Chart Beat
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Teddy Swims’ “Lose Control” rebounds to its No. 2 Hot 100 high, from No. 5. It also jumps 3-1 for a second week atop Digital Song Sales (26,000, up 230%, sparked by a cappella and instrumental mixes released March 1 and a “Live at the Ryman” version, with Freak Freely, released March 5, while 11 versions of the song were discounted to a 69-cent sale price during the tracking week).
Jack Harlow’s “Lovin on Me” holds at No. 3 on the Hot 100, following six nonconsecutive weeks at No. 1, as it notches an eighth week atop the Radio Songs chart (76.5 million, down 4%).
Benson Boone’s “Beautiful Things” is steady at No. 4 on the Hot 100, after hitting No. 3.
Beyoncé’s “Texas Hold ‘Em” falls to No. 5 after two weeks atop the Hot 100. It leads the multimetric Hot Country Songs chart for a fourth week.
Tate McRae’s “Greedy” rises 8-6 on the Hot 100, after reaching No. 3.
Zach Bryan’s “I Remember Everything,” featuring Kacey Musgraves, keeps at No. 7 on the Hot 100, after it led for a week upon its debut last September. It tops the multimetric Hot Rock & Alternative Songs and Hot Rock Songs charts for a 28th week each.
SZA’s “Snooze” bumps 9-8 on the Hot 100, after reaching No. 2, as it rules the multimetric Hot R&B Songs chart for a 31st week – surpassing her own “Kill Bill” for the longest command by a woman dating to the tally’s 2012 start.
Doja Cat’s “Agora Hills” returns to the Hot 100’s top 10, lifting 12-9, after hitting No. 7.
Rounding out the Hot 100’s top 10, Taylor Swift’s “Cruel Summer” holds at No. 10, following four nonconsecutive weeks at No. 1 beginning in October.
Again, for all chart news, you can follow @billboard and @billboardcharts on Billboard’s social accounts, and all charts (dated March 16), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (March 12).
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
Since Billboard first began its national survey of song sales in the 1940s, the ever-changing musical landscape has necessitated a growing portfolio of charts that capture the methods, sounds, and places around the nation – and then the world – where music is consumed.
Thirty-five years ago on March 11, 1989, Billboard debuted its first rap chart – Hot Rap Singles, with The Stop the Violence Movement’s “Self Destruction” crowning the initial list. With the genre’s national profile firmly established thanks to acts such as Run-D.M.C. and LL Cool J, the first rap-dedicated chart arrived partly, as the list’s first manager, Terri Rossi wrote, to, “give proper credit to the performers, writers and producers who make this music so successful.”
While Hot Rap Songs was originally conceived as a bi-weekly sales chart, the rapid popularity and interest in the genre forced a change to a weekly sales recap before the chart reached its first anniversary. Call it prophetic: The increasing consumption of rap music and growing appetite for hip-hop culture set the stage for the genre’s explosive impact in the coming decades.
Since that first ranking, Billboard has monitored and reported popular tastes through every chapter of rap’s history: the East Coast beginnings, G-Funk’s rise, women MCs getting their proper due, regional rival pockets popping up throughout the U.S., features helping R&B singers – and then pop stars – update their sounds and images, crunk, trap, SoundCloud, drill and the list goes on. The chart’s methodology has also kept up with the times. Beginning as just a sales list, Hot Rap Songs switched to an airplay-only ranking in June 2002 amid the declining number of physical single releases.
“A number of rap’s biggest hits were never released to stores, and thus were absent from our chart,” Geoff Mayfield, Billboard’s then-director of charts, noted. “This change will yield a more relevant chart.”
Updates have since continued, with sales’ return and streaming’s addition to the formula in October 2012.
To recap the chart’s 35th anniversary, Billboard looks at the best of the best – the No. 1 year-end titles on the Hot Rap Songs chart for its entire existence. Together, the annual leaders offer snapshots of rap music’s history, with a range of artists, regions and techniques – samples, cadence and the like – that reveal rap’s expansion from block-party entertainment to an unparalleled influence over mainstream music for the last generation.
1989 – “Self Destruction”
Beyoncé ropes in another U.K. chart crown with “Texas Hold ‘Em.”
The U.K. isn’t regarded as a country music playground. With “Texas Hold ‘Em” (via Columbia/Parkwood Ent), Beyonce is setting about changing that.
The country-flavored hit completes a third week at No. 1 on the Official U.K. Singles Chart, published Friday, March 8, for Bey’s longest-running leader in 17 years, equaling the streak of her 2007 duet with Shakira, ”Beautiful Liar.”
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Meanwhile, Benson Boone’s “Beautiful Things” (Warner Records) and Teddy Swims’ “Lose Control” (Atlantic) respectively complete the podium.
Joe Keery continues his march up the U.K. chart with “End of Beginning,” released through the Stranger Things star’s music project, Djo. “End of Beginning” (AWAL/DJO) lifts 5-4, a new high, powered by a viral turn on TikTok.
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Kanye West and Ty Dolla $ign enjoy a new peak position with “Carnival” (YZY), lifted from Vulture 1. “Carnival” cruises 9-5.
Ella Henderson has cause for celebration, as the British singer and songwriter’s collaboration with Rudimental, “Albi” (Atlantic), enters the top 10 for the first time, up 11-10. It’s Henderson’s 10th U.K. top 10 single.
After clubbing the Brit Awards for a record-setting six trophies, RAYE’s recordings spike on both main U.K. charts. The singer and songwriter’s former No. 1 “Escapism” featuring 070 Shake reenters the U.K. chart at No. 13, her club smash “Prada” with cassö and D-Block Europe rebounds 27-18 and “Worth It” bows at No. 38, for RAYE’s 14th top 40 single. Over on the Official U.K. Albums Chart, RAYE’s British album of the year winner My 21st Century Blues (via Human Re Sources) roars 98 places to No. 5.
Another beneficiary of the 2024 BRITs is Tate McRae. The Canadian newcomer was a special guest at the annual ceremony, held March 2 at London’s O2 Arena, where she performed “greedy” (Atlantic), up 32-10 on the current Official Chart.
The top new debut on the latest tally belongs to Charli XCX as “Von dutch” (Atlantic) arrives at No. 26, for the British singer, songwriter and producer’s 15th U.K. top 40 single.
Finally, Twenty One Pilots land a third top 40 with “Overcompensate” (Atlantic), new at No. 34.
Liam Gallagher and John Squire blast to No. 1 with their first collaborative album.
In the end, it wasn’t even close. The leader at the halfway mark, Liam Gallagher & John Squire (via Warner Records) outsells its nearest rival by a ratio of 3-to-1, the Official Charts Company reports, chalking up 39,400 chart sales in its first week.
Of that total, 94% are sales (physical and downloads), according to the OCC. Liam Gallagher & John Squire was the most-purchased album on wax, with vinyl accounting for 45% of its full-week tally.
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Gallagher and Squire are members of Manchester rock royalty. Gallagher, as frontman of Oasis (eight No. 1s), Beady Eye and as a solo artist (five), now claims 14 U.K. No. 1 albums across a career that launched in the ‘90s.
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For Squire, leader guitarist with The Stone Roses, a first-ever U.K. No. 1 album. As a member of The Stone Roses, Squire has landed four top 10s, including multiple appearances for the band’s seminal, self-titled debut from 1989, and a top 10 with the Seahorses’ Do It Yourself, peaking at No. 2 in 1997.
That distant, second-placed album is another all-Britain collaboration, Rod Stewart and Jools Holland’s Swing Fever (EastWest/Rhino), which slips from the chart zenith, 2-1.
Another legendary British rocker, Bruce Dickinson, slots in at No. 3 on the Official Chart, published Friday, March 8. Dickinson, best known as lead singer of Iron Maiden, earns a solo chart best with The Mandrake Project (BMG), his seventh solo record.
Leeds guitar band Yard Act enters the chart at No. 4 with Where’s My Utopia (Island), their sophomore studio album. It’s the followup to 2022’s The Overload, which peaked at No. 2.
After cleaning up at the Brit Awards, where she accumulated a record-setting haul of six wins, RAYE returns to the top 10 with My 21st Century Blues (Human Re Sources), spiking 98 places to No. 5. Winner of the Brit Award for British album of the year, My 21st Century Blues originally peaked at No. 2 following its release in 2023.
Close behind is Kaiser Chiefs’ Easy Eighth Album (Kaiser Chiefs), new at No. 6. That’s the Leeds indie band’s eighth top 10 appearance, a career tally that includes a No. 1 for 2007’s Yours Truly, Angry Mob.
Manchester’s renowned music scene produces another title in the top 10 this week, Everything Everything’s Mountainhead (BMG), new at No. 9 for the rock act’s seventh studio album.
Finally, British rapper and songwriter Skrapz (real name: Christopher Kyei) scores a career-best with his fourth studio collection Reflection (1&Only). It’s new at No. 10, his first stint in the U.K. top 10.
Morgan Wallen’s One Thing at a Time returns to No. 1 on the Billboard 200 (dated March 16), rising 2-1, and captures a 19th nonconsecutive week atop the list, breaking the record for the most weeks at No. 1 by a country album. It surpasses Garth Brooks’ Ropin the Wind, which held the record with 18 weeks, earned nonconsecutively, during its run atop the list in 1991-92. (Country albums are defined as those that have appeared on Billboard’s Top Country Albums chart. The list began in 1964.)
One Thing at a Time earned 68,000 equivalent album units in the U.S. in the week ending March 7 (up less than 1%), according to Luminate.
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One Thing at a Time continues to have the most weeks at No. 1 among all albums since Adele’s 21 logged 24 nonconsecutive weeks atop the tally in 2011-12. One Thing at a Time debuted atop the chart dated March 18, 2023, and spent its first 12 weeks at No. 1 through early June. It revisited the summit for three weeks in a row last June and July, and then posted single-week runs at No. 1 in October, January and February. In the album’s 53 weeks on the list, it has never dipped below No. 6. One Thing at a Time finished 2023 as both the No. 1 year-end Billboard 200 album and Luminate’s year-end top album.
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 March 16, 2024-dated chart will be posted in full on Billboard‘s website on March 12. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of One Thing at a Time’s 68,000 equivalent album units earned in the week ending March 7, SEA units comprise 65,000 (down less than 1%, equaling 89.63 million on-demand official streams of the set’s songs), album sales comprise 2,000 (up 15%), and TEA units comprise 1,000 (up 24%).
Since the Billboard 200 began publishing on a regular, weekly basis in March 1956, only 12 albums have spent at least 19 weeks at No. 1 on the Billboard 200. Here’s a recap.
Most Weeks at No. 1 on the Billboard 200:Weeks at No. 1, Title, Artist, Year(s)54, West Side Story, soundtrack, 1962-63)37, Thriller, Michael Jackson, 1983-8431, Rumours, Fleetwood Mac, 197731, South Pacific, soundtrack, 1958-5931, Calypso, Harry Belafonte, 1956-5724, 21, Adele, 2011-1224, Purple Rain, soundtrack, Prince and The Revolution, 1984-8524, Saturday Night Fever, soundtrack, 197821, Please Hammer Don’t Hurt ‘Em, M.C. Hammer, 199020, The Bodyguard, Whitney Houston/soundtrack, 1992-9320, Blue Hawaii, Elvis Presley/soundtrack, 1961-6219, One Thing at a Time, Morgan Wallen, 2023-24
At No. 2 on the new Billboard 200, Noah Kahan’s Stick Season hits a new peak, rising 4-2 with 53,000 equivalent album units earned (down 8%). The album previously topped out at No. 3 on the June 24, 2023-dated list, and returned to that rank on the Feb. 24, 2024, tally.
The rest of the top 10 consists of former No. 1s. Ye (formerly known as Kanye West) and Ty Dolla $ign’s Vultures 1 is a non-mover at No. 3 with nearly 53,000 equivalent album units earned (down 18%), SZA’s SOS rises 5-4 (50,000 units; down 1%) and Drake’s For All the Dogs rounds out the top five, climbing 6-5 (42,000; down 4%).
Taylor Swift’s 1989 (Taylor’s Version) steps 7-6 (39,000 equivalent album units earned; down 5%), Swift’s Lover bumps 9-7 (38,000; down 3%) and Zach Bryan’s self-titled set rallies 12-8 (38,000; up 3%). Wallen’s Dangerous: The Double Album ascends 11-9 with nearly 38,000 units (up 1%), for its 138th nonconsecutive week in the top 10. It extends its record for the most weeks in the top 10 among albums by a singular artist. The only album with more weeks in the top 10 is the original cast recording of My Fair Lady, with 173 weeks in the region, beginning in 1956.
Closing out the top 10 on the new Billboard 200 is Travis Scott’s Utopia, which jumps 17-10 with 36,000 equivalent album units earned (up 12%).
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
TWICE and LE SSERAFIM make history on Billboard’s 32-year-old Top Album Sales chart (dated March 9), as the South Korean female pop groups debut at Nos. 1 and 2 — marking the first time two all-women groups have been in the top two positions at the same time.
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Top Album Sales’ chart history dates to May 25, 1991, the first week Billboard began tabulating charts with electronically monitored piece count information from SoundScan, now Luminate.
TWICE’s With YOU-th launches at No. 1 with 90,000 copies sold in the U.S. in the week ending Feb. 29, according to Luminate. LE SSERAFIM’s Easy starts at No. 2 with 34,000 copies sold. The majority of each album’s sales come from CD purchases in assorted collectible editions, as is usual with major K-pop releases
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Also in the top 10 of the new Top Album Sales chart, the latest albums from French Montana and Ace Frehley arrive, while BTS’ former No. 1 Love Yourself: Tear re-enters the chart in the top 10 following its release on vinyl.
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.
For TWICE, With YOU-th marks the fourth No. 1 on Top Album Sales and fifth top 10 overall. For LE SSERAFIM, Easy is the act’s third top 10 set.
At No. 3 on Top Album Sales, French Montana’s Mac & Cheese 5 debuts with 22,500 copies sold. Of that sum, physical sales comprise 19,000 (9,000 on vinyl — his best week on the configuration, 10,000 on CD) and digital sales comprise about 3,500. Sales were boosted by the album’s availability across six CD variants (three alternative covers, and three signed editions each with a different cover) and three vinyl variants (all with alternative covers) — and all were sold through the artist’s webstore. The physical albums were deeply discounted to $5 for standard vinyl and CD editions, and $10 for the signed CD editions. The digital album was also issued in three variants: a standard album (clean and explicit), a deluxe edition (with one bonus track, clean and explicit) and a super deluxe edition, dubbed the “Versions” variant (with all of the album’s standard explicit tracks, plus versions of each song in clean, sped-up, slowed-down, instrumental and acapella mixes).
Mac & Cheese 5 is French Montana’s fourth top 10-charting effort on Top Album Sales and his highest-charting set yet, surpassing the No. 4 peak of his three earlier top 10 sets.
Ace Frehley logs his highest-charting album ever on Top Album Sales, as his latest release, 10,000 Volts, charges in at No. 4 with 13,000 copies sold. Of that sum, vinyl sales comprise 5,500, marking the former KISS guitarist’s biggest sales week on vinyl since Luminate began tracking sales in 1991. In total, 10,000 Volts is Frehley’s fifth top 10-charting set on Top Album Sales.
BTS’ former No. 1 Love Yourself: Tear re-enters Top Album Sales at No. 5 with about 9,500 sold — nearly all from vinyl sales, as the album was released on the configuration for the first time during the tracking week. With nearly 9,500 copies sold on vinyl, the album also bows at No. 1 on the Vinyl Albums chart, BTS’ second leader on that list, following Love Yourself: Her in 2023.
Four former No. 1s, all from Taylor Swift, are next on Top Album Sales. 1989 (Taylor’s Version) falls 3-6 (9,000; down 19%); Lover dips 4-7 (7,000; down 22%); Midnights slips 7-8 (6,000; down 19%); and Folklore descends 8-9 (nearly 6,000; down 21%). Bob Marley and The Wailers’ Legend: The Best of Bob Marley and The Wailers, rises 11-10 (nearly 6,000; though down 17%), marking the set’s first week in the top 10 since April 17, 2021, when it ranked at No. 9. (The album earlier peaked at No. 5 on the Sept. 20, 2014-dated chart.) The hits album returns to the top 10 on the latest chart following publicity and promotion generated by the release and success of the Marley biopic film Bob Marley: One Love.
In the week ending Feb. 29, there were 1.276 million albums sold in the U.S. (up 9.4% compared to the previous week). Of that sum, physical albums (CDs, vinyl LPs, cassettes, etc.) comprised 976,000 (up 13.8%) and digital albums comprised 300,000 (down 2.9%).
There were 533,000 CD albums sold in the week ending Feb. 29 (up 30.6% week-over-week) and 438,000 vinyl albums sold (down 1.7%). Year-to-date CD album sales stand at 3.875 million (down 29.9% compared to the same time frame a year ago) and year-to-date vinyl album sales total 4.197 million (down 47.3%).
Overall year-to-date album sales total 10.783 million (down 35.3% compared to the same year-to-date time frame a year ago). Year-to-date physical album sales stand at 8.113 million (down 40.2%) and digital album sales total 2.669 million (down 13.7%).
Pearl Jam returns to No. 1 on Billboard’s Mainstream Rock Airplay chart for the first time in 26 years and two weeks, reigning with “Dark Matter” on the March 16-dated survey.
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The song becomes Pearl Jam’s first No. 1 on the chart since “Given To Fly” led for six weeks in January-February 1998.
That lengthy break between No. 1s is the longest in the Mainstream Rock Airplay chart’s 43-year history. The record was previously held by Kenny Wayne Shepherd, who went 20 years and 11 months between the six-week reign of “Blue on Black” (credited to The Kenny Wayne Shepherd Band) in 1998 and his featured turn on Five Finger Death Punch’s cover of the song (alongside Brantley Gilbert and Brian May) in 2009.
In terms of distance between No. 1s by lead acts, the record prior to Pearl Jam belonged to The Offspring, via its nearly 18-year respite between the rules of “Gone Away” in 1997 and “Coming for You” in 2015.
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Pearl Jam now boasts four total Mainstream Rock Airplay No. 1s. In addition to “Given To Fly” and “Dark Matter,” “Daughter” reigned for eight weeks beginning in December 1993 and “Better Man” led for eight frames starting in January 1995. “Dark Matter” ties “Given To Fly” for the group’s fastest flight to No. 1: four weeks each.
In between “Given To Fly” and “Dark Matter,” Pearl Jam charted 20 Mainstream Rock Airplay 20 entries, paced by the No. 2-peaking “World Wide Suicide” in 2006 and “Mind Your Manners” in 2013. Of those 20 tracks, 11 hit the top 10.
Concurrently, “Dark Matter” holds at its No. 10 high on Alternative Airplay and jumps 26-22 on Adult Alternative Airplay. On the all-rock-format, audience-based Rock & Alternative Airplay chart, the song returns to No. 1 for a second week (after leading the March 2 survey) with 6.9 million audience impressions, up 8%, March 1-7, according to Luminate.
On the most recently published Hot Hard Rock Songs chart (dated March 9), “Dark Matter” ranked at No. 2. In addition to its radio airplay, the song earned 876,000 official U.S. streams and sold 1,000 downloads Feb. 23-29.
“Dark Matter” is the lead single and title track from Pearl Jam’s 12th studio album, due April 19.
All Billboard charts dated March 16 will update on Billboard.com on Tuesday, March 12.
Kane Brown earns his 11th No. 1 on Billboard’s Country Airplay chart as “I Can Feel It” rises from No. 4 on the list dated March 16. During the March 1-7 tracking week, the song increased by 23% to TK million impressions, according to Luminate.
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Brown co-authored “Feel” with Gabe Foust and Jaxson Free, and Dann Huff produced it.
The track interpolates Phil Collins’ 1981 classic “In the Air Tonight,” via its trademark drum solo and Brown’s reprisal of its chorus. Collins, who solely penned “Air,” is credited as a writer on “Feel.”
“I just got the news here in London after playing C2C that ‘I Can Feel It’ went No. 1 – this means so much to me,” Brown tells Billboard. “And it’s amazing to have a No. 1 with a huge legend like Phil Collins.”
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Notably, Collins logs his first No. 1 on a Billboard chart as a songwriter since “Air” topped Rock Digital Song Sales for a week in August 2020. (It hit No. 19 on the Billboard Hot 100 in August 1981.) Prior to “Feel,” he last led any chart as a writer of a new song when he ruled Adult Contemporary for a frame in November 2002 with his own single “Can’t Stop Loving You” (which Keith Urban covered on his 2006 album Love, Pain & The Whole Crazy Thing, as did Taylor Swift for a BBC Radio 1 Live Lounge performance in 2019).
With the first single from Brown’s upcoming LP, he earns his sixth consecutive Country Airplay No. 1, the longest active run among all artists. (The overall record streak belongs to Luke Combs, who rattled off a record 14 successive career-opening No. 1s in 2017-22.)
Prior to “Feel,” Brown topped Country Airplay, for one week each, with “Bury Me in Georgia” (September 2023); “Thank God,” with his wife, Katelyn Brown (February 2023); “Like I Love Country Music” (August 2022); “One Mississippi” (March 2022); and “Famous Friends,” with Chris Young (July 2021). Brown first led with “What Ifs,” featuring Lauren Alaina, for a week in October 2017.
Brown kicks off his In the Air Tonight Tour March 28 at John Paul Jones Arena in Charlottesville, Va., with featured acts Tyler Hubbard and Parmalee.
Additional reporting by Gary Trust.
Taylor Swift’s favorite number – 13 – now doubles as the amount of No. 1s that she has achieved on Billboard’s Pop Airplay chart. She tallies her record-extending 13th leader on the list as “Is It Over Now? (Taylor’s Version) [From the Vault]” ascends to the top of the March 16-dated ranking.
Following Swift, Maroon 5, Katy Perry and Rihanna each boast 11 Pop Airplay No. 1s.
Notably, the song, on Swift’s album 1989 (Taylor’s Version), on Republic Records, marks her first track that has topped a Billboard airplay chart from a “Taylor’s Version” album, among the four rerecorded sets that she has released so far.
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Here’s a recap of Swift’s 13 No. 1s on Pop Airplay, which measures songs’ weekly plays, as tabulated by Mediabase and provided to Billboard by Luminate, on over 150 U.S. mainstream top 40 radio stations. (The chart began in October 1992.)
Title, Weeks at No. 1, Year(s):
“Is It Over Now? (Taylor’s Version) [From the Vault],” one (to-date), 2024
“Cruel Summer,” 10, 2023
“Karma,” one, 2023
“Anti-Hero,” three, 2022-23
“Delicate,” one, 2018
“Look What You Made Me Do,” one, 2017
“Wildest Dreams,” two, 2015
“Bad Blood” (feat. Kendrick Lamar), five, 2015
“Style,” three, 2015
“Blank Space,” six, 2014-15
“Shake It Off,” two, 2014
“I Knew You Were Trouble.,” seven, 2013
“Love Story,” one, 2009
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Swift, meanwhile, links her third consecutive Pop Airplay No. 1, as “Is It Over Now?” follows the rules of “Cruel Summer” and “Karma.” She notches her second streak of at least three straight leaders on the chart, after she reigned with the first five singles from 1989 in 2014-15: “Shake It Off,” “Blank Space,” “Style,” “Bad Blood” and “Wildest Dreams.”
1989 (Taylor’s Version) launched atop the Billboard 200 chart in November, becoming her 13th No. 1 album – the most among women. The same week, the song soared in at No. 1 on the all-genre, multimetric Billboard Hot 100, becoming her 11th and most recent leader.
Concurrently, the track takes over at No. 1 on Adult Pop Airplay (which reflects plays on adult top 40 stations). It becomes Swift’s 12th No. 1, the most among soloists and second overall only to Maroon 5’s 15 (dating to the chart’s March 1996 start in Billboard’s pages).
All charts dated March 16 will update on Billboard.com Tuesday, March 12.
It’s a beautiful week for Benson Boone, as the U.S. singer and songwriter scores his first No. 1 in Australia, while Taylor Swift continues to dominate the national albums survey.
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Boone, the Monroe, Washington native, tops the latest ARIA Singles Chart, published Friday, March 8, with “Beautiful Things” (via Warner Music), up 3-1 in its seventh week on the tally.
“Beautiful Things” leads a top three ahead of Beyonce’s “Texas Hold ‘Em” (Columbia/Sony), holding at No. 2, and Swift’s “Cruel Summer” (Universal), down 1-3.
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Meanwhile, Stranger Things star Joe Keery has his very first Australian top 10 with “End Of Beginning” (AWAL), released through his music project Djo. Released back in 2022, “End Of Beginning” is enjoying a global resurgence thanks to a TikTok trend, lifting 14-9 on the ARIA Chart.
Fred Again tends to create hysteria in Australia, and he’s doing that (again). The British singer and songwriter performed a pop-up concert at the Sydney Opera House last month, setting a ticketing record en route to an immediate sell out. Then, the surprise announcement of six arena shows and an outdoor pop-up concert, which shifted 100,000 combined tickets in the blink of an eye. Off the back of that frenzy, several Fred Again tunes surge up the Australian tally, led by “Leavemealone” with Baby Keem, up 56-13 for a new peak position. His seven-date east coast run started Monday (March 4) at Rod Laver Arena, Melbourne and wraps next Thursday, March 14 at Qudos Bank Arena, Sydney.
Homegrown electronic producer Cyril lands his first top 40 hit with “Stumblin’ In” (Spinnin’ Records /Warner), his reimaged house version of Suzi Quatro and Chris Norman’s ‘70s song, up 45-19. The original peaked at No. 2 back in 1979, and was co-produced and co-written by another Australian, Mike Chapman.
Meanwhile, Taylor Swift locks up the top 5 on the ARIA Albums Chart for the third consecutive week, with Lover (Universal) claiming the title for the first time in more than four years, up 2-1.
The Swift Sweep continues with 1989 (Taylor’s Version) (via Universal), Folklore (Republic/Universal), Midnights (Universal) and Reputation (Big Machine/Universal) respectively completing the top 5.
A handful of homegrown recording enter the ARIA Top 50 on debut, including Mildlife’s Chorus (at No. 36 via PIAS/Inertia), Donny Benét’s Infinite Desires (No. 46 via Donnyland Records/Orchard) and San Cisco’s Under The Light (No. 47 via ICR/MGM).