State Champ Radio Aria
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There’s no end in sight for Miley Cyrus’ chart reign in Australia as the pop star snags a rare chart double.
Cyrus’ “Flowers” (via Columbia/Sony) enters a ninth week at the singles chart summit, published Friday (March 17), and its parent Endless Summer Vacation debuts at No. 1 on the national albums survey.
With Endless Summer Vacation topping the ARIA Chart, Cyrus earns a sixth top five title, and her third No. 1 — her first in a decade.
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Miley previously led the tally with Breakout (2008) and Bangerz (2013), which both spent one week in the top spot, ARIA Reports.
If Endless Summer Vacation hangs around for another week in the penthouse, Miley will equal a family record. Billy Ray Cyrus’ Some Gave All logged two weeks at No. 1 on the ARIA Albums Chart in 1992, though he hasn’t tasted life at the top ever since.
As “Flowers” extends its unbroken streak, “River,” the second single from her eighth and latest LP, starts at No. 22 on the ARIA Chart and two other tracks from it appear in the Top 100.
“Flowers” leads an unchanged ARIA top four ahead of cuts by PinkPantheress (“Boy’s a liar” via Parlophone/Warner), The Weekend (“Die For You” via Universal) and SZA (“Kill Bill” via RCA/Sony), respectively, while Morgan Wallen’s “Last Night” (Republic/Universal), from the U.S. country star’s latest, 36-track set One Thing At a Time, improves 6-5.
With the exception of Miley, no new releases debut on the top 50 of either main chart.
ARIA’s weekly charts are based on wholesale data collected from a combination of physical and digital retailers, and music-streaming services.
Miley Cyrus is now head of the Cyrus clan.
The U.S. pop star’s “Flowers” (via Columbia/Sony) logs an eighth consecutive week at No. 1 on Australia’s chart, beating the old Cyrus mark set by Billy Ray back in 1992 with “Achy Breaky Heart,” which ruled the ARIA survey for seven weeks.
Don’t expect “Flowers” to wither anytime soon; Cyrus’ eighth studio album, Endless Summer Vacation, which features the two-times platinum single, dropped Friday (March 10).
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Meanwhile, PinkPantheress’ “Boy’s A Liar” (Parlophone/Warner) is “very close behind” at No. 2, ARIA reports, with the Weeknd’s “Die For You” (Universal), which features a fresh assist from Ariana Grande, completing an unchanged podium.
Over on the ARIA Albums Chart, Harry Styles nabs a 10th non-consecutive week at No. 1 with Harry’s House (Columbia/Sony), his third solo album. The former One Direction star recently wrapped a lap of stadiums in these parts, for the domestic leg of his Love On Tour, produced by Live Nation.
The afterglow of those seven trans-Tasman dates can be seen up and down the charts. His sophomore longplay Fine Line dips 5-6, and his debut self-titled holds at No. 12 on the albums survey, while “As It Was,” IFPI’s top global single for 2022, holds at No. 5 on the singles tally; it’s one of the English singer’s 14 tracks currently impacting the top 100.
Harry’s House holds-off two debut releases on the latest ARIA Chart. Coming in at No. 2 on the latest survey, published March 10, is One Day At A Time (Mercury/Universal), the third studio effort by U.S. country star Morgan Wallen.
The sprawling, 36-track album is the followup to 2021’s The Double Album, which has spent more than two years on the ARIA Chart and is currently at No. 31.
The third spot belongs to Ruel, with his first full-length album 4th Wall (RCA/Sony). The 20-year-old Sydney singer won the ARIA Award for breakthrough artist (now the Michael Gudinski breakthrough artist award) in 2018, and bagged a No. 3 on the national survey with his 2019 EP, Free Time.
Finally, Korean boy band NCT 127 enjoys a top 20 debut with Ay-Yo – The 4th Album Repackage (Virgin Music Australia/Universal), at No. 13; Mornington Peninsula-based four-piece indie act Teenage Dads start at No. 28 with the Midnight Driving EP (via MGM); and Melbourne singer-songwriter Jen Cloher bows at No. 30 with I Am The River, The River Is Me (Inertia), her fifth studio album.
With their first album in six years, This Is Why (via Atlantic/Warner), Paramore powers all the way to No. 1 in Australia.
This Is Why becomes Paramore’s third leader on the ARIA Chart, following Brand New Eyes (in 2009) and Paramore (2013). It’s their sixth studio album and the followup to 2017’s After Laughter, which peaked at No. 3 in these parts.
The reunited pop-rock trio of Hayley Williams, Taylor York and Zac Farro can boast another neat feat this week; This Is Why is the only new release to impact the ARIA Top 50.
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Completing the podium on the latest ARIA Albums Chart, published Feb. 17, is Harry Styles’ Harry’s House (Columbia/Sony), up 3-2 following his triumphant nights at the BRITs and Grammy Awards; and Taylor Swift’s Midnights (Universal), down 1-3.
Over on the ARIA Singles Chart, Miley Cyrus makes it five weeks in a row with “Flowers” (Columbia/Sony), a record that just seems to grow on fans.
The pop star’s reign could face a challenge from “Boy’s A Liar” (Plg/Warner) by PinkPantheress, the hotly-tipped British singer, songwriter and producer. “Boy’s A Liar” roars 25-3, following the release of a remix featuring U.S. rising star Ice Spice.
Also on the move up is Miguel’s 2010 release “Sure Thing” (Sony), which lifts 11-7 after getting the viral treatment on TikTok. That’s well-up on the original No. 11 peak for “Sure Thing” back in 2011, and it marks the U.S. R&B artist’s second top 10 appearance (his 2013 collaboration with Mariah Carey on “Beautiful” went to No. 6). “Sure Thing” is now three-times platinum certified.
Finally, American rapper and singer Coi Leray’s catchy number “Players” (Universal) is on the rise. It’s up 18-10.
MELBOURNE, Australia — Labels trade body ARIA has questioned the motives behind TikTok’s “test” on users in these parts and demanded the short-form video platform immediately restore access to all music, for all Australians.
Earlier this month, ByteDance confirmed it was conducting an experiment in Australia, where TikTokers would have restrictions placed on their music options to soundtrack clips.
“Over the coming weeks we will be running a test in Australia to analyse how music is accessed and used on the platform,” reads a message from a TikTok rep. “Not all music is included in this test and we do not expect it to impact everyone on TikTok.”
The “test is underway,” and the app expects “that some of our users will not be able to access our full music and sounds library. For more than half of our community there will be no change to their experience and the test will not impact them.”
It’s unclear how many users have had their experience dampened, which titles and music labels have been removed, or precisely what TikTok hopes to gain from this procedure.
In one scenario, observers say, should TikTok find its users stay and stick to the app in the absence of major-label hits, the tech firm could gain an upper hand when it comes time to negotiate on content licenses.
On Wednesday (Feb. 15), ARIA addressed the elephant in the room.
In a carefully-worded statement, ARIA questions TikTok’s “decision to limit and remove access to music for select Australian creators and users” on its platform over the coming weeks.
“It is frustrating to see TikTok deliberately disrupt Australians’ user and creator experience in an attempt to downplay the significance of music on its platform,” comments ARIA CEO, Annabelle Herd, in a statement.
“After exploiting artists’ content and relationships with fans to build the platform, TikTok now seeks to rationalize cutting artists’ compensation by staging a ‘test’ of music’s role in content discovery.”
Herd points out the contraction in TikTok’s past mission statements.
“This is despite the fact that in 2021 TikTok’s global head of music, Ole Obermann, said: ‘Music is at the heart of the TikTok experience.’” This “test,” adds Herd, “is presented as an effort to analyse, improve and enhance the platform’s wider sound library, but as little as five months ago, TikTok’s chief operating officer Vanessa Pappas said that 80% of content consumed on TikTok is programmed by algorithms.”
If this is the case, Herd explains, “then it’s difficult to trust that this is a true test. TikTok can set its Australian algorithm upfront to – within parameters they define – deliver the results they want.”
And the results ARIA wants?
“Australians deserve better,” Herd concludes. “TikTok should end this ‘test’ immediately and restore music access to all users and creators.”
TikTok is a real hit with Gen Z in Australia, and is already a more popular social platform than Twitter among all Internet users in these parts, according to data published in the Digital 2022 Australia report.
The annual study found that users spent 40% more time scrolling the app each month compared with the previous year, and it’s now ahead of Twitter among the percentage of internet users who regularly use the platform.
Separately, TikTok recently launched SoundOn in Australia, a tool that allows creators to upload their music directly, and get paid.
The new platform, which is already live in the U.S., U.K., Brazil, Indonesia and elsewhere, helps independent emerging artists navigate its service, upload music and get paid for its use, market and promote themselves on TikTok and distribute their music to outside DSPs.
Shania Twain’s long-overdue return to music has been warmly received in Australia, where Queen of Me cracks the top 5 on debut.
Queen of Me is Twain’s six studio LP and first album of new material since Now in 2017, and 2002’s Up before that.
With its No. 5 debut on the ARIA Chart, published Feb. 10, the Canadian country star bags her sixth top 20 in the land Down Under, a feat that includes three leaders — Come On Over (1997), Up, and Now.
The national albums chart is led by Taylor Swift’s Midnights, up 2-1; with SZA’s SOS (up 3-2) and Harry Styles’ Harry’s House — which enjoys a post-Grammys lift (up 6-3) — filling the podium positions respectively.
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Meanwhile, Red Hot Chili Peppers’ recent stadium tour of these parts has seen fans tune in to the California rockers’ classics, and latest. RHCP’s Greatest Hits from 2003 vaults 22 places to break into the top 10 at No. 10, while 2022’s Return Of The Dream Canteen roars 152-31.
Over on the ARIA Singles Chart, Miley Cyrus’ “Flowers” beds down for a fourth consecutive week at No. 1, ahead of SZA’s “Kill Bill” (unchanged at No. 2), and Sam Smith and Kim Petras’ “Unholy,” which enjoys a post-Grammy Awards bump, up 5-3. Also noteworthy is Harry Styles’ “As It Was,” which climbs 15-9 after his winning ways at the Grammys.
The Kid Laroi makes a chart leap with “Love Again,” up 14-6 in its second week. It’s the Sydney-raised singer and rapper’s sixth top 10 single in Australia, a tally that includes leaders “Stay” and “Without You.”
“Love Again” is lifted from his forthcoming debut studio album, The First Time, due out later this year.
Finally, British producer Fred Again created a lot of frenzy in Australia in recent days with a string of “secret” shows which sold out in minutes and had fans scrambling for tickets. The buzz behind those gigs have translated to a new chart peak for “Delilah (pull me out of this),” up 69-37.
Miley Cyrus flourishes on Australia’s singles chart with “Flowers” (Columbia/Sony), which debuts at No. 1.
“Flowers” is, surprisingly, the U.S. pop star’s first leader in the land Down Under. Her previous best on the ARIA Singles Chart was No. 2 for 2013’s “Wrecking Ball,” though she has led the national albums chart with two titles — Bangerz in 2013 and Breakout in 2008.
Cyrus has a deep connection with Australia, which extends beyond music. She and Aussie actor Liam Hemsworth dated on and off for years after meeting on the set of the 2010 film movie The Last Song. The couple married in December 2018, but separated the following year. Later, Cyrus briefly dated another Aussie singer, Cody Simpson.
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Raye is enjoying the best-possible start to 2023. First, she crashed the Official U.K. Singles Chart with “Escapism” (via RCA/Sony), the British singer’s first No. 1 in her homeland. Now, the single climbs to a new high in Australia. “Escapism,” featuring U.S. rapper 070 Shake, lifts 4-3 on the ARIA Singles Chart, published Friday (Jan. 20).
Also bringing a fresh vibe to the ARIA Chart is “Vibe” (Interscope/Universal), the new collaboration from BigBang member Taeyang and BTS member Jimin. It’s new at No. 48. “Vibe” should get a shot in the arm from the release this week of a new live performance of the song, accompanied with a full backing band.
Over on the ARIA Albums Chart, also published Jan. 20, Taylor Swift locks-up another No. 1 with Midnights (Universal). Swift’s tenth and latest studio album has led the Australian survey for 11 non-consecutive weeks, her longest-running leader in these parts.
Meanwhile, SZA’s SOS (RCA/Sony) holds at No. 2 for a third week, while British acts Arctic Monkeys and Elton John enjoy sales spikes following their recent, respective live runs. Arctic Monkeys’ The Car (Domino/EMI) freewheels 46-3, and Elton’s Diamonds (Universal) shines at No. 5.
The only new title to debut this week on the ARIA Albums Chart is Duncan Toomb’s Steel On Steel (Compass Brothers Records/Universal), the Australian country artist’s solo debut. It’s new at No. 30.
SZA cleans-up on the Australian singles chart with “Kill Bill” (via RCA/Sony), while Taylor Swift enters a 10th non-consecutive week at No. 1 on the national albums survey with Midnights (Universal).
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Swift’s 10th and latest album becomes her longest-reigning No. 1 on the ARIA Chart, eclipsing the nine-week run for 1989’s 2014. On the latest chart, published Friday, Jan. 13, 1989 dips 19-20.
“Congratulations Taylor! Ten weeks at No. 1 is a great achievement and 10 chart-topping albums in just 12 years is incredible,” comments ARIA CEO Annabelle Herd. “Australia’s love affair with Taylor and her music is not slowing down.”
Midnights manages to hold off SZA’s SOS from a first stint on the albums chart throne, as it holds at No. 2 — though the U.S. R&B star goes one better on the ARIA Singles Chart.
In a week that saw SZA drop a bloody music video for “Kill Bill,” the track lifts 2-1 on the ARIA Chart for her first leader in Australia.
Until now, SZA’s best was a No. 2 placing for “All The Stars” with Kendrick Lamar, lifted from the Black Panther soundtrack in 2018. She also featured on Doja Cat’s “Kiss Me More,” which peaked at No. 2 in 2021.
“Kill Bill” switches places with Sam Smith & Kim Petras’ “Unholy” (Capitol/Universal), which slips 1-2, just days after Smith performed an exclusive, intimate concert at the d’Arenberg Cube winery in McLaren Vale, Adelaide.
Raye’s “Escapism” (Orchard) featuring U.S. rapper 070 Shake reaches a new high, up 7-4. The British singer and songwriter snagged the U.K. No. 1 this week with “Escapism,” released independently after her public split with Polydor, part of Universal Music Group.
Meanwhile, Dean Lewis’ “How Do I Say Goodbye” (Island/Universal) is the best-placed homegrown track on Australia’s official singles chart, up 26-16, just two places removed from its peak position.
Also noteworthy is Stephen Sanchez and Em Beihold’s dark horse “Until I Found You” (Universal), which races 30-12, six months after it first impacted the top 100, while Skrillex, Fred Again and Flowdan bag the week’s highest debut, as “Rumble” (Atlantic/Warner) starts at No. 35.
It’s a New Year, Christmas songs perform their disappearing act for another time, and “Unholy” is back on top in Australia.
Sam Smith and Kim Petras’ global hit lifts 13-1 on the ARIA Chart, published Jan. 6, for its fifth non-consecutive week at No. 1.
The 2023 rebirth of “Unholy” (Capitol/EMI) closely follows the announcement that Petras will headline Sydney WorldPride’s closing concert, Rainbow Republic, on March 5, and comes ahead of Smith’s intimate performance at McLaren Vale’s d’Arenberg Cube in Adelaide.
“Unholy” leads a fresh top 10 on the ARIA Singles Chart, as Xmas tunes tumble out of sight.
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SZA‘s “Kill Bill” (RCA/Sony) vaults 12-2, while former leader “I’m Good (Blue)” (Warner) by David Guetta and Bebe Rexha leaps 25-3.
Meanwhile, British singer and songwriter Raye enjoys a new chart peak with “Escapism” (Orchard), up 26-7. “Escapism,” which represents a new, independent era for the rising artist, was the top single on the midweek U.K. chart.
Following the publication of ARIA’s year-end charts, which saw Harry Styles’ “As It Was” (Columbia/Sony) coming in at No. 1 for 2022, the Harry’s House number is once again on the rise. “As It Was” lifts 34-9 on the weekly survey.
Just one single makes its debut in the top 40 on the new chart, Dutch DJ Tiesto’s collaboration with Canadian singer-songwriter Tate McRae, “10:35” (Sony/Warner). It’s new at No. 24.
The top album for 2022, ARIA reported earlier in the week, is Taylor Swift’s Midnights (Universal). Swift’s tenth and latest studio album holds at No. 1 on the latest ARIA Chart, for its ninth non-consecutive week at the summit. It’s one of five Swift albums currently in the top 40.
Australia was Harry’s House in 2022, as Harry Styles locked up the best-selling single and the No. 2 album, according to year-end data published by ARIA.
The former One Direction star leads the ARIA Top 100 Singles Chart with “As It Was” (via Columbia/Sony Music), which racked up five platinum certifications following its April 1 release.
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Its parent LP, Harry’s House, Styles’ third successive solo No. 1 on the ARIA Albums Chart, spawns three of the top 50 tracks for 2022, and finishes at No. 2 on the year-end albums tally. Styles confirmed his popularity when he won most popular international artist at the 2022 ARIA Awards, a fan-voted category.
The best-selling album, according to ARIA, is Taylor Swift’s Midnights (Universal), which chalked up the biggest single sales cycle of any LP in 2022 and scooped a record nine of the top 10 singles in its first week. Also, Midnights was the year’s best-selling LP on wax.
Both Midnights and Harry’s House are platinum certified (for 70,000 combined units).
U.S. and international acts dominate the year-end tallies.
The top-ranked homegrown album is the Kid LAROI’s F*ck Love (Over You), which finished 2022 at No. 21, after landing at No. 3 on the 2021 year-end survey. The Sydney-raised, Los Angeles-based singer and rapper also scores three singles in the top 100 for 2022, led by “Stay” (Columbia/Sony) featuring Justin Bieber at No. 3 (“Stay” finished 2021 at No. 2).
Also, Pnau’s award-winning remix of “Cold Heart” (via Warner/Universal) featuring Elton John and Dua Lipa finishes 2022 at No. 4 (“Cold Heart” finished 2021 at No. 13).
The year in music will be remembered by the stranger things done by Kate Bush’s 1985 song “Running Up That Hill (Deal With God)” (via Warner), which caught fire on sales charts around the globe. Powered by Netflix’ Stranger Things, the single logged nine weeks at No. 1 on the ARIA Singles Chart, more than any other song in 2022, and arrives at No. 11 on ARIA’s year-end tally.
ARIA 2022 Top 5 Albums
Taylor Swift – MidnightsHarry Styles – Harry’s HouseThe Weeknd – The HighlightsOlivia Rodrigo – SourEd Sheeran – =
ARIA 2022 Top 5 Singles
Harry Styles – “As It Was”Glass Animals – “Heat Waves”The Kid Laroi & Justin Bieber – “Stay”Elton John & Dua Lipa – “Cold Heart (PNAU Remix)”Ed Sheeran – “Bad Habits”
ARIA 2022 Top 5 Vinyl Albums
Taylor Swift – MidnightsHarry Styles – Harry’s HouseSpacey Jane – Here Comes EverybodyArctic Monkeys – AMEd Sheeran – =
Mariah Carey already locked up the Christmas No. 1, now she’s certain to see in the New Year as queen of the Australian singles chart.
Carey’s nine-times platinum hit from 1994, “All I Want For Christmas Is You” (Columbia/Sony), enters a third week at No. 1 on the latest ARIA Singles Chart, as holiday numbers flood the survey.
“All I Want” leads an “all-Christmas” top ten, published Dec. 30, and is one of 18 Christmas songs impacting the top 20, with SZA’s “Kill Bill” (down 2-12 via RCA/Sony) and Sam Smith & Kim Petras’ former leader “Unholy” (down 3-14 via Capitol/Universal) the only exceptions.
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A string of Xmas-themed tracks impact the upper tier of the chart for the first time, including the late Nat King Cole’s 1946 recording “The Christmas Song (Merry Christmas To You)” (via Universal), new at No. 27; The Beach Boys’ “Little Saint Nick” (Universal) at No. 39; Bing Crosby’s “White Christmas” (Universal) at No. 41; Darlene Love’s “Christmas (Baby Please Come Home)” (via Sony) at No. 49; and another Nat King Cole classic, “Deck The Hall” (EMI), at No. 50.
Over on the ARIA Albums Chart, Taylor Swift’s platinum-certified Midnights (Universal) retains top spot, ahead of Michael Buble’s Christmas (up 3-2 via Reprise/Warner) and SZA’s SOS. (down 2-3 via RCA/Sony).
As the New Year nears, Swift can rest assured that her fanbase in Australia is amped for a potential tour to these parts. The U.S. pop superstar makes her presence known up and down the national albums survey, with Folklore (up 31-21), Evermore (up 50-22), Red (Taylor’s Version) (up 33-23), 1989 (up 32-27), Lover (up 34-30), Reputation (up 53-44), and Fearless (Taylor’s Version) (up 62-50) making gains.
