State Champ Radio Chart Beat
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A new partnership reaches No. 1 on Billboard’s Latin Airplay chart (dated May 4), as Feid and ATL Jacob’s “Luna” rises 2-1 to lead the 50-track-deep ranking. The song becomes the 11th collaboration in 2024 to land at the summit, with three of them Feid collabs.
“Luna,” released on Universal Music Latino/UMLE, ascends to the top slot from No. 2 after a 15% increase to 10.73 million audience impressions on U.S. reporting radio stations during the April 19-25 tracking week, according to Luminate. The new No. 1 unseats Prince Royce and Gabito Ballesteros’ “Cosas de La Peda,” which spent one week in charge. It falls to No. 3 with 8.33 million in audience, down 23%.
“Luna,” produced by ATL Jacob, where the latter also provides background vocals, is one of ten cuts from Feid’s Ferxxocalipsis set, which earned the Colombian a third top 10 on Top Latin Albums (No. 9 debut last December). The song generated significant attention only after Feid shared an acoustic version on his Instagram account in January, thus followed a No. 20 launch on Latin Rhythm Airplay in February, where it holds at No. 1 in its second week.
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With the new champ, American rapper ATL Jacob checks into the penthouse on the overall Latin Airplay tally for the first time. Feid, meanwhile, picks up his seventh No. 1 among 14 career entries. Further, as “Luna” shakes up the scoreboard, here’s a look at the 11 collabs, whether through co-billed or three-way combined efforts, that hit No. 1 on Latin Airplay in 2024:
Title, Artist, Peak Date“Según Quien,” Maluma & Carín León, Jan. 6“Bubalu,” Feid & Rema, Jan. 13“Harley Quinn,” Fuerza Regida & Marshmello, Feb. 3“Borracho y Loco,” Yandel & Myke Towers, Feb. 17“Qlona,” Karol G & Peso Pluma, March 2“Por El Contrario,” Becky G, Leonardo Aguilar & Angela Aguilar, March 9“No Es Normal,” Venesti, Nacho & Maffio, March 16“Puntería,” Shakira & Cardi B, April 6“Perro Negro,” Bad Bunny & Feid, April 20“Cosas de La Peda,” Prince Royce & Gabito Ballesteros, April 27“Luna,” Feid & ATL Jacob, May 4
In addition to its Latin Airplay control, “Luna” ascends 9-8 on the multi-metric Hot Latin Songs chart, which combines airplay, streaming data, and downloads, despite a 6% dip in streams, to 3.5 million official U.S. streams generated during the same period.
“Luna” is one of the 36-song setlist on Feid’s Ferxxocalipsis Tour, the North American 27-date run that launched in Sacramento April 24 and will close in Miami on July 26.
All charts (dated May 4, 2024) will update on Billboard.com tomorrow, April 30. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Shaboozey’s “A Bar Song (Tipsy)” bounds to No. 1 from No. 6 on Billboard’s Hot Country Songs chart (dated May 4). The song, which interpolates J-Kwon’s 2004 hip-hop classic “Tipsy,” marks the first leader on the list for the Virginia native (born Collins Obinna Chibueze).
“A Bar Song (Tipsy)” surged by 95% to 20.9 million official U.S. streams; 1,202% to 170,000 radio airplay audience impressions; and 48% to 14,000 sold April 19-25, according to Luminate.
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Notably, as Shaboozey dethrones Beyoncé’s “Texas Hold ‘Em,” which reigned for the past 10 weeks, two Black artists have led back-to-back for the first time since Hot Country Songs became an all-encompassing genre ranking in 1958.
Shaboozey guests on two tracks on Beyoncé’s LP Cowboy Carter, which leads Top Country Albums for a fourth week (with 66,000 equivalent album units): “Spaghettii” (also with Linda Martell) and “Sweet * Honey * Buckiin’.” He recently told Billboard that he’s “so happy to have such a powerhouse of an artist that chose to take this journey to country, so it’s amazing to be a part of that.”
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A week earlier, Shaboozey soared to No. 1, from No. 34, on the Emerging Artists chart and “A Bar Song (Tipsy)” topped Digital Song Sales and Country Digital Song Sales, marking his first coronations on Billboard’s charts. He adds a second week atop Emerging Artists, while the track paces Country Digital Song Sales for a second frame.
The song is the lead single from Shaboozey’s American Dogwood/EMPIRE album Where I’ve Been, Isn’t Where I’m Going, due May 31. He previously released the sets Cowboys Live Forever, Outlaws Never Die in 2022 and Lady Wrangler in 2018. He told Billboard that he describes the new LP as “a little bit of this genre that even Cowboy Carter created, just a bit of everything. A lot of country, but some hip-hop moments on there, too. But a lot of my personal story and journey.”
J-Kwon’s “Tipsy” ruled the Hot Rap Songs chart for five weeks and hit No. 2 on both the Billboard Hot 100 and Hot R&B/Hip-Hop Songs in 2004. The St. Louis rapper recently told Billboard of Shaboozey’s revival of the song, “It really ain’t even paying homage … let’s say it like this: we did that together, and I’m proud of him.”
All charts dated May 4 will update on Billboard.com tomorrow, April 30.
Taylor Swift is having a historic week on Billboard’s charts (dated May 4). On top of earning her 14th career No. 1 album on the Billboard 200 with The Tortured Poets Department, she sets numerous new records across Billboard’s charts, including on the Billboard Hot 100.
As previously reported, the set launches at No. 1 on the Billboard 200 with 2.61 million equivalent album units earned in its opening week, according to Luminate. That’s the second-biggest week by that metric since Billboard began measuring the week’s most popular albums by equivalent album units in 2014, after Adele’s 25 (3.482 million, Dec. 12, 2015).
As Swift earns her 14th career Billboard 200 No. 1 album, she ties Jay-Z for the most among soloists. Overall, only The Beatles have more (19).
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Further, all 31 songs from the deluxe version of The Tortured Poets Department debut on the latest Hot 100, including the entire top 14 – the biggest takeover ever from No. 1 on down. Here’s a recap (all of which are debuts except where noted):
Rank, Title:No. 1, “Fortnight,” feat. Post MaloneNo. 2, “Down Bad”No. 3, “I Can Do It With a Broken Heart”No. 4, “The Tortured Poets Department”No. 5, “So Long, London”No. 6, “My Boy Only Breaks His Favorite Toys”No. 7, “But Daddy I Love Him”No. 8, “Florida!!!,” feat. Florence + The MachineNo. 9, “Who’s Afraid of Little Old Me?”No. 10, “Guilty as Sin?”No. 11, “Fresh Out the Slammer”No. 12, “loml”No. 13, “The Alchemy”No. 14, “The Smallest Man Who Ever Lived”No. 20, “I Can Fix Him (No Really I Can)”No. 21, “Clara Bow”No. 23, “thanK you aIMee”No. 24, “So High School”No. 25, “The Black Dog”No. 26, “imgonnagetyouback”No. 30, “The Albatross”No. 32, “The Prophecy”No. 34, “I Hate It Here”No. 35, “How Did It End?”No. 36, “Chloe or Sam or Sophia or Marcus”No. 39, “I Look in People’s Windows”No. 41, “Cruel Summer” (down from No. 13; spent four weeks at No. 1)No. 44, “Cassandra”No. 46, “Peter”No. 47, “The Bolter”No. 51, “The Manuscript”No. 55, “Robin”
Thanks to her previously-charting No. 1 hit “Cruel Summer,” revived from her 2019 album Lover, Swift lands 32 total songs on the Hot 100. In the chart’s 65-year history, that’s the most among women in a single week. Overall, only Morgan Wallen has charted more songs – 36 – in one week, when his album One Thing at a Time opened atop the Billboard 200 dated March 18, 2023.
Most Entries on the Hot 100 Single WeekHot 100 Entries, Artist, Chart Week36, Morgan Wallen, 3/18/202332, Taylor Swift, 5/4/202428, Morgan Wallen, 3/25/202327, Drake, 7/14/201826, Taylor Swift, 11/27/202125, Taylor Swift, 7/22/202325, Lil Baby, 10/29/202224, Drake, 10/21/202324, Drake, 7/21/201824, Drake, 4/8/2017
Further, Swift charts 26 songs in the latest Hot 100’s top 40, a new one-week record. She surpasses the 22 that Drake logged on the Oct. 21, 2023, tally, when his most recent album, For All the Dogs, debuted atop the Billboard 200.
Plus, with 15 songs in the Hot 100’s top 20, Swift ties Drake for the most entries in the region in a single week. He charted 15 of the top 20 on the chart dated Nov. 19, 2022, as Her Loss, with 21 Savage, debuted at No. 1 on the Billboard 200. Notably, Drake got in the way of Swift claiming 16 of the top 20 this week: his new single, “Push Ups,” enters at No. 19.
With 31 debuts, Swift ups her career total to 263 Hot 100 entries. That’s the most among women and the second-most overall, after Drake’s 330 (he adds a new entry this week, with “Push Ups”). Of those, 12 have hit No. 1 and 59 have hit the top 10 (the second-most, after Drake’s 77).
Taylor Swift’s “Fortnight,” featuring Post Malone, arrives as the biggest song in the world, launching at No. 1 both the Billboard Global 200 and Billboard Global Excl. U.S. charts. The song is from her new album, The Tortured Poets Department, which rockets in at No. 1 on the U.S.-based Billboard 200.
On the Global 200, Swift scores her fifth No. 1, the most for a soloist in the survey’s history. On Global Excl. U.S., she lands her third leader, tying for the most among solo artists. Post Malone tops each tally for the first time.
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Meanwhile, Swift boasts the top nine songs on the Global 200, all from her new LP, a first in the chart’s archives. She previously claimed nine of the top 10, including the top five, in November 2022 with songs from Midnights, her last album of all-new material before The Tortured Poets Department.
The Billboard Global 200 and Billboard Global Excl. U.S. charts, which began in September 2020, rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Global 200 is inclusive of worldwide data and the Global Excl. U.S. chart comprises data from territories excluding the United States.
Chart ranks are based on a weighted formula incorporating official-only streams on both subscription and ad-supported tiers of audio and video music services, as well as download sales, the latter of which reflect purchases from full-service digital music retailers from around the world, with sales from direct-to-consumer (D2C) sites excluded from the charts’ calculations.
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“Fortnight” debuts atop the Global 200 with 176.8 million streams and 27,000 sold worldwide in its first week of release, April 19-25.
The streaming sum for the song marks the eighth-biggest in a single week since the Global 200 began.
Biggest Worldwide Streaming Weeks in Global 200 History:
289.2 million, “Butter,” BTS, June 5, 2021
217.1 million, “Seven,” Jung Kook feat. Latto, July 29, 2023
217.1 million, “Flowers,” Miley Cyrus, Feb. 4, 2023
212.1 million, “Pink Venom,” BLACKPINK, Sept. 3, 2022
185.6 million, “Flowers,” Miley Cyrus, Feb. 11, 2023
179.1 million, “Flowers,” Miley Cyrus, Jan. 28, 2023
178.2 million, “Easy on Me,” Adele, Oct. 30, 2021
176.8 million, “Fortnight,” Taylor Swift feat. Post Malone, May 4, 2024
170.8 million, “Permission To Dance,” BTS, July 24, 2021
169.8 million, “Butter,” BTS, June 12, 2021
Swift scores her fifth Global 200 No. 1, as she breaks out of a tie with Bad Bunny for the most leaders among soloists; overall, only BTS has more, with seven. Here’s a rundown of her No. 1s:
“Fortnight,” feat. Post Malone, one week at No. 1 to-date, May 4, 2024
“Is It Over Now? (Taylor’s Version) [From the Vault],” one week, Nov. 11, 2023
“Cruel Summer,” four weeks, beginning Nov. 4, 2023
“Anti-Hero,” four weeks, beginning Nov. 5, 2022
“All Too Well (Taylor’s Version),” one week, Nov. 27, 2021
Meanwhile, here’s a recap of Swift’s nine songs in the top 10, from Nos. 1 through 9, on the May 4-dated Global 200:
No. 1, “Fortnight,” feat. Post Malone
No. 2, “Down Bad”
No. 3, “The Tortured Poets Department”
No. 4, “So Long, London”
No. 5, “I Can Do It With a Broken Heart”
No. 6, “My Boy Only Breaks His Favorite Toys”
No. 7, “But Daddy I Love Him”
No. 8, “Florida!!!,” feat. Florence + The Machine
No. 9, “Who’s Afraid of Little Old Me?”
With nine new Global 200 top 10s, Swift ups her total to 33 since the chart began, second only to Drake’s 35. As featured on “Florida!!!,” Florence + The Machine reaches the top 10 for the first time.
Breaking up Swift’s bid for the entire Global 200’s top 10, Artemas’ “I Like the Way You Kiss Me” drops to No. 10 from its No. 2 high. (Last week’s leader, “Too Sweet,” by Hozier, falls to No. 13.)
On the Global Excl. U.S. chart, “Fortnight” starts at No. 1 with 101.7 million streams and 8,000 sold outside the U.S. Swift previously led the chart with “Anti-Hero,” for two weeks, and “All Too Well (Taylor’s Version),” for one week. With three leaders, she ties Bad Bunny, BLACKPINK, Ariana Grande and Jung Kook for the most among soloists; among all acts, only BTS has banked more (seven).
Swift also enters the Global Excl. U.S. top 10 with “Down Bad” (No. 4), “The Tortured Poets Department” (No. 6), “So Long, London” (No. 7), “I Can Do It With a Broken Heart” (No. 9) and “My Boy Only Breaks His Favorite Toys” (No. 10). With six new top 10s, she swells her count to 20, surpassing Bad Bunny (18) for the most since the chart originated.
Elsewhere in the Global Excl. U.S. top 10, Artemas’ “I Like the Way You Kiss Me” dips to No. 2, after a week at No. 1; FloyyMenor and Cris Mj’s “Gata Only” rises 4-3 for a new high; Benson Boone’s “Beautiful Things” falls 2-5, after eight nonconsecutive weeks on top; and ILLIT’s “Magnetic” descends to No. 8 from its No. 3 best.
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated May 4, 2024) will update on Billboard.com tomorrow, April 30. For both charts, the top 100 titles are available to all readers on Billboard.com, while the complete 200-title rankings are visible on Billboard Pro, Billboard’s subscription-based service. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
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.
Tetris Kelly:Taylor Swift’s The Tortured Poets Department has done a complete takeover. This is the Billboard Hot 100 top 10 for the week dated May 4. At No. 10 is “Guilty As Sin.” “Who’s Afraid of Little Oh Me?” is in at No. 9. Florence + The Machine joins Taylor at No. 8. “But Daddy […]
Taylor Swift achieves one of the most record-shattering weeks in the history of the Billboard Hot 100 songs chart – surpassing unprecedented heights that she previously set – as she claims the top 14 positions on the survey dated May 4. All 14 songs, led by “Fortnight,” featuring Post Malone, are from her new album, The Tortured Poets Department, which, following the Republic Records set’s April 19 release, blasts in at No. 1 on the Billboard 200 chart.
Swift was already the only artist ever to dominate the Hot 100’s entire top 10 — thanks to tracks from her last album of all-new material, Midnights, in 2022, led by the collection’s “Anti-Hero.”
Among other new chart feats for Swift, “Fortnight” becomes her 12th Hot 100 No. 1, as she ties for the sixth-most leaders in the chart’s archives; she ups her career count of top 10s from 49 to 59, the most among women; and she charts 32 songs – all 31 from the deluxe version of The Tortured Poets Department plus established smash “Cruel Summer” – on the latest list overall, the most ever in a single week by a woman.
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The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data, the lattermost metric reflecting purchases of physical singles and digital tracks from full-service digital music retailers; digital singles sales from direct-to-consumer (D2C) sites are excluded from chart calculations. All charts (dated May 4, 2024) will update on Billboard.com tomorrow, April 30. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
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.
Below is a look at Swift’s latest groundbreaking week on the Hot 100.
Swift at Nos. 1 Through 14 on the Hot 100
It’s a Taylor Swift double on the U.K. chart, as The Tortured Poets Department (EMI) opens at No. 1 and the U.S. pop star locks-up three of the top four on the national singles survey, including top spot.
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“Fortnight” featuring Post Malone debuts at No. 1 on the latest Official Chart, published Friday, April 26, ahead of Hozier’s “Too Sweet” (Island), down 1-2, and the TTPD title track, new at No. 3.
With that impeccable start, Swift snags her third career U.K. chart double, after ruling both charts simultaneously in 2022 with Midnights and its lead single “Anti-Hero,” and last year with 1989 (Taylor’s Version) and “Is It Over Now? (Taylor’s Version)”.
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The leader on the midweek chart, “Fortnight” becomes Swift’s fourth U.K. No. 1 single after “Look What You Made Me Do” (from 2017), “Anti-Hero” (2022) and “Is It Over Now?” (Taylor’s Version) (2023), and Malone’s second — and first in seven years – after 2017’s “Rockstar” with 21 Savage.
Also, TTPD track “Down Bad” (No. 4) enters the top 10 on debut, lifting TayTay’s career tally of top tier hits to 28 (no more than three songs from any one album can be eligible for the U.K. singles chart).
Meanwhile, U.S. singer and actor Sabrina Carpenter is running hot with “Espresso” (Island), up 6-5 for her career peak U.K. chart position.
Further down the tally, Drake’s Kendrick Lamar diss track “Push Ups” (OVO/Republic Records) debuts at No. 14, giving the Canadian superstar hip-hop artist his 93rd U.K. top 40 single.
There’s another U.S. country artist making an impression on the U.K. top 40, this time singer-songwriter Shaboozey with “A Bar Song (Tipsy)” (via American Dogwood/Empire), up 41-16. Shaboozey’s profile has enjoyed a boost in the U.K. after being featured on Beyoncé’s chart-topping LP Cowboy Carter. Dasha’s “Austin” (Warner Records) is still riding in the U.K. top 10, down 7-10.
Finally, Headie One’s “Cry No More” (Columbia), a collaboration with Stormzy and Tay Keith, bows at No. 33, for Headie’s 16th, Stormzy’s 31st and Tay Keith’s second U.K. top 40 appearance.
Nothing and no one could stop Taylor Swift’s irrepressible march to No. 1 in the U.K. as The Tortured Poets Department (via EMI) embarks on a record-setting romp.
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The clear leader at the halfway mark, Tortured Poets roars to No. 1 on the Official Chart, published Friday, April 26, for her 12th U.K. leader.
As previously reported, the new collection posts a career-best start for Swift, shifting 270,000 across the full chart week, outpacing her previous personal best of 204,000, when Midnights topped the chart in 2022.
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That’s the biggest opening week for any album in seven years – since Ed Sheeran’s 2017 hit ÷ (Divide), which locked up 670,000 first-week U.K. chart units. And it’s a greater first-week volume than Adele’s 2021 album 30, which accumulated 261,000 in its opening run, the Official Charts Company reports.
With a dozen leaders, Swift draws level with Madonna as the female artist with the most No. 1 albums in Official Albums Chart history. Only four acts in chart history have racked up more: The Beatles (16), The Rolling Stones (14), Robbie Williams (14) and Elvis Presley (13). Bruce Springsteen also has 12.
Tortured Poets joins Red (2012), 1989 (2014), reputation (2017), Lover (2019), folklore (2020), evermore (2020), Fearless (Taylor’s Version) (2021), Red (Taylor’s Version) (2021), Midnights (2022), Speak Now (Taylor’s Version) (2023) and 1989 (Taylor’s Version) in her collection of consecutive chart-toppers.
No other artist has notched up 12 leaders in such a short space of time, doing so in just 11 years and 6 months. That beats the Beatles, which chalked up as many No. 1s in 14 years and 1 month, between Please Please Me (May 1963) and The Beatles At Hollywood Bowl in June 1977.
Also, Swift extends her record as the only artist to claim 12 No. 1 albums in the 21st century, all of which came consecutively.
In non-TayTay news, Pearl Jam snags a best U.K. chart performance in 11 years with Dark Matter (Monkeywrench Records/Republic Records), new at No. 2, while British reggae act UB40‘s 21st studio album UB45 (Sono Recording Group) bows at No. 5.
Pearl Jam debuts at No. 5 on the Billboard 200 chart (dated May 4) with its latest studio album, Dark Matter, marking the 13th top 10-charting effort for the band. The set launches with a little over 59,000 equivalent album units earned in the U.S. in the week ending April 25, according to Luminate.
Also in the top 10 of the new Billboard 200, as earlier reported, Taylor Swift’s The Tortured Poets Department makes a milestone debut atop the list, with 2.61 million equivalent album units earned in its first 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 May 4, 2024-dated chart will be posted in full on Billboard‘s website on April 30. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
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Of Dark Matter’s first-week sum of 59,000 units, album sales comprise 52,000, SEA units comprise 7,000 (equaling 9.33 million on-demand official streams of the set’s 11 songs) and TEA units comprise a negligible sum. Notably, of its 52,000 sales sum, vinyl sales comprise a little over 24,000, enhanced by its availability across 12 different color vinyl variants.
The new album was led by the set’s title track, which hit No. 1 on the Mainstream Rock Airplay chart in March (the group’s fourth No. 1 and first since 1998) and has reached the top 10 on Alternative Airplay (the act’s 20th top 10 hit).
At No. 2 on the new Billboard 200, Future and Metro Boomin’s former leader We Don’t Trust You rises one spot with 69,000 equivalent album units earned (down 17%). Beyoncé’s chart-topping Cowboy Carter slips 2-3 with 66,000 (down 33%), and Morgan Wallen’s former No. 1 One Thing at a Time is a non-mover at No. 4 with 64,000 (down 11%).
Future and Metro Boomin’s We Still Don’t Trust You falls 1-6 with 54,000 equivalent album units earned (down 57%), Noah Kahan’s Stick Season slips 5-7 with 45,000 units (down 11%) and Benson Boone’s Fireworks & Rollerblades glides 7-8 with 40,000 units (down 8%). Rounding out the top 10 is a pair of former No. 1s: SZA’s SOS dips 8-9 with 39,000 units (down 2%) and Swift’s Lover climbs 11-10 with 37,000 (down 6%).
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.
The Tortured Poets Department sold 1.914 million copies in traditional album sales in its first week (purchases of digital downloads, CDs, vinyl LPs and cassette tapes). That marks the third-largest sales week for an album in the modern era — since Luminate began electronically tracking music sales in 1991.
The Tortured Poets Department’s sales were bolstered by its availability across 19 different physical configurations (nine CDs, six vinyl LPs and four cassettes, with four of the physical configurations exclusively sold by Target stores) and two digital download offerings (the standard 16-song album, and a surprise deluxe 31-song edition that was released two hours after the original album bowed). All of the variants are itemized later in this story.
Of The Tortured Poets Department’s first-week sales of 1.914 million, physical sales comprise 1.64 million (859,000 vinyl LPs — a modern-era single week record for an album on vinyl, 759,500 CDs and a little over 21,500 cassettes) and digital downloads comprise 274,000.
The Tortured Poets Department is the seventh Swift album to have sold at least 1 million copies in a single week, following the debuts of 1989 (Taylor’s Version), Midnights, reputation, the original 1989, Red and Speak Now. She is the only act with seven different albums to each sell at least 1 million copies in a single week in the modern era. In total, there have been 26 instances — by 24 different albums — in which an album has sold at least 1 million copies in a week in the modern era. One of those albums, Adele’s 25, sold more than 1 million in three separate weeks.
Six of the top 10 million-selling weeks occurred in the early 2000s, in the pre-digital and pre-streaming heyday of the CD — when essentially the only way to listen to music on-demand was by purchasing an album. The year 2000 was the high-water mark in the modern era for album sales, when 785 million albums were sold in the U.S. Comparably, in 2023, there were 105.32 million albums sold, and Swift sold the most of any act — accounting for 6% of all U.S. album sales in 2023. (Popular streaming services Spotify and Apple Music did not launch in the U.S. until 2011 and 2015, respectively.)
Here’s a recap of the top 10 biggest-selling weeks by albums in the modern era (1991-present), ranked in order by sales volume.
Rank, Artist, Title, Sales, Chart Date1, Adele, 25, 3.378 million, Dec. 12, 20152, *NSYNC, No Strings Attached, 2.416 million, April 8, 20003, Taylor Swift, The Tortured Poets Department, 1.914 million, May 4, 20244, *NSYNC, Celebrity, 1.88 million, Aug. 11, 20015, Eminem, The Marshall Mathers LP, 1.76 million, June 10, 20006, Backstreet Boys, Black & Blue, 1.591 million, Dec. 9, 20007, Taylor Swift, 1989 (Taylor’s Version), 1.359 million, Nov. 11, 20238, Eminem, The Eminem Show, 1.322 million, June 15, 2002*9, Britney Spears, Oops! …I Did It Again, 1.319 million, June 3, 200010, Taylor Swift, 1989, 1.287 million, Nov. 15, 2014(Sales source: Luminate. *All weeks are debuts, except for The Eminem Show, which debuted on the chart dated June 8, 2002, from a partial week of sales due to an off-cycle early release. The June 15, 2002, chart reflected the album’s first week of availability.)
