Chart Beat
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Jung Kook’s “Seven,” featuring Latto, adds a third week at No. 1 on both the Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Aug. 12). Two weeks earlier, the song became the first leader on the lists for a member of BTS as a soloist.
Meanwhile, Travis Scott debuts three songs in the Global 200’s top 10: “Meltdown,” featuring Drake, at No. 2; “FE!N,” featuring Playboi Carti (No. 3); and “Hyaena” (No. 10). “FE!N” and “Meltdown” concurrently start at Nos. 7 and 8, respectively, on Global Excl. U.S.
Plus, Billie Eilish’s “What Was I Made For?” leads a trio of top 10s on each chart from the Barbie soundtrack and Quevedo reaches the Global Excl. U.S. top 10 with “Columbia” (14-9).
The Billboard Global 200 and Billboard Global Excl. U.S. charts, which started 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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‘Seven’ Is 1, Scott Has 3 in Top 10 on Global 200
Jung Kook’s “Seven,” featuring Latto, logs a third week atop the Billboard Global 200, with 124.3 million streams (down 19%) and 14,000 sold (down 82%) worldwide July 28-Aug. 3.
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Travis Scott launches three songs in the Global 200’s top 10: “Meltdown,” featuring Drake (No. 2); “FE!N,” featuring Playboi Carti (No. 3); and “Hyaena” (No. 10). They start with 61.6 million, 56.1 million and 44.1 million streams worldwide, respectively. The tracks, from Scott’s new album Utopia, up his count to eight top 10s since the chart began. Drake achieves his record-extending 29th top 10 and Playboi Carti earns his first.
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For a second week, three songs from the Barbie soundtrack, Barbie: The Album, infuse the Global 200’s top 10: Billie Eilish’s “What Was I Made For?,” which becomes the top-charting such hit (7-4, up 19% to 56.7 million streams worldwide); Dua Lipa’s “Dance the Night” (up 8-6 for a new high); and Nicki Minaj and Ice Spice’s “Barbie World,” with Aqua (down to No. 7 from its No. 6 best).
Elsewhere, Myke Towers’ “LaLa” falls 4-5, after reaching No. 3.
Jung Kook & Latto Lead Global Excl. U.S., Quevedo Hits Top 10
Jung Kook’s “Seven,” featuring Latto, concurrently tops the Billboard Global Excl. U.S. chart for a third week, with 112.8 million streams (down 18%) and 5,000 sold (down 81%) outside the U.S. July 28-Aug. 3.
Myke Towers’ “LaLa” rebounds 3-2 on Global Excl. U.S., three weeks after it led the list, and NewJeans’ “Super Shy” dips to No. 3 from its No. 2 high.
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As on the Global 200, three songs from the Barbie soundtrack rank in the Global Excl. U.S. top 10: Billie Eilish’s “What Was I Made For?,” which likewise becomes the highest-charting hit from the set (7-4); Dua Lipa’s “Dance the Night” (steady at its No. 5 best); and Nicki Minaj and Ice Spice’s “Barbie World,” with Aqua (12-6, becoming Ice Spice’s second top 10 and Minaj and Aqua’s first each).
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Travis Scott debuts two songs in the Global Excl. U.S. top 10: “FE!N,” featuring Playboi Carti, and “Meltdown,” featuring Drake, at Nos. 7 and 8, respectively. Scott adds his fourth top 10 on the chart, while Playboi Carti earns his first and Drake, his sixth.
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Also new in the Global Excl. U.S. top 10, Quevedo’s “Columbia” jumps 14-9, with 35.7 million streams (up 9%) outside the U.S. The Spanish rapper/singer notches his second top 10, after “Bzrp Music Sessions, Vol. 52,” with Bizarrap, reigned for six weeks in July-September 2022.
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Aug. 12, 2023) will update on Billboard.com tomorrow (Aug. 8). 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.
Morgan Wallen’s “Last Night” rebounds to lead the Billboard Hot 100 songs chart for a 15th week. The hit ties for the fourth-longest reign in the Hot 100’s 65-year history, and the longest for a song by an act with no accompanying artists.
Travis Scott debuts two songs in the Hot 100’s top 10, both in the top five, as “Meltdown,” featuring Drake, and “FE!N,” featuring Playboi Carti, enter at Nos. 3 and 5, respectively, and Dua Lipa’s “Dance the Night” is also new to the top 10, rising 12-10.
Plus, Taylor Swift’s “Cruel Summer” hits the Hot 100’s top five (6-4), four years after its release on her 2019 album Lover, as it’s now being promoted as a single from the set.
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 Aug. 12, 2023) will update on Billboard.com tomorrow (Aug. 8). For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
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Wallen’s “Last Night,” released on Big Loud/Mercury/Republic Records, drew 67.2 million radio airplay audience impressions (down 10%) and 26.7 million streams (down 8%) and sold 7,000 downloads (down 11%) in the July 28-Aug. 3 tracking week, according to Luminate.
As “Last Night” leads the Hot 100 for a 15th week, rising from No. 2, it ties for the fourth-longest domination in the chart’s history. It also ties Harry Styles’ “As It Was” for the longest rule for a song by an act with no accompanying artists.
Longest-Leading Billboard Hot 100 No. 1s:
19, “Old Town Road,” Lil Nas X feat. Billy Ray Cyrus, beginning April 13, 2019
16, “Despacito,” Luis Fonsi & Daddy Yankee feat. Justin Bieber, May 27, 2017
16, “One Sweet Day,” Mariah Carey & Boyz II Men, Dec. 2, 1995
15 (to date), “Last Night,” Morgan Wallen, March 18, 2023
15, “As It Was,” Harry Styles, April 16, 2022
14, “Uptown Funk!,” Mark Ronson feat. Bruno Mars, Jan. 17, 2015
14, “I Gotta Feeling,” The Black Eyed Peas, July 11, 2009
14, “We Belong Together,” Mariah Carey, June 4, 2005
14, “Candle in the Wind 1997”/“Something About the Way You Look Tonight,” Elton John, Oct. 11, 1997
14, “Macarena (Bayside Boys Mix),” Los Del Rio, Aug. 3, 1996
14, “I’ll Make Love to You,” Boyz II Men, Aug. 27, 1994
14, “I Will Always Love You,” Whitney Houston, Nov. 28, 1992
“Last Night” first led the Hot 100 in March, becoming Wallen’s initial leader on the list, and has now logged five distinct stays at No. 1: March 18; April 15-22; May 6-July 8; July 22; and Aug. 12. It likewise matches Styles’ “As It Was,” as well as Mariah Carey’s “All I Want for Christmas Is You” (over four distinct stays on the Hot 100), for the most interrupted runs at No. 1. (“Last Night” has yo-yoed between Nos. 1 and 3 over the 22-week span dating to its first week on top.)
“Last Night” falls to No. 3 after 17 weeks at No. 1 on the Streaming Songs chart; drops to No. 4 from its No. 2 best on Radio Songs; and slips 6-7 following a week atop Digital Song Sales.
The single also tops Billboard’s Hot Country Songs chart, which employs the same multi-metric methodology as the Hot 100, for a 24th week, tying for the fourth-longest rule since the chart became an all-encompassing genre reflection in 1958; Bebe Rexha and Florida Georgia Line’s “Meant to Be” spent a record 50 weeks at No. 1 in 2017-18.
“Last Night,” which crowned the Country Airplay chart for eight weeks and crossed over to No. 5 peaks on both Pop Airplay and Adult Pop Airplay, additionally posts a 10th week atop Billboard’s Songs of the Summer chart, having ranked at No. 1 each week since the survey returned.
Luke Combs’ cover of Tracy Chapman’s “Fast Car” rebounds for a fourth week at its No. 2 Hot 100 high on the Hot 100, from No. 3, led by a 4% gain to 77.4 million in radio reach.
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Travis Scott launches two tracks in the Hot 100’s 10, each in the top five: “Meltdown,” featuring Drake (No. 3), and “FE!N,” featuring Playboi Carti (No. 5). The songs start with 32.2 million and 25.6 million streams, respectively.
Scott adds his 13th and 14th Hot 100 top 10s (and charts multiple songs in the top five simultaneously for the first time). Playboi Carti collects his second top 10, following his featured turn on Drake’s “Pain 1993” (No. 7, 2020).
Drake, meanwhile, earns his record-extending 69th Hot 100 top 10.
Most Billboard Hot 100 Top 10s:
69, Drake
42, Taylor Swift
38, Madonna
34, The Beatles
32, Rihanna
30, Michael Jackson
29, Elton John
28, Mariah Carey
28, Stevie Wonder
27, Janet Jackson
“Meltdown” concurrently debuts at No. 1 on Streaming Songs, where it’s Scott’s fifth leader and Drake’s record-extending 17th. It likewise starts atop both the multi-metric Hot R&B/Hip-Hop Songs and Hot Rap Songs charts; on the former, Scott scores his sixth No. 1 and Drake, his record-extending 28th, while on the former, Scott adds his sixth and Drake, his record-furthering 29th.
The song is from Scott’s new album Utopia, which premieres at No. 1 on the Billboard 200, marking his third leading set.
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Taylor Swift’s “Cruel Summer” climbs 6-4 on the Hot 100, four years after its release on her 2019 album Lover, as it’s now being promoted as a single, while she has been performing the song on her The Eras Tour. It takes the chart’s top Airplay Gainer award (up 10% to 64.4 million in audience) for a sixth consecutive week, the longest streak since Jack Harlow’s “First Class” linked six straight wins in April-June 2022.
Swift achieves her 27th top five Hot 100 hit, tying for the fourth-most in the chart’s archives – as Drake adds his record-padding 36th, as featured on Travis Scott’s “Meltdown.”
Most Top Five Billboard Hot 100 Hits:
36, Drake
29, The Beatles
28, Madonna
27, Mariah Carey
27, Taylor Swift
24, Janet Jackson
24, Rihanna
21, Elvis Presley
20, Justin Bieber
20, Michael Jackson
20, Stevie Wonder
Rema and Selena Gomez’s “Calm Down” backtracks 5-6 on the Hot 100, after reaching No. 3, as it spends a seventh week atop Radio Songs (89.2 million, down 2%). The collab tops the Billboard U.S. Afrobeats Songs chart for a 49th week, extending the longest reign since the ranking began over a year ago.
Gunna’s “Fukumean” falls to No. 7 on the Hot 100 from its No. 4 high; Nicki Minaj and Ice Spice’s “Barbie World,” with Aqua, holds at No. 8, after reaching No. 7; and Olivia Rodrigo’s “Vampire” lifts 10-9, four weeks after it debuted as her third No. 1.
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Rounding out the Hot 100’s top 10, Dua Lipa’s “Dance the Night” reaches the region, ascending 12-10 with 42.3 million in airplay audience (up 5%), 15.3 million streams (up 6%) and 6,000 sold (down 3%).
Lipa lands her fifth Hot 100 top 10, as “Dance the Night” joins “Cold Heart (Pnau Remix),” with Elton John (No. 7, January 2022); “Levitating” (No. 2, May 2021 – and the No. 1 song on the 2021 year-end Hot 100); “Don’t Start Now” (No. 2, March 2020); and “New Rules” (No. 6, 2018).
Meanwhile, with “Dance the Night” and “Barbie World” both from Barbie: The Album, the soundtrack to the box office smash Barbie, the set is the first soundtrack to spin off multiple new Hot 100 top 10s since Disney’s Encanto yielded two in 2022: “We Don’t Talk About Bruno,” by Carolina Gaitán, Mauro Castillo, Adassa, Rhenzy Feliz, Diane Guerrero, Stephanie Beatriz and the Encanto Cast (No. 1 for five weeks), and “Surface Pressure,” by Jessica Darrow (No. 8).
Notably, a week after Jason Aldean’s “Try That in a Small Town” hit No. 1 on the Hot 100, the song tumbles to No. 21, down 47% to 16.2 million streams and 85% to 26,000 sold, although it spends a third week at No. 1 on Digital Song Sales; it’s also up 35% to 11.8 million in radio audience. The song is the sixth to fall from No. 1 to a rank on the chart outside the top 20, after Jimin’s “Like Crazy” (1-45; April 15, 2023); Taylor Swift’s “Willow” (1-38; Jan. 2, 2021); 6ix9ine and Nicki Minaj’s “Trollz” (1-34; July 4, 2020); BTS’ “Life Goes On” (1-28; Dec. 12, 2020); and Travis Scott’s “Franchise,” featuring Young Thug and M.I.A. (1-25; Oct. 17, 2020).
Plus, as chart-watcher Jesper Tan of Subang Jaya, Malaysia, notes, having written in anticipating Wallen’s potential return to No. 1 on the Hot 100, as “Last Night” replaces “Try That in a Small Town” at the summit, country songs (as defined by those that have hit Hot Country Songs) top the Hot 100 back-to-back for the first time in over 42 years: on the chart dated March 14, 1981, Dolly Parton’s “9 to 5” returned to No. 1, supplanting Eddie Rabbitt’s “I Love a Rainy Night.”
Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Aug. 12), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Aug. 8).
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.
Travis Scott’s Utopia blasts in at No. 1 on the Billboard 200 albums chart (dated Aug. 12), capturing the third-biggest week of 2023 for any album and the largest for any R&B/hip-hop or rap release.
The star-laden hip-hop effort bows with 496,000 equivalent album units earned in the U.S. in the week ending Aug. 3, according to Luminate. Among the guests featured on Utopia are 10 acts who have all topped the Billboard 200 on their own: 21 Savage, Bad Bunny, Beyoncé, Drake, Future, Lil Uzi Vert, Playboi Carti, SZA, The Weeknd and Young Thug.
Utopia is Scott’s third No. 1 and first solo album since 2018’s Astroworld, which started atop the chart. In between Astroworld and Utopia, the Jackboys supergroup – led by Scott – notched a No. 1 with its self-titled release in early 2020. Utopia has been teased for years, as Scott first shared the album title in a series of social media posts in the summer and fall of 2020.
Also in the top 10 of the new Billboard 200, Post Malone clocks his fifth consecutive top five-charting effort as Austin bows at No. 2.
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 Aug. 12, 2023-dated chart will be posted in full on Billboard‘s website on Aug. 8. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.
Of Utopia’s 477,000 equivalent album units earned in the week ending Aug. 3, SEA units comprise 243,000 (equaling 330.68 million on-demand official streams of the streaming set’s 19 total songs – the second-biggest streaming week of 2023), album sales comprise 252,000 (the second-largest sales week of 2023) and TEA units comprise 1,000.
Streaming activity comprises nearly half (49%) of Utopia’s first-week activity, with almost all of the remainder generated by album sales. The set’s streaming activity was so robust that the album would have been No. 1 from only its SEA units (and still have twice the total units of the No. 2 album on the chart, Post Malone’s Austin). The most-streamed song on the Utopia album, by official on-demand streams, is “Meltdown,” featuring Drake. It accounted for nearly 10% of the album’s streams during the week.
Utopia was preceded by its first single, “K-POP,” with The Weeknd and Bad Bunny, which debuted at No. 7 on the Billboard Hot 100 dated Aug. 5.
Utopia is available with three different track lists: a standard 18-song edition through all major digital retailers (including the iTunes Store and Amazon), a 19-song set at digital retail and streamers (which includes the song “Meltdown,” featuring Drake), and a 19-song version available on CD, vinyl and a “First Edition” digital album sold through Scott’s webstore (that includes the song “Aye” with Lil Uzi Vert). All of the standard digital retail release’s 18 songs are on both 19-song expanded versions. The “First Edition” digital album was released at the end of the tracking week, in the closing hours of Aug. 3, and sold for just $4.99. The “First Edition” variant sold exceptionally well, due to fan speculation as to the set’s track list, which was not advertised by Scott’s webstore.
Utopia’s sales were also enhanced by its availability across five CD variants (each with a different cover), five vinyl LP variants (with different covers and color vinyl), 15 deluxe boxed sets – each containing a piece of branded clothing and a copy of the album on CD or vinyl, six zine/CD deluxe editions (where a copy of the CD is housed inside a magazine-like package branded to the album), and two Fan Pack offers in which customers could choose to purchase a copy of the CD or vinyl LP with a piece of branded merchandise for a discounted price. Initially, the assorted CD and vinyl album cover art was not displayed to customers on Scott’s webstore. When fans placed orders, they selected one of five covers, not knowing what the final design would look like. Eventually, closer to street date, the cover art for all variants was revealed.
All physical formats of the album are exclusively sold through Scott’s official webstore. It has not been announced when, or if, any of the physical versions of the album will be released wide to any other retailers.
Scott drove customers to his webstore during Utopia’s pre-order campaign and during its first-week thanks to frequent new merchandise releases. Alongside merch drops, the webstore promoted discounted pricing on the Utopia album – going as low as $4.99 for its digital album.
In total, Utopia sold 252,000 copies in its first week. Of that sum, digital downloads comprise 111,000 (with 79% of that sum from the “First Edition” variant), CD sales comprise 63,000 (80% of that figure were CDs housed in boxed sets and zine packages) and vinyl sales comprise 79,000 (30.5% were vinyl housed in boxed sets). Of the album’s 252,000 sold across all formats (digital download, CD and vinyl), deluxe boxed sets and zine packages combined to sell 30% of that figure (about 75,000 of 252,000).
Utopia’s vinyl sales were so big, they mark the largest sales week for an R&B/hip-hop or rap album on vinyl since Luminate began tracking sales in 1991. Notably, Scott sold 55,000 copies of the vinyl edition of Utopia as individual purchases – those not contained inside a deluxe boxed set with merch. That figure would still represent the largest week for an R&B/hip-hop or rap set on vinyl in the Luminate era.
At No. 2 on the new Billboard 200, Post Malone scores his fifth consecutive and total top five-charting set as Austin launches with 113,000 equivalent album units earned. Of that sum, SEA units comprise 78,000 (equaling 101.14 million on-demand official streams of the set’s 18 songs), album sales comprise 34,000 and TEA units comprise 1,000.
Austin was led by a trio of charting songs on the Hot 100: “Chemical” (No. 13 peak in April), “Mourning” (No. 36 in June) and “Overdrive” (debuted at No. 47 on the July 29-dated chart).
Austin is absent any guest stars and presents a sonic shift for Post Malone, focusing more on pop and alternative sounds and guitar-based tunes instead of hip-hop. (Post Malone’s four previous albums all hit No. 1 on Billboard’s Top R&B/Hip-Hop Albums chart.)
The set was available to purchase across five CD variants (four with alternative covers, one of which includes a bonus track), three vinyl LPs (including a Target-exclusive color variant), a cassette tape, four digital download variants (each with a different cover, exclusive to his official webstore), and two Fan Pack offers. In addition, the album was issued in a deluxe version in the middle of its first tracking week, with a new bonus track added, “Joy.”
Austin sold about 11,500 copies on vinyl – marking Post Malone’s biggest week ever on vinyl.
Morgan Wallen’s chart-topping One Thing at a Time is a non-mover at No. 3 on the Billboard 200, shifting 96,000 equivalent album units (down 7%). It’s the first time the album has fallen below 100,000 units in a single week, in its 22nd week on the chart. The set earned in excess of 100,000 equivalent album units in its first 21 chart weeks, the most weeks of 100,000-plus units since the Billboard 200 began ranking titles by units in December of 2014.
The Barbie film soundtrack dips 2-4 in its second week with 91,000 equivalent album units (down 28%), Taylor Swift’s former leader Speak Now (Taylor’s Version) falls 4-5 with 66,000 units (down 16%), NewJeans’ 2nd EP ‘Get Up’ falls 1-6 in its second week with 55,000 units (down 56%) and Peso Pluma’s Génesis slips 5-7 with 50,000 units (down 6%).
Three former No. 1s round out the top 10, as Swift’s Midnights backtracks 6-8 with 49,000 (up less than 1%), Wallen’s Dangerous: The Double Album falls 7-9 with nearly 49,000 (down 5%) and Swift’s Lover holds steady at No. 10 with 43,000 (up 2%).
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.
Harry Styles kicked off Love On Tour in September 2021, emerging as one of the first arena headliners of the immediate post-pandemic era. Two years and five continents later, the trek played the last of its 169 shows on July 22 in Reggio Emilia, Italy, closing as one of the highest grossing and best-selling tours of all time.
According to figures reported to Billboard Boxscore, Love On Tour grossed $617.3 million and sold more than 5 million tickets. Among all tours in Boxscore’s 30-plus-year history, the world tour is the fourth-highest grossing and eighth-most attended trek ever. Only Elton John’s Farewell Yellow Brick Road Tour ($939.1 million), Ed Sheeran’s The Divide Tour ($776.4 million) and U2’s 360 Tour ($736.4 million) have earned more.
The tour began on Sept. 4, 2021, with 42 shows in the U.S. Those dates had already been postponed twice due to COVID-19, supporting Styles’ second solo studio set Fine Line, already two years old by opening night. It was one of the biggest tours of the season, at No. 3 on the abridged 2021 year-end Top Tours ranking, with repeat appearances at No. 2 on the monthly chart.
Still, by the time Styles returned in support of 2022’s Harry’s House, the chart-topping album and its enduring lead single “As It Was” helped him further ascend into a new domain of superstardom. Styles held steady in North American arenas, but went from one or two shows per market to extended mini residencies in five cities. Venue capacity and attendance were essentially unchanged, but the destination-event factor made demand soar.
Average ticket prices leapt from $131.69 in 2021 to $204.78 in 2022, culminating in a $157.3 million gross over 44 shows. The 15-date run at New York’s Madison Square Garden grossed $63.1 million alone, making it the highest grossing report ever. The 15 dates at the Kia Forum in Inglewood, Calif., earned $47.8 million, coming in fifth place on the all-time leaderboard.
Harry’s House caused a similar bump in Europe, leveling from arenas in 2022 to stadiums in 2023. The first European leg earned $56 million and sold 639,000 tickets. Already among the top-earning acts in Europe over that summer, Styles’ grosses tripled just a year later, with $199.3 million over 31 shows from May 13-July 22.
Love On Tour also included 14 shows in Latin America, seven in Oceania and six in Asia. Styles had last hit these international markets in 2018 as part of Harry Styles: Live in Concert, essentially skipping the Fine Line portion of the tour due to delayed openings after the pandemic. The difference was most dramatic in Australia, where his per-show attendance quintupled from 10,407 to 53,295 and his average gross multiplied by seven, from $971,000 to $6.8 million.
Over the five years that separated Styles’ two solo outings, he amassed a trio of No. 1s on the Billboard Hot 100 songs chart, won multiple Grammy Awards (including album of the year for Harry’s House), and graduated from a reliable arena headliner to an artist who sells out blockbuster stadium shows. His first tour earned $63.7 million, almost one tenth of Love On Tour’s final figures. Not only is Love On Tour easily Styles’ highest grossing solo tour yet, it eclipses the entire career gross One Direction, the pop group in which he shot to stardom, which earned $583.4 million over four tours from 2012 to 2015.
Altogether, Styles has grossed $681 million and sold 5.8 million tickets.
On the latest Billboard Hot 100 chart (dated Aug. 5), Ryan Gosling scored his first appearance, as “I’m Just Ken,” from the new Barbie movie, in which he stars with Margot Robbie, debuted at No. 87.
Notably, the song isn’t Gosling’s first foray into music. He charted once before, with “City of Stars,” from his 2016 film La La Land. His solo version spent two weeks at No. 1 on the Jazz Digital Song Sales chart, while a mix with co-star Emma Stone reached No. 8 on the Hot 100’s Bubbling Under ranking.
But before that, Gosling broke through at age 13 as a member of The Disney Channel’s The All-New Mickey Mouse Club revival, which ran for seven seasons (1989-94). He starred in the show’s final two seasons, performing song and dance numbers alongside several future Billboard hitmakers.
In total, four separate iterations of the Mickey Mouse show franchise have aired. The original series, The Mickey Mouse Club, aired on ABC in 1955-59, followed by The New Mickey Mouse Club (syndicated; 1977-79), The All-New Mickey Mouse Club (The Disney Channel; 1989-94) and Club Mickey Mouse (Facebook, Instagram; 2017-18).
Of every Mouseketeer over the show’s four iterations, spanning over 60 years, 15 of have charted songs on the Hot 100. Gosling now becomes the 15th.
Here’s a look at every cast member from every edition of the series to chart a song on the Hot 100, listed chronologically from when they first reached the ranking.
(Honorable mention to Rhona Bennett, who appeared on The All-New Mickey Mouse Club in 1991-94 and is currently a member of En Vogue. She joined the R&B group in 2003, after it charted all 14 songs of its Hot 100 hits.)
Annette Funicello
“Sprinter” remains unbeaten in U.K. chart races as Dave and Central Cee’s hit clocks nine consecutive weeks at No. 1.
With that feat, “Sprinter” (via Live Yours/Neighbourhood) becomes the longest-reigning U.K. rap single in U.K. chart history. It’s the second time Dave has entered the record books following the surprise release of “Starlight” in 2022, which logged four weeks at the summit, a new benchmark for a solo U.K. rap No. 1.
If “Sprinter” can cross the line first when the next chart is published on Friday, Aug. 11, it would draw level with Miley Cyrus’ 10-week reign with “Flowers,” for the longest-running leader this year.
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Central Cee, the London rapper and songwriter, also appears further down the list with “On The Radar Freestyle” (Columbia/OVO Sound), his collaboration with Drake. It’s new at No. 26 for Central Cee’s 19 U.K. top 40 appearance, and Drake’s 82nd.
Barbie retains a firm grip on the Official Charts, as four songs from the hit film’s soundtrack impact the top ten, led by Billie Eilish’s “What Was I Made For” (Interscope) up 3-2 for a new peak. Eilish’s low-key number is currently No. 1 in Australia.
Barbie: The Album cuts “Dance The Night” by Dua Lipa (up 4-3); “Barbie World” by Ice Spice, Nicki Minaj and Aqua (up 5-4) and “Speed Drive” Charli XCX (19-9) motor to new chart peaks. With its steep climb on the Official U.K. Singles Chart, published Aug. 4, “Speed Drive” becomes Charli’s sixth U.K. top 10 single and her first in eight years as a lead artist, dating back to 2015’s “Doing It” featuring Rita Ora.
Close behind is Ryan Gosling’s “I’m Just Ken,” up 25-14, and Lizzo’s “Pink” up 39-27.
With Travis Scott‘s Utopia lording over the albums survey, hip-hop is the undisputed king of the U.K.’s charts this week. Scott also nabs the highest new entry this week on the singles survey with “Meltdown” (Epic). Featuring vocals from Drake, it’s new at No. 10 for Scott’s fifth U.K. top 10 appearance.
Meanwhile, Calvin Harris and Sam Smith’s latest collaboration, “Desire” (Columbia), starts at No. 18, while Post Malone’s “Chemical” enjoys a boost following the release of the U.S. singer and rapper’s fifth studio album, Austin. “Chemical” roars 83- 24, as Austin bows at No. 3 on the albums tally.
Finally, Sinead O’Connor makes a posthumous return to the top 40 with her signature song, “Nothing Compares 2 U” (Chrysalis), reentering at No. 30 on a 60% gain in combined sales, the Official Charts Company reports.
“Nothing Compares 2 U” logged four weeks at No. 1 following its initial release in 1990. The Irish singer and songwriter died July 26, at the age of 56.
Travis Scott is living his best life on the U.K. albums chart as Utopia (via Epic) bows at No. 1.
The U.S. hip-hop star’s fourth studio album debuts at the summit of the Official Chart, published Aug. 4, eclipsing the No. 3 best for his previous album, 2018’s Astroworld.
Utopia, a digital-only release, finishes the week in a flurry. Anne-Marie’s Unhealthy (Atlantic) was the leader at the halfway point, with an advantage of about 200 combined sales. When the chart proper was published last Friday, Unhealthy had dipped to No. 2, some 1,500 chart units behind Utopia.
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Unhealthy is the English artist’s third U.K. top 5 album, following 2018’s Speak Your Mind (No. 3) and 2021’s Therapy (No. 2). Despite missing out on the title, Unhealthy becomes the fastest-selling album of 2023 for a U.K. solo female, according to the Official Charts Company, which reports that physical sales account for 84% of its first-week tally.
Utopia, meanwhile, bags the biggest streaming week for any LP so far this year.
Completing an all-new top three is Post Malone’s Austin (Island). That’s the U.S. rapper’s fifth U.K. top 10 album to date after 2016’s Stoney (No. 10), 2018’s Beerbongs & Bentleys (No. 1), 2019’s Hollywood’s Bleeding (No. 1) and 2022’s Twelve Carat Toothache (No. 3).
Further down the list, veteran Birmingham, England band Dexys (formerly Dexys Midnight Runners) sprint to their highest-charting LP in over 30 years with The Feminine Divine (100 Percent Records). Their sixth studio set starts at No. 6 on the Official U.K. Albums Chart.
You’d have to wind the clock back to 1982 to find a higher chart position for Dexys, when their sophomore effort Too-Rye-Ay, which featured the enduring hit “Come On Eileen,” peaked at No. 2. Kevin Rowland and Co. last landed in the U.K. top 10 with 2016’s Let the Record Show: Dexys Do Irish and Country Soul, which peaked at No. 10.
Dirty Heads return to No. 1 on Billboard’s Alternative Airplay chart for the first time since 2010, as “Rescue Me” jumps from No. 4 to the top of the tally dated Aug. 12. Explore Explore See latest videos, charts and news See latest videos, charts and news It’s the California band’s first ruler since “Lay […]
Jelly Roll scores his second consecutive and total No. 1 on Billboard’s Country Airplay chart with “Need a Favor.” The song ascends to the top of the ranking dated Aug. 12 with a 2% increase to 32.9 million audience impressions July 28-Aug. 3, according to Luminate. The 38-year-old, who grew up (as Jason Bradley DeFord) […]
The Contenders is a midweek column that looks at artists aiming for the top of the Billboard charts, and the strategies behind their efforts. This week (for the upcoming charts dated August 5), Travis Scott could score the biggest debut for a rap album in 2023 so far with his first album in five years.
Travis Scott, Utopia (Cactus Jack/Epic): There must have been a little anxiety in the Travis Scott camp as he geared up for July’s Utopia release. Not only was it Scott’s first album since the blockbuster Astroworld five years earlier, but it was his first following the catastrophic stage rush at his 2021 Astroworld Fest, which left 10 dead and cast a huge shadow over Scott’s career. Subsequent releases (like the 2022 Pharrell collab “Down in Atlanta”) failed to make much chart impact, and there seemed to at least be a chance that a similar fate would befall Utopia.
From its early returns on streaming, however, it seems like Scott & co. needn’t have worried. Billboard reported yesterday that the album posted a massive 266.21 million official on-demand U.S. streams in its first five days of release. That puts it just a few million short of the full-first-week total for Taylor Swift’s Speak Now (Taylor’s Version) (269.33 million), which currently stands as the second-biggest streaming week of 2023 so far, and about 83 million short of Astroworld’s first-week tally (349.43 million) with two days still unaccounted for.
In addition to its robust streaming debut, the album should also sell well in its physical release, thanks largely to a wide variety of options. There are 15 deluxe boxed sets for the album, each containing a different piece of clothing with either a copy of the CD or vinyl LP – and a different cover with each box for the CD or vinyl LP contained inside. There are also two Fan Pack offers — where the customer could buy a piece of branded clothing and a copy of the physical album together for a discounted price, or choose to buy the items separately if they wanted. And of course, there’s the stand–alone physical album – available in five different CDs or five different vinyl LPs (the same physical albums contained in the boxed sets noted above) — and a digital edition, discounted to $4.99 in Scott’s webstore. (Physical copies of the album were only for sale through the webstore, as the set is currently unavailable at any other retailers.)
It should all add up to one of the biggest debuts for any album in 2023 – and almost certainly the highest first-week number for an R&B/hip-hop album this year. (The current top tally is held by Lil Uzi Vert’s Pink Tape, which debuted with 167,000 equivalent album units, including 210.39 million in streaming.)
Post Malone, Austin (Mercury/Republic): Three or four years ago, a first-week race between Travis Scott and Post Malone on the Billboard 200 would have been among the most exciting (and likely the closest) that pop music could’ve offered, as two of the most consistently successful recording artists of the late ‘10s. But while the intervening years may not have dampened Scott’s first-week album numbers much, they’ve had a bigger impact on Post Malone’s performance – his dour 2022 album Twelve Carat Toothache only posted about a quarter of the first-week units as 2019’s Hollywood’s Bleeding, and was relegated to a No. 2 debut on the Billboard 200.
That chart position may again be the best-case scenario for 2023’s Austin, Post Malone’s return to more upbeat pop music, albeit more guitar-based than the trap beats he made his stardom rapping over. From the early returns, the set is streaming well, but nowhere near as well as Utopia – on the Spotify Daily Top Songs USA chart for the Friday when both albums debuted (July 28), every track from Austin appeared on the top 200, but the album’s highest-finishing song still placed lower than the worst-performing Utopia cut.
Nonetheless, the album should still stream and sell well – significantly better than any non-Scott new release this week. The latter portion will be helped by two Fan Pack offers (similar to the ones Scott offers for Utopia), as well as a range of additional physical releases that includes three vinyl variants and a cassette option. (The set was also reissued mid-week in a deluxe edition, including the new bonus track “Joy.”)