The singer’s third No. 1 also becomes his first leader on the Top Country Albums chart.

Post Malone’s first country album, F-1 Trillion, rolls in at No. 1 on the Billboard 200 chart (dated Aug. 31) with 250,000 equivalent album units earned in the U.S. in the week ending Aug. 22, according to Luminate. It’s the sixth top 10, and third No. 1 for the artist. He last led the list with Hollywood’s Bleeding in 2019, which racked up five weeks atop the list. He first reigned with Beerbongs & Bentleys, for three weeks in 2018.

The standard edition of the F-1 Trillion album was released on Aug. 16 and has 18 songs, 15 of which are collaborations with country stars ranging from Dolly Parton and Hank Williams Jr., to Brad Paisley and Blake Shelton, to HARDY and Morgan Wallen. Later on Aug. 16,  F-1 Trillion garnered a deluxe reissue, dubbed the “Long Bed” edition, with nine additional solo Post Malone tracks.

F-1 Trillion also leads the Top Country Albums — where it’s Post Malone’s first entry — and the Top Streaming Albums and Top Album Sales tallies.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Aug. 31, 2024-dated chart will be posted in full on Billboard‘s website on Aug. 27. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

F-1 Trillion debuts with 250,000 equivalent album units earned — the second-largest week for any country album in 2024. Only Beyoncé’s Cowboy Carter earned a bigger week this year among country sets, when it opened in April with 407,000 units.

Of F-1 Trillion’s first-week sum of 250,000 units, SEA units comprise 164,000 (equaling 212.86 million on-demand official streams of the deluxe album’s 27 songs), album sales comprise 80,000 and TEA units comprise 6,000. The album’s first-week sales were bolstered by its availability across four vinyl editions (a standard black vinyl and three color variants; which combined to sell 25,000 — Post Malone’s best week on vinyl), a cassette and a CD, in addition to explicit and clean digital download albums for the standard 18-song version and the 27-song “Long Bed” version.

F-1 Trillion was led by the crossover hit “I Had Some Help,” featuring country superstar Wallen. The single spent six weeks atop the all-genre Billboard Hot 100 chart, in May-July, reached No. 1 on the all-genre Streaming Songs chart, and topped both the Hot Country Songs and Country Airplay tallies. It also crowned the all-genre Radio Songs airplay ranking and hit No. 1 on both the Pop Airplay and Adult Pop Airplay charts. “Help” was followed by two further preview tracks from the album before the full-length set dropped: “Pour Me a Drink,” featuring Shelton, and “Guy for That,” featuring Luke Combs. Both reached the top 20 on the Hot 100 and the top 10 on Hot Country Songs.

Reflecting their latest sonic turns, Post Malone is the second artist, following Beyoncé, to lead the Top Country Albums chart in 2024 with a first entry after having reached No. 1 on other genre-specific album charts with earlier albums. Between 2017 and 2022, Post Malone claimed four No. 1s on Top R&B/Hip-Hop Albums (with Stoney, Beerbongs & Bentleys, Hollywood’s Bleeding and Twelve Carat Toothache), and also led the Top Rock & Alternative Albums chart in 2023 (with Austin). Earlier in 2024, Beyoncé made her first visit to Top Country Albums with Cowboy Carter, leading the list for four weeks in April-May. Beyoncé previously logged eight No. 1s on the Top R&B/Hip-Hop Albums chart as a soloist in 2003-22.

Post Malone leads an otherwise sleepy top 10 on the new Billboard 200, as F1-Trillion is the only debut in the region. Chappell Roan’s The Rise and Fall of a Midwest Princess holds at its No. 2 high for a second week, earning 72,000 equivalent album units (down 1%), while Taylor Swift’s The Tortured Poets Department falls to No. 3, after 15 nonconsecutive weeks at No. 1, with 62,000 (down 27%). Wallen’s chart-topping One Thing at a Time dips 3-4 with 60,000 (down 5%) and Billie Eilish’s Hit Me Hard and Soft descends 4-5 with 53,000 (down 8%).

Zach Bryan’s The Great American Bar Scene drops 5-6 with 44,000 equivalent album units earned (down 8%), Charli XCX’s Brat slips 6-7 with 41,000 (down 14%); Noah Kahan’s Stick Season falls 7-8 with 38,000 (down 2%); Wallen’s former No. 1 Dangerous: The Double Album descends 8-9 with 36,000 (down 5%); and Bryan’s self-titled leader is a non-mover at No. 10 with 33,000 (down less than 1%).

Source: billboard.com

Plus: Chappell Roan’s The Rise and Fall of a Midwest Princess climbs 3-2, a new peak.

Taylor Swift’s The Tortured Poets Department reaches a 15th week atop the Billboard 200 chart (dated Aug. 24) — tying Carole King’s Tapestry for the third-most weeks at No. 1 among albums by women. The latter spent 15 frames at No. 1 in 1971. Only Adele’s 21 (24 weeks in 2011-12) and the Whitney Houston-led soundtrack to The Bodyguard (20 weeks in 1992-93) have more weeks at No. 1 among women.

Tortured Poets earned 85,000 equivalent album units in the U.S. in the week ending Aug. 15 (down 40%), according to Luminate.

Meanwhile, in a quiet top 10 (where no albums debut for the second time in three weeks), Chappell Roan’s The Rise and Fall of a Midwest Princess hits a new peak for the third week in a row, as it climbs 3-2 with 72,000 units (up 13%), a new weekly high, by units, for the set.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Aug. 24, 2024-dated chart will be posted in full on Billboard‘s website on Aug. 20. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

Of The Tortured Poets Department’s 85,000 units earned in the week ending Aug. 15, SEA units comprise 57,000 (down 1%, equaling 74.77 on-demand official streams of the set’s widely available deluxe edition’s 31 songs), album sales comprise 28,000 (down 67%) and TEA units comprise a negligible sum (up 5%). On the Top Streaming Albums chart, Poets falls 2-3 and on the Top Album Sales chart, it clocks an eighth week at No. 1.

With Tortured Poets — Swift’s longest-leading album on the Billboard 200 — she adds her 84th career week at No. 1 on the Billboard 200, extending her record among soloists. (Elvis Presley has the second-most among soloists, with 67.) The total encompasses her 14 No. 1 albums. (She’s tied with Jay-Z for the most No. 1s among soloists.)

In the tracking week of Aug. 9-15, news continued to emerge from the foiled terror attack on Swift’s cancelled Eras Tour dates in Vienna. The three Vienna dates (Aug. 8-10) were nixed on Aug. 7 and were the first cancelled shows of the tour, which began on March 17, 2023. On Aug. 15, the tour continued on to its scheduled five-night stand at London’s Wembley Stadium (Aug. 15-17, 19-20), for The Eras Tour’s final shows in Europe.

During the last day (Aug. 15) of the chart’s tracking week, Swift introduced one all-new digital album variant of Poets on her official webstore, which was available for six hours and sold for $4.99. The set included the standard album’s 16 songs, plus one exclusive bonus track, “The Prophecy (Long Story Short – Live From Lyon),” recorded during The Eras Tour on June 2.

Also on Aug. 15, for only six hours, Swift’s webstore restocked a $4.99 digital album variant that was available briefly the previous tracking week — it contained the standard album’s 16 songs plus a live version of “thank You aimEe (Mean – Live from London),” recorded on June 22 during her The Eras Tour. In the previous tracking week, the same digital album variant was sold in Swift’s webstore, but with one slight difference — the stylization of the letters in the title of bonus live song. It was initially stylized as “thanK you aIMee” (mirroring the studio version on the Poets album), and then on Aug. 15, its stylization changed to “thank You aimEe.” The capitalization of the specific letters in the title — KIM and YE — could reference Kim Kardashian and her ex-husband (and longtime Swift foe), Ye, formerly Kanye West.

In the tracking week ending Aug. 15, Tortured Poets sold nearly 10,000 in digital album downloads across all variants through all sellers (including her webstore, the iTunes Store and others). Even if Poets had not sold a single digital album in the latest tracking week, it still would have been No. 1 on the Billboard 200. The No. 2 title, Chappell Roan’s The Rise and Fall of a Midwest Princess, trails Poets by 13,000 units.

As for The Rise and Fall of a Midwest Princess, the album reaches a new peak for a third week in a row, as it steps 3-2 with 72,000 equivalent album units earned (its best week by units earned; up 13%). In the last 10 weeks, the album has steadily inched its way up the list. It broke into the top 10 on the June 22-dated chart, rising 12-10. It has since moved 8-6-5-5-7-8-4-3-2.

The 3-2 ascent for Rise reflects the tracking week that contained a buzzy festival performance from Roan — her Aug. 11 gig at Outside Lands in San Francisco. The latter generated a quasi-viral moment where she chastised the VIP section for not singing along to the album’s “Hot To Go!”

Morgan Wallen’s chart-topping One Thing at a Time climbs 4-3 on the latest Billboard 200 with 63,000 equivalent album units earned (up 1%). It also claims a ninth nonconsecutive week at No. 1 on the Top Streaming Albums chart.

Billie Eilish’s Hit Me Hard and Soft steps 5-4 on the Billboard 200 with 57,000 (up 1%), while Zach Bryan’s The Great American Bar Scene climbs 7-5 with 48,000 (though down 6%).

Charli XCX’s Brat is a non-mover at No. 6 (47,000; down 16%); Noah Kahan’s Stick Season steps 9-7 (just over 38,000; up 3%); Wallen’s former No. 1 Dangerous: The Double Album is stationary at No. 8 (38,000; up 2%); Twisters: The Album rises 10-9 (34,000; down 7%); and Zach Bryan’s self-titled chart-topper returns to the top 10, climbing 12-10 (nearly 34,000; up 6%).

Source: billboard.com

It’s the first song to lead in streams, radio airplay and sales simultaneously since Adele’s “Easy on Me” in 2021.

Shaboozey’s “A Bar Song (Tipsy)” adds a fifth nonconsecutive week at No. 1 on the Billboard Hot 100.

Notably, the single, the singer-songwriter’s first leader on the Hot 100, is the first song to rule in streams, radio airplay and sales simultaneously since Adele’s “Easy on Me” in 2021. As “A Bar Song (Tipsy)” continues atop the Hot 100, it rebounds for a 10th week at No. 1 on the Digital Song Sales chart, notches a fourth week atop Streaming Songs and adds a second week atop Radio Songs.

Dating to the origin of Billboard’s Streaming Songs chart in January 2013 (when it joined Radio Songs, which began in 1990, and Digital Song Sales, which first published in 2005), “A Bar Song (Tipsy)” becomes one of only a dozen hits to have ruled in the Hot 100’s three metrics simultaneously.

Plus, as “A Bar Song (Tipsy)” tops the multimetric Hot Country Songs chart for a ninth week, it’s the first song to reign in streams, airplay and sales while leading both the Hot 100 and Hot Country Songs.

“A Bar Song (Tipsy),” on American Dogwood/EMPIRE (with country radio promotion by Magnolia Music), is from Shaboozey’s album Where I’ve Been, Isn’t Where I’m Going.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data, the lattermost metric reflecting purchases of physical singles and digital tracks from full-service digital music retailers; digital singles sales from direct-to-consumer (D2C) sites are excluded from chart calculations. All charts (dated Aug. 17, 2024) will update on Billboard.com tomorrow, Aug. 13. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

Source: billboard.com

Plus: Ye and Ty Dolla $ign’s Vultures 2 flies in at No. 2, while Chappell Roan’s The Rise and Fall of a Midwest Princess hits a new high.

Taylor Swift’s The Tortured Poets Department clocks a 14th week at No. 1 on the Billboard 200 chart (dated Aug. 17), with 142,000 equivalent album units earned in the U.S. in the week ending Aug. 8 (up 98%) according to Luminate.

The last album to spend at least 14 weeks at No. 1 was Morgan Wallen’s One Thing at a Time, which logged 19 total nonconsecutive weeks at No. 1 between March 2023 and this March. The last album by a woman to spend at least 14 total weeks at No. 1 was Adele’s 21, which earned 24 nonconsecutive weeks on top in 2011-12.

Also in the top 10 of the new Billboard 200, Ye (formerly Kanye West) and Ty Dolla $ign’s Vultures 2 debuts at No. 2 with 107,000 equivalent album units, marking the 13th Ye album to reach the top two (his entirety of charting releases), while Ty Dolla $ign ups his tally of top 10s to three.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Aug. 18, 2024-dated chart will be posted in full on Billboard‘s website on Aug. 13. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

Of The Tortured Poets Department’s 142,000 units earned in the week ending Aug. 8, album sales comprise 84,000 (up 606%), SEA units comprise 57,500 (equaling 75.43 million on-demand official streams of the set’s widely available deluxe edition’s 31 songs) and TEA units comprise 500. Poets is No. 2 on the Top Streaming Albums chart (behind Wallen’s One Thing at a Time) and No. 1 on the Top Album Sales chart.

Poets’ album sales in the latest tracking week were bolstered by a number of drivers. The set was released in five new digital album variants via Swift’s official webstore for a limited time, each containing the standard album’s 16 songs, along with one exclusive bonus track for $4.99 each (one album contained a “first draft phone memo” version of “My Boy Only Breaks His Favorite Toys,” while the other four contained one live track each from recent stops during her The Eras Tour). In addition, for a limited time, the store restocked three previously available digital album variants with exclusive bonus cuts, and a signed CD edition. Her store also staged a brief sale pricing promotion, whereby 16 previously available physical variants of the album were all discounted by 13% (as 13 is Swift’s favorite number).

With Poets — Swift’s longest-leading album on the Billboard 200 — she adds her 83rd career week at No. 1 on the Billboard 200, extending her record among soloists. (Elvis Presley has the second-most among soloists, with 67.) The total encompasses her 14 No. 1 albums. (She’s tied with Jay-Z for the most No. 1s among soloists.)

At No. 2 on the new Billboard 200, Ye and Ty Dolla $ign’s Vultures 2 swoops in with 107,000 equivalent album units earned. The album was released on Saturday (Aug. 3). It’s the long-awaited sequel to the chart-topping Vultures 1, which opened atop the Feb. 24-dated chart with 148,000 units. Of the new album’s first-week figure, album sales comprise 60,500 in album sales, SEA units comprise 46,000 (equaling 50.44 million on-demand official streams of the standard set’s songs) and TEA units comprise 500 units. Vultures 2 also bows at No. 6 on the Top Streaming Albums chart and No. 2 on the Top Album Sales chart.

The opening sales of Vultures 2 were aided by its availability across a widely available standard explicit edition, and a late-in-the-week-released clean edition (on Aug. 8). Ye’s official webstore also issued five additional explicit digital album variants on Wednesday (Aug. 7) and Thursday (Aug. 8), each containing the standard album’s 16 tracks, along with one exclusive studio bonus track per album. All digital albums on Ye’s webstore sold for $5 each. The Vultures 2 album, both clean and explicit, was also discounted to $4.99 in the iTunes Store in the tracking week.

Vultures 2 was originally slated for release on March 8.

Chappell Roan’s The Rise and Fall of a Midwest Princess climbs to a new high, as it rises from its prior No. 4 best to No. 3 with 64,000 equivalent album units earned (up 20%). The album’s ascent comes after Roan’s rousing reception at Lollapalooza on Aug. 1.

Wallen’s chart-topping One Thing at a Time dips 2-4 with 63,000 equivalent album units (down 2%), while Billie Eilish’s Hit Me Hard and Soft is steady at No. 5 with 57,000 units (up 8%).

Charli XCX’s Brat bolts 9-6 with 56,000 equivalent album units earned (up 39%), following the release of the album’s “Guess” remix with Eilish on Aug. 1.

Zach Bryan’s The Great American Bar Scene falls 3-7 (51,000 equivalent album units; down 16%), Wallen’s former leader Dangerous: The Double Album rises 11-8 (just over 37,000; down less than 1%), Noah Kahan’s Stick Season lifts 10-9 (a little more than 37,000; down 5%) and the Twisters: The Album soundtrack drops 8-10 (37,000; down 16%).

Source: billboard.com

The track also takes over atop the all-format Radio Songs chart.

Shaboozey’s “A Bar Song (Tipsy)” tallies a fourth nonconsecutive week at No. 1 on the Billboard Hot 100. The single became the singer-songwriter’s first leader on the list four weeks earlier.

The track also hits No. 1 on the Radio Songs chart. Notably, it becomes one of just seven titles that have led the all-format ranking and the Country Airplay chart – and one of only three to do so simultaneously.

Plus, as “A Bar Song (Tipsy)” supplants Post Malone’s “I Had Some Help,” featuring Morgan Wallen, atop Radio Songs, two titles that have topped the Country Airplay chart have ruled Radio Songs back-to-back for the first time.

“A Bar Song (Tipsy),” on American Dogwood/EMPIRE (with country radio promotion by Magnolia Music), is from Shaboozey’s album Where I’ve Been, Isn’t Where I’m Going, which debuted at its No. 5 high on the Billboard 200 chart in June.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data, the lattermost metric reflecting purchases of physical singles and digital tracks from full-service digital music retailers; digital singles sales from direct-to-consumer (D2C) sites are excluded from chart calculations. All charts (dated Aug. 10, 2024) will update on Billboard.com tomorrow, Aug. 6. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

Source: billboard.com

Plus: Chappell Roan’s The Rise and Fall of a Midwest Princess hits a new peak.

Taylor Swift’s The Tortured Poets Department returns to No. 1 on the Billboard 200 chart (dated Aug. 10), collecting a 13th nonconsecutive week atop the list. The album spent its first 12 weeks on the chart at No. 1, fell to No. 4 for two weeks, and now rebounds to No. 1 for a 13th frame. (Thirteen is also famously Swift’s lucky number.)

Tortured Poets earned 71,000 equivalent album units in the U.S. in the week ending Aug. 1 (down 3%), according to Luminate. That marks the smallest weekly sum for a No. 1 album since March 16-dated chart, when Morgan Wallen’s One Thing at a Time was tops with 68,000 units.

The last album to spend at least 13 weeks at No. 1 was One Thing at a Time, which logged 19 total nonconsecutive weeks at No. 1 between March 2023 and this March. The last album by a woman to spend at least 13 total weeks at No. 1 was Adele’s 21, which earned 24 nonconsecutive weeks on top in 2011-12.

With Poets — Swift’s longest-leading album — she adds her 82nd career week at No. 1 on the Billboard 200, extending her record among soloists. (Elvis Presley has the second-most among soloists, with 67.) The total encompasses her 14 No. 1 albums. (She’s tied with Jay-Z for the most No. 1s among soloists.)

Also on the latest Billboard 200, the sleepy top 10, where no albums debut in the region, sees Chappell Roan’s The Rise and Fall of a Midwest Princess hit a new peak, as it climbs 8-4, surpassing its previous high of No. 5.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Aug. 10, 2024-dated chart will be posted in full on Billboard‘s website on Aug. 6. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

Of The Tortured Poets Department’s 71,000 units earned in the week ending Aug. 1, SEA units comprise 59,000 (down 8%, equaling 77.73 million on-demand official streams of the deluxe album’s 31 songs), album sales comprise 12,000 (up 34%, aided by a stock replenishment of a deluxe CD edition of the album in Swift’s webstore) and TEA units comprise a negligible sum (down 23%).

Wallen’s One Thing at a Time rises 6-2 with 64,000 equivalent album units earned (down 1%, also returning to No. 1 on Top Streaming Albums for the first time since March) and Zach Bryan’s The Great American Bar Scene climbs 5-3 with 61,000 (down 14%).

Chappell Roan’s The Rise and Fall of a Midwest Princess reaches a new peak, jumping 8-4 with 53,000 equivalent album units (though down 1%). The set previously topped out at No. 5 on the July 13-dated list. Billie Eilish’s Hit Me Hard and Soft ascends 9-5 with nearly 53,000 units (down 2%) and Stray Kids’ ATE falls 1-6 in its second week with 52,000 units (down 78%; it’s also No. 1 on Top Album Sales for a second week).

Eminem’s chart-topping The Death of Slim Shady (Coup de Grâce) dips 3-7 with 49,000 equivalent album units earned (down 37%), Twisters: The Album falls 7-8 with 44,000 units (down 23%), Charli XCX’s Brat returns to the top 10, rising 14-9 with 40,000 units (up 10%), and Noah Kahan’s Stick Season is steady at No. 10 with 39,000 units (down 10%).

Source: billboard.com

The crossover hit concurrently crowns its first radio chart.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Source: billboard.com

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Source: billboard.com

The song also continues its historic radio crossover.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Source: billboard.com

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Source: billboard.com