State Champ Radio Chart Beat
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Women dominate the top five of the Billboard 200 albums chart (dated July 13), as four of the top five titles are by female artists. It’s the first time in over a year that at least four of the top five are by women, or by women-led acts. Taylor Swift’s The Tortured Poets Department achieves […]
Taylor Swift’s The Tortured Poets Department hits an 11th consecutive and total week at No. 1 on the Billboard 200 (dated July 13) — tying 1989 and Fearless as her longest-leading No. 1 albums. The last album by a woman to spend 11 weeks at No. 1 was 1989, which notched 11 nonconsecutive weeks atop the list in 2014-15. If Poets reaches a 12th week at No. 1, it will be the first album by a woman with at least 12 weeks at No. 1 since Adele’s 21 rang up 24 nonconsecutive weeks on top in 2011-12.
The Tortured Poets Department earned 114,000 equivalent album units in the U.S. in the week ending July 4 (down 1%), according to Luminate. The album debuted atop the chart dated May 4 and has yet to yield the No. 1 slot.
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The Tortured Poets Department is the first album by a woman to spend 11 weeks in a row at No. 1 since the Whitney Houston-led soundtrack to The Bodyguard strung together 13 straight weeks at No. 1 (of its total 20 nonconsecutive weeks atop the list) from December 1992 to March 1993.
Also in the top 10 of the latest Billboard 200 chart, Megan Thee Stallion collects her sixth top 10 as Megan bows at No. 3, while Beyoncé’s chart-topping Cowboy Carter gallops 50-10 following the release of a deluxe vinyl edition.
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new July 13, 2024-dated chart will be posted in full on Billboard‘s website on July 9. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of The Tortured Poets Department’s 114,000 equivalent album units earned, SEA units comprise 78,000 (down 10% — it’s No. 1 on Top Streaming Albums for an 11th week; its SEA units equal 102.09 million on-demand official streams of the deluxe edition’s 31 songs), album sales comprise 35,000 (up 27%; it’s No. 1 on Top Album Sales for a fifth nonconsecutive week) and TEA units comprise less than 1,000 (down 22%). The album’s sales grew 27% in the tracking week thanks largely to two new CD variants of the set that shipped to customers. The two CDs, which were sold exclusively in Swift’s webstore, were briefly available to pre-order in early June for $7.99 each. Both CDs contain the standard album’s 16 songs and an acoustic bonus track (one includes “Fortnight,” featuring Post Malone, and one includes “Fresh Out the Slammer”).
The Tortured Poets Department matches Whitney Houston’s 1987 album Whitney as the only two albums by women to spend their first 11 weeks at No. 1. All 11 of the latter’s total weeks at No. 1 were from its debut atop the chart.
Just two other albums have spent at least their first 11 weeks at No. 1: Morgan Wallen’s One Thing at a Time (first 12 weeks at No. 1, of its total 19 weeks at No. 1 in 2023-24) and Stevie Wonder’s Songs in the Key of Life (first 13 weeks at No. 1, of its total 14 weeks at No. 1 in 1976). (For context, today it’s common for albums to debut at No. 1. However, before 1991, when the Billboard 200 began utilizing Luminate’s electronically monitored tracking information, only six albums debuted at No. 1, including Whitney and Songs in the Key of Life.)
Swift is only the third act with three or more albums to spend 11 or more weeks at No. 1, following Whitney Houston (her self-titled album with 14 weeks in 1986, Whitney with 11 in 1987 and The Bodyguard soundtrack with 20 in 1992-93) and The Beatles (Meet the Beatles! with 11 in 1964, A Hard Day’s Night soundtrack with 14 in 1964, Sgt. Pepper’s Lonely Hearts Club Band with 15 in 1967 and Abbey Road with 11 in 1969-70).
Swift adds her 80th career week at No. 1 on the Billboard 200, extending her record among soloists. (Elvis Presley has the second-most among soloists, with 67.) The total encompasses her 14 No. 1 albums. (She’s tied with Jay-Z for the most No. 1s among soloists.)
At No. 2 on the latest Billboard 200, Morgan Wallen’s chart-topping One Thing at a Time rises 3-2 with 74,000 equivalent album units (up 1%). It’s also the last album to spend at least 11 weeks at No. 1, prior to Poets. Wallen’s album logged 19 total weeks at No. 1 in 2023-24 (spending its first 12 in the top slot).
Megan Thee Stallion scores her sixth top 10-charting effort on the Billboard 200 as Megan enters at No. 3 with 64,000 equivalent album units earned. That marks the biggest debut, by units, for any rap album released by a woman in 2024. It’s also the first top 10-charting rap set by a woman released this year.
Of the album’s 64,000 units earned in its first week, SEA units comprise 47,000 (equaling 62.67 million on-demand official streams of the set’s 18 songs), album sales comprise 16,000 and TEA units comprise 1,000. The album was announced on June 2 and was preceded by a trio of charting songs on the Billboard Hot 100: “Cobra” (peaking at No. 32 last November), “Hiss” (No. 1, February) and “Boa” (No. 39, May). The set’s sales were aided by its availability across three CD variants (all with the same audio content, just different covers; all exclusively sold in the artist’s webstore) and five digital download album variants (a standard widely available edition; one exclusive to Amazon, with a bonus track; two with alternate covers; and one with a printed digital signature on its cover from Megan Thee Stallion. The latter three were exclusive to the artist’s webstore.)
Billie Eilish’s Hit Me Hard and Soft is a non-mover at No. 4 on the Billboard 200 (63,000 equivalent album units earned; down 10%) and Chappell Roan’s The Rise and Fall of a Midwest Princess reaches the top five for the first time, rising 6-5 (60,000; down 2%). With Swift, Megan Thee Stallion, Eilish and Chappell Roan at Nos. 1, 3, 4 and 5, there are four albums by women, or women-led acts, in the top five for the first time in over a year. It last happened on the March 25, 2023-dated list, when the all-women group TWICE was No. 2 with Ready to Be, followed by Miley Cyrus’ Endless Summer Vacation (No. 3), SZA’s SOS (No. 4) and Karol G’s Mañana Será Bonito at No. 5. (Wallen’s One Thing at a Time was No. 1 that week.)
Wallen’s former leader Dangerous: The Double Album rises 7-6 on the new Billboard 200 (44,000 equivalent album units; up 1%), Peso Pluma’s Éxodo falls 5-7 (just over 40,000; down 37%), Shaboozey’s Where I’ve Been, Isn’t Where I’m Going climbs 10-8 (40,000; down 1%) and Noah Kahan’s Stick Season rises 11-9 (39,000; up less than 1%).
Beyoncé’s former No. 1 Cowboy Carter charges back into the top 10 (50-10) after a deluxe edition of the album was released on vinyl. The set surges with 39,000 equivalent album units earned (up 133%), with 24,000 of that sum in traditional album sales (up 1,673%). Vinyl sales comprise a little over 23,000 of that figure (up 3,551%).
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.
Pearl Jam lands two straight No. 1s on Billboard’s Mainstream Rock Airplay chart for the first time, as “Wreckage” rises to the top of the July 13-dated tally. Explore Explore See latest videos, charts and news See latest videos, charts and news The song follows the four-week reign of the group’s “Dark Matter” starting in […]
Shaboozey scores his maiden top 10 on Billboard’s Country Airplay chart (dated July 13), as his launch entry “A Bar Song (Tipsy)” jumps six spots to No. 6. It surged by 20% to 20.5 million audience impressions June 28-July 4, according to Luminate.
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The track interpolates J-Kwon’s 2004 hip-hop classic “Tipsy,” with the pair performing a mash-up of the songs on June 30 at the 2024 BET Awards. The makeover by Virginia native Shaboozey (born Collins Obinna Chibueze) has already led the multimetric Hot Country Songs chart for three frames beginning in May.
The song is the lead single from Shaboozey’s LP Where I’ve Been, Isn’t Where I’m Going, which arrived at its No. 2 Top Country Albums high in June. The crossover hit is also the first song ever to go top 10 on all four of these charts: Country Airplay, Pop Airplay, Adult Pop Airplay and Rhythmic Airplay.
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Baldridge Banks First Top 10
Drew Baldridge notches his first Country Airplay top 10 as his co-written “She’s Somebody’s Daughter (Reimagined)” pushes 11-10 (18.3 million, up 7%). The hit is a rerecording of the Patoka, Ill., native’s 2019 track “She’s Somebody’s Daughter” and marks his fifth entry on the chart.
In addition to writing, recording and touring, Baldridge is a radio personality, currently handling weekend shifts on Mt. Wilson Broadcasting’s KKGO Los Angeles.
‘Help’ Ties 2024’s Best
Post Malone’s “I Had Some Help,” featuring Morgan Wallen, controls Country Airplay for a third week (32.6 million, up less than 1%). The former’s first No. 1 and Wallen’s 13th ties for the longest command among the 15 leaders in 2024, joining Sam Hunt’s “Outskirts,” which started its reign in April.
Sabrina Carpenter scores her second No. 1 on Billboard’s Pop Airplay chart as “Espresso” bubbles up to the survey’s top spot. The song, released on Island Records and promoted to radio by Republic, rules the July 13-dated chart with a 3% gain in plays June 28-July 4. (The list ranks songs by weekly plays on […]
It took 11 weeks, but Shaboozey is finally crowned on Australia’s singles chart as “A Bar Song (Tipsy)” (via Empire) lifts 2-1.
That’s the U.S. artist’s first leader in the land Down Under. The track, which interpolates J-Kwon’s “Tipsy,” which reached No. 5 back in 2004, enjoys a boost after Shaboozey performed it with the American rapper Sunday (June 30) at the BET Awards.
Meanwhile, Sabrina Carpenter’s reign ends as the U.S. singer and actor’s former leaders “Espresso” (up 3-1) and “Please Please Please” (down 1-3, both via Island/Universal) complete the podium.
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The top debut on the latest ARIA Singles Chart, published Friday, July 5, belongs to The Kid Laroi with “Girls” (Columbia/Sony), new at No. 21. That’s the Sydney-raised singer and rapper’s 20th appearance on the ARIA Top 50, according to the trade body, a tally that includes two No. 1 singles: “Without You” and “Stay” with Justin Bieber. Meanwhile, LAROI’s “Nights Like This” improves 48-26 on the current frame, a new peak.
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Over on the ARIA Albums Chart, Taylor Swift enters a fifth non-consecutive week at No. 1 with The Tortured Poets Department (Universal), up 3-1.
Swift has led the way as female artists have dominated the ARIA Chart this year, ruling for 24 out of 27 weeks. TayTay has ruled for 15 of those cycles with 1989 (Taylor’s Version), Midnights, Lover and The Tortured Poets Department.
Also new to the ARIA Chart this week are collections by Omar Apollo (God Said No at No. 11), Imagine Dragons (Loom at No. 17), Camila Cabello (C, XOXO at No. 29), and Grammy-nominated, Melbourne neo-soul band Hiatus Kaiyote (Love Heart Cheat Code at No. 40).
What will be the No. 1 song of the summer of 2024? As of July 4, Post Malone’s “I Had Some Help,” featuring Morgan Wallen, maintains its lead for the honor, per Billboard’s Songs of the Summer chart. The 20-position Songs of the Summer running tally tracks the most popular titles based on cumulative performance […]
“On the Fourth of July, 1964, the Beach Boys topped the Billboard Hot 100 with ‘I Get Around,’ the first No. 1 single by an American male singing group in eight months,” Fred Bronson wrote in The Billboard Book of Number One Hits. “The timing was appropriate, for the Beach Boys were … promoting little deuce coupes, surfin’ U.S.A. and California girls.” Plus, “the Beach Boys often performed concerts on the Fourth of July.”
“I Get Around” – which followed four leaders by The Beatles since February 1964, among chart-toppers by British acts – became the Beach Boys’ first Hot 100 No. 1, with their 12th entry on the survey. They’d previously hit the top 10 with “Surfin’ U.S.A.” (No. 3, May 1963), “Surfer Girl” (No. 7, September 1963), “Be True to Your School” (No. 6, December 1963) and “Fun, Fun, Fun” (No. 5, March 1964). Notably, Beach Boy Brian Wilson, who wrote “I Get Around” with bandmate Mike Love, hit No. 1 as a writer in that span, via Jan & Dean’s “Surf City,” which reigned for two weeks in July 1963.
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Upon the Hot 100 reign of “I Get Around,” the Beach Boys comprised of Wilson and Love (who shared lead vocals in the group), Wilson’s younger brothers Carl and Dennis Wilson, and Al Jardine.
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The Beach Boys have since upped their career count to four Hot 100 No. 1s, among 15 top 10s. Following a two-week command for “I Get Around,” they ruled again with “Help Me Rhonda” (for two weeks in 1965), “Good Vibrations” (two weeks, 1966) and “Kokomo” (one week, 1988). When “Kokomo” sailed to No. 1, the act ended the longest break between leaders to that point. (Paul Grein headlined the magazine’s Chart Beat column that week: Resurgent Beach Boys Still Get Around.)
This past holiday season, the Beach Boys’ classic “Little Saint Nick” jingled to a new No. 25 Hot 100 high, their highest rank since the run of “Kokomo.”
The Beach Boys were inducted into the Rock and Roll Hall of Fame in 1988. In 2001, they were honored with a lifetime achievement award from the Recording Academy, while five of the group’s recordings have been voted into the Grammy Hall of Fame, including “I Get Around” in 2017.
On April 2, the Beach Boys released a self-titled autobiography, and a Disney+ documentary premiered May 24.
Wrote Wilson (who in May was judged to be in need of conservatorship due to his health) in the official Amazon description of the 408-page book, “There’s love in the music and people can relate to the love, regardless of whether you’re two years old or 92 years old. For me, music is about love. Love is the message I want to share. That makes the hard work worth it.”
Karol G achieves her 27th top 10 on Billboard’s Hot Latin Songs chart as “Si Antes Te Hubiera Conocido” debuts at No. 2 on the July 6-dated list. The song, released June 21 via Bichota/Interscope/ICLG, launches in the upper region three months after “Contigo,” with Tiesto, finished its four-week run in the top 10.
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“Si Antes Te Hubiera Conocido” starts at No. 2 with activity across all metrics integrated into Hot Latin Songs (airplay, streams and sales). In the July 21-27 tracking week, the song recorded 11.9 million official U.S. streams, according to Luminate. Thanks to that sum, the song opens at No. 33 on the overall Streaming Songs chart and an No. 2 on Latin Streaming Songs.
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For the remaining metrics that contribute to Hot Latin Songs, song sales and radio airplay, “Si Antes Te Hubiera Conocido” sold 2,000 downloads in the same period for a second week atop Latin Digital Song Sales. Plus, it starts at No. 29 on the overall Latin Airplay chart with 4.1 million audience impressions.
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With “Si Antes Te Hubiera Conocido’s” No. 2 entrance, Karol G claims her 27th top 10, and 10th unaccompanied by another artist. Her first top 10 unaccompanied by another act was the No. 5-peaking “Ay, Diso Mío” in 2020. Of her 27 top 10s, eight reached No. 1. Her most recent leader was “Qlona,” with Peso Pluma, for five weeks in 2023.
Notably, Karol and Gloria Estefan remain the only two women to debut in the top two on Hot Latin Songs with titles unaccompanied by another artist. Karol has debuted in the top two with three solo, unaccompanied songs (“Si Antes Te Hubiera Conocido,” “Mi Ex Tenía Razón” and “Provenza”) and Estefan did it with “Hotel Nacional” in 2012.
Beyond Karol’s No. 2 debut on Hot Latin Songs, the merengue-based track places Karol back on the top 10 on Tropical Airplay after almost eight years, where “Conocido” rallies 18-3 in its third week. Her first and last visit to the top 10 arrived through “Casi Nada” in 2016.
Further, “Si Antes” grants Karol her 31st career entry on the all-genre Billboard Hot 100, with a No. 34 start.
INI’s “LOUD” reaches the top of the Billboard Japan Hot 100 on the chart released July 3.
“LOUD” is the lead track from the 11-member boyband’s sixth single, THE FRAME. Powered by sales and downloads, it becomes the group’s third single to reach the top of the Japan Hot 100. The group marked their highest first-week CD sales and downloads with 812,184 CDs and 28,867 downloads (up approximately 2,800% from last week), while coming in at No.2 for radio airplay, No.9 for streaming (up 200%), and No. 14 for video views.
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Sakurazaka46‘s “Jigoujitoku” comes in at No. 2. Like INI, the group also recorded their highest weekly CD sales with 762,455 copies, hitting No. 2 for sales, while coming in at No. 3 for downloads, No. 5 for streaming, No. 57 for radio airplay, and No. 34 for video views.
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Creepy Nuts’ “Bling-Bang-Bang-Born” slips to No. 3. Despite the drop in the rankings, the track’s total points have gone up, with streaming, radio airplay and video views all increasing slightly.The track is in the top 5 for all metrics of the chart this week, with the exception of radio airplay.
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Debuting at No. 4 is NCT WISH’s “Songbird”, the title track of their second single. 103,340 copies sold puts it at No. 3 for CD sales, surpassing the sales of their debut single “WISH.” Meanwhile, the song peaks at No. 4 for radio airplay, starting with the same overall rank as their previous single.
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Da-iCE’s “I wonder” climbs 11-8, marking the song’s first top 10 since debuting at No. 68 on the Japan Hot 100 dated May 1. Notably, the song not only increased its rankings, but also its points in all indicators except radio airplay, partly due to the buzz around their appearance on “THE FIRST TAKE.”
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Additionally, songs by NewJeans, who held their first solo concert in Japan at the Tokyo Dome on June 26 and 27, are rising across the board. Mainly due to an increase in streaming, “Supernatural” rises 8-7 and “How Sweet” climbs 29-24, while “OMG” and “ETA”, both released last year, have returned to the chart again.
See the full Billboard Japan Hot 100 chart, tallying the week from June 24 to 30, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
