State Champ Radio Chart Beat
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South Korean pop group LE SSERAFIM is officially a Billboard Hot 100-charting act thanks to the group’s new single, “Easy.” Released Feb. 19 on its new five-track EP of the same name, the song debuts at No. 99 with 5.2 million official streams and 1,000 downloads sold in the U.S. in its first full tracking […]
Beyoncé should hold onto her U.K. chart crown for a third week, at least.
Based on midweek sales and streaming data tabled by the Official Charts Company, Bey’s “Texas Hold ‘Em” (via Columbia/Parkwood Ent) has the advantage.
Beyoncé’s country-tinged hit is her sixth solo U.K. leader, and her first in 14 years. She has an additional two U.K. No. 1s as a member of Destiny’s Child.
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Meanwhile, Teddy Swims’ “Lose Control” (Atlantic) currently sits behind “Texas Hold ‘Em” at No. 2, with Benson Boone’s “Beautiful Things” (Warner Records) closing out the podium at No. 3.
After cracking the top 10 for the first time last Friday, Kanye West and Ty Dolla $ign‘s “Carnival” (YZY) continues to move north. “Carnival” is set to climb 9-6 on the Official U.K. Singles Chart, for a new peak position. The track appears on the Vultures 1 collection, which recently peaked at No. 2 in the U.K.
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The top debut on the singles tally should belong to Olly Alexander with “Dizzy” (Polydor), the U.K. entry for the 2024 Eurovision Song Contest. Produced by Danny L Harle, “Dizzy” is new at No. 15 on the chart blast. As frontman with Years & Years, the pop singer scored 10 top 40 singles, including five top 10s and No. 1 in 2015 with “King”.
Close behind is Charli XCX‘s “Von Dutch” (Atlantic), new at No. 16 on the chart update, for what should become the British singer and songwriter’s 15th top 40 hit.
Meanwhile, Twenty One Pilots‘ is expected to land a third top 40 with “Overcompensate” (Atlantic). It’s new at No. 26 on the chart blast.
Finally, Pharrell Williams and Miley Cyrus could bag another top 40 with “Doctor (Work It Out)” (via Columbia), new at No. 32 on midweek tally. The collab has reportedly been in the works for over a decade, and was intended to appear on but apparently scrapped from Cyrus’ 2013 album Bangerz.
Miley already has 24 U.K. top 40 hits, with three No. 1s, including “Flowers” which led the national chart for 10 weeks in 2023. Pharrell has 19 U.K. top 40s, including four leaders.
All will be revealed when the Official U.K. Singles Chart is published Friday, March 8.
Manchester united! Liam Gallagher and John Squire have emerged as favorites for the U.K. chart title with their first collaborative album.
Based on midweek sales and streaming data published by the Official Charts Company, Liam Gallagher & John Squire (Warner Records) takes pole position.
Gallagher is no stranger to life at the top. Across his career, Liam has landed eight U.K. No. 1 albums as a member of Oasis, and a further five as a solo artist.
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Liam Gallagher & John Squire would represent a first leader for Squire, who has impacted the top 10 on four occasions as guitarist with the Stone Roses, and once as bandleader of the Seahorses.
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Coming in at No. 2 on the Official Chart Update is The Mandrake Project (BMG), the seventh solo record from Bruce Dickinson, best known as lead singer of Iron Maiden. The Mandrake Project is the British heavy metal veteran’s first full-length release since 2005, and is set to become his first U.K. top 10 as a solo artist.
Leeds, England rock favorites Kaiser Chiefs’ should nab an eighth U.K. top 10 appearance with Easy Eighth Album (Kaiser Chiefs), on track for a No. 3 debut. Kaiser Chiefs have twice led the tally, with 2007’s Yours Truly, Angry Mob and 2014’s Education, Education, Education & War.
Yard Act, also from Leeds, is targeting a No. 4 start with their sophomore studio release, Where’s My Utopia? (Island), while Manchester-formed rock act Everything Everything complete an all-new top 5 on the midweek tally with Mountainhead (BMG). It’s on track to bow at No. 5, for what would be their sixth U.K. top 10 album.
The current leader, Rod Stewart and Jools Holland’s Swing Fever (EastWest/Rhino) is expected to swing from the chart zenith, down 1-6.
After dominating the 2024 Brit Awards over the weekend, where she collected a record-setting six honors, RAYE is on the rebound. The homegrown R&B star’s debut My 21st Century Blues (Human Re Sources) is set to vault 96 places for a top 10 reentry, at No. 7. My 21st Century Blues won album of the year at the BRITs, and peaked at No. 2 following its release last year. The British artist also won for artist of the year, song of the year for her No. 1 single “Escapism” (featuring 070 Shake), R&B act, new artist and songwriter of the year.
Meanwhile, British rapper and songwriter Skrapz (real name: Christopher Kyei) is tracking for a top 10 berth with Reflection (1&Only), his fourth studio LP. It’s new at No. 8 on the midweek tally, and predicted to become his first U.K. top 10 album. Also heading for U.K. top 40 enters are recordings from Big Big Train (The Likes Of Us at No. 13 via Century Media), Jacob Collier (Djesse Vol. 4 at No. 18 via Decca) and These Wicked Rivers (Force of Nature at No. 36 via Fat Earth).
All will be revealed when the Official U.K. Albums Chart is published Friday, March 8.
After nearly 20 years, two all-female groups are in the top 10 at the same time on the Billboard 200 albums chart, as the latest releases from TWICE and LE SSERAFIM debut at Nos. 1 and 8, respectively, on the chart dated March 9. TWICE achieves its first No. 1 with the chart-topping debut of With YOU-th, while LE SSERAFIM lands its second top 10 effort with the arrival of Easy.
The last time that at least two all-female groups were in the top 10 concurrently was on the Aug. 5, 2006-dated chart, when The Chicks were at No. 9 with Taking the Long Way, while The Pussycat Dolls were No. 10 with PCD.
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Notably, as both TWICE and LE SSERAFIM are South Korean ensembles, this week marks the first time at least two all-female Korean pop (K-pop) groups are in the top 10 together.
With YOU-th is the third No. 1 on the Billboard 200 by an all-female group in less than three years. NewJeans was the last all-female group on top with 2nd EP ‘Get Up’ (Aug. 5, 2023, chart) and they were preceded by BLACKPINK with Born Pink (Oct. 1, 2022). All three acts are Korean pop groups, their respective albums were their first No. 1s, and all debuted atop the tally. Before BLACKPINK, the last all-female group to lead the chart was American act Danity Kane, with its second album, Welcome to the Dollhouse, which bowed at No. 1 on the April 5, 2008, chart.
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 March 9-dated chart will be posted in full on Billboard‘s website on March 5. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Benson Boone’s “Beautiful Things” is the biggest song in the world, as it rebounds for a third week at No. 1 on the Billboard Global 200 chart and adds a third week atop the Billboard Global Excl. U.S. survey.
Meanwhile, SZA’s “Saturn” launches at No. 5 on the Global 200, and two songs are new to the Global Excl. U.S. top 10: LE SSERAFIM’s “Easy” (47-6) and YG Marley’s “Praise Jah in the Moonlight” (11-10).
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.
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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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Boone Tops Global 200, ‘Saturn’ Rockets In
Benson Boone’s “Beautiful Things,” released on Night Street/Warner Records, rebounds 2-1 for a third week atop the Billboard Global 200, with 71 million streams (up 12%) and 30,000 sold (up 148%, aided by the Feb. 23 release of new a cappella, acoustic, instrumental, piano instrumental, slowed down and sped-up mixes) worldwide Feb. 23-29.
Beyoncé’s “Texas Hold ‘Em” dips to No. 2 after a week atop the Global 200; Ye (the artist formerly known as Kanye West) and Ty Dolla $ign’s “Carnival,” featuring Rich the Kid and Playboi Carti, holds at No. 3, after reaching No. 2; and Teddy Swims’ “Lose Control” repeats at its No. 4 high.
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SZA’s “Saturn” blasts onto the Global 200 at No. 5, with 43.3 million streams and 2,000 sold worldwide in its first week, following its Feb. 23 release (after she teased the track in a Mastercard commercial that aired during CBS’ broadcast of the Grammy Awards Feb. 4). SZA scores her sixth top 10 on the tally.
‘Beautiful Things’ Leads Global Excl. U.S., 2 New Top 10s
Benson Boone’s “Beautiful Things” also logs a third week at No. 1 on the Billboard Global Excl. U.S. chart, with 48.6 million streams (up 13%) and 5,000 sold (up 3%) outside the U.S. Feb. 23-29.
Beyoncé’s “Texas Hold ‘Em” is steady at its No. 2 Global Excl. U.S. best; Teddy Swims’ “Lose Control” leaps 8-3 for its first week in the top five; Taylor Swift’s “Cruel Summer” lifts 5-4, after hitting No. 3; and Creepy Nuts’ “Bling-Bang-Bang-Born” falls 3-5 after hitting No. 2.
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LE SSERAFIM’s “Easy” soars 47-6 on Global Excl. U.S., with 33.1 million streams (up 104%) and 2,000 sold (up 26%) outside the U.S., as the South Korean group’s new collection of the same name debuts at No. 8 on the U.S.-based Billboard 200. The act notches its second total and consecutive Global Excl. U.S. top 10, after “Perfect Night” hit No. 8 in January.
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Plus, YG Marley’s “Praise Jah in the Moonlight” rises 11-10 on Global Excl. U.S., with 27.2 million streams (essentially even week-over-week) and 1,000 sold (up 11%) outside the U.S. Born in Beverly Hills, Calif., Marley is extending the chart legacy of his famous family, as he is the son of Lauryn Hill and grandson of late reggae legend Bob Marley.
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated March 9, 2024) will update on Billboard.com tomorrow, March 5. 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:With new music in from SZA, can Beyoncé hold on to the top spot? This is the Billboard Hot 100 top 10 for the week dated March 9th. Falling to No. 10 is Taylor Swift. “Snooze” is at No. 9. “Greedy” stays in last week’s spot. Zach and Kacey rise two slots to No. […]
A second week at No. 1 on the Billboard Hot 100 is in the cards for Beyoncé’s “Texas Hold ‘Em.” A week earlier, the song ascended to the summit, becoming her ninth leader on the chart.
Plus, SZA’s “Saturn” rockets onto the Hot 100 at No. 6. The song starts as her 10th career top 10.
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 March 9, 2024) will update on Billboard.com tomorrow, March 5. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
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“Texas Hold ‘Em,” on Parkwood/Columbia Records/Columbia Nashville, drew 27.6 million radio airplay audience impressions (up 72%) and 25.5 million streams (down 12%) and sold 22,000 downloads (down 24%) in the Feb. 23-29 tracking week, according to Luminate.
The single dips to No. 2 on the Digital Song Sales chart, after two weeks at No. 1, and to No. 3 after a week atop Streaming Songs, while bounding 43-23 on Radio Songs, as the song claims top Airplay Gainer honors on the Hot 100 for a second week.
Being promoted to multiple radio formats, “Texas Hold ‘Em” leaps 28-16 on Adult Pop Airplay, 25-17 on Pop Airplay, 36-23 on Rhythmic Airplay – as the Greatest Gainer on each chart – 28-24 on Adult R&B Airplay, 36-32 on R&B/Hip-Hop Airplay and 40-32 on Mainstream R&B/Hip-Hop Airplay. It also debuts on Adult Alternative Airplay at No. 36, while slipping 34-38 on Country Airplay; thanks to its placement on the two tallies, where Beyoncé had not previously logged any entries, she has tied Pharrell Williams for the most airplay charts – 18 – on which any artist has appeared.
“Texas Hold ‘Em” is one of two songs that Beyoncé released Feb. 11 (with instrumental and clean and explicit a cappella versions of the song released Feb. 14), along with “16 Carriages.” Their arrival was announced via a Verizon commercial that aired during CBS’ broadcast of Super Bowl LVIII Feb. 11, ahead of the March 29 release of her new album, which follows her 2022 Renaissance LP.
“Texas Hold ‘Em” concurrently adds a third week at No. 1 on the Hot Country Songs chart, which uses the same multimetric methodology as the Hot 100. The banjo-inflected single became her historic first No. 1 on the ranking; prior to its coronation, no Black woman, or female known to be biracial, had previously led the list.
Ye (formerly known as Kanye West) and Ty Dolla $ign’s “Carnival,” featuring Rich the Kid and Playboi Carti, rebounds to a new No. 2 Hot 100 high, from No. 4. It also rises 2-1 for a second week atop Streaming Songs (32.2 million, up 31%), as it wins the Hot 100’s top Streaming Gainer nod. The track also scores its first week atop both the multimetric Hot R&B/Hip-Hop Songs and Hot Rap Songs charts. On the former, Ye notches his ninth No. 1; Ty Dolla $ign, his second; and Rich the Kid and Playboi Carti, their first each. On the latter, the acts’ career No. 1 counts now stand at 11, three, one and one, respectively.
Jack Harlow’s “Lovin on Me” descends 2-3 on the Hot 100, following six nonconsecutive weeks at No. 1, as it posts a seventh week atop Radio Songs (79.4 million, essentially even week-over-week).
Benson Boone’s “Beautiful Things” bumps 5-4 on the Hot 100, after hitting No. 3, as the chart’s top Sales Gainer, as it becomes his first leader on Digital Song Sales (3-1; 25,000, up 249%, aided by the Feb. 23 release of new a cappella, acoustic, instrumental, piano instrumental, slowed down and sped-up mixes).
Teddy Swims’ “Lose Control” retreats 3-5 on the Hot 100, after reaching No. 2.
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SZA’s “Saturn” starts at No. 6 on the Hot 100, with 25 million streams, 960,000 in airplay audience and 2,000 sold in its first week, following its Feb. 23 release (after SZA teased the track in a Mastercard commercial that aired during CBS’ broadcast of the Grammy Awards Feb. 4).
“Saturn” launches as SZA’s 10th Hot 100 top 10, and joins her No. 2-peaking “Snooze” (6-9) in the region. “Saturn” simultaneously dethrones “Snooze” atop the multimetric Hot R&B Songs chart, debuting as her sixth No. 1. (“Snooze” topped Hot R&B Songs for 30 weeks, tying SZA’s own “Kill Bill” for the longest command by a woman dating to the chart’s 2012 inception.)
Meanwhile, “Saturn” joins a small system of Hot 100 top 10s with names of planets in their titles. The identified such objects that have flown to the top 10:
“Venus,” Frankie Avalon (No. 1 for five weeks, 1959)
“Venus,” The Shocking Blue (No. 1, one week, 1970)
“It’s Too Late”/“I Feel the Earth Move,” Carole King (No. 1, five weeks, 1971)
“Give Me Love – (Give Me Peace on Earth),” George Harrison (No. 1, one week, 1973)
“Venus,” Bananarama (No. 1, one week, 1986; a remake of The Shocking Blue’s leader, above)
“Heaven Is a Place on Earth,” Belinda Carlisle (No. 1, one week, 1987)
“Drops of Jupiter (Tell Me),” Train (No. 5, 2001)
“Saturn,” SZA (No. 6 peak, to date, 2024)
“Venus in Blue Jeans,” Jimmy Clanton (No. 7, 1962)
Notably, Saturn becomes the fourth planet in the title of a Hot 100 top 10 (with six of the nine songs above having hit No. 1). Honorable mentions to: Bruno Mars (18 career top 10s), Earth, Wind & Fire (seven), Rare Earth (three) and Manfred Mann’s Earth Band (one); The Neptunes, who have produced 16 top 10s; “Baby Pluto” by Lil Uzi Vert (No. 6, 2020; Pluto was downgraded to “dwarf planet” status in 2006); and all top 10s released on Mercury Records, from the Big Bopper’s “Chantilly Lace” in 1959 through Noah Kahan’s “Stick Season” (on Mercury/Republic Records) last month.
(Puts telescope away …)
Zach Bryan’s “I Remember Everything,” featuring Kacey Musgraves, climbs 9-7 on the Hot 100, after it led for a week upon its debut last September. It tops the multimetric Hot Rock & Alternative Songs and Hot Rock Songs charts for a 27th week each.
Rounding out the Hot 100’s top 10, Tate McRae’s “Greedy” pushes 9-8, after reaching No. 3, and, below SZA’s “Snooze,” Taylor Swift’s “Cruel Summer” falls 7-10, following four nonconsecutive weeks at No. 1 beginning in October.
Again, for all chart news, you can follow @billboard and @billboardcharts on Billboard’s social accounts, and all charts (dated March 9), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (March 5).
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.
Nowadays, numerous songs become hits after artists have built buzz teasing them on TikTok and other social platforms. By the time a song is released in its entirety, it’s common for fans to already be familiar with it.
In the late ‘80s, artists had fewer avenues to preview new music, but still one key one: playing unreleased songs on tour. Debbie Gibson took advantage of that opportunity during shows supporting her smash debut album, Out of the Blue, which yielded four Billboard Hot 100 top 10s in 1987-88, including her historic first No. 1, “Foolish Beat.”
In addition to spotlighting her breakthrough hits on the road, Gibson took to the piano to unveil the love song “Lost in Your Eyes.”
“I was so excited about this song that I couldn’t wait to perform, so I did a sneak preview live on tour way before it was ever released,” Gibson recalls to Billboard.
The song became the first single from the then-18-year-old’s sophomore 1989 album, Electric Youth. The ballad, which Gibson wrote and produced solo (as with “Foolish Beat”), soared to No. 1 for three weeks on the Hot 100 beginning with the chart dated that March 4. A week later, Electric Youth, released on Atlantic Records, began a five-week reign on the Billboard 200 albums chart.
Wrote Paul Grein in the Chart Beat column in the March 11, 1989, Billboard issue, “Gibson this week becomes the first teen star to have the No. 1 pop album and single simultaneously since Little Stevie Wonder more than 25 years ago. Gibson [is] the first female teen star ever to achieve this double play.” Plus, “Gibson has equaled the achievement of several of her role models: Olivia Newton, in 1974; Elton John hit the jackpot twice in 1975; Billy Joel triumphed in 1980; and George Michael scored twice last year.”
Electric Youth produced four Hot 100 hits, with “Lost in Your Eyes” followed by two more top 20 singles, the anthemic title cut and contemplative ballad “No More Rhyme,” plus longtime fan-favorite sing-along “We Could Be Together.”
Gibson has continued to expand her Billboard chart history, as she sent her first seasonal collection, Winterlicious, into the top 20 of Top Holiday Albums in 2022. It followed her first proper LP of all-new music in two decades, The Body Remembers, which hit the Top Current Albums and Top Album Sales charts in 2021. A veteran of Broadway, film and TV, Gibson most recently appeared on Fox’s The Masked Singer, Celebrity Name That Tune (in a friendly face-off against Belinda Carlisle) and We Are Family. Currently, she’s working on her upcoming memoir.
Upon the 35th anniversary of “Lost in Your Eyes” topping the Hot 100, Gibson gives Billboard an exclusive countdown, below, of the chart that week in 1989, musing about each hit in the top 20. The song led over fellow enduring hits from acts including The Bangles, Rick Astley and Guns N’ Roses; a duet (co-written by Richard Marx) between Heart’s Ann Wilson and Cheap Trick’s Robin Zander; and classics from Tone-Loc, New Kids on the Block, Sheena Easton and more. –Gary Trust
“Dreamin’,” Vanessa Williams
Image Credit: Joseph Del Valle/NBCU Photo Bank/NBCUniversal via Getty Images
Swing Fever whips through the U.K. as Rod Stewart and Jools Holland claim their first collaborative album title.
The leader at the midweek point, Swing Fever (via EastWest/Rhino) outpaces its closest rival by almost two-to-one, the Official Charts Company reports, to debut at No. 1 on the national tally, published Friday, March 1.
Swing Fever is the first solo leader for Holland, the TV host, bandleader and Squeeze keyboardist, and Stewart’s 11th – a feat that sees the British icon draw draw level with David Bowie, Taylor Swift and U2 on the all-time list of acts with the most No. 1 albums in the U.K.
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Slotting in at No. 2 on the Official Chart is the Snuts’ Millennials (Happy Artist), the Scottish band’s third studio LP. It’s the band’s third successive appearance in the top 3, following 2021 leader W.L. and 2022’s No. 3-peaking Burn The Empire (the Snuts’ debut EP Mixtape maxed-out at No. 14 in 2020).
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Noah Kahan’s former leader Stick Season (Republic Records) holds at No. 3, to complete the podium.
Also landing a top 10 berth this week is British rapper and songwriter Potter Payper, with Thanks For Hating (36TL), new at No. 5. That’s a fourth top 10 appearance on the albums tally for Potter (real name: Jamel Bousbaa) following 2020’s Training Day 3 (No. 3), 2021’s Thanks For Waiting (No. 8) and 2023’s Real Back In Style (No. 2).
Liverpool six-piece Red Rum Club bag a first-ever top 10 with their third studio album Western Approaches (Modern Sky), new at No. 8. That’s strides ahead of the group’s previous best, a No. 34 peak for 2021’s How To Steal The World.
Also enjoying top 40 debuts on the latest Official U.K. Albums Chart are titles from Nadine Shah (Filthy Underneath at No. 25 via EMI North) and Ghetts (On Purpose, With Purpose at No. 29 via Warner Records).
Stranger things are happening on the U.K. singles chart as Djo cracks the top five for the first time with “End of Beginning,” while Beyoncé lassos a second week at No. 1 with “Texas Hold ‘Em”.
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Djo is the musical project of Joe Keery, the U.S. actor who portrays Steve Harrington in the popular Netflix sci-fi series Stranger Things.
“End of Beginning” is housed on Djo’s 2022 studio album Decide (AWAL/Djo), but was never released as a single proper. Now, thanks to a viral trend on TikTok, “End of Beginning” rockets up the chart, flying 100-11-5 in the past three weeks. For the latest cycle, the dreamy indie pop single enjoyed a 50.7% week-on-week gain, according to the Official Charts Company.
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This isn’t the first time a Stranger Things-adjacent tune has enjoyed an unexpected viral turn. In 2022, powered by season four syncs, Kate Bush’s 1985 release “Running Up That Hill (A Deal With God)” climbed to No. 1 for the first time, setting records along the way, while Metallica’s “Master of Puppets” cracked the top 40 following Eddie Munson’s guitar solo scene – becoming a hit for the first time some 37 years after its release.
Meanwhile, Beyoncé extends her reign over the Official U.K. Singles Chart, published Friday, March 1, as her country-tinged hit holds at No. 1 for a second week. “Texas Hold ‘Em” (via Columbia/Parkwood Ent) became Bey’s sixth U.K. leader, and her first in 14 years.
Teddy Swims’ “Lose Control” (Atlantic) lifts 3-2 for a new peak position, while Benson Boone’s “Beautiful Things” (Warner Records) dips 2-3.
Further down the tally, Kanye West and Ty Dolla $ign crash the top 10 with “Carnival” (YZY), up 13-9, a new peak position. That’s Ye’s 22nd U.K. top 10 appearance and Ty’s fourth.
Finally, SZA snags a top 20 debut with “Saturn” (RCA/Top Dawg), new at No. 15 for the U.S. R&B star’s 13th U.K. top 40 appearance, while British rapper Central Cee scores his 24th top 40 with “I Will” (Columbia). It’s new at No. 18.
