Chart Beat
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The Rolling Stones haven’t had a hit on the Billboard Hot 100 for two decades, but they continue to perform well on Billboard’s Top Tours chart. This year, the band, led by 80-year-old Mick Jagger, came in at No. 6 on the list of tours reported to Billboard Boxscore from Oct. 1, 2023, to Sept. 30, 2024, with $235 million in ticket sales. Perhaps more impressive, the group brought in that much money for playing just 18 concerts, less than any other act in the top 10. Its secret? Charging a lot for tickets.
By comparison, Bruce Springsteen & The E Street Band, which edged out the Stones to come in at No. 5, grossed $235.5 million from 39 shows with an average ticket price of $147.25. Coldplay, which came in at No. 1 with $400.9 million, played 51 shows. Luis Miguel played 128 shows — the most of anyone in the top 10 — and grossed $290.4 million to come in at No. 4. With an average ticket price of $277.16, the Stones made an average of $13.1 million a show. Miguel played to more people — 2 million instead of 848,000 — but his tickets sold for an average of just over $143.37 and he made $2.3 million a show.
Since top acts typically sell out most dates, three major factors influence tour grosses: number of performances, size of venues and ticket prices. And 2024 was the year that price mattered more than ever. This year’s top 100 tours took in $9.1 billion, a 21.6% increase in revenue over the previous year. But those shows were seen by an audience of 69.8 million, an increase of 10.7% — only half as much. At a time when many promoters use dynamic pricing to maximize revenue without leaving seats empty, more pricing power meant more money.
Some of these increases come from changes in the way the chart is calculated. Last year, Billboard shortened its Boxscore reporting period from 12 months to 11 in order to make some one-time changes to eligibility for the Billboard Music Awards. This 2024 chart is once again based on a 12-month reporting period, so apples-to-apples comparisons are difficult. But the change is still easy to see. If one annualizes last year’s 11-month reporting period, attendance for the top 100 tours would be up about 4% and revenue would be up nearly 14%.
One more caveat: For the second year in a row, the Top Tours chart does not include figures for Taylor Swift’s The Eras Tour. Final figures were published by The New York Times on Dec. 9, but a show-by-show breakdown has yet to be submitted to Billboard Boxscore for chart eligibility. Given the tour’s two-year $2 billion gross, its 2024 sum would have pushed ticket sales totals for the year’s top 100 tours over $10 billion for the first time.
ROAD WARRIORS
A look at the top 10 tours shows the power of pricing. Overall the average ticket price for the top 100 tours was $132.30, up from $119.64 last year. The top touring act of the year, Coldplay, brought in $400 million from stadium shows in the United States, Europe, Australia and New Zealand. (Coldplay, promoted by Live Nation, was No. 2 last year with $342 million from 37 shows.) And it did so with an average ticket price of $132.79, the second-lowest among the top 10 acts.
P!nk, whose shows were promoted by Live Nation and the independent Marshall Arts, is No. 2, taking in $387 million from 73 concerts with an average ticket price of $139.47; she played more shows but to fewer people in total. (Last year, P!nk was No. 6 with $226 million from 37 shows.) Zach Bryan is No. 3 with $321.3 million from a 64-show tour promoted by AEG Presents. Bryan charged an average of $196.38.
The top ticket price in the top 10 was $367.13, for U2’s 38 shows at Sphere in Las Vegas, which took in $231.1 million, good for No. 7. Madonna came in at No. 8 with $225.4 million. Bad Bunny is No. 9 with $211.4 million and the second-highest average ticket price: $280.67. Metallica rounds out the top 10 with $175.2 million and a fan-friendly average price of $116.80.
One question the touring business has to deal with is, how high is too high? The $132.30 average ticket price for the top 100 tours is up 9.1% from 2023, when it had risen 10.5% from 2022. That’s an increase of 20.6% in two years. For most of the decade before the pandemic, ticket prices rose about 2% or 3% a year, close to the pace of inflation.
What happened? Over the past five years, the concert business has completely changed its view on pricing. Until around 2000, most promoters seemed to price tickets by calculating the cost of a show, adding a reasonable profit margin and then charging enough to reach that number. That changed over the following decade with the rise of resale sites like StubHub — and the accompanying realization that fans were willing to pay far more for tickets than promoters thought, especially for the best seats. To raise revenue, promoters and ticketing companies started using the same kinds of variable pricing and dynamic pricing strategies as hotels and airlines — in some cases opaquely. The idea, as in those businesses, is to maximize overall revenue without leaving empty seats. Over the past few years, companies like Live Nation’s Ticketmaster and AEG’s AXS have invested millions in software to price seats dynamically, in real time, according to demand.
A common reaction is that this puts concert tickets out of reach for many consumers. But a substantial part of the increase in average prices comes from the skyrocketing price of the best tickets. Also, dynamic pricing should adjust downward the price of unsold tickets to ensure that they, too, get sold.
It’s also worth noting that concertgoers have had sticker shock for decades. In 1969, according to an article in Rolling Stone, Jagger was asked at a press conference at the Beverly Wilshire Hotel if the Stones were gouging their fans by charging up to $8.50 a ticket at the Los Angeles Forum. “Is that a lot?” Jagger replied. “You’ll have to tell me.”
Adjusted for inflation, that $8.50 would have buying power of $67.34 today, according to the Bureau of Labor Statistics — and the price of Stones tickets is up more than four times that. Then again, the average Stones fan has much more money, as well as a sense that the band can’t keep touring forever.
FESTIVAL FUNK
As ticket prices increase, business is becoming harder for festival organizers, who have to pay more for compelling headliners. Festivals that used to make competitive offers for top-tier talent have seen their buying power diminished as more artists realize they have the pricing power to earn more revenue from traditional shows.
Only a few festivals report ticket sales revenue to Billboard Boxscore. But most promoters or festival ticketing experts agree that festival ticket sales declined in 2023 and 2024 for both flagships like Coachella and Bonnaroo, as well as smaller and independent events.
Artists that play festivals generally agree to increasingly rigid radius clauses that restrict how close to the event they can perform and when they can promote their nearby shows. They agreed to those deals because festivals could pay headliners $3 million to $5 million for a 90-minute set — more than the $1.5 million to $2.5 million most could make for an arena show. That was before average ticket prices rose so much.
This does not bode well for the long-term future of festivals, at least the way they currently operate. But festivals only represent a fraction of the business of Live Nation and AEG, the global concert promotion giants. Live Nation promotes Coldplay, Miguel and Madonna, among others. AEG handles Swift, Bryan and George Strait, the No. 24 touring act. On June 15, Strait performed the stadium concert with the highest attendance in Billboard Boxscore history at Texas A&M University’s Kyle Field in College Station, Texas, in front of 110,000 fans.
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Music Business Year In Review
Taylor Swift’s The Tortured Poets Department notches a 17th week at No. 1 on the Billboard 200 albums chart (dated Dec. 21), as the set holds atop the list after rushing back to No. 1 a week ago after its deluxe Anthology edition was released on CD and vinyl exclusively at Target. In the tracking week ending Dec. 12, the album earned 240,000 equivalent album units (down 41%) in the U.S., according to Luminate, with over 80% of that sum driven by physical album sales.
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Also in the top 10 of the new Billboard 200 chart, ROSÉ’s debut solo album rosie bows at No. 3, TWICE’s Strategy enters at No. 4 and Sabrina Carpenter’s holiday set Fruitcake reenters the chart at No. 10 for its first week in the top 10, after its wide physical release.
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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 Dec. 21, 2024-dated chart will be posted in full on Billboard‘s website on Tuesday (Dec. 17). For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of The Tortured Poets Department’s 240,000 equivalent album units earned in the week ending Dec. 12, traditional album sales comprise 201,000 (down 45%, it holds at No. 1 on Top Album Sales for a 10th nonconsecutive week), SEA units comprise 39,000 (up 6%; equaling 51.04 million on-demand official streams of the set’s songs; it falls 9-10 on Top Streaming Albums) and TEA units comprise a negligible sum (up 27%).
TTPD was initially released on April 19 as a standard 16-song digital download album, as well as in an array of 17-song physical configurations. Two hours after the album dropped, Swift issued an expanded 31-song edition of the album, dubbed The Tortured Poets Department: The Anthology, which added 15 additional songs. However, the Anthology edition was only available as a digital download and streaming set until Nov. 29, when its CD and vinyl editions became available for purchase exclusively through Target. The Target CD and vinyl additionally boast four bonus acoustic tracks (which were previously released in other alternative versions of the album).
Since the Billboard 200 began publishing on a regular, weekly basis in March 1956, Poets is only the 18th album to have spent at least 17 weeks at No. 1, of more than 1,200 leaders. The last album to spend at least 17 weeks at No. 1 was Morgan Wallen’s One Thing at a Time, which logged 19 nonconsecutive weeks at No. 1 between March 2023 and this March. The last album by a woman to spend at least 17 weeks at No. 1 prior to Poets was Adele’s 21, which earned 24 nonconsecutive weeks on top in 2011-12.
Kendrick Lamar’s former leader GNX is a non-mover at No. 2 on the latest Billboard 200 with 125,000 equivalent album units earned (down 24%). It remains at No. 1 on Top Streaming Albums for a third straight week.
ROSÉ’s solo debut album, rosie, launches at No. 3 with 102,000 equivalent album units earned. Pop group BLACKPINK, of which she is a member, has logged a pair of top 10s, including the chart-topping BORN PINK in 2022.
Of the 102,000 equivalent album units earned by rosie in its opening week, album sales comprise 70,000 (it debuts at No. 3 on Top Album Sales), SEA units comprise 31,000 (equaling 43.85 million on-demand official streams of the set’s songs; it debuts at No. 17 on Top Streaming Albums) and TEA units comprise 1,000. The set’s first-week sales were bolstered by its availability across more than 15 physical variants of the album across CD and vinyl editions, many including collectible ephemera (some randomized).
The album was led by the single “APT.” with Bruno Mars, which debuted and peaked at No. 8 on the Billboard Hot 100. It debuted and peaked at No. 2 on the Streaming Songs chart, and has reached the top 30 on Pop Airplay, Adult Pop Airplay and the all-format Radio Songs charts.
TWICE captures its sixth total and consecutive top 10-charting set on the Billboard 200 as STRATEGY debuts at No. 4 with 88,000 equivalent album units earned. It’s the second top 10 for the group in 2024, following their first chart-topper, With YOU-th (March 9-dated chart). Of the new set’s first-week units, album sales comprise 81,000 (it debuts at No. 2 on Top Album Sales), SEA units comprise 6,500 (equaling 8.86 million on-demand official streams of the set’s songs) and TEA units comprise less than 500 units. The album’s first-week sales were aided by its availability across more than 15 CD and vinyl editions, all inclusive of collectible paper ephemera (some randomized).
Sabrina Carpenter’s chart-topping Short n’ Sweet is steady at No. 5 on the Billboard 200 (75,000 equivalent album units earned; up 10%); the Wicked film soundtrack falls 3-6 (74,000; down 31%); Michael Bublé’s former leader Christmas is a non-mover at No. 7 (62,000; up 10%); Bing Crosby’s Ultimate Christmas hits a new peak, rising 9-8 (56,000; up 13%); and Billie Eilish’s Hit Me Hard and Soft slips 6-9 (56,000; down 6%).
Carpenter captures a second album in the top 10, and the second top 10 of her career, as her holiday effort Fruitcake re-enters the chart at No. 10 (a new peak) following its wide physical release on CD, vinyl and cassette on Dec. 6. In the tracking week ending Dec. 12, Fruitcake earned 54,000 equivalent album units (up 1,040%), with album sales comprising 39,000 (up 27,326%; it debuts at No. 4 on Top Album Sales) and SEA units comprising 15,000 (up 210%, equaling 19.65 million on-demand official streams of set’s songs).
Fruitcake was initially released in November 2023 as a digital download album for purchase and through streaming services. It had a limited vinyl release, exclusively through Carpenter’s official webstore in December 2023. On Dec. 6, the album became widely available on CD, cassette and three vinyl variants (including one exclusive to Target).
Carpenter is the sixth artist in 2024 to have at least two albums in the top 10 at the same time. Previously this year, Zach Bryan, Future, Metro Boomin, Taylor Swift and Morgan Wallen all notched multiple projects in the top 10 concurrently.
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.
Beginning in January, Billboard will roll out updates to some of its weekly album charts.
Commencing with the Billboard charts dated Jan. 18, 2025 (reflecting the Luminate tracking week ending Jan. 9), six longstanding album genre charts will transition from sales-only rankings to consumption-based tallies, and expand their depths. Plus, three album genre charts that were already consumption-based will also increase their depths.
Consumption-based album charts rank the most popular titles of the week by equivalent album units earned, as 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 first Billboard album chart to transition from a traditional album sales-based ranking to a consumption-based tally was the overall all-genre Billboard 200 in December 2014. The bulk of Billboard’s album genre charts migrated to a consumption-based ranking in January 2017. (With the January 2025 updates, essentially all of Billboard‘s genre album charts will have migrated to consumption-based ranking.)
Lastly, the Heatseekers Albums chart, which ranks the week’s most popular albums by new and developing acts, will be retired, beginning with the Jan. 18, 2025-dated list. Billboard will continue to chart new and developing acts on its weekly Emerging Artists chart, which launched in 2017. The Emerging Artists chart ranks the most popular developing artists of the week, using the same formula as the all-encompassing Billboard Artist 100, which measures artist activity across multiple Billboard charts, including the Hot 100 and Billboard 200. (The Artist 100 lists the most popular acts, overall, each week.) However, the Emerging Artists chart excludes acts that have notched a top 25 entry on either the Hot 100 or Billboard 200, as well as artists that have achieved two or more top 10s on Billboard’s “Hot” song genre charts and/or consumption-based “Top” album genre rankings.
Here’s a recap of the changes to Billboard’s album genre charts beginning with the charts dated Jan. 18, 2025:
Bluegrass Albums – Transitions from a 10-position album sales-only chart to a 15-position consumption-based chart, ranking albums by equivalent album units.
Blues Albums – Transitions from a 10-position album sales-only chart to a 15-position consumption-based chart, ranking albums by equivalent album units.
Cast Albums – Transitions from a 10-position album sales-only chart to a 15-position consumption-based chart, ranking albums by equivalent album units.
Classical Crossover Albums – Transitions from a 10-position album sales-only chart to a 15-position consumption-based chart, ranking albums by equivalent album units.
Traditional Classical Albums – Transitions from a 10-position album sales-only chart to a 15-position consumption-based chart, ranking albums by equivalent album units.
Kid Albums – Transitions from a 15-position album sales-only chart to a 25-position consumption-based chart, ranking albums by equivalent album units.
New Age Albums – Expands from 10 to 15 positions, remains a consumption-based chart, ranking albums by equivalent album units.
Tropical Albums – Expands from 20 to 25 positions; remains a consumption-based chart, ranking albums by equivalent album units.
World Albums – Expands from 15 to 25 positions; remains a consumption-based chart, ranking albums by equivalent album units.
As with all genre consumption album charts, the rankings for the above album genre charts will be inclusive of both current and catalog titles.
Myles Smith’s “Stargazing” caps a triumphant 27-week trip to No. 1 on Billboard’s Rock & Alternative Airplay chart, rising a spot on the tally dated Dec. 21.
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“Stargazing” reigns with 4.7 million audience impressions, up 15%, on alternative, adult alternative and mainstream rock reporting stations in the week ending Dec. 12, according to Luminate.
The song wraps the lengthiest rise to No. 1 by a solo male, and ties for the fifth-longest overall, since Rock & Alternative Airplay began in June 2009.
Longest Rises to No. 1, Rock & Alternative Airplay:33 weeks, “Out of My League,” Fitz and the Tantrums (reached No. 1 in 2013)30, “First, “Cold War Kids (2015)29, “Running Up That Hill,” Meg Myers (2020)29, “Trampoline,” SHAED (2019)27, “Stargazing,” Myles Smith (2024)27, “All My Favorite Songs,” Weezer (2021)26, “Way Down We Go,” KALEO (2016)24, “Broken,” lovelytheband (2018)24, “Tighten Up,” The Black Keys (2010)
“Stargazing” is Smith’s first Rock & Alternative Airplay ruler, earned with the British singer-songwriter’s first entry on the ranking. He’s the third act to score an initial leader on the chart this year, following The Offspring (“Make It All Right”), Hozier (“Too Sweet”) and Pearl Jam (“Dark Matter”). He’s the first to achieve the feat with a maiden hit since Giovannie & the Hired Guns, with “Ramon Ayala,” in 2022. Before Smith, Alice Merton last achieved the feat among soloists as a lead act, with “No Roots” in 2018.
Along the way to its Rock & Alternative Airplay coronation, “Stargazing” led the Alternative Airplay chart in September. (It ranks at No. 5 on the latest tally.) It also leads Adult Pop Airplay for a second week, following a week atop Pop Airplay. It becomes just the eighth song to have hit No. 1 on Rock & Alternative Airplay, Alternative Airplay, Adult Pop Airplay and Pop Airplay, joining Hozier’s “Too Sweet” earlier in 2024, Panic! at the Disco’s “High Hopes” (2018-19), Portugal. The Man’s “Feel It Still” (2017), Twenty One Pilots’ “Stressed Out” (2015-16), Lorde’s “Royals” (2013), fun.’s “We Are Young,” featuring Janelle Monáe (2012) and Gotye’s “Somebody That I Used To Know,” featuring Kimbra (2012).
“Stargazing,” which also reached No. 4 on Adult Alternative Airplay, ranked at No. 3 on the most recently published Hot Rock & Alternative Songs chart (dated Dec. 14, reflecting the Nov. 29-Dec. 5 tracking week), with 53.4 million audience impressions across all radio formats, 6.3 million official U.S. streams and 1,000 sold.
“Stargazing” is on Smith’s EP A Minute…, which debuted at its No. 25 high on the Top Rock & Alternative Albums chart dated Nov. 23.
All Billboard charts dated Dec. 21 will update on Billboard.com Tuesday, Dec. 17.
The Head and the Heart notches its fifth leader on Billboard’s Adult Alternative Airplay chart, vaulting three places to No. 1 on the Dec. 21-dated survey with “Arrow.” Explore Explore See latest videos, charts and news See latest videos, charts and news The band previously topped the Adult Alternative Airplay tally with “Virginia (Wind in […]
The race is on for the U.K’s Official Christmas No. 1, and with a week to go, Wham! is set to be the contender to beat as the duo’s 1984 hit “Last Christmas” has landed at No. 1 on the Official Singles Chart on Friday (Dec. 13).
The duo, made up of Andrew Ridgeley and the late George Michael, are now at No. 1 for an eighth non-consecutive week in just four years; “Last Christmas” first reached the summit of the charts in 2021.
The song also bagged the coveted Christmas No. 1 spot for the first time in 2023, having been beaten to it in 1984 by Band Aid’s “Do They Know It’s Christmas?” LadBaby – the moniker for YouTube influencer Mark Hoyle – holds the record for number of Christmas chart-toppers with five different songs hitting No. 1 between 2018 and 2022, beating The Beatles’ previous record of four.
Wham! saw off a number of other festive classics, and is in pole position ahead of the announcement of Christmas No. 1 in the U.K. on Dec. 20.
Among the other contenders are Mariah Carey’s “All I Want for Christmas Is You” (No. 3), Brenda Lee’s “Rockin’ Around the Christmas Tree” (No. 5), and Tom Grennan’s new Amazon Music exclusive “It Can’t Be Christmas” (No. 6).
Speaking to the Bedford Independent earlier this week, Grennan said it felt “crazy” to be going up against “a band and artist that I’ve always loved and admired.” He added: “I was really conscious of not writing a cheesy Christmas song. It would have been so easy to have done that, but I wanted to put out the best I could possibly do.”
Gracie Abrams sees her five-week reign at No. 1 with “That’s So True” come to an end, placing at No. 2. A further slew of Yuletide-themed tracks make appearances elsewhere in the top 40, including Bobby Helms’ “Jingle Bell Rock” (No. 7), Ariana Grande’s “Santa Tell Me” (No. 9) and Laufey’s “Christmas Magic,” (No. 20).
British vocalist Lola Young breaks into the top 20 for the first time with “Messy” (No. 11) following a rise of 24 places week-on-week. Speaking to Billboard U.K. last month, the 23-year-old discussed the slow-burn success of the single and why she believes it has connected with fans. “I choose to give realness and truth. I’ve got a bit of a belly out, I f–king swear a bunch and I have fun,” she said. “And that’s what people are resonating with.”
See the full rundown of the Official Singles Chart here.
Taylor Swift continues her reign over the Official U.K. Albums Chart with The Tortured Poets Department, as the record lands its 10th non-consecutive week at No. 1. Coinciding with the end of her 21-month long Eras Tour last weekend (Dec. 8), the album remains the songwriter’s longest-running chart-topper in the U.K., the Official Charts Company […]
Jimmy Fallon and Jonas Brothers’ Yuletide team-up “Holiday” ascends to the top of Billboard’s Adult Contemporary chart (dated Dec. 21). Fallon earns his first Adult Contemporary No. 1 – and his first ruler on a Billboard radio airplay chart – with his second top 10 on the tally, after “Wrap Me Up,” with Meghan Trainor, […]
George Birge notches his first leader on Billboard’s Country Airplay chart as “Cowboy Songs” moseys two spots to No. 1 on the Dec. 21-dated survey. The song increased by 14% to 28.9 million audience impressions Dec. 6-12, according to Luminate.
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“Cowboy Songs” is from Birge’s same-named album, released in April. He co-authored the single with Lalo Guzman, Matt McGinn and Michael Tyler. Guzman and McGinn produced the track about a love interest who “only dances to cowboy songs.” (“That steel guitar’ll steal her heart,” Birge sings.)
“Having the No. 1 song on the Billboard Country Airplay chart is an absolute dream come true,” Birge says. “It’s wild to think that the song I wrote about chasing my wife across dusty dive bars in Austin, Texas, is now sitting at the top. I couldn’t think of a better way to end the year.”
Birge’s first Country Airplay leader follows his rookie entry, “Mind on You,” which hit No. 2 in January.
Before launching his solo career, and signing to Records Nashville in 2021, Birge was half of duo Waterloo Revival with Cody Cooper. (The pair made two appearances on the lower reaches of Country Airplay in 2015.)
At Home in the Top 10
Dan + Shay earn their 12th Country Airplay top 10 as “Bigger Houses” rises 11-10 (17.3 million, up 2%).
The song, which the duo’s Dan Smyers co-wrote, is the title cut from the pair’s LP that entered at its No. 9 Top Country Albums high in September 2023, becoming the twosome’s fifth top 10.
The act — Smyers and Shay Mooney — logged its initial Country Airplay top 10, and first of eight No. 1s, with “Nothin’ Like You,” which dominated for one week in December 2015. The tandem most recently reigned with “Glad You Exist” for a week in August 2021.
Sabrina Carpenter claims her fourth No. 1 on Billboard’s Pop Airplay chart – all earned in 2024 – as “Taste” tops the radio ranking dated Dec. 21.
The song, released on Island Records and promoted to radio by Republic, follows Carpenter’s “Please Please Please,” which led Pop Airplay for two weeks in September; “Espresso” (three weeks, July); and “Feather” (one week, April).
Carpenter joins only Doja Cat and Lady Gaga in having scored four Pop Airplay leaders in a single year, dating to the chart’s 1992 launch. Doja Cat reigned in 2022 with “Need to Know,” “Woman” and “Vegas” and as featured on Post Malone’s “I Like You (A Happier Song).” Gaga dominated in 2009 with “Just Dance” (featuring Colby O’Donis), “Poker Face,” “LoveGame” and “Paparazzi.”
Carpenter this year and Gaga in 2009 are the only artists with as many as four Pop Airplay No. 1s in a single year all in lead roles.
“Taste,” meanwhile, is the third Pop Airplay No. 1 from Carpenter’s LP Short n’ Sweet. The album, released in August, is the first to spin off at least three Pop Airplay leaders since Selena Gomez’s Revival in 2016, and the 10th to achieve the feat in the chart’s history.
Albums With 3 or More Pop Airplay No. 1s:Artist, Album, No. 1s, Year(s)
Sabrina Carpenter, Short n’ Sweet: “Espresso,” “Please Please Please,” “Taste” (2024)
Selena Gomez, Revival: “Good for You” (feat. A$AP Rocky), “Same Old Love,” “Hands to Myself” (2015-16)
Justin Bieber, Purpose: “What Do You Mean?,” “Sorry,” “Love Yourself” (2015-16)
Maroon 5, Overexposed: “Payphone” (feat. Wiz Khalifa), “One More Night,” “Daylight” (2012-13)
Katy Perry, Teenage Dream: “California Gurls” (feat. Snoop Dogg), “Teenage Dream,” “Firework,” “E.T.” (feat. Kanye West), “Last Friday Night (T.G.I.F.),” “The One That Got Away” (2010-12) (*The album’s The Complete Confection reissue generated an additional No. 1, “Wide Awake.”)
Lady Gaga, The Fame: “Just Dance” (feat. Colby O’Donis), “Poker Face,” “LoveGame,” “Paparazzi” (2009)
Justin Timberlake, FutureSex/LoveSounds: “SexyBack,” “My Love” (feat. T.I.), “What Goes Around…Comes Around,” “Summer Love” (2006-07)
Avril Lavigne, Let Go: “Complicated,” “Sk8er Boi,” “I’m With You” (2002-03)
Alanis Morissette, Jagged Little Pill: “Ironic,” “You Learn,” “Head Over Feet” (1996)
Ace of Base, The Sign: “All That She Wants,” “The Sign,” “Don’t Turn Around” (1993-94)
“I called it Short n’ Sweet for multiple reasons,” Carpenter mused to Apple Music’s Zane Lowe ahead of the album’s release. “It was not because I’m vertically challenged [‘5 feet, to be exact,’ per ‘Taste’]. It was really, like, I thought about some of [my] relationships, and how some of them were the shortest I’ve ever had, and they affected me the most.”
All charts dated Dec. 21 will update on Billboard.com Tuesday, Dec. 17.