The smash gets together with Swift’s first No. 1 in 2012.

Ella Langley’s “Choosin’ Texas” rebounds a spot for a third week at No. 1 on the Billboard Hot 100. The song first led the chart in February and added its second frame on top two weeks ago.

Notably, “Choosin’ Texas” ties for the most weeks ever spent atop the Hot 100 for a song by a woman that also hit No. 1 on Billboard’s Hot Country Songs chart, matching Taylor Swift’s three-week reign with “We Are Never Ever Getting Back Together,” her first Hot 100 leader, in 2012.

“Choosin’ Texas” and “We Are Never Ever Getting Back Together” stand above three other No. 1 country hits by women that led the Hot 100 for two weeks each: Beyoncé’s “Texas Hold ‘Em,” in 2024, and Dolly Parton’s “Islands in the Stream,” with Kenny Rogers (1983), and “9 to 5” (1981).

Honorable mentions: Parton wrote “I Will Always Love You,” with Whitney Houston’s cover crowning the Hot 100 for 14 weeks in 1992-93; Debby Boone’s “You Light Up My Life” ruled the Hot 100 for 10 weeks and hit No. 4 on Hot Country Songs in 1977; and Bobbie Gentry’s “Ode to Billie Joe” led the Hot 100 for four weeks in 1967, although it peaked at No. 17 on Hot Country Songs.

“Choosin’ Texas” concurrently tops Hot Country Songs for a 16th week.

Also in the Hot 100’s top 10, Harry Styles’ “American Girls” debuts at No. 4 and his former No. 1 “Aperture” surges 29-9. Both are from his new album, Kiss All the Time. Disco, Occasionally., which launches at No. 1 on the Billboard 200.

Check out the full rundown of this week’s Hot 100 top 10 below.

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 March 21, 2026) will update on Billboard.com tomorrow, March 17. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram. Plus, for all chart rules and explanations, click here.

Source: billboard.com

All four of his solo albums have debuted at No. 1.

Harry Styles’ fourth solo studio album, Kiss All the Time. Disco, Occasionally., debuts at No. 1 on the Billboard 200 chart (dated March 21) with 430,000 equivalent album units earned in the United States in the week ending March 12, according to Luminate.

The set logs the biggest week for any album by units in five months, and also marks Styles’ fourth leader. All four of his solo albums — which also represent his total number of charting titles — have debuted at No. 1: his self-titled debut (in 2017), Fine Line (2019), Harry’s House (2022) and now Kiss All the Time. Disco, Occasionally.

Styles is only the second solo male artist to see their first four chart entries debut at No. 1 on the Billboard 200. He follows DMX, who topped the list with his first five entries between 1998 and 2003 (It’s Dark and Hell Is Hot; Flesh of My Flesh, Blood of My Blood; …And Then There Was X; The Great Depression; Grand Champ). Styles is also the first solo artist to debut at No. 1 with their first four entries since Alicia Keys went four-for-four in 2001-07 (Songs in A Minor, The Diary of Alicia Keys, Unplugged and As I Am).

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 2,500 ad-supported or 1,000 paid/subscription on-demand official audio and video streams generated by songs from an album. The new March 21, 2026-dated chart will be posted in full on Billboard‘s website on March 17. For all chart news, follow @billboard and @billboardcharts on both X and Instagram.

Of Kiss All the Time. Disco, Occasionally.’s 430,000 equivalent album units earned in the latest tracking week, pure album sales comprise 291,000 (it debuts as Styles’ fourth No. 1 on Top Album Sales), SEA units comprise 138,500 (equaling 140.31 million on-demand official streams of the set’s 12 songs, it debuts at No. 1 on Top Streaming Albums) and TEA units comprise about 500.

Styles notches the biggest week for any album by units earned since Taylor Swift’s The Life of a Showgirl debuted at No. 1 with a record-shattering 4.002 million units on the Oct. 18, 2025-dated chart. Styles has the biggest week for any album by a solo male artist since Morgan Wallen’s I’m the Problem launched at No. 1 with 493,000 on the May 31, 2025 chart.

Kiss All the Time. Disco, Occasionally’s first-week sales number was bolstered by its availability across multiple physical editions, including seven vinyl variants (inclusive of a deluxe boxed set containing an LP and branded merch), six CD variants (inclusive of four deluxe boxed sets containing a CD and branded merch) and a cassette. It was also available as a standard digital download. All versions of the album contain the same 12 songs. Styles’ sales week is the biggest for any album since Showgirl started with 3.48 million, and the biggest for a male solo artist since The Weeknd’s Hurry Up Tomorrow debuted at No. 1 with 359,000 on the Feb. 15, 2025 chart.

Notably, vinyl purchases accounted for 186,000 of Styles’ first week — the biggest week for an album on vinyl by a male artist in the modern era (since Luminate began electronically tracking sales in 1991). He beats his own record among male acts, set with his last album, 2022’s Harry’s House, when it bowed with 182,000 vinyl sales. Kiss All the Time. Disco, Occasionally. has the overall seventh-largest sales week for a vinyl album in the modern era — the six larger weeks were all logged by Swift titles. The biggest week for a vinyl set in the modern era was registered by the opening week of Showgirl, with 1.334 million.

Kiss All the Time. Disco, Occasionally. was preceded by the single “Aperture,” which debuted atop the Billboard Hot 100 songs chart dated Feb. 7, marking Styles’ third No. 1. It has also reached the top 10 on both the Pop Airplay and Adult Pop Airplay charts and opened at No. 1 on the all-genre overall Streaming Songs chart (his second leader there).

In its second week on the Billboard 200, Bruno Mars’ The Romantic falls a spot to No. 2 with 80,000 equivalent album units earned (down 57%). Three more chart-toppers round out the top five, as Wallen’s I’m the Problem is steady at No. 3 (76,000, up 1%), Bad Bunny’s DeBÍ TiRAR MáS FOToS dips 2-4 (67,000, down 13%) and Don Toliver’s OCTANE slips 4-5 (60,000, down 9%).

Olivia Dean’s The Art of Loving falls a spot to No. 6 with 58,000 equivalent album units earned (down 2%).

Four former No. 1s close out the top 10, as Megan Moroney’s Cloud 9 drops 6-7 (40,000 equivalent album units earned, down 27%), Swift’s The Life of a Showgirl is up a spot to No. 8 (39,000, down 8%), Wallen’s One Thing at a Time jumps 14-9 (37,000, up 3%), and SZA’s SOS climbs 12-10 (36,000, down 2%).

Source: billboard.com

Plus, Gorillaz, BLACKPINK and Mitski debut in the top 10.

Bruno Mars notches his second No. 1 album on the Billboard 200 chart, and first in more than a decade, as The Romantic debuts atop the tally (dated March 14). The set launches with 186,000 equivalent album units earned in the United States in the week ending March 5, according to Luminate. Mars was last on top with his second full-length studio album, Unorthodox Jukebox, which climbed to No. 1 in March 2013 (nearly three months after it debuted). In turn, The Romantic is also Mars’ first No. 1-debuting album.

All told, The Romantic marks the fifth top 10 for Mars, following his An Evening With Silk Sonic collaborative project with Anderson .Paak (No. 2, 2021) and his solo set 24K Magic (No. 2, 2016), Unorthodox Jukebox (No. 1, 2013) and Doo-Wops & Hooligans (No. 2, 2010).

Mars’ gap of nearly 13 years between No. 1s is the longest for any living solo male artist since Paul McCartney returned to the top in 2018 with Egypt Station, 36 years and three months after he was last No. 1 with the third and final week atop the chart with Tug of War on the June 12, 1982-dated chart. (Before Mars, the last male soloist to wait longer to come back to No. 1 was the late Toby Keith, who hit No. 1 after his death, on the Feb. 17, 2024, chart, with 35 Biggest Hits — 14 years and four months after he was last on top with Bullets in the Gun (Oct. 23, 2010).

Also debuting in the top 10 of the latest Billboard 200: Gorillaz’s The Mountain, BLACKPINK’s DEADLINE and Mitski’s Nothing’s About To Happen to Me.

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 2,500 ad-supported or 1,000 paid/subscription on-demand official audio and video streams generated by songs from an album. The new March 14, 2026-dated chart will be posted in full on Billboard‘s website on March 10. For all chart news, follow @billboard and @billboardcharts on both X and Instagram.

Of The Romantic’s 186,000 equivalent album units earned in the latest tracking week, album sales comprise 93,500 (it debuts at No. 1 on Top Album Sales), SEA units comprise 90,500 (equaling 93.95 million on-demand official streams of the set’s nine songs, Mars’ best streaming week for an album; it debuts at No. 1 on Top Streaming Albums) and TEA units comprise 2,000.

The Romantic’s first-week sales number was bolstered by its availability across 10 vinyl variants, in addition to a standard CD, cassette and digital download. Vinyl sales accounted for 48,000 of the album’s first-week — landing Mars his best week on vinyl ever. All versions of the album contain the same nine songs.

The album was preceded by its lead single, “I Just Might,” which became Mars’ 10th Billboard Hot 100 No. 1 (and first to debut at No. 1) on the Jan. 24-dated chart, and spent its first two weeks atop the list. The track has also been lodged at No. 1 for seven weeks on Hot R&B/Hip-Hop Songs and Hot R&B Songs.

Three former No. 1s follow Mars on the Billboard 200: Bad Bunny’s DeBÍ TiRAR MáS FOToS holds at No. 2 with 77,000 equivalent album units earned (down 10%), Morgan Wallen’s I’m the Problem steps 5-3 (75,000, up 7%) and Don Toliver’s OCTANE pumps 6-4 (66,000, down 3%). Olivia Dean’s The Art of Loving rounds out the top five, climbing 7-5 (60,000, down 2%).

Last week’s No. 1, Megan Moroney’s Cloud 9, floats down to No. 6 in its second week (55,000 equivalent album units earned, down 62%).

Gorillaz achieve their sixth top 10-charting album on the Billboard 200 with the No. 7 debut of The Mountain. The set launches with 53,000 equivalent album units earned. Of that sum, album sales comprise 38,000 (it debuts at No. 3 on Top Album Sales), SEA units comprise 15,000 (equaling 15.86 million on-demand official streams of the set’s songs) and TEA units comprise a negligible sum.

The album’s first-week sales got a boost from its availability across nine vinyl variants, four CDs, five cassettes, a standard digital download and an iTunes Store-exclusive download edition with one bonus track.

Gorillaz previously visited the top 10 on the Billboard 200 with Cracker Island (No. 3, 2023), The Now Now (No. 4, 2018), Humanz (No. 2, 2017), Plastic Beach (No. 2, 2010) and Demon Days (No. 6, 2005).

The new album was led by a pair of charting titles on Billboard’s Hot Rock & Alternative Songs chart: “The Happy Dictator,” featuring Sparks (No. 43 peak last September), and “The Manifesto,” featuring Trueno and Proof (No. 49 peak last October).

BLACKPINK scores its third top 10 on the Billboard 200 as DEADLINE debuts at No. 8 with 52,000 equivalent album units earned. Of that sum, album sales comprise 41,000 (it debuts at No. 2 on Top Album Sales), SEA units comprise 11,000 (equaling 11.46 million on-demand official streams of the set’s five songs) and TEA units comprise a negligible sum.

DEADLINE marks the return of the pop quartet to the Billboard 200 after more than three years. The group’s last release was BORN PINK, which marked the act’s first No. 1 (debuting atop the Oct. 1, 2022-dated chart). Since then, the four members (Jennie, Jisoo, Lisa and Rosé) have all released solo album projects, all of which have charted on a Billboard album ranking.

The new album’s first-week sales were bolstered by its availability across 13 CD variants (all containing collectible items such as photocards and posters, with some items randomized). CD sales comprise 94% of the album’s first-week sales, with the remainder sold from digital downloads.

DEADLINE was preceded by the Hot 100-charting single “JUMP,” which peaked at No. 28 last July and spent 10 weeks on the list — the most weeks on the chart among the group’s 10 charted titles.

Taylor Swift’s chart-topping The Life of a Showgirl is a non-mover at No. 9 on the latest Billboard 200 with just under 43,000 equivalent album units earned for the week (down 3%).

Closing out the top 10 of the Billboard 200 is Mitski’s Nothing’s About To Happen to Me, debuting at No. 10 with nearly 43,000 equivalent album units earned — the artist’s best week ever by units. Of that sum, album sales comprise 31,000 (her best sales week ever; it debuts at No. 4 on Top Album Sales), SEA units comprise 12,000 (equaling 12.16 million on-demand official streams of the set’s songs) and TEA units comprise a negligible sum.

First-week sales of the album were aided by its availability across seven vinyl variants (including a signed edition), two CDs and two cassettes, and a standard digital download. Vinyl purchases accounted for 69% of the set’s overall opening-week sales.

Nothing’s About To Happen to Me is the second top 10 on the Billboard 200 for Mitski, following 2022’s Laurel Hell (No. 5).

The new album was preceded by the charting hit “Where’s My Phone?” which hit No. 11 on the Adult Alternative Airplay chart dated March 7 and No. 38 on Hot Rock & Alternative Songs in January.

Source: billboard.com

The song adds a second week at the summit.

Ella Langley’s “Choosin’ Texas” twirls back to No. 1 on the Billboard Hot 100, adding a second week atop the chart. Up from the runner-up spot, it first led the list three weeks earlier.

Meanwhile, as “Choosin’ Texas” rules the Hot 100, Megan Moroney’s Cloud 9 debuts atop the Billboard 200 albums chart — making Langley and Moroney the first women who primarily record country music to lead Billboard’s premier all-genre song and album charts simultaneously, dating to the Hot 100’s August 1958 inception (after the Billboard 200 began publishing on a regular weekly basis March 1956; in four other weeks, men/women/group combinations placed country music at No. 1 on the surveys together, but not two women in the same week).

Also contributing to the chart double-up for women artists, Miranda Lambert is among the co-writers and co-producers of “Choosin’ Texas.” Langley and Lambert co-penned the song with Luke Dick and Joybeth Taylor and co-produced it with Ben West. It became the first Hot 100 No. 1 for each talent; Moroney earns her first Billboard 200 leader.

“Choosin’ Texas” previews Langley’s album Dandelion, due April 10.

Plus, Alex Warren’s former Hot 100 No. 1, “Ordinary,” reaches a milestone in the chart’s top three.

Check out the full rundown of this week’s Hot 100 top 10 below.

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 March 7, 2026) will update on Billboard.com tomorrow, March 3. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram. Plus, for all chart rules and explanations, click here.

Source: billboard.com

Plus, Hilary Duff, Baby Keem and Mumford & Sons debut in the top 10.

Megan Moroney earns her first No. 1 on the Billboard 200 albums chart, as Cloud 9 debuts atop the list dated March 7. The set is the singer-songwriter’s third studio effort and starts with 147,000 equivalent album units earned in the United States in the week ending Feb. 26, according to Luminate. That marks the biggest week for a country album by a woman in nearly two years.

Also in the top 10 of the latest Billboard 200, Hilary Duff’s first album in more than a decade, luck… or something, starts at No. 3; Baby Keem notches his highest-charting album yet with the No. 4 arrival of Ca$ino; and Mumford & Sons score their sixth top 10 with the No. 10 bow of Prizefighter.

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 2,500 ad-supported or 1,000 paid/subscription on-demand official audio and video streams generated by songs from an album. The new March 7, 2026-dated chart will be posted in full on Billboard‘s website on March 3. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

Of Cloud 9’s 147,000 equivalent album units earned in the latest tracking week, album sales comprise 78,000 (Moroney’s best sales week; it debuts as her first No. 1 on Top Album Sales), SEA units comprise 69,000 (equaling 71.54 million on-demand official streams of the set’s tracks, her best streaming week; it debuts at No. 2 on Top Streaming Albums) and TEA units comprise a negligible sum.

Cloud 9 is the second top 10, and third chart entry, for Moroney. She previously hit the chart with Am I Okay? (No. 9 in 2024) and Lucky (No. 38 in 2023). Cloud 9 also marks the first country album by a woman to be No. 1 on the Billboard 200 since Beyoncé spent two weeks atop the list with her first country effort, Cowboy Carter, on the charts dated April 13 and 20, 2024.

Among country albums by women, Cowboy Carter tallied the last larger week by units (407,000 in its debut week; April 13, 2024, chart) and streams (90.08 million in its third week; April 27, 2024, chart).

Few country albums by women have reached No. 1 on the Billboard 200 in the past 10 years (dating to March 2016): just seven albums by five women. They are: Cloud 9, Cowboy Carter, Taylor Swift’s Speak Now (Taylor’s Version) in 2023, Red (Taylor’s Version) in 2021 and Fearless (Taylor’s Version) in 2021, Carrie Underwood’s Cry Pretty in 2018 and Shania Twain’s Now in 2017. In the same 10-year span, 17 country albums by 11 different men have hit No. 1.

Cloud 9’s first-week sales got a boost from its availability across five vinyl variants (including a signed edition and a Target-exclusive version with two bonus tracks), three CD variants (including a signed edition, and a Target-exclusive version with two bonus tracks) and four deluxe boxed sets containing a piece of branded clothing and a copy of the CD.

The album was preceded by four charting tracks on Billboard’s charts, all of which reached the top 40 on the Hot Country Songs chart (“6 Months Later,” “Beautiful Things,” “Wish I Didn’t” and the title track). “6 Months Later” also scored Moroney her highest-charting hit on the all-genre Billboard Hot 100 when it reached No. 29 in January.

Bad Bunny’s DeBÍ TiRAR MáS FOToS falls to No. 2 on the Billboard 200, with 85,000 equivalent album units earned (down 37%).

After more than a decade, Hilary Duff returns to the Billboard 200 chart with luck… or something debuting at No. 3. The set, her first studio album since 2015’s Breathe In. Breathe Out., arrives with 84,000 equivalent album units earned. Of that sum, album sales comprise 73,000 (her best sales week since 2007;  it debuts at No. 2 on Top Album Sales), SEA units comprise 11,000 (equaling 11.51 million on-demand official streams of the set’s songs) and TEA units comprise a negligible sum.

In total, luck… or something gives the singer-actor her sixth top 10, following Breathe In. Breathe Out. (No. 5 peak in 2015), Dignity (No. 3, 2007), Most Wanted (No. 1, 2005), her self-titled effort (No. 2, 2004) and Metamorphosis (No. 1, 2003).

The new album’s first-week sales were aided by its availability across seven vinyl variants (including a signed edition), three CD variants (including a signed edition, and a Walmart-exclusive edition with seven bonus tracks), a deluxe boxed set containing a branded shirt and a signed CD, and a deluxe digital download edition with 11 bonus tracks (including the seven bonus Walmart tracks, plus four additional cuts).

The new album was preceded by the chart hit “Roommates,” which has reached the top 20 of the Adult Pop Airplay chart and the top 30 of Pop Airplay.

Baby Keem clocks his second top 10 — and highest-charting album yet — as Ca$ino cashes in with a No. 4 debut. The set earned 72,000 equivalent album units in its first week. Of that sum, SEA units comprise 55,500 (equaling 56.67 million on-demand official streams of the set’s songs; it debuts at No. 5 on Top Streaming Albums), album sales comprise 16,500 (his best sales week, it debuts at No. 4 on Top Album Sales) and TEA units comprise a negligible sum.

Ca$ino is the rapper’s third chart entry, following The Melodic Blue (No. 5 peak in 2021) and Die for My Bitch (No. 162, 2020). The new album’s first-week sales benefited from its availability on vinyl, CD and two deluxe boxed sets (each containing branded merch and a copy of the CD).

Morgan Wallen’s chart-topping I’m the Problem moves 4-5 on the latest Billboard 200 (nearly 71,000 equivalent album units earned, down 8%) and Don Toliver’s former No. 1 OCTANE falls 3-6 (68,000 units, down 13%). Olivia Dean’s The Art of Loving dips 5-7 (61,000 units, down 15%) while two former No. 1s follow, as J. Cole’s The Fall-Off slides 2-8 (53,000 units, down 34%) and Swift’s The Life of a Showgirl is a non-mover at No. 9 (44,000 units, down 13%).

Rounding out the top 10 is Mumford & Sons’ Prizefighter, punching in at No. 10 with nearly 44,000 equivalent album units earned. It’s the sixth top 10-charted effort for the band, and comes less than a year after its previous studio release, Rushmere. Of the new album’s first-week units, album sales comprise 25,000 (it debuts at No. 3 on Top Album Sales), SEA units comprise 18,500 (equaling 18.69 million on-demand official streams of the set’s songs, it debuts at No. 32 on Top Streaming Albums) and TEA units comprise 500.

The album was preceded by the radio-promoted single “Rubber Band Man” (featuring Hozier), which notched 10 nonconsecutive weeks atop the Adult Alternative Airplay chart from November through February. It also peaked at No. 2 on Alternative Airplay.

Prizefigher’s first-week sales got a lift from its availability across seven vinyl variants (including a signed edition) and four CD variants.

Source: billboard.com

The superstar ties Rihanna for the third-most leaders, after only The Beatles and Mariah Carey.

The sky’s the limit for Taylor Swift’s “Opalite,” which bounds seven spots to become her 14th No. 1 on the Billboard Hot 100.

Swift ties Rihanna for the third-most Hot 100 No. 1s, after only The Beatles (20) and Mariah Carey (19), dating to the chart’s start. “Opalite” is Swift’s ninth No. 1 since 2020, extending her mark for the most this decade.

Meanwhile, “Opalite” is the second Hot 100 leader from Swift’s 2025 album The Life of a Showgirl, after “The Fate of Ophelia” ruled for a personal-best 10 weeks beginning in October. The set, on Republic Records, becomes her second to generate multiple leaders, after 1989 (“Shake It Off,” “Blank Space” and “Bad Blood,” featuring Kendrick Lamar) in 2014-15.

“Opalite” tops the Hot 100 (after initially peaking at No. 2 upon its October debut) sparked by a surge of physical sales that shipped to consumers and new remixes released during the tracking week. Earlier in February, its official video premiered.

Elsewhere, Bruno Mars’ former Hot 100 No. 1 “I Just Might,” at No. 6, rises to the top of the Radio Songs chart.

Check out the full rundown of this week’s Hot 100 top 10 below.

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 Feb. 28, 2026) will update on Billboard.com tomorrow, Feb. 24. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram. Plus, for all chart rules and explanations, click here.

Source: billboard.com

Plus, Noah Kahan notches his highest-charting hit with the debut of “The Great Divide” and Bad Bunny’s “DtMF” reenters the top 10.

Ella Langley’s “Choosin’ Texas” rises a spot to No. 1 on the Billboard Hot 100, becoming the singer-songwriter’s first leader on the list. Among its writers and producers are Langley and Miranda Lambert, each of whom top the chart for the first time in those fields.

Also notably, the song is the first by a woman to triple up at No. 1 on the Hot 100, Hot Country Songs and Country Airplay charts. It spends an 11th week atop the multimetric Hot Country Songs chart and its first frame atop the radio-based Country Airplay ranking.

The single previews Langley’s album Dandelion, due April 10.

Meanwhile, Noah Kahan lands his highest-charting Hot 100 hit, and first top 10 debut, with the No. 6 arrival of “The Great Divide” and Bad Bunny’s “DtMF” reenters the chart at No. 10 after his historic night at the Grammy Awards Feb. 1.

Check out the full rundown of this week’s Hot 100 top 10 below.

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 Feb. 14, 2026) will update on Billboard.com tomorrow, Feb. 10. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram. Plus, for all chart rules and explanations, click here.

Source: billboard.com

Plus, Bad Bunny flies 9-2 after the Grammys, while Noah Kahan’s back in the top 10.

Don Toliver lands his first No. 1 album on the Billboard 200 chart as OCTANE starts atop the list dated Feb. 14. The set launches with 162,000 equivalent album units earned (his best week ever) in the United States in the week ending Feb. 5, according to Luminate.

Plus, Bad Bunny’s DeBÍ TiRAR MáS FOToS jumps 9-2 after its album of the year win at the Grammy Awards on Feb. 1, while Noah Kahan’s Stick Season returns to the top 10 (rising 13-7) after the release of the lead single from his forthcoming album and the announcement of his tour.

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 2,500 ad-supported or 1,000 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Feb. 14, 2026-dated chart will be posted in full on Billboard‘s website on Feb. 10. For all chart news, follow @billboard and @billboardcharts on both X and Instagram.

Of OCTANE’s 162,000 equivalent album units earned in the latest tracking week SEA units comprise 131,000 (equaling 138.98 million on-demand official streams of the set’s tracks, marking Toliver’s best streaming week ever; it debuts at No. 1 on Top Streaming Albums), album sales comprise 31,000 (his biggest sales week, it debuts at No. 1 on Top Album Sales) and TEA units comprise a negligible sum. Sales of the album got a boost from its availability across multiple deluxe boxed sets containing a copy of a CD and a piece of branded clothing, vinyl variants and three deluxe digital download editions of the album (each with one bonus track).

OCTANE was released as a standard widely available 15-track digital download album, while its CD, vinyl and expanded download and streaming editions contained additional tracks.

OCTANE marks the fifth top 10, the entirety of Toliver’s charting titles. He previously hit the top 10 with HARDSTONE PSYCHO (No. 3 in 2024), Love Sick (No. 8, 2023), Life of a DON (No. 2, 2021) and Heaven or Hell (No. 7, 2020). The Travis Scott-led hip-hop collective JACKBOYS, of which Toliver is a member, has logged a pair of No. 1s with JACKBOYS 2 (2025) and its self-titled set (2020).

Bad Bunny’s former No. 1 DeBÍ TiRAR MáS FOToS jumps 9-2 on the latest Billboard 200, following its win for album of the year at the Grammy Awards (Feb. 1). The set earned 85,000 equivalent album units in the tracking week ending Feb. 5, up 138% compared to the previous week. The project also won best música urbana album, while its track “EoO” won best global music performance.

Morgan Wallen’s chart-topping I’m the Problem falls a spot to No. 3 with 77,000 equivalent album units earned (up 11%). Olivia Dean’s The Art of Loving gets pushed down a spot to No. 4 despite a 38% increase (to 70,000), following her win for best new artist at the Grammy Awards.

Two former leaders are next, as Taylor Swift’s The Life of a Showgirl climbs 6-5 (46,000, up 1%) and the KPop Demon Hunters soundtrack steps 8-6 (43,000, up 6%).

Noah Kahan’s Stick Season steps back into the top 10 for the first time in more than a year, rising 13-7, with 42,000 equivalent album units (up 48%). The singer-songwriter’s new single, “The Great Divide,” dropped Jan. 30, while its music video premiered during a commercial break on CBS’ broadcast of the Grammy Awards Feb. 1. The track is the lead single from the album of the same name, due April 24. Then, on Feb. 2, Kahan announced a stadium tour that is slated to begin on June 11.

Stick Season, which peaked at No. 2 in March 2024, was last in the top 10 on the Nov. 23, 2024-dated chart (No. 10) and last ranked at No. 7 or higher on the Aug. 24, 2024-dated chart (No. 7).

Three former No. 1s round out the top 10 of the latest Billboard 200 as Zach Bryan’s With Heaven on Top falls 4-8 (41,000 equivalent album units earned, down 17%), SZA’s SOS ascends 10-9 (38,000, up 8%) and A$AP Rocky’s Don’t Be Dumb dips 5-10 (34,000, down 25%).

Source: billboard.com

The star earns his third leader on the chart.

Harry Styles’ “Aperture” takes the spotlight on the Billboard Hot 100, debuting at No. 1.

The star (who celebrated his 32nd birthday a day earlier) earns his third Hot 100 leader, and second to debut in the top spot, after “As It Was” arrived at No. 1 in April 2022 to begin a 15-week reign. His first No. 1, “Watermelon Sugar,” spent a week atop the chart in August 2020.

“Aperture,” the top-streamed song of the week, introduces Styles’ fourth solo album, Kiss All the Time. Disco, Occasionally, due March 6. His first three sets all debuted at No. 1 on the Billboard 200: Harry’s House (2022), Fine Line (2019) and Harry Styles (2017). (One Direction, with Styles as a member, notched four No. 1 albums in 2012-14, among five top 10s; “Aperture” is Styles’ eighth Hot 100 top 10, with One Direction having scored six.)

Meanwhile, “Man I Need” by newly crowned best new artist Grammy Award winner Olivia Dean, at No. 3 on the Hot 100, takes over as the most-heard song on radio, as it ascends to No. 1 on the Radio Songs chart.

Check out the full rundown of this week’s Hot 100 top 10 below.

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 Feb. 7, 2026) will update on Billboard.com tomorrow, Feb. 3. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram. Plus, for all chart rules and explanations, click here.

Source: billboard.com

The self-titled set marks the metal band’s final planned studio album.

After a nearly 40-year wait, Megadeth achieves its first No. 1 album on the Billboard 200 chart. The metal band’s new self-titled set, which also marks its expected final studio album, debuts atop the list dated Feb. 7. Megadeth made its Billboard 200 chart debut in 1986 and has placed 23 albums on the ranking through its career. Until this week, the band had gone as high as No. 2, with 1992’s Countdown to Extinction.

The new self-titled album earned 73,000 equivalent album units in the United States in the week ending Jan. 29, according to Luminate — marking the act’s best week, by units earned, since the chart began ranking by units in December 2014. The bulk of that sum was driven by pure album sales (purchases of physical and digital copies of the album), totaling 69,000. That’s the biggest sales week for any Megadeth album since 1999, when Risk opened with 74,000 sold.

The new album was released on Jan. 23, a day after the documentary Megadeth: Behind the Mask was released in movie theaters. The band’s farewell tour kicks off on Feb. 15 in Victoria, British Columbia.

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 2,500 ad-supported or 1,000 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Feb. 7, 2026-dated chart will be posted in full on Billboard‘s website on Feb. 3. For all chart news, follow @billboard and @billboardcharts on both X and Instagram.

Of Megadeth’s 73,000 equivalent album units earned in the latest tracking week, album sales comprise 69,000 (it debuts at No. 1 on Top Album Sales), SEA units comprise 4,000 (equaling 4.23 million on-demand official streams of the set’s tracks) and TEA units comprise a negligible sum. Sales of the album got a boost from its availability across more than a dozen vinyl variants, a Target-exclusive CD with a bonus track, and the mid-week release of deluxe digital download version of the album with another bonus track.

Of the album’s 69,000 sales, physical purchases of CD, vinyl and cassette tapes totaled 56,000, with 22,000 of that sum on vinyl. That marks Megadeth’s best week on vinyl in the modern era (since Luminate began electronically tracking sales in 1991).

Megadeth’s debut of 73,000 units marks the lowest sum at No. 1 on the Billboard 200 since last May, when SZA’s SOS returned to No. 1 on the May 3-dated chart with 52,000 units.

Megadeth made its Billboard 200 chart debut on the Oct. 25, 1986-dated list with Peace Sells… But Who’s Buying?, at No. 118. It would later peak at No. 76. The band scored its first top 40 set with its next entry, 1988’s No. 28-peaking So Far, So Good… So What! In 1992, the band landed its first top 10 with the No. 2-peaking Countdown to Extinction — the first of nine top 10s for the act.

Dating to Megadeth’s debut on the Billboard 200, the band’s 39-year, three-month and one-week wait for its first No. 1 is the longest any act has waited for a first No. 1 since 2016. That January, David Bowie hit No. 1 for the first time with Blackstar (released two days before he died). Blackstar debuted at No. 1 on the Jan. 30-dated chart, nearly 43 years and 10 months after Bowie charted his first album in April 1972 with Hunky Dory.

Before Bowie, the last longer wait for a first No. 1 was when James Taylor hit No. 1 in July 2015 with Before This World – 45 years and nearly four months after he made his chart debut with Sweet Baby James in March of 1970. The last group or band to wait as long as Megadeth for its first No. 1 was Black Sabbath. The latter hit No. 1 for the first time in June of 2013 with 13 — 42 years and 10 months after the band made its chart debut with its self-titled set in 1970.

Megadeth also brings hard rock back to No. 1 on the Billboard 200 for the first time since last May, when Sleep Token’s Even in Arcadia opened atop the May 24, 2025-dated chart. (Hard rock albums are defined as those that are eligible for, or have charted on, Billboard’s Top Hard Rock Albums chart.)

Morgan Wallen’s former No. 1 I’m the Problem climbs 4-2 on the latest Billboard 200 with 69,000 equivalent album units earned (though down 7%). Olivia Dean’s The Art of Loving bumps 7-3 (51,000, down 9%), Zach Bryan’s chart-topping With Heaven on Top moves 5-4 (49,000, down 30%) and A$AP Rocky’s Don’t Be Dumb falls to No. 5 (46,000, down 63%) after debuting at No. 1 last week.

Taylor Swift’s former No. 1 The Life of a Showgirl steps 8-6 (45,000 equivalent album units earned, down 15%) and YoungBoy Never Broke Again’s Slime Cry slips 6-7 in its second week (41,000, down 42%). Three former No. 1s round out the rest of the top 10: the KPop Demon Hunters soundtrack is up a spot to No. 8 (40,000, down 14%), Bad Bunny’s DeBÍ TiRAR MáS FOToS dips 3-9 (36,000, down 70%) and SZA’s SOS rises 11-10 (35,000, down 6%).

Source: billboard.com