State Champ Radio Chart Beat
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Trending on Billboard The first quarter of the 21st century featured 327 No. 1 Billboard Hot 100 hits seemingly covering every topic imaginable. Chart-toppers in that span ranged from “We Belong Together” to “We Are Never Ever Getting Back Together.” From “Bootylicious” to “Way 2 Sexy,” “Angel” to “Vampire.” “Butterfly” and “Fireflies” both winged their […]
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Fifty years ago on Nov. 10, 1975, massive freighter the SS Edmund Fitzgerald sank in Lake Superior, amid 50-foot waves and 100-mile-an-hour winds. All 29 men aboard the ship died.
The loss was commemorated in folk-rocker Gordon Lightfoot’s “The Wreck of the Edmund Fitzgerald,” which hit No. 2 on the Billboard Hot 100 a little more than a year later, on the chart dated Nov. 20, 1976.
The haunting ballad reenters Billboard’s Nov. 15-dated Rock Digital Song Sales chart at No. 5 and Country Digital Song Sales at No. 7, up 160% to 1,000 sold Oct. 31-Nov. 6, according to Luminate.
The song also gained by 77% to 1.4 million on-demand U.S. streams in the tracking week.
In 2015, Lightfoot discussed the origins of the single, which he solely wrote, in an interview with the Milwaukee Journal Sentinel. “The story of the sinking of the Fitzgerald stayed with me in a funny kind of a way, all by itself,” he shared at the time. “I wasn’t forgetting about it. I knew everyone had forgotten about it, but I knew I hadn’t forgotten it.”
Lightfoot, who died in May 2023 in his native Ontario, recalled that he “had some chords and a melody I had been thinking about and didn’t know where to direct it.
“It is a very good piece of work, I do believe,” he said of the track, which also went top 10 on Adult Contemporary. “It’s one of those songs that just stands the test of time and it’s about something that, of course, would be forgotten very shortly thereafter, which is one of the reasons I wrote the song in the first place. I didn’t want it to be forgotten.”
Lightfoot went on to befriend family members of victims of the ship’s sinking, remaining aware that the song was at its core a tribute to an actual tragedy.
Of it, he said, “There is a responsibility.”
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Taylor Swift’s The Life of a Showgirl continues to dance atop the Billboard 200 for a fifth straight week at No. 1 (on the chart dated Nov. 15). It earned 120,000 equivalent album units in the United States in the week ending Nov. 6 (down 18%), according to Luminate.
The Life of a Showgirl is only the second album in 2025 to spend its five weeks at No. 1, following Morgan Wallen’s I’m the Problem (which spent its first eight weeks atop the list, of its total 12 at No. 1). Swift’s last album, The Tortured Poets Department, spent its first 12 weeks at No. 1 in 2024, of its total 17 weeks atop the list. Three of her albums have led for their first five chart weeks or more, starting with Folklore, which reigned for its first six weeks in 2020, of eight overall weeks at No. 1.
Also in the top 10 of the latest Billboard 200, Florence + the Machine notch their fifth top 10-charted effort, as Everybody Scream debuts at No. 4, while Tyler, The Creator’s chart-topping CHROMAKOPIA vaults 117-5 after its one-year anniversary reissue.
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, Nov. 15, 2025-dated chart will be posted in full on Billboard‘s website on Nov. 11. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of The Life of a Showgirl’s 120,000 equivalent album units earned in the latest tracking week, SEA units comprise 98,000 (down 18%, equaling 129.07 million on-demand official streams of the set’s tracks — it’s No. 1 on Top Streaming Albums for a fifth week), album sales comprise 18,000 (down 21%; it falls 3-4 on Top Album Sales) and TEA units comprise 4,000 (up 11%).
At Nos. 2 and 3 on the Billboard 200, the KPop Demon Hunters soundtrack and Morgan Wallen’s I’m the Problem are non-movers. The former No. 1s earned 84,000 equivalent album units (down less than 1%) and 77,000 units (up 2%), respectively.
Florence + the Machine’s Everybody Scream debuts at No. 4 on the Billboard 200, marking the fifth top 10 for the act. The set arrives with 56,000 equivalent album units earned. Of that sum, album sales comprise 44,000 (it debuts at No. 1 on Top Album Sales), SEA units comprise 12,000 (equaling 15.25 million on-demand official streams of the set’s tracks) and TEA units comprise a negligible sum.
The album’s first-week sales were aided by its availability across six vinyl variants (including one signed), four CD variants (one signed) and a standard digital download album (all with the same tracklist). There was also a deluxe download edition with four “chamber version” bonus tracks — alternative versions of the album’s title track, “Sympathy Magic,” “The Old Religion” and “Drink Deep.”
The new album was preceded by its lead single, its title track, which has hit the top 10 on both the Alternative Airplay and Adult Alternative Airplay charts, while also reaching No. 37 on the Hot Rock & Alternative Songs chart.
Florence + the Machine previously reached the top 10 on the Billboard 200 with their previous four studio albums: Dance Fever (No. 7 in 2022), High as Hope (No. 2 in 2018), How Big How Blue How Beautiful (No. 1 in 2015) and Ceremonials (No. 6 in 2011). The act’s first studio set, Lungs, peaked at No. 14 in 2010 and spent two and-a-half years on the chart.
Tyler, The Creator’s former No. 1 CHROMAKOPIA shoots 117-5 on the Billboard 200 following its one-year anniversary reissue on CD, vinyl and in two deluxe boxed sets (containing branded merch and a copy of the CD). It earned 51,000 equivalent album units (up 390%), with 41,000 of that sum in traditional album sales (up from a negligible sum in the week previous). CHROMAKOPIA debuted at No. 1 on the Nov. 9, 2024-dated chart and spent its first three weeks atop the list.
Sabrina Carpenter’s chart-topping Man’s Best Friend slips 5-6 on the latest Billboard 200 with 38,000 equivalent album units earned (down 8%), while Olivia Dean’s The Art of Loving falls 6-7 (37,000, down 3%). A trio of former No. 1s rounds out the top 10: SZA’s SOS rises 10-8 (31,000, down less than 1%), Morgan Wallen’s One Thing at a Time steps 11-9 (30,000, up 3%) and Cardi B’s AM I THE DRAMA? dips 8-10 (down 12%).
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.
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Pierce the Veil leads Billboard’s Alternative Airplay chart for a second time, lifting a spot to No. 1 on the Nov. 15-dated survey with “So Far So Fake.”
The veteran rockers from San Diego previously led with “Emergency Contact” for a week in August 2023.
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“Emergency Contact” and “So Far So Fake” are both on the same album, 2023’s The Jaws of Life. So why the two-plus-year gap between Alternative Airplay reigns? While not initially a promoted single, “So Far So Fake” was serviced to radio this summer after it went viral on shortform video platforms such as TikTok, spurred by a dance challenge set mostly to its instrumental break.
Boosted by that buzz, “So Far So Fake” debuted on the multimetric Hot Rock & Alternative Songs chart in August, eventually rising to No. 8 later that month. It also became the band’s first Billboard Hot 100 entry, reaching No. 64.
In between “Emergency Contact” and “So Far So Fake,” Pierce the Veil made Alternative Airplay once via its No. 27-peaking cover of Radiohead’s “Karma Police” in June 2024. The band’s only other charter, “Circles,” hit No. 31 in 2016.
On the all-rock-format, audience-based Rock & Alternative Airplay chart, “So Far So Fake” jumps 6-4 with 3.7 million audience impressions in the week ending Nov. 6, up 14%, according to Luminate. It’s Pierce the Veil’s highest-charted song on the tally, having surpassed “Emergency Contact” (No. 10).
“So Far So Fake” ranked at No. 16 on the most recently published Hot Rock & Alternative Songs tally (dated Nov. 8, reflecting data accumulated Oct. 24-30). In addition to its radio airplay, it drew 3.1 million official U.S. streams.
The Jaws of Life debuted at No. 1 on the Top Hard Rock Albums chart in February 2023 and has earned 371,000 equivalent album units to date.
All Billboard charts dated Nov. 15 will update Tuesday, Nov. 11, on Billboard.com.
Trending on Billboard It’s another “Golden” week for KPop Demon Hunters as the breakout song reaches a whopping 10th week at No. 1 on the U.K. Official Singles Chart dated Nov. 7. The song, taken from the Netflix smash film, is credited to the animated group HUNTR/X and sung by EJAE, Audrey Nuna and Rei […]
Trending on Billboard Following its release on the spookiest week of the year, Florence + the Machine’s Everybody Scream has landed at No. 1 on the U.K.’s Official Albums Chart dated Nov. 7. It makes for Florence Welch’s fifth set to reach the summit following 2009’s Lungs, 2011’s Ceremonials, 2015’s How Big, How Blue, How […]
Trending on Billboard Chase Matthew lands his first No. 1 on Billboard’s Country Airplay chart with “Darlin’.” The single tops the ranking dated Nov. 15 with a 3% gain to 31.3 million audience impressions Oct. 31–Nov. 6, according to Luminate. The Sevierville, Tenn., native cowrote the song with four others, including Jake Angel and Alex […]
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Quincy Jones, the late legendary producer, songwriter and composer extraordinaire, returns to the top of a Billboard chart for the first time since his death on Nov. 3, 2024, thanks to his production work on Michael Jackson’s 43-year-old classic “Thriller.”
The song, which Jones produced, makes its annual Halloween resurgence across multiple Billboard charts dated Nov. 8. “Thriller” reenters the Billboard Hot 100 at No. 32 and rises 7-4 on Hot R&B Songs and 18-5 on Hot R&B/Hip-Hop Songs. According to Luminate, the song raked in 8.9 million official U.S. streams (up 74% week-over-week), 4.2 million in radio airplay audience (up 90%) and 2,000 downloads sold (up 101%) Oct. 24-30. With Halloween falling on a Friday this year — the first day of the next data tracking period — the song is likely to see an even bigger bump on next week’s Nov. 15-dated charts.
Thanks to his work on “Thriller,” Jones hits No. 1 on Billboard’s R&B/Hip-Hop Producers and R&B Producers charts. It’s the first time he’s ranked at No. 1 on a Billboard chart since Feb. 9, 2019, when he led the since-discontinued Jazz Digital Song Sales chart with 1981’s “One Hundred Ways” featuring vocalist James Ingram. Before that, he last placed at No. 1 on March 6, 1999, when his album From Q, With Love ruled both the Jazz Albums and Contemporary Jazz Albums charts.
Over his seven-decade career, Jones helped shape modern popular music, producing seminal works by Jackson, Frank Sinatra, Lesley Gore and the Brothers Johnson, among many others. He produced 12 No. 1 hits on the Hot 100 in his lifetime, nine of which were sung by Jackson.
In addition to his behind-the-scenes triumphs, Jones earned many other No. 1s under his own name. He topped Hot R&B/Hip-Hop Songs with “Stuff Like That” (1978), “I’ll Be Good to You” featuring Ray Charles and Chaka Khan (1990), “The Secret Garden” (1990) and “Tomorrow (A Better You, Better Me)” with Tevin Campbell (1990). He also led Top R&B/Hip-Hop Albums with Body Heat (1974) and Back on the Block (1990); Dance Club Songs with “I’ll Be Good to You” and “Stomp” featuring the Cast of Stomp/The Yes/No Productions (1996); and Contemporary Jazz Albums with Back on the Block (1990), Q’s Jook Joint (1995) and From Q, With Love (1999).
Billboard‘s R&B/Hip-Hop Producers and R&B Producers charts are based on total points accrued by a producer for each attributed song that appears on Hot R&B/Hip-Hop Songs and Hot R&B Songs, respectively. For songs with multiple producers, every credited producer splits points equally (which occasionally leads to ties on rankings).
The full R&B/Hip-Hop Songwriters and R&B/Hip-Hop Producers charts, plus those for other genres, can be found on Billboard.com.
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Taylor Swift sets yet another Billboard chart record this week, as she has now officially spent the most weeks at No. 1 on Billboard’s Hot 100 Songwriters chart.
Swift adds a 27th total week at No. 1 on the Nov. 8-dated chart, surpassing late holiday songwriting legend Johnny Marks for the most weeks spent on top since the survey began in June 2019. She ties atop the latest list with collaborators Max Martin and Shellback, thanks to their joint efforts on 12 Billboard Hot 100-charting songs (every track on Swift’s new album, The Life of a Showgirl).
Here’s an updated look at the writers with the most weeks spent at No. 1 on Hot 100 Songwriters:
27, Taylor Swift
26, Johnny Marks
24, Olivia Rodrigo
22, Drake
17, Kendrick Lamar
15, Finneas
15, Lin-Manuel Miranda
14, Zach Bryan
13, Dan Nigro
10, Roddy Ricch
Max Martin and Shellback each tally their fourth week at No. 1 on the Hot 100 Songwriters chart.
Swift first topped the tally dated Aug. 31, 2019, (nine weeks into the chart’s run) and led in every calendar year since.
Marks has also topped Hot 100 Songwriters in every calendar year since the chart launched. Marks, who died in 1985, was the mastermind behind Brenda Lee’s “Rockin’ Around the Christmas Tree” and other holiday staples such as Burl Ives’ “A Holly Jolly Christmas,” Gene Autry’s “Rudolph the Red-Nosed Reindeer” and Chuck Berry’s “Run Rudolph Run.” As Marks’ compositions surge on the Hot 100 each December, Marks also makes an annual return to Hot 100 Songwriters.
The Hot 100 Songwriters chart is based on total points accrued by a songwriter for each attributed song that appears on the Hot 100. So, for Swift, all 12 of her current Hot 100 entries contribute to her points total for Hot 100 Songwriters. And since she’s credited as a cowriter on all 12 tracks with Max Martin and Shellback, the trio splits the points equally and therefore ties at No. 1 this week.
Swift, Max Martin and Shellback concurrently tie at No. 1 on the Hot 100 Producers chart, as they’re also each credited as coproducers on all 12 The Life of a Showgirl tracks. Swift reigns for an 18th week, matching Louis Bell for the fourth-most, while Max Martin and Shellback each lead for a fourth week.
The full Hot 100 Songwriters and Hot 100 Producers charts, plus those for other genres, can be found on Billboard.com.
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Taylor Swift’s The Life Of A Showgirl (via Republic/Universal) continues to twirl on the ARIA Charts, as it enters a fifth consecutive week at No. 1 on the national albums survey, while “The Fate Of Ophelia” retains top spot on the singles tally.
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“The Fate Of Ophelia” is Swift’s 13th chart leader in Australia and, with five weeks in the penthouse, it’s her second longest leader after 2022’s “Anti-Hero,” which logged six weeks at No. 1.
The top debut on the latest ARIA Albums Chart, published Friday, Nov. 7, belongs to Florence + The Machine, as the British alternative pop outfit’s sixth album, Everybody Scream (Polydor/Universal) opens its account at No. 4. All of Florence’s albums have cracked the ARIA top 10, including No. 1s for Ceremonials (in 2011), and How Big, How Blue, How Beautiful (2015).
Powderfinger frontman Bernard Fanning returns to the top 10 thanks to the 20th anniversary edition of Tea & Sympathy (Dew Process/Universal), his debut solo album. Tea & Sympathy re-enters at No. 7 on the ARIA Albums Chart, and leads the Australian Albums Chart, the Vinyl Chart and the On Replay Albums Chart.
The veteran Brisbane singer collected the most entries in triple j’s Hottest 100 of Australian music countdown in July, with four total songs, including three with Powderfinger and his solo number “Wish You Well” (at No. 57), lifted from Tea & Sympathy, a chart-topper following its release in late 2005.
Also new to the chart is Vitriol (GYRO), the debut from Western Australia rock outfit Cloning. It’s new at No. 12, arriving ahead of a national tour that gets underway later this month.
Radiohead is back in the headlines, as they prepare for another U.K. tour later in the year. The Rock Hall-inducted British alternative rock act is back in the charts, too, as Hail To The Chief Live Recordings 2003-2009 (via XL) appears at No. 15. The studio version of Hail To The Chief was released in 2023, hitting No. 2.
Paramore singer Hayley Williams impacts the chart with her independently-released solo album, Ego Death at a Bachelorette Party, new at No. 24. The project is an unusual one, which collects and repackages the songs Williams dropped earlier this year across her artist pages and on streaming services.
Close behind is Frankston, Victoria indie rock band the Belair Lip Bombs, which cracks the chart for the first time with Again (Third Man Records/RK), their sophomore set. It’s new at No. 25, and is one of eight homegrown recordings on the ARIA top 50. The Belair Lip Bombs are the first Australian band to sign with Jack White’s Nashville-based Third Man Records.
Further down the list, Brisbane nu-metal band Headwreck just misses out on a top 40 berth with Attitude Adjustment (Ditto). The debut collection drops in at No. 43, for Headwreck’s first appearance on the ARIA Charts.
Over on the ARIA Singles Chart, just one Australian track makes the cut, Tame Impala’s “Dracula” (Columbia/Sony), which lifts 50-37, a new peak position. And just one new single makes its mark for the first time, Lily Allen’s “Pussy Palace” (BMG), at No. 50.
