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It’s zero shock that Taylor Swift finishes her first frame for new album The Tortured Poets Department: After all, she already boasted the decade’s two biggest debuts, for 2022’s Midnights (1.578 million equivalent album units) and 2023’s 1989 (Taylor’s Version) (1.653 million units), and has only kept getting bigger in the months since those releases. Still, the exact opening number for Poets is staggering: 2.61 million units, according to Luminate, more than any album since Adele’s 25 bowed with 3.48 million in late 2015.
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The 16-track set — which Swift expanded to 31 with its Anthology edition — also debuts all of its songs on the Billboard Hot 100, while occupying each of the chart’s top 14 slots. The Hot 100 takeover is led by the album’s leadoff cut, the Post Malone collab “Fortnight,” which becomes Swift’s 12th No. 1 on the chart. Despite all its early commercial achievements, the album’s critical reception has been more mixed to start, with many criticizing the set’s length and repetitiveness.
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How did the album achieve its eye-popping first-week numbers? And will Swift’s album releases likely get smaller or even bigger from here? Billboard staffers debate these questions and more below.
1. The final first-week number for The Tortured Poets Department is 2.6 million, easily the best number of Swift’s career and the finest single-week tally since Adele’s 25 nearly a decade ago. Is that number higher, lower or about what you expected for the TTPD debut?
Hannah Dailey: I don’t think anyone could’ve predicted that the number would be so insanely high, but I did expect that TTPD would earn Swift her biggest opening week yet. It’s well established that the pop star’s spotlight has never been brighter than in the past year, thanks to the Eras Tour, her high-profile breakups from Joe Alwyn and Matty Healy and even higher-profile romance with Travis Kelce, as well as the chart/awards success of Midnights — so it was a given that more people than ever would be tuning in.
Stephen Daw: It feels strange to say that record-breaking numbers felt “expected,” but this is Taylor Swift we’re talking about. With every subsequent release — which seem to be coming more and more frequently for the singer/songwriter — she manages to break the records that she set with her last release, so it stands to reason that Tortured Poets would manage to best her Midnights and 1989 (Taylor’s Version) sales numbers.
Kyle Denis: Around what I expected. Swift is undeniably at her commercial peak right now, and she was able to leverage the breadth of that power with gargantuan 31-song tracklist and 19 different variants of the album.
Jason Lipshutz: Much higher. Considering the expectations-shattering run that Taylor Swift is on right now, I shouldn’t be surprised that The Tortured Poets Department scored the biggest bow of the 2020s with ease… but still, 2 million is a stratosphere that not even Swift herself has approached in the past, let alone an additional 600,000 units on top of that. I mean, TTPD blew the Midnights debut out of the water — and Midnights really wasn’t that long ago? This No. 1 feat demonstrates just how much higher Swift’s superstardom has climbed recently, her music becoming a monoculture unto itself that everybody needs to check out or purchase.
Andrew Unterberger: Yeah higher. Over two million felt realistic, but I still thought it would be more of a peeking-its-head-over-two-million figure than one actually even closer to three million. It wasn’t even two years ago we were legitimately wondering whether another one-million-unit first week would happen again this decade; for Swift to come within shouting range of triple that is pretty wild.
2. What would you point to as being the biggest factor in Swift not only beating the already-historic first-week tallies of Midnights and 1989 (Taylor’s Version) with her TTPD debut, but clearing both by around a million units each?
Hannah Dailey: I think TTPD would have blown Midnights and 1989 out of the water no matter what, if nothing else because of how excited fans and haters alike were to scour the new lyrics for clues about her mystifying private life and famous love interests. But there’s no doubt in my mind that Swift’s surprise double album announcement is what sent the project over the two-million mark, inciting some listeners to purchase twice as many copies as they would have otherwise. She’s playing the numbers game, and she’s winning.
Stephen Daw: The short answer is the fact that the album was made available in more than 20 different formats certainly helped that Swift reach that astronomical figure. The much longer answer is that timing played a very key factor here. Between the ongoing Eras Tour and her extremely high-profile celebrity romance, Taylor Swift is currently dominating cultural discussions across the wide spectrum of what we consider entertainment. Fan interest in all things Taylor Swift has never been higher, and from the moment she announced Tortured Poets at the Grammys, Swifties have remained in a near-constant state of frenzy over the album’s release. To me, there was no world in which this album wouldn’t beat Midnights and 1989 (Taylor’s Version) by some ridiculous margin.
Kyle Denis: This is Swift’s first LP of all-new material since kicking off the Eras Tour. Since the record-breaking tour began – and her subsequent high-profile relationships with Matty Healy and Travis Kelce – she’s had her star grow even bigger, as impossible as that might have seemed. Her celebrity, brand and audience reach are bigger than ever – and she was already operating at pop music’s pole position before any of that.
As an album, Tortured Poets is also acutely aware of how deeply it delves into nearly two decades of Taylor Swift lore at a level that, a lot of the time, only die-hard fans understand. While the growth of her celebrity broadened her general reach, the material on Tortured Poets intensified how fans interacted with the album – whether that be countless listens on a streaming site or multiple purchases of the album’s different configurations to ensure every last song is in their possession.
Jason Lipshutz: The biggest tangible factor is probably the length of the album — more than twice as long as Midnights, which was always going to boost the TTPD streaming totals by comparison. Yet the most important factor here is intangible: Swift is just so much more enormous now than she was even 18 months ago — thanks in large part to the record-shattering Eras tour, as well as all of the success she’s achieved with her recent re-recorded albums, plus “Cruel Summer” becoming one of the biggest hits of 2023 after being released four years prior. Simply put, the numbers keep ballooning because Swift’s dominance in popular music keeps growing. Forget the track list length, vinyl production and romantic-drama intrigue; no matter how this album came out, it was likely becoming the biggest debut of Swift’s career.
Andrew Unterberger: It’s timing and planning. Any Swift album would have done massive numbers released a year after she set the new standard for contemporary pop superstardom, and the same year that she dominated both music’s biggest night and sports’ biggest night in consecutive weekends. But 31 tracks and nearly as many physical variants also helps, certainly.
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3. “Fortnight” leads the pack for Swift on the Hot 100 with its No. 1 debut, but she owns each of the 13 spots beneath it with TTPD tracks as well. Do you see “Fortnight” as a long-lasting hit from this album — and which of the other tracks do you think has the best chance of challenging it as the set’s biggest hit?
Hannah Dailey: Two years ago, I thought that “Anti-Hero” would fall from No. 1 after its first week on the chart. It ended up staying there for eight weeks. So, this time, I’m going to trust Swift’s instincts, if not my own, and say that “Fortnight” is smash hit potential and will indeed remain at the top for a while. But if another song were to give it a run for its money, it would be “Down Bad” or “I Can Do It With a Broken Heart” — both of which debuted in the top 3 and have boundless opportunities for TikTok virality.
Stephen Daw: Of the songs off TTPD, “Fortnight” feels like one that will stick around for a while — Taylor and Posty sound great together, and the song’s mid-tempo, atmospheric feel brings something a little bit different to pop radio. But I feel fairly confident that “Down Bad” will end up being the breakout hit from TTPD. It’s got the pure pop sensibility of 1989, the seething pettiness of Reputation and the more laid-back sensibilities of Folklore and Evermore. A seamless blend of the things fans are looking for in a Taylor Swift hit, “Down Bad” can only go up from here.
Kyle Denis: I think “Fortnight” will stick around for a bit, but I doubt it truly follows in the footsteps of “Anti-Hero.” With “Who’s Afraid of Little Old Me” already going viral on TikTok, there’s hit potential there. I’d also put my money on “Down Bad” and “But Daddy I Love Him” to make something shake.
Jason Lipshutz: Maybe it won’t replace “Anti-Hero” as her longest-lasting Hot 100 No. 1 hit, but yes, “Fortnight” is positioned for a lengthy run at or near the top of the Hot 100, with strong harmonic chemistry between Swift and Post Malone and a hook that sneaks up on the listener after fully blooming in the back half of the song. It’s the most obvious single choice from TTPD to me, although I do think “Down Bad” is going to have a pronounced commercial moment — let’s get that tear-soaked gym-set music video rolling ASAP.
Andrew Unterberger: “Fortnight” sounds like a smash to me, but it will not be able to simply dominate the Hot 100 for months (or even multiple weeks) by default like it might have in years past — not with rising hits from Sabrina Carpenter, Shaboozey and Tommy Richman already nipping at its heels, and not with a world-stopping Kendrick Lamar diss record entering the fray today as well. It will need to maintain momentum at streaming while growing rapidly at radio — something it certainly has the potential to do, but which we can’t necessarily assume, even from Taylor Swift’s new single.
If it fades, I could see “I Can Do It With a Broken Heart” passing it. The fact that “Heart” debuts at No. 3 on the Hot 100 despite appearing 14th in the album’s tracklist shows that fans are already isolating it as a favorite from the project in huge numbers.
4. While the commercial response to TTPD has of course been overwhelming, the critic and fan response has been a little more mixed this time around for Swift, with many citing a lack of quality control among the set’s 16 tracks (31 in the deluxe Anthology version). Do you think the mixed response will have any impact on Swift’s ever-growing superstardom, or will her unprecedented rise just continue upwards from here?
Hannah Dailey: I wouldn’t be surprised if positive public opinion about Swift ebbs a little bit after TTPD, but her superstardom will be just fine. It doesn’t matter if people are saying good or bad things about her; as long as they continue discussing her at length in any capacity, she’ll stay at the forefront of pop culture and find even more ways to use that discourse to springboard herself to previously unheard-of heights.
But, if quality control of her image as an artist – and not just a celebrity — is important to her, then she may want to take criticisms about quality control in her music seriously. TTPD is very good. But just imagine what she could make alongside a few new collaborators with fresh perspectives and a less heavy-handed approach, one that forces her to leave room only for her bestest ideas.
Stephen Daw: How does one stop a runaway train? Especially with the way that some of Swift’s fans have been mercilessly going after music critics for doing their jobs over the last two weeks, I think it’s fair to say that her stardom isn’t cooling down any time soon. With a two more re-recordings still due to come from Taylor, as well as the European dates of her Eras Tour, Taylor is not in any danger of losing relevance for the foreseeable future.
Kyle Denis: Everyone and everything hits a ceiling, and Swift might be approaching hers. I think the mixed response can be easily mitigated by a new re-recording – the circumstances are certainly starting to align for Reputation (Taylor’s Version) — or a new album with more quality control and a new sound. Nonetheless, I do think the mixed reactions are slightly indicative of Taylor fatigue across the board. The Swifties will always be there, but I can see a scenario in which casual listeners feel less inclined to check in post-Tortured Poets.
Jason Lipshutz: Following a little more than a week of discourse, it’s even more clear to me that TTPD is going to function like the 2020s version of Reputation — mainstream listeners will continue to be polarized, but Swift diehards will wrap their arms around it as an idiosyncratic opus that captures their favorite superstar’s psyche, messy sprawl of the track list and all. In the same way that Reputation didn’t slow down Swift’s commercial enormity one bit, TTPD is a behemoth that also feels like a personalized note to the most attentive fans, a combination that will keep Swift growing ever still.
Andrew Unterberger: I think it’s not so much about the quality of TTPD and its dozens of tracks as it as about the sheer amount of Swift we’ve been inundated with the past four years — not just in the pop-culture ubiquity sense, but in the mind-boggling volume of new tracks she’s released over that time. A little time and distance will be kinder to a lot of these songs, and certainly it’s not like folks are gonna be likely to brush off new Swift music anytime soon, but it still might be a good idea for her to chill on the new releases (or at least downscale ’em a little bit) for the next couple years or so.
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5. Adele’s 25 moved 3.48 units in its first week — a still mind-boggling number that many of us thought would never even be approached again. Swift has gotten closer than many would have expected, but she still has a decent gap to make up. What percentage chance would you give her of passing Adele’s seemingly unreachable first week at some point in her career?
Hannah Dailey: We’ve all learned not to underestimate Taylor Swift, but at the same time, I feel like TTPD would’ve been the album to surpass 25 if Swift had it in her. So for now, I’ll give her 50%. You never know, especially with her.
Stephen Daw: I’m going to be conservative and say it’s a 50/50 tossup. If anyone is going to manage to beat Adele, it will be Taylor Swift — but if the immediate, ridiculous sales numbers of TTPD aren’t able to stack up to 25, then it’s hard to imagine a future Taylor Swift album that could.
Kyle Denis: Above 50%. Taylor’s a consistent seller and smart businesswoman, it’s really all about timing with her. It’s possible that, with a longer pre-order window and Scorpion-esque playlist takeovers, Tortured Poets could have come closer to 25’s numbers. That said, something tells me that if she was ever going to pass 3.48 million units in the first week, 1989 (Taylor’s Version) and Tortured Poets were her best bets.
Jason Lipshutz: 3%. Never say never, but that number just looks too far out of reach for modern music consumption. At the very least, that number gives Swift something to aim for when the TTPD follow-up arrives.
Andrew Unterberger: Maybe 25%. This does feel like it was her best shot, but Swift didn’t get to where she is by accepting “close but not quite,” so I imagine she’ll continue trying for it. 2.6 million isn’t a world removed from 3.5 million, though it’s still far enough that it’s not a gap to be bridged with a couple more vinyl variants or another bonus disc of leftover cuts. I don’t know how she might do it, but I do know that I wouldn’t feel comfortable betting against her doing so.
Taylor Swift breaks a pair of records on Billboard’s Streaming Songs chart dated May 4 with music from new album The Tortured Poets Department.
She becomes the first act to occupy the entire top 15 of the Streaming Songs list, and she also appears on the ranking with 31 different songs – the most in one week by any act. (Streaming Songs’ inaugural chart was published in 2013.)
She leads the survey with “Fortnight,” featuring Post Malone. The song bows at No. 1 with 76.2 million official U.S. streams accrued April 19-25, according to Luminate.
It’s Swift’s ninth No. 1 and first since “Is It Over Now? (Taylor’s Version) [From the Vault],” which crowned the tally for two weeks last November. She first reigned with “Shake It Off” in 2014.
With nine No. 1s, Swift puts some distance between herself and Ariana Grande and Justin Bieber for the second-most rulers in the chart’s history.
Most No. 1s, Streaming Songs
20, Drake
9, Taylor Swift
6, Ariana Grande
6, Justin Bieber
5, Travis Scott
As for featured artist Post Malone, it’s his third Streaming Songs leader and first since 2019, following “Sunflower (Spider-Man: Into the Spider-Verse)” with Swae Lee.
“Fortnight” is followed by “Down Bad,” which ranks at No. 2 with 50.1 million streams. Swift occupies the entire top 15, down to “I Can Fix Him (No Really I Can),” via 28.1 million streams.
Grabbing the top 15 breaks a record previously held by Drake, who snagged the top 14 of the Sept. 18, 2021, ranking via songs from his album Certified Lover Boy.
The entirety of The Tortured Poets Department – 31 songs in all – also makes the chart, down to “Robin,” which debuts at No. 44 with 12.5 million streams. That’s also a record; the mark for most songs on a single Streaming Songs survey had previously gone to Morgan Wallen, who occupied 30 of the 50 positions on the March 18, 2023, list with music from the set One Thing at a Time.
Concurrently, as previously reported, “Fortnight” debuts at No. 1 on the multimetric Billboard Hot 100, taking the top 14 in the process. The Tortured Poets Department also debuts atop the Billboard 200.
Sabrina Carpenter’s “Espresso” is piping hot in the U.K., where it leads the chart race for the first time.
The American singer and actor has a bonafide hit on her hands with “Espresso” (Island), which debuted at No. 6 on the national chart, following its release April 11, and has continued to climb ever since.
“Espresso” is her first top 10 and fourth top 40 appearance on the U.K. chart, following “Feather” (No. 19 peak), “Skin” (No. 28) and “Nonsense” (No. 32).
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Carpenter can’t take it to the bank. Taylor Swift’s “Fortnight” featuring Post Malone dips 1-2 on the Official Chart Update, and, based on early sales and streaming data published by the Official Charts Company, is less than 1,000 chart units behind. “Fortnight” last Friday, April 26, opened at No. 1 on the Official Chart, for Swift’s fourth leader, while its parent LP The Tortured Poets Department (EMI) rampaged its way to the summit of the albums chart, for her 12th leader and third chart double.
Another track from Swift’s double album could debut in the top 10, “I Can Do It With A Broken Heart.” It’s new at No. 7 on the Official Chart Update, and could lift her career tally of U.K. top 10s to 29.
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Country music has enjoyed a revival on the U.K. charts, first with Beyonce’s No. 1 album Cowboy Carter (Columbia/Parkwood Ent), then Dasha’s single “Austin.” Shaboozey is getting in on the act with “A Bar Song (Tipsy)” (via American Dogwood/Empire), which lifts 27-8 on the chart blast and is set to give the U.S. artist his first U.K. top 10.
Dasha’s “Austin” (Warner Records), meanwhile, is predicted to hold at No. 10.
All will be revealed when the Official U.K. Singles Chart is published late Friday, May 3.
A new partnership reaches No. 1 on Billboard’s Latin Airplay chart (dated May 4), as Feid and ATL Jacob’s “Luna” rises 2-1 to lead the 50-track-deep ranking. The song becomes the 11th collaboration in 2024 to land at the summit, with three of them Feid collabs.
“Luna,” released on Universal Music Latino/UMLE, ascends to the top slot from No. 2 after a 15% increase to 10.73 million audience impressions on U.S. reporting radio stations during the April 19-25 tracking week, according to Luminate. The new No. 1 unseats Prince Royce and Gabito Ballesteros’ “Cosas de La Peda,” which spent one week in charge. It falls to No. 3 with 8.33 million in audience, down 23%.
“Luna,” produced by ATL Jacob, where the latter also provides background vocals, is one of ten cuts from Feid’s Ferxxocalipsis set, which earned the Colombian a third top 10 on Top Latin Albums (No. 9 debut last December). The song generated significant attention only after Feid shared an acoustic version on his Instagram account in January, thus followed a No. 20 launch on Latin Rhythm Airplay in February, where it holds at No. 1 in its second week.
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With the new champ, American rapper ATL Jacob checks into the penthouse on the overall Latin Airplay tally for the first time. Feid, meanwhile, picks up his seventh No. 1 among 14 career entries. Further, as “Luna” shakes up the scoreboard, here’s a look at the 11 collabs, whether through co-billed or three-way combined efforts, that hit No. 1 on Latin Airplay in 2024:
Title, Artist, Peak Date“Según Quien,” Maluma & Carín León, Jan. 6“Bubalu,” Feid & Rema, Jan. 13“Harley Quinn,” Fuerza Regida & Marshmello, Feb. 3“Borracho y Loco,” Yandel & Myke Towers, Feb. 17“Qlona,” Karol G & Peso Pluma, March 2“Por El Contrario,” Becky G, Leonardo Aguilar & Angela Aguilar, March 9“No Es Normal,” Venesti, Nacho & Maffio, March 16“Puntería,” Shakira & Cardi B, April 6“Perro Negro,” Bad Bunny & Feid, April 20“Cosas de La Peda,” Prince Royce & Gabito Ballesteros, April 27“Luna,” Feid & ATL Jacob, May 4
In addition to its Latin Airplay control, “Luna” ascends 9-8 on the multi-metric Hot Latin Songs chart, which combines airplay, streaming data, and downloads, despite a 6% dip in streams, to 3.5 million official U.S. streams generated during the same period.
“Luna” is one of the 36-song setlist on Feid’s Ferxxocalipsis Tour, the North American 27-date run that launched in Sacramento April 24 and will close in Miami on July 26.
All charts (dated May 4, 2024) will update on Billboard.com tomorrow, April 30. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Shaboozey’s “A Bar Song (Tipsy)” bounds to No. 1 from No. 6 on Billboard’s Hot Country Songs chart (dated May 4). The song, which interpolates J-Kwon’s 2004 hip-hop classic “Tipsy,” marks the first leader on the list for the Virginia native (born Collins Obinna Chibueze).
“A Bar Song (Tipsy)” surged by 95% to 20.9 million official U.S. streams; 1,202% to 170,000 radio airplay audience impressions; and 48% to 14,000 sold April 19-25, according to Luminate.
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Notably, as Shaboozey dethrones Beyoncé’s “Texas Hold ‘Em,” which reigned for the past 10 weeks, two Black artists have led back-to-back for the first time since Hot Country Songs became an all-encompassing genre ranking in 1958.
Shaboozey guests on two tracks on Beyoncé’s LP Cowboy Carter, which leads Top Country Albums for a fourth week (with 66,000 equivalent album units): “Spaghettii” (also with Linda Martell) and “Sweet * Honey * Buckiin’.” He recently told Billboard that he’s “so happy to have such a powerhouse of an artist that chose to take this journey to country, so it’s amazing to be a part of that.”
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A week earlier, Shaboozey soared to No. 1, from No. 34, on the Emerging Artists chart and “A Bar Song (Tipsy)” topped Digital Song Sales and Country Digital Song Sales, marking his first coronations on Billboard’s charts. He adds a second week atop Emerging Artists, while the track paces Country Digital Song Sales for a second frame.
The song is the lead single from Shaboozey’s American Dogwood/EMPIRE album Where I’ve Been, Isn’t Where I’m Going, due May 31. He previously released the sets Cowboys Live Forever, Outlaws Never Die in 2022 and Lady Wrangler in 2018. He told Billboard that he describes the new LP as “a little bit of this genre that even Cowboy Carter created, just a bit of everything. A lot of country, but some hip-hop moments on there, too. But a lot of my personal story and journey.”
J-Kwon’s “Tipsy” ruled the Hot Rap Songs chart for five weeks and hit No. 2 on both the Billboard Hot 100 and Hot R&B/Hip-Hop Songs in 2004. The St. Louis rapper recently told Billboard of Shaboozey’s revival of the song, “It really ain’t even paying homage … let’s say it like this: we did that together, and I’m proud of him.”
All charts dated May 4 will update on Billboard.com tomorrow, April 30.
Taylor Swift is having a historic week on Billboard’s charts (dated May 4). On top of earning her 14th career No. 1 album on the Billboard 200 with The Tortured Poets Department, she sets numerous new records across Billboard’s charts, including on the Billboard Hot 100.
As previously reported, the set launches at No. 1 on the Billboard 200 with 2.61 million equivalent album units earned in its opening week, according to Luminate. That’s the second-biggest week by that metric since Billboard began measuring the week’s most popular albums by equivalent album units in 2014, after Adele’s 25 (3.482 million, Dec. 12, 2015).
As Swift earns her 14th career Billboard 200 No. 1 album, she ties Jay-Z for the most among soloists. Overall, only The Beatles have more (19).
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Further, all 31 songs from the deluxe version of The Tortured Poets Department debut on the latest Hot 100, including the entire top 14 – the biggest takeover ever from No. 1 on down. Here’s a recap (all of which are debuts except where noted):
Rank, Title:No. 1, “Fortnight,” feat. Post MaloneNo. 2, “Down Bad”No. 3, “I Can Do It With a Broken Heart”No. 4, “The Tortured Poets Department”No. 5, “So Long, London”No. 6, “My Boy Only Breaks His Favorite Toys”No. 7, “But Daddy I Love Him”No. 8, “Florida!!!,” feat. Florence + The MachineNo. 9, “Who’s Afraid of Little Old Me?”No. 10, “Guilty as Sin?”No. 11, “Fresh Out the Slammer”No. 12, “loml”No. 13, “The Alchemy”No. 14, “The Smallest Man Who Ever Lived”No. 20, “I Can Fix Him (No Really I Can)”No. 21, “Clara Bow”No. 23, “thanK you aIMee”No. 24, “So High School”No. 25, “The Black Dog”No. 26, “imgonnagetyouback”No. 30, “The Albatross”No. 32, “The Prophecy”No. 34, “I Hate It Here”No. 35, “How Did It End?”No. 36, “Chloe or Sam or Sophia or Marcus”No. 39, “I Look in People’s Windows”No. 41, “Cruel Summer” (down from No. 13; spent four weeks at No. 1)No. 44, “Cassandra”No. 46, “Peter”No. 47, “The Bolter”No. 51, “The Manuscript”No. 55, “Robin”
Thanks to her previously-charting No. 1 hit “Cruel Summer,” revived from her 2019 album Lover, Swift lands 32 total songs on the Hot 100. In the chart’s 65-year history, that’s the most among women in a single week. Overall, only Morgan Wallen has charted more songs – 36 – in one week, when his album One Thing at a Time opened atop the Billboard 200 dated March 18, 2023.
Most Entries on the Hot 100 Single WeekHot 100 Entries, Artist, Chart Week36, Morgan Wallen, 3/18/202332, Taylor Swift, 5/4/202428, Morgan Wallen, 3/25/202327, Drake, 7/14/201826, Taylor Swift, 11/27/202125, Taylor Swift, 7/22/202325, Lil Baby, 10/29/202224, Drake, 10/21/202324, Drake, 7/21/201824, Drake, 4/8/2017
Further, Swift charts 26 songs in the latest Hot 100’s top 40, a new one-week record. She surpasses the 22 that Drake logged on the Oct. 21, 2023, tally, when his most recent album, For All the Dogs, debuted atop the Billboard 200.
Plus, with 15 songs in the Hot 100’s top 20, Swift ties Drake for the most entries in the region in a single week. He charted 15 of the top 20 on the chart dated Nov. 19, 2022, as Her Loss, with 21 Savage, debuted at No. 1 on the Billboard 200. Notably, Drake got in the way of Swift claiming 16 of the top 20 this week: his new single, “Push Ups,” enters at No. 19.
With 31 debuts, Swift ups her career total to 263 Hot 100 entries. That’s the most among women and the second-most overall, after Drake’s 330 (he adds a new entry this week, with “Push Ups”). Of those, 12 have hit No. 1 and 59 have hit the top 10 (the second-most, after Drake’s 77).
Taylor Swift’s “Fortnight,” featuring Post Malone, arrives as the biggest song in the world, launching at No. 1 both the Billboard Global 200 and Billboard Global Excl. U.S. charts. The song is from her new album, The Tortured Poets Department, which rockets in at No. 1 on the U.S.-based Billboard 200.
On the Global 200, Swift scores her fifth No. 1, the most for a soloist in the survey’s history. On Global Excl. U.S., she lands her third leader, tying for the most among solo artists. Post Malone tops each tally for the first time.
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Meanwhile, Swift boasts the top nine songs on the Global 200, all from her new LP, a first in the chart’s archives. She previously claimed nine of the top 10, including the top five, in November 2022 with songs from Midnights, her last album of all-new material before The Tortured Poets Department.
The Billboard Global 200 and Billboard 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.
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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“Fortnight” debuts atop the Global 200 with 176.8 million streams and 27,000 sold worldwide in its first week of release, April 19-25.
The streaming sum for the song marks the eighth-biggest in a single week since the Global 200 began.
Biggest Worldwide Streaming Weeks in Global 200 History:
289.2 million, “Butter,” BTS, June 5, 2021
217.1 million, “Seven,” Jung Kook feat. Latto, July 29, 2023
217.1 million, “Flowers,” Miley Cyrus, Feb. 4, 2023
212.1 million, “Pink Venom,” BLACKPINK, Sept. 3, 2022
185.6 million, “Flowers,” Miley Cyrus, Feb. 11, 2023
179.1 million, “Flowers,” Miley Cyrus, Jan. 28, 2023
178.2 million, “Easy on Me,” Adele, Oct. 30, 2021
176.8 million, “Fortnight,” Taylor Swift feat. Post Malone, May 4, 2024
170.8 million, “Permission To Dance,” BTS, July 24, 2021
169.8 million, “Butter,” BTS, June 12, 2021
Swift scores her fifth Global 200 No. 1, as she breaks out of a tie with Bad Bunny for the most leaders among soloists; overall, only BTS has more, with seven. Here’s a rundown of her No. 1s:
“Fortnight,” feat. Post Malone, one week at No. 1 to-date, May 4, 2024
“Is It Over Now? (Taylor’s Version) [From the Vault],” one week, Nov. 11, 2023
“Cruel Summer,” four weeks, beginning Nov. 4, 2023
“Anti-Hero,” four weeks, beginning Nov. 5, 2022
“All Too Well (Taylor’s Version),” one week, Nov. 27, 2021
Meanwhile, here’s a recap of Swift’s nine songs in the top 10, from Nos. 1 through 9, on the May 4-dated Global 200:
No. 1, “Fortnight,” feat. Post Malone
No. 2, “Down Bad”
No. 3, “The Tortured Poets Department”
No. 4, “So Long, London”
No. 5, “I Can Do It With a Broken Heart”
No. 6, “My Boy Only Breaks His Favorite Toys”
No. 7, “But Daddy I Love Him”
No. 8, “Florida!!!,” feat. Florence + The Machine
No. 9, “Who’s Afraid of Little Old Me?”
With nine new Global 200 top 10s, Swift ups her total to 33 since the chart began, second only to Drake’s 35. As featured on “Florida!!!,” Florence + The Machine reaches the top 10 for the first time.
Breaking up Swift’s bid for the entire Global 200’s top 10, Artemas’ “I Like the Way You Kiss Me” drops to No. 10 from its No. 2 high. (Last week’s leader, “Too Sweet,” by Hozier, falls to No. 13.)
On the Global Excl. U.S. chart, “Fortnight” starts at No. 1 with 101.7 million streams and 8,000 sold outside the U.S. Swift previously led the chart with “Anti-Hero,” for two weeks, and “All Too Well (Taylor’s Version),” for one week. With three leaders, she ties Bad Bunny, BLACKPINK, Ariana Grande and Jung Kook for the most among soloists; among all acts, only BTS has banked more (seven).
Swift also enters the Global Excl. U.S. top 10 with “Down Bad” (No. 4), “The Tortured Poets Department” (No. 6), “So Long, London” (No. 7), “I Can Do It With a Broken Heart” (No. 9) and “My Boy Only Breaks His Favorite Toys” (No. 10). With six new top 10s, she swells her count to 20, surpassing Bad Bunny (18) for the most since the chart originated.
Elsewhere in the Global Excl. U.S. top 10, Artemas’ “I Like the Way You Kiss Me” dips to No. 2, after a week at No. 1; FloyyMenor and Cris Mj’s “Gata Only” rises 4-3 for a new high; Benson Boone’s “Beautiful Things” falls 2-5, after eight nonconsecutive weeks on top; and ILLIT’s “Magnetic” descends to No. 8 from its No. 3 best.
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated May 4, 2024) will update on Billboard.com tomorrow, April 30. 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.
Tetris Kelly:Taylor Swift’s The Tortured Poets Department has done a complete takeover. This is the Billboard Hot 100 top 10 for the week dated May 4. At No. 10 is “Guilty As Sin.” “Who’s Afraid of Little Oh Me?” is in at No. 9. Florence + The Machine joins Taylor at No. 8. “But Daddy […]
Taylor Swift achieves one of the most record-shattering weeks in the history of the Billboard Hot 100 songs chart – surpassing unprecedented heights that she previously set – as she claims the top 14 positions on the survey dated May 4. All 14 songs, led by “Fortnight,” featuring Post Malone, are from her new album, The Tortured Poets Department, which, following the Republic Records set’s April 19 release, blasts in at No. 1 on the Billboard 200 chart.
Swift was already the only artist ever to dominate the Hot 100’s entire top 10 — thanks to tracks from her last album of all-new material, Midnights, in 2022, led by the collection’s “Anti-Hero.”
Among other new chart feats for Swift, “Fortnight” becomes her 12th Hot 100 No. 1, as she ties for the sixth-most leaders in the chart’s archives; she ups her career count of top 10s from 49 to 59, the most among women; and she charts 32 songs – all 31 from the deluxe version of The Tortured Poets Department plus established smash “Cruel Summer” – on the latest list overall, the most ever in a single week by a woman.
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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 May 4, 2024) will update on Billboard.com tomorrow, April 30. 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.
Below is a look at Swift’s latest groundbreaking week on the Hot 100.
Swift at Nos. 1 Through 14 on the Hot 100
It’s a Taylor Swift double on the U.K. chart, as The Tortured Poets Department (EMI) opens at No. 1 and the U.S. pop star locks-up three of the top four on the national singles survey, including top spot.
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“Fortnight” featuring Post Malone debuts at No. 1 on the latest Official Chart, published Friday, April 26, ahead of Hozier’s “Too Sweet” (Island), down 1-2, and the TTPD title track, new at No. 3.
With that impeccable start, Swift snags her third career U.K. chart double, after ruling both charts simultaneously in 2022 with Midnights and its lead single “Anti-Hero,” and last year with 1989 (Taylor’s Version) and “Is It Over Now? (Taylor’s Version)”.
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The leader on the midweek chart, “Fortnight” becomes Swift’s fourth U.K. No. 1 single after “Look What You Made Me Do” (from 2017), “Anti-Hero” (2022) and “Is It Over Now?” (Taylor’s Version) (2023), and Malone’s second — and first in seven years – after 2017’s “Rockstar” with 21 Savage.
Also, TTPD track “Down Bad” (No. 4) enters the top 10 on debut, lifting TayTay’s career tally of top tier hits to 28 (no more than three songs from any one album can be eligible for the U.K. singles chart).
Meanwhile, U.S. singer and actor Sabrina Carpenter is running hot with “Espresso” (Island), up 6-5 for her career peak U.K. chart position.
Further down the tally, Drake’s Kendrick Lamar diss track “Push Ups” (OVO/Republic Records) debuts at No. 14, giving the Canadian superstar hip-hop artist his 93rd U.K. top 40 single.
There’s another U.S. country artist making an impression on the U.K. top 40, this time singer-songwriter Shaboozey with “A Bar Song (Tipsy)” (via American Dogwood/Empire), up 41-16. Shaboozey’s profile has enjoyed a boost in the U.K. after being featured on Beyoncé’s chart-topping LP Cowboy Carter. Dasha’s “Austin” (Warner Records) is still riding in the U.K. top 10, down 7-10.
Finally, Headie One’s “Cry No More” (Columbia), a collaboration with Stormzy and Tay Keith, bows at No. 33, for Headie’s 16th, Stormzy’s 31st and Tay Keith’s second U.K. top 40 appearance.
