Aria
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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.
It’s a long, sweet southern summer for Taylor Swift, as the U.S. pop superstar dominates the Australian albums chart and her sleeper hit “Cruel Summer” climbs to No. 1 for the first time. The newly-crowned IFPI Global Recording Artist, earning plaudits for a record fourth time, Swift now sweeps the ARIA Charts like no artist has before her.For the third time in her career, Swift occupies the entire top 5 on the ARIA Albums charts, a feat no other artist has achieved even once (Michael Jackson came closest, when he posthumously nabbed the top 3 spots in 2009).On the latest tally, published Friday, Feb. 23, Swift rules with Midnights, 1989 (Taylor’s Version), Lover, folklore (all via Universal), and reputation (Big Machine/Universal), respectively. Midnights becomes her longest-reigning No. 1 on the ARIA Chart, at 15 non-consecutive weeks.
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All told, TayTay bags seven of the top 10, breaking the record for most titles by one artist in the top 10, beating her old mark of six.When Swift was confirmed by the IFPI Wednesday (Feb. 21) as the biggest-selling global recording artist of the 2023, the trade body pointed to the “phenomenon” by which her record-busting The Eras Tour increases engagement with her entire catalog on streaming platforms around the world.Lover track “Cruel Summer” is the IFPI’s case study, a song “initially released in 2019 but which topped charts around the world four years later.”It’s a good point, well made. Last week, Swift completing a three-night stand at the Melbourne Cricket Ground, and tonight enters the final straight of her The Eras Tour of Australia, produced by Frontier Touring, with the first of her four consecutive concerts at Sydney’s Accord Stadium. Those dates at the MCG, totaled over 288,000 — the most tickets sold by one artist at the towering venue, according to Universal Music Australia. Too much Taylor Swift isn’t enough for her Swifties, as “Cruel Summer” lifts 4-1 for its first stint at the top of the ARIA Singles Chart, her 11th leader. That places her in a tie with Madonna as the artist with the third most No. 1 singles in Australia, behind the Beatles (26) and Elvis Presley (14), respectively.
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It’s the seventh time Swift has notched the ARIA Chart double, extending her own record.
Also noteworthy on the latest ARIA Singles Chart is the trajectory of Beyonce’s country-leaning “Texas Hold ‘Em” (Columbia/Sony). A record-setter in the U.S., Bey’s new hit flies 38-3 for her 16th top 10 solo or duet appearance in Australia.Also, Dua Lipa bows at No. 12 on the ARIA Chart with “Training Season” (Warner Records), lifted from the British pop artist’s forthcoming third album.The top debut on the ARIA Albums Chart belongs Sydney indie duo Royel Otis, with Pratts & Pain (Ourness), new at No. 10. That’s a new career best for the pair, Royel Maddell and Otis Pavlovic, following the No. 43 peak for their 2023 EP Sofa Kings. Nominated for the Michael Gudinski breakthrough artist award at the 2023 ARIAs, Royel Otis are currently touring Australia in support of the new LP.
Kanye West and Ty Dolla $ign land at No. 1 in Australia with Vultures 1.
The result, which answers a question on how international audiences would respond to Ye’s recent controversies, is his fifth ARIA Chart leader, following Yeezus (June 2013), Ye (June 2018), Jesus Is King (Nov. 2019) and Donda (March 2021), an album from which a record-setting 19 tracks flooded the singles tally.
The independently-released effort is a career best for Ty Dolla $ign (Universal), beating the No. 37 peak of Beach House 3 in 2017.
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Also new to the ARIA Albums Chart, published Friday, Feb. 16, is Jessica Mauboy‘s Yours Forever, new at No. 10 for the homegrown pop star’s eighth top 10 album.
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Yours Forever is Mauboy’s first LP for Warner Music, and is the followup to 2019’s Hilda, her second ARIA No. 1 album.
A trio of leading ladies from the United States are in the market, or on the way. And the excitement around their live appearances are impacting the national charts.
Taylor Swift kicks off the Australia leg of her The Eras Tour tonight, with the first of three consecutive nights at the Melbourne Cricket Ground. Currently, half of the top 10 titles on the ARIA Chart, and eight of the top 20, belong to TayTay. Produced by Frontier Touring, Swift’s tour of these parts wraps next week with a four-night stand at Sydney’s Accor Stadium.
Pink, meanwhile, is touring stadiums for Live Nation, a trek that sees her former leader Trustfall (RCA/Sony) return to the top 10, up 36-9.
And SZA’s SOS (RCA/Sony) spikes, following the announcement of an arena tour of these parts, also produced by LN. SOS lifts 10-5.
Over on the ARIA Singles Chart, published today, Noah Kahan’s “Stick Season” (Universal) logs a third week at No. 1. “Stick Season” leads a podium ahead of Benson Boone’s “Beautiful Things” (Warner) and Jack Harlow’s “Lovin On Me” (Atlantic/Warner), respectively.
Taylor Swift blocks-out the entire top 5 on Australia’s albums chart, as Swifties fire-up her catalog just days out from the start of her tour Down Under.
The U.S. pop superstar leads the ARIA Chart, published Friday, Feb. 9, with 1989 (Taylor’s Version) (via Universal), which clocks its 14th non-consecutive week at No. 1, tying with Midnights as her longest-running leader.
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It’s all TayTay from there, as Midnights (Universal) holds at No. 2, Lover (Universal) lifts 8-3, Reputation (Big Machine/Universal) holds at No. 4, and Folklore (Republic/Universal) fires 8-5.
It’s not the first Swift Sweep of the ARIA Chart. The “Wildest Dreams” singer completed what was then an unprecedented lock-up of the top 5 last July, led by Midnights, followed by Lover, 1989, Reputation, and Folklore, respectively.
On that occasion, Swift-mania was triggered by the general ticket on sale for her The Eras Tour of Australia in 2024, produced by Frontier Touring.
The time has come. Swift will play her hits across seven concerts at the Melbourne Cricket Ground and Sydney’s Accord Stadium, starting from next Friday (Feb. 16) at the MCG.
No other artist has come close to commanding the ARIA top 5. The late Michael Jackson was the standard-bearer before Swift, once landing the top three albums on the chart a week following his death in 2009.
The top new release on the latest ARIA Albums Chart is Prelude To Ecstasy (Island/Universal), the debut LP from the critically-lauded British group The Last Dinner Party. It’s new at No. 35.
Prelude To Ecstasy zoomed ahead on the midweek U.K. chart, and should give the London five-piece group a No. 1 there, adding to their growing collection of trophies which includes the BRITS Rising Star Award and the BBC Sound of… 2024 poll.
Over on the ARIA Singles Chart, Noah Kahan sticks a second week at No. 1 with “Stick Season” (Universal), ahead of Jack Harlow’s former leader “Lovin On Me” (Atlantic/Warner), holding at No. 2.
U.S. viral star Benson Boone has a new career high with “Beautiful Things” (Warner), which improves 9-3. Until “Beautiful Things,” his ARIA Chart best was No. 34 for 2022’s “Into The Stars.”
Finally, Dom Dolla marches into the top 10 for the first time with “Saving Up” (Sony). A standout on the triple j Hottest 100 poll, where it dropped in at No. 3, “Saving Up” lifts 11-10 on the ARIA Chart.
“Saving Up” is one of 11 homegrown recordings in the top 100, ARIA reports, including cuts by Royel Otis, Troye Sivan, Vance Joy, Ocean Alley, FISHER with Kita Alexander and Flume with Kai.
As the calendar flips over to February, Australia finds itself in stick season.
Noah Kahan earns his first No. 1 single in Australia as “Stick Season” (via Universal) climbs 2-1 on the ARIA Chart, published Friday, Feb. 2. “Stick Season” gets there in its 15th week on the tally.
Last month, Kahan completed his We’ll All Be Here Forever Tour, which included dates across Melbourne, Brisbane, Sydney and Perth — his first Australia trek since 2019. According to reps from Universal Music Australia, Kahan performed to more than 50,000 people on the jaunt, produced by Live Nation, and made his breakfast TV debut on Channel 7’s free-to-air Sunrise, for an in-studio performance of the hit single.
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Kahan has more to come. Next Friday, Feb. 9 sees the release of Stick Season (Forever), the “final pieces” of his release strategy, says a UMG rep, following the rollout of the Stick Season album in 2022 and, in late July 2023, Stick Season (We’ll All Be Here Forever).
It’s mid-summer in Australia, another scorcher where heatwaves or storms are the forecast for any given day. The hottest months here never pass without an edition of Triple J’s Hottest 100 poll, which was counted down last week, and saw Doja Cat’s “Paint The Town Red” (RCA/Sony) crowned the winner.
A string of entries in the Hottest 100 enjoy bumps on the ARIA Chart, led by “Paint The Town Red,” up 10-6.
Also, Aussie EDM producer Dom Dolla’s flashes the cash with “Saving Up” (Sony), which vaults 44-11 on the ARIA Chart. “Saving Up” came in at No. 3 on the triple j poll, which raked in 2,355,870 votes. That result is easily Dom’s highest-charting single in Australia, eclipsing the No. 32 best for “Rhyme Dust.” After blasting in at No. 4 on the Hottest 100 poll, “Rhyme Dust” reenters the ARIA Chart this week at No. 41.
G Flip had a record-breaking result as seven of their songs appeared on the Hottest 100. Less than a week later, G Flip’s former No. 1 LP Drummer (Future Classic/Universal) returns at No. 42.
There’s no moving Taylor Swift from the top of the ARIA Albums Chart, as Taylor’s 1989 (Taylor’s Version) (via Universal) holds at No. 1 for a 13th non-consecutive week. If it logs one more week at No. 1, the latest Taylor’s Version would tie with Midnights as her longest reigning album in Australia, at 14 weeks.
According to ARIA, Swift chalks up 55 total number of weeks at No. 1 across 12 albums, starting with Speak Now in 2010.
The top debut on the albums tally is the Smile’s Wall Of Eyes (XL/Inertia), new at No. 7. It’s the second album from the Radiohead side project, following 2022’s A Light For Attracting Attention, which peaked at No. 15 on the ARIA Chart.