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It’s a Taylor Swift sweep on Australia’s charts, as The Tortured Poets Department (via Universal) and “Fortnight” blast to No. 1.
Tortured Poets opens at the summit of the ARIA Albums Chart, published Friday, April 26, for her lucky 13th leader in these parts.
With that result, Swift boasts the most No. 1 albums for a solo female artist in ARIA chart history, moving ahead of Madonna to claim outright third place.
The all-time leader among acts with the most chart-topping albums in Australia is Jimmy Barnes with 15 as a solo act (he had another five with Cold Chisel), followed by the Beatles with 14.
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Meanwhile, Swift scoops the chart double with “Fortnight” featuring Post Malone opening at No. 1 on the ARIA Singles Chart, for her 12th leader on that tally. With a dozen singles chart leaders, Swift sits third on the all-time list of artists here, trailing Elvis Presley (No. 14) and The Beatles (No. 26).
At the same time, she becomes the first artist to hold the entire top 10 on the singles chart, and establishes a new mark for the most singles in the top 50, with 29 on the current frame. That creams the old record of 20, set by Drake in 2021 and by herself in 2023.
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All 31 tracks from the double album impact the top 100, with “Robin” the lowest at No. 55. Three older songs sit in the top 100 (“Cruel Summer,” “Anti Hero” and “Lover”), meaning Swift has more than one-third of all songs in the top 100 (34). The previous record was 32 in one week, ARIA reports, held by Michael Jackson and Taylor.
Swift, whose The Eras Tour visited Australia in late 2023 for seven shows, is the only artist in ARIA history to replace themselves at No. 1 on the national albums tally. She has done it three times, including this month with Tortured Poets replacing Lover (earlier, in 2023, Speak Now (Taylor’s Version) replaced Midnights; and in March 2024, Lover replaced Midnights).
According to a statement issued late Friday by Universal Music Australia, Tortured Poets is the most-sold album on vinyl in ARIA history, the market’s most-streamed LP in its opening week, and the biggest album debut since Adele’s 25 in 2015.
Remarkably, only two of the U.S. pop superstar’s studio or re-recorded albums have failed to reach the summit in Australia — her self-titled debut, Taylor Swift (peaking at No. 33 in 2006) and Fearless (No. 2 in 2008). Fearless (Taylor’s Version) did, however, climb the summit in 2021.
In non TTPD-related ARIA Chart news, Pearl Jam bows at No. 2 with Dark Matter, the Seattle rock legends’ 12th studio album. Pearl Jam has had eight No. 1 albums in Australia: Vs. in 1993, Vitalogy in 1994, No Code in 1996, Yield in 1998, Binaural in 2000, Riot Act in 2002, Backspacer in 2009 and Lightning Bolt in 2013. Dark Matter is the followup to 2020’s Gigaton, which peaked at No. 3.
Taylor Swift returns to the zenith of Australia’s albums chart with Lover, while Hozier bags a sweet No. 1 single.
As Swifties waited, and anticipated, the release of The Tortured Poets Department, which dropped at midnight, many in Australia turned to her catalog.
Lover (via Universal) rebounds 4-1 for a third non-consecutive week at No. 1, and first stint at the summit since 2019.
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Swift’s Lover leads a top three ahead of SZA’s SOS (RCA/Sony), up 13-2, and Swift’s rerecorded LP 1989 (Taylor’s Version), up 5-3, respectively. SZA’s sophomore album spikes as her Australian arena tour gets underway, Friday, April 19 with a concert at Brisbane Entertainment Centre, produced by Live Nation.
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Further down the ARIA Chart, published late Friday, is Linkin Park’s fourth compilation Papercuts (Warner), new at No. 7. The nu-metal favorites have previously led the national tally with 2000’s Hybrid Theory, 2007’s Minutes To Midnight and 2010’s A Thousand Suns.
Also new to the national survey is We Still Don’t Trust You (Universal/Sony), the second collaborative album from Future and Metro Boomin. It’s new at No. 15, and the followup to We Still Don’t Trust You, which recently bowed at No. 2.
Over on the ARIA Singles Chart, Hozier bags his first No. 1 with “Too Sweet” (Columbia/Sony), up 2-1. “Too Sweet” is Hozier’s second top 10 appearance on the Australian chart after his signature song “Take Me To Church” reached No. 2 back in 2013. “Too Sweet” also lifted to No. 1 in the U.K. earlier this month, for Hozier’s first leader there.
According to ARIA, Hozier is the fourth solo male singer to reach the top this year on the Australian chart, following U.S. artists Jack Harlow (“Lovin On Me”), Noah Kahan (“Stick Season”) and Benson Boone (“Beautiful Things”).
“Beautiful Things” (via Warner) dips 1-2 on the latest frame, while British EDM producer Artemas holds onto third spot with “I Like The Way You Kiss Me” (10K/ADA).
The top new debut on the ARIA Singles Chart belongs to U.S. pop singer and actor Sabrina Carpenter, whose “Espresso” shoots in at No. 7. “Espresso” (Island/Universal) is the follow-up to “Feather,” which peaked at No. 22 in 2023.
Also appearing for the first time on the ARIA Chart is Dua Lipa’s “Illusion” (Warner UK), new at No. 21.“Illusion” is the third single from the British pop star’s forthcoming third studio album Radical Optimism, following “Houdini” (No. 7 peak) and “Training Session” (No. 12).
Beyoncé ties-up Australia’s chart for a second week with Cowboy Carter (Columbia/Sony), while Benson Boone’s “Beautiful Things” makes its six weeks atop the national singles survey.
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The top debut on the latest ARIA Albums Chart belongs to U.S. rapper J.Cole, as his surprise-release mixtape Might Delete Later (Interscope/Universal) bows at No. 2. It’s the followup to 2021’s The Off-Season, which peaked No. 3, and 2018’s KOD, which went to No. 1 on the ARIA Chart.
The podium is completed by Ariana Grande’s former leader Eternal Sunshine (Universal), down 2-3 in its fifth week on the survey.
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Beloved Australian singer and songwriter Missy Higgins returns to the top 10 with her debut The Sound Of White (Eleven: A Music Company/Universal), boosted by the release of a 20th anniversary edition.
Originally issued in 2004, The Sound Of White reigned over the chart for seven non-consecutive weeks and went on to win album of the year at the 2005 ARIA Awards. Her next two LPs, 2007’s On A Clear Night and 2012’s The Ol’ Razzle Dazzle, also reached the chart zenith.
The Sound Of White returns at No. 6 on the ARIA Albums Chart, published Friday, April 12, ahead of the release this September of a new album, The Second Act, which she has described as a “kind of sequel” to her debut.
Also making an impact on the latest chart is American singer and songwriter Conan Gray’s Found Heaven (Universal) at No. 10; U.S. retro psychedelic-lounge trio Khruangbin’s A La Sala (Dead Oceans/RKT), new at No. 14; and Melbourne metalcore group Alpha Wolf’s Half Living Things (CVA/Sony), which opens its account at No. 19.
Over on the ARIA Singles Chart, Benson Boone’s “Beautiful Things” (Warner Records) locks up top spot again, while the collection from which it is lifted, Fireworks & Rollerblades, arrives at No. 17 on the albums survey. Also, new release “Slow It Down” speeds 35-24 on the ARIA Singles Chart. Boone will visit Australia and New Zealand this September for a brief tour, produced by Frontier Touring, in support of his debut set.
Meanwhile, Irish singer and songwriter Hozier‘s “Too Sweet” (Columbia/Sony) improves 8-2, matching the peak of his signature song “Take Me To Church,” from 2013.
Finally, British-Cypriot producer Artemas is on the rise, as his U.K. hit “I Like The Way You Kiss Me” (10K/ADA) lifts 7-3 on the ARIA Chart, while his previous single “If U Think I’m Pretty” gains 64-37.
Beyoncé lassos the chart title in Australia as Cowboy Carter debuts at No. 1.
Cowboy Carter (via Columbia/Sony) gives Bey her fourth leader on the ARIA Chart, following Beyoncé in 2013, Lemonade in 2016 and Renaissance in 2022.
According to ARIA, it’s the first country album by a woman to land at No. 1 (excluding the new versions of Taylor Swift’s country LPs) since 2017, when homegrown artist Kasey Chambers logged one week at the summit top with Dragonfly (in January) and Shania Twain’s Now spent one week at the top (in October).
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Powered by Cowboy Carter, Beyoncé’s global hit “Texas Hold ‘Em” rebounds 7-2 on the ARIA Singles Chart, its equal peak position on 2. Album cut “II Most Wanted” with Miley Cyrus is the highest debut on the singles tally this week at No. 16, and Bey’s reinterpretation of the Dolly Parton standard “Jolene” arrives at No. 24. Parton’s original peaked at No. 99 in these parts back in 1974, ARIA reports, while Olivia Newton-John’s rendition reached No. 29 two years later, in 1976.
Beyoncé’s latest LP leads a top four on the ARIA Chart, published Friday, April 5, that’s dominated by U.S. solo female artists: Ariana Grande’s Eternal Sunshine and Taylor Swift’s 1989 (Taylor’s Version) and Lover, respectively (all through Universal).
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Further down the list, Australian duo the Pierce Brothers arrives No. 14 with their third studio album, Everything Is Bigger Than Me (Ditto Music). It’s the Melbourne act’s sixth appearance on the ARIA Chart, including top 10s with 2015’s Into The Dirt (No. 10) and 2017’s The Records Were Ours (No. 9). Everything Is Bigger Than Me is the only Australian recording in the ARIA Top 40; the next-up LP from the land Down Under is the soundtrack to Ego: The Michael Gudinski Story (at No. 46 via Bloodlines/UMA), the documentary on the life and career of the late Mushroom Group founder, which next week premieres on Australian network TV.
Meanwhile, BTS star J-Hope (real name: Jung Ho-seok) nudges the chart at No. 62 with the EP Hope On The Street Vol. 1. J-Hope hit No. 13 in 2018 with Hope World and No. 27 in 2022 with Jack In The Box.
Over on the ARIA Singles Chart, Benson Boone’s “Beautiful Things” (Warner Records) logs a fifth week at No. 1, ahead of Bey’s “Texas Hold ‘Em” and Djo’s “End Of Beginning” (AWAL), respectively.
Ariana Grande holds at No. 1 in Australia with Eternal Sunshine and, again, narrowly misses the chart double.
As Eternal Sunshine (via Universal) enters a third week atop the ARIA Albums Chart, Ariana’s album cut “We Can’t Be Friends (Wait For Your Love)” enters a second week at No. 2 on the national singles tally.
Coming in at No. 2 on the album list is Future and Metro Boomin’s We Don’t Trust You (Universal/Sony), their first collaborative collection. It’s Future’s 10th title on the albums chart, including a No. 1 with 2022’s I Never Liked You. Metro Boomin landed at No. 4 in 2020 with Savage Mode II, a collaboration with 21 Savage, and solo LP Heroes & Villains peaked at No. 5 in 2022. Three tracks from We Don’t Trust You appear on the ARIA Singles Chart, led by “Like That” at No .8.
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Closing out the top three on the ARIA Albums Chart, published Friday, March 29, is Olivia Rodrigo’s sophomore LP Guts (Geffen/Universal), which benefits from the release of the Spilled edition, which includes one new track and four songs that were previously only available on wax.
One of those new releases “Obsessed,” arrives at No. 16 on the singles chart, for her 16th top 20 appearance, ARIA reports. Three of those have climbed the chart mountain: “Drivers Licence,” “Good 4 U” and “Vampire.” Following its release in September 2023, Guts debuted at No. 1 in in Australia and logged two weeks at the summit.
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Meanwhile, Australian pop duo the Veronicas bag a top 10 debut with Gothic Summer (Virgin Music Australia/Universal). Produced by Goldfinger’s John Feldmann and featuring a cast of top-flight collaborators, including Travis Barker, Gothic Summer is new at No. 6. The Brisbane sisters (Jessica and Lisa Origliasso) have cracked the top 10 with all six of their studio albums, the first three of which peaked No. 2: The Secret Life Of… (2005), Hook Me Up (2007) and The Veronicas (2014).
Over on the ARIA Singles Chart, also published Friday, Benson Boone bags a fourth week at No. 1 with “Beautiful Things,” atop an unchanged top three.
Finally, Irish singer and songwriter Hozier returns to the top 10 with “Too Sweet” (Columbia/Sony), new at No. 10. That’s his first solo top 40 hit since 2015, when “Someone New” peaked at No. 24. His career best in these parts came with his 2013’s “Take Me To Church,” which sailed to No. 2.
For the fifth consecutive year, Australia’s recorded music industry posted growth in 2023 – all thanks to streaming and Aussies’ love of wax.
According to wholesale data published by ARIA, the nation’s record market lifted by 10.9% to A$676 million ($442 million), powered by subscriptions to music streaming brands.
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That rate of growth for Australia, a top 10 market, the IFPI confirms in its newly-published Global Music Report, is in line with international trends.
Spotify, Apple Music, YouTube Music, Tidal, and the full slate of subscription platforms now generate 69% of the industry’s total value, or $467.6 million ($305 million), up by 13.9% year-on-year, reports ARIA, the labels trade association.
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Also reporting gains for 2023 is the space for ad-supported streaming models, up 15.3% jump to $68.3 million ($44 million).
All digital products combined, including downloads and video streams, account for a sum upwards of A$616.1 million ($403 million), a 12% year-on-year lift. In other words, more than 90 cents in the record industry’s dollar is generated by digital.
Vinyl albums are an ongoing sweet spot, posting gains of 14.1% to A$42.1 million ($27 million), a sum more than twice that of the dwindling market for CD albums (A$17 million or $11 million, down 16%), for decades the record industry’s diesel engine. The rate of growth for vinyl, however, appears to be slowing.
An overall strong market report is masking a problem that Australia’s music community is trying desperately to crack — how to break more homegrown in Australia and abroad?
Where the IFPI’s GMR is flush with case studies on the success of Afrobeats, Latin music, K-pop, and blockbuster acts from North America and the U.K., acts from the land Down Under aren’t stealing the limelight.
“While Australia remains the 10th largest music market in the world – and Aussies clearly love music,” comments ARIA CEO Annabelle Herd, “it remains harder than ever for our local artists to reach these audiences.”
ARIA’s end-of-year charts “paint a clear picture of this,” notes Herd, with only four Australian albums impacting the top 100 for 2023, led by INXS‘ hits collection The Very Best (at No. 58), and three singles, none of which were released during the reporting period. The best-placed Australian artist on the year-end singles tally was The Kid Laroi with his 2021 Justin Bieber collaboration, “Stay.”
“Achieving cut-through becomes increasingly difficult for artists as the growth rate of subscription and ad supported streaming models continues to increase year on year,” notes Herd, “while nearly all other growth rates have eased compared to 2022.”
The Albanese federal government listened to the industry’s dilemmas, and, in 2023, activated Creative Australia, the centerpiece of the federal National Cultural Policy, Revive, which its architects hope will turn Australia into a music powerhouse.
Among the government’s promises is the launch of Music Australia, a reimagined national music development agency that would support and invest in the development of Australian contemporary music, and now led by founding director Millie Millgate. The Music Australia Council, effectively the Music Australia board, includes legendary concert promoter Michael Chugg and Future Classics founder and CEO Nathan McLay.
The government’s National Cultural Policy is an ambitious year-long action plan, structured around five interconnected pillars and underpinned by a commitment for new, additional investment totaling A$286 million (US$202 million) — record levels of arts funding. Music Australia alone is funded to the tune of A$69 million ($44 million) over four years.
“We are fortunate that compared to other major global markets, our growth rates paint a favorable picture for the future of music in Australia,” adds Herd. “Music is valuable, it is popular and it is growing. We look forward to working with the industry and government to ensure that message is heard and that value is increasingly used to support our incredible local talent.”
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Ariana Grande shines over Australia’s albums chart for a second consecutive week with Eternal Sunshine, as Benson Boone extends his reign over the national singles survey with “Beautiful Things.”
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Eternal Sunshine (via Universal) last week became Grande’s fifth No. 1 when it bowed at No. 1 on the ARIA Chart.
On the latest tally, published Friday, March 22, Grande’s seventh studio album leads a trio of Taylor Swift titles, 1989 (Taylor’s Version), Lover and Folklore (all via Universal), respectively.
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The top debut on the latest frame belongs to Peter Garrett, frontman with ARIA Hall of Fame inducted rock legends Midnight Oil, who checks in at No. 17 with his second solo album, The True North (Sony). Its predecessor, A Version Of Now, peaked at No. 3 in 2016. As frontman with the Oils, as they’re affectionately known in these parts, Garrett landed seven No. 1 albums, from Red Sails In The Sunset in 1984 to Resist in 2022.
Further down the list, Justin Timberlake drops in with his sixth album, Everything I Thought I Was (RCA/Sony), new No. 23. All of JT’s five previous albums reached the top 10 in Australia, with FutureSex/LoveSounds logging one week at No. 1 in 2006 and The 20/20 Experience leading the chart for two weeks in 2013, ARIA reports. EITIW is the followup to 2018’s Man Of The Woods, which peaked at No. 2.
Also making a top 40 appearance is U.S. country star Kacey Musgraves with Deeper Well (Mercury/Universal). It’s new at No. 26. Deeper Well is her fifth non-seasonal studio album, four of which have charted here, with her most LP, 2021’s Star-Crossed, becoming her first top 10 album in Australia, with a No. 9 peak.
Meanwhile, Benson Boone enters a third week at No. 1 on the ARIA Singles Chart with “Beautiful Things” (Warner) ahead of Ariana Grande’s Eternal Sunshine cut “We Can’t Be Friends (Wait For Your Love)” and Djo’s “End Of Beginning” (AWAL).
The top new release belongs to Dasha, as her independently-released viral track “Austin” opens its account at No. 23. Based in Nashville, via San Luis Obispo, Calif., Dasha is behind a line-dance trend that has turned the song into a U.S. country — and now ARIA Chart — hit.
Finally, “Fri(end)s” (BigHit/Universal) by BTS’s V (real name: Kim Tae-hyung) cracks the ARIA Top 50 at No. 49. With that effort, he becomes the fourth member of BTS to enjoy a solo hit in Australia, following Jimin, Jin and Jung Kook.
Ariana Grande’s Eternal Sunshine (Universal) enjoys the brightest possible start in Australia, where it debuts at No. 1, for her fifth leader.
All seven of the U.S. pop star’s album have landed in the ARIA top 10, including No. 1s for My Everything (in 2014), Dangerous Woman (2016), Sweetener (2018) and Thank U, Next (2019).
Eternal Sunshine also shines bright on the ARIA Singles Chart, yielding a string of new entries including “We Can’t Be Friends (Wait For Your Love),” opening at No. 2 for the week’s top debut and her 20th top 10 appearance in these parts; “Bye” (No. 19); the title track (No. 22); “Supernatural” (No. 18); “True Story” (No. 39) and “Wish I Hated You” (No. 46), while her former No. 2 hit “Yes, And?” rockets 34-11.
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With her No. 1 start, Grande ends Taylor Swift’s weeks-long lockup of the top 5. Still, Swift dominates the pointy end of the albums chart, published Friday, March 15, with five of the top 10, led by 1989 (Taylor’s Version) (via Universal), holding at No. 2.
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Meanwhile, Australian singer and TV presenter Ricki-Lee bows at No. 3 with On My Own (AWAL), her fifth studio album and first in 10 years. That’s a new career peak for Ricki-Lee, whose albums have all impacted the ARIA top 40, with Fear & Freedom (from 2012) her previous best at No. 7. Ricki-Lee is host of Australia Idol, the long-running reality TV series on which she got her break as a contestant 20 years ago.
Controversial Australian rock act Sticky Fingers enjoy a new peak position for Caress Your Soul (Sureshaker/MGM), which reenters the chart at No. 11 following the release of a 10th anniversary edition. The album previously peaked at No. 39 back in 2013.
Legendary British heavy metal band Judas Priest bows at No. 16 with Invincible Shield (Columbia/Sony), their 19th studio album. Judas Priest has never cracked the top 10 on the ARIA Chart. The closest they got was with Firepower, which blasted to No. 12 in 2018.
Over on the ARIA Singles Chart, American viral star Benson Boone holds at No. 1 for a second week with “Beautiful Things” (Warner), ahead of Grande’s “We Can’t Be Friends” and Djo‘s “End of Beginning” (AWAL), respectively. “End of Beginning” lifts 5-3, a new peak position for Djo, the music project of Stranger Things star Joseph Keery.
It’s a beautiful week for Benson Boone, as the U.S. singer and songwriter scores his first No. 1 in Australia, while Taylor Swift continues to dominate the national albums survey.
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Boone, the Monroe, Washington native, tops the latest ARIA Singles Chart, published Friday, March 8, with “Beautiful Things” (via Warner Music), up 3-1 in its seventh week on the tally.
“Beautiful Things” leads a top three ahead of Beyonce’s “Texas Hold ‘Em” (Columbia/Sony), holding at No. 2, and Swift’s “Cruel Summer” (Universal), down 1-3.
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Meanwhile, Stranger Things star Joe Keery has his very first Australian top 10 with “End Of Beginning” (AWAL), released through his music project Djo. Released back in 2022, “End Of Beginning” is enjoying a global resurgence thanks to a TikTok trend, lifting 14-9 on the ARIA Chart.
Fred Again tends to create hysteria in Australia, and he’s doing that (again). The British singer and songwriter performed a pop-up concert at the Sydney Opera House last month, setting a ticketing record en route to an immediate sell out. Then, the surprise announcement of six arena shows and an outdoor pop-up concert, which shifted 100,000 combined tickets in the blink of an eye. Off the back of that frenzy, several Fred Again tunes surge up the Australian tally, led by “Leavemealone” with Baby Keem, up 56-13 for a new peak position. His seven-date east coast run started Monday (March 4) at Rod Laver Arena, Melbourne and wraps next Thursday, March 14 at Qudos Bank Arena, Sydney.
Homegrown electronic producer Cyril lands his first top 40 hit with “Stumblin’ In” (Spinnin’ Records /Warner), his reimaged house version of Suzi Quatro and Chris Norman’s ‘70s song, up 45-19. The original peaked at No. 2 back in 1979, and was co-produced and co-written by another Australian, Mike Chapman.
Meanwhile, Taylor Swift locks up the top 5 on the ARIA Albums Chart for the third consecutive week, with Lover (Universal) claiming the title for the first time in more than four years, up 2-1.
The Swift Sweep continues with 1989 (Taylor’s Version) (via Universal), Folklore (Republic/Universal), Midnights (Universal) and Reputation (Big Machine/Universal) respectively completing the top 5.
A handful of homegrown recording enter the ARIA Top 50 on debut, including Mildlife’s Chorus (at No. 36 via PIAS/Inertia), Donny Benét’s Infinite Desires (No. 46 via Donnyland Records/Orchard) and San Cisco’s Under The Light (No. 47 via ICR/MGM).
Taylor Swift came, she played and she continues to dominate Australia’s charts.
Swift wrapped her seven-date, two-city The Eras Tour of Australia earlier in the week, and has left the country, but the afterglow of that trip can be seen on the ARIA Charts.
Swift’s Lover release “Cruel Summer” (Universal) enters a second week atop the singles tally while Midnights holds at No. 1 on the albums list, for a 16th non-consecutive week.
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Midnights leads an all-Tay Tay top six on the latest tally (Lover, 1989 (Taylor’s Version), Folklore, Reputation and Evermore, respectively), published Friday, March 1. Also, Swift retains No. 8 with Red (Taylor’s Version), marking the second week straight she has had seven albums in the top 10, equaling her own ARIA Chart record.
Swift completed sold-out shows at the Melbourne Cricket Ground (three dates) and Sydney’s Accor Stadium (four), for a trek produced by Frontier Touring. Next up, a six-night stand at Singapore National Stadium.
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The top new release on the national albums survey is Swing Fever (Rhino/Warner), the first collaborative album from Rod Stewart and Jools Holland. It’s new at No. 19.
That’s Stewart’s 32nd top 20 appearance and first since 2019, when You’re In My Heart: Rod Stewart With The Royal Philharmonic Orchestra peaked at No. 3, ARIA reports.
All told, Steward has landed seven ARIA No. 1s, dating back to 1971’s Every Picture Tells A Story.
Holland, the British bandleader and TV presenter, cracked the top 20 back in 1979 as a member of Squeeze (also known as U.K. Squeeze) with Cool For Cats, which peaked at No. 18. Swing Fever was the leader on the midweek U.K. albums chart.
Over on the ARIA Singles Chart, Swift’s “Cruel Summer,” initially released back in 2019, enjoys a second week at No. 1.
Beyonce’s country-leaning “Texas Hold ‘Em” (Columbia/Sony) lifts 3-2, and could lasso the U.S. pop/R&B superstar her first No. 1 in these parts in more than 17 years. Bey’s only other Australian leader is “Irreplaceable,” which logged three weeks at No. 1 in late 2006 and early 2007.
Benson Boone’s “Beautiful Things” (Warner) completes the podium, dipping 2-3 on the Official U.K. Singles Chart.
The top new release on the singles survey belongs to SZA, as “Saturn” (RCA/Sony) zooms in at No. 8. It’s housed by the R&B star’s Lana, a forthcoming deluxe version of her chart-topping LP SOS. SZA will play arenas across Australia next month for a tour produced by Live Nation, her first of these parts in almost five years.
Finally, Stranger Things star Joe Keery now has a top 40 hit in Australia through Djo, his recording project. Djo’s debut single “End of Beginning” (AWAL) rockets 69-14. Keery plays the chump-come-good character Steve Harrington in the much-loved Netflix sci-fi series.
