Billboard 200
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Taylor Swift is celebrating her recent success on the Billboard charts.
On Saturday (July 20), the 34-year-old pop superstar thanked Swifties for helping her latest album, The Tortured Poets Department, reign for 12 weeks at No. 1 on the Billboard 200 albums chart.
“I also wanted to say to everyone who’s supported The Tortured Poets Department, I am completely blown away by what you’ve done,” Swift wrote on Instagram alongside a gallery of recent Eras Tour photos. “It stayed at #1 for the first 12 weeks of its release and that’s never happened to an album of mine before, not even close!! You’re just the greatest.”
Earlier in the week, Swift’s 31-track collection surpassed Whitney Houston’s 1987 album, Whitney, to become the only album by a woman to spend its first 12 weeks atop the Billboard 200. It also marked a career-best for Swift, whose 1989 and Fearless releases spent 11 weeks each at No. 1. Only two other albums have spent at least their first 12 weeks at No. 1: Morgan Wallen’s One Thing at a Time and Stevie Wonder’s Songs in the Key of Life.
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Swift’s celebratory social media post arrived after her trio of Eras Tour concerts at Veltins-Arena in Gelsenkirchen, Germany, from July 17-19.
“Those 3 Gelsenkirchen crowds were AMAZING, and so thoughtful??? There were signs and paper hearts, the ‘betty’ wave, and tons of DIY “willow” orbs made out of balloons + phone flashlights. Thank you!!!” Swift wrote on Instagram.
The “Anti-Hero” singer’s boyfriend, Travis Kelce, has been in the audience for all of her performances in Germany. Fans spotted the Kansas City Chiefs tight end dancing along to the concert and proudly filming his superstar girlfriend singing “So High School” at her opening night in Gelsenkirchen, and escorting her out from the backstage area at night two.
Next up, Swift will travel to Hamburg for two concerts at the city’s Volksparkstadion from July 23-24 and Munich’s Olympiastadion from July 27-28. Paramore will open on each of the dates. Once the European leg of her Eras trek is over, she’ll return to the U.S. and Canada for one final victory lap in November and December.
See Swift’s post on Instagram here.
For the first time in over a year, and only the sixth time in the modern era, half of the top 10 albums on the all-genre Billboard 200 chart (dated July 20) are country albums.
Zach Bryan’s The Great American Bar Scene leads the country party at No. 2 on the July 20-dated Billboard 200, followed by Morgan Wallen’s One Thing at a Time (No. 3) and Dangerous: The Double Album (No. 6), Shaboozey’s Where I’ve Been, Isn’t Where I’m Going (No. 8) and Bryan’s self-titled album (No. 10).
Country albums are defined as those that have appeared on Billboard’s Top Country Albums chart. The list began in 1964.
In the modern era – since the Billboard 200 chart began using electronically monitored tracking information from Luminate (then-SoundScan) on the May 25, 1991-dated chart – there have been only six instances where at least half of the top 10 were country titles.
Here’s a look at each of those weeks and the country sets inside the top 10 on the Billboard 200 —
July 20, 2024:No. 2, Zach Bryan, The Great American Bar SceneNo. 3, Morgan Wallen, One Thing at a TimeNo. 6, Morgan Wallen, Dangerous: The Double AlbumNo. 8, Shaboozey, Where I’ve Been, Isn’t Where I’m GoingNo. 10, Zach Bryan, Zach Bryan
June 10, 2023:No. 2, Morgan Wallen, One Thing at a TimeNo. 5, Morgan Wallen, Dangerous: The Double AlbumNo. 7, Luke Combs, Gettin’ OldNo. 9, Zach Bryan, American HeartbreakNo. 10, Bailey Zimmerman, Religiously. The Album.
Oct. 5, 2013:No. 2, Justin Moore, Off the Beaten PathNo. 3, Chris Young, A.M.No. 6, Luke Bryan, Crash My PartyNo. 8, Keith Urban, FuseNo. 10, Billy Currington, We Are Tonight
Oct. 30, 2010:No. 2, Darius Rucker, Charleston, SC 1966No. 4, The Band Perry, The Band PerryNo. 6, Kenny Chesney, Hemmingway’s WhiskeyNo. 8, Zac Brown Band, You Get What You GiveNo. 9, Toby Keith, Bullets in the Gun
Nov. 17, 2007:No. 1, Eagles, Long Road Out of EdenNo. 3, Carrie Underwood, Carnival RideNo. 5, Josh Turner, Everything Is FineNo. 6, Robert Plant / Alison Krauss, Raising SandNo. 10, Rascal Flatts, Still Feels Good
Jan. 23, 1993:No. 2, Garth Brooks, The ChaseNo. 3, Billy Ray Cyrus, Some Gave AllNo. 8, Reba McEntire, It’s Your CallNo. 9, George Strait, Pure Country (Soundtrack)No. 10, Brooks & Dunn, Brand New Man
Currently, the Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. From May 25, 1991 – Dec. 6, 2014, traditional album sales, as electronically monitored and tabulated by Luminate, were the sole measurement to rank albums on the chart. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram
Taylor Swift’s The Tortured Poets Department captures a 12th consecutive and total week at No. 1 on the Billboard 200 (dated July 20) — beating 1989 and Fearless (each with 11 weeks at No. 1) as her longest-leading No. 1 album.
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The Tortured Poets Department earned 163,000 equivalent album units in the U.S. in the week ending July 11 (up 43% — its first gain in seven weeks), according to Luminate. The album debuted atop the chart dated May 4 and has yet to yield the No. 1 slot.
The Tortured Poets Department surpasses Whitney Houston’s 1987 album Whitney to become the only album by a woman to spend its first 12 weeks at No. 1. The latter spent all 11 of its weeks atop the list from its debut frame (June 27, 1987-dated chart).
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Only two other albums have spent at least their first 12 weeks at No. 1: Morgan Wallen’s One Thing at a Time (first 12 weeks at No. 1, of its total 19 weeks at No. 1 in 2023-24) and Stevie Wonder’s Songs in the Key of Life (first 13 weeks at No. 1, of its total 14 weeks at No. 1 in 1976). (For context, today it’s common for albums to debut at No. 1. However, before 1991, when the Billboard 200 began utilizing Luminate’s electronically monitored tracking information, only six albums debuted at No. 1, including Whitney and Songs in the Key of Life.)
Also in the top 10 of the latest Billboard 200 chart, Zach Bryan’s The Great American Bar Scene soars 17-2 in its first full tracking week. The previous week’s list captured the tracking week of June 28-July 4, and Bryan’s album was released on Thursday, July 4. (Albums are typically released on Friday each week, which is the first day of the chart’s tracking week.)
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new July 20, 2024-dated chart will be posted in full on Billboard‘s website on July 16. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Prior to Swift’s The Tortured Poets Department, the last album by a woman to spend at least 12 total weeks at No. 1 was Adele’s 21, which earned 24 nonconsecutive weeks on top in 2011-12. (Overall, the last album to spend at least 12 total weeks at No. 1 was Morgan Wallen’s One Thing at a Time, which logged 19 total weeks at No. 1 in 2023-24, of which its first 12 were consecutive from its debut week.)
The last album by a woman with at least 12 consecutive weeks at No. 1 was the Whitney Houston-led soundtrack to The Bodyguard, which strung together 13 straight weeks at No. 1 (of its total 20 nonconsecutive weeks atop the list) from December 1992 to March 1993.
Swift adds her 81st career week at No. 1 on the Billboard 200, extending her record among soloists. (Elvis Presley has the second-most among soloists, with 67.) The total encompasses her 14 No. 1 albums. (She’s tied with Jay-Z for the most No. 1s among soloists.)
Of The Tortured Poets Department’s 163,000 units earned in the week ending July 11, album sales comprise 90,000 (up 154%, making it the top-selling album of the week, and No. 1 on Top Album Sales for a sixth non-consecutive week), SEA units comprise 72,000 (down 7%, equaling 94.83 million on-demand official streams of the deluxe album’s 31 songs; it falls 1-2 on the Top Streaming Albums chart after 11 weeks in a row at No. 1) and TEA units comprise 1,000 (up 7%).
Of Swift’s overall album sales for the week, CD sales comprise 67,000 (up 127%), digital album download sales comprise 19,000 (up 1,266%) and vinyl sales comprise 4,000 (down 10%).
The Tortured Poets Department’s overall weekly increase was bolstered in part by sales generated from Swift’s official webstore, which restocked seven earlier-released CD variants of the album (including a signed edition). The restocked items were available to purchase for a few hours on Sunday, June 7, and shipped shortly afterwards. In addition, Swift released three new digital album download variants of the album on Thursday, July 11, sold exclusively in her webstore for $4.99 each, and were only available to purchase that day. Each contained the original standard 16-song album tracklist, along with one bonus live acoustic track, recorded during her The Eras Tour stop in Stockholm (“Guilty as Sin?,” “How Did It End?” or “Peter”).
The Tortured Poets Department also got a boost in the latest chart’s tracking week thanks to activity generated by the July 8 release of two versions of the album’s lead single, the Post Malone-featuring “Fortnight,” to streaming services and digital retailers: a Cults remix and an acoustic rendition. (The latter was previously available only as a bonus track on a limited-edition CD version of Poets.)
Zach Bryan’s The Great American Bar Scene rises 17-2 in its second week on the Billboard 200, following its first full tracking week of activity. The set earned 137,000 equivalent album units in the week ending July 11 (up 363% from its first day). The previous week’s list captured the tracking week of June 28-July 4, and Bryan’s album was released on Thursday, July 4. The set premiered on the previous week’s list with 32,000 units from first day of release. (Albums are typically released on Friday each week, which is the first day of the chart’s tracking week.)
Of The Great American Bar Scene’s second chart-week units, SEA units comprise 127,500 (up 390%, equaling 163.87 million on-demand official streams of the set’s 19 tracks; it jumps 18-1 on Top Streaming Albums), album sales comprise 8,500 (up 66%, it was only available to purchase as a digital download album) and TEA units comprise 1,000 (up 113%). The album will be released on CD and vinyl on Oct. 11.
The album was preceded by a pair of Billboard Hot 100-charting songs: “Pink Skies” (peaking at No. 6 in June) and “Purple Gas,” with Noeline Hofmann (No. 70).
The Great American Bar Scene marks the fourth top 10-charting effort for Bryan on the Billboard 200, following Boys of Faith (No. 8, October 2023) his-self titled set (No. 1, two weeks, September 2023) and American Heartbreak (No. 5, June 2022).
Morgan Wallen’s former leader One Thing at a Time falls 2-3 with 69,000 equivalent album units earned (down 6%); Billie Eilish’s Hit Me Hard and Soft is a non-mover at No. 4 with 58,000 (down 8%); and Chappell Roan’s The Rise and Fall of a Midwest Princess is stationary at No. 5 with 54,000 (down 10%).
Wallen’s chart-topping Dangerous: The Double Album holds at No. 6 (40,000; down 8%); Noah Kahan’s Stick Season rises 9-7 (38,000; down 3%); Shaboozey’s Where I’ve Been, Isn’t Where I’m Going is a non-mover at No. 8 (36,000; down 10%); and Megan Thee Stallion’s Megan falls 3-9 in its second week (32,000; down 50%).
Closing out the top 10 is a second Zach Bryan title, as his self-titled No. 1 rises 12-10 with nearly 32,000 equivalent album units (down 12%). It’s the second time Bryan has placed two titles in the top 10. He first did it on the Oct. 7, 2023-dated chart, when his self-titled set fell 3-5 in its fifth week, while his Boys of Faith project bowed at No. 8.
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
Women dominate the top five of the Billboard 200 albums chart (dated July 13), as four of the top five titles are by female artists. It’s the first time in over a year that at least four of the top five are by women, or by women-led acts. Taylor Swift’s The Tortured Poets Department achieves […]
Taylor Swift’s The Tortured Poets Department hits an 11th consecutive and total week at No. 1 on the Billboard 200 (dated July 13) — tying 1989 and Fearless as her longest-leading No. 1 albums. The last album by a woman to spend 11 weeks at No. 1 was 1989, which notched 11 nonconsecutive weeks atop the list in 2014-15. If Poets reaches a 12th week at No. 1, it will be the first album by a woman with at least 12 weeks at No. 1 since Adele’s 21 rang up 24 nonconsecutive weeks on top in 2011-12.
The Tortured Poets Department earned 114,000 equivalent album units in the U.S. in the week ending July 4 (down 1%), according to Luminate. The album debuted atop the chart dated May 4 and has yet to yield the No. 1 slot.
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The Tortured Poets Department is the first album by a woman to spend 11 weeks in a row at No. 1 since the Whitney Houston-led soundtrack to The Bodyguard strung together 13 straight weeks at No. 1 (of its total 20 nonconsecutive weeks atop the list) from December 1992 to March 1993.
Also in the top 10 of the latest Billboard 200 chart, Megan Thee Stallion collects her sixth top 10 as Megan bows at No. 3, while Beyoncé’s chart-topping Cowboy Carter gallops 50-10 following the release of a deluxe vinyl edition.
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new July 13, 2024-dated chart will be posted in full on Billboard‘s website on July 9. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of The Tortured Poets Department’s 114,000 equivalent album units earned, SEA units comprise 78,000 (down 10% — it’s No. 1 on Top Streaming Albums for an 11th week; its SEA units equal 102.09 million on-demand official streams of the deluxe edition’s 31 songs), album sales comprise 35,000 (up 27%; it’s No. 1 on Top Album Sales for a fifth nonconsecutive week) and TEA units comprise less than 1,000 (down 22%). The album’s sales grew 27% in the tracking week thanks largely to two new CD variants of the set that shipped to customers. The two CDs, which were sold exclusively in Swift’s webstore, were briefly available to pre-order in early June for $7.99 each. Both CDs contain the standard album’s 16 songs and an acoustic bonus track (one includes “Fortnight,” featuring Post Malone, and one includes “Fresh Out the Slammer”).
The Tortured Poets Department matches Whitney Houston’s 1987 album Whitney as the only two albums by women to spend their first 11 weeks at No. 1. All 11 of the latter’s total weeks at No. 1 were from its debut atop the chart.
Just two other albums have spent at least their first 11 weeks at No. 1: Morgan Wallen’s One Thing at a Time (first 12 weeks at No. 1, of its total 19 weeks at No. 1 in 2023-24) and Stevie Wonder’s Songs in the Key of Life (first 13 weeks at No. 1, of its total 14 weeks at No. 1 in 1976). (For context, today it’s common for albums to debut at No. 1. However, before 1991, when the Billboard 200 began utilizing Luminate’s electronically monitored tracking information, only six albums debuted at No. 1, including Whitney and Songs in the Key of Life.)
Swift is only the third act with three or more albums to spend 11 or more weeks at No. 1, following Whitney Houston (her self-titled album with 14 weeks in 1986, Whitney with 11 in 1987 and The Bodyguard soundtrack with 20 in 1992-93) and The Beatles (Meet the Beatles! with 11 in 1964, A Hard Day’s Night soundtrack with 14 in 1964, Sgt. Pepper’s Lonely Hearts Club Band with 15 in 1967 and Abbey Road with 11 in 1969-70).
Swift adds her 80th career week at No. 1 on the Billboard 200, extending her record among soloists. (Elvis Presley has the second-most among soloists, with 67.) The total encompasses her 14 No. 1 albums. (She’s tied with Jay-Z for the most No. 1s among soloists.)
At No. 2 on the latest Billboard 200, Morgan Wallen’s chart-topping One Thing at a Time rises 3-2 with 74,000 equivalent album units (up 1%). It’s also the last album to spend at least 11 weeks at No. 1, prior to Poets. Wallen’s album logged 19 total weeks at No. 1 in 2023-24 (spending its first 12 in the top slot).
Megan Thee Stallion scores her sixth top 10-charting effort on the Billboard 200 as Megan enters at No. 3 with 64,000 equivalent album units earned. That marks the biggest debut, by units, for any rap album released by a woman in 2024. It’s also the first top 10-charting rap set by a woman released this year.
Of the album’s 64,000 units earned in its first week, SEA units comprise 47,000 (equaling 62.67 million on-demand official streams of the set’s 18 songs), album sales comprise 16,000 and TEA units comprise 1,000. The album was announced on June 2 and was preceded by a trio of charting songs on the Billboard Hot 100: “Cobra” (peaking at No. 32 last November), “Hiss” (No. 1, February) and “Boa” (No. 39, May). The set’s sales were aided by its availability across three CD variants (all with the same audio content, just different covers; all exclusively sold in the artist’s webstore) and five digital download album variants (a standard widely available edition; one exclusive to Amazon, with a bonus track; two with alternate covers; and one with a printed digital signature on its cover from Megan Thee Stallion. The latter three were exclusive to the artist’s webstore.)
Billie Eilish’s Hit Me Hard and Soft is a non-mover at No. 4 on the Billboard 200 (63,000 equivalent album units earned; down 10%) and Chappell Roan’s The Rise and Fall of a Midwest Princess reaches the top five for the first time, rising 6-5 (60,000; down 2%). With Swift, Megan Thee Stallion, Eilish and Chappell Roan at Nos. 1, 3, 4 and 5, there are four albums by women, or women-led acts, in the top five for the first time in over a year. It last happened on the March 25, 2023-dated list, when the all-women group TWICE was No. 2 with Ready to Be, followed by Miley Cyrus’ Endless Summer Vacation (No. 3), SZA’s SOS (No. 4) and Karol G’s Mañana Será Bonito at No. 5. (Wallen’s One Thing at a Time was No. 1 that week.)
Wallen’s former leader Dangerous: The Double Album rises 7-6 on the new Billboard 200 (44,000 equivalent album units; up 1%), Peso Pluma’s Éxodo falls 5-7 (just over 40,000; down 37%), Shaboozey’s Where I’ve Been, Isn’t Where I’m Going climbs 10-8 (40,000; down 1%) and Noah Kahan’s Stick Season rises 11-9 (39,000; up less than 1%).
Beyoncé’s former No. 1 Cowboy Carter charges back into the top 10 (50-10) after a deluxe edition of the album was released on vinyl. The set surges with 39,000 equivalent album units earned (up 133%), with 24,000 of that sum in traditional album sales (up 1,673%). Vinyl sales comprise a little over 23,000 of that figure (up 3,551%).
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
Six different women are in the top 10 on the latest Billboard 200 albums chart (dated July 6), marking the first time that’s happened in nearly five years — and the first time this decade. Taylor Swift’s The Tortured Poets Department holds at No. 1 for a 10th consecutive week, Gracie Abrams‘ The Secret of […]
Taylor Swift’s The Tortured Poets Department achieves a 10th consecutive and total week at No. 1 on the Billboard 200 chart (dated July 6). With a 10th week atop the list, Swift has now collected three albums with at least 10 weeks at No. 1, as it joins 1989 and Fearless, each with 11 weeks on top.
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Swift is just the fifth act with three or more albums to spend 10 or more weeks at No. 1, standing alongside Whitney Houston (three albums, in 1986-93), The Beatles (four, 1964-67), The Kingston Trio (three, 1959-69) and Elvis Presley (four, 1956-61). Swift is the only act with three albums to spend at least 10 weeks at No. 1 this century.
The Tortured Poets Department earned 115,000 equivalent album units in the U.S. in the week ending June 27 (down 9%), according to Luminate. The album debuted atop the chart dated May 4 and has yet to relinquish the No. 1 slot.
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Swift adds her 79th career week at No. 1 on the Billboard 200, extending her record among soloists. (Presley has the second-most among soloists, with 67.) The total encompasses her 14 No. 1 albums. (She’s tied with Jay-Z for the most No. 1s among soloists.)
Also in the top 10 of the latest Billboard 200, Gracie Abrams lands her first top 10-charting set and best week ever by units, as The Secret of Us bows at No. 2. Plus, Peso Pluma captures his second top five-charting effort with the No. 5 arrival of Éxodo.
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new July 6, 2024-dated chart will be posted in full on Billboard‘s website on July 2. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of The Tortured Poets Department’s 115,000 equivalent album units earned, SEA units comprise 87,000 (down 7% — it’s No. 1 on Top Streaming Albums for a 10 th week; its SEA units equal 113.21 million on-demand official streams of the deluxe edition’s 31 songs), album sales comprise 28,000 (down 16%) and TEA units comprise less than 1,000 (up 24%).
As noted above, Swift is the fifth act with three or more albums to spend 10 or more weeks at No. 1. She joins Whitney Houston (her self-titled album with 14 weeks in 1986, Whitney with 11 in 1987 and The Bodyguard soundtrack with 20 weeks in 1992-93); The Beatles (Meet the Beatles! with 11 in 1964, A Hard Day’s Night soundtrack with 14 in 1964, Sgt. Pepper’s Lonely Hearts Club Band with 15 in 1967 and Abbey Road with 11 in 1969-70); The Kingston Trio (The Kingston Trio at Large with 15 in 1959, Sold Out with 12 in 1960 and String Along with 10 in 1960); and Elvis Presley (his self-titled album with 10 in 1956, the Loving You soundtrack with 10 in 1957, the G.I. Blues soundtrack with 15 in 1960-61 and the Blue Hawaii soundtrack with 20 in 1961-62).
As The Tortured Poets Department has spent its first 10 weeks at No. 1, it joins just four other albums that have achieved that same feat: Morgan Wallen’s One Thing at a Time (first 12 weeks at No. 1, of its total 19 weeks at No. 1 in 2023-24); Wallen’s Dangerous: The Double Album (all 10 of its weeks at No. 1 were from its debut atop the chart, 2021); Whitney Houston’s Whitney (all 11 of its weeks at No. 1 were from its debut atop the chart, 1987); and Stevie Wonder’s Songs in the Key of Life (first 13 weeks at No. 1, of its total 14 weeks at No. 1 in 1976). (For context, today it’s common for albums to debut at No. 1. However, before 1991, when the Billboard 200 began utilizing Luminate’s electronically monitored tracking information, only six albums debuted at No. 1, including Whitney and Songs in the Key of Life.)
The Tortured Poets Department is the first album by a woman to spend 10 weeks in a row at No. 1 since 2012, when Adele’s 21 strung together 10 straight weeks at No. 1 (of its total 24 nonconsecutive weeks atop the list) that January-March.
With 10 weeks at No. 1, The Tortured Poets Department is one week away from tying Swift’s personal record for her most weeks atop the list, as both 1989 and Fearless each notched 11 weeks at No. 1.
In the 21st century, only 11 albums including The Tortured Poets Department have spent at least 10 weeks at No. 1 on the Billboard 200. Swift has three of them (1989 and Fearless, each with 11, and Poets with 10), Adele (21, with 24, and 25, with 10) and Wallen (One Thing at a Time, 19, and Dangerous: The Double Album, 10) each have two; and while Bad Bunny (Un Verano Sin Ti, 13), Drake (Views, 13), the Frozen soundtrack (13) and SZA (SOS, 10) represent the rest of the No. 1s with 10 or more weeks on top since the turn of the century.
Gracie Abrams scores her highest-charting album, and first top 10, on the Billboard 200 as her second full-length studio set, The Secret of Us, debuts at No. 2 with 89,000 equivalent album units earned, also her best week by units. Of that sum, album sales comprise 50,000 (her best sales week ever — it’s the top-selling album of the week and debuts at No. 1 on Top Album Sales), SEA units comprise 38,000 (equaling 47.57 million on-demand official streams of the set’s 13 songs) and TEA units comprise 1,000.
Abrams previously charted with her debut full-length effort, Good Riddance, which debuted and peaked at No. 52 in March of 2023. The recent Grammy nominee for best new artist made her Billboard Hot 100 songs chart arrival later in 2023, when Noah Kahan’s “Everywhere, Everything,” featuring Abrams, hit No. 79 in December. On the June 22, 2024-dated chart, the new album’s “Close to You” debuted at No. 49.
After Good Riddance debuted, Abrams joined her pal Swift as an opening act for 29 dates of the latter’s stadium-filling The Eras Tour between April and August 2023. She’ll rejoin Swift as an opening act come October, when The Eras Tour returns to the U.S. and Canada, staying on through the trek’s final show in Vancouver on Dec. 8.
During the new album’s release week, Abrams joined Swift onstage in London (June 23) at Wembley Stadium during The Eras Tour for the first live performance of the album’s “Us,” featuring Swift.
The first-week sales of The Secret of Us was supported by the album’s availability across seven vinyl variants (all color variations, two of which were signed and exclusive to Abrams’ webstore, as well as one that was exclusive to Target with an alternative cover). Vinyl sales accounted for 41,000 of the album’s total sales for the week — her best week on vinyl, and the sixth-largest week for a vinyl set in 2024.
Morgan Wallen’s chart-topping One Thing at a Time rises 4-3 on the Billboard 200 with 73,000 equivalent album units earned (up less than 1%) and Billie Eilish’s Hit Me Hard and Soft dips 2-4 with 70,000 (down 17%).
Peso Pluma lands his second top five-charting album as Éxodo enters at No. 5 with 64,000 equivalent album units earned. Of that sum, SEA units comprise essentially all of that sum, equaling 87.51 million on-demand official streams of the album’s 24 songs. (Album sales and TEA units comprise less than 1,000 units combined; the album was available to purchase only as a digital download.) The guest-laden effort includes collaborations with Anitta, Cardi B, DJ Snake, Eslabon Armado, Junior H, Quavo and Rich the Kid, among many others.
The success story of Chappell Roan’s The Rise and Fall of a Midwest Princess continues to add new chapters, as the album rises 8-6 (a new peak) on the Billboard 200 with 61,000 equivalent album units earned (up 32%), a new single-week high in units for the artist. Of that sum, album sales comprise 15,000 (up 87%, her best sales week yet) and SEA units comprise 46,000 (up 21%, equaling 60.5 million official on-demand streams of the set’s 14 songs — its best streaming week yet).
Wallen’s former leader Dangerous: The Double Album bumps 10-7 on the Billboard 200 with 43,000 equivalent album units earned (down 1%). Ariana Grande’s chart-topping Eternal Sunshine returns to the top 10, vaulting 23-8 with 41,000 units (up 87% thanks largely to sales of a signed CD sold exclusively in Grande’s webstore for a limited time).
Rounding out the top 10 of the new Billboard 200 are Charli XCX’s Brat (holding at No. 9 with nearly 41,000; down 8%) and Shaboozey’s Where I’ve Been, Isn’t Where I’m Going (rising 12-10 with almost 41,000; up 1%).
With Swift, Abrams, Eilish, Chappell Roan, Grande and Charli XCX at Nos. 1, 2, 4, 6, 8 and 9, respectively, there are six albums by women in the top 10 for the first time since the Jan. 27-dated chart. That week, Kali Uchis, Nicki Minaj, SZA and Swift were in the top 10, with Swift holding three titles in the region. Further, this week marks the first time there are at least six different women (or women-led acts) in the top 10 in nearly five years. It last happened on the Sept. 21, 2019-dated chart, with Swift’s Lover (No. 1), Melanie Martinez’s K-12 (No. 3), Lizzo’s Cuz I Love You (No. 6), Eilish’s When We All Fall Asleep, Where Do We Go? (No. 8), Lana Del Rey’s Norman Fucking Rockwell! (No. 9) and all-women band The Highwomen’s self-titled album (No. 10).
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
Taylor Swift’s The Tortured Poets Department notches its ninth consecutive and total week at No. 1 on the Billboard 200 chart (dated June 29). It earned 126,000 equivalent album units in the U.S. in the week ending June 20 (down 1%), according to Luminate.
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Of Swift’s 14 No. 1s on the Billboard 200, Poets now has the second-most weeks at No. 1; only 1989 and Fearless, each with 11, have more weeks at No. 1.
Swift adds her 78th career week at No. 1 on the Billboard 200, extending her record among soloists. (Elvis Presley has the second-most among soloists, with 67.) The total encompasses her 14 leaders. (She’s tied with Jay-Z for the most No. 1s among soloists.)
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Also in the top 10 of the new Billboard 200, Don Toliver nets his fourth top 10 effort, and best week by units earned, with the No. 3 debut of Hardstone Psycho; $uicideboy$ score their highest-charting album ever, and best weekly units sum, as New World Depression launches at No. 5; Luke Combs nabs his sixth top 10 with the No. 6 bow of Fathers & Sons; and NAYEON achieves her second top 10 with NA’s start at No. 7.
With four debuts in the top 10, the region has the most new entries since a little over a year ago, when six albums debuted in the top 10 on the June 17, 2023-dated list.
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new June 29, 2024-dated chart will be posted in full on Billboard‘s website on June 25. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of The Tortured Poets Department’s 126,000 equivalent album units earned, SEA units comprise 93,000 (down 11% — it’s No. 1 on Top Streaming Albums for a ninth week; its SEA units equal 121.32 million on-demand official streams of the deluxe edition’s 31 songs), album sales comprise 33,000 (up 42%) and TEA units comprise less than 1,000 (down 11%). The album’s sales grew 42% in the tracking week thanks largely to two new CD variants of the set that shipped to customers. The two CDs, which were sold exclusively in Swift’s webstore, were briefly available to pre-order in early June. Both CDs contain the standard album’s 16 songs and an acoustic bonus track (one includes “Down Bad” and one includes “Guilty as Sin?”).
Notably, as The Tortured Poets Department has spent its first nine weeks at No. 1, it joins just five other albums that have achieved that same feat: Morgan Wallen’s One Thing at a Time (first 12 weeks at No. 1, of its total 19 weeks at No. 1 in 2023-24); Wallen’s Dangerous: The Double Album (all 10 of its weeks at No. 1 were from its debut atop the chart, 2021); Drake’s Views (first nine weeks at No. 1, of its total 13 weeks at No. 1 in 2016); Whitney Houston’s Whitney (all 11 of its weeks at No. 1 were from its debut atop the chart, 1987); and Stevie Wonder’s Songs in the Key of Life (first 13 weeks at No. 1, of its total 14 weeks at No. 1 in 1976). (For context, today, it’s common for albums to debut at No. 1. However, before 1991, when the Billboard 200 began utilizing Luminate’s electronically monitored tracking information, only six albums debuted at No. 1, including Whitney and Songs In the Key of Life.)
At No. 2 on the new Billboard 200, Billie Eilish’s Hit Me Hard and Soft is a non-mover, with 84,000 equivalent album units earned (down 20%).
Don Toliver’s Hardstone Psycho debuts at No. 3 on the Billboard 200 with 76,500 equivalent album units earned, his best week by units. Hardstone marks the hip-hop artist’s fourth consecutive top 10, the entirety of his charting releases. Of the 76,500 earned by the album in its opening week, SEA units comprise 57,000 (equaling 75.98 million on-demand official streams of the set’s 16 songs on its streaming edition; that marks his largest streaming week ever), album sales comprise 19,500 (his best sales week yet, all from digital download album purchases) and TEA units comprise a negligible sum.
Hardstone Psycho was announced on May 22 and features guest turns from Cash Cobain, Future, Kodak Black, Metro Boomin, Travis Scott, Teezo Touchdown and Charlie Wilson. The set’s release was preceded by a trio of songs, all of which reached the top 40 on the Hot R&B/Hip-Hop Songs chart: the Toliver-solo cuts “Bandit” and “Deep in the Water,” and “Attitude,” featuring Wilson and Cash Cobain.
The album’s first-week sales were bolstered by a mid-week release of a deluxe digital download album, sold exclusively through Toliver’s webstore, for $5, containing four additional bonus tracks exclusive to this download version and features from Lil Uzi Vert and Yeat.
Morgan Wallen’s chart-topping One Thing at a Time holds at No. 4 on the new Billboard 200 with 73,000 equivalent album units (up 2%).
$uicideboy$ clock their highest-charting album and biggest week by units earned as New World Depression debuts at No. 5 with 66,000 equivalent album units earned. It’s the fourth top 10-charting effort for the hip-hop duo (comprising cousins $crim and Ruby da Cherry) and first to reach the top five.
Of the album’s 66,000 units earned in its first week, SEA units comprise 46,000 (equaling 62.75 million on-demand official streams of the set’s 13 songs, marking the act’s biggest streaming week), album sales comprise 20,000 (with 16,000 of that sum on vinyl, bolstered by its availability across six variants — it’s the top-selling vinyl album of the week and the act’s best-ever sales week on vinyl) and TEA units comprise a negligible sum. The album was announced in early March and its release was preceded by the release of the song “Us Vs. Them,” which become the act’s first charting hit on the Billboard Hot 100 chart.
Luke Combs collects his sixth top 10 on the Billboard 200 as his new Fathers & Sons bows at No. 6 with 60,000 equivalent album units earned. The set was released on June 14 with little warning, as the country star announced the effort on June 6 alongside the release of its first cut, “The Man He Sees in Me.” The track debuted at No. 14 on the Hot Country Songs chart dated June 22.
Fathers & Sons is a thematic album “about being a dad” and was issued June 14, two days before the Father’s Day holiday. Combs has two sons, both under the age of 2.
Of the 60,000 units earned in Fathers & Sons’ first week, SEA units comprise 45,000 (equaling 58.11 million on-demand official streams of the set’s 12 songs), album sales comprise 14,000 (it was widely available as a digital download album; it had just one CD and one vinyl LP, both sold exclusively via Combs’ webstore) and TEA units comprise 1,000.
NAYEON nets her second top 10-charting title on the Billboard 200 as the TWICE member’s second solo album, NA, enters at No. 7 with 47,000 equivalent album units earned. The set was announced in May and not preceded by any pre-release songs. (The set’s first single is “ABCD,” released simultaneously with the album on June 14.) Of the album’s 47,000 units earned, album sales comprise 43,000 (making it the top-selling album of the week; it debuts at No. 1 on Top Album Sales), SEA units comprise 4,000 (equaling 5.41 million on-demand official streams of the set’s seven songs) and TEA units comprise a negligible sum. The album’s first-week sales were bolstered by its availability across 15 CD variants and two vinyl variants, all containing branded paper merchandise.
Chappell Roan’s The Rise and Fall of a Midwest Princess continues to climb the chart, as the buzzy artist’s album steps 10-8 (a new peak) with 46,000 equivalent album units earned (up 19%, the set’s best week yet). With a gain of nearly 7,500 units in the tracking week, the album also scores the week’s Greatest Gainer trophy, indicating the chart’s biggest unit gain of the week. During the tracking week ending June 20, Roan played the Bonnaroo Music & Artist Festival (June 16). Her interview and performance on NBC’s The Tonight Show Starring Jimmy Fallon (which aired early in the morning of June 21, and garnered wide attention through its social media clips that day) will impact next week’s chart (dated July 6).
Rounding out the top 10 are Charli XCX’s Brat (falling 3-9 in its second week with 45,000 units earned; down 42%) and Wallen’s chart-topping Dangerous: The Double Album (dipping 7-10 with 44,000; up less than 1%).
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
In early June, when Taylor Swift’s The Tortured Poets Department was enjoying its seventh week atop the Billboard 200, her friend and collaborator Lana Del Rey offered a simple explanation of Swift’s stardom to BBC News. “She’s told me so many times that she wants it more than anyone,” Del Rey said. “And how amazing — she’s getting exactly what she wants.”
This week, Swift secured her eighth consecutive week at No. 1 on the Billboard 200, tying Folklore and coming behind only 1989 and Fearless (11 weeks each) for the most weeks at No. 1 of any of her 14 career chart-toppers. TTPD is also the first album in a year, since Morgan Wallen’s One Thing At a Time, to have spent at least two months atop the list and is the first album by a woman to spend its first eight weeks at No. 1 since Whitney Houston‘s Whitney spent its first 11 weeks at the top in 1987. It also extends Swift’s record of weeks spent at the apex of the Billboard 200 to 77 — 10 weeks more than the artist with the second-most, Elvis Presley (67).
While Swift is adept at rolling out record-breaking albums, what’s different this time is not how she has done it but for how long — and when. While she — and most artists across genres — often boosts first-week sales with multiple vinyl variants, signed CD copies and deluxe digital exclusives, Swift has expanded on that rollout plan well beyond the initial release of The Tortured Poets Department.
It’s a strategy that’s relatively novel. Then again, rarely does an artist have such a massive and faithful fan base ready and willing to activate as needed. And while Swift’s record-breaking Eras Tour and initial deluxe release, The Anthology — which arrived mere hours after the 16-track original, and which has continued to stream well — have surely helped sustain TTPD, the strategic drops of bonus versions available for a limited time, from acoustic renditions to first-draft phone memos, have kept her physical and digital sales high.
In its first tracking week, TTPD raked in 1.914 million total album sales in the United States (physical configurations and digital downloads), according to Luminate. That figure alone translates to an estimated $38.3 million — without taking into account the 891.37 million on-demand official streams, which accounted for an additional 683,000 streaming equivalent album units. The album continued to stream well for its next three weeks, even as sales naturally died down — until its fifth week, when Swift supercharged the album by releasing six digital album bonuses and one new CD variant on her webstore, including first draft phone memo versions, “Live From Paris” recordings and an acoustic version of “But Daddy I Love Him,” all available for a limited time in the United States. Plus, a variety of five CD offerings — either signed or a deluxe version — had shipped after being replenished. Fans were quick to snatch the new versions up, generating an estimated $2.4 million in sales revenue — a huge bump from the prior week’s total of nearly $801,000, and helping keep the album at No. 1.
That same week, Billie Eilish released her third album, Hit Me Hard and Soft. It arrived with a handful of physical offerings including nine vinyl variants and four CD editions, plus three deluxe digital editions: a standard digital album with 10 bonus isolated vocal tracks of the album’s 10 songs, a version with 10 bonus sped-up versions and a version with 10 bonus “slowed and reverb” versions. Hit Me ultimately debuted at No. 2 but scored Eilish the best first-week number of her career with 339,000 units.
The competition resulted in a major coup for both artists: For the first time in eight years, two albums had earned over 300,000 equivalent album units in a single week in the United States, according to Luminate. (Drake’s Views and Beyoncé’s Lemonade both cleared 300,000 units in one week on the chart dated May 21, 2016).
Swift continued her extended rollout strategy this past week as her Eras Tour hit the United Kingdom. In TTPD’s eighth week of availability, she made her “Live From Paris” bonus tracks and first draft phone memos available once more for a limited time, gated to the U.K. market, which once again led to a weekly sales spike — and helped keep TTPD atop the charts in that country.
Swift’s dominance has certainly been felt by her peers, who themselves released deluxe editions and additional versions of their albums in their respective first weeks of availability, hoping to boost their own first-week numbers. Fans of those artists felt it, too; Billie Eilish fans, for example, noted that Swift’s fifth week — when she released the first batch of additional versions — coincided with the release of Eilish’s Hit Me Hard And Soft. And Charli XCX fans, hoping to see the pop star get her first U.K. No. 1 album with Brat this past week, expressed frustration that Swift happened to release the second wave of additional releases the week Charli’s album hit the market. (In the United States, Brat debuted on the Billboard 200 at No. 3, earning Charli the highest debut of her career.) As one user wrote on X: “I didn’t wanna believe it but… Taylor could actually be chart obsessed…”.
Some industry sources across sectors of the business feel similarly, lamenting to Billboard that Swift’s flood of releases is not just feeding superfans, but boxing others out of the spotlight — and the type of acclaim and prestige that a No. 1 album can provide. Charli hinted at the online chatter when she said to a sold-out crowd at Los Angeles venue The Shrine on May 15: “I just feel like artistry shines through, you know what I’m saying? I’m really appreciative of the people who have been there from the jump and understood my vision… What’s the next song? Oh, it’s ‘Sympathy Is a Knife.’ Interesting.”
After the fact, fans pointed to the themes of Brat — particularly a song like “Rewind,” on which Charli questions her relationship to fame and her own artistry, even calling out the Billboard charts by name. One fan wrote on X: “There is of course an irony that an album full of meditations on the push-pull relationship of the artist and their art to success was beaten to the #1 spot by an artist peddling the 304th edition of their album for another week atop the charts…”. Yet, as Clint Robinson, on-air talent for Audacy Orlando, said in a TikTok clip, “The problem is, Taylor Swift has amassed a literal army of fans that buy her variations, that want to stream her albums, that want to see her be No. 1. They care about that because she does too. And you want to know why? Because she is an incredible businesswoman.”
Given its success, Swift’s extended-rollout strategy could become a blueprint for others to follow to maintain momentum on the charts. Meanwhile, some industry insiders are wondering when it will end, with one industry source comparing the ongoing TTPD releases to fast fashion.
Ahead, fans are eyeing Sabrina Carpenter’s current chart reign as she occupies the Nos. 2 and 3 spots on the Billboard Hot 100 with “Please Please Please” and “Espresso,” respectively. Carpenter — a close friend of Swift’s who opened for the star on a handful of Eras Tour dates — will release her new album, Short n’ Sweet, on August 23. Though the pair are openly supportive of one another, and despite Carpenter’s album being nearly two months away, her fans aren’t resting easy just yet. As one posted on X: “Taylor Swift got a mega deluxe acoustic version ready for her ass.”
Taylor Swift’s The Tortured Poets Department holds atop the Billboard 200 chart (dated June 22) for an eighth consecutive and total week. The set earned 128,000 equivalent album units earned in the U.S. in the week ending June 13 (down 14%), according to Luminate.
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Poets is the first album to spend its first eight weeks at No. 1 since Morgan Wallen’s One Thing at a Time led for its first 12 weeks a year ago (March 18-June 3, 2023-dated charts). Of Swift’s 14 No. 1s on the Billboard 200, Poets ties Folklore with eight weeks on top; only 1989 and Fearless, with 11 each, have more weeks at No. 1 among Swift’s leaders.
Meanwhile, Swift adds her 77th career week at No. 1 on the Billboard 200, extending her record among soloists. (Elvis Presley has the second-most among soloists, with 67.) The total encompasses her 14 leaders. (She’s tied with Jay-Z for the most No. 1s among soloists.)
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Also in the top 10 of the new Billboard 200, Charli XCX scores her highest-charting album ever as Brat bows at No. 3; Bon Jovi secures its 14th top 10 with the No. 5 arrival of Forever; and Chappell Roan reaches the top 10 for the first time, as The Rise and Fall of a Midwest Princess climbs 12-10.
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new June 22, 2024-dated chart will be posted in full on Billboard‘s website on June 18. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of The Tortured Poets Department’s 128,000 equivalent album units earned, SEA units comprise 104,000 (down 14% — it’s No. 1 on Top Streaming Albums for an eighth week; its SEA units equal 135.53 million on-demand official streams of the deluxe edition’s 31 songs), album sales comprise 23,000 (down 13%) and TEA units comprise 1,000 (down 11%).
Billie Eilish’s Hit Me Hard and Soft rises 3-2 on the Billboard 200 in its fourth week, matching its debut and peak position, with 106,000 equivalent album units earned (down 9%).
Charli XCX achieves her second top 10 on the Billboard 200, and her highest-charting album yet, as Brat debuts at No. 3 with 82,000 equivalent album units earned (also her best week by units). Of that sum, album sales comprise 45,000 (her largest sales week ever), SEA units comprise 37,000 (equaling 46.72 million on-demand official streams of its deluxe edition’s 18 songs; her biggest streaming week yet) and TEA units comprise less than 1,000.
Charli XCX previously visited the top 10 with Crash, which debuted and peaked at No. 7 in 2022.
Brat was led by the single “Von Dutch,” which debuted and peaked at No. 7 on Billboard’s Hot Dance/Electronic Songs chart.
The album’s first-week sales were supported by its availability across 14 vinyl variants (mostly color variants, two were issued in deluxe editions containing collectible paper ephemera, one of which also housed a bonus 7-inch vinyl), which added up to 34,000 copies sold on vinyl — Charli XCX’s biggest week on vinyl. The set was also issued as a standard CD, a signed CD and as a deluxe boxed set containing a branded T-shirt and a CD. On June 10, the album was reissued as a deluxe digital download and streaming album with three bonus tracks.
Morgan Wallen’s chart-topping One Thing at a Time is a non-mover at No. 4 on the new Billboard 200 with 72,000 equivalent album units earned (up 2%).
Bon Jovi collects its 14th top 10-charting effort on the Billboard 200 as Forever starts at No. 5. The set earned 52,000 equivalent album units, of which album sales comprise 50,000 (it’s the top-selling album of the week and debuts at No. 1 on Top Album Sales), SEA units comprise 2,000 (equaling 2.31 million on-demand official streams of the 12 songs on the streaming edition of the set) and TEA units comprise a negligible sum.
The new album was led by the single “Legendary,” which reached the top 10 on the Adult Contemporary airplay chart (the band’s seventh top 10 and highest-charting song on the tally since 2011) and the top 15 on the Adult Pop Airplay ranking.
Forever’s first-week sales were supported by its availability across 11 vinyl variants (mostly color variants; three had collectible paper ephemera contained inside, one of which was a signed edition), four CD editions (a standard set, two with alternative cover art, and one that was signed), a cassette tape, a standard digital download album, and a deluxe digital download edition with two bonus tracks that was sold via the band’s official webstore starting June 8.
Bon Jovi made its Billboard chart debut just over 40 years ago, when the single “Runaway” debuted on the Mainstream Rock Airplay chart dated Feb. 11, 1984. Two weeks later, the band made its Billboard 200 debut with its self-titled album entering the Feb. 25, 1984-dated list at No. 178, on its way to a No. 43 peak that April.
In total, Forever marks the 22nd charting album on the Billboard 200 for Bon Jovi. The band first reached the top 10 in 1986 with Slippery When Wet, their first of six No. 1s. They have notched new top 10s in the 1980s, ‘90s, 2000s, ‘10s (adding their latest leader with This House Is Not for Sale in 2016) and now the ‘20s. Bon Jovi is the fifth group to achieve a newly-charting top 10 album on the Billboard chart in each of the last five decades, joining AC/DC, Def Leppard, Metallica and U2.
ATEEZ’s Golden Hour: Part.1 falls 2-6 in its second week on the Billboard 200 (45,000 equivalent album units earned, down 66%); Wallen’s former leader Dangerous: The Double Album slips 6-7 (44,000; up 1%); Noah Kahan’s Stick Season dips 7-8 (42,000; down 1%); and Shaboozey’s Where I’ve Been, Isn’t Where I’m Going falls 5-9 in its second week (41,000; down 17%).
Closing out the top 10 is a new arrival to the region, as Chappell Roan’s The Rise and Fall of a Midwest Princess pounces 12-10 with 40,000 equivalent album units earned (up 26%). The set posted double-digital percentage gains in album sales (8,000; up 87%), streaming equivalent album units (32,000; up 16%) and track equivalent album units (a negligible sum, though up 23%).
The album and artist has been basking in the glow of recent press coverage stemming from the singer-songwriter’s buzzy performance at the 2024 Governor’s Ball on June 9 (the third day of the chart’s tracking week), which prompted a shout-out from Ariana Grande.
Princess reaches the top 10 in its 12th week on the chart. It’s atypical for an album would climb into the top 10 for the first time, as most albums that peak in the top 10 debut in the region. The last current (non-catalog) album to climb to the top 10 for the first time after 12 or more chart weeks was Noah Kahan’s Stick Season, which bolted 100-3 on the June 24, 2023-dated list, in the set’s 29th chart week, after it was reissued in a deluxe edition and pressed on vinyl for the first time. Before that, the last non-catalog set to reach the top 10 after at least 12 chart weeks was Doja Cat’s Hot Pink, which rallied 19-9 on the May 16, 2020-dated chart — during the album’s 27th chart week. The set zoomed up the list following the release of a remix of the album’s “Say So” featuring Nicki Minaj.
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.