State Champ Radio Chart Beat
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Blessd and Feid combine forces atop Billboard’s Latin Airplay chart, as the singer-songwriters’ first collaboration climbs from No. 7 to lead the list dated June 1. The new champ is the second team-up by two Colombian artists to rule the overall Latin radio tally in less than a year, after Shakira and Manuel Turizo united at No. 1 through “Copa Vacía” (one week in charge) in Oct. 2023.
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“Si Sabe Ferxxo” is one of eight collaborative cuts from Blessd’s 14-track album, Si Sabe, which earned the 24-year-old his first entry on any Billboard albums chart, debuting and reaching No. 29 and No. 15 high on the Top Latin Albums and Latin Rhythm Albums charts (dated Feb. 10), respectively.
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The song advances to the chart’s summit with a 28% gain in audience impressions, up to 8.5 million, earned in the U.S. during the May 17-23 tracking week, according to Luminate.
With “Si Sabe,” Blessd achieves his second No. 1 on Latin Airplay, following his three-way collab “Medallo,” with Justin Quiles and Lenny Tavarez, in May 2022.
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For Feid, “Si Sabe” becomes the hitmaker’s eighth No. 1 on the overall radio ranking, which began with “Porfa,” featuring J Balvin, Maluma, Nicky Jam, Sech and Justin Quiles, climbing to No. 1 in Aug. 2020. Here’s his collection of champs:
Peak, Title, Artist, Weeks at No. 1Aug. 29, 2020, “Porfa,” with J Balvin, Maluma, Nicky Jam, Sech & Justin Quiles, oneMarch 4, 2023, “Hey Mor,” with Ozuna, oneApril 15, 2023, “Yandel 150,” Yandel, fourAug. 19, 2023, “Niña Bonita,” with Sean Paul, oneJan. 13, 2024, “Bubalu,” with Rema, twoApril 20, 2024, “Perro Negro,” with Bad Bunny, oneMay 4, 2024, “Luna,” with Atl Jacob, twoJune 1, 2024, “Si Sabe Ferxxo,” with Blessd, one
As “Si Sabe Ferxxo” rises to No. 1, it unseats another Warner Latina song from the summit: Myke Towers’ “La Capi” dips 1-5 with a 25% decrease in audience impressions, to 7.71 million.
Elsewhere, thanks to its radio haul, “Si Sabe” rises 36-31 with the Greatest Gainer/Airplay honors of the week on the multi-metric Hot Latin Songs chart, which combines airplay, digital sales and streaming data.
All charts (dated June 1, 2024) will update on Billboard.com Wednesday, May 29, a day later than usual due to the Memorial Day holiday in the U.S. on Monday, May 27. For all chart news, you can follow @billboard and @billboardcharts on both X and Instagram.
Bad Bunny is no stranger to the top of Boxscore charts. In 2022, he led four monthly rankings and then crowned the year-end list of the highest grossing tours worldwide. Naturally, he also topped that year’s Top Latin Tours tally, before Karol G took over in 2023, staging her own sold-out North American stadium tour. Now, as Billboard recaps the biggest tours of April 2024, Bad Bunny and Karol G team up at Nos. 1 and 2 on Top Tours and Top Boxscores.
According to figures reported to Billboard Boxscore, Bad Bunny grossed $63 million and sold 210,000 tickets in April, logging his second consecutive month at No. 1. The Most Wanted tour’s three-night run at Brooklyn’s Barclays Center contributed $17.8 million of that total, taking the lead on Top Boxscores. Five of his 14 shows in April marked all-time venue highs, among the 16 venue records he’s set since beginning the tour in February.
Including 14 shows in May, the Most Wanted Tour has grossed $207.8 million and sold 703,000 tickets since kicking off in Salt Lake City. Bad Bunny has three more shows to go at San Juan’s Coliseo de Puerto Rico on June 7-9.
Just beneath, Karol G’s Mañana Será Bonito Tour banked $45.1 million and sold 419,000 tickets from nine shows. It’s No. 2 on the gross-based Top Tours chart, but is the best-selling tour of the month, as the only trek to move more than 300,000 and 400,000 tickets. It’s April highlight was three shows at Estadio Nacional in Santiago, Chile, which is No. 2 on Top Boxscores with a gross of $15 million from 168,000 tickets sold.
It’s the first time that two Latin artists top both charts in succession. On Bad Bunny’s five previous No. 1s, stadium rock and country supported at No. 2, via Elton John, Def Leppard & Motley Crue, and Zach Bryan. When Los Bukis and RBD were on top, Dead & Company and Coldplay were runners-up, respectively.
Both artists have been major contributors to Latin’s growing prominence on the Boxscore charts in the post-pandemic era. Bad Bunny was the first artist to finish at No. 1 on the year-end Top Tours ranking who primarily performs in any language other than English, after BTS wound up at No. 3 in 2019. Karol G’s nine-figure gross in 2023 assured that Bad Bunny’s success was not a one-off or a fluke.
Before COVID-19 turned venues dark in 2020, no Latin artist had a tour that grossed more than $200 million. Now, there have been five, two of which are Bad Bunny and Karol G’s ongoing highlights atop the April recap. In addition to Most Wanted Tour’s $207.8 million, the Mañana Será Bonito Tour has earned $263.8 million and sold 1.8 million tickets since launching last August.
To add to the current noise, the Luis Miguel Tour 2023-24 (No. 6) is up to $258.5 million, current through May 19. Plus, RBD concluded its reunion tour in December, with a final gross of $227.1 million.
The other $200-million Latin tour is Bad Bunny’s own World’s Hottest Tour, which grossed $314.1 million in 2022. Both current tours by Bad Bunny and Karol G are ongoing, but it’s unlikely that either will break the all-time high mark among Latin artists set by World’s Hottest Tour. While the former has just three shows remaining, the latter will play 18 dates in Europe in June and July.
Karol G has averaged $6 million and 41,800 tickets per show across North and South America. That pace would guarantee her the Latin touring record, but her shows in Europe will be mostly in arenas, which cuts the potential per-show attendance in half, at least. To boot, ticket prices are lower in Europe than the U.S., across genres.
Europe is an uncommon territory for Latin artists to sell out arenas and stadiums, but the final leg of the Mañana Será Bonito Tour, especially its final four shows at Madrid’s Estadio Santiago Bernabeau, will likely push its overall haul very close to, or over the $300 million mark.
In addition to Latin’s dominance, country artists take another three of the top 10 spots on Top Tours. Luke Combs is No. 3 with $35.7 million, Kenny Chesney is No. 7 with $18 million, and last month’s runner-up, Zach Bryan, is No. 10 with $12.3 million. Beyond the top 10, Kane Brown and Tyler Childers follow at Nos. 11-12, with $11.5 million and $11.4 million, respectively.
Madonna (No. 4) and Nicki Minaj (No. 5) solidify a woman-dominated top five, while pacing the month’s tours among pop and rap artists, respectively. The former is No. 3 on Top Boxscores, with a five-night engagement at Mexico City’s Palacio de los Deportes. Rounding out the proper routing of her Celebration Tour, those shows grossed $14.8 million and sold 82,400 tickets on April 20-21, 23-24 and 26.
While New York is often represented atop the Top Venues (15,001+ capacity) chart via Manhattan’s Madison Square Garden, Brooklyn’s Barclays Center takes the No. 1 spot for the first time in April, with $26.7 million and 99,200 tickets sold across seven shows. That’s an all-time high monthly rank and gross for the arena, having previously inched past the $20 million mark last July, when it sat at No. 2 behind MSG.
Kate Hudson has already achieved numerous accolades in her career, including an Academy Award nomination for her role as Penny Lane in Almost Famous, but now she has something else to add to her résumé: Billboard-charting artist on her own.
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Hudson’s debut studio album Glorious, released May 17 on HK Music/Virgin Records, debuts on each of the following charts this week (dated June 1):
Heatseekers Albums: No. 3
Top Album Sales: No. 10
Top Current Album Sales: No. 10
Vinyl Albums: No. 19
Independent Albums: No. 41
The 12-track set starts with 8,000 equivalent album units earned in the U.S. in its opening week (May 17-23), according to Luminate. Of that sum, 7,000 were in album sales, with 2,000 in vinyl. Its first week totals were aided by its availability across five vinyl variants (including exclusive iterations for Amazon, Barnes & Noble and Target, as well as a signed edition in the artist’s webstore) and a promotional partnership with TalkShopLive.
The album also helps Hudson debut at No. 5 on the Emerging Artists chart.
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Hudson teamed with Grammy Award-winner and Songwriters Hall of Fame inductee Linda Perry for much of the album, along with Johan Carlsson and Danny Fujikawa. The latter is Hudson’s fiancé and singer-guitarist in the band Chief. Carlsson was a member of the band Carolina Liar and has written and produced songs for Flo Rida, Ariana Grande, One Direction and Katy Perry, among others.
In a recent interview with Billboard, Hudson said that most of the set’s songs were written over a two-week period. “At one point, we wrote three songs in a day and Linda’s like, ‘I think we need to stop. I think we have two albums.’ We could have written forever.”
Hudson, who is managed by Sandbox Entertainment, signed with Virgin Music Group in February and released her first single under the deal, “Talk About Love,” Jan. 30.
Glorious earns Hudson her first solo entry on Billboard’s charts, following one collaborative hit. In September 2012, her role as dance teacher Cassandra July in the fourth season of Glee resulted in a Billboard chart placement following that season’s premiere episode. The Glee cast’s “Americano/Dance Again,” featuring Hudson, reached No. 25 on the Pop Digital Song Sales chart and No. 61 on Digital Song Sales. The song, in which Hudson performs in character, is a mashup of Lady Gaga’s “Americano” and Jennifer Lopez’s “Dance Again,” featuring Pitbull.
Along with Almost Famous, Hudson has also starred in box office hits including Bride Wars, Glass Onion and How to Lose a Guy in 10 Days.
Tommy Richman’s breakthrough hit “Million Dollar Baby” rises to No. 1 on the Billboard Global 200 and Sabrina Carpenter’s “Espresso” scores a third week atop the Billboard Global Excl. U.S. chart.
Plus, Billie Eilish debuts three songs in the top 10 of both the Global 200 and Global Excl. U.S., all from her new album, Hit Me Hard and Soft, and aespa notches its first Global Excl. U.S. top 10 with “Supernova.”
The Global 200 and Global Excl. U.S. charts, which began in September 2020, 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.
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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.
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Richman Cashes In on Global 200
Tommy Richman’s “Million Dollar Baby” pushes 2-1 on the Global 200 with 109 million streams (down 12%) and 8,000 sold (down 2%) worldwide May 17-23.
The Woodbridge, Va., native rules the Global 200 with his first overall Billboard chart entry as a lead artist. It’s just the third such No. 1, and the first R&B/hip-hop hit, among 61 total leaders since the list launched, following GAYLE’s “abcdefu” (four weeks at No. 1 in January-February 2022) and Jawsh 685’s “Savage Love (Laxed – Siren Beat),” with Jason Derulo and BTS (one week, October 2020).
Post Malone’s “I Had Some Help,” featuring Morgan Wallen, drops to No. 2 on the Global 200 a week after it debuted at No. 1 and Kendrick Lamar’s “Not Like Us” keeps at No. 3, two weeks after it arrived at the summit.
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Billie Eilish debuts three songs in the Global 200 top 10, all from her new LP, Hit Me Hard and Soft, which starts at No. 2 on the U.S.-based Billboard 200 albums chart. “Lunch” bows at No. 4, led by 95.3 million first-week worldwide streams, joined in the tier by “Chihiro” at No. 6 (77.1 million) and “Birds of a Feather” at No. 8 (64 million). Eilish ups her career count to seven Global 200 top 10s.
Rounding out the Global 200’s top five, Sabrina Carpenter’s “Espresso” drops 4-5, after hitting No. 2.
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Another Shot of ‘Espresso’
Sabrina Carpenter’s “Espresso” adds a third week at No. 1 on the Global Excl. U.S. chart, with 63.9 million streams (up 7%) and 3,000 sold (up 20%) outside the U.S. May 17-23.
Billie Eilish’s “Lunch” debuts at No. 2 on Global Excl. U.S., with 63 million streams outside the U.S., followed by her “Chihiro” (No. 4; 50.1 million) and “Birds of a Feather” (No. 9; 39 million). As on the Global 200, Eilish now boasts seven Global Excl. U.S. top 10s.
Tommy Richman’s “Million Dollar Baby” descends to No. 3 after reaching No. 2 on Global Excl. U.S. and FloyyMenor and Cris Mj’s “Gata Only” holds at No. 5, after hitting No. 3.
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Plus, aespa achieves its first Global Excl. U.S. top 10 as “Supernova” shoots 23-7, up 73% to 45.4 million streams outside the U.S. The South Korean quartet – comprising members Giselle, Karina, Ningning and Winter – tallied five prior top 40 hits on the chart: “Drama” (No. 21 peak, November 2023), “Spicy” (No. 40, June 2023), “Girls” (No. 25, July 2022), “Savage” (No. 24, October 2021) and “Next Level” (No. 34, June 2021).
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated June 1, 2024) will update on Billboard.com tomorrow, May 29, a day later than usual due to the Memorial Day holiday in the U.S. May 27. 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.
Post Malone’s “I Had Some Help,” featuring Morgan Wallen, spends a second week at No. 1 on the Billboard Hot 100 songs chart. The song soared in at the summit a week earlier, becoming Post Malone’s sixth leader and Wallen’s second. Notably, while “I Had Some Help” is the 27th hit to have topped both […]
Elvis Presley is one of history’s most successful artists by Billboard Hot 100 standards, even if you don’t take into account the numerous hits he had before the chart’s inception in 1958. There’s a reason why they call him The King. In fact, with seven Hot 100 No. 1s and 25 top 10 smashes overall, […]
For the first time in eight years, two albums earned over 300,000 equivalent album units in a single week in the U.S., according to Luminate. On the latest Billboard 200 albums chart (dated June 1), Taylor Swift’s The Tortured Poets Department holds atop the list for a fifth straight and total week with 378,000 units earned in the week ending May 23 (up 45%) and Billie Eilish’s new Hit Me Hard and Soft debuts at No. 2 with a career-best 339,000 units.
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The last time two albums each cleared 300,000 units in a week was on the chart dated May 21, 2016, when Drake’s Views debuted at No. 1 with 1.039 million units, while Beyoncé’s Lemonade fell 1-2 in its second week with 321,000 units.
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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 June 1, 2024-dated chart will be posted in full on Billboard‘s website on May 29, one day later than usual, owed to the Memorial Day holiday in the U.S. on May 27. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Since the Billboard 200 began ranking albums by equivalent album units, starting with the Dec. 13, 2014-dated list, there have only been five instances in which at least two albums have exceeded 300,000 units each in a single week. (Before that date, the chart was ranked by weekly traditional album sales.)
Here are the other three times at least two albums surpassed 300,000 units in a single week, with Swift also involved in the first such pairing:
On the May 14, 2016-dated chart, Beyoncé’s Lemonade bowed at No. 1 with 653,000 units, while Prince’s The Very Best of Prince fell 1-2 with 391,000 (after re-entering the list the week before, following his death).
The Dec. 5, 2015, chart saw a one-two punch of superstar debuts, when Justin Bieber’s Purpose started at No. 1 with 649,000 and One Direction’s final studio album, Made in the A.M., entered at No. 2 with 459,000.
On the Dec. 27, 2014, chart, J. Cole’s 2014 Forest Hills Drive launched at No. 1 with 375,000 units, while Swift’s 1989 slipped 1-2 with 324,000.
The U.K. singles chart race was something of a feast, as Sabrina Carpenter’s “Espresso” (Island) beat Billie Eilish’s “Lunch” (Interscope) for the title. Explore See latest videos, charts and news See latest videos, charts and news With its latest crown, confirmed Friday, May 24, “Espresso” extends its streak to four weeks. Carpenter’s breakout hit is […]
It’s Billie Eilish’s week in the U.K., as Hit Me Hard And Soft punches its way to No. 1 with personal-best results.
According to the Official Charts Company, Hit Me Hard And Soft (Interscope) knocks out 67,100 chart units in its first seven days, easily surpassing the opening week for her 2019 leader When We All Fall Asleep, Where Do We Go?, which bowed with 48,400 units.
With that effort, Eilish hits a perfect three-from-three with her studio albums (When We All Fall Asleep, Where Do We Go? and 2021’s Happier Than Ever also debuted at the summit), and bags the second-biggest opening week for any album in the U.K. this year, behind only Taylor Swift’s The Tortured Poets Department, which shifted a mighty 270,000 U.K. chart units in just seven days.
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Also, three tracks from the California alternative pop phenomenon’s latest LP crack the national top 10, led by “Lunch” at No. 2, ahead of “Chihiro” (No. 7) and “Birds Of A Feather” (No. 9), lifting her career tally of U.K. top 10 hits to 12.
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The runaway leader on the midweek chart, when it was outselling the rest of the top 5 combined, Hit Me Hard And Soft knocks Swift from the summit, as Tortured Poets (via EMI) dips 1-2, while Zayn lands a No. 3 start with Room Under The Stairs (Republic Records). That’s the former One Direction singer’s third top 40 solo appearance, following 2016’s chart-leading Mind of Mine and 2021’s Nobody is Listening, which peaked at No. 17.
Further down the Official U.K. Albums Chart, Portishead singer Beth Gibbons debuts at No. 7 with her first solo studio album, Lives Outgrown (Domino Recordings), while legendary Guns N’ Roses guitarist Slash earns a No. 8 entry with his star-studded collection, Orgy of the Damned (Gibson).
Finally, Michael Head & the Red Elastic Band scores a second U.K. top 10 with Loophole (Modern Sky), new at No. 10.
Taylor Swift’s The Tortured Poets Department snags a fifth straight and total week at No. 1 on the Billboard 200 albums chart (dated June 1), as the title earned 378,000 equivalent album units in the U.S. in the week ending May 23 (up 45%), according to Luminate. The set posted its first weekly gain in units following the release of six new digital album download variants and a new CD variant, along with a stock replenishment of the previously available four deluxe CD editions and the signed CD edition of the album — all of which were sold exclusively in Swift’s webstore.
Poets is the first album to spend its first five weeks at No. 1 since Morgan Wallen’s One Thing at a Time led for its first 12 weeks a year ago (March 18-June 3, 2023-dated charts).
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With 378,000 units earned in Poets’ fifth week, the set scores the largest fifth-week for any album since Adele’s 25 tallied 1.193 million units in its fifth frame (chart dated Jan. 9, 2016).
Swift adds her 74th 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 leaders. (She’s tied with Jay-Z for the most No. 1s among soloists.)
Also in the top 10 of the new Billboard 200, Billie Eilish’s new studio album Hit Me Hard and Soft debuts at No. 2 with 339,000 equivalent album units — her largest week ever by units earned. Of that sum, 191,000 are traditional album sales — her best sales week yet.
Notably, with the Nos. 1 and 2 albums both exceeding 300,000 units, it’s the first time that two albums have cleared 300,000 in the same week in eight years. (More on that later in the story.)
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 June 1, 2024-dated chart will be posted in full on Billboard‘s website on May 29 — one day later than usual, owed to the Memorial Day holiday in the U.S. on May 27. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of The Tortured Poets Department’s fifth-week unit sum of 378,000, album sales comprise 210,000 (up 413%, making it the top-selling album of the week at No. 1 on Top Album Sales), SEA units comprise 166,500 (down 23%, equaling 216.9 million on-demand official streams of the deluxe album’s 31 songs; it’s also No. 1 on the Top Streaming Albums chart) and TEA units comprise 1,500 (down 17%).
The Tortured Poets Department’s weekly increase was supported by the continued sturdy sales of the 20-plus existing different iterations of the album and an added boost during the tracking week by a stock replenishment in Swift’s webstore of certain editions, along with the release of a handful of new variants (all of which were only available to U.S. customers).
During the tracking week, Swift issued six new digital album download variants of the album via her webstore, and all were available for a limited time for $5.99 apiece. Each contained the original standard 16-song album tracklist, along with one unique bonus track. There were three editions with a “first draft phone memo” recording (“Who’s Afraid of Little Old Me?,” “Cassandra” or “The Black Dog”). There were also three editions with one live recording each from her recent Paris shows during The Eras Tour (“loml,” “My Boy Only Breaks His Favorite Toys” and “The Alchemy x Treacherous Mashup”).
In the week ending May 23, The Tortured Poets Department sold 77,000 digital albums (across all of the set’s available iterations, both new and old) — a gain of 1,184% compared to the previous week (6,000).
Also new in the tracking week were sales generated from a new CD variant of the album, exclusively sold in Swift’s webstore, which contained the standard 16-song album plus a new bonus track, an acoustic version of the album’s “But Daddy I Love Him.” The CD was sold for 24 hours on May 9 for $7.99. When customers ordered the album, a shipment date was not stated on Swift’s store. (Sales of physical albums from internet mail order companies, such as Swift’s store, or Amazon and other similar web-based retailers, count on the chart in the week they ship to customers.)
The album also got help from a stock replenishment in Swift’s webstore of five previously available editions of the CD: a signed edition and the four deluxe CDs. The signed album was on sale in Swift’s webstore May 14-16 for $25, and a shipment date was not stated at the time of purchase. The four deluxe CDs (in expanded packaging, containing branded merchandise) were available to purchase May 7-8 for $17.99 each, and a shipment date of “on or before May 31, 2024” was noted at the time of sale.
In the week ending May 23, The Tortured Poets Department sold 121,000 copies on CD (across all of its CD iterations) — a gain of 564% compared to the previous week (18,000). (Sales of the album on vinyl decreased by 29% in the tracking week to 12,000, from 17,000 in the previous week).
At No. 2 on the new Billboard 200, Billie Eilish’s new studio album Hit Me Hard and Soft debuts with 339,000 equivalent album units earned — Eilish’s biggest week ever. Of that sum, album sales comprise 191,000 (her best sales week), SEA units comprise 166,500 (equaling 193.93 million on-demand official streams of the set’s 10 songs) and TEA units comprise 1,500. Notably, of the 191,000 in sales, vinyl sales accounted for 90,000 — Eilish’s best sales week on vinyl ever.
Eilish’s previous high-water mark in terms of equivalent album units was the debut of When We All Fall Asleep, Where Do We Go? in 2019, when it registered 313,000 units. Her previous biggest sales week was also the opening frame of When We All Fall Asleep, with 170,000.
The new set is Eilish’s third to reach the top two on the chart (and top 10), as she previously led the tally with Happier Than Ever (in 2021) and When We All Fall Asleep.
The new album’s sales were supported by its availability across nine vinyl editions of the album (in assorted colors — some exclusive to specific retailers; one of the editions was signed and sold only in Eilish’s webstore — all with the same tracklist), four CD editions (a standard CD, a signed CD sold in her webstore, a “splatter” CD sold in her webstore where Eilish splattered paint across the CD booklets en masse and then those were collated into their packaging, and a Target-exclusive CD containing a poster), one cassette tape, a standard digital album, and three deluxe digital sets (a standard digital album with 10 bonus isolated vocal tracks of the album’s 10 songs, a version with 10 bonus sped-up versions and a version with 10 bonus “slowed and reverb” versions). The deluxe digital edition with isolated vocals sold for $9.99 while the other two iterations sold for $6.99 (and were only available for a limited time).
Eilish announced Hit Me Hard and Soft on April 8. The set was not preceded by any pre-release singles or music — though she did tease a few snippets in some interviews and appearances. On May 15 and 16, she staged two listening events at Barclays Center in New York and the Kia Forum in Inglewood, Calif. Additionally, AMC Theatres screened a listening event on May 16-17 across more than 100 theaters in the U.S. On May 17, the day of the album’s release, Eilish dropped an official music video for the set’s “Lunch.” A world tour supporting the new album was announced on April 29 and will kick off on Sept. 29, with dates scheduled through July 2025.
With both The Tortured Poets Department and Hit Me Hard and Soft exceeding 300,000 equivalent album units each, it marks the first time two albums have each cleared 300,000 in a single week in eight years. It last happened on the chart dated May 21, 2016, when Drake’s Views debuted at No. 1 with 1.039 million units, while Beyoncé’s Lemonade fell 1-2 in its second week with 321,000 units.
Morgan Wallen’s chart-topping One Thing at a Time is a non-mover on the new Billboard 200 at No. 3 with 75,000 equivalent album units earned (down less than 1%). Gunna’s One of Wun falls 2-4 in its second week (56,000; down 38%), and Future and Metro Boomin’s former leader We Don’t Trust You dips 4-5 (48,000; down 10%).
Wallen’s former No. 1 Dangerous: The Double Album is pushed down 5-6 despite a 2% gain (to 45,000 equivalent album units), Noah Kahan’s Stick Season slides 6-7 (38,000; down 4%), Zach Bryan’s chart-topping self-titled album is stationary at No. 8 (38,000; up 1%), SZA’s former leader SOS slips 7-9 (37,000; down 3%) and Benson Boone’s Fireworks & Rollerblades descends 9-10 (33,000; down 6%).
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.
