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After reclaiming it for a third total week, Playboi Carti’s Music vacates the top spot of the Billboard 200 albums chart this week. But Carti likely won’t be too mad about the album replacing his at No. 1: More Chaos, the latest LP from his Opium imprint signee Ken Carson.

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The rising rapper’s 21-track new set becomes his first album to top the Billboard 200, following predecessor A Great Chaos peaking at No. 11 in 2023. The album takes advantage of a relatively slow week for new albums, as its 59,500 first-week units (according to Luminate) marks the lowest total for a No. 1 album since Pusha T’s It’s Almost Dry bested the chart with just under 55,000 units in May 2022.

How meaningful is the bow for Ken Carson? And which rapper could be next to score their first No. 1 album? Billboard staffers answer those questions and more below.

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1. Ken Carson’s More Chaos debuts at No. 1 this week with 59,000 equivalent album units moved. On a scale from 1-10, how big a deal do you think this is for the young rapper’s career?

Mackenzie Cummings-Grady: Definitely a 9 or 10. A No. 1 album is a massive accomplishment in its own right, but Ken’s debut I think surprised a good amount of people. His supporters have been devout for years, but I don’t think the uninitiated expected those supporters to come through in such high numbers like they did. For someone who at the beginning of his career was written off as a Carti clone, moving 59,000 units I think officially puts that criticism to rest. To see a fanbase grow this big in just two years is a serious accomplishment. We know a lot of that was the music, but a lot of it was because of his last tour. Ken developed a similar reputation to Carti for putting on explosive live performances, and I think the atmosphere he cultivated at his shows last year really shifted his supporters to a more cult-like level.

Kyle Denis: Absolutely a 10. You can be a fan (or not), you can say that this was a weak chart week, whatever. The fact of the matter is that Ken Carson has the No. 1 album in America with a style of rap that’s far more niche than other hip-hop chart-toppers. And he’s only 25. This is a massive deal for him. 

Angel Diaz: I think I’ll go with a 6? Having an album go No. 1 is always an achievement to be proud of, but those numbers are a bit disappointing, especially when you consider the hype around Ken and his Opium labelmates Destroy Lonely and Playboi Carti. I was expecting a bigger debut. 

Jason Lipshutz: A 7. While the equivalent album units total isn’t high enough to suggest a huge swell of popularity compared to Carson’s previous projects, a No. 1 album is a No. 1 album, and may be the type of headline-grabbing achievement that will turn more casual rap fans toward the Atlanta native. For most music fans, a chart-topping project does not come with an asterisk that denotes a quiet release week and relatively low units total; More Chaos was the biggest album of the past week, and for a rising artists like Carson, that statement is all that matters.

Andrew Unterberger: Maybe a 9? Obviously the number is low by No. 1 standards, but scoring a No. 1 album (or even a top five album really) as a young rapper without much crossover success is not something easily done in 2025. Lots of folks are talking about Ken Carson this week whose radar he might not have otherwise been on, and that’s always a big W.

2. Ken Carson has basically seen exponential growth with his album-to-album performance on the Billboard 200 – from a No. 115 peak on 2022’s X to No. 11 with A Great Chaos in 2023 now to No. 1. What do you think the biggest reason for that rapid growth is?

Mackenzie Cummings-Grady: The most important reason is the music has objectively gotten a lot better. Like, we can all admit X wasn’t a good introduction to who Ken was as a rapper or how he’d stand out amongst the other Carti clones popping up online. A Great Chaos was that introduction: The beats were interesting, and Ken’s voice and flow sounded unique. I think A Great Chaos satiated rage rap fans really well just on its face, but also had a lot of moments where you could tell this was a different kind of record compared to everything else coming out of Opium. Another equally-as-important reason I think is the live shows: We’re seeing that if you can bring the energy in interesting ways to your performances, it can draw in a ton of new, young fans. It’s been an instrumental factor in Carti’s and Travis Scott’s staying power, and I think Ken knows that and is tapping into that.

Kyle Denis: I think the dedication of the Opium fanbase and the continued glow of being one of Carti’s protégés have helped with his rapid growth. In addition to his own headlining tours, Carson has also been a regular on the festival circuit, playing lively sets at Coachella (2024), Rolling Loud (several times over) and Lollapalooza (2023) that frequently spin viral moments out of raucous mosh pits. 

Angel Diaz: We have to thank Carti’s influential 2020 album Whole Lotta Red for laying down the foundation for Carson’s rage rap sound. Many young fans from diverse backgrounds listen to his music and have been at shows moshing to their music. Some feel like Opium’s sound is the next big thing in rap, so it’s no surprise that his stock is rising. His next album will be the one that could define his career. 

Jason Lipshutz: Carson is the right artist at the right moment in hip-hop — a compelling, mainstream-friendly MC who trades in the blown-out rage rap that continues to dominate commercially. More Chaos takes over at the top of the Billboard 200 from Music, Playboi Carti’s long-awaited opus which spent three of the past four weeks at No. 1 (and is featured on Carson’s track “Off the Meter”); Carti is Carson’s label leader, and Music shares its sonic DNA with More Chaos, with both artists whipping through grinding production and shifting their flows across their respective sprawling projects. Hip-hop fans are unquestionably hungry for artists and projects like this, and Carson is the latest beneficiary of the trend.

Andrew Unterberger: Stronger craft and good timing.

3. While Carson is becoming a formidable force on the Billboard 200, his presence on the Billboard Hot 100 has been fairly muted – and none of the 21 songs on this album make the chart this week. Do you see hit songs in Carson’s future, or do you think it makes sense that his success be mostly album-focused?  

Mackenzie Cummings-Grady: I think what we’re seeing with a lot of these rage rap guys, with the exception of Carti, is that album really is God. Yeat is a good example of this. His biggest Hot 100 hit was Drake’s “IDGAF,” but outside of that his single’s have never done insanely well compared to his albums. I think with Ken, we’re likely gonna see the same sort of trajectory. Fans of this kind of music also tend to enjoy full length albums more because they appreciate the enveloping sound of these kinds of rappers. It’s become a vital part of the experience, which is kinda cool because it goes against the algorithmic focus on quick, catchy singles that major labels have pushed for in recent years via TikTok and other apps.

Kyle Denis: I can see Carson getting a hit with a song that explicitly caters to a wider audience – kind of like how “Rather Lie” was the clear radio-ready cut from Carti’s sprawling Music album. I definitely wouldn’t put money on a solo rage rap Carson song making a splash on the Hot 100. I’m almost certain his success will continue to be focused on albums/full-length projects and live shows. 

Angel Diaz: That was surprising, but there also isn’t a song that sticks out for me on More Chaos. The album kinda moves like a side-scrolling video game soundtrack and each track represents a different level in the game. The production is moving faster than his raps, which sounds a bit jarring at first. I think he’s going to need a hit record eventually if he wants to be considered a major player in mainstream rap moving forward. 

Jason Lipshutz: “Blakk Rokkstar” is a standout from More Chaos, as the type of operatic trap headbanger that Travis Scott has ridden to multiple hits over the years. But considering how scorching-hot Playboi Carti is at the moment, their album-closing collaboration “Off the Meter” (also featuring Destroy Lonely) is probably the safest bet for the song that uses this No. 1 album debut as a springboard for Carson to receive more streams and radio play. With its loping synth melody and a particularly feisty Carti feature, “Off the Meter” definitely has crossover potential.

Andrew Unterberger: You can never rule out the possibility of anyone catching a hit these days off some unexpected viral heat, but in terms of whether he’s ever going to be a reliable hitmaker from a singles perspective… it seems unlikely. The songs aren’t written with pop structure or pop goals in mind, and his fans don’t seem to want that from him anyway.

4. The album Chaos replaces at No. 1, Music, comes from his label boss and partner-in-rage Playboi Carti. Do you think it says something about hip-hop in 2025 that the albums should top the chart in back-to-back weeks, or is it mostly just a timing fluke? 

Mackenzie Cummings-Grady: I think it’s too early to say for certain whether this is a definitive moment or not for hip-hop in 2025. Truthfully, it could be just great timing for Opium. I could be wrong, but I think Chaos going number one came as a pleasant surprise for a lot of people, including maybe Ken himself? I certainly didn’t expect it to move 59,000 units.

Kyle Denis: I think it’s mostly a timing fluke, but I also think it further cements that Playboi Carti is one of the biggest pop stars of 2025. Not only is Carti enjoying multiple visits to the top of the Billboard 200 and scoring radio hits (thanks to The Weeknd’s “Timeless”) and concurrent Hot 100 top 10 debuts, but he’s also minting tomorrow’s biggest rap stars through Opium. Now, both Carson’s and Destroy Lonely’s most recent LPs have reached the Billboard 200’s top 10 in back-to-back years. As things currently stand, Carti and Kendrick are two indisputable pillars of 2025 hip-hop’s Big Three. 

Angel Diaz: Hip-hop is the most important pop culture phenomenon to come along in the last 50 years and it’s not going anywhere anytime soon. Even the pop girlies like Billie Eilish and Camila Cabello either dress like rappers or try to incorporate their sound in some way or another. I think it’s a pretty safe bet that other rap albums will top the album charts in 2025. Now, if you ask me if that’s a good thing is another conversation. Whenever something that was once counterculture becomes a mainstream staple, it gets watered down. However, Ken did benefit from a quiet week, and he probably wouldn’t have gone No. 1 if he went up against a heavyweight rapper, pop star, or country singer. 

Jason Lipshutz: Partially a timing fluke, but while Kendrick Lamar and Drake duke it out in the headlines and at the top of the Hot 100, rage has not-so-quietly swerved to the front of popular rap, the sound du jour of young listeners searching for sound to match their teenage intensity. We’re going to see more months like this in the future, where both A-list rappers and rising genre stars share space at the top of the Billboard 200 to reflect bigger-than-expected fan bases. Playboi Carti’s appeal and influence are undeniable at this point, but more Ken Carsons are coming soon, too.

Andrew Unterberger: The timing is definitely more coincidental than anything, but you’d be pretty silly not to at least take note that this strain of rap is connecting with audiences in a way many other styles — some of which would be thought to be much more conventionally commercial — really aren’t right now.

5. Which other rising rapper who’s yet to score a Billboard 200 No. 1 album do you think is likely to top the chart sooner than later?

Mackenzie Cummings-Grady: I think things are looking promising for BigXThaPlug. His pivot into country is being super well received so far, which historically has been a hard pivot to make. His debut in the top five last week I think is a promising sign for him if he keeps up this momentum. Lil Tecca could also pull it off if he rolls out his album the right way. He’s got a serious record on his hand with “Dark Thoughts,” and I think he has the potential to chart very high if he keeps dropping heat.

Kyle Denis: I’ll keep an eye on Lil Tecca and BigXthaPlug. Neither Megan Thee Stallion nor Doja Cat are rising stars, but I’d be surprised if they both didn’t eventually snag a Billboard 200 No. 1 album. 

Angel Diaz: Megan and GloRilla haven’t had a No. 1 album yet. I can see either of them reaching the top of the album charts in the future. As far as rising, though? Cash Cobain is the first name that comes to mind based on the type of music he makes. I know he can be a little too horny at times, but his production is so good the vulgarity can be tolerated. 

Jason Lipshutz: BigXThaPlug. After scoring his first top 10 album in October with Take Care, the Dallas rapper cruised into the top 5 of the Hot 100 earlier this month with the Bailey Zimmerman team-up “All the Way.” If that smash leads a new project in the near future, get ready for that project to top the Billboard 200.

Andrew Unterberger: Almost too obvious, but Doechii for sure.

Teddy Swims and GIVĒON take over the No. 1 spot on Billboard’s Adult R&B Airplay chart with their collaboration “Are You Even Real” leading the list dated April 26. The single ascends from No. 3 after a 17% jump in plays that made it the most-played song on U.S. panel-contributing adult R&B radio stations in the tracking week of April 11 – 17, according to Luminate. Thanks to its gain, “Are You Even Real” wins the weekly Greatest Gainer prize, awarded to the song with the largest increase in plays.

“Are You Even Real,” released and promoted through Swims INT/Warner, trades places with last week’s champ, Muni Long’s “Superpowers,” which drops 1-3 after backtracking 23% in plays for the week.

With the new leader, Teddy Swims nabs his second No. 1 on Adult R&B Airplay. His breakthrough hit, “Lose Control,” ruled the chart for three weeks in June 2024. Radio triumphs have been instrumental to its ongoing, historic success: beyond Adult R&B Airplay, other “Lose Control” No. 1 ranks included Pop Airplay and the overall Radio Songs chart, helping it clinch the year-end Hot 100 No. 1 title for 2024 and a record-breaking 58 weeks in the Hot 100’s top 10.

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Plus, with “Lose Control” and “Are You Even Real,” Teddy Swims becomes the fourth artist thus far in the 2020s decade to top Adult R&B Airplay with each of his first two appearances. He joins:

The Bonfyre (“Automatic” in March 2019 and “U Say,” feat. 6lack, in February 2020)Tems (a featured role on Wizkid’s “Essence” in October 2021- January 2022 and her own “Free Mind” in February – April 2023)October London (“Back to Your Place” in August – October 2023 and “Mulholland Drive,” feat. Snoop Dogg and Latoiya Williams, in August 2024)

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For GIVĒON, “Are You Even Real” awards him a first No. 1 on Adult R&B Airplay with his fifth charting title. His prior best was a No. 7 result for “Like I Want You” in February 2021. The incumbent champ, however, isn’t his only current hit. The singer’s “Twenties” repeats at its No. 9 high on this week’s chart with a 4% jump in plays in the latest tracking week.

Elsewhere, “Are You Even Real” climbs 10-9 on the Rhythmic Airplay chart through a 7% increase in plays at the format and rises 18-16 on the Mainstream R&B/Hip-Hop Airplay chart (up 8%). Gains at the two formats, as well as adult R&B, power the song’s 44-41 improvement on the all-genre Radio Songs chart. There, “Are You Even Real” ascends to 16.7 million audience impressions across all formats, a 4% boost from the prior week.

Billboard’s Producer Spotlight series highlights creatives currently charting on Billboard’s producer rankings. Whether they are new to the industry or have been churning out hit after hit, the intention is to showcase where they are now, and their work that’s having a chart impact.

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Michael Uzowuru and J. White Did It are seasoned hitmakers on Billboard’s producer charts. The pair share the top spot on Billboard’s latest R&B Producers ranking (dated April 26, 2025) thanks to their work on SZA and Kendrick Lamar’s “30 for 30.” Uzowuru spends a 10th total week at No. 1, while J. White Did It (real name: Anthony Jermaine White) spends a 13th week on top.

“30 for 30” ranks at No. 2 on the Hot R&B Songs chart, after spending six weeks at No. 1, via 29 million radio airplay audience impressions (up 2% week-over-week) and 9.3 million official U.S. streams, according to Luminate. The song also ranks at No. 25 on the Billboard Hot 100, after hitting No. 10 to become Uzowuru’s first top 10 as a producer and J. White Did It’s fourth. It was released in January on the Lana deluxe reissue of SZA’s 2022 album SOS.

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Uzowuru began producing in the early 2010s with west coast rappers Vince Staples, Earl Sweatshirt and Domo Genesis. Since then, he’s worked with Frank Ocean (Blonde), Childish Gambino (Bando Stone & The New World), Rosalía (Motomami), Kevin Abstract (American Boyfriend), Beyoncé (The Lion King: The Gift) and Halsey (The Great Impersonator), among others.

Michael Uzowuru’s Production History on the Hot 100SZA with Kendrick Lamar, “30 for 30,” No. 10, 2025 (J. White Did It)SZA, “Scorsese Baby Daddy,” No. 41, 2025 (Tyler Johnson, Tyler Page, Owen Stout)SZA, “Notice Me,” No. 44, 2022 (Teo Halm, Carter Lang, thankgod4cody)SZA feat. Travis Scott, “Open Arms,” No. 54, 2022 (Teo Halm, Rob Bisel)SZA, “Diamond Boy (DTM),” No. 60, 2025 (Carter Lang, Declan Miers, The Antydote, Solomonophonic)SZA,” Another Life,” No. 63, 2025 (Rob Bisel, Sir Dylan)Childish Gambino, “Lithonia,” No. 69, 2024 (Childish Gambino, Ludwig Göransson, Max Martin)SZA, “Crybaby,” No. 70, 2025 (Carter Lang, thankgod4cody, Declan Miers)Halsey, “Lucky,” No. 88, 2024 (RAHM, Sir Dylan)Frank Ocean, “Nights,” No. 98, 2016 (Frank Ocean, Vegyn, Buddy Ross)

As for J. White, the producer/songwriter first broke through in 2017 thanks to his work with Cardi B. He produced three tracks from her debut album, Invasion of Privacy, including its Hot 100 No. 1s “Bodak Yellow (Money Moves)” and “I Like It.” He subsequently produced a third No. 1, via Megan Thee Stallion’s “Savage,” featuring Beyoncé, in 2020, and later, tracks with 21 Savage, Doechii, Flo Milli and Latto.

J. White Did It’s Production History on the Hot 100Cardi B, “Bodak Yellow (Money Moves),” No. 1, three weeks, 2017 (Laquan Green)Megan Thee Stallion feat. Beyoncé, “Savage,” No. 1, one week, 2020Cardi B, Bad Bunny & J Balvin, “I Like It,” No. 1, one week, 2018 (Craig Kallman, Tainy, Invincible)SZA with Kendrick Lamar, “30 for 30,” No. 10, 2025 (Michael Uzowuru)Cardi B, “Money,” No. 13, 2018Doechii ft. Kodak Black, “What It Is (Block Boy),” No. 29, 2023Polo G, “Bad Man (Smooth Criminal),” No. 49, 2021Cardi B, “Money Bag,” No. 58, 2018 (Laquan Green)Iggy Azalea, “Sally Walker,” No. 62, 2019

Billboard launched the Hot 100 Songwriters and Hot 100 Producers charts, as well as genre-specific rankings for country, rock & alternative, R&B/hip-hop, R&B, rap, Latin, Christian, gospel and dance/electronic, in June 2019, while alternative and hard rock joined in 2020, along with seasonal holiday rankings in 2022. The charts are based on total points accrued by a songwriter and producer, respectively, for each attributed song that appears on the Billboard Hot 100. The genre-based songwriter and producer charts follow the same methodology based on corresponding “Hot”-named genre charts. As with Billboard’s yearly recaps, multiple writers or producers split points for each song equally (and the dividing of points will lead to occasional ties on rankings).

The full Hot 100 Songwriters and Hot 100 Producers charts and full genre rankings can be found on Billboard’s charts page.

Seven weeks after landing at No. 1 on Billboard‘s Latin Pop Airplay chart, Danny Ocean and Kapo‘s hit “Imagínate” has climbed to the top spot on the overall Latin Airplay chart (rising 7-1), dated April 26. The track additionally continues atop both Latin Pop Airplay and Latin Rhythm Airplay, for a seventh and second week, respectively.

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“Imagínate” rules the overall Latin Airplay ranking after a 35% boost in audience impressions, to 8.4 million, earned in the U.S. during the April 11-17 tracking week, according to Luminate. The song, released Nov. 7, 2024, via Atlantic/Warner Latina, debuted at No. 48 in January, and makes its way to the top of the chart in its 17th week.

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Coincidentally, both Ocean and Kapo secure their second No. 1 on the overall Latin Airplay chart. Previously, Ocean led for one week with “Amor” in June 2024. Kapo, meanwhile, replaces himself atop the list, after “Más Que Tú,” with Ozuna, reached No. 1 last week, chart dated April 19. The latter falls to No. 3 following a 15% dip in audience impressions (to 7.1 million).

The last act to replace itself at No. 1 was Grupo Firme, when the band’s “El Beneficio De La Duda” ejected its collaboration with Thalia, “Te Va a Doler” (chart dated July 2024).

“Imagínate” continues making its rounds atop two other Latin radio rankings: over on the Latin Pop Airplay chart, it holds strong at the summit for a seventh consecutive week, tying with Shakira’s “Soltera” for the most in 2025 so far. The latter has spent a total of 14 total weeks at No. 1 between 2024-25.

On Latin Rhythm Airplay, “Imagínate” rebounds to its No. 1 for a total of two nonconsecutive weeks in charge, Ocean’s sole No. 1 to date, and Kapo’s third.

Thanks to its radio draw, the song also holds steady at its No. 3 peak on the third iteration of the new Hot Latin Pop Songs chart. Plus, it also moves up on the airplay-, streaming-, and digital sales-blended Hot Latin Songs chart, where it jumps 35-32.

On the latest Billboard 200 albums chart (dated April 26), SZA’s SOS surpasses Adele’s 21 for the most weeks spent in the top 10 among albums by women.
SOS, released in 2022, garners its 85th nonconsecutive week in the top 10 on the chart, where it climbs 4-3. Adele’s 21, released in 2011, was last in the top 10 for its 84th and final (nonconsecutive) week in the region on the Jan. 9, 2016-dated chart.

The new April 26, 2025-dated chart will be posted in full on Billboard‘s website April 22.

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Both SOS and 21 are former No. 1s, with SOS having spent 12 weeks atop the tally and 21 having logged 24 weeks at No. 1 (a record among albums by women). SOS collected its two most recent weeks at No. 1 in January following its SOS Deluxe: LANA reissue with additional songs.

Further, SOS now ties Peter, Paul and Mary’s self-titled album for the third-most weeks in the top 10 among albums by a singular artist. They both trail two albums by Morgan Wallen (Dangerous: The Double Album, with 158; and One Thing at a Time, with 106).

Since the Billboard 200 began publishing on a regular weekly basis, with the March 24, 1956-dated chart, the album with the most weeks in the top 10 is the original cast recording of stage musical My Fair Lady, with 173 weeks in the top 10 between 1956-60.

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.

Albums With the Most Weeks in the Top 10 on the Billboard 200 Chart:Weeks in Top 10, Artist, Title, Year First Reached Top 10173, Original Cast, My Fair Lady, 1956158, Morgan Wallen, Dangerous: The Double Album, 2023109, Soundtrack, The Sound of Music, 1965106, Morgan Wallen, One Thing at a Time, 2023106, Soundtrack, West Side Story, 1962105, Original Cast, The Sound of Music, 196090, Soundtrack, South Pacific, 195887, Original Cast, Camelot, 196187, Original Cast, Oklahoma!, 195685, SZA, SOS, 202285, Peter, Paul and Mary, Peter, Paul and Mary, 196284, Adele, 21, 201184, Bruce Springsteen, Born in the U.S.A., 1984(From March 24, 1956, through the April 26, 2025-dated chart)

Because of how the Billboard 200 chart is now compiled, where streaming activity is blended with album sales and track sales, albums tend to spend a longer time on the list thanks to continued streaming activity. The chart only began utilizing streaming information in its methodology in December 2014. Before then, the chart was based solely on traditional album sales.

Also, a lengthy tracklist with multiple popular songs can help accrue large streaming totals, so albums like SOS, One Thing at a Time and Dangerous — each with more than 30 songs apiece — benefit from the continued weekly streams of their long tracklists.

Further, older albums (known as catalog albums; generally defined today as titles at least 18 months old) were mostly restricted from charting on the Billboard 200 from May 25, 1991, through Nov. 28, 2009. After that, catalog and current (new/recently released) albums have charted together on the Billboard 200. In turn, older albums now regularly spend hundreds of weeks on the chart. On the April 26, 2025-dated list, for example, there are more than 30 albums with least 400 total weeks on the chart. Before the rule change in December 2009, allowing catalog albums back onto the chart, only three albums had spent more than 400 weeks on the list – led by Pink Floyd’s chart-topping The Dark Side of the Moon. Today, it continues to hold the record for the most weeks on the list, with 990.

Linkin Park notches its eighth leader and fifth in a row on Billboard’s Rock & Alternative Airplay chart, with “Up From the Bottom” bounding three places to No. 1 on the April 26-dated ranking.
The track leads with 4.7 million radio audience impressions (up 28%) in the week ending April 17, according to Luminate.

The song reigns in its third week on the tally, wrapping the shortest trip to the top since Linkin Park’s own “The Emptiness Machine” hit No. 1 in its second week last September on its way to a 15-week No. 1 command.

The band now boasts five consecutive No. 1s on Rock & Alternative Airplay, from the 20-week leader “Lost” in 2023 through “Friendly Fire,” “The Emptiness Machine” (both in 2024) and “Heavy Is the Crown” (beginning this January). Dating to the chart’s June 2009 start, Linkin Park extends its record for the most consecutive No. 1s, a mark previously broken when it nabbed its fourth straight.

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The streak encompasses the contributions of three vocalists; the last three songs feature newly added singer Emily Armstrong plus longtime singer, rapper and guitarist Mike Shinoda, while the first two were posthumously released after the death of singer Chester Bennington in 2017.

The rockers also led with “New Divide” in 2009, “The Catalyst” in 2010 and “Burn It Down” in 2012 and now tie for the second-most No. 1s in the chart’s history.

Most No. 1s, Rock & Alternative Airplay:11, Foo Fighters8, Green Day8, Linkin Park6, Cage the Elephant6, Twenty One Pilots5, The Black Keys5, Imagine Dragons4, Red Hot Chili Peppers3, Weezer

Concurrently, “Up From the Bottom” breaks into the top 10 of the Alternative Airplay and Mainstream Rock Airplay charts, jumping 11-7 on both. It’s the band’s 22nd top 10 on each tally, with Linkin Park moving into sole possession of the fifth-most on the former, which began in 1988.

Most Top 10s, Alternative Airplay:31, Foo Fighters28, Red Hot Chili Peppers27, Green Day23, U222, Linkin Park21, Pearl Jam21, Weezer20, The Offspring18, Cage the Elephant18, Twenty One Pilots

“Up From the Bottom” debuted at No. 2 on the multimetric Hot Hard Rock Songs chart dated April 12 and ranked at No. 3 in its second week. In addition to its radio airplay, the song earned 2.2 million official U.S. streams and sold 1,000 April 4-10.

The song is from the deluxe edition of Linkin Park’s eighth studio album, From Zero, due May 16. The standard version debuted at No. 1 on the Top Rock & Alternative Albums chart in November and has earned 350,000 equivalent album units to date.

All Billboard charts dated April 26 will update Tuesday, April 22, on Billboard.com.

Mumford & Sons move to No. 1 on Billboard’s Alternative Airplay chart for the fifth time as “Rushmere” lifts a spot to the top of the April 26-dated ranking. Explore Explore See latest videos, charts and news See latest videos, charts and news “Rushmere” becomes the trio’s first leader in six years, following the one-week […]

Lady Gaga and Bruno Mars’ “Die With a Smile” scores a 17th week at No. 1 on the Billboard Global 200 chart. The song also adds a 14th week atop the Billboard Global Excl. U.S. survey. The ballad first led both lists last September.
The Billboard 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.

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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“Die With a Smile” continues atop the Global 200 with 90.7 million streams (down 1% week-over-week) and 6,000 sold (down 3%) worldwide April 11-17. At 17 weeks, the song moves to within two weeks of tying the longest No. 1 run since the chart began:

19 weeks at No. 1, “All I Want for Christmas Is You,” Mariah Carey (2020-25)

17 weeks, “Die With a Smile,” Lady Gaga & Bruno Mars (2024-25)

15 weeks, “As It Was,” Harry Styles (2022)

14 weeks, “Flowers,” Miley Cyrus (2023)

12 weeks, “APT.,” ROSÉ & Bruno Mars (2024-25)

Alex Warren’s “Ordinary” ascends 3-2 for a new Global 200 high; “APT.” dips 2-3; Billie Eilish’s “Birds of a Feather” holds at No. 4 following three weeks at No. 1 last August; and Kendrick Lamar and SZA’s “Luther” lifts 6-5 after reaching No. 3 in March.

“Die With a Smile” runs up a 14th week at No. 1 on Global Excl. U.S., with 73.5 million streams (down 1%) and 3,000 sold (up 2%) outside the U.S. The song ties for the second-longest command in the chart’s archives:

19 weeks at No. 1, “APT.,” ROSÉ & Bruno Mars (2024-25)

14 weeks, “Die With a Smile,” Lady Gaga & Bruno Mars (2024-25)

14 weeks, “All I Want for Christmas Is You,” Mariah Carey (2021-25)

13 weeks, “Flowers,” Miley Cyrus (2023)

13 weeks, “As It Was,” Harry Styles (2022)

“APT.” keeps at No. 2 on Global Excl. U.S.; “Ordinary” is steady at its No. 3 best; JENNIE’s “like JENNIE” rebounds 5-4 after hitting No. 3; and “Birds of a Feather” backtracks 4-5, after three weeks at No. 1 last August.

The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated April 26, 2025) will update on Billboard.com tomorrow, April 22. 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.

Kendrick Lamar and SZA’s “Luther” rules the Billboard Hot 100 songs chart for a ninth total and consecutive week. The single, whose title honors late R&B legend Luther Vandross, who is sampled on the track, became Lamar’s sixth No. 1 and SZA’s third. Lamar and SZA each extend their longest career Hot 100 reigns with the song, whose official video premiered April 11.

Meanwhile, “Luther” passes 24kGoldn’s “Mood” (featuring iann dior), which led for eight weeks in 2020-21, for the sole second-longest Hot 100 command among rap hits this decade, after only Roddy Ricch’s “The Box,” which dominated for 11 weeks in 2020. (Rap titles are defined as those that have hit or are eligible for Billboard’s Hot Rap Songs chart.)

Plus, Chappell Roan ties her best Hot 100 rank, as “Pink Pony Club” rises 5-4; Alex Warren’s first top 10, “Ordinary,” reaches the top five (7-5), and hits No. 1 on the Digital Song Sales chart; and Teddy Swims’ “Lose Control,” at No. 7, breaks the record for the most weeks ever spent in the Hot 100’s top 10, as it adds a 58th week in the region, one-upping the run of The Weeknd’s “Blinding Lights.”

Browse the full rundown of this week’s 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 April 26, 2025) will update on Billboard.com tomorrow, April 22. 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.

‘Luther’ Airplay, Streams & Sales

Ken Carson lands his first No. 1 on the Billboard 200 albums chart, as the rapper’s latest project, More Chaos, enters atop the list dated April 26.
The set earned 59,500 equivalent album units in the United States in the week ending April 18, according to Luminate. Of that sum, nearly 82% was driven by streaming activity. More Chaos is Carson’s first top 10 effort as well and follows two charted titles: A Great Chaos (No. 11 peak in 2023) and X (No. 115 in 2022).

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More Chaos, released via Opium/Interscope Records, replaces Opium label founder Playboi Carti atop the Billboard 200, as the latter’s MUSIC moves to No. 7 after three nonconsecutive weeks at No. 1.

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Carson is the third act in 2025 to land their first No. 1 this year, following Tate McRae (with So Close To What) and PARTYNEXTDOOR (with the Drake collaboration set $ome $exy $ongs 4 U). In all of 2024, there were five acts that got their first No. 1: Ty Dolla $ign (with the Ye collab Vultures 1), TWICE (With YOU-th), Sabrina Carpenter (Short n’ Sweet), Jelly Roll (Beautifully Broken) and Yeat (Lyfestyle).

With More Chaos earning 59,500 units in the latest tracking week, that marks the smallest weekly sum for a No. 1 album in nearly three years, since the May 2, 2022-dated chart, when Pusha T’s It’s Almost Dry opened at No. 1 with just under 55,000 units.

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 April 26, 2025-dated chart will be posted in full on Billboard‘s website on April 22. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

Of More Chaos’ 59,500 first-week equivalent album units, SEA units comprise 48,500 (equaling 67.3 million on-demand official streams of the songs on the streaming editions of the album; it debuts at No. 3 on the Top Streaming Albums chart), album sales comprise 11,000 (it debuts at No. 4 on Top Album Sales) and TEA units comprise a negligible sum.

More Chaos was available in its first week as a standard 18-song album (on color vinyl and a widely available CD and in three deluxe boxed sets containing a T-shirt and CD) and in two widely available expanded digital/streaming editions that added three and four songs, respectively.

The rest of the top 10 on the Billboard 200 is fairly low-key, as Carson is the lone debut in the region. The Nos. 2-10 titles are also all former No. 1s. (The top 10 was last comprised entirely of No. 1s on the Dec. 9, 2023-dated list.) Kendrick Lamar’s GNX rises 5-2 with nearly 55,000 equivalent album units earned (up 3%), while SZA’s SOS climbs 4-3 with 53,000 (down 2%). The pair kicked off their co-headlining Grand National Tour on April 19 at Minneapolis’ U.S. Bank Stadium.

Sabrina Carpenter’s Short n’ Sweet is up two spots to No. 4 (52,000 equivalent album units; up 6%), $ome $exy $ongs 4 U falls 3-5 (nearly 52,000; down 8% — as the set climbs 2-1 on Top Streaming Albums for a fourth nonconsecutive weeks at No. 1); Morgan Wallen’s One Thing at a Time ascends 7-6 (46,000; up 4%); Playboi Carti’s MUSIC falls 1-7 (45,500; down 29%); Bad Bunny’s Debí Tirar Más Fotos is steady at No. 8 (nearly 42,000; down 2%); Ariana Grande’s Eternal Sunshine falls 2-9 (40,000; down 29%); and Lady Gaga’s MAYHEM rises 12-10 (39,500; up 11%).

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.