thing at a Time rises 5-4 with 71,000 (down 1%). Noah Kahan’s Stick Season jumps 8-5 with 51,000 (up 14%), following the release of the Stick Season (We’ll All Be Here Forever) deluxe edition across four vinyl variants and on CD. The deluxe set was originally released on June 9, 2023, as a digital download and streaming album.

Linkin Park’s first hits compilation album, Papercuts, debuts at No. 6 with 44,000 equivalent album units earned. Of that sum, SEA units comprise 23,000 (equaling 32.04 million on-demand official streams of the set’s 20 songs), album sales comprise 20,500 and TEA units comprise 500. The album’s sales were bolstered by its availability across eight vinyl variants, as well as a CD, cassette and digital download.

Papercuts boasts 14 of the band’s 19 top 10s on Billboard’s Alternative Airplay chart, including 10 of its 12 No. 1s on the list.

In total, Link Park has achieved 11 top 10s on the Billboard 200 albums chart: Hybrid Theory (No. 2 in 2002), Reanimation (No. 2, 2002), Meteora (No. 1, 2003), MTV Ultimate Mash-Ups Presents: Collision Course (with Jay-Z, No. 1 in 2004), Minutes to Midnight (No. 1, 2007), A Thousand Suns (No. 1, 2010), Living Things (No. 1, 2012), Recharged (No. 10, 2013), The Hunting Party (No. 3, 2014), One More Light (No. 1, 2017) and Papercuts (No. 6, 2024).

Benson Boone’s Fireworks & Rollerblades skates 6-7 in its second week with 43,000 equivalent album units earned (down 25%). Three former No. 1s round out the top 10, as SZA’s chart-topping SOS rises 10-8 with just over 40,000 (up 1%), Morgan Wallen’s Dangerous: The Double Album climbs 11-9 with 40,000 (up 1%) and Ariana Grande’s Eternal Sunshine falls 7-10 with nearly 40,000 (down 17%).

Source: billboard.com

Plus, J. Cole’s “7 Minute Drill” debuts at No. 6.

Future, Metro Boomin and Kendrick Lamar’s “Like That” lands a third total and consecutive week at No. 1 on the Billboard Hot 100 songs chart, two weeks after it soared in at the summit.

Plus, J. Cole’s “7 Minute Drill” debuts at No. 6 on the Hot 100. On the track, from J. Cole’s new album Might Delete Later, he appears to respond to Lamar’s apparent disses directed at himself and Drake in “Like That.” The song bows as J. Cole’s 13th top 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 April 20, 2024) will update on Billboard.com tomorrow, April 16. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

“Like That,” on Boominati/Freebandz/Republic/Epic Records, drew 40 million streams (down 13%) and 14 million radio airplay audience impressions (up 39%) and sold 3,000 (down 56%) April 5-11.

The single adds a third week at No. 1 on the Streaming Songs chart; drops 8-14 on Digital Song Sales; and debuts at No. 41 on Radio Songs.

Notably, “Like That” is the first song to clear 40 million in streams in its first three weeks, after it registered 46.1 million the week before and 59.6 million in its debut week, since Miley Cyrus’ “Flowers” began with 52.6 million, 59.7 million and 48 million consecutively in January-February 2023. Among hip-hop hits (defined as those that have appeared on Billboard’s Hot R&B/Hip-Hop Songs chart), “Like That” is the first to achieve the feat since Cardi B’s “WAP,” featuring Megan Thee Stallion, did so in its first six weeks in August-September 2020.

Plus, “Like That” is the first song to spend its first three weeks on the Hot 100 at No. 1 since “Flowers” logged its first six weeks in charge in January-March 2023. Among hip-hop entries, “Like That” is the first title to claim No. 1 in its first three chart weeks since Drake’s “Nice for What” dominated in its first four frames in April-May 2018.

Further, “Like That” is the first song to log any three consecutive weeks at No. 1 on the Hot 100 in over nine months, since Morgan Wallen’s “Last Night” linked 10 frames in a row on top (of 16 total) in May-July 2023. The streak of 38 weeks between songs’ commands of at least three uninterrupted weeks, between “Last Night” and “Like That,” marks the longest in the Hot 100’s 65-year history. (In that 38-week stretch, five songs each led for at least three weeks, just not consecutively, led by six weeks on top for Jack Harlow’s “Lovin on Me”; plus, 10 songs debuted at No. 1 in that span.)

“Like That” concurrently tops the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which use the same multimetric methodology as the Hot 100, for a third week each.

Two weeks earlier, “Like That” blasted in at No. 1 on the Hot 100 as Future and Lamar’s third leader each and Metro Boomin’s first as a billed recording artist (following two as a writer and producer), as parent LP We Don’t Trust You by Future and Metro Boomin bounded in atop the Billboard 200. (The set’s sequel, We Still Don’t Trust You, was released April 12 and will impact next week’s charts, dated April 27.)

Hozier’s “Too Sweet” ascends 4-2 on the Hot 100, winning top Streaming Gainer honors (36.7 million, up 15%). The singer-songwriter ties his prior best rank on the chart, as his breakthrough hit “Take Me to Church” peaked at No. 2 for three weeks in December 2014-January 2015. “Too Sweet” concurrently leads the multimetric Hot Rock & Alternative Songs and Hot Rock Songs and Hot Alternative Songs charts for a third week each.

Benson Boone’s “Beautiful Things” holds at No. 3 on the Hot 100, after reaching No. 2, as it earns the chart’s top Airplay Gainer award for a third consecutive week (57.4 million, up 14%).

Teddy Swims’ “Lose Control” rises 5-4 on the Hot 100, three weeks after becoming his first No. 1. The single likewise becomes his first leader on Radio Songs (69.7 million, up 6%).

Beyoncé’s “Texas Hold ‘Em” slides 2-5 on the Hot 100, after it reigned for two weeks in early March. It rules the multimetric Hot Country Songs chart for a ninth week, as her album Cowboy Carter tops the Billboard 200 for a second week.

J. Cole’s “7 Minute Drill” debuts at No. 6 on the Hot 100, led by 23.4 million streams. The song is his 13th top 10 and first since Drake’s “First Person Shooter,” on which he’s featured, debuted at No. 1 in October 2023, becoming his first leader.

On “7 Minute Drill,” J. Cole is widely interpreted as responding to Kendrick Lamar’s apparent disses directed at himself and Drake in Future, Metro Boomin and Lamar’s “Like That.” Days after  releasing “7 Minute Drill,” J. Cole publicly apologized for the track’s arrival, explaining that it doesn’t “sit right with my spirit.” The song was removed from the streaming edition of his album Might Delete Later on April 12, one day after the end of the latest charts’ tracking week. (As of April 15, the song is still available on the set’s digital download edition.)

Rounding out the Hot 100’s top 10, Jack Harlow’s “Lovin on Me” rebounds 8-7, following, as noted above, six nonconsecutive weeks at No. 1, beginning last December; Ariana Grande’s “We Can’t Be Friends (Wait for Your Love)” climbs 9-8, after it debuted at No. 1 in March; Future, Metro Boomin, Travis Scott and Playboi Carti’s “Type Shit” lifts 10-9, after it arrived at its No. 2 best; and Noah Kahan’s first top 10, “Stick Season,” returns to the region and its highest rank (15-10).

Again, for all chart news, you can follow @billboard and @billboardcharts on Billboard’s social accounts, and all charts (dated April 20), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (April 16).

Source: billboard.com

Plus: J. Cole, TOMORROW X TOGETHER and Benson Boone debut in top 10

Beyoncé’s Cowboy Carter holds atop the Billboard 200 albums chart (dated April 20), after debuting at No. 1 a week ago, as the set earned 125,500 equivalent album units in the U.S. in the week ending April 11 (down 69%), according to Luminate.

With a second week in the lead, Cowboy Carter has the most weeks at No. 1 for any Beyoncé album since her self-titled set spent three weeks at No. 1 (its first three weeks on the chart), in December 2013 and January 2014.

Of Beyoncé’s eight No. 1 albums on the Billboard 200, three have spent two or more weeks at No. 1: Cowboy Carter (two, 2024), her self-titled effort (three, in 2013-14) and 4 (two, 2011). (Since her self-titled effort, she’s topped the list three more times, with Lemonade [one week at No. 1, 2016], Renaissance [one week, 2022] and now Cowboy Carter.)

Elsewhere on the Billboard 200, and for the first time in 2024, three albums debut in the top 10 at the same time, as the latest releases from J. Cole, TOMORROW X TOGETHER and Benson Boone start at Nos. 2, 3 and 6, respectively. The last time the top 10 housed three debuts was on the Nov. 25, 2023-dated list, when Stray Kids, Chris Stapleton and Chris Brown saw their newest albums bow 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 April 20, 2024-dated chart will be posted in full on Billboard‘s website on April 16. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

Of Cowboy Carter’s second-week unit sum of 125,500, SEA units comprise 103,000 (down 54%, equaling 132.69 million on-demand official streams of the set’s songs), traditional album sales comprise 20,500 (down 88%) and TEA units comprise 2,000 (down 70%).

While Cowboy Carter’s CD and vinyl editions were available to purchase only via Beyoncé’s official webstore in the set’s first two weeks of release, those physical configurations became widely available to all retailers beginning on April 12. (The album has also been purchasable as a digital download, widely, since its release on March 29.)

At No. 2 on the Billboard 200, J. Cole’s surprise-release album Might Delete Later arrives with 115,000 equivalent album units earned. Of that sum, SEA units comprise 105,000 (equaling 137.95 million on-demand official streams of the set’s 12 songs), album sales comprise 9,000 and TEA units comprise 1,000. The album was only available to stream or to purchase as a digital download.

Might Delete Later was issued on April 5 without warning, and boasts collaborations with Gucci Mane, Cam’ron, Bas, Central Cee, Ari Lennox and Young Dro, among others.

Might Delete Later drew attention for its Kendrick Lamar diss track “7 Minute Drill,” which appears to find Cole responding to Lamar’s apparent disses directed at Cole and Drake on Future and Metro Boomin’s “Like That.” A few days after the release of “7 Minute Drill,” Cole publicly apologized for releasing the track, saying it “don’t sit right with my spirit.” Ultimately, “7 Minute Drill” was removed from the tracklist of the streaming edition of Might Delete Later on April 12, one day after the end of the latest chart’s tracking week. (As of April 14, the song was still available on the digital download edition of the set.) “7 Minute Drill” was the most-streamed song on Might Delete Later during the album’s opening week.

Might Delete Later is J. Cole’s seventh album to reach the top two rungs on the Billboard 200, after he notched six earlier No. 1s in 2011-21. He has logged one other entry on the list, with the Forest Hills Drive: Live, which hit No. 71 in 2016.

TOMORROW X TOGETHER notches its fifth top 10-charting album on the Billboard 200, as Minisode 3: TOMORROW debuts at No. 3 with 107,500 equivalent album units earned. Of that sum, album sales comprise 103,500 (making it the top-selling album of the week), SEA units comprise 4,000 (equaling 5.54 million on-demand official streams of the set’s songs) and TEA units comprise a negligible sum. The album’s sales were supported by its availability across 17 collectible CD editions (including exclusive editions sold by Barnes & Noble, Target and the act’s webstore), all containing randomized paper merchandise (but with the same audio tracklist).

With the Nos. 1-3 titles on the Billboard 200 each earning at least 100,000 equivalent album units, it’s the first time we’ve had as many albums clear 100,000 in a week since the Dec. 2, 2023-dated list. That week, Drake’s For All the Dogs jumped 4-1 with 145,000, Taylor Swift’s 1989 (Taylor’s Version) held at No. 2 with 137,000 and Dolly Parton’s Rockstar debuted at No. 3 with 128,000.

Future and Metro Boomin’s chart-topping We Don’t Trust You falls 2-4 in its third week on the list, earning 99,000 equivalent album units (down 24%). The set’s sequel album, We Still Don’t Trust You, was released on April 12 and will impact next week’s chart dated April 27.

Morgan Wallen’s former leader One Thing at a Time is pushed down 3-5, despite a 4% gain, with 72,000 equivalent album units earned.

Benson Boone’s debut full-length studio album, Fireworks & Rollerblades, skates in at No. 6 with 58,000 equivalent album units earned. It’s the first chart entry for the singer-songwriter. Of the set’s starting sum, SEA units comprise 52,000 (equaling 70.21 million on-demand official streams of the set’s songs), album sales comprise 4,000 (largely from its digital download, as the set’s only physical availability was through a limited release on CD) and TEA units comprise 2,000. The album was led by the hit single “Beautiful Things” (the most-streamed song on the set), which has spent the last nine weeks inside the top five on the Billboard Hot 100 songs chart (through the list dated April 13), peaking at No. 2.

Ariana Grande’s chart-topping Eternal Sunshine falls 4-7 on the Billboard 200 with 48,000 equivalent album units earned (down 17%), Noah Kahan’s Stick Season slips 7-8 (though up 2%) with 45,000 units, Olivia Rodrigo’s former No. 1 Guts dips 6-9 with 43,000 (down 13%) and SZA’s chart-topping SOS drops 9-10, though with a 1% gain, to 40,000 units.

Source: billboard.com

“Like That” leads for a second week, while Beyoncé charts “Texas Hold ‘Em” at No. 2, “II Most Wanted” (with Miley Cyrus) at No. 6 and “Jolene” at No. 7.

Future, Metro Boomin and Kendrick Lamar’s “Like That” scores a second week at No. 1 on the Billboard Hot 100 songs chart, a week after it launched at the summit.

Meanwhile, Beyoncé claims three songs in the Hot 100’s top 10: former two-week leader “Texas Hold ‘Em” rebounds 11-2; “II Most Wanted,” with Miley Cyrus, debuts at No. 6; and Beyoncé’s update of Dolly Parton’s classic “Jolene” begins at No. 7. All three tracks are from Beyoncé’s album Cowboy Carter, which soars in at No. 1 on the Billboard 200 with 407,000 equivalent album units in the United States March 29-April 4, according to Luminate – the biggest week for a set in 2024. It also opens as the superstar’s first No. 1 on the Top Country Albums and Americana/Folk Albums charts.

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 April 13, 2024) will update on Billboard.com tomorrow, April 9. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

Source: billboard.com

The set also starts at No. 1 on Top Country Albums, making Beyoncé the first Black woman ever to have led the list.

Beyoncé’s Cowboy Carter gallops in at No. 1 on the Billboard 200 albums chart (dated April 13), debuting with 407,000 equivalent album units earned in the U.S. in the week ending April 4, according to Luminate. It’s the superstar’s eighth No. 1 on the all-genre Billboard 200.

With 407,000 units earned, Cowboy Carter claims the biggest week of 2024 and the largest since Taylor Swift’s 1989 (Taylor’s Version) bowed with 1.653 million units on the Nov. 11, 2023-dated list. Cowboy Carter’s launch is also Beyoncé’s biggest week, by units, since her Lemonade album debuted at No. 1 with 653,000 units (mostly from traditional album sales) on the May 14, 2016, chart. The new effort also lands Beyoncé her biggest streaming week ever.

Cowboy Carter also launches at No. 1 on Billboard’s Top Country Albums, Americana/Folk Albums and Top Album Sales charts. She’s the first Black woman ever to have led the Top Country Albums list, dating to its January 1964 inception. Cowboy Carter also claims the biggest week for a country album, by units earned, since last July, when Taylor Swift’s Speak Now (Taylor’s Version), opened at No. 1 on the July 22, 2023 chart with 716,000 units.

Cowboy Carter was introduced by the singles “Texas Hold ‘Em” and “16 Carriages,” which were released during the Super Bowl festivities on Feb. 11. The tracks debuted and have peaked (through the charts dated April 6) at Nos. 1 and 9, respectively, on Billboard’s Hot Country Songs chart, marking Beyoncé’s first entries on the tally. They have also reached Nos. 1, for two weeks, and 38 on the all-genre Billboard Hot 100 songs chart.

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 April 13, 2024-dated chart will be posted in full on Billboard‘s website on April 9. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

Of Cowboy Carter’s first-week unit sum of 407,000, SEA units comprise 232,000 (equaling 300.41 million on-demand official streams of the set’s songs), traditional album sales comprise 168,000 and TEA units comprise 7,000. With 300.41 million on-demand official streams, Cowboy Carter earns Beyoncé her biggest streaming week ever and the fourth-largest for a country album.

Cowboy Carter marks Beyoncé’s eighth No. 1 on the Billboard 200 albums chart. She previously led the list with Renaissance (in 2022), Lemonade (2016), her self-titled album (2013), 4 (2011), I Am… Sasha Fierce (2008), B’Day (2006) and Dangerously In Love (2003). Beyoncé breaks out of a tie with Janet Jackson for the fourth-most No. 1s among women. Swift has the most, with 13, followed by Barbra Streisand (11), Madonna (nine), Beyoncé (eight) and Jackson (seven).

Cowboy Carter’s sales were supported by the album’s availability across a number of configurations, released on March 29. It was issued as standard 19-track edition on vinyl (across four variants, each pressed on different color vinyl [black, red, white and blue] with alternate back cover artwork), a CD with an additional song (“Flamenco”) and a digital download and streaming edition (both in clean and explicit versions, with three bonus songs “Flamenco,” “Spaghetti” and “Ya Ya,” plus two interludes). The CD edition was issued in four variants (each with different back cover art). Two of the variants were sold as stand-alone items, while two of the CDs were only available inside two deluxe boxed sets (each with a different branded T-shirt contained inside a branded box). All physical configurations of the album were sold exclusively through Beyoncé’s official webstore, while the digital download and streaming editions were widely available.

The vinyl edition of Cowboy Carter sold 62,000 copies (across its four variants combined), marking Beyoncé’s biggest week on vinyl and the largest week for any vinyl album in 2024.

Cowboy Carter boasts an eclectic lineup of billed guest artists, including Tanner Adell, Beyoncé’s daughter Rumi Carter, Miley Cyrus, Willie Jones, Tiera Kennedy, Linda Martell, Willie Nelson, Dolly Parton, Post Malone, Reyna Roberts, Shaboozey, and Brittney Spencer. Among the many additional players on the album: 070 Shake, Jon Batiste, Ryan Beatty, Gary Clark Jr., The-Dream, Rhiannon Giddens, Paul McCartney, Pharrell, Robert Randolph, Nile Rodgers, Raphael Saadiq, Sara Watkins and Stevie Wonder.

Future and Metro Boomin’s We Don’t Trust You falls to No. 2 on the latest Billboard 200 after debuting atop the list a week ago. The set earned 131,000 equivalent album units in its second week (down 48%). Morgan Wallen’s former leader One Thing at a Time rises 4-3 with 69,000 (up 2%) and Ariana Grande’s chart-topping Eternal Sunshine dips 3-4 with 58,000 (down 19%).

J-Hope’s Hope On the Street, Vol. 1 debuts at No. 5 with 50,000 equivalent album units earned. It’s J-Hope’s second top 10-charting effort, and highest-charting set, following Jack In the Box, which peaked at No. 6 on the Sept. 2, 2023-dated list. Of Hope On the Street’s 50,000 units earned, album sales comprise 44,000, SEA units comprise 4,000 (equaling 5.7 million on-demand official streams of the set’s songs) and TEA units comprise 2,000. The album’s sales were supported by eight collectible CD editions (including exclusive variants for Target, Walmart and the Weverse store), all containing branded paper merchandise.

Olivia Rodrigo’s former No. 1 Guts falls 2-6 on the new Billboard 200, with 49,000 equivalent album units earned (down 32%), Noah Kahan’s Stick Season descends 5-7 with 44,000 units (down 2%) and Taylor Swift’s chart-topping Lover falls 7-8 with 40,000 units (down 1%). Rounding out the top 10 are two former leaders: SZA’s SOS (6-9 with 39,000; down 3%) and Zach Bryan’s self-titled album (8-10 with nearly 39,000; down 1%).

Source: billboard.com