State Champ Radio Chart Beat
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On charts dated Aug. 8, 2020, Taylor Swift made two of the grandest entrances in Billboard history.
That week, her album Folklore launched at No. 1 on the Billboard 200, and “Cardigan,” from the set, bounded in at No. 1 on the Billboard Hot 100. Dating to the charts’ starts in 1956 and 1958, respectively, it marked the first time that an artist had debuted atop Billboard’s premier album and song charts simultaneously.
(Swift reacted to the feat at the time by posting a GIF of Dwayne “The Rock” Johnson in the movie San Andreas, simply marveling, “Oh my God.”)
What started as record-establishing soon became record-extending for Swift, who has upped her career count to seven simultaneous arrivals at No. 1 on the Billboard 200 and Hot 100 through the charts dated Oct. 18, 2025, when The Life of a Showgirl and “The Fate of Ophelia” began at the summits of both surveys.
To date, artists have debuted at No. 1 on the Billboard 200 and Hot 100 together 17 times, with Swift’s seven such starts followed by Drake’s three. Zach Bryan, BTS, Future, Ariana Grande, Kendrick Lamar, Olivia Rodrigo and Morgan Wallen having crowned both rankings simultaneously upon their bows one time each.
Meanwhile, Swift is the only act to maintain commands of the charts in those instances beyond their first weeks, with Midnights and “Anti-Hero” spending their first two weeks at No. 1 in 2022, while The Tortured Poets Department and “Fortnight,” featuring Post Malone, repeated the achievement in 2024. In November 2025, The Life of a Showgirl and “The Fate of Ophelia” made for the first occurrence of an artist debuting at No. 1 on the tallies simultaneously and holding in their top spots for three straight weeks.
Here’s a look at all the times that artists have made Billboard 200 and Hot 100 debuts twice as nice, opening at No. 1 on the charts side-by-side. (Helping the chances of the honor, artists have more commonly not released preview singles from albums, instead opting to premiere sets in their entireties all at once, in recent years.)
Taylor Swift
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On this week’s episode of The Hot 100 Show, Billboard‘s chart experts break down the surge of “Mutt” and Olivia Dean’s “Man I Need” into the top 10, as well as Justin Bieber’s “Daisies” and Morgan Wallen making their way back in after a Taylor Swift-filled chart. They also share their thoughts on why they think the popularity of “Golden” and “The Fate of Ophelia” continue to hold steady.
Tetris Kelly: We have a couple of new top 10s as we find out if “Golden” can defeat Taylor Swift. Welcome back to another week of our little countdown show, where we’re figuring out if Taylor Swift, “Golden” or who’s gonna be at No. 1. But guess what? We do got some new entries this week you’re gonna want to check out, and we might have predicted them in our contenders, so let’s run it down. This is The Billboard Hot 100 top 10 for the week dated Nov. 1. Leon Thomas hits the top 10 with “Mutt.”
Leon Thomas: I think “Mutt” definitely resonated with the culture so much because it has a lot of essence of P Funk, Bootsy Collins. I feel like post pandemic, everybody got into their little toxic energy. So it’s like perfectly toxic.
Tetris Kelly: Morgan is back with “I Got Better.” Olivia Dean arrives with “Man I Need.” I feel like this is a really interesting top 10 because some of our contenders have finally made their way in. Let’s start with Leon Thomas and “Mutt.” How you guys feeling about his top 10 debut?
Delisa Shannon: Oh, wow. I’m so excited as a Nickelodeon kid — this is a really big moment for me to be able to see Leon Thomas and to see the way that he’s been, I mean, building his craft ever since he picked up that guitar on Naked Brothers Band back in the day. To see how he’s been able to craft a sound, to see it be celebrated in this way. I’m super, super proud and so excited that we’re getting to see it crack the top 10.
Xander Zellner: Also, it’s like exciting, because he has been around for years, not just like on Victorious and on Nickelodeon, but like he was producing and writing songs for Drake and Ariana Grande and SZA’s “Snooze,” like he’s been writing songs for a while, but it’s exciting to see him actually have a song of his own in the top 10 for the first time. So big moment for him.
Trevor Anderson: And the song has been around for a long time, too. I mean, that song came out in August 2024.
Keep watching for more!
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HUNTR/X’s “Golden,” from Netflix’s record-breaking animated movie KPop Demon Hunters, returns to No. 1 on both the Billboard Global 200 and Billboard Global Excl. U.S. charts, leading the lists for a 13th week each. In July, the song became the first No. 1 on each survey for the act, whose music is voiced by EJAE, Audrey Nuna and REI AMI.
The Billboard Global 200 and Global Excl. U.S. charts rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Global 200 is inclusive of worldwide data and the Global Excl. U.S. chart comprises data from territories excluding the United States.
Chart ranks are based on a weighted formula incorporating official-only streams on both subscription and ad-supported tiers of audio and video music services, as well as download sales, the latter of which reflect purchases from full-service digital music retailers from around the world, with sales from direct-to-consumer (D2C) sites excluded from the charts’ calculations.
“Golden” leads the Global 200 with 123.4 million streams (down 6% week-over-week) and 14,000 sold (down 11%) worldwide in the week ending Oct. 23.
Taylor Swift’s “The Fate of Ophelia” drops to No. 2 on the Global 200 after spending its first two weeks on the chart at No. 1. It’s joined in the top 10 by three more cuts from her new album, The Life of a Showgirl: “Opalite,” which holds at No. 3 after hitting No. 2, “Elizabeth Taylor” (4-6; No. 3 peak) and “Father Figure” (5-7; No. 4 peak).
Alex Warren’s “Ordinary” rises 6-4, after 10 weeks atop the Global 200 beginning in May, and Olivia Dean’s “Man I Need” jumps 13-5, after reaching No. 4.
“Golden” tops Global Excl. U.S. with 95.1 million streams (down 5%) and 8,000 sold (down 7%) beyond the U.S.
As on the Global 200, “The Fate of Ophelia” falls to No. 2 on Global Excl. U.S. after logging its first two weeks at No. 1. “Opalite” keeps at its No. 3 high and “Elizabeth Taylor” descends 5-10, after reaching No. 4.
Kenshi Yonezu’s “Iris Out” is steady at No. 4 on Global Excl. U.S., after hitting No. 2, and “Ordinary” ascends 6-5, after eight weeks at No. 1 starting in May.
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Nov. 1, 2025) will update on Billboard.com tomorrow, Oct. 28. For both charts, the top 100 titles are available to all readers on Billboard.com, while the complete 200-title rankings are visible on Billboard Pro, Billboard’s subscription-based service. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
Taylor Swift’s “The Fate of Ophelia” crowns the Billboard Hot 100 for a third week.
The superstar’s new album, The Life of a Showgirl, concurrently adds a third week at No. 1 on the Billboard 200 chart, following its modern-era-record debut with 4.002 million equivalent album units two weeks earlier.
Thanks to the set and the song, Swift makes more history. Two weeks ago, she logged the 17th instance of an artist launching atop the Billboard 200 and Hot 100 simultaneously. It marked the record seventh time that she earned the honor (which she inaugurated in August 2020 with Folklore and “Cardigan”). In only two of the first 16 such double debuts, an album and song tallied a second consecutive week atop the charts — both by Swift, via Midnights and “Anti-Hero” in 2022 and The Tortured Poets Department and “Fortnight,” featuring Post Malone, in 2024.
Now, The Life of a Showgirl and “The Fate of Ophelia” make for the first occurrence of an artist debuting atop the Billboard 200 and Hot 100 side-by-side and both titles maintaining their respective commands for their first three weeks.
Meanwhile, two acts earn their first Hot 100 top 10s: Olivia Dean’s “Man I Need” bounds 17-8 and Leon Thomas’ “Mutt” charges 18-10.
Check out the full rundown of this week’s Hot 100 top 10 below.
The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data, the lattermost metric reflecting purchases of physical singles and digital tracks from full-service digital music retailers; digital singles sales from direct-to-consumer (D2C) sites are excluded from chart calculations. All charts (dated Nov. 1, 2025) will update on Billboard.com tomorrow, Oct. 28. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram. Plus, for all chart rules and explanations, click here.
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.
‘Ophelia’ Streams, Airplay & Sales
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Christmas music decks the halls of the Billboard Holiday 100 at the end of every year, but some creepy cuts lurk around the October charts as well. And make no bones about it: If you create a monster hit in the lab, it may come back to haunt the hit parade every fall. For years, Billboard has tracked the graveyard smashes, thriller nights and legal nightmares that have sunk their teeth into the KILLboard Rot 100.
‘Monster’ Hit
After the novelty single “Monster Mash” by Bobby “Boris” Pickett and the Crypt-Kickers began getting radio play in Boston, the Sept. 29, 1962, Billboard reported that “Boris, Igor and the other bloodsuckers” were clawing their way up the charts. A week later, Billboard profiled Pickett, calling the Army veteran and stage comedian a “versatile lad” who “still holds on to his ambition to be an actor.” On the same page ran a feature about another new act: The Beach Boys. Pickett’s song hit No. 1 by the end of the month — a feat that took the surfin’ slackers another two years.
License to Thrill-er
“The video has a ghoulish theme,” warned the Dec. 3, 1983, Billboard of Michael Jackson’s zombie-filled video for “Thriller,” “but it is brightened by clever plot twists.” The article explained why the video opens with a title card disavowing any “belief in the occult”: Jackson’s discomfort with the video’s imagery, “one reason he avoided a Halloween tie-in.” He didn’t need one. The Dec. 24 issue said the video “shipped a reported 100,000 units — the highest initial shipment in history for an original non-theatrical video.”
Giving Up the Ghost
“It’s the ‘bad boy’ at his most playful in a call-and-response dance-rocker from the film of the same name,” the June 9, 1984, Billboard said of Ray Parker Jr.’s “Ghostbusters.” In the Aug. 11 issue, a headline declared “Bustin’ Makes Ray Feel Good” as the song hit No. 1. And while Parker wasn’t afraid of no ghosts, what about Huey Lewis’ lawyers? They sued him in a plagiarism case for similarities to Lewis’ “I Want a New Drug.” “It’s more like M’s ‘Pop Muzik,’ ” Parker insisted in the Aug. 25 issue.
Lawyers Just Don’t Understand
The Fresh Prince & DJ Jazzy Jeff scared up a lawsuit of their own with the Hot 100 top 15 hit “A Nightmare on My Street.” That title “is turning out to be prophetic,” quipped the Aug. 6, 1988, Billboard. “New Line Cinema, which produces and distributes the A Nightmare on Elm Street series of films, has served papers.” The legal scare buried the song’s video but the soundtrack to the fourth Freddy Krueger flick was still DOA. “Nightmare films have never produced a hit soundtrack,” declared the Sept. 3, 1988, issue. “This one won’t do the trick, either.”
This Is Halloween
“While the holiday doesn’t generate monster-selling albums like Christmas does, the scary celebration has spurred a number of solid-selling titles,” according to the Nov. 2, 2013, issue, citing the “soundtrack to Tim Burton’s The Nightmare Before Christmas,” as well as a long-out-of-print sound effects collection called Sounds of Halloween, which “had moved 528,000 copies to date.” Now, thanks to screaming — er, streaming — platforms Halloween hits rise from the grave every year.
This story appears in the Oct. 25, 2025, issue of Billboard.
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Taylor Swift’s The Life of a Showgirl adds a third week at No. 1 on the Billboard 200 albums chart (dated Nov. 1), with 194,000 equivalent album units earned (down 43%) in the United States in the week ending Oct. 23, according to Luminate.
The Life of a Showgirl is only the second album in 2025 to spend its first three weeks at No. 1, following Morgan Wallen’s I’m the Problem, which spent its first eight weeks atop the list (of its total 12 at No. 1).
Elsewhere in the top 10 of the latest Billboard 200, Tame Impala claims its third top five-charted album, as Deadbeat debuts at No. 4.
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, Nov. 1, 2025-dated chart will be posted in full on Billboard‘s website on Tuesday (Oct. 28). For all chart news, follow @billboard and @billboardcharts on both X and Instagram.
Of The Life of a Showgirl’s 194,000 equivalent album units earned in the latest tracking week, SEA units comprise 156,000 (down 34%, equaling 200.68 million on-demand official streams of the set’s tracks — it ranks at No. 1 on Top Streaming Albums for a third week), album sales comprise 38,000 (down 63% — it’s No. 1 on Top Album Sales for a third week) and TEA units comprise less than 1,000 (down 42%).
The chart-topping KPop Demon Hunters soundtrack holds at No. 2 on the latest Billboard 200 (96,000 equivalent album units, down 8%) and Wallen’s I’m the Problem is stationary at No. 3 (83,000, up 5%).
Tame Impala’s first full-length studio album in five years, Deadbeat, debuts at No. 4 with 70,000 equivalent album units earned. Of that sum, pure album sales comprise 37,000 (it debuts at No. 2 on Top Album Sales), SEA units comprise 33,000 (equaling 41.72 million on-demand official streams of the set’s tracks; it debuts at No. 7 on Top Streaming Albums) and TEA units comprise a negligible sum.
Deadbeat is the third top five (and top 10) project for Tame Impala, following 2020’s The Show Rush (No. 3) and 2015’s Currents (No. 4).
The new album was preceded by a trio of charted songs: “End of Summer” (No. 20 on Hot Rock & Alternative Songs, No. 7 on Hot Dance/Pop Songs), “Loser” (No. 15 on Hot Rock & Alternative Songs) and “Dracula” (No. 7 on Hot Rock & Alternative Songs, No. 19 on Alternative Airplay, No. 55 on the all-genre Billboard Hot 100).
Deadbeat’s first-week sales were bolstered by its availability across seven vinyl variants and five deluxe CD boxed sets (containing a copy of CD and branded merch), alongside a standard CD, cassette and digital download album.
Sabrina Carpenter’s chart-topping Man’s Best Friend is steady at No. 5 on the latest Billboard 200 (43,000 equivalent album units, down 5%) and Cardi B’s former leader AM I THE DRAMA? falls 4-6 (40,000, down 21%).
Olivia Dean’s The Art of Loving is pushed down 6-7, though it gains 1% in its fourth week on the chart (and fourth week inside the top 10).
SZA’s former No. 1 SOS holds at No. 8 (31,000 equivalent album units, down 2%), Wallen’s chart-topping One Thing at a Time rises 10-9 (30,000, down 3%) and Alex Warren’s You’ll Be Alright, Kid dips 9-10 (nearly 30,000, down 7%).
Trending on Billboard Volbeat scores a milestone No. 1 on Billboard’s Mainstream Rock Airplay chart, jumping two spots to the top of the Nov. 1-dated survey with “Time Will Heal.” Explore See latest videos, charts and news It’s the 12th leader for Volbeat and second in a row, following “By a Monster’s Hand,” which reigned […]
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Taylor Swift has held onto the top spots on both the U.K.’s Official Albums and Singles Charts for a third consecutive week (Oct. 24).
The Life of a Showgirl retains the No. 1 on the LPs chart, while its lead single “The Fate of Ophelia” extends its reign at the summit of the Singles Chart for a third consecutive week. The latter is Swift’s longest-running No. 1 single since “Anti-Hero” from 2022’s Midnights earned six weeks at No. 1; “Is It Over Now? (Taylor’s Version)” (2023) and “Fortnight” (2024) lasted just a single week each.
In its opening week, The Life of a Showgirl smashed numerous records on its way to No. 1 in the U.K. The record had the fastest-selling opening week since 2017 with 423,00 units, trailing only Ed Sheeran’s Divide (672,000). It also became the fastest-selling album on vinyl this century in the U.K., and was named the U.K.’s most-streamed album over the course of seven days in its opening week. She’s also occupied the top spot of the Billboard 200 for the past fortnight.
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The Life of a Showgirl is her 14th U.K. No. 1 album, she also extends her lead with the most No. 1s on the U.K. Albums Charts for an international artist, and now ties for second overall with The Rolling Stones (14). The top spot is also currently a tie between The Beatles and Robbie Williams who both have 15 apiece.
Elsewhere, The Last Dinner Party score the week’s highest new entry with their sophomore album From The Pyre, which Billboard U.K. described as making “good on years of industry hype with a definitive artistic statement.” Their 2024 debut Prelude to Ecstasy peaked at No. 1 upon release.
Olivia Dean’s breakout moment continues as she takes the No. 3 spot on the Official Albums Chart with The Art of Loving, and she lands at No. 2 on the Official Singles Chart with “Man I Need”. Earlier this month, Dean achieved a rare double for a British artist with concurrent No. 1s on the aforementioned charts.
Despite a divisive response from fans and critics, Tame Impala’s Deadbeat closes the week at No. 4 and gives Kevin Parker his third top five album after Currents (2015) and The Slow Rush (2020) which both peaked at No. 3.
There’s little change on the U.K. Singles Chart as, “Golden” from KPop Demon Hunters ends the week at No. 3, RAYE’s “Where Is My Husband!” lifts one place to No. 4 and Swift’s “Opalite” slips one place to No. 5.
Trending on Billboard Luke Combs earns his 19th No. 1 on Billboard’s Country Airplay chart as “Back in the Saddle” gallops three spots on the ranking dated Nov. 1, up 23% to 30.8 million audience impressions Oct. 17-23, according to Luminate. The single is expected to appear on Combs’ sixth studio album, due in early […]
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Australia’s latest chart week was pitched as a fight of two heavyweights. In one corner, Taylor Swift’s incumbent, The Life Of A Showgirl (via Republic/Universal). And in the other, Tame Impala’s long-awaited Deadbeat (Columbia/Sony).
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When the results were called, Swift’s Showgirl had packed enough glitter to retain the crown, and nab another chart double.
The Life Of A Showgirl retains top spot on the ARIA Albums Chart for a third successive week. According to ARIA, nine of her 14 leaders have logged at least three cycles at the summit, including Red (three weeks), 1989 (nine weeks), Lover (three weeks), Folklore (four weeks), Evermore (four weeks), Midnights (16 weeks), 1989 (Taylor’s Version) (14 weeks) and The Tortured Poets Department (eight weeks).
Kevin Parker slides in at No. 2 on the national chart with Deadbeat, the first new album release in five years from his psychedelic pop project, Tame Impala.
All five of Tame Impala’s studio albums have cracked the top 5 in Australia starting with Innerspeaker (from 2010) and Lonerism (2012), both of which peaked at No. 4. Tame Impala’s last two albums, Currents (2015) and The Slow Rush (2020), went all the way to No. 1.
Deadbeat is the best-selling title this week on vinyl.
Tame Impala has won 13 ARIA Awards, one BRIT Award, a Grammy, and belatedly cracked the Billboard Hot 100 for the first time earlier this month with Deadbeat single “Dracula.” On the current ARIA Singles Chart, “Dracula” sinks its teeth in for a No. 40 start. Only one Tame Impala song has charted higher in Australia, “The Less I Know The Better,” which reached No. 17 in 2015. “Dracula” is the only new release, and only homegrown title, in the top 50.
Staying with the national albums survey, published Friday, Oct. 24, Aussie heartthrob Ruel debuts at No. 6 with Kicking My Feet (Virgin Music Group/Universal), his third appearance in the top 10; and London indie band The Last Dinner Party enters the top tier for the first time with From The Pyre (Island/Universal), new at No. 7.
Western Australia’s The Southern River Band open their account at No. 16 with Easier Said Than Done (Orchard), for their appearance on the chart. The rockers are added to the lineup of the support acts for AC/DC’s stadium concerts this December in Perth, produced by TEG Van Egmond.
Several other local artists make a splash on the ARIA top 40, including Melbourne rock band Camp Cope (Live At Sydney Opera House at No. 20 via PCR), singer-songwriter Wilsn (Bloom at No. 31 via Mushroom), and country singer Andrew Swift (Lucky Stars at No. 33 via ABC/Orchard), while internationals Sabaton (Legends at No. 14 via BNM/MGM) and Ashnikko (Smoochies at No. 15 via WUK/Warner) make their mark.
It’s all about Taylor Swift on the ARIA Singles Chart, too, as “The Fate Of Ophelia” holds at No. 1 for a third week. It’s one of four Showgirl songs in the top 10, though “Opalite” (down 2-4), “Elizabeth Taylor” (down 5-7) and “Father Figure” (down 6-8) are losing their grip.
