Chart Beat

Taylor Swift Dethroned on U.K. Albums Chart as Dave Secures His Third No. 1 LP

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Taylor Swift has been toppled from the summit of the U.K. Albums Chart by British rapper Dave on Friday (Oct. 31) following a massive opening week for his third LP The Boy Who Played the Harp.

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Swift’s The Life of a Showgirl broke numerous records in its opening week on the U.K.’s Official Albums Chart and held the spot for three consecutive weeks following its release on Oct. 3.

Now London-born Dave has secured the top spot for the third time in his career by notching 73,800 U.K. chart units over the past seven days, making it the second biggest opening week for a British album this year, behind Sam Fender’s People Watching (110,000) and ahead of Olivia Dean’s The Art of Loving (53,000). It’s the fourth biggest opening week overall of 2025 so far, placing behind Swift’s The Life of a Showgirl, Fender and Sabrina Carpenter’s Man’s Best Friend

Dave first hit the No. 1 spot in 2019 with Psychodrama and again in 2021 with We’re All Alone in This Together. His new LP, The Boy Who Played the Harp, was announced just weeks before its release and featured no singles in the rollout. The record features guest appearances from James Blake, Jim Legxacy, Tems and Kano, and will be supported by a U.K. arena tour in 2026.

The Life of a Showgirl falls two places to No. 3, and Swift has also lost the top spot on the U.K. Official Singles Chart with lead single “The Fate of Ophelia” to KPop Demon Hunters’ “Golden.” 

As he celebrates his return to touring, Bon Jovi celebrates finishing at No. 2 with a new edition of 2024 LP, Forever. The Legendary Edition features duets with Bruce Springsteen, Robbie Williams, Avril Lavigne and Lainey Wilson. The band will perform a number of stadium shows, including two at London’s Wembley Stadium, next June.

Lily Allen’s searing West End Girl LP has been the talk of the town as she examines the breakup of a marriage, widely assumed to be informed by her separation from Stranger Things star David Harbour. Her first LP in eight years, West End Girl closes the week at No. 4 – her highest placing in more than a decade – and she’ll tour the album in full at a run of U.K. theaters in 2026.

Olivia Dean’s The Art of Loving finishes the week at No. 5 on the U.K. charts, although it remains in the top 10 of the Billboard 200 this week at No. 7.


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HUNTR/X’s ‘Golden’ Slays at No. 1 on Billboard’s Pop Airplay Chart: ‘Immediate Familiarity & Big Emotion’

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Count pop radio as the latest realm that Gwi-Ma can’t conquer.

The KPop Demon Hunters underworld villain proves no match for the approximately 150 radio stations that have lifted HUNTR/X to No. 1 on Billboard’s Pop Airplay chart, where the protagonist trio of Netflix’s record-breaking animated film reigns with its anthem “Golden.”

The song, on Visva/Republic, rises two spots to No. 1 on the Pop Airplay chart dated Nov. 8, up 9% in plays week-over-week Oct. 24-30. (Stations are monitored by Mediabase, with data provided to Billboard by Luminate.)

“‘Golden’ has truly become a defining pop moment, an instant lean-in, turn-it-up track,” says Alex Tear, vp of music programming for SiriusXM and Pandora. SiriusXM’s Hits 1, which reports to the Pop Airplay tally, has played the song more than 1,100 times since June.

Thanks to the movie’s wide reach, “There’s that immediate familiarity and big emotion that just hits,” Tear says of “Golden.” “It’s become part of our channel’s DNA — vibrant, global and built for pop radio.”

Mark Adams, vp of pop programming for iHeartMedia and program director of the chain’s flagship WHTZ (Z100) New York, became a fan of KPop Demon Hunters a day after its June 20 release. “My algorithm knows me well,” he says. “I watched it that Saturday morning and just kind of immediately got it. I thought the animation was terrific. I thought the music was extraordinarily catchy.”

Adams says that he didn’t hesitate when considering the pop radio appeal of “Golden,” whose lyrics cite certain plot points, which could either confuse listeners not versed in the film or draw them in further if they’re superfans (or, on Oct. 31, KPop candy hunters). “When I’m listening to tunes,” Adams muses, “I’m just listening — is there a hook? Is it a pop cultural moment?”

Adams shares that he was so taken by the film after watching it “that Monday I shared with the national team: ‘Hey guys, you may not have heard about this yet, but there’s this movie on Netflix and the songs are amazing.’ That first week on Z100, we spiked ‘Golden’ in. It wasn’t in heavy rotation, but a few times, as well as [HUNTR/X’s] ‘How It’s Done.’ ”

With Pop Airplay panelist WHTZ now more than 600 plays into “Golden,” KPop Demon Hunters songs “are strong on their own merit,” Adams says. “It wasn’t a really difficult push to convince programmers to realize that this is a real thing.”

Despite the movie’s immediate and enduring success, Adams notes that radio still serves a key role in helping ingrain hits in the pop consciousness. “I think it’s a little complicated,” he says. “Even as big a platform as Netflix is, you’re still dealing with that audience, and that isn’t everyone. That helps lay the groundwork for music discovery, but it still takes weeks and months of committed, consistent airplay to really break things to the masses.”

Plus, says Adams, “people crave human connection, having somebody say, ‘Hey, this is a song you should be paying attention to.’ People feel like they’re part of a community and they want to be part of that shared pop cultural moment. I think that’s what we excel at.”

Meanwhile, Hits 1 has played other KPop Demon Hunters songs, including Saja Boys’ “Soda Pop” and “Your Idol” (fine, Gwi-Ma gets that), furthering the connection between the film and pop radio. “Golden” spent eight weeks at No. 1 on the multimetric Billboard Hot 100 from mid-August through mid-October, while “Soda Pop” and “Your Idol” each hit the chart’s top five.

“We’ve been intentional about giving space to songs that cross borders and connect with our audience,” Tear says. “These tracks feel natural next to Taylor Swift, Alex Warren or Olivia Dean. We’re always looking for that global pop conversation. Listeners don’t hear boundaries, they just hear great songs.”


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Taylor Swift Spins a Chart-Web: Four Weeks at ARIA No. 1

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Taylor Swift continues her domination of the ARIA charts this week, locking in her fourth consecutive double-header as The Life of a Showgirl and “The Fate of Ophelia” remain at No. 1 on the Albums and Singles charts, respectively.

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The feat marks yet another high in a standout year for Swift, with both her re-recordings and original material continuing to perform strongly in Australia. Her latest chart-toppers have held steady across Halloween week — a fitting flex for a pop sorceress who’s made chart magic her signature move.

Meanwhile, Australian country artist James Johnston celebrates a new career high, debuting at No. 5 with his sophomore album Where You’ll Find Me, which also lands at No. 1 on the ARIA Australian Albums Chart. It follows the success of his debut Raised Like That, which peaked at No. 7 in 2023.

British pop icon Lily Allen returns to the top 10 with West End Girl, her first album in seven years. The project opens at No. 6, becoming her fifth top 10 ARIA album. Her previous efforts include 2009’s chart-topping It’s Not Me, It’s You and 2014’s Sheezus, which peaked at No. 4.

UK rapper Dave also makes a strong entrance with The Boy Who Played the Harp, debuting at No. 7. It follows his 2021 project We’re All Alone in This Together, which reached No. 5.

Melbourne’s Paul Dempsey claims the No. 8 spot with Shotgun Karaoke Vol. II, a covers record that features renditions of songs by R.E.M., Patti Smith, Cher, and more. The Something for Kate frontman also lands at No. 2 on the ARIA Vinyl Albums Chart. Dempsey has a long history of top-charting albums, both solo and with his band, including No. 1 albums The Official Fiction (2003) and Desert Lights (2006).

On the Singles Chart, Olivia Dean continues her Australian ascent. “Man I Need” holds firm at No. 2, while “So Easy (To Fall In Love)” jumps to No. 7 from No. 22. Former hit “Nice To Each Other” climbs from No. 16 to No. 12. Dean now has five tracks in the top 50 as she gears up to perform at the ARIA Awards on Nov. 19.

Fleetwood Mac’s Rumours holds the No. 1 spot on the On Replay Albums Chart, while Teddy Swims’ “Lose Control” continues its reign atop the Hitseekers Singles Chart.

Luis Figueroa Tops Tropical Airplay With ‘Como Se Compara’: ‘Salsa Has Been an Important Part of My Journey’

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Luis Figueroa reclaims his place at the summit on Billboard‘s Tropical Airplay chart as “Como Se Compara” ascends from No. 3 to the top of the chart dated Nov. 1.

“‘Como Se Compara’ is a very special song for me, and seeing it become my third No. 1 on Billboard’s Tropical Airplay chart fills me with gratitude,” Figueroa tells Billboard. “Salsa has been an important part of my journey, a way to connect with my people and my roots. Every step I take reminds me why I love what I do and how much I owe to the people who feel my music.”

“Como Se Compara” rises with 6.7 million audience impressions in the United States during the tracking week ending Oct. 23, according to Luminate, a 17% increase compared to the previous week.

The track earns Figueroa his third Tropical Airplay No. 1 out of 14 chart entries since his debut in 2021. His previous chart-toppers are “Bandido,” which spent two weeks at No. 1 in October 2023, and debut entry “Hasta el Sol de Hoy,” a one-week leader in July 2021.

“Thank you to Puerto Rico, my home, for always inspiring me,” Figueroa adds. “Thank you for letting my music accompany you, because nothing compares to that love.”

With the third single from his EP Gris, Figueroa also earns his best rank on the overall Latin Airplay chart, where the song flies 9-2. It also ascends to a new No. 9 high on the streaming-, airplay- and sales-based Hot Tropical Songs chart.


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How the Hot 100 and Billboard 200 Charts Work

For over two decades, Keith Caulfield has been an integral part of the Billboard charts team, tabulating which singles and albums are the most popular in the United States. To be more specific, Caulfield — managing director of charts and data operations — looks after the Billboard 200, the standard bearer for an album’s performance since it was first introduced in 1956.

In the years since the Billboard 200 — and the Hot 100, Billboard‘s premiere singles chart — debuted, a lot has changed in the music industry. Music fans went from buying vinyl records at physical stores, to buying 8tracks, cassettes and CDs, to downloading singles online, to streaming music for a flat monthly rate. To keep up with how people are listening, Caulfield and the charts team at Billboard have evolved the rules a number of times to balance the incorporation of new media while still staying true to the origins of the charts.

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In this wide-ranging conversation on Billboard’s new music business podcast, On the Record, Caulfield discusses how to compare chart performance in the past versus the present, why albums are often longer than ever and why artists are releasing so many album variants. He also offers some chart fun facts that might come as a surprise, discusses the power of algorithms to push songs to new audiences, and explains how the charts are keeping up with an increasingly fragmented cultural landscape.

The interview can be watched in full below or listened to at this link.

To catch up on past episodes of On the Record, including interviews with guests like Atlantic CEO Elliot Grainge, top investor Matt Pincus, hitmaker Amy Allen, Spotify exec Sam Duboff, head of Sphere booking Josephine Vaccarello and more, click here.

This podcast is a co-production of Billboard and Sickbird Productions.


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From ‘Thriller’ to ‘Monster Mash,’ Which Iconic Hit Halloween Song Is Your Favorite? Vote!

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Over the years, there’s been a fair bit of “paranormal” activity on the charts, with numerous creepy crawly tracks climbing their way up the Billboard Hot 100 at different points in time.

Frequently, such songs are summoned to the charts when spooky season is at its peak, particularly perennial frightening favorites such as Michael Jackson’s iconic “Thriller” and Bobby “Boris” Pickett & the Crypt-Kickers’ “Monster Mash.” But smashes by Rihanna, Olivia Rodrigo, Justin Bieber and more modern stars have also proven that the market for bone-chilling bops is year-round, whether the lyrics are about monsters, vampires or ghosts.

So, in honor of the ever-expanding canon of Halloween hits, Billboard recently rounded up the 25 biggest songs in the nightmarish niche based on chart performance. Based on weekly performance on the Hot 100, the ranking includes tracks with thematic words — such as “spooky,” “devil,” “monster” and “witch” — in their titles. Via an inverse point system, songs with weeks spent at No. 1 were assigned the greatest value, while those that spent weeks at lower spots earned less.

From the King of Pop to the Eagles, Blue Öyster Cult, Janet Jackson, Cher and more, entries by some of music’s biggest icons appear on the round-up — and Billboard is absolutely dying to know which one is your favorite. Tell us which creepy, kooky, mysterious, spooky and altogether ooky anthem is your favorite to listen to during Halloween time — or at any point in the year — by voting in the poll below. (But, beware! The listed tracks might just send shivers down your spine or even cause uncontrollable skeletal movements known as dancing. You’ve been warned.)


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Kenshi Yonezu Sets New Personal Best as ‘IRIS OUT’ Holds at No. 1 for Sixth Week on Japan Hot 100

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Kenshi Yonezu’s “IRIS OUT” extends its run at No.1 on the Billboard Japan Hot 100 for a sixth straight week, topping the chart dated Oct. 29.

The Chainsaw Man – The Movie: Reze Arc theme leads four metrics this week: — downloads, streaming, video views, and karaoke. Downloads dipped 26% from the week before, but the song returns to No. 1 on the metric for the first time in three weeks. Radio airplay continued to build for a second week, rising to 127% of last week’s points. 

Yonezu’s previous longest consecutive streak at No. 1 was the five-week run of “Lemon” in January 2019 (seven total weeks at the summit). With “IRIS OUT,” he now sets a new personal record for consecutive weeks at the top.

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JO1’s “Handz In My Pocket” moves to No. 2, soaring from No. 41 following its CD release. The single sold 692,223 copies in its first week, launching at No.1 for sales. Since debuting, JO1 have now placed all ten of their singles at No. 1 for sales. The CD release also lifted other metrics: downloads climbed from 19-3, streaming 40-33, radio 58-4, and video 65-47. Radio saw the sharpest increase, jumping to 655% of last week’s points.

At No. 3 is “JANE DOE” by Kenshi Yonezu and Hikaru Utada, rising a spot from last week. Karaoke increased to 108% of the previous week. HANA’s “My Body” climbs two notches to No. 4 as the breakout girl group places seven songs on the chart this week, including “Blue Jeans” at No. 6 and “ROSE” at No. 14.

Yonezu’s “1991” settles at No. 5, down two positions. The track comes in at No. 3 for streaming, No. 6 for downloads, No. 8 for video, and No. 14 for radio.

Elsewhere in the top 10, CLASS SEVEN’s first single “miss you” bows at No. 9, selling 18,522 CDs to place No. 4 for sales, while hitting No. 2 for radio and No. 89 for downloads. CUTIE STREET’s “We Can’t Stop Suddenly!” returns to the tally for the first time in about three months, charting at No. 10. The CD sold 50,567 copies to hit No. 2 for sales.

The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.

See the full Billboard Japan Hot 100 chart, tallying the week from Oct. 20 to 26, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.

What’s This?! Billboard’s Top Holiday Albums Chart Returns for 2025, Led by ‘The Nightmare Before Christmas’

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Billboard’s Top Holiday Albums chart returns for the 2025 season, with familiar favorites among the top 10 of the Nov. 1-dated list, including Vince Guaraldi Trio’s A Charlie Brown Christmas soundtrack, Michael Bublé’s Christmas and Mariah Carey’s Merry Christmas (at Nos. 2, 3 and 5, respectively).

Leading the tally is the Christmas-meets-Halloween soundtrack to Tim Burton’s The Nightmare Before Christmas, which notches its 18th nonconsecutive week at No. 1.

The Top Holiday Albums chart will continue to be published on a weekly basis through early January of 2026, when it will jingle away until the next holiday season. (The chart generally returns to Billboard’s weekly chart menu every October.)

The Top Holiday Albums chart ranks the 50 most popular seasonal albums of the week in the United States based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each units equals one album sales, 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 Twitter and Instagram.

As for the rest of the top 10 titles on the returning Top Holiday Albums chart, we have Sabrina Carpenter’s Fruitcake (No. 4), Bing Crosby’s Ultimate Christmas (No. 6), Frank Sinatra’s Ultimate Christmas (No. 7), Nat King Cole’s The Christmas Song (No. 8), Pentatonix’s The Best of Pentatonix Christmas (No. 9) and Andy Williams’ The Andy Williams Christmas Album.

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Giovanny Ayala Captures First Billboard No. 1 With ‘No Estaba Hablando EnSerio’

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Giovanny Ayala captures his first No. 1 on a Billboard chart through “No Estaba Hablando En Serio” which flies to the top of the Regional Mexican Airplay chart (dated Nov. 1).

“No Estaba Hablando En Serio” soars from No. 9 to No. 1 after a 35% increase in audience impressions in the United States, to 6.4 million, during the tracking week of Nov. 17-23, according to Luminate. Released on June 26 under Colmena/Azteca, the song claims the top spot in its 16th week, following a four-week stint in the top 10.

Ayala’s latest single not only marks his first chart-topper, but also his first charting entry with Azteca Music Group’s COLMENA Music. Before the move, the singer achieved six Regional Mexican Airplay entries with the Gerencia360 label, including the No. 7-peaking “Quien Se Apunta,” with Luis R. Conriquez, in 2022.

Meanwhile, COLMENA secures its first No. 1 of 2025 and its second overall. The label previously reached the top spot with Los Ángeles de Charly’s “El Tonto” in 2024.

“No Estaba Hablando En Serio” also makes strides on the overall Latin Airplay chart, where it flies 20-4, after earning strong support from stations KSND (Portland, OR), KLNO (Dallas), and WOJO (Chicago) during the tracking period.

Bad Bunny’s 30th Win: Continuing his dominance on the overall Latin Airplay chart, Bad Bunny collects his 30th No. 1 with “Nuevayol.” The song climbs from No. 5 to No. 1 with the weekly Greatest Gainer honors, recognizing the track with the largest audience increase.

“Nuevayol” registered 7.8 million audience impressions during the tracking week, up 30% from the week prior. Its sends DY’s “Sonríele” to No. 10, after the latter falls by a 37%, to 5.7 million.

“Nuevayol” marks the fifth track from Benito’s album Debí Tirar Más Fotos to claim the No. 1 spot on the Latin Airplay chart. It follows previous chart-topping hits “El Clúb,” “Baile Inolvidable,” and “EOO,” which each dominated for two weeks in February, March, and August, respectively. Plus, “DTMF” delivered a one-week reign in May.

With a total of 30 No. 1s on Latin Airplay, Bad Bunny continues to climb the rankings among the artists with the most chart-topping hits since the list debuted in 1994. Here’s a look at the current leaderboard:

39, J Balvin
36, Ozuna
32, Enrique Iglesias
30, Bad Bunny
29, Daddy Yankee
25, Maluma
24, Shakira

Steve Martin Earns Seventh No. 1 on Bluegrass Albums Chart with Alison Brown Collaboration

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Steve Martin extends his prolific creative legacy with his and frequent collaborator Alison Brown’s new album, Safe, Sensible and Sane. The project debuts at No. 1 on Billboard’s Top Bluegrass Albums chart (dated Nov. 1) with 2,000 equivalent album units earned in the United States Oct. 17–23, according to Luminate.

The set, on Compass Records, marks Martin’s seventh leader on the list in as many visits, five of which have opened at No. 1. Featuring collaborations with Jackson Browne, Vince Gill and Jason Mraz, among others, the album is Brown’s second to top the chart.

Once viewed as a sideline to his film and comedy career, Martin’s music has instead become a defining pillar. Since his 2009 debut, The Crow: New Songs for the Five-String Banjo — itself a 31-week No. 1 — the creative polymath has logged 84 weeks at the summit of Bluegrass Albums, the most among male soloists. Four of those leaders reached the top 10 on Americana/Folk Albums, while five have made appearances on the all-genre Billboard 200.

But chart success is nothing new for Martin. Long before his banjo ever hit the charts, his comedy albums were already fixtures, helping define a golden era of recorded stand-up. Between 1977 and 1981, he placed four comedy albums on the Billboard 200, including two top 10s, highlighted by A Wild and Crazy Guy, which reached No. 2 in 1978. Selections from those albums, “King Tut,” “Grandmother’s Song” and “Cruel Shoes,” even cracked the Billboard Hot 100, with “King Tut” dancing to No. 17.

Martin’s momentum only grew when the stage gave way to the screen. At the height of the home-video rental boom, he logged 22 top 10s, including five No. 1s, between 1984 and 2009 on Billboard’s since-discontinued Video Rentals chart. Among those titles: enduring favorites such as Roxanne, Planes, Trains and Automobiles, Dirty Rotten Scoundrels and Father of the Bride, movies that helped cement his reputation as one of entertainment’s most versatile storytellers.

After all these years, Martin seems to be enjoying the spotlight as much as ever. He’s still out on the road on a comedy tour with Martin Short — his co-star, along with Selena Gomez, among others, on Hulu’s Only Murders in the Building (which he co-created) — and recently co-hosted the 2025 IBMA Awards in Chattanooga, Tenn., with Brown.

Safe, Sensible and Sane adds another win to a career built on timing, curiosity and the kind of joy that keeps audiences coming back, no matter the stage.