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Taylor Swift hits the ARIA Charts for six, as the U.S. pop star extends her reign with The Life Of A Showgirl (via Republic/Universal) and its lead single, “The Fate Of Ophelia.”
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As Swift’s latest album completes its sixth week atop the national albums tally, published Friday, Nov. 14, Paul Kelly bags the top new release with Seventy (EMI), his 28th studio album. Seventy opens at No. 2 on the ARIA Chart.
The 70-year-old Kelly is one of Australia’s most-cherished singer-songwriters, boasting a collection of 16 ARIA Awards, induction into the ARIA Hall of Fame (in 1997), and four No. 1 albums with Life Is Fine (No. 1 for one week in 2017), Nature (one week in 2018), Songs From The South: 1985-2019 (one week in 2019), and Paul Kelly’s Christmas Train (one week in 2022).
Homegrown pop-punk band Teen Jesus and the Jean Teasers makes a glorious top ten debut, with GLORY (Community Music), their second studio album. Hailing from Canberra, the four-piece snagged the Michael Gudinski Breakthrough Artist award at the 2024 ARIA Awards, after opening the ceremony with a performance, and cracked the ARIA top 10 with 2023’s I Love You (peaking at No. 6).
Spanish superstar Rosalia makes her first top 50 in Australia with Lux (Columbia/Sony), new at No. 15. Lux is already a hit, everywhere. Following its release, the collection accumulated 42.1 million streams in its first 24 hours, the biggest global tally by a female, Spanish-speaking artist.
Meanwhile, veteran Australian country artist James Blundell nabs a top 40 entry with Patience Wins (AMB/MGM), his 12th studio album. It’s new at No. 25.
Western Australia singer-songwriter Stella Donnelly grabs her third top 40 appearance with Love and Fortune (DOT/RMT), new at No. 31. Donnelly previously made a mark with 2019’s Beware Of The Dogs (No. 15) and 2022’s Flood (No. 29).
Close behind is beloved punk rock act Cosmic Psychos with I Really Like Beer (RKT), pouring in a No. 32, while fellow Melburnians Icecream Hands crack the top 40 with the independently-released Giant Fox Pineapple Tree, new at No. 38, It’s the eighth album from the Aussie power pop band, and their first ARIA top 50 appearance.
Over on the ARIA Singles Chart, Taylor Swift ties a personal best as “The Fate Of Ophelia” enters its sixth week at No. 1. That effort draws level with 2022’s “Anti-Hero” as TayTay’s longest-running leader.
U.K. act Haven has the top debut with the viral number “I Run,” new at No. 8. It’s the only new release in the top 50. And finally, Tame Impala has, once again, the only appearance by an Australian artist on the chart, as “Dracula” (Columbia/Sony) improves 37-34, a new high.
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Taylor Swift’s The Life Of A Showgirl (via Republic/Universal) continues to twirl on the ARIA Charts, as it enters a fifth consecutive week at No. 1 on the national albums survey, while “The Fate Of Ophelia” retains top spot on the singles tally.
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“The Fate Of Ophelia” is Swift’s 13th chart leader in Australia and, with five weeks in the penthouse, it’s her second longest leader after 2022’s “Anti-Hero,” which logged six weeks at No. 1.
The top debut on the latest ARIA Albums Chart, published Friday, Nov. 7, belongs to Florence + The Machine, as the British alternative pop outfit’s sixth album, Everybody Scream (Polydor/Universal) opens its account at No. 4. All of Florence’s albums have cracked the ARIA top 10, including No. 1s for Ceremonials (in 2011), and How Big, How Blue, How Beautiful (2015).
Powderfinger frontman Bernard Fanning returns to the top 10 thanks to the 20th anniversary edition of Tea & Sympathy (Dew Process/Universal), his debut solo album. Tea & Sympathy re-enters at No. 7 on the ARIA Albums Chart, and leads the Australian Albums Chart, the Vinyl Chart and the On Replay Albums Chart.
The veteran Brisbane singer collected the most entries in triple j’s Hottest 100 of Australian music countdown in July, with four total songs, including three with Powderfinger and his solo number “Wish You Well” (at No. 57), lifted from Tea & Sympathy, a chart-topper following its release in late 2005.
Also new to the chart is Vitriol (GYRO), the debut from Western Australia rock outfit Cloning. It’s new at No. 12, arriving ahead of a national tour that gets underway later this month.
Radiohead is back in the headlines, as they prepare for another U.K. tour later in the year. The Rock Hall-inducted British alternative rock act is back in the charts, too, as Hail To The Chief Live Recordings 2003-2009 (via XL) appears at No. 15. The studio version of Hail To The Chief was released in 2023, hitting No. 2.
Paramore singer Hayley Williams impacts the chart with her independently-released solo album, Ego Death at a Bachelorette Party, new at No. 24. The project is an unusual one, which collects and repackages the songs Williams dropped earlier this year across her artist pages and on streaming services.
Close behind is Frankston, Victoria indie rock band the Belair Lip Bombs, which cracks the chart for the first time with Again (Third Man Records/RK), their sophomore set. It’s new at No. 25, and is one of eight homegrown recordings on the ARIA top 50. The Belair Lip Bombs are the first Australian band to sign with Jack White’s Nashville-based Third Man Records.
Further down the list, Brisbane nu-metal band Headwreck just misses out on a top 40 berth with Attitude Adjustment (Ditto). The debut collection drops in at No. 43, for Headwreck’s first appearance on the ARIA Charts.
Over on the ARIA Singles Chart, just one Australian track makes the cut, Tame Impala’s “Dracula” (Columbia/Sony), which lifts 50-37, a new peak position. And just one new single makes its mark for the first time, Lily Allen’s “Pussy Palace” (BMG), at No. 50.
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Australia’s latest chart week was pitched as a fight of two heavyweights. In one corner, Taylor Swift’s incumbent, The Life Of A Showgirl (via Republic/Universal). And in the other, Tame Impala’s long-awaited Deadbeat (Columbia/Sony).
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When the results were called, Swift’s Showgirl had packed enough glitter to retain the crown, and nab another chart double.
The Life Of A Showgirl retains top spot on the ARIA Albums Chart for a third successive week. According to ARIA, nine of her 14 leaders have logged at least three cycles at the summit, including Red (three weeks), 1989 (nine weeks), Lover (three weeks), Folklore (four weeks), Evermore (four weeks), Midnights (16 weeks), 1989 (Taylor’s Version) (14 weeks) and The Tortured Poets Department (eight weeks).
Kevin Parker slides in at No. 2 on the national chart with Deadbeat, the first new album release in five years from his psychedelic pop project, Tame Impala.
All five of Tame Impala’s studio albums have cracked the top 5 in Australia starting with Innerspeaker (from 2010) and Lonerism (2012), both of which peaked at No. 4. Tame Impala’s last two albums, Currents (2015) and The Slow Rush (2020), went all the way to No. 1.
Deadbeat is the best-selling title this week on vinyl.
Tame Impala has won 13 ARIA Awards, one BRIT Award, a Grammy, and belatedly cracked the Billboard Hot 100 for the first time earlier this month with Deadbeat single “Dracula.” On the current ARIA Singles Chart, “Dracula” sinks its teeth in for a No. 40 start. Only one Tame Impala song has charted higher in Australia, “The Less I Know The Better,” which reached No. 17 in 2015. “Dracula” is the only new release, and only homegrown title, in the top 50.
Staying with the national albums survey, published Friday, Oct. 24, Aussie heartthrob Ruel debuts at No. 6 with Kicking My Feet (Virgin Music Group/Universal), his third appearance in the top 10; and London indie band The Last Dinner Party enters the top tier for the first time with From The Pyre (Island/Universal), new at No. 7.
Western Australia’s The Southern River Band open their account at No. 16 with Easier Said Than Done (Orchard), for their appearance on the chart. The rockers are added to the lineup of the support acts for AC/DC’s stadium concerts this December in Perth, produced by TEG Van Egmond.
Several other local artists make a splash on the ARIA top 40, including Melbourne rock band Camp Cope (Live At Sydney Opera House at No. 20 via PCR), singer-songwriter Wilsn (Bloom at No. 31 via Mushroom), and country singer Andrew Swift (Lucky Stars at No. 33 via ABC/Orchard), while internationals Sabaton (Legends at No. 14 via BNM/MGM) and Ashnikko (Smoochies at No. 15 via WUK/Warner) make their mark.
It’s all about Taylor Swift on the ARIA Singles Chart, too, as “The Fate Of Ophelia” holds at No. 1 for a third week. It’s one of four Showgirl songs in the top 10, though “Opalite” (down 2-4), “Elizabeth Taylor” (down 5-7) and “Father Figure” (down 6-8) are losing their grip.
There are changes afoot at Australia’s peak trade body and the country’s labels’ copyright collecting society.
Lynne Small, the Chief Operating Officer of the Australian Recording Industry Association (ARIA) and Phonographic Performance Company of Australia (PPCA), has announced she will be stepping down from her joint role at the organizations as of April 30.
Small joined PPCA in 1996 following seven years spent at Festival Records as their Group Finance Manager. With her initial roles seeing her serve as Finance Manager and later Finance Administration Manager, Small’s presence within the company grew in the ensuing years, ultimately resulting in her appointment to General Manager of both PPCA and ARIA in 2011.
In 2021, Small took over the role of Chief Operating Officer alongside the appointment of Annabelle Herd to the role of Chief Executive Officer.
Small’s work within both ARIA and PPCA have seen her become one of the Australian music industry’s most respected figures, with her impact felt far beyond the two companies for which she has served. Small will continue in her current role until April 30, though she will continue to be engaged on a part-time basis to support key PPCA projects and assist with ARIA’s transition.
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“I’ve been incredibly lucky to have spent the majority of my career with organisations that support and champion Australian music,” Small said in a statement. “The friendships, challenges, and achievements over the past 28 years have been incredibly rewarding, and I am so grateful to have worked alongside such passionate and talented people, both inside and beyond ARIA and PPCA.
“While I’m looking forward to the next chapter, I’ll always be invested in the ongoing success of ARIA, PPCA, and the Australian music industry, and a big supporter from the cheap seats!”
“Lynne’s legacy is immeasurable. She’s been more than a leader, she’s been the heartbeat of ARIA and PPCA, a trusted advisor, and a guiding force through decades of change,” Herd added. “Her encyclopaedic knowledge of the industry, coupled with her warmth, integrity, and sharp wit, will leave an incredible legacy and undeniably positive impact on all of Australian music.
“While this is a significant change for ARIA and PPCA, we are fortunate to have Lynne’s continued support during the transition, and we will forever be grateful for her immense contribution.”
Alongside Small’s news, the organizations have announced that Julia Robinson will be promoted to Head of Government Relations and Programs, while Rohini Sivakumar will be promoted to General Counsel & Company Secretary. Their new roles will take effect as of May 1.
ARIA and PPCA have also posted a job advertisement seeking a new Head Of Finance, with full details available via recruitment website SEEK.
It’s four years in a row for Taylor Swift, with the U.S. pop icon dominating Australia’s year-end charts once again, according to data published by ARIA
Swift has once more found her way to the top of the ARIA Top 100 Albums Chart, this time off the back of her massively-successful eleventh album, April’s The Tortured Poets Department. With results undeniably bolstered by her seven local shows as part of the record-setting Eras Tour, Swift is a constant presence in the year-end charts, making up 40% of the top ten.
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While The Tortured Poets Department sits at No. 1, 1989 (Taylor’s Version) appears at No. 5, with Lover at No. 7, and Midnights rounding it out at No. 10. Overall, she makes up 11% of the entire Top 100, with original or re-recorded versions of her entire discography (save for her self-titled debut) placed across the top 68 positions. Her 2014 album 1989 doubles up thanks to its original version placing at No. 68.
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It’s not a far cry from the results of last year either, where 1989 (Taylor’s Version) reigned supreme and was joined by the likes of The Weeknd, Morgan Wallen, SZA, and Harry Styles. In 2024, the top ten is rounded out by Billie Eilish‘s Hit Me Hard And Soft, Sabrina Carpenter‘s Short n’ Sweet, The Weeknd’s The Highlights, SZA’s SOS, Wallen’s One Thing At A Time, and Olivia Rodrigo‘s Guts.
The singles chart, however, belongs to U.S. singer-songwriter Benson Boone, whose “Beautiful Things” spent six weeks at No. 1 and has rarely been absent from the top ten since it first debuted. Boone’s success isn’t limited to Australia, with the track having topped numerous charts globally, and peaking at No. 2 on the Billboard Hot 100.
Shaboozey‘s “A Bar Song (Tipsy)” holds the silver medal position, with Carpenter’s “Espresso” closing out the podium finishes. Noah Kahan‘s “Stick Season” and Teddy Swims‘ “Lose Control” round out the top five, with Eilish’s “Birds Of A Feather” following closely behind. Irish musician Hozier‘s “Too Sweet” prevents a clean sweep for American artists, however, with his single hitting No. 8.
Swift’s influence also extends to the Singles Chart, with 2019’s “Cruel Summer” hitting No. 9 off the back of its 2023 viral success and single release. Miley Cyrus‘ “Flowers”, which topped the chart last year, also makes a return appearance, albeit relegated to a respectable No. 39.
Of note, however, is the lack of Australian artists that make up the Albums and Singles Charts. In the latter category, just 5% are home-grown, with Vance Joy’s 2013 single “Riptide” leading the charge at No. 24. Cyril’s reimagining of Suzi Quatro’s “Stumblin’ In” can be found at No. 29, while DJ and producer Dom Dolla‘s “Saving Up” splits the field at No. 50. The Kid LAROI closes out the local representation with “Nights Like This” featuring at No. 84, and his 2021 Justin Bieber collaboration “Stay” in at No. 96.
The Albums Charts, however, boasts only three Australian names – with only one being a studio release. While South Australian veterans Cold Chisel can be found at No. 44 with their 50 Years – The Best Of compilation, so too can INXS‘ Diamond-certified The Very Best be located down at No. 81. The Kid LAROI is once again the only point of difference, with his debut album – 2023’s The First Time – hitting No. 67.
Check out ARIA’s year-end singles and albums charts.
Rosé makes it two records in as many weeks in Australia, where “APT.” retains top spot on the national singles chart.
Earlier, the New Zealand-born, Australia-raised BLACKPINK star ended Sabrina Carpenter’s reign on the ARIA Singles Chart, as “APT.” (via Atlantic/Warner), her collaboration with Bruno Mars, debuted at No. 1.
With that feat, Rosé (born Roseanne Park) became the first solo female K-pop star to top the tally, and just the second solo artist from South Korea to climb the chart ladder after PSY’s “Gangnam Style” spent six weeks on top back in 2012.
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“APT.” enters a second week at the summit of the ARIA Chart, marking the first time that a Korean solo artist or group has spent more than a week in the top spot since “Gangnam Style.” She’s the first solo female Korean artist to do so.
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Born in Auckland, and raised in Melbourne, Rosé relocated to South Korea aged 15, when the world of K-pop came calling. At her father’s suggestion, she auditioned for South Korean music company YG Entertainment. It was a shrewd move. The rest is music history.
Comprising Rosé, Jisoo, Jennie and Lisa, BLACKPINK is a record-smashing machine – here and everywhere. In 2022, BLACKPINK set the mark for the highest-debuting single by a K-pop group in ARIA Chart History when “Pink Venom” hit No. 1, beating the No. 2 start for BTS’ 2020 hit “Dynamite.”
BLACKPINK’s two studio albums, The Album (from 2020) and Born Pink (2022), both debuted and peaked at No. 2 on the Australian albums survey. In support of Born Pink, the pop group last year embarked on an east coast arena tour of Australia.
A reference to the Korean drinking game aparteu, or apartment in English, “APT.” is the first single from Rosé’s debut album Rosie, which is scheduled to drop on Dec. 6.
The cut bowed at No. 1 on both the Billboard Global 200 and Billboard Global Excl. U.S. charts, and opened at No. 4 on the Official U.K. Singles Chart, establishing a new record in the process.
BLACKPINK’s Rosé is crowned on Australia’s singles chart for the first time, a feat that etches her name in the history books.The New Zealand-born, Australia-raised superstar singer ends Sabrina Carpenter’s reign on the ARIA Single Chart, as “APT.” (via Atlantic/Warner), her collaboration with Bruno Mars, debuts at No. 1.With that, Rosé becomes the first solo female K-pop star to top the ARIA Chart. She’s just the second solo artist from South Korea to climb the chart ladder after PSY’s “Gangnam Style” spent six weeks on top back in 2012.
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Born in Auckland and raised in Melbourne, Rosé (born Roseanne Park) made the move to South Korea aged 15, when the world of K-pop came calling. At her father’s suggestion, she auditioned for South Korean music company YG Entertainment. It was a shrewd move. The rest is music history.BLACKPINK – comprising Rosé, Jisoo, Jennie and Lisa — smash records for fun. In 2022, BLACKPINK set the mark for the highest-debuting single by a K-pop group in ARIA Chart History when “Pink Venom” hit No. 1, beating the No. 2 start for BTS’ 2020 hit “Dynamite.”BLACKPINK’s two studio albums, The Album (from 2020) and Born Pink (2022), both debuted and peaked at No. 2 on the Australian albums survey. In support of Born Pink, the pop group last year embarked on an east coast arena tour of Australia. “APT.,” a reference to the Korean drinking game aparteu, or apartment in English, is the first single from Rosé’s debut album Rosie, which lands on Dec. 6. The track lands at No. 1 on both the Billboard Global 200 and Billboard Global Excl. U.S. charts, and arrived at No. 4 on the Official U.K. Singles Chart, setting a new record in the process.
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In the United States, “APT.” powers to No. 8 on the Billboard Hot 100. That too is a history-making achievement; Rosé becomes the first female solo artist prominent in K-pop (Korean pop) to hit the top 10.
Kylie Minogue, the queen of pop, is crowned on Australia’s albums chart with Tension II.
The new collection is Kylie’s ninth leader on the ARIA Chart, fifth in succession, and second in a year; its predecessor, Tension, logged one week at the summit in September 2023.
Tension II (via Mushroom Music) is the Melbourne-raised pop icon’s 17th studio album, and with its fast start on the chart, pushes Kylie to No. 9 on the list of acts with the most No. 1s in Australia, a tally that includes Light Years (from 2000), Fever (2001), X (2007), Kiss Me Once (2014), Golden (2018), Step Back In Time: The Definitive Collection (2019), Disco (2020) and Tension.
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She also has 10 No. 1 singles in Australia, from “Locomotion” in 1987 to “2 Hearts” in 2007, ARIA reports, and she’s on the brink of a 10th No. 1 on the Official U.K. Albums Chart.
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“It is so awesome to see Australia’s OG pop queen continuing to dominate globally and at home, bringing joy and disco into our lives,” comments ARIA CEO Annabelle Herd. “Huge congratulations to her and her team for such a phenomenal career, five consecutive No. 1 albums, and continuing to represent Australia on the world stage.”
Also new to the ARIA Chart, published Friday, Oct. 25, is Dean Lewis’ The Epilogue (Island/Universal), at No. 2. It’s a third top 10 for the triple ARIA Award winner, a tally that includes a No. 1in 2019 with A Place We Knew.
Meanwhile, New South Wales indie rock duo Skegss start at No. 4 with Pacific Highway Music (Concord/Universal), their third full-length album. Skegss now have four top 10s under their belts: 2015 EP 50 Push Ups For A Dollar peaked at No. 4; My Own Mess hit No. 2 in 2018, and 2021’s Rehearsal went all the way to No. 1.
ARIA Award winner Thelma Plum’s lands in the top 10 with I’m Sorry, Now Say It Back (Warner Music Australia), new at No. 7. It’s the Brisbane singer and songwriter’s followup to debut Better In Blak, which peaked at No. 4 in 2019.
Confidence Man impact the top 40 with 3AM (La La La) (via I Oh You/Mushroom), on which the Aussie electro-pop act takes a time-machine back to ’90s rave and clubland. 3AM (La La La) is new at No. 40.
It’s a Melbourne double on the ARIA Charts as Rosé opens at No. 1 on the singles tally with her Bruno Mars collaboration, “APT.” (via Atlantic/Warner). That’s a record-breaking feat, making Rosé the first solo female K-pop artist to lead the chart. She’s just the second solo K-pop singer to rule the ARIA Chart after PSY’s “Gangnam Style” spent six weeks at the top back in 2012.
Rosé was born in Auckland and raised in Melbourne, before making the move to South Korea, where she joined Blackpink and smashed records everywhere. In Australia, the foursome owns the highest-debuting single by a K-pop group in ARIA Chart history, when “Pink Venom” went to No. 1 in 2022.
The Brat summer is back.
Charli XCX bags her first No. 1 on Australia’s albums chart with Brat (via Atlantic/Warner), which powers home 16-1 following the release of the Brat And It’s Completely Different But Also Still Brat, the British producer and artist’s long-awaited remix album.
The new collection includes tracks reworked with the likes of The 1975, Jon Hopkins, Tinashe and Australasian stars Troye Sivan and Lorde.
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Previously, Brat peaked at No. 3 on the ARIA Chart earlier this year. Several tracks from it bounce up the singles chart, for the week starting Oct. 21, including former No. 1 “Guess” (with Billie Eilish), up from 22-16, “360” reenters at No. 43, and “Talk Talk” rebounds at No. 49. Also, Charli scores the highest new entry of the week with “Sympathy Is A Knife” debuting at No. 21; the version on the new album features Ariana Grande.
Charli XCX, who is the headliner for the 2025 Laneway Festival tour of Australia, tickets for which went on sale this week, knocks Sabrina Carpenter’s Short N’ Sweet (Island/Universal) off the chart summit after six non-consecutive weeks, down 1-2, while Rufus du Sol lands at No. 3 with Inhale / Exhale (Warner), the homegrown electronic music act’s fifth studio album.
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The trio has snagged a Grammy Award and four ARIAs; they’re nominated for four more at this year’s ceremony, set for Nov. 20 at Sydney’s Hordern Pavilion. To date, all of RDS’s albums have hit the top 3 in Australia: Atlas (2013), Bloom (2016) and Surrender (2021) went to No. 1, and Solace (2018) peaked at No. 2.
Close behind is American rockers The Offspring with Supercharged (Concord/Universal), new at No. 4. It’s The Offspring’s ninth Australian top 10 album, a tally that includes No. 1s with Smash (1994) and Americana (1998).
Though she’s finally shunted from the top of the ARIA Albums Chart, Sabrina Carpenter collects an eighth straight week at No. 1 on the singles survey with “Taste”.
Sabrina Carpenter does it again, as Short n’ Sweet holds at No. 1 for the sixth non-consecutive week on Australia’s chart. With that feat, Carpenter breaks the tie with Taylor Swift’s The Tortured Poets Department and Billie Eilish’s Hit Me Hard And Soft for the album with the longest reign on the ARIA Chart in […]
