Chart Beat
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After 42 years, James finally lands a U.K. No. 1 studio album with Yummy.
The leader at the midweek point, Yummy (via Nothing But Love Music) completes the chart week at No. 1. It’s the second leader for Tim Booth and Co., following their 1998 career retrospective The Best Of, and 19th U.K. top 40 appearance.
Beyoncé’s former leader Cowboy Carter (Columbia/Parkwood Ent.) holds at No. 2 while Dire Straits frontman Mark Knopfler enjoys a No. 3 entry with One Deep River (EMI). That matches Knopfler’s solo career high, which he achieved with 2015’s Tracker, and becomes his ninth top 10.
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As a member of Dire Straits, Knopfler scooped four No. 1s and 11 top 10s.
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Linkin Park lands a first top 5 album in seven years, and first since the death of frontman Chester Bennington, with Papercuts (Singles Collection 2000-2023) (via Warner Records), new at No. 4, while British rock outfit Kris Barras Band nab a career high with Halo Effect (Earache), new at No. 5.
Meanwhile, Leeds, England four-piece English Teacher nabs a top 10 entry at the first attempt with This Could Be Texas (Island), their debut recording. It’s new at No. 8. Also, Glasgow, Scotland rock act GUN blasts to a first top 10 LP in 30 years with Hombres (Cooking Vinyl), new at No. 10. According to the Official Charts Company, GUN last hit the top 10 back in 1994 with Swagger, which peaked at No. 4.
Future and Metro Boomin just miss out on a second top 10 in under a month. The U.S. hip-hop stars’ latest collaborative album We Still Don’t Trust You (Epic/Freebandz/Republic) bows at No. 11, following the release last month of the collab We Don’t Trust You, which peaked at No. 2 on the March 29 chart.
A handful of new releases impact the latest Official U.K. Albums Chart, published Friday, April 19, including Maggie Rogers’ Don’t Forget Me (No. 12 via Polydor), Nia Archives’ Silence Is Loud (No. 16 via Island) and Girl in Red’s I’m Doing It Again Baby (No. 37 via Columbia).
Future and Metro Boomin’s second collaborative album, We Still Don’t Trust You, debuts at No. 1 on the Billboard 200 chart (dated April 27), with 127,500 equivalent album units earned in the U.S. in the week ending April 18, according to Luminate. It’s the sequel project to the pair’s We Don’t Trust You, which opened at No. 1 on the April 6-dated chart (with 251,000 units in its first week).
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With We Still Don’t Trust You arriving atop the Billboard 200 only three weeks after We Don’t Trust You debuted at No. 1, that marks the shortest gap between new No. 1s by an artist since Future replaced himself at No. 1 in 2017 in successive weeks with his self-titled album (March 11, 2017, chart) and HNDRXX (March 18, 2017), both of which debuted at No. 1.
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On the latest Billboard 200, We Don’t Trust You rises 4-3 with 83,000 equivalent album units earned (down 17%). In the last 20 years, there have only been seven instances of acts charting two albums in the top three at the same time. Prince did it twice following his death in 2016 (The Very Best of Prince and the Purple Rain soundtrack on the May 7-14, 2016 charts), Future did so once in 2017 with his back-to-back No. 1s (Future and HNDRXX on the March 18, 2017, chart), Taylor Swift achieved the feat three times (Dec. 26, 2020, with Evermore and Folklore; and Dec. 9 and 23, 2023, with 1989 [Taylor’s Version] and Midnights) and now Future and Metro Boomin on the latest chart with We Don’t Trust You and We Still Don’t Trust You.
Future’s total No. 1 count on the Billboard 200 now rises to 10, while Metro Boomin collects his fifth leader. Only 10 acts have earned at least 10 No. 1s: The Beatles (a record 19), Jay-Z (14), Drake and Swift (13 each), Bruce Springsteen, Barbra Streisand and Ye (formerly Kanye West) (11 each), Eminem, Future and Elvis Presley (10 each).
Also in the top 10 of the new Billboard 200, Linkin Park’s first hits compilation, Papercuts, debuts at No. 6, marking the 11th top 10-charting effort for the rock band.
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 April 27, 2024-dated chart will be posted in full on Billboard‘s website on April 23. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of We Still Don’t Trust You’s first-week unit sum of 127,500, SEA units comprise 124,500 (equaling 162.57 million on-demand official streams of the set’s 25 tracks), traditional album sales comprise 2,500 (the album was only available to purchase as a digital download) and TEA units comprise 500.
A CD configuration of We Still Don’t Trust You is due for release on April 26, while its vinyl is scheduled to drop in July. We Don’t Trust You, meanwhile, was issued on CD on April 19, while its vinyl is also due in July.
Beyoncé’s Cowboy Carter slips to No. 2 after spending its first two weeks atop the Billboard 200. It earned 98,000 equivalent album units in its third week (down 24%). Morgan Wallen’s former No. 1 One Thing at a Time rises 5-4 with 71,000 (down 1%). Noah Kahan’s Stick Season jumps 8-5 with 51,000 (up 14%), following the release of the Stick Season (We’ll All Be Here Forever) deluxe edition across four vinyl variants and on CD. The deluxe set was originally released on June 9, 2023, as a digital download and streaming album.
Linkin Park’s first hits compilation album, Papercuts, debuts at No. 6 with 44,000 equivalent album units earned. Of that sum, SEA units comprise 23,000 (equaling 32.04 million on-demand official streams of the set’s 20 songs), album sales comprise 20,500 and TEA units comprise 500. The album’s sales were bolstered by its availability across eight vinyl variants, as well as a CD, cassette and digital download.
Papercuts boasts 14 of the band’s 19 top 10s on Billboard’s Alternative Airplay chart, including 10 of its 12 No. 1s on the list.
In total, Link Park has achieved 11 top 10s on the Billboard 200 albums chart: Hybrid Theory (No. 2 in 2002), Reanimation (No. 2, 2002), Meteora (No. 1, 2003), MTV Ultimate Mash-Ups Presents: Collision Course (with Jay-Z, No. 1 in 2004), Minutes to Midnight (No. 1, 2007), A Thousand Suns (No. 1, 2010), Living Things (No. 1, 2012), Recharged (No. 10, 2013), The Hunting Party (No. 3, 2014), One More Light (No. 1, 2017) and Papercuts (No. 6, 2024).
Benson Boone’s Fireworks & Rollerblades skates 6-7 in its second week with 43,000 equivalent album units earned (down 25%). Three former No. 1s round out the top 10, as SZA’s chart-topping SOS rises 10-8 with just over 40,000 (up 1%), Morgan Wallen’s Dangerous: The Double Album climbs 11-9 with 40,000 (up 1%) and Ariana Grande’s Eternal Sunshine falls 7-10 with nearly 40,000 (down 17%).
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 is off to a blockbuster start in the U.S. On its first day of release, on April 19, the set sold 1.4 million copies in traditional album sales, according to initial reports to data tracking firm Luminate. That marks Swift’s biggest sales week ever for any album in the U.S. (Luminate’s sales, streaming and airplay data powers Billboard’s charts. All numbers in this story are for the U.S. only.)
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Plus, the set’s 31 songs (available on its deluxe streaming and digital editions) generated 243.4 million official on-demand audio streams in the U.S. on April 19, led by the album’s first single, “Fortnight,” featuring Post Malone, with 18.4 million streams. (That’s more than double the number of streams generated on the first day of Swift’s last release, 1989 [Taylor’s Version]; its 21 songs spurred 110 million streams on its opening day.)
In total, the album earned 1.6 million equivalent album units in the U.S. on its first day. The last album to exceed a million units in a week was Swift’s own 1989 (Taylor’s Version), when it tallied 1.653 million units in its first week late last year (week ending Nov. 2, 2023).
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Further news of initial sales and streaming activity for the album, as provided by Luminate, will be reported in the coming days.
With 1.4 million copies sold across all of the CD, vinyl, cassette and digital download versions of the album, The Tortured Poets Department garners the single-largest sales week for any Swift album. Previously, her largest sales week was registered by the opening week of her re-recorded 1989 (Taylor’s Version) last year, when it sold 1.359 million copies.
The Tortured Poets Department (abbreviated as TTPD) was initially released on April 19 as a standard 16-song digital download album, as well as an array of 17-song physical configurations (more details on the assorted versions later in this story). Two hours after the album’s release, Swift announced an expanded 31-song edition of the set and released it as a digital download and streaming album. She wrote: “It’s a 2am surprise: The Tortured Poets Department is a secret DOUBLE album. I’d written so much tortured poetry in the past 2 years and wanted to share it all with you, so here’s the second installment of TTPD: The Anthology. 15 extra songs. And now the story isn’t mine anymore… it’s all yours.”
The sales of The Tortured Poets Department will increase in the coming days, with the current tracking week ending on Thursday, April 25. The album’s final first-week sales number is expected to be announced on Sunday, April 28, along with its assumed large debut on the multi-metric Billboard 200 albums chart (dated May 4). If The Tortured Poets Department debuts atop the Billboard 200, it will mark Swift’s 14th No. 1 album, extending her record for the most among women. She would also tie Jay-Z for the most No. 1s among soloists. The only act with more than 14 No. 1 albums on the Billboard 200 is The Beatles, with 19.
All 13 of Swift’s full-length studio albums and re-recorded projects from 2008’s Fearless (her second album) through 2023’s 1989 (Taylor’s Version) have debuted at No. 1.
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 units 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. For all chart news, follow @billboard and @billboardcharts on both X (formerly Twitter) and Instagram.
Sales Story: The 1.4 million sales number registered for the album is inclusive of both over-the-counter and download purchases of The Tortured Poets Department made on April 19, in addition to a likely large number of pre-orders of the album through Internet retailers that were shipped to customers for arrival on release day. Swift announced the album during the Grammy Awards on Feb. 4, and her official webstore began accepting pre-orders for the project that same day.
After one day on sale, The Tortured Poets Department is the top-selling album of 2024, year-to-date, in the U.S., surpassing the 188,000 sold by Beyoncé’s Cowboy Carter through the week ending April 11.
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).
Collectively, the six vinyl LPs combined to sell 600,000 copies on the album’s first day — already the second-largest sales week for a vinyl album in the modern era (since Luminate began electronically tracking sales in 1991). Swift holds the record for the largest sales week on vinyl in the modern era, with 693,000 copies sold of 1989 (Taylor’s Version) on vinyl its first week.
Here’s a recap of the available versions of The Tortured Poets Department:Standard 16-song digital download & streaming album
“The Manuscript” edition (standard CD, deluxe CD containing Swift-branded merchandise, ghosted white-colored vinyl, Target-exclusive clear vinyl, and white-colored cassette — each with the standard album’s 16 songs plus one bonus track: “The Manuscript.” The standard CD and vinyl editions are widely available through all retailers, while the deluxe CD and cassette are exclusive to Swift’s webstore. Swift also sold signed copies of the standard CD and vinyl variants exclusively through her webstore)
“The Albatross” edition (Target-exclusive CD, deluxe CD containing Swift-branded merchandise, smoke-colored vinyl, smoke-colored cassette — each with the standard album’s 16 songs plus one bonus track: “The Albatross.” The Target CD contains a poster. The vinyl is widely available, while the deluxe CD and cassette are exclusive to Swift’s webstore)
“The Bolter” edition (Target-exclusive CD, deluxe CD containing Swift-branded merchandise, beige-colored vinyl, beige-colored cassette — each with the standard album’s 16 songs plus one bonus track: “The Bolter.” The Target CD contains a poster. The vinyl is widely available, while the deluxe CD and cassette are exclusive to Swift’s webstore.
“The Black Dog” edition (Target-exclusive CD, deluxe CD containing Swift-branded merchandise, charcoal-colored vinyl, charcoal-colored cassette – each with the standard album’s 16 songs plus one bonus track: “The Black Dog.” The Target CD contains a poster. The vinyl is widely available, while the deluxe CD and cassette are exclusive to Swift’s webstore)
Deluxe 31-song digital download & streaming album (Contains the 16 songs on the standard digital album, plus the four bonus tracks that were issued on the above four variants [“The Manuscript,” “The Albatross,” “The Black Dog” and “The Bolter”] and 11 additional songs)
Million-Sellers History: Though the week isn’t nearly over with, The Tortured Poets Department already has the largest sales week for any album since Adele’s 25 bowed with 3.378 million copies sold (week ending Nov. 26, 2015). Presently, The Tortured Poets Department has the sixth-largest sales week for an album in the modern era (since Luminate began electronically tracking sales in 1991). The top six biggest weeks are (all in debut weeks): Adele’s 25 (3.378 million), *NSYNC’s No Strings Attached (2.416 million, in 2000), *NSYNC’s Celebrity (1.878 million, 2001), Eminem’s The Marshall Mathers LP (1.76 million, 2000), Backstreet Boys’ Black & Blue (1.591 million, 2000) and The Tortured Poets Department (1.4 million, 2024).
The Tortured Poets Department is the seventh Swift album to have sold at least one 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 one 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 sold at least one million copies in a week in the modern era. One of those albums, Adele’s 25, sold more than one million in three separate weeks.
Strong Streaming Numbers: On the album’s first day, the 31 songs on the project generated 243.4 million official on-demand audio streams. (On-demand video official streaming information for the project will be available in the coming days.) The album’s top five most-streamed songs, by official on-demand audio streams, on April 19 were: “Fortnight,” featuring Post Malone (18.4 million), title track “The Tortured Poets Department” (14 million), “Down Bad” (13.3 million), “My Boy Only Breaks His Favorite Toys” (12.7 million) and “So Long, London” (12.6 million).
Swift’s largest streaming week, by total on-demand official streams (both audio and video) generated by the songs on an album, is the opening week of Midnights, which garnered 549.26 million streams for its 20 songs (week ending Oct. 27, 2022). Midnights also owns the third-largest streaming week overall, trailing the opening frames of Drake’s Scorpion (745.92 million in 2018) and Certified Lover Boy (743.67 million in 2021).
Benson Boone’s “Beautiful Things” rises to No. 1 on Billboard’s Pop Airplay chart (dated April 27).
Boone lands his initial leader on the survey. He previously charted two songs on Pop Airplay: “Ghost Town” (No. 24 peak in March 2022) and “In the Stars” (No. 36, September 2023).
Plus, with the track on Night Street/Warner Records, Warner has promoted two consecutive Pop Airplay No. 1s for the first time, as “Beautiful Things” replaces Teddy Swims’ “Lose Control,” on SWIMS Int./Warner, after two weeks on top.
Additionally, with “Beautiful Things” at No. 1 and “Lose Control” at No. 2, Warner claims the top two titles on Pop Airplay simultaneously for the time.
(The Pop Airplay chart, which began in October 1992, ranks songs by weekly plays on over 150 mainstream top 40 radio stations monitored by Mediabase, with data provided to Billboard by Luminate.)
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“Beautiful Things” has ruled the Billboard Global Excl. U.S. chart for eight weeks and the Billboard Global 200 for seven frames (through charts dated April 20). It leads Adult Pop Airplay for a second week. On the Billboard Hot 100, it has reached a No. 2 high.
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“Beautiful Things,” which Boone co-wrote, is on his debut LP, Fireworks & Rollerblades, released April 5. The set launched at No. 6 on the April 20-dated Billboard 200 chart.
“I wrote it on my piano,” the Washington native recently told Billboard of the song’s origin. “I’d just moved to L.A., and I’d moved my grandma’s old piano to my living room. I couldn’t sleep one night, and I didn’t know what to do, so I came downstairs and started playing the piano. That’s when I wrote the melodies.
“It was inspired by a relationship that I had just gotten into,” Boone further mused. “For the first time in my life, I felt like I was extremely out of control of the way this relationship would turn out. Meaning like, in the past, I feel like I’ve always known that I could be the one to end a relationship. This one felt very different. It was the first time that I’d really been actually, genuinely terrified to lose something.”
All Billboard charts dated April 27 will update Tuesday, April 23, on Billboard.com.
Maggie Rogers hits No. 1 on Billboard’s Adult Alternative Airplay chart for the fourth time as “Don’t Forget Me” rises to the top of the April 27-dated list. Explore Explore See latest videos, charts and news See latest videos, charts and news The song follows reigns for “Light On,” which led for three weeks in […]
Green Day’s “Dilemma” lifts to No. 1 on Billboard’s Mainstream Rock Airplay chart dated April 27, marking the trio’s ninth leader and second in a row.
The Billie Joe Armstrong-led trio first led Mainstream Rock Airplay with “Boulevard of Broken Dreams” in 2005 and had last topped the list with “The American Dream Is Killing Me” for eight weeks beginning last November.
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“Dilemma” makes it three straight albums for Green Day topping Mainstream Rock Airplay with each set’s first two singles. “Bang Bang” and “Still Breathing” from 2016’s Revolution Radio started the current streak, followed by “Father of All…” and “Oh Yeah!” from 2020’s Father of All…, while “The American Dream Is Killing Me” and “Dilemma” are via Saviors, released in February.
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Concurrently, “Dilemma” dominates the all-rock-format, audience-based Rock & Alternative Airplay chart for a fourth week, racking up 7.9 million audience impressions April 12-18, up 4%, according to Luminate.
The song also ranks at its No. 2 high for a second week on Alternative Airplay; Green Day has so far notched 12 No. 1s on the chart.
Saviors, Green Day’s 14th studio album, debuted at No. 1 on the Top Rock & Alternative Albums chart dated Feb. 3 and has earned 106,000 equivalent album units to date.
“It definitely deals with mental health and addiction,” Armstrong told People about “Dilemma” earlier this year. “When I say, ‘I was sober, now I’m drunk again,’ that could be looked at two different ways. It could be someone going, ‘F-k, yeah. I was sober, now I’m drunk again,’ at a party, or it could be someone that’s fallen. That’s what it means to me, anyway.”
All Billboard charts dated April 27 will update on Billboard.com on Tuesday, April 23.
Sam Hunt banks his 10th No. 1 on Billboard’s Country Airplay chart as “Outskirts” rises to the top of the tally dated April 27. The song increased by 15% to 33.2 million impressions in the April 12-18 tracking week, according to Luminate. Explore See latest videos, charts and news See latest videos, charts and news […]
For part-time potheads, 4/20 is a holiday that comes but once a year. But for the steadfast stoner, you can celebrate 4:20 every day (twice a day is possible, but inadvisable).
Regardless of how deep your love for the leaf runs, everyone knows that marijuana and music are peas in a pod. We’ve previously rounded up 25 toking tunes, an editorial playlist that encompasses Cypress Hill, Afroman, Miley Cyrus, Bob Dylan, Peter Tosh, Wiz Khalifa and, of course, Snoop Dogg.
This list ain’t that. Looking at biggest Billboard Hot 100 hits of all time, we decided to round up the highest hits in the chart’s history. For purposes of this list, we’re casting a bloodshot eye toward songs with a title that includes “smoke,” “puff,” “high,” “stoned,” “burn,” “drug,” “toke,” “weed” or some variation. If the song’s title doesn’t tip to something along those lines, it’s out. (That means songs such as Dylan’s “Rainy Day Women #12 & #35” aren’t eligible; we’re sure he’ll get over it.)
We are also discounting songs where weed-adjacent words are in the song title but are clearly not referring to drugs or intoxication. For example: We include Sean Paul’s “We Be Burnin’” but not Usher’s “Burn.” “Smoke Gets in Your Eyes” isn’t here because The Platters weren’t singing about hotboxing the dance floor, but “Smokin’ in the Boys Room” is eligible. Sure, most folks assume cigarettes are what Brownville Station and/or the Crüe were puffing at school, but we don’t know for sure, so we’re giving that one the benefit of the dank doubt.
Anyone who’s a fan of mind-altering substances should know that truth is subjective, man, and this list is no exception. While the selections – and the order in which they appear – are culled from the biggest hits in Hot 100 history (more on that below), editorial decisions were made on what to include on this list. Steve Winwood’s “Higher Love” isn’t here because it’s about a love that is above (i.e., better than) others; “I Want to Take You Higher” is eligible, however, because you can (and probably should) interpret “higher” as substance adjacent.
Also included: The many songs that refer to love as a drug, as well as songs that use “stoned” for a general sense of intoxication. If it’s about a mind-altering state brought about by romance, booze or whatever, it’s in.
Don’t like the criteria? Sounds like you need to chill out, catch a cool buzz and hit play on one (or all) of these songs and just follow the vibe where it takes you. Responsibly, of course.
This ranking is based on actual performance on the weekly Billboard Hot 100 chart. Songs are ranked based on an inverse point system, with weeks at No. 1 earning the greatest value and weeks at No. 100 earning the least. To ensure equitable representation of the biggest hits from each era, certain time frames were weighted to account for the difference between turnover rates from those years.
Afroman, “Because I Got High” (2000)
Taylor Swift returns to the zenith of Australia’s albums chart with Lover, while Hozier bags a sweet No. 1 single.
As Swifties waited, and anticipated, the release of The Tortured Poets Department, which dropped at midnight, many in Australia turned to her catalog.
Lover (via Universal) rebounds 4-1 for a third non-consecutive week at No. 1, and first stint at the summit since 2019.
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Swift’s Lover leads a top three ahead of SZA’s SOS (RCA/Sony), up 13-2, and Swift’s rerecorded LP 1989 (Taylor’s Version), up 5-3, respectively. SZA’s sophomore album spikes as her Australian arena tour gets underway, Friday, April 19 with a concert at Brisbane Entertainment Centre, produced by Live Nation.
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Further down the ARIA Chart, published late Friday, is Linkin Park’s fourth compilation Papercuts (Warner), new at No. 7. The nu-metal favorites have previously led the national tally with 2000’s Hybrid Theory, 2007’s Minutes To Midnight and 2010’s A Thousand Suns.
Also new to the national survey is We Still Don’t Trust You (Universal/Sony), the second collaborative album from Future and Metro Boomin. It’s new at No. 15, and the followup to We Still Don’t Trust You, which recently bowed at No. 2.
Over on the ARIA Singles Chart, Hozier bags his first No. 1 with “Too Sweet” (Columbia/Sony), up 2-1. “Too Sweet” is Hozier’s second top 10 appearance on the Australian chart after his signature song “Take Me To Church” reached No. 2 back in 2013. “Too Sweet” also lifted to No. 1 in the U.K. earlier this month, for Hozier’s first leader there.
According to ARIA, Hozier is the fourth solo male singer to reach the top this year on the Australian chart, following U.S. artists Jack Harlow (“Lovin On Me”), Noah Kahan (“Stick Season”) and Benson Boone (“Beautiful Things”).
“Beautiful Things” (via Warner) dips 1-2 on the latest frame, while British EDM producer Artemas holds onto third spot with “I Like The Way You Kiss Me” (10K/ADA).
The top new debut on the ARIA Singles Chart belongs to U.S. pop singer and actor Sabrina Carpenter, whose “Espresso” shoots in at No. 7. “Espresso” (Island/Universal) is the follow-up to “Feather,” which peaked at No. 22 in 2023.
Also appearing for the first time on the ARIA Chart is Dua Lipa’s “Illusion” (Warner UK), new at No. 21.“Illusion” is the third single from the British pop star’s forthcoming third studio album Radical Optimism, following “Houdini” (No. 7 peak) and “Training Session” (No. 12).
TOMORROW X TOGETHER lands its sixth No. 1 on Billboard’s Top Album Sales chart, as minisode 3: TOMORROW opens atop the tally (dated April 20). The set sold 103,500 copies sold in the U.S. in the week ending April 11, according to Luminate. Also, the top 10 welcomes debuts from Conan Gray, The Black Keys, Vampire Weekend, Khruangbin and J. Cole.
Billboard’s Top Album Sales chart ranks the top-selling albums of the week based only on traditional album sales. The chart’s history dates back to May 25, 1991, the first week Billboard began tabulating charts with electronically monitored piece count information from SoundScan, now Luminate. Pure album sales were the sole measurement utilized by the Billboard 200 albums chart through the list dated Dec. 6, 2014, after which that chart switched to a methodology that blends album sales with track equivalent album units and streaming equivalent album units. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.
TOMORROW X TOGETHER’s minisode 3: TOMORROW enters with 103,500 copies sold. Of that sum, physical sales comprise 101,500 (all from CD sales), while digital downloads comprise 2,000. The album’s sales were supported by its availability across 17 collectible CD editions (including exclusive editions sold by Barnes & Noble, Target and the act’s webstore), all containing randomized paper merchandise (but with the same audio tracklist). It was also issued across multiple digital download variations, including five iterations that each contained a different voice memo as a bonus track, plus an edition that boasted bonus remixes.
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Conan Gray notches his third top 10-charting effort on Top Album Sales as Found Heaven starts at No. 2 with 27,000 copies sold. It also matches his chart-high, as Kid Krow peaked at No. 2 in 2020. Vinyl sales powered more than half of the set’s first week (58%), with nearly 16,000 copies sold of the album across 10 vinyl variants (including exclusives for Amazon, Barnes & Noble, independent record stores, Target and Gray’s official webstore; the latter also offered a signed edition). The album also launches at No. 1 on the Vinyl Albums chart. Seven different iterations of the CD edition of the album were available (most with the same tracklist, just with different cover art) including one that was signed by the artist. Found Heaven was also issued as a standard digital download album, along with an alternative version, with different cover art, sold through the artist’s webstore.
Beyoncé’s Cowboy Carter falls to No. 3 after debuting at No. 1 a week earlier. The set sold 21,000 copies in its second week (down 88%). While Cowboy Carter’s CD and vinyl editions were available to purchase only via Beyoncé’s official webstore in the set’s first two weeks of release, those physical configurations became widely available to all retailers beginning on April 12. (The album has also been purchasable as a digital download, widely, since its release on March 29.)
The Black Keys’ Ohio Players debuts at No. 4 on Top Album Sales with 20,000 copies sold, marking the seventh top 10-charting effort for the band. The set was available in seven vinyl variants, a standard CD, standard cassette, standard digital download, and a deluxe boxed set containing branded merchandise (a T-shirt and sticker set) and a CD.
Vampire Weekend’s Only God Was Above Us bows at No. 5 on Top Album Sales, with 16,000 copies sold. It’s the act’s fourth top 10-charting effort and brings the group its first debut on the ranking since 2019’s Father of the Bride bowed at No. 1 (May 18, 2019 chart). The new album was available in four vinyl variants, a standard CD, standard download, and two deluxe boxed sets (each containing a branded T-shirt and a copy of the CD).
Khruangbin’s A La Sala steps in at No. 6 on Top Album Sales with 14,000 copies sold, garnering the act its fourth top 10-charting effort. 80% of the album’s first-week sales were from vinyl offerings, six in total. It was also issued as a standard CD, cassette and digital download.
J. Hope’s Hope On the Street, Vol. 1 falls 2-7 in its second week on the chart, with 9,000 sold (down 80%).
J. Cole’s Might Delete Later rounds out the six debuts in the top 10 on Top Album Sales, as the surprise release from the rapper bows at No. 8 with 9,000 sold (all from a standard digital download). It’s the seventh top 10-charting set for the artist.
Closing out the top 10 are a pair of former No. 1s from Taylor Swift, as Lover falls 3-9 (7,000; down 28%) and 1989 (Taylor’s Version) drops 4-10 (6,500; down 28%).
In the week ending April 11, there were 1.294 million albums sold in the U.S. (down 3.7% compared to the previous week). Of that sum, physical albums (CDs, vinyl LPs, cassettes, etc.) comprised 964,000 (down 3.3%) and digital albums comprised 329,000 (down 4.9%).
There were 525,000 CD albums sold in the week ending April 11 (up 1.4% week-over-week) and 433,000 vinyl albums sold (down 8.7%). Year-to-date CD album sales stand at 6.698 million (down 31.3% compared to the same time frame a year ago) and year-to-date vinyl album sales total 6.858 million (down 49.3%).
Overall year-to-date album sales total 18.177 million (down 36.8% compared to the same year-to-date time frame a year ago). Year-to-date physical album sales stand at 13.626 million (down 41.9%) and digital album sales total 4.551 million (down 14.5%).