Chart Beat
Page: 104
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.
Explore
See latest videos, charts and news
See latest videos, charts and news
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.
Trending on Billboard
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.
Months into writing a new song with Chappell Roan in 2023, Dan Nigro hit a wall. The Grammy-winner songwriter-producer had tried just about everything he could think of with the bubbling under pop phenomenon — boosting the production, cleaning up the lyrics, adjusting the key — and yet the song still didn’t have that special X factor they were looking for.
“We kept on getting so frustrated,” Nigro tells Billboard. “We knew that something about it was really special, but we could not figure it out. Was it the key? Was it the verses that needed to feel more spunky?”
But once the duo found what they were looking for in the stratospheric chorus, the song transformed into Roan’s runaway hit, “Good Luck, Babe!” Since the song’s release in April, Roan (born Kayleigh Rose Amstutz) has become one of the most talked-about voices in mainstream pop music. The single marked her first entry on the Billboard Hot 100, debuting at No. 77, and has risen to No. 16 on the June 29-dated chart, with three of her other songs — “Red Wine Supernova,” “Hot to Go!” and “Pink Pony Club” — populating the lower half of the list. Meanwhile, her debut album, The Rise and Fall of a Midwest Princess, reaches a career-high at No. 8 on the Billboard 200.
Trending on Billboard
It shouldn’t come as a surprise that a track co-penned by Nigro is finding such breakaway success. Over the last several years, the songwriter has cemented himself as one of the most sought-after writers in the business, helping write hits for pop artists including Olivia Rodrigo, Caroline Polachek, Conan Gray and others. But in working with Roan, Nigro says he’s found something especially exciting.
“When we made [her May 2020 single] ‘California,’ which was the second song we wrote together, I had this feeling like I was a part of something deeply special,” Nigro says. “It felt magical and deeply relatable … and really important, [because] she was making it so that it felt important.”
Nigro breaks down the “intense” process of writing “Good Luck, Babe!,” its runaway success over the last two months and why he knew early on that Chappell Roan was destined to be “a superstar.”
Tell me about the beginning of the process with “Good Luck, Babe!” — where did the original idea for the track come from, and when did you begin working on this?
Kayleigh, Justin [Tranter] and I actually started the idea in November of 2022. We wrote a scratch idea — it was just a verse and a chorus. The idea was originally called “Good Luck, Jane” — Kayleigh was really set on having it be a name.
It’s a song we wrestled with for a while. We laid down a demo, and the two of us felt like it wasn’t right. We knew something was special about the song, but we couldn’t tell what it was that we were getting wrong. So, we worked on it for a day, we put it away, and then a few months later, she came in for something else, and she was like, “What about that one song we wrote? I feel like there’s something there.”
[embedded content]
Kayleigh’s voice is crazy across all of her songs, but it feels like she is in rare form on “Good Luck, Babe!,” where she’s almost expressing the entirety of her vocal range on one song.
Absolutely. When we opened it back up, we really narrowed in on the chorus and decided that some of the words needed to be in full voice. And then all of a sudden, we listened back and went, “Okay! I think we’ve figured it out!” Once we finally got it, it was such a relief. That song was so intense, and it was definitely one of the hardest songs to get right.
Kayleigh and I are not the people who go in the studio and write a song in one day. We take our time with it, comb over the lyrics and then forget about it for a month and come back to listen with fresh ears. A lot of times when you’re working on a song, in the midst of working on it, you tend to get really excited about it, and then you look back later and go, “Oh, that wasn’t as good as we thought it was.” Luckily, Kayleigh is so good at having that insight and knowing [when] to take a step back and reflect on it. She’s so incredible at having that self-awareness. She’s also such an incredible singer — which is a great thing, but because she often sounds really good singing any song, figuring out the difference between something being really good and being amazing can be tricky.
I know Kayleigh has said this song was “a b-tch to write,” and that very much tracks with what you’re describing here.
For sure. Though, it’s funny: To me, it wasn’t actually that much of a b-tch to write. I feel like it was the production and the process that was really tough. Actually writing the song was quite fluid. I remember she came over one day, and I was like, “Well, now we need a bridge.” She wrote the bridge all on her own in like two minutes. She said, “Put the pre-chorus chords on,” I looped it, and she just got on the mic and went for it. I was trying to keep looping the chords more because she just kept singing, and I was like, “No, we have to go further!” It was amazing.
You mentioned that the original version of the song you wrote with Justin had really different verses lyrically — what would you say fundamentally changed between that first draft and the final version?
I don’t exactly remember what the verses were to begin with, just because it’s been so long since we wrote them. But I do remember that we wanted the words to feel more effortless. We wanted to make sure it had that casual, cool, laid-back feeling to it. The lyrics were a little bit more pointed, a little more cutting. We chilled it out, and then she was sitting on the couch at one point, and she said, “I just want to have a line in there about my arms reaching out of a sunroof.” It was so funny.
At what point in this process, if at all, did you think that “Good Luck, Babe!” was going to be a hit?
When a song is difficult to get right, especially from the production side of things, I become so self-conscious of it that I can never see it super clearly. Also, “Good Luck, Babe!” is so dramatic — I tend to keep my productions pretty minimal for the most part. But “Good Luck, Babe!” is such an epic production — there are like 100 string parts! When I’m adding that much production, I tend to feel like I’m doing too many things. So, I don’t think there was any point in that process where I was like, “Oh, this one’s going to be a hit.”
I remember she texted me the day the song came out, just being excited about the song. Then her manager texted me and said, “This one feels special, this feels different right now.” That is, to me, the crazy thing about being able to see the numbers in real time: You have absolutely no way of knowing, and then within 12 hours, people can tell you, “Oh yeah, audiences are really liking this one.”
[embedded content]
It seems clear that “Good Luck, Babe!” really cemented this cultural moment for Kayleigh: The song has climbed into the top 20 of the Hot 100, “Red Wine Supernova,” “Hot to Go!” and “Pink Pony Club” have all entered the Hot 100, and The Rise and Fall of a Midwest Princess continues to climb on the Billboard 200, reaching the top 10.
It is crazy to watch. This feels like … I don’t want to say “destiny,” that’s the wrong word to use. It all happened for a reason. This song was made during the making for Rise and Fall, and to me, it felt like it could have easily been on the record. I’d like to think that because it came out at a different time, it held a different meaning and it was a different vessel for the album. Whereas, if it came out with the album, then the record would not be what it’s doing right now.
Why do you think this moment is happening right now, rather than with the album’s release last September?
All I can say is, three or four days into meeting her, I was convinced she was a superstar. I was so enamored by the way she thought about music, and I could not believe I was a part of it, because it felt magical and also deeply relatable. When we made “Pink Pony Club,” that was the record where it felt like we were making something actively powerful. It was that sort of feeling where you get the sense that you’re making a song that people need. I’ve always felt that something like this was going to happen for her; the question was just when it would happen.
The fact that she’s so phenomenal live means people are finally able to see in real time how good she is. That then becomes this word-of-mouth thing, and it’s wonderful to see her have such old school success. I’ve told so many people, “This is the way things used to be — you would have to see the artist live, and you see them be good at what they do and then spread the word.” She’s so good at what she does that the system is working again! It really is that simple.
That’s an important point — while a lot has happened in the last two months, this wasn’t “overnight” success. Chappell had been steadily growing before “Good Luck, Babe!” blew up.
I totally agree, it’s not “overnight” success in any way — even since the record came out nine months ago, every single day, the numbers were steadily going up by like a percentage each week. It just took so long to get to the point where enough people were talking about it every day for it to become exponential.
You’ve had a lot of success working with pop stars like Olivia Rodrigo, Conan Gray and Caroline Polacheck — is there anything about working with Chappell that feels different than your other collaborators? Or what things feel similar in the way you work with all of those artists?
If I’m being honest, I always feel weird when asked to compare people. I think the important thing is that she’s incredibly articulate about what she wants out of a song, and we have a great relationship when it comes to creating music. We’re writing songs together, but we’re also producing them together, and she’s in the room for a bunch of it. There’s a really good language between us when it comes to making music. I can understand what she’s looking for, and if I’m not getting something right when I’m producing, she can step in. She’s so good at explaining exactly what she wants, and it makes for a really good flow in our working relationship.
A version of this story originally appeared in the June 22, 2024, issue of Billboard.
Gracie Abrams lands her first No. 1 in Australia as The Secret Of Us (via Interscope/Universal) debuts at the summit.
With that effort, the Californian singer and songwriter’s sophomore album thrashes the No. 30 best for her first LP, 2023’s Good Riddance.
Abrams is very much part of Taylor Swift’s #Squad. She has opened in various markets on Swift’s ongoing The Eras Tour, and the pop superstar collaborated with Abrams on The Secret Of Us track “Us,” which bows at No. 25 on the latest ARIA Singles Chart – the week’s top debut.
With her best-selling start, Abrams leads a charge of female solo artists on the ARIA Chart, published Friday, June 26: Billie Eilish (Hit Me Hard And Soft, down 2-1 via Interscope/Universal), Swift (The Tortured Poets Department, down 2-3 via Universal) and Charli XCX (Brat, up 5-4 via Atlantic/Warner), respectively. U.S. country star Morgan Waller completes the top five with One Thing At A Time (up 7-5 via Mercury/Universal).
Explore
See latest videos, charts and news
See latest videos, charts and news
There’s no doubt about it, Chappell Roan is having a moment. The rising pop star makes her first appearance in the top 10 with 2023 debut album The Rise And Fall Of A Midwest Princess (Island/Universal), lifting 14-7, while her standout track “Good Luck, Babe!” lifts 20-12 for a new peak position on the national singles tally.
Close behind, Brisbane, Australia-formed pop band Sheppard mark their return to the ARIA Chart with Zora (Empire Of Song/MGM), their fourth studio album. It’s new at No. 8. Now based in Nashville, TN, Sheppard cracked the ARIA top 10 with 2014’s Bombs Away (No. 2), 2018’s Watching The Sky (No. 1) and 2021’s Kaleidoscope Eyes (No. 2).
Trending on Billboard
Over on the ARIA Singles Chart, Sabrina Carpenter retains top spot for a second week with “Please Please Please” (Island/Universal). Meanwhile, Shaboozey’s “A Bar Song (Tipsy)” (via Empire) improves 3-2 for a new peak position, and Carpenter’s former leader “Espresso” dips 2-3.
Further down the list, Tommy Richman bags a top 40 with “Devil Is a Lie” (via Conchord/Universal), the followup to his No. 1 hit “Million Dollar Baby.” “Devil Is a Lie” is new at No. 27.
Finally, Post Malone’s country era lassos another top 40 as “Pour Me a Drink” (Universal) with Blake Shelton opens at No. 33. It’s the followup to “I Had Some Help” with Morgan Wallen, currently up 6-4 in its seventh week on the tally.
Los Ángeles Azules and Emilia’s “Perdonarte, ¿Para Qué?” notches a third total and consecutive week at No. 1 on the Billboard Argentina Hot 100 chart (dated June 29). The song, Los Ángeles Azules’ third leader and Emilia’s fifth, is the fourth song to spend at least three weeks at the summit in 2024. Here’s the recap:
Explore
See latest videos, charts and news
See latest videos, charts and news
Peak Date, Title, Artist, Weeks at No. 1Jan. 20, “Una Foto (Remix),” Mesita, Nicki Nicole, Tiago PZK & Emilia, No. 10May 4, “Bésame (Remix),” Bhavi, Seven Kayne, Milo j, Tiago PZK, KHEA & Neo Pistea, No. 5March 2, “Hola Perdida (Remix),” Luck Ra & KHEA, No. 4June 15, “Perdonarte, ¿Para Qué?,” Los Ángeles Azules & Emilia, No. 3
Trending on Billboard
Los Ángeles Azules posts two other songs on the current tally, “El Amor De Mi Vida,” with Maria Becerra, at No. 22, and “Otra Noche,” with Nicki Nicole, at No. 86.
[embedded content]
Valentino Merlo and The La Planta’s “Hoy” nearly misses the top slot, with a 3-2 jump. While Trueno’s “Real Gangsta Love” moves ahead, with a 4-3 lift.
The Hot Shot Debut of the Week goes to Ke Personajes and Ulises Bueno who each add a new entry with “Intento” at No. 51.
Feid’s “Sorry For That Much” claims the week’s Greatest Gainer honors, with a 24-position surge, from No. 87 to No. 63. The Colombian boasts two other entries, “Luna,” with ATL Jacob, at No. 13 and “Offline,” with Young Miko at No. 42.
Two more songs debut this week: starting with Marama, Migrantes and the Argentinian rising star Flor Alvarez, whose first collab, “No Te Vayas,” opens at No. 66. Plus, J Abdiel, Pirlo, Izaak, Anuel AA & Blessd’s “WYA (Remix) Black And Yellow” launches at No.79.
[embedded content]
Anyone paying the least bit of attention to modern pop understands that Chappell Roan has spent the past few months becoming a singular, undeniable star.
The Missouri singer-songwriter’s debut album, 2023’s The Rise and Fall of a Midwest Princess, has gradually grown its audience through a mix of word-of-mouth and major-platform support; meanwhile, new single “Good Luck, Babe!” has built upon the album’s momentum and become a legitimate crossover hit. In the middle of those success stories is an uncompromising new voice in mainstream pop, whose sonic diversity, thematic focus on queer identities, penchant for viral trends and spectacular vocal power have coalesced into true stardom.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
Finding anecdotal evidence of Chappell’s rise is easy enough, but digging into her recent metrics makes for a staggering case study in new-school success. Here are five numbers that demonstrate just how huge Chappell Roan has become in 2024.
Trending on Billboard
68.36 million
At the beginning of 2024, Chappell’s full catalog was hovering under 3 million weekly streams, three months after the September 2023 release of Midwest Princess: in the chart week ending Jan. 4, 2024, for instance, she earned 2.51 million U.S. on-demand streams, according to Luminate. As her profile expanded — thanks in part to opportunities like opening for Olivia Rodrigo’s Guts World Tour from late February to early April, and performing at major festivals like Governors Ball and Bonnaroo earlier this month — that weekly streaming total exploded.
Chappell Roan
Billboard
Now, Chappell’s weekly streams are more than 20 times greater than they were at the start of the year, as her catalog earned 68.36 million streams in the week ending June 20. Helping to boost that weekly streaming total is “Good Luck, Babe!,” which was released in early April; now her highest-charting Billboard Hot 100 hit, the single has been a driving force within Chappell’s total catalog numbers, as well as a gateway for unfamiliar listeners to explore more of her music.
423,000
Following its release on Sept. 22, 2023, The Rise and Fall of a Midwest Princess did not chart on the Billboard 200: Chappell’s debut album earned 7,000 equivalent album units in its opening frame, according to Luminate, and debuted at No. 3 on the Heatseekers Albums chart. Rather amazingly, Midwest Princess did not crack the Billboard 200 until more than six months later, debuting at No. 127 on the chart dated Apr. 6 — right at the end of Chappell’s run on Rodrigo’s tour — with a little over 9,000 equivalent album units.
Chappell Roan
Billboard
That was just the beginning, though: Midwest Princess cracked five-digit equivalent album units in the following chart week and never looked back over the next three months. In the week ending June 20, the album earned 46,000 equivalent album units — more than five times what it was earning each week at the beginning of April. And after debuting outside of the Billboard 200 altogether, Midwest Princess has earned 423,000 equivalent album units through June 20 — beyond the loftiest expectations when it debuted, and with a lot more room to grow.
55,000
Although the equivalent album units total for Chappell’s debut album factors in track and streaming units, the full-length is also being purchased by fans who want to own the full experience. Earlier this month, Midwest Princess reached the top 10 of the Top Album Sales chart for the first time, thanks in part to CD and vinyl copies being replenished across retail stores (the album comes in at No. 14 on the current tally).
After debuting with 3,000 in sales upon its release last September, Midwest Princess has multiplied its opening sales by 18, for a current total of 55,000 copies sold, according to Luminate.
19
While Chappell’s music is scoring tens of millions of plays across streaming platforms each week, “Good Luck, Babe!” is concurrently making inroads at multiple radio formats. The single reaches a new peak of No. 19 on this week’s Pop Airplay chart (dated June 29) in its seventh week on the tally, as well as a new peak of No. 30 on Adult Pop Airplay.
[embedded content]
Meanwhile, “Babe!” makes its debut on the all-genre Radio Songs chart this week, at No. 49. If radio PDs continue to adopt “Babe!” in the coming weeks, Chappell will start reaching a different, robust audience — and potentially set herself up for even more radio hits in the future.
4
Speaking of which, the performance of “Babe!” on multiple radio tallies scratches the surface of Chappell’s ever-growing presence on the Billboard charts. Midwest Princess spends its first frame in the top 10 of the Billboard 200 this week, rising three spots to No. 8 in its 13th total week on the chart — a breathtaking feat, considering that the album didn’t even crack the chart when it was first released. Meanwhile, “Babe!” has spent 11 weeks on the Hot 100, and continues to push upward: this week, the single becomes Chappell’s first top 20 hit, rising five spots to No. 16.
Perhaps the most impressive chart stat for Chappell right now, though, is that she has four concurrent Hot 100 hits, with “Red Wine Supernova” (No. 54), “Hot To Go!” (No. 55) and “Pink Pony Club” (No. 90) all joining “Babe!” on the chart. The multi-song chart takeover confirms that Chappell’s rise cannot be ascribed to one hit single, and that, as her profile continues to grow, listeners are going to keep seeking out her full catalog.
Tommy Richman’s “Million Dollar Baby” sets a new record on the TikTok Billboard Top 50, reigning for a chart-leading seventh week as of the June 29-dated list.
Explore
See latest videos, charts and news
See latest videos, charts and news
The TikTok Billboard Top 50 is a weekly ranking of the most popular songs on TikTok in the United States based on creations, video views and user engagement. The latest chart reflects activity June 17-23. Activity on TikTok is not included in Billboard charts except for the TikTok Billboard Top 50.
Richman’s seventh week atop the TikTok Billboard Top 50 surpasses Mitski’s “My Love Mine All Mine” as the longest reign since the chart began in September 2023.
Trending on Billboard
It’s fitting that “Million Dollar Baby” assumes the mantle of the lengthiest No. 1. Though the song was originally released in full on April 26, it was first teased on TikTok via a snippet that quickly went viral, with 13 million global views on the original clip to date.
While pent-up demand for the song drove its initial success on the ranking, TikTok uploads featuring “Million Dollar Baby” in the months since have been paced by a dance trend, as well as a theme where users show how dating their significant other has changed them (“Black wife effect,” “white boyfriend effect,” etc.).
“Million Dollar Baby” has peaked so far at No. 2 on the multimetric Billboard Hot 100. It ranks at No. 5 on the latest survey via 53.2 million radio audience impressions, 35.8 million official U.S. streams and 5,000 downloads sold in the week ending June 20, according to Luminate.
It reigns on the TikTok Billboard Top 50 over Tinashe’s “Nasty,” which lifts 3-2 for a new peak. As previously mentioned, “Nasty,” which was released April 12, first made the chart in late May and has steadily risen thanks to a dance trend and comedy videos attached to its “I’ve been a nasty girl” lyric.
“Nasty” concurrently jumps to a new peak of No. 62 on the Hot 100 with 7.9 million streams, 2.7 million audience impressions and 1,000 downloads.
Sabrina Carpenter’s “Please Please Please,” which concurrently hits No. 1 on the Hot 100, falls to No. 3 on the TikTok Billboard Top 50, followed by Billie Eilish’s “Birds of a Feather” and Kendrick Lamar’s “Not Like Us” rounding out the top five.
A pair of songs reach the chart’s top 10 for the first time, one in its third week and the other as a brand-new debut. At No. 7, Jordan Adetunji’s “Kehlani” leads the pair after leaping from No. 25. Adetunji’s ode to the R&B singer has achieved TikTok success in part due to Kehlani herself, who hopped on its virality with a May 24 upload vibing to the song with the paparazzi in the background. A dance trend featuring the tune has dominated its more recent highest performing clips from creators.
“Kehlani” is currently bubbling under the Hot 100 and appears at No. 33 on the latest Hot R&B/Hip-Hop Songs tally on the strength of 5.6 million streams.
Ella Langley’s “You Look Like You Love Me” is the other new top 10 on the TikTok Billboard Top 50, debuting at No. 9. The song, which features Riley Green, bows despite being released in full on June 21. That’s because, like Richman’s “Million Dollar Baby” before it, the song benefited from pre-release virality with clips uploaded to Langley’s TikTok account as well as live performances of the song from Langley and Green’s joint tour that’s been progressing the last few months.
Further chart action for “You Look Like You Love Me” is expected on the Billboard charts dated July 6, which will incorporate streaming, airplay and sales data from June 21-27.
See the full TikTok Billboard Top 50 here. You can also tune in each Friday to SiriusXM’s TikTok Radio (channel 4) to hear the premiere of the chart’s top 10 countdown at 3 p.m. ET, with reruns heard throughout the week.
One more time, Bad Bunny’s Most Wanted Tour secures the No. 1 spot on Billboard’s monthly Top Tours chart. According to figures reported to Billboard Boxscore, the Puerto Rican superstar earned $60.4 million and sold 212,000 tickets from 14 concerts in May.
Bad Bunny is no stranger to the pole position, having reigned over the March and April reports, plus four wins in 2022. That matches him with Elton John for the most months at No. 1 since the charts launched in 2019. And while Bad Bunny played three more shows in June, his tie with John is secure for now, as that weekend of shows won’t be enough to score an eighth No. 1.
The Most Wanted Tour started on Feb. 21, with five shows earning $19.5 million before the end of the month. Then, Bad Bunny kicked off his undefeated streak, ruling the March list with $64.6 million (13 shows) and April with $63 million (14). Including his run of shows in May, he is the second artist to string together three consecutive months at No. 1, following Beyoncé last summer.
During May, Bad Bunny focused on the Southeast. He started in Houston on May 1, before maneuvering through New Orleans, Nashville, Atlanta, Orlando and other surrounding markets.
As is the case for many Spanish-speaking artists, Miami proved to be the month’s highlight, with $18.8 million and 49,300 tickets over three shows at the Kaseya Center from May 24-26. That nets Bad Bunny another No. 1 on the Top Boxscores chart. Among the 31 North American cities on the entire tour, only Los Angeles yielded a bigger gross, with $20.2 million. Brooklyn, Chicago and San Francisco also broke the $10 million threshold.
Bad Bunny makes two more appearances on Top Boxscores, at Nos. 13 and 15 with double-headers at Orlando’s Kia Center and Dallas’ American Airlines Center, respectively.
Including Bad Bunny’s three shows at San Juan’s Coliseo de Puerto Rico (June 7-9), the Most Wanted Tour grossed $211.4 million and sold 753,000 tickets across 49 shows.
Those totals are smaller than those of 2022’s World’s Hottest Tour, which raked in $314.1 million and sold 1.9 million tickets in North and South American stadiums. It remains the highest grossing tour by a Latin artist in Boxscore history.
But on a more even comparison, they’re larger than the finals for his most recent arena tour, El Ultimo Tour del Mundo, which earned $116.8 million and sold 576,000 tickets earlier that year. The Most Wanted Tour averaged $4.3 million per night, which marks a 29% increase from his same-sized 2022 shows.
The Most Wanted Tour is the fifth trek by a Latin artist to gross more than $200 million, following Bad Bunny’s own 2022 tour, RBD’s Soy Rebelde Tour, and ongoing stints by Karol G and Luis Miguel.
The upper region of the Top Tours chart is dominated by Latin and country acts. Right behind Bad Bunny, Aventura is No. 2 with $43.1 million and 261,000 tickets sold from a busy month of 20 shows. Luis Miguel is No. 9 with $25.7 million over 16 shows, as he becomes the first artist in the history of the monthly Boxscore charts to string together 10 consecutive months in the top 10 of Top Tours.
Among country acts, Luke Combs, Zach Bryan and George Strait line up at Nos. 3-5 with monthly earnings of $43.1 million, $40.5 million and $38.1 million, respectively. Kenny Chesney rounds out the upper tier at No. 10 with a combination of stadium and amphitheater shows on the Sun Goes Down Tour.
The rest of the top 10 is split between pop and rock, with nostalgia driving sales for both. Veteran British boy band Take That is No. 6, followed by Dead & Company at No. 7, earning $36.4 million from eight shows at Las Vegas’ Sphere. Justin Timberlake is No. 8. All three score multiple appearances on Top Boxscores.
After being unveiled as part of Billboard’s midyear touring report, May marks the monthly debut of two new venue charts. Historically, Boxscore’s capacity-specific venue charts have gone as far down to rooms that hold 5,000 people or less. In an effort to spotlight more clubs and small theaters, there are now separate charts for venues with capacities of 2,501-5,000, and 2,500 or less.
Morsani Hall, part of the David A. Straz, Jr. Center for the Performing Arts in Tampa, is No. 1 on the 2,501-5,000 chart, bringing in $3.1 million from 34,600 tickets over 16 shows. As such with the runner-up, Atlanta’s Fox Theatre, Morsani Hall scores its victory in large part thanks to touring stage productions. Still, the former featured Kevin Hart and the latter hosted Casting Crowns and Hasan Minhaj.
The rest of the top 10 is filled out by venues in the U.S., Canada and the U.K., with Las Vegas’ The Chelsea at The Cosmopolitan at No. 3, Niagara Falls’ Fallsview Casino Resort at No. 6, and London’s O2 Academy Brixton at No. 9.
On the 2,500-and-under ranking, the DeVos Performance Hall in Grand Rapids, Mich., reigns with $5.2 million and 61,100 tickets. Las Vegas shines again, with Encore Theater at Wynn Las Vegas at No. 2. Brooklyn Steel represents for New York at No. 6, and San Francisco’s Warfield Theater lifts the Bay Area at No. 8.
What did songs sound like, lyrically, on Billboard’s charts in 2023?
AI-powered hit song analytics platform ChartCipher has released its latest report, encompassing the Billboard Hot 100’s three weekly component charts – Streaming Songs, Radio Songs and Digital Song Sales – and spotlighting key findings about songs’ lyrical themes and moods on surveys dated Jan. 7 through Dec. 30, 2023.
In October 2023, ChartCipher launched publicly, as announced jointly by MyPart and Hit Songs Deconstructed. The platform utilizes analytics from 10 of Billboard’s most prominent charts dating to the start of the 2000s: the Hot 100, Streaming Songs, Radio Songs, Digital Song Sales, Hot Country Songs, Hot R&B/Hip-Hop Songs, Hot Dance/Electronic Songs, Hot Rock & Alternative Songs, Pop Airplay and Country Airplay.
Here are three takeaways from Chart Cipher’s newest findings about the lyrical makeup of chart hits, reflecting performance on Streaming Songs, Radio Songs and Digital Song Sales, during 2023.
Love Language
“In 2023, the theme of love was the most prominent across all three charts,” ChartCipher’s report notes. “The themes of lifestyle and partying/living it up were also relatively significant, though less so than love. Hooking up, inspiration/empowerment and introspection were the least prominent themes, with introspection being the least featured across all charts.”
Love was the leading theme last year on each of the surveys that contribute to the Hot 100, playing into 51% of entries on Radio Songs, 48% on Streaming Songs and 44% on Digital Song Sales.
Plus, over the past five years, love has loomed large in all three metrics, ranging between takes of 48% to 53% of titles on Streaming Songs, 48% to 51% on Radio Songs and 44% to 47% on Digital Song Sales.
Notable hits with a theme focused on love (whether good or bad or in between) in 2023, ChartCipher cites, included Taylor Swift’s “Cruel Summer,” The Weeknd and Ariana Grande’s “Die for You” and Morgan Wallen’s “Last Night.”
The Party’s Not Over on Radio
While common, as noted above, hits about partying on the Streaming Songs chart “have been on a notable decline since 2019, dropping from 44% to 32% during the five-year period,” ChartCipher’s research reveals. Titles on Digital Song Sales “also experienced a decline in the theme, though to a much lesser extent, dropping from 32% to 27%.”
Conversely (and happily), radio played more party-hearty hits from 2022 to 2023, with such entries rising from shares of 30% to 35% on Radio Songs.
Among 2023 party anthems were David Guetta and Bebe Rexha’s “I’m Good (Blue)” and Jimin’s “Like Crazy.”
We Don’t Mean to Be Cynical, But …
While love (in all its scope) represented the most common lyrical theme in 2023 on the Hot 100’s three component charts, “Cynicism emerged as the most prominent lyrical mood across all platforms, featured in approximately half of all songs,” ChartCipher reports. “It was followed by dramatic or detached moods, which varied by chart. Songs that evoked a happy mood accounted for just under one-third of songs across all formats.”
ChartCipher
(ChartCipher differentiates between songs’ themes and moods, with a theme defined as a song’s overarching lyrical concept, such as love, lifestyle or partying, while mood reflects a range of emotions conjured by a song’s lyrics, from sadness to happiness and more.)
Not to be further cynical, but Radio Songs hits increased in cynical lyrics from a 43% share in 2022 to 52% in 2023.
To end on a positive note, “Both Streaming Songs and Digital Song Sales experienced a peak in cynical-themed lyrics in 2021, followed by a subsequent drop in 2022,” ChartCipher notes. Cynicism on Streaming Songs continued a downward trajectory – such titles trended 63%, 59% and 52% in 2021, 2022 and 2023, respectively – while entries on Digital Song Sales essentially stabilized.
Banda Los Sebastianes de Saúl Plata and Edgardo Nuñez celebrate the success of “El Humo De Mi Gallo,” their first collaboration, which rises from No. 3 to lead Billboard’s Regional Mexican Airplay chart dated June 29.
“I’m extremely happy that we are in first place with ‘El Humo De Mi Gallo’,” Armando Celis, better known as Choco and vocalist for Los Sebastianes, tells Billboard. “Thank you to all who are listening to our music.”
Trending on Billboard
The new No. 1 gives Nuñez a second leader, after the 23-year-old scored his first No. 1 on any Billboard chart just two months ago, when “First Love,” with Oscar Ortiz, ruled for one week in April.
“I feel very happy and grateful that in such a short time we have achieved two No. 1s on Billboard,” Nuñez adds. “For me it is a great honor to be in this prestigious magazine thanks to our work. I am always grateful to my friends Los Sebastianes and Oscar Ortiz for these achievements.”
“El Humo De Mi Gallo” leads with 6.1 million audience impressions earned during the June 14-20 tracking week, according to Luminate. That’s a 13% increase from the week prior. That gain dethrones El Fantasma’s “Sabor a Michelada” which falls to No. 2 with 5.4 million impressions, down 36%.
With “Humo” Banda Los Sebastianes de Saúl Plata capture their sixth leader. They last led two years ago through “Modo Incógnito” in April 2022. Since then, the Sinaloans placed three entries, including the No. 10 peaking “Promteo,” with Kurt.
“Grateful for our audience, both at radio and shows, who request our songs,” Javier Larrañaga, the latest vocalist for Los Sebastianes, shares. “We are happy with all of you and look forward to more music, great things coming ahead.”
Beyond its Regional Mexican Airplay coronation, “Humo” rises 10-6 on the overall Latin Airplay ranking, for its new peak, the highest entry for Los Sebastianes since the equal No. 6 high “Sin Miedo al Éxito” in 2021.
[embedded content]
Thalia Returns To The Top 10: Elsewhere on the Latin charts, Thalia makes a strong comeback to the upper region on Latin Airplay with “Te Va a Doler,” her first Grupo Firme collab, which flies 12-3 with 6.6 million audience impressions, up 23%.
The surge marks Thalia’s first top 10 on Latin Airplay since 2013, when “Te Perdiste Mi Amor,” featuring Prince Royce, reached No. 1 in 2013. Plus, the song, which ascends 4-2 on Latin Pop Airplay, marks the pop star’s best showing in over a decade and a half, following an equal No. 2 peak though “Equivicada” in Feb. 2010.
Further, Grupo Firme, who also scored their first entry on a pop radio ranking when “Te Va a Doler” debuted in the top 15 on Latin Pop Airplay in May, capture its 10th top 10 on the overall Latin Airplay tally.
[embedded content]