State Champ Radio Chart Beat
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Taylor Swift is enjoying quite the sales boost following her Friday (May 30) announcement that she had purchased the masters of her first six albums. Based on preliminary data from Luminate, we’re starting to get a sense of which albums Swifties are turning to most frequently to celebrate.
Looking at her Republic Records studio catalog, not including the Taylor’s Version re-recordings, all those albums experienced gains from Friday-Saturday (May 30-31), ranging from the slight 5.6% gain that The Tortured Poets Department experienced in sales when compared to the daily average of the preceding 11-day period, to the 21.9% increase her Evermore album enjoyed when comparing those periods, according to Billboard‘s calculations based Luminate’s on preliminary sales and streaming activity data.
Meanwhile, the Taylor’s Version albums almost all outperformed the Evermore increase, except for the 1989 re-record, which just missed out by growing 21.3% in the two-day average after the announcement versus the previous 11-day average: Red (Taylor’s Version) grew by 23.2%, Speak Now (Taylor’s Version) by 27.5% and Fearless (Taylor’s Version) by 27.9%, per preliminary data from Luminate, Billboard calculates.
Moving over to Swift’s Big Machine albums, the original 1989 album had the least amount of growth but even its percentage increase of 41.2% swamped the percentage gains posted by all the Republic albums. Leading the growth charge, Taylor Swift’s eponymous first album enjoyed a 484.4% increase, followed by Speak Now with a 343.9% increase in the two days after the announcement versus the 11 days prior; Reputation, up 328%; Red at 173.7% greater; and Fearless with a 140.4% rise when comparing the two periods, Billboard further calculates.
However, even with the original whopping percentage gains on a unit count basis for the two periods, none of those albums outperformed the Taylor’s Version albums in absolute sales for the post-announcement two-day period. For example, 1989 (Taylor’s Version) averaged a few hundred above 2,000 album consumption units for the two-day period, while the original version’s total album consumption was a few hundred over 1,000 units.
Even the original Speak Now, which saw a 343.9% increase, fell 10 units shy of Speak Now (Taylor’s Version), when looking at the average total consumption units for the two-day period.
On a unit basis, Reputation the biggest gain — nearly 6,000 units — to bring total sales on average for the two-day period to nearly 8,000 units, versus the nearly 2,000 units the album averaged in the 11 days prior to the announcement. In fact, that album was by far the best performing album in the Swift catalog over the two-day period.
It’s all been out of the ordinary for Alex Warren since his breakthrough hit started climbing the Billboard Hot 100 in February. Since then, the influencer-turned-singer-songwriter has conquered streaming and sales and gotten closer and closer on radio — to the point that now, he has the No. 1 song in the country.
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“Ordinary” rises to the Hot 100’s apex this week (chart dated June 7), in its 16th frame on the listing — replacing Morgan Wallen’s Tate McRae-featuring “What I Want,” and making Warren the second artist in 2025 to top the Hot 100 for the first time, after McRae. At the same time, he debuts at No. 32 with “Bloodline,” a teamup with country star Jelly Roll.
How did “Ordinary” end up going all the way? And will be “Bloodline” be following it to the chart’s top tier? Billboard staffers discuss these questions and more below.
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1. “Ordinary” reaches the Hot 100’s apex in its 16th week on the chart. Are you surprised it was able to get all the way to the top spot, or did you see this coming for It once it started climbing?
Katie Atkinson: Once it started climbing, No. 1 seemed very possible — having seen some similar trajectories for other big-voiced male ballads in the last year-plus — but while “Lose Control” and “Too Sweet” hit the summit in 2024, “Beautiful Things” never made it, so “Ordinary” wasn’t a lock. And then when it overcame the 13-week run of Kendrick Lamar and SZA’s “Luther” last week only to be kept out of No. 1 by a deluge of new Morgan Wallen songs, it felt like there was a world where it might not happen. So this has to feel extraordinary for Warren that his breakthrough hit muscled through.
Kyle Denis: Once “Ordinary” started climbing, I did think it would reach the top spot, given how stagnant the Hot 100 is right now and the lack of new 2025 releases cementing themselves as bonafide hits. Nonetheless, I’m still a bit surprised that it hit No. 1 because I don’t rate it as one of the more interesting pop songs we’ve gotten this year.
Lyndsey Havens: Shocked! But just momentarily — as I was quickly reminded that this song has been everywhere. I think this song has enjoyed a nice and steady climb, and as the song of summer conversation is just kicking off, it’s possible “Ordinary” snuck in just in time before a new hit, or longer-loved contender, knocks it from the top.
Jason Lisphutz: I’m somewhere in the middle: when “Ordinary” first reached the top 10, I was a little dubious of its longterm prospects, but for about six weeks or so I was convinced that it would eventually take over the top spot. With a pretty staggering global listenership, unflagging U.S. streams and increasing radio buy-in, “Ordinary” has been a multi-platform smash for a while now, and its rise to No. 1 is no chart fluke.
Andrew Unterberger: If you had told me four months ago, I would’ve been pretty surprised — but this is the kind of hit song that, as soon as it reaches a certain escape velocity, feels almost guaranteed to make it all the way to the moon. So once it jumped into the top 40 on the Hot 100 and started to catch on radio, a No. 1 peak felt practically pre-determined.
2. What do you think is the biggest reason why “Ordinary” was able to really break containment and become one of the year’s biggest hits?
Katie Atkinson: While his first-ever awards show performance at last week’s AMAs was perfectly timed with the song’s ascent, I’m going to nod to radio for this one. If you turn on the radio across pop, adult pop and AC right now, you will hear “Ordinary” within the hour. Maybe within a half-hour, really. This song has felt as inescapable as songs come these days, so with its 15% bump across radio last week (plus no major new album releases), that was the final push it needed.
Kyle Denis: “Ordinary” largely operates in the same vocal and guitar-driven pop-rock space that’s housed recent Hot 100 chart-toppers like Teddy Swims’ “Lose Control” and Hozier’s “Too Sweet.” With Myles Smith (“Stargazing”), Benson Boone (“Beautiful Things”) and Shaboozey (“Good News”) all earning hits with different takes on the sound, consumers clearly haven’t gotten tired of it yet. Of course, it also helps that TikTok has latched onto the song, with the official “Ordinary” sound playing in over 573,000 posts on the platform.
Lyndsey Havens: Omnipresence. I turn on the TV and “Ordinary” has a major synch. I turn on the radio and “Ordinary” is playing — and if I change the station, it will be on at least one other at the same time. I walk into a store and “Ordinary” is blasting. The song is connecting across every medium, yet Warren and his team aren’t only banking on this one hit: At the same time that he’s enjoying breakout success — with the song topping both the Hot 100 and Billboard Global 200 — the artist also teamed up with Jelly Roll for their collab, “Bloodline,” which is already trailing behind “Ordinary” on the Hot 100.
Jason Lipshutz: A little over a year after Teddy Swims’ “Lose Control” and Benson Boone’s “Beautiful Things” became inescapable hits — and pretty much remain so today — a market still exists for brash, soulful sing-alongs from full-throated male pop vocalists. Alex Warren likely would have found success with a song as rousing and crowd-pleasing as “Ordinary” regardless of pop trends, but the song certainly hit streaming services at the exact right moment to reach its commercial ceiling.
Andrew Unterberger: America loves us some big-voiced singers and acoustic guitars at the moment! But also, with everything from pop 10 years ago seemingly huge again, a song that splits the difference between Hozier and wedding-ballad Ed Sheeran was probably always going to hit extra hard.
3. At the same time “Ordinary” snags the top spot, Warren’s new Jelly Roll collab “Bloodline” debuts at No. 32 on the Hot 100. Do you think it will grow into another big hit for Warren, or will its momentum get curtailed by how big “Ordinary” still is?
Katie Atkinson: I would not be surprised at all if “Bloodline” — with a jangly sea-shanty melody that is undeniable catnip for AC radio and two newly minted hitmakers at its helm — also climbs to the Hot 100 top 10 over time. That would give Jelly Roll his first hit in the region, which is really the one thing missing from the country star’s meteoric rise to pop culture ubiquity. The virality of both “Ordinary” and Jelly Roll himself could combine for an obvious smash.
Kyle Denis: I think listeners will probably remain focused on “Ordinary” since it’s still relatively fresh, but, as they say, a rising tide lifts all boats!
Lyndsey Havens: I think because you have Jelly Roll on the song, and because the country star is currently on a massive tour with Post Malone, that “Bloodline” could grow into a nice follow-up hit for Warren. But does he need it? No way. If “Bloodline” climbs higher or if it gets curtailed by “Ordinary,” it’s a win for Warren either way.
Jason Lipshutz: Releasing a follow-up single with Jelly Roll was a smart move by Warren, who can now promote both a pop and country track to different audiences without deflating either of their performances. “Bloodline” will likely not become nearly as big as “Ordinary,” but it doesn’t need to — as long as it can expand his listenership and keep his momentum up beyond just one song, the follow-up should be viewed as a success.
Andrew Unterberger: I don’t see it reaching the top 10 — maybe not even the top 20 — but I could see it hanging around the Hot 100 for 30 weeks or so and establishing Warren as officially Not a One-Hit Wonder. Which is all he really needs to do.
4. We’ve seen a trend lately of songs that make it to the chart’s top tier – particularly if they had a long journey of climbing that high – lasting in or around the top 10 for a year or longer. Do you see “Ordinary” becoming one of those songs?
Katie Atkinson: Absolutely. Like “Lose Control” before it, this song will not be vacating its spot for months. It just fits too comfortably and too unassumingly in too many spaces to go anywhere anytime soon.
Kyle Denis: Unfortunately, yes. This is the kind of song destined for extended stays on a litany of radio formats, which will help it stick around on the Hot 100 even once it’s reached its sales and streaming peaks.
Lyndsey Havens: Totally. And that’s because of its omnipresence — and the reasons why it’s everywhere. “Ordinary” is the perfect type of hit that’s equal parts catchy, soaring and safe. It sounds just as great soundtracking a Golden Buzzer moment on America’s Got Talent as it does playing from a car radio with the windows rolled down. Its breezy balladry and luck-to-be-in-love lyrics share roots with a song like Benson Boone’s “Beautiful Things” — and we all know how well that’s worked out.
Jason Lipshutz: Definitely. Every piece of empirical and anecdotal evidence suggests that “Ordinary” is not slowing down whatsoever, despite already being on the Hot 100 for months on end. While I could see Warren being supplanted at No. 1 on the chart in the near future, “Ordinary” is acting like the type of song that will still be in the top 10 when the weather starts to turn cold — and possibly for much longer after that.
Andrew Unterberger: Teddy Swims is already looking over his shoulder tbh.
5. Who’s another past or present influencer who you could see scoring a No. 1 hit?
Katie Atkinson: I wouldn’t bet against Addison Rae. Her first album arrives Friday, and while lead single “Diet Pepsi” topped out at No. 54 on the Hot 100, it was a top 10 hit on Pop Airplay, peaking at No. 9 in February. And starting her career making dance videos on TikTok sets her up perfectly for a hypervisual pop career. Plus, only our finest pop stars hail from Louisiana, and Addison was born and raised less than two hours from Britney Spears’ hometown.
Kyle Denis: Addison Rae.
Lyndsey Havens: I’m always rooting for jxdn. But, given the current week, let’s go Addison.
Jason Lipshutz: Does Addison Rae count? Every pop single she’s released to date has been good-to-excellent, and my expectations for her imminent debut album are sky-high. A world in which “Headphones On” grows into a late-breaking No. 1 hit is one I want to inhabit.
Andrew Unterberger: Addison Rae feels like the logical call — but I’ll swerve and say Mr. Beast. No I don’t know of any musical ambitions harbored by the man, but it feels near-certain to me that he’ll be involved with leading an influencer all-star charity single at some point. Would you bet the under on that chart debut? I certainly wouldn’t.
A week after becoming Jon Reddick’s first Billboard chart No. 1 — on the Christian AC Airplay tally — his “No Fear” rises to the top of Christian Airplay. The song increased by 15% to 4.4 million audience impressions May 23-29, according to Luminate. It holds atop Christian AC Airplay with a 5% gain in […]
Bad Bunny‘s “DtMF” hits a 20th week at No. 1 on Billboard’s Hot Latin Songs chart (dated June 7).The track’s extended dominance marks a milestone for Benito, becoming his third song to spend at least 20 weeks at the top — a record unmatched by any other artist in the 39-year history of the chart.
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Bad Bunny becomes the only act with three songs to spend at least 20 weeks atop the tally. He previously spent 27 weeks in a row at No. 1 with his collaboration with Jhay Cortez, “Dakiti,” in 2020-21, and 20 straight weeks on top with “Me Porto Bonito,” his collab with Chencho Corleone, in 2022.
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Only two other artists have tallied multiple songs with 20-plus-week runs at No. 1: Enrique Iglesias and J Balvin, each with two. Iglesias’ “Bailando,” featuring Descemer Bueno and Gente de Zona, dominated for 41 weeks (2014-15), and “El Perdón,” with Nicky Jam, ruled for 30 weeks (2015). Meanwhile, J Balvin’s “Ginza” spent 22 weeks at No. 1 (2015-16), and “RITMO (Bad Boys for Life),” with Black Eyed Peas, led the chart for 24 weeks (2020).
“DtMF” holds strong atop Hot Latin Songs despite a decline across all metrics. On the tally that ranks songs based on a formula blending streaming, sales and airplay totals in the United States, the song fell by 3% in streams, to 7.8 million, in the tracking week ending May 29, according to Luminate. It also earned 8 million audience impressions, down 12%, which yields a 1-3 dip on the overall Latin Airplay chart.
Karol’s 29th Top 10
Elsewhere on Hot Latin Songs, Karol G adds her 29th top 10 with “Latina Foreva.” The song, released May 22 via Bichota/Interscope/ICLG, debuts at No. 4 predominantly by streaming activity. It logged 6.9 million U.S. official on-demand streams during the May 23-29 tracking week, enough for a No. 3 on Latin Streaming Songs.
Sales, too, assist the song’s high start: 1,000 downloads sold during the same period for a 15-1 surge on Latin Digital Song Sales.
Taylor Swift’s many fans celebrated the pop superstar finally purchasing the masters of her Big Machine albums (the first six studio albums in her discography) by throwing a consumption party, flooding digital services to download more of her albums and stream more of her songs.
In the aftermath of her 11:30am ET announcement on Friday (May 30), early data reveals that the U.S. activity around her complete catalog — both the six albums released by Big Machine and her subsequent albums and re-recordings on Republic — jumped to averaging nearly 35,000 album consumption units for that day and Saturday, May 31, a 55.1% increase, from the average daily activity in the prior 12-day period, when her catalog average 20,000 units, according to preliminary data from Luminate. In fact, Saturday’s numbers were even bigger than Friday’s performance for the overall Swift catalog as the celebration apparently picked up steam among the Swifties.
Within her album consumption units, the biggest gainer was album downloads, which, according to early reports, jumped from averaging slightly over 100 units a day to over 5,000 copies. That two-day average is a whopping 3,520.6% improvement over the preceding 12-day average unit count. Meanwhile, physical albums improved to averaging just over 4,000 copies for the two days, which is 153.2% greater than the less than 2,000 copies her catalog averaged in the prior period. Overall, surging album sales — digital and physical — accounted for nearly 54% of Swift’s catalog’s album consumption unit increase.
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Over at the streaming services, Swift’s catalog on Friday and Saturday (May 30-31) averaged 32.91 million streams, a 35.6% increase over the 24.26 million streams her music accumulated as an average over the 12 days preceding the May 30 announcement.
Likewise, radio rewarded Swift fans by adding a few spins, or a 2.2% increase, to the 3,000-or-so daily plays her song catalog received in each of the 12 days before May 30.
Billboard will continue to track how Swift’s catalog performs in the coming days, as well as look at what albums are benefiting the most as more account reports are filed to Luminate.
What will be the No. 1 song of the summer of 2025? We begin making our way toward the answer, as Billboard’s annual Songs of the Summer chart returns to Billboard.com. The 20-position Songs of the Summer running tally tracks the most popular titles based on cumulative performance on the weekly streaming-, airplay- and sales-based […]
Alex Warren’s “Ordinary” remains the biggest song in the world, as it notches a fifth week at No. 1 on the Billboard Global 200 and a third week atop Billboard Global Excl. U.S.
As previously reported, the song takes over at No. 1 on the U.S.-based Billboard Hot 100.
Meanwhile, sombr scores his first Global 200 top 10 with “Back to Friends” (up 17-9) and MOLIY, Silent Addy, Skillibeng and Shenseea’s “Shake It to the Max (Fly)” surges to the top tier on Global Excl. U.S. (16-10), likewise becoming the first top 10 on the tally for each act.
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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.
“Ordinary” leads the Global 200 with 70.1 million streams (up 1% week-over-week) and 13,000 sold (up 17%) worldwide May 23-29. Further sparking its profile, Warren performed the song on the American Music Awards, broadcast on CBS, May 26.
Lady Gaga and Bruno Mars’ “Die With a Smile” holds at No. 2 on the Global 200, after 18 weeks at No. 1 starting last September (second only to the 19 weeks at No. 1 for Mariah Carey’s “All I Want for Christmas Is You” since the chart began); ROSÉ and Bruno Mars’ “APT.” repeats at No. 3, after 12 weeks at No. 1 starting in November; Billie Eilish’s “Birds of a Feather” keeps at No. 4, following three weeks at No. 1 last August; and Benson Boone’s “Beautiful Things” lifts 6-5 after seven weeks on top starting in February 2024.
sombr’s “Back to Friends” hits the Global 200’s top 10, bounding 17-9 with 37.7 million streams (up 13%) worldwide. The singer-songwriter (real name Shane Boose) is charting his first two Global 200 entries in the top 20 simultaneously – “Undressed” jumps 19-13, likewise hitting a new high, with both tracks having benefitted from exposure on TikTok.
“Ordinary” rules Global Excl. U.S. with 50.9 million streams (up 1%) and 5,000 sold (up 6%) outside the U.S.
“Die With a Smile” is steady at No. 2 after 17 weeks atop Global Excl. U.S. starting last September. Only “APT.,” which holds at No. 3, has led longer: 19 weeks, beginning in November. “Birds of a Feather” ascends 5-4, following three weeks at No. 1 last August, and JIN’s “Don’t Say You Love Me” dips to No. 5 a week after it debuted at No. 4.
Plus, MOLIY, Silent Addy, Skillibeng and Shenseea’s “Shake It to the Max (Fly)” swoops into the Global Excl. U.S. top 10, bounding 16-10 with 31.2 million streams (up 21%) and 1,000 sold (up 29%) outside the U.S. The track leads the Billboard U.S. Afrobeats Songs chart for a fourth week.
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated June 7, 2025) will update on Billboard.com tomorrow, June 3. 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.
Alex Warren’s “Ordinary” ascends to No. 1 on the Billboard Hot 100, becoming the singer-songwriter’s first leader on the list. It rises from No. 4, after reaching a previous No. 2 best.
Warren becomes the first male soloist to earn an initial Hot 100 No. 1 this year.
“Ordinary,” the 1,181st No. 1 in the Hot 100’s 66-year history, rose to the top of both the Billboard Global 200 and Billboard Global Excl. U.S. charts in May. On the Hot 100, Warren charted one prior entry, “Burning Down” (No. 69 peak, last October). Concurrent with the coronation of “Ordinary,” he adds his second top 40 Hot 100 hit, as “Bloodline,” with Jelly Roll, debuts at No. 32.
Before concentrating on music full-time, Warren grew a following in Hype House, a group of TikTok content creators that frequently collaborated. He signed to Atlantic Records in 2022.
“In my career, I have been so open with my friends who follow me,” Warren, who co-authored “Ordinary,” told Billboard earlier this year. “They know everything about me and we’re so connected, and I love that. I’m thinking of these people while I’m writing these songs, because I’m thinking about what I would want to hear if I was still going through that.”
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 June 7, 2025) will update on Billboard.com tomorrow, June 3. 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.
‘Ordinary’ Streams, Airplay & Sales
Morgan Wallen’s I’m the Problem notches a second week at No. 1 on the Billboard 200 chart (dated June 7), after debuting in the pole position a week ago with the year’s biggest week for an album. In its second week, I’m the Problem earned 286,000 equivalent album units (in the tracking week ending May 29) in the United States according to Luminate. A week ago, the set arrived at No. 1 with 493,000 units.
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With a relatively scant 42% second-week decline in units earned, I’m the Problem tallies the smallest second-week percentage drop for a No. 1-debuting album in more than a year. The last No. 1-debuting set to see a smaller sophomore frame fall, by percentage decline, was 21 Savage’s American Dream on the March 3, 2024-dated chart. It fell 41% in its second week (from 133,000 to 78,000).
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Plus, Wallen has three albums in the top 10 at the same time for the first time ever, as I’m the Problem is joined by his former No. 1s One Thing at a Time (No. 4) and Dangerous: The Double Album (No. 10).
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new June 7, 2025-dated chart will be posted in full on Billboard‘s website on June 3. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of I’m the Problem’s 286,000 equivalent album units earned in the week ending May 29, SEA units comprise 256,000 (down 28%, equaling 332.89 million on-demand official streams of the set’s songs — it leads Top Streaming Albums for a second week), album sales comprise 28,000 (down 79% — it’s No. 1 on Top Album Sales for a second week) and TEA units comprise 2,000 (down 39%).
Nos. 2-8 on the Billboard 200 are all former No. 1s. SZA’s SOS is a non-mover at No. 2 (47,000 equivalent album units earned; up 2%); Kendrick Lamar’s GNX climbs 5-3 (42,000; up 1%); Wallen’s One Thing at a Time is steady at No. 4 (nearly 42,000; down 1%); Playboi Carti’s MUSIC motors 18-5 (41,000; up 57% after a range of deluxe boxed set editions, sold through his webstore, were fulfilled to customers); Sabrina Carpenter’s Short n’ Sweet steps 7-6 (36,000; down 3%); PARTYNEXTDOOR and Drake’s $ome $exy $ongs 4 U is up 8-7 (nearly 36,000; down 4%); and Bad Bunny’s Debí Tirar Más Fotos rises 9-8 (35,000; down 3%).
Billie Eilish’s Hit Me Hard and Soft is back in the top 10, moving 11-9, with 31,000 equivalent album units earned (though down 2%).
Wallen’s chart-topping Dangerous: The Double Album rises 12-10 with 30,000 equivalent album units earned (down less than 1%). Wallen has three albums in the top 10 concurrently for the first time ever, as Dangerous joins I’m the Problem (No. 1) and One Thing at a Time (No. 4). Wallen is the second act to log at least three albums in the top 10 at the same time in 2025, following Lamar after his Super Bowl LIX halftime show performance on Feb. 9. On the Feb. 22-dated chart, Lamar was at Nos. 1, 9 and 10 with GNX, DAMN. and good kid, m.A.A.d city, respectively.
Wallen and Lamar are the only living male artists to have had at least three albums in the top 10 at the same time since Herb Alpert on the Dec. 24, 1966-dated chart (when he, along with the Tijuana Brass, had three titles in the top 10). The most recent act, overall, with at least three albums in the top 10 was Taylor Swift on the March 2, 2024, chart, when she had three in the region — she has held at least three albums concurrently in the top 10 of the chart 22 times.
Before Lamar, the last male artist — or anyone aside from Swift — to have at least three albums in the top 10 at the same time was Prince, following his death, in 2016. That year, on the May 14 chart, he logged five titles in the region; and on the May 7 chart, he had three in the top 10. Prince died on April 21, 2016.
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.
Shakira is the top Latin touring artist on the Billboard Boxscore midyear chart, grossing $130 million on her Las Mujeres Ya No Lloran World Tour so far. Shakira reported 21 concerts for the midyear touring period, which runs from Oct. 31, 2024, to March 31, 2025, landing her the number two slot overall on the […]
