Chart Beat
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It’s been a busy start of 2025 for Billboard’s Regional Mexican Airplay chart, with five acts occupying the No. 1 spot at least for one week across the year’s seven chart weeks thus far. The latest leader is Gerardo Coronel “El Jerry,” who slides to the top of the list with “CHSM El Hígado,” as […]
The 2025 Grammy Awards held Feb. 2 shine bright on both the Billboard 200 albums and Billboard Hot 100 songs charts (dated Feb. 15), as a starry lineup of winners and performers racked up big gains. Let’s take a look at some notable movers and shakers on both lists.
On the Billboard 200
Kendrick Lamar’s GNX gains 9% in equivalent album units earned in the U.S. in the tracking week ending Feb. 6 (65,000), according to Luminate, though the album is pushed down a spot to No. 4. While Lamar did not perform on the Grammy Awards, he did win five trophies — the most of any artist this year — with two of those presented on-air during the CBS television broadcast: record of the year and song of the year, both for “Not Like Us.” Lamar also took home the awards for best rap performance, best rap song and best music video – all for “Not Like Us.” (“Not Like Us” is not included on any of Lamar’s albums, but GNX is his most recent album release.)
Lamar has four more albums on the Billboard 200 — and all post gains. Good Kid, M.A.A.D City climbs 31-27 (21,000; up 11%), DAMN. rises 36-29 (20,000; up 9%), To Pimp a Butterfly rises 196-167 (9,000; up 9%) and Mr. Morale and The Big Steppers reenters at No. 185 (8,500; up 13%).
Billie Eilish’s Hit Me Hard and Soft gains 47% (jumping 10-5), following her performance of the album’s “Birds of a Feather” on the show. The album was also nominated for multiple awards, though did not win. Eilish also logs gains on the Billboard 200 with When We All Fall Asleep, Where Do We Go? (95-83; up 10%), Happier Than Ever (135-115; up 17%) and Dont Smile at Me (reentering at No. 160; up 14%).
Best new artist winner Chappell Roan sees her The Rise and Fall of a Midwest Princess bound 14-6 with a 56% gain in units earned. Roan performed the album’s “Pink Pony Club” on the show.
Two-time winner Sabrina Carpenter is pushed down 6-7 with Short n’ Sweet, despite a gain of 20%. Carpenter won best pop vocal album (for Short n’ Sweet), which was presented on air, and best pop solo vocal performance (for the album’s “Espresso”). Carpenter also performed a medley of “Espresso” and “Please Please Please” on the broadcast. An earlier Carpenter album, Emails I Can’t Send, also logs a gain on the chart, increasing by 8% and climbing 131-125.
Taylor Swift’s The Tortured Poets Department bumps 11-9 with an 8% increase, even though the album didn’t win any of the six awards it and its songs were nominated for. Still, Swift was an attendee at the event, was frequently seen by the CBS cameras, and presented the best country album award to Beyoncé for Cowboy Carter.
Speaking of Cowboy Carter, the album of the year winner gallops back onto the chart, reentering at No. 19 with 25,000 units earned — up 254%.
Doechii, who performed on the show and won the on-air-presented best rap album award for Alligator Bites Never Heal, sees that album vault 62-14 for its best week yet, gaining 107% to 31,000 units earned.
Best new artist nominee and show performer Benson Boone gets a big boost, as his Fireworks & Rollerblades album rises 49-23 with 24,000 units earned — up 44%. On the show, he performed an acrobatic rendition of the album’s “Beautiful Things.” Fellow best new artist nominees, and performers, Teddy Swims and Shaboozey also see gains — the former for I’ve Tried Everything But Therapy (Part 1), which rises 25-24 with an 8% increase, and the latter for Where I’ve Been, Isn’t Where I’m Going, which rises 50-38 with a 13% gain.
All eight of the best new artist nominees had their own dedicated solo performance on the CBS broadcast: Boone, Carpenter, Doechii, Khruangbin, Raye, Roan, Shaboozey and Swims. (While Raye and Khruangbin aren’t on the Billboard 200, they also see gains with their most recent albums. Raye’s My 21st Century Blues is up 65% to 5,500 units; and Khruangbin’s A La Sala is up 36% to nearly 2,000 units.)
Performer and three-time winner Charli XCX sees her Brat album bump 52-26 with 22,000 units earned — up 38%. Brat won best dance/electronic album and best recording package, while the set’s “Von Dutch” won best dance pop recording. While none of Charli’s awards were presented during the CBS broadcast, she performed a medley of the album’s “Von Dutch” and “Guess” on the show.
Kendrick Lamar & More Leap on the Hot 100
As previously reported, the Hot 100’s top 10 reflects Grammy action, led by Lady Gaga and Bruno Mars’ “Die With a Smile,” which won for best pop duo/group performance during the CBS broadcast. The pair also performed on the show, but didn’t sing “Die With a Smile,” instead, they did a cover of The Mamas and the Papas’ “California Dreamin’” in tribute to Los Angeles following the January wildfires in the area.
Songs in the top 10 by Eilish, Shaboozey, The Weeknd and Playboi Carti, and Benson Boone also bask in a post-Grammy glow.
Just outside the Hot 100’s top 10, Lamar’s “Not Like Us” vaults 29-15 with a 55% blast to 19.2 million official U.S. streams. The Drake-eviscerating track, which topped the chart for two weeks last May and July, swept all five of its Grammy nominations.
Roan surges with two songs in the Hot 100’s top 25: “Pink Pony Club” (45-18, a new high, surpassing its prior No. 26 peak) and “Good Luck, Babe!” (30-23, after reaching No. 6). The songs soared by 98% to 13.4 million streams and 26% to 13.2 million streams, respectively, after she performed “Pink Pony Club” and won the Grammy for best new artist, accepting the award with her buzzy speech calling for improvements in artists’ healthcare.
Plus, Doechii’s “Denial Is a River” hits the Hot 100’s top 40, jumping 55-27, up 66% to 13.8 million streams. It’s a new best rank for the rapper, who previously hit a No. 29 high in October 2013 with “What It Is (Block Boy)” featuring Kodak Black.
Chris Brown scores a historic milestone on Billboard’s R&B/Hip-Hop Airplay chart, becoming the second artist to reach 100 cumulative weeks at No. 1 on the radio ranking, across 11 No. 1 songs in his career. The R&B hitmaker achieves the feat on the list dated Feb. 15 as current single “Residuals” jumps 2-1 for its first week in the top slot. The singer joins Drake, who has a record 176 weeks at No. 1 on R&B/Hip-Hop Airplay, in the triple-digit club among all artists since the chart launched in 1992.
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A CBE/RCA Records release, “Residuals” crowns R&B/Hip-Hop Airplay, which ranks songs by combined audience totals from adult R&B and mainstream R&B/hip-hop radio stations, with 15.8 million audience impressions in the tracking week of Jan. 31-Feb. 6, according to Luminate, up 3% from the previous week’s 15.3 million.
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The single advances to the summit in its 27th week on the list, the seventh-longest wait in the chart’s history. After 11 nonconsecutive weeks in the runner-up spot, “Residuals” likely crosses the finish line with added buzz from its official music video release on Jan. 23 and its nomination for best R&B performance at the Grammy Awards. While the track lost its nod at the Feb. 2 ceremony, Brown won best R&B album for 11:11, his second career trophy.
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Brown’s 100 weeks at No. 1 are spread across 11 No. 1s. Notably, more than half of his career total derives from just two songs: “No Guidance” featuring Drake, and a collaboration with Young Thug, “Go Crazy.” The former logged 27 weeks on top in 2019-2020, while the latter dominated for 29 frames in 2020-21. At the time, both tracks set records for the longest run by any song in the chart’s history; SZA’s “Snooze,” at 37 weeks in charge, now holds the title.
To recap his 100 weeks at the summit, here’s a review of Brown’s 11 No. 1s on R&B/Hip-Hop Airplay:
“Say Goodbye,” six weeks at No. 1, beginning Oct. 14, 2006
“Deuces,” feat. Tyga and Kevin McCall, nine, Sept. 11, 2010
“Look at Me Now,” feat. Lil Wayne and Busta Rhymes, eight, April 2, 2011
“Loyal,” feat. Lil Wayne and French Montana or Too $hort or Tyga, eight, June 7, 2014
“New Flame,” feat. Usher and Rick Ross, four, Oct. 25, 2014
“Hold You Down,” DJ Khaled feat. Chris Brown, August Alsina, Future and Jeremih, five, Nov. 15, 2014
“All Eyes on You,” Meek Mill feat. Chris Brown and Nicki Minaj, one, Sept. 26, 2015
“No Guidance,” feat. Drake, 27, Aug. 24, 2019
“Go Crazy,” with Young Thug, 29, Aug. 22, 2020
“Under the Influence,” two, March 25, 2023
“Residuals,” one (to date), Feb. 15, 2025
With an 11th No. 1, Brown breaks a tie with Beyoncé for sole possession of the fourth-most leaders on R&B/Hip-Hop Airplay. Drake leads the count with 29, with Usher (16) and Lil Wayne (12) in second and third place, respectively.
Elsewhere, “Residuals” pushes 15-13 on Adult R&B Airplay, sparked by a 49% surge in weekly plays. It also repeats at No. 6 on the Mainstream R&B/Hip-Hop Airplay, a chart it topped for four weeks in December-January, and essentially remains even in plays with last week’s total.
R&B girl group Psiryn earns its first No. 1 on a Billboard chart as its single “Sober” rules the Adult R&B Airplay chart. The track ascends from No. 2 after an 8% jump that made it the most played song on U.S. panel-contributing adult R&B radio stations for the tracking week of Jan. 31-Feb. 6, according to Luminate.
In taking the summit, Psiryn — comprised of Anaya Chayenne, Jada Denise and Victoria McQueen — becomes the first all-female duo or group to crown the Adult R&B Airplay chart in nearly 23 years. The last? The duo Floetry, whose “Say Yes” ruled for seven weeks in May-June 2003. Among acts with at least three members, Psiryn is only the second girl group to reign on the 31-year-old Adult R&B Airplay chart. The trio joins Brownstone, which scored a pair of one-week leaders — “If You Love Me” and “Grapevyne” — in 1995.
As “Sober” advances, it knocks Coco Jones’ “Here We Go (Uh Oh)” from the top spot. The former champ ruled for seven nonconsecutive weeks beginning last December, including the last two frames.
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“It feels surreal and is an absolute honor,” Psiryn tells Billboard of its new No. 1. “We are the first girl group in 20 years to achieve this, and it feels truly out of this world – we still can’t believe this is happening!”
The journey to summit began nearly six months ago, when “Sober” debuted at No. 23 in September. A steady climb followed, but the single ran the risk of falling short of the apex — with five straight weeks at No. 5 around the holidays — before a final push put it to the finish line. The week-in, week-out support, the group notes, likely aligns with a wider mood. “The relatability of this record speaks volumes. So many people connect with ‘Sober’ and the feeling of needing a break from the real world,” the trio adds. “People just gravitate toward it, just like we did when we first heard it!”
“Sober” was released through independent label Kandi Koated Entertainment, a multimedia agency owned by Kandi Burruss. The entrepreneur rose to fame as a member of R&B group Xscape, which logged 10 hits on the Adult R&B Airplay chart in the 1990s, including “Just Kickin It” (No. 4), “Understanding” (No. 3) and “Who Can I Run To” (No. 2), all of which reached the top 10 on the Billboard Hot 100 chart. As a songwriter, Burruss co-penned hits include No. 1 Hot 100 hits from TLC (“No Scrubs”) and Destiny’s Child (“Bills Bills Bills.”)
Elsewhere, “Sober” repeats at its No. 18 high on the R&B/Hip-Hop Airplay chart, which ranks songs by combined audience totals from monitored adult R&B and mainstream R&B/hip-hop radio stations. There, the single climbed to 6.2 million audience impressions in the week, up 13% from 5.5 million in the previous tracking window.
Celebrating six decades of soul – from favorites by Stevie Wonder to The Weeknd and the Supremes to SZA – SiriusXM brought back the Billboard Top 500 R&B Countdown on Tuesday (Feb. 11). In honor of Black History Month, the countdown spotlights the top 500 R&B classics by Black artists spanning the past six decades […]
Lady Gaga debuts at No. 1 on the Feb. 15-dated Hot Dance/Pop Songs tally with “Abracadabra,” becoming the second chart-topper in the survey’s five-week history. Tate McRae’s “It’s Ok I’m Ok” drops to No. 6 after reigning for the list’s first four frames.
All Billboard charts dated Feb. 15 will update tomorrow, Feb. 11. Hot Dance/Pop Songs ranks the most popular current dance/pop titles, separate from Billboard’s Hot Dance/Electronic Songs chart, which focuses on producers and DJs.
“Abracadabra” and its official music video were debuted during last weekend’s Grammy telecast (Sun, Feb. 2), before appearing in full on digital platforms later that night. Billboard‘s tracking week stretches from Friday to Thursday, meaning that the song’s chart debut was handicapped by its Sunday release. Still, its No. 1 entry was powered by 13.7 million official U.S. streams, 1.3 million radio audience impressions, and 10,000 downloads sold through Feb. 6, according to Luminate.
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Despite its shortened week, “Abracadabra” boasts the highest sales and streaming totals in the chart’s brief history.
Gaga also debuts on the Billboard Hot 100, with “Abracadabra” arriving at No. 29 in its first abbreviated week. Following the chart’s current reigning champ, the Bruno Mars-assissted “Die with A Smile”, and “Disease” (No. 27), her upcoming Mayhem now boasts three top 40 hits on the all-genre ranking before its impending March 7 release, marking her first album to do so since 2013’s Artpop. Overall, it’s her 39th entry on the chart dating back to “Just Dance,” featuring Colby O’Donis, which spent three weeks at No. 1 in 2009.
Gaga’s history in the genre reaches farther back than her No. 1 debut. She crowned the Dance/Mix Show Airplay list four times, reigning for one week with “Bad Romance” and “Born This Way,” for four weeks with “Rain on Me” featuring Ariana Grande, and for a 15-week stretch with “Poker Face.” Plus, her debut album The Fame has logged 193 weeks at No. 1 on Top Dance Albums, climbing back to No. 2 in its 569th week on the chart, 17 years removed from its 2008 release.
Morgan Wallen monopolizes all five of Billboard’s country charts (dated Feb. 15) for a record-extending eighth time, highlighted by a No. 1 entrance on Hot Country Songs with his newest single, “I’m the Problem.” Explore See latest videos, charts and news See latest videos, charts and news Wallen also tops the Country Streaming Songs and […]
ROSÉ and Bruno Mars’ “APT.” claims a record-breaking 15th week at No. 1 on the Billboard Global Excl. U.S. chart. The team-up, which in November debuted as the stars’ second leader each on the list, one-ups Mariah Carey’s “All I Want for Christmas Is You” for the longest command in the chart’s four-year-plus history. (The latter has notched at least one week at No. 1 in each holiday season since the survey began.)
Meanwhile, Lady Gaga and Bruno Mars’ “Die With a Smile” rebounds for a ninth week atop the Billboard Global 200 chart, and its first since October; Gaga’s new single, “Abracadabra,” launches in the top 10 of both global tallies; and The Weeknd’s “Cry for Me” opens in the Global 200’s top 10.
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The Billboard Global 200 and Global Excl. U.S. charts rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Global 200 is inclusive of worldwide data and the Global Excl. U.S. chart comprises data from territories excluding the United States.
Chart ranks are based on a weighted formula incorporating official-only streams on both subscription and ad-supported tiers of audio and video music services, as well as download sales, the latter of which reflect purchases from full-service digital music retailers from around the world, with sales from direct-to-consumer (D2C) sites excluded from the charts’ calculations.
“APT.” holds atop Global Excl. U.S. with 103.9 million streams (down 4% week-over-week) and 11,000 sold (up 5%) outside the U.S. Jan. 31-Feb. 6.
Lady Gaga and Mars’ “Die With a Smile” keeps at No. 2 on Global Excl. U.S., following eight weeks at No. 1 starting last September; Bad Bunny’s “DtMF” repeats at No. 3, after hitting No. 2; Billie Eilish’s “Birds of a Feather” rises 6-4, after three weeks on top in August; and Bad Bunny’s “BAILE INoLVIDABLE” dips to No. 5 from its No. 4 best.
Gaga’s “Abracadabra,” unveiled (through a MasterCard commercial) during the 67th Annual Grammy Awards Feb. 2, debuts at No. 9 on Global Excl. U.S. with 34.1 million streams and 8,000 sold outside the U.S. through Feb. 6. The song marks Gaga’s second top 10 since the survey started.
On the Global 200, “Die With a Smile” returns to No. 1, from No. 2, with 131.1 million streams (up 3%) and 16,000 sold (up 61%) worldwide. The ballad won the Grammy for best pop duo/group performance, while Gaga and Mars performed a cover of the Mamas & the Papas’ “California Dreamin’ ” as a tribute to Los Angeles during the Grammys.
“Die With a Smile” spent its first eight weeks at No. 1 on the Global 200 in September-October and ends a 15-week break from the summit, the longest such gap in the chart’s archives, excluding Carey’s seasonal “Christmas.”
ROSÉ and Mars’ “APT.” drops to No. 2 on the Global 200 following 12 weeks at No. 1 beginning in October; Bad Bunny holds at No. 3 with “DtMF,” after two weeks on top beginning in January; Eilish’s “Birds of a Feather” lifts 7-4, after three weeks in the lead in August – after she sang the song as the second performance during the Grammys; and Lola Young’s “Messy” is steady at its No. 5 high.
Plus, two songs debut in the Global 200’s top 10: The Weeknd’s “Cry for Me,” at No. 7 (led by 51 million streams worldwide), and Gaga’s “Abracadabra,” at No. 10 (47.7 million streams). The Weeknd and Gaga add their 14th and second top 10s, respectively. “Cry for Me,” which The Weeknd performed at the Grammys, is from his new album, Hurry Up Tomorrow, new at No. 1 on the U.S.-based Billboard 200 chart.
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Feb. 15, 2025) will update on Billboard.com tomorrow, Feb. 11. 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” lifts 4-3 on the Hot 100, returning to its best rank first reached upon its December debut. It concurrently rebounds for an eighth week at No. 1 on the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which use the same methodology as the Hot 100.
Billie Eilish’s “Birds of a Feather” flocks 7-4 on the Hot 100, after hitting No. 2. It leads the multimetric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a 27th week each. She sang the song as the second performance during the Grammys, spurring its 30% surge to 19.2 million streams and 219% blast to 8,000 sold in the week ending Feb. 6.
Shaboozey’s “A Bar Song (Tipsy)” keeps at No. 5 on the Hot 100, following a record-tying 19 weeks at No. 1 beginning last July. It gained by 8% to 17.9 million streams and 118% to 9,000 sold in the tracking week, after he performed it as part of a medley by best new artist Grammy nominees.
ROSÉ and Bruno Mars’ “APT.” drops to No. 6 from its No. 3 Hot 100 high.
The Weeknd and Playboi Carti’s “Timeless” vaults 18-7 on the Hot 100, after it debuted at its No. 3 best in October. It increased by 51% to 20.3 million streams in the tracking week after the pair performed it in a mix with The Weeknd’s “Cry for Me”; both songs are from his new album, Hurry Up Tomorrow, which debuts as his fifth No. 1 on the Billboard 200. “Timeless” also tops the multimetric Hot R&B Songs chart for a 17th week.
Teddy Swims’ “Lose Control,” which led the Hot 100 for a week in March 2024 – and became the year’s top song – dips 6-8. It logs a 77th week on the list, tying for the fifth-longest stay in the chart’s history. (It also matches Dua Lipa’s “Levitating” for the most weeks ever spent on the chart for a song on Warner Records.)
Benson Boone’s “Beautiful Things” backflips 15-9 on the Hot 100, after reaching No. 2. It bounded by 29% to 16 million streams and 515% to 14,000 sold in the tracking week, after he, like Shaboozey, contributed to the medley by best new artist Grammy nominees.
Rounding out the Hot 100’s top 10, Lamar’s “TV Off,” featuring Lefty Gunplay, rises 11-10 after it debuted at its No. 2 best in December.
The Weeknd lands his fifth No. 1 on the Billboard 200 albums chart with the debut of Hurry Up Tomorrow atop the tally (dated Feb. 15). The set earned 490,500 equivalent album units in the U.S. in the week ending Feb. 6, according to Luminate. That marks the largest week for any album since Taylor Swift’s The Tortured Poets Department debuted at No. 1 on the May 4, 2024-dated chart with 2.61 million. Hurry Up Tomorrow logs the biggest week for an R&B/hip-hop album since Travis Scott’s Utopia debuted at No. 1 on the Aug. 12, 2023, chart with 496,000.
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The Weeknd previously topped the chart with After Hours (2020), My Dear Melancholy (2018), Starboy (2016) and Beauty Behind the Madness (2015).
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Also in the latest top 10, Chappell Roan’s The Rise and Fall of a Midwest Princess surges 14-6 following her best new artist win at the Grammy Awards (Feb. 2), while Billie Eilish’s Hit Me Hard and Soft (10-5) also climbs in the wake of Grammy exposure.
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 Feb. 15, 2025-dated chart will be posted in full on Billboard‘s website on Feb. 11. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of Hurry Up Tomorrow’s 490,500 first-week equivalent album units, album sales comprise 359,000 (it debuts at No. 1 on Top Album Sales), SEA units comprise 130,500 (equaling 171.5 million on-demand official streams of the songs on the streaming edition of the album; it debuts at No. 1 on Top Streaming Albums) and TEA units comprise 1,000.
Hurry Up Tomorrow’s launch of 490,500 units marks The Weeknd’s biggest week by units earned (since the chart began measuring in units in December 2014). The set’s sales of 359,000 claim The Weeknd’s largest sales week ever.
The set was released as a nine-song standard album, widely available through digital download retailers. It was alternatively available as an 11-song edition across all of its physical formats (CD, vinyl and cassette) and a 22-track digital download and streaming edition. It was also available in two further digital download editions, both exclusively sold via The Weeknd’s HurryUpTomorrow.Club site. Each sold for $4.99, boasted alternative cover art and had the 22 tracks available on the deluxe digital/streaming edition, but each had at least one additional track. One included “Closing Night,” with Swedish House Mafia. The other included “Runaway” and “Society,” which were also included on all of the physical formats, but not any of the other digital or streaming editions.
In total, the album generated 183,000 in digital album sales; 99,000 in CD sales; 77,000 in vinyl sales (The Weeknd’s best week on vinyl) and 1,000 in cassette sales.
Hurry Up Tomorrow’s first-week sales were aided by its availability across eight vinyl variants (including a signed edition), eight CD variants (including multiple signed editions), a cassette tape, and nine deluxe boxed sets containing a branded piece of clothing and a CD.
The album was preceded by the Billboard Hot 100-charting songs “Timeless” (with Playboi Carti, No. 3 peak last October) and “Sao Paulo” (with Anitta, No. 77 last November).
Bad Bunny’s Debí Tirar Más Fotos falls 1-2 on the Billboard 200 with 94,000 equivalent album units earned (down 20%). SZA’s chart-topping SOS slips 2-3 with 82,000 (down 6%), Kendrick Lamar’s GNX dips 3-4 with 65,000 (though up 9%) and Billie Eilish’s Hit Me Hard and Soft jumps 10-5 with 53,000 (up 47%).
Eilish was the first performer on the Feb. 2 Grammy Awards broadcast (on CBS), singing the album’s “Birds of a Feather.” Also on the show: The Weeknd performed (singing his new album’s “Cry for Me” and “Timeless,” with Playboi Carti), while SZA presented the best pop duo/group performance, and Lamar won two on-air trophies (for record of the year, and song of the year, both for “Not Like Us”).
Chappell Roan’s The Rise and Fall of a Midwest Princess surges 14-6 with a 56% gain — to 49,000 equivalent album units earned. The album vaults up the tally following Roan’s win for best new artist at the Grammys, along with her performance of the album’s “Pink Pony Club” on the show (and her buzzy acceptance speech which generated headlines).
Sabrina Carpenter’s former No. 1 Short n’ Sweet gaind 20% (up to 48,000 equivalent album units) but is pushed down a spot to No. 7. On the Grammy Awards, Carpenter won the best pop vocal album award, while also performing a medley of the album’s “Espresso” and “Please Please Please.” (She also won best pop solo performance for “Espresso,” but that category was presented before the television broadcast began.)
Morgan Wallen’s chart-topping One Thing at a Time drops 5-8 on the Billboard 200, despite an 11% gain (to 45,000 equivalent album units). Taylor Swift’s former No. 1 The Tortured Poets Department ascends 11-9 with 38,000 equivalent album units (up 8%) — also likely basking in some glow from the Grammy Awards, where the album and its “Fortnight” single were up for six awards (though did not win). Swift was a visible presence throughout the ceremony, cheering on winners and performers, and presented the best country album trophy to Beyoncé (for Cowboy Carter).
Rounding out the latest top 10 on the Billboard 200 is Gracie Abrams’ The Secret of Us, falling 8-10 with 36,000 equivalent album units earned (down 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.