State Champ Radio Chart Beat
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Brandon Lake scores his first No. 1 on Billboard’s Top Christian Albums chart as Coat of Many Colors blasts in atop the survey (dated Nov. 4). Released Oct. 20, the 16-track set earned 9,000 equivalent album units through Oct. 26, according to Luminate.
The 33-year-old singer-songwriter from Charleston, S.C., leads the list for the first time among four appearances. He previously hit the top 10 with his first entry, House of Miracles, which reached No. 6 in June.
“Today I am in awe and wonder of how God continues to use this music to love and encourage others,” Lake tells Billboard. “It’s something I will never get used to. I have learned that most of our life is not lived in the palace – it is us enduring pit after pit. My prayer is that this album would meet you where you are and help remind you that God is with you in the pit.”
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Concurrently, the lead single from Coat of Many Colors, “Praise You Anywhere,” hops 4-1 on the streaming-, airplay- and sales-based Hot Christian Songs chart. It drew 5.6 million airplay audience impressions and 2 million official streams in the U.S. in the tracking week.
Lake tops Hot Christian Songs with a third title (among five top 10s), following his featured turn on Elevation Worship’s “Graves Into Gardens,” which led for two frames weeks in February 2021, and his own “Gratitude,” which dominated for 15 weeks beginning this February. He is the only act to have led the chart with multiple songs this year.
Lake co-authored “Praise You Anywhere” with Hank Bentley, Ben Fielding and Jacob Scooter, while Bentley and Scooter co-produced the track.
Lake is also the first artist this year to open at No. 1 on Top Christian Albums while simultaneously hitting the top of Hot Christian Songs. TobyMac last achieved such a double-up in September 2022, when his album Life After Death arrived at No. 1 on Top Christian Albums as “The Goodness,” featuring Blessing Offor, rose to the Hot Christian Songs summit.
Currently on his Coat of Many Colors Tour — which launched earlier in October and includes supporting act Benjamin William Hastings — Lake makes his next stop in Greenville, S.C., on Nov. 5.
Taylor Swift spends a record-extending 83rd week at No. 1 on the Billboard Artist 100 chart (dated Nov. 4), thanks to nine albums on the Billboard 200 and two songs on the Billboard Hot 100, including her latest leader, “Cruel Summer.”
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Pacing Swift’s titles on the Billboard 200 is her former six-week No. 1 Midnights at No. 6, with 52,000 equivalent album units earned Oct. 20-26, according to Luminate. The 2022 release notches a 53rd consecutive week in the top 10, encompassing its entire chart run – and matches Swift’s 1989 as her only albums to spend their first 53 weeks in the region; 1989 logged 60 total weeks in the top 10, its first 53 consecutively in 2014-15.
Here’s a recap of Swift’s current Billboard 200-charting albums.
Rank, Title:No. 6, MidnightsNo. 7, LoverNo. 12, FolkloreNo. 15, 1989No. 20, Speak Now (Taylor’s Version)No. 21, reputationNo. 25, Red (Taylor’s Version)No. 26, EvermoreNo. 48, Fearless (Taylor’s Version)
Swift is slated to have another massive week on next week’s charts with her latest re-recorded album, 1989 (Taylor’s Version). According to initial reports to Luminate, the set has earned more than 550,000 equivalent album units in the U.S. through its first three days of release (Oct. 27-29), of which more than 370,000 are in album sales. In terms of total equivalent album units earned, 1989 (Taylor’s Version) already has the second-largest week of the year, trailing only Swift’s Speak Now (Taylor’s Version), which bowed with 716,000 units in July.
On the Hot 100, “Cruel Summer” tallies a second week at No. 1, after it became Swift’s 10th leader. With the resilient track from her 2019 album Lover, Swift joined 10 other acts with double-digit No. 1 totals. Meanwhile, Swift’s former eight-week No. 1 “Anti-Hero” ranks at No. 20 and has now spent 53 weeks on the chart, extending its run as her longest-charting hit.
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Blink-182 re-enters the Artist 100 at No. 2, thanks to the trio’s new LP One More Time… The set debuts at No. 1 on the Billboard 200 with 125,000 units, becoming the band’s third leader, after 2001’s Take Off Your Pants and Jacket and 2016’s California.
Plus, the Rolling Stones return at a new No. 3 Artist 100 high, thanks to the band’s new album Hackney Diamonds. The Rock & Roll Hall of Famers’ first album of all-new material since 2005 arrives at No. 3 on the Billboard 200 (101,000 units), becoming their record-extending 38th top 10. They also become the first act with newly-charted top 10s in each decade since the 1960s.
The Artist 100 measures artist activity across key metrics of music consumption, blending album and track sales, radio airplay and streaming to provide a weekly multi-dimensional ranking of artist popularity.
They may still be best associated with the late ’90s, but pop-punk greats Blink-182 now have a Billboard 200 No. 1 album in each of the first three decades of the ’00s: 2002’s Take Off Your Pants and Jacket, 2016’s California, and now this year’s One More Time…
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The Oct. 21-released set — the trio’s first LP with original co-leader Tom DeLonge since 2011’s Neighborhoods, with Matt Skiba filling in for him for most of the decade-plus in between — posts 125,000 equivalent album units in its debut week, just getting it past the 120,000 moved by Drake’s For All the Dogs in its third frame. It’s a significant improvement from the 94,000 units notched by Blink’s prior album Nine (2019), which bowed at No. 3 on the chart.
How did Blink manage such a stellar showing a full three decades after their 1993 debut EP? And what could their peers learn from their success? Billboard staffers discuss these questions and more below.
1. Blink-182’s One More Time… debuts at No. 1 on the Billboard 200 in its debut week with 125,000 equivalent album units, narrowly edging out Drake’s For All the Dogs in its third week. On a scale from 1 to 182, how big an accomplishment would you say that is for a 30-year-old rock band in 2023?
Kyle Denis: 116. Amid talk about the changes in genre trends this year, and while rock music has been present near the top of the Billboard 200 through new albums from the likes of Zach Bryan, Olivia Rodrigo, Lil Uzi Vert, Jelly Roll and Noah Kahan, One More Time is the first full-fledged rock album from an instrument-based band to reach the top of the ranking this calendar year. That’s a major feat, especially for a band whose last legitimate crossover hit is around the same age as some of Gen Z’s biggest pop stars.
Josh Glicksman: A rock solid 164. Let’s face it: the peak of the Billboard 200 isn’t often reserved for legacy acts these days. The only other rock bands with more than 30 years pedigree to reach No. 1 this decade are AC/DC and Red Hot Chili Peppers, with Power Up in 2020 and Unlimited Love in 2022, respectively. Drake is the only other artist over 35 years old to reach the top slot this year. Sure, Blink-182 benefits from releasing an album during a relatively tame week for competition, but even so, the feat isn’t anything to downplay.
Jason Lipshutz: A 180! Considering how difficult it is for veteran rock bands to impact the mainstream in 2023, Blink-182’s past year — which includes multiple rock hits crossing over to the Billboard Hot 100, a huge arena tour and now a No. 1 album with a six-figure debut — has been uniquely commanding. Topping the Billboard 200 is partially a symptom of One More Time avoiding the bigger pop release weeks this month, but even so, starting with 125,000 equivalent album units is pretty damn impressive, and the cherry on top of a major return.
Andrew Unterberger: Definitely 134. It’s more an affirmation of what we already know about the band’s continued endurance — just a half year after they stepped in to fill Frank Ocean’s vacated Coachella headlining slot and just a few days after they announced an upcoming U.S. stadium trek — then any new or revelatory breakthrough. But given how unseriously pop-punk was taken as a genre 20-30 years ago, and how hairy things looked for Blink-182’s future prospects just a decade earlier, it’s still definitely one for the resumé for the trio to still be putting up A-list numbers in 2023.
Christine Werthman: The correct answer is 182. This is the first studio effort from the longtime lineup of Tom DeLonge, Mark Hoppus and Travis Barker since 2012, and sure, it’s less bratty and more wizened than the band’s late-1990s, early-2000s skate-punk output, but it’s not a total reinvention. The trio gave the people what they wanted — a reunion, a tried-and-true sound — and the fans showed up. Blink-182 topped Drake! In 2023! Yes, in his third week, but it still counts! Chalk it up as a huge win.
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2. Few of Blink’s ’90s peers are still posting six-digit first weeks in the 2020s, especially after the elimination of ticket bundles from Billboard 200 sales calculations a few years ago. What’s one thing you think the band did particularly well with One More Time to make such a big debut week possible?
Kyle Denis: Given that One More Time is the band’s first LP since the return of Tom DeLonge, there was already a level of inherent comeback hype baked into the record. Couple that with a smart, lengthy campaign that let each pre-release single run its course – both “Edging” and the title track topped Alternative Airplay – and you’re left with a rollout that is primarily concerned with activating their tried-and-true fanbase instead of radically changing their sound to court younger consumers. To that end, however, the social clout of Travis Barker and Kourtney Kardashian’s marriage likely brought a few new, younger listeners to the blink-182 fandom. Moreover, blink-182 (in its original configuration) came back at the right time considering the mainstream resurgence of pop-punk at the top of the decade.
Josh Glicksman: An extended album rollout. Quickly following the reunion announcement last October with a new single stoked initial hype, and the band carried the momentum through album release day by touring across the world — including at a whole bunch of major festivals — and made sure everyone knew that a project was on the way. It’s not a strategy I’d suggest for major pop stars of the moment, but for a reunion project from a long-tenured band like Blink-182, allowing momentum to steadily grow over the course of a year paid huge dividends.
Jason Lipshutz: The year-long rollout of the release — in which lead single “Edging” was released almost exactly one year prior to One More Time — proved surprisingly effective, since Blink was able to tour arenas and festivals (including Coachella and When We Were Young) for six months and galvanize their fan base ahead of the new album. Maybe One More Time doesn’t hit No. 1 if it was released last October, before hundreds of thousands of fans got to see their impressive headlining set and receive a reminder that, when it comes to their studio output, Mark, Tom and Travis rarely miss.
Andrew Unterberger: The reunion with DeLonge and the feel-good story behind it is almost certainly the biggest factor in this set’s strong performance — but the group did do a good job of leaning into it (both in the album’s lyrics and promotion) just enough to tug the heartstrings but not enough to cheapen it. And the songs are pretty good! That helps.
Christine Werthman: They say timing is everything, and Blink-182 certainly proved that by reuniting right when pop-punk was regaining popularity and the nostalgia for those 1990s and 2000s bands was peaking. The tour and the album could not have been more perfectly positioned for success.
3. One More Time was preceded by two Hot 100-charting, rock radio-dominating singles in “Edging” and the title track. Do either of them seem like enduring future-classic entries in the Blink canon to you, or is their success more due to name recognition and good timing?
Kyle Denis: I’m leaning towards name recognition and good timing, but I could see “Edging” sticking around as late-career classic.
Josh Glicksman: I don’t know that “Edging” is ever going to supplant the biggest crowd pleasers in the band’s catalog — which is more of a testament to Blink-182’s turn of the century heyday than anything else — but it’s still a hell of a lead single and will be a welcome listen mixed into any greatest hits compilation. Of course, the name recognition and proximity to the reunion announcement helped the song, but the fact that it holds up as well as it does more than a year later means it has plenty of legs to swim on its own power, too.
Jason Lipshutz: I’ve become a big fan of “Edging,” especially after seeing it as a sing-along moment in concert. At first, the single struck me as watered-down hijinks, but those melodies jangle with snotty joy, and the hook is great to yelp along to when your car stereo is a little too loud. The title track packs an emotional wallop, but “Edging” is the new Blink single I’ll be returning to over the next few years.
Andrew Unterberger: I think “Edging” is the better song of the two, but the title track might be the more likely one to endure, just because of what it represents in the band’s story. I could see it becoming a go-to live set-ender or encore over the years, if nothing else.
Christine Werthman: “Edging” feels more in line with the canon, but the title track might be the one that lingers because it’s so revealing. For a band seemingly obsessed with never growing up or acting its age, “One More Time” shows Blink-182 grappling with the inevitable. It’s such a singular track in the group’s catalog that the enduring emo singalong could become a staple.
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4. Blink’s third career act is likely going much better than anyone could’ve predicted it would at the height of the acrimony between the band’s classic lineup. Is there anything that other rock legacy acts could learn from their example, or are their accomplishments unique to their circumstances?
Kyle Denis: Age gracefully, stay true to your sound, and focus on activating your existing fanbase and reaching them where they are currently at. Oh, and get with a Kardashian too.
Josh Glicksman: I’d lean more toward the latter, but there’s plenty to glean from the band’s continued success. Blink-182 has done a phenomenal job of embracing the next wave of artists in rock and pop-punk. It’s all too easy to “get off my lawn” a new generation, but the three of them — and Barker in particular — have championed newcomers in a way that allows rising stars to garner the wisdom of the past while shaping the future of the genres. That goes an extremely long way in terms of introducing today’s listeners to the band’s catalog.
Jason Lipshutz: It all feels too serendipitous for other rock bands to study: Mark Hoppus’ cancer diagnosis and successful battle could never have been foreseen, and when their classic lineup reunited, exactly enough time had been between its last studio album and proper tour that demand for both was always going to be high. This Blink-182 comeback arrived at the end of a winding road, but the timing was right, the music was solid, and it’s proven to be a huge achievement.
Andrew Unterberger: Much of it is irreplicable, but I think Blink-182 do a good job of toeing the line between reviving the sound and spirit of their “classic” period while also making room for both musical evolution and lyrical honestly about their current lives. It’s a difficult balance to strike — many of their peers don’t even really seem to try — but it really helps a band like them maintain (and even grow) an audience this deep into their career.
Christine Werthman: The band got lucky with the return of pop-punk, but there are some lessons here for those artists who currently refuse to give it another go. Lesson one: Listen to “One More Time” and realize that it’s never too late to put aside the drama and get back to doing what you love with the people you once loved. Lesson two: Check out those Boxscore numbers. Blink-182 earned more than $85 million from its North American leg, a figure that, though likely rare for reunions, could soften even the hardest of hearts.
5. What’s another ’90s-popular rock band that you could see scoring a future No. 1 album this decade?
Kyle Denis: My money’s on Green Day. Their new record is dropping in January, and with a stadium tour set to follow, that’ll be a rollout worth observing.
Josh Glicksman: It’s not an overwhelmingly bold prediction given the band has two top-10 albums this decade, but Foo Fighters feels more than capable of returning to the top of the chart in the next few years.
Jason Lipshutz: Did you know that Push and Shove, the comeback album from No Doubt after 11 years apart, is now over a decade old itself? That band’s biggest hits have endured, while Gwen Stefani still has plenty of cultural cache thanks to The Voice and her solo career. Let’s follow the One More Time playbook and get a punchy new single, career-spanning arena tour and surprisingly emotional album together ASAP!
Andrew Unterberger: Radiohead is a band whose reputation and popularity never really seem to diminish over the passing years. If they were to release a follow-up to 2016’s A Moon Shaped Pool in the next few years — particularly if they just kinda sprung it on fans, In Rainbows-style — I bet it would have a pretty good shot at capturing the top spot.
Christine Werthman: No Doubt. They’ve got about two years until the 30th anniversary of Tragic Kingdom, so start rehearsing, schedule some reunion shows and parlay that old familiar feeling into some writing sessions for a new album. C’mon, Gwen and Tony!
On-demand official U.S. streams of Milli Vanilli’s catalog jumped by 34% in the four days (Oct. 24-27) since the documentary Milli Vanilli premiered Oct. 24 on Paramount+.
According to Luminate, the act’s songs drew 312,000 listens Oct. 24-27, up from 232,000 the four days prior (Oct. 20-23).
Milli Vanilli’s breakthrough hit “Girl You Know It’s True” leads with 114,000 on-demand U.S. streams Oct. 24-27, a 26% increase from 91,000 Oct. 20-23. “Blame It on the Rain” follows with 69,000 streams, up 39% from 49,000.
The 1 hour, 46-minute documentary chronicles the turbulent timeline of the act, which was publicly fronted by Rob Pilatus and Fabrice Morvan, who signed a contract with German producer Frank Farian, not realizing that they would not provide vocals on Milli Vanilli recordings. The act’s debut album, Girl You Know It’s True, blending pop, R&B/hip-hop and dance, dominated the Billboard 200 for seven weeks and spun off three Billboard Hot 100 No. 1s – “Baby Don’t Forget My Number,” “Girl I’m Gonna Miss You” and “Blame It on the Rain” – after the title track reached No. 2, in 1989.
(The set’s “All or Nothing” become its fifth and final Hot 100 top 10, reaching No. 4, in early 1990. Milli Vanilli is the only act in the list’s archives to have charted as many as five entries all in the top five with no other career appearances.)
Milli Vanilli won the best new artist Grammy Award in 1990, before it was revealed that Pilatus and Morvan didn’t sing any of their hits, resulting in the trophy being revoked for the only time in Grammy history.
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Milli Vanilli includes interviews with Billboard contributing writer/editor Gil Kaufman, who wrote an oral history on the act’s rise and fall in 2020, as well as former MTV VJ and current SiriusXM host “Downtown” Julie Brown and former executives from Arista Records, which released Girl You Know It’s True in the U.S., among others. It was produced by MTV Entertainment Studios and MRC and directed by Luke Korem and is narrated by Morvan. (Pilatus died of an alcohol and prescription drug overdose in 1998.)
“Finally, the true story of Milli Vanilli has been told,” Morvan shared upon the announcement of Paramount+’s acquisition of the retrospective. “The journey I returned to during the filming of this documentary didn’t leave any stone unturned. At last I can close this chapter in peace.”
Yet again, Beyoncé crowns Billboard’s monthly Boxscore recap. According to figures reported to Billboard Boxscore, the Renaissance World Tour grossed $121.9 million and sold 476,000 tickets across nine shows in September.
This is the third consecutive month, and fourth overall, that Beyoncé has crowned Top Tours. That ties her with Bad Bunny for the second-most since the charts’ launch in February 2019, only behind Elton John’s seven. And while he, Bad Bunny, The Rolling Stones and others have achieved back-to-back wins, Queen Bey is the first act to go three-in-a-row.
It’s also her third consecutive month north of $100 million, after setting all-time monthly record with $179.3 million in August.
In addition to this monthly chart feat, Billboard previously reported upon Beyoncé’s Oct. 1 finale that The Renaissance World Tour is the highest-grossing tour by a woman, by a Black artist and by any American soloist in the Boxscore archives. Between its May 10 kickoff in Stockholm and its recent closing show in Kansas City, the tour grossed $579.8 million and sold 2.8 million tickets, making it the biggest of her career, and the seventh highest grossing trek of all time.
September is Beyoncé’s second month at No. 1 on Top Boxscores. After reigning in July with two shows at New Jersey’s MetLife Stadium, she claims the crown with three shows on the opposite coast. Playing SoFi Stadium in Inglewood, Calif. (Los Angeles area) on Sept. 1-2 and 4, the Renaissance World Tour brought in $45.5 million and sold 156,000 tickets.
More, Beyoncé follows herself at No. 2 with two hometown shows at Houston’s NRG Stadium. Those, on Sept. 23-24, grossed $31.3 million and sold 123,000 tickets. Though more than 30% off from her SoFi shows, the weekend in Houston earned more than double its next closest competition.
Depeche Mode’s trio of dates at Mexico City’s Foro Sol took in $15.4 million, leading a group of 13 reports between $10-15 million. Three of those 13 come from Beyoncé herself, at Nos. 6, 8 and 12.
While Beyoncé is one of a growing group of solo women who have shifted the make-up of Boxscore’s top earners in the last several months, she is one of just three on September’s Top Tours. P!nk follows at No. 6 with $30.2 million from a handful of North American stadium shows as part of the Summer Canival tour. Elsewhere, Lady Gaga is No. 29 with $11.1 million from eight dates as part of her Jazz & Piano residency at MGM’s Dolby Live in Las Vegas.
While these women make up just 10% of the acts on the chart, their grosses combine to 22% of the top 30’s combined earnings, in large part due to Beyoncé’s giant haul.
Notably, RBD adds to the gender shift, at No. 2. The Mexican pop group reunited with five of its six original members – three women and two men – to winning results. Through Oct. 1, the Soy Rebelde Tour has earned $90.2 million, $65.7 million on which came from shows in October. That’s more than the group’s entire concert revenues from before reuniting, from 2005-08.
The upper echelon of this month’s rankings is notably diverse. Morgan Wallen, Drake and Coldplay round out the top five spots on Top Tours, adding country, rap and rock to RBD’s Latin pop and Beyoncé’s mix of pop, R&B and dance music. In 39 editions of the Top Tours chart, this is the first time that each of the top five acts represent different genres.
While Beyoncé’s nine-figure haul includes revenue from her Sept. 11 show in Vancouver, Wallen gives Canada a spotlight among his September dates. Ten out of his 13 concerts were above the border, making up 61% of his total monthly earnings. Those include three in Toronto (Sept. 14-16; $7.2 million; 47,800 tickets) and others in Montreal (Sept. 23; $3.1 million; 15,200) and Calgary (Sept. 30; $2.9 million; 13,600).
After Wallen’s $25.8 million in Canada, Coldplay follows with $9.2 million from two shows in Vancouver, before Beyoncé with $7.9 million from her own Vancouver date. Ten other acts among September’s top 30 played shows in Canada, from Ed Sheeran and Guns N’ Roses in the top 20, to Lionel Richie and Marco Antonio Solis at Nos. 28 and 30, respectively.
While the stacked grosses by Beyoncé, RBD and others are certainly worth celebrating, September’s overall figures are record-breaking, well beyond the top-earning tours. For the first time since the charts launched, all 30 tours grossed more than $10 million, down to Solis’ $10.9 million. Previously, June ’23 set the high-mark with 27 tours.
September’s eight-figure treks go well beyond the top 30, in fact, with another eight artists above the benchmark. Fuerza Regida just misses the chart cut-off with $10.8 million, while Lana Del Rey ($10.7 million), The Postal Service & Death Cab for Cutie ($10.6 million) and blink-182 ($10.4 million), among others, follow.
Still looking at the big picture, though slightly zoomed in, Live Nation crowns Top Promoters, yet again. With over 8.4 million tickets sold in September, the concert giant has reported grosses of more than $1 billion for the first time.
Sting’s enduring ballad “Fields of Gold” shines in new form on Billboard’s charts, as “Dreaming” — which reworks the song with Marshmello and P!nk — enters at No. 1 on the Dance/Electronic Digital Song Sales survey (dated Nov. 4).
The new interpretation, released on RCA Records, sold 2,000 downloads in the U.S. in its first week (Oct. 20-26), according to Luminate.
The collaboration concurrently debuts at No. 12 on the multi-metric Hot Dance/Electronic Songs chart, also driven by 1.5 million official streams and 1.1 million in all-format radio audience. Plus, it starts at No. 34 on Adult Pop Airplay, where it’s Sting’s highest rank since 2006, when “Always on Your Side,” with Sheryl Crow, reached No. 11.
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“Fields of Gold” rose to No. 23 on the Billboard Hot 100 in 1993. It also reached No. 2 on Adult Contemporary, marking Sting’s highest-charting title, and No. 24 on both Pop Airplay and Mainstream Rock Airplay. Released as the second single from Sting’s album Ten Summoner’s Tales, the song, which he solely wrote, has drawn 158 million official streams – and 5.3 billion in radio reach – to date.
“I always like it when [a] different mind takes one of my songs and adds something of their own to it,” Sting mused in an Instagram post spotlighting the release of “Dreaming.” “I never feel that possessive. I’m always interested to know where it can go.”
Added P!nk, “To meld all of the worlds … it’s fun. You can take something [and] make it new again.”
“Dreaming,” behind which Marshmello was the “prime mover,” notes Sting, is set to appear on the Tour Deluxe Edition of P!nk’s album Trustfall, due Dec. 1. The LP debuted at its No. 2 high on the Billboard 200 in March, becoming her ninth top 10 set.
“Dreaming,” meanwhile, marks Sting’s second charted dance makeover of one of his songs in as many years. His team-up with Swedish House Mafia, “Redlight” – which reworks “Roxanne,” a No. 32 hit on the Hot 100 for the Sting-fronted The Police in 1979 – reached No. 20 on Hot Dance/Electronic Songs in March 2022.
On Oct. 31, 1998, Shania Twain’s “Honey, I’m Home” hit No. 1 on Billboard’s Hot Country Songs chart, becoming the most recent of her seven leaders. Twain co-authored the single with her then-husband, Robert “Mutt” Lange, who also produced it. The song became the third of three Hot Country Songs No. 1s from Twain’s Come […]
Taylor Swift will be crowned when the U.K. albums chart is published later this week.
The U.S. pop singer opens-up a monster lead in the U.K. chart race with 1989 (Taylor’s Version) (via EMI), which is currently outperforming the rest of the top 40 combined, the Official Charts Company reports.
1989 (Taylor’s Version) reigns over the midweek chart, and is already the year’s best-selling album, amassing 148,000 chart units. That’s more combined units in just three days than Lewis Capaldi’s second LP Broken by Desire to Be Heavenly Sent (95,000 combined units), the previous leader for 2023, clocked in its first full-week. And it’s roughly double the sum collected by Rolling Stones’ Hackney Diamonds (Polydor), the current leader on the weekly chart and, until now, one of the three best-sellers of 2023.
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When the Official U.K. Albums Chart is published late Friday, Oct. 3, Swift will nab her 11th U.K. No. 1 album, a tally that includes the original recording of 1989, which ruled for a single week in 2014. That result would extend her record as the female solo artist with the most chart-topping albums this century. Only Madonna, with 12 U.K. No. 1s, leads Swift on the all-time tally.
The re-recorded edition of 1989 is the fourth of Swift’s six “versions,” and features three bonus tracks and five songs from the “Vault.”
Swift is likely to nab a chart double. Based on midweek singles sales and streaming data published by the OCC, “Is It Over Now” slides into pole position, ahead of “Slut” and “Style,” respectively.
Meanwhile, OMD (Orchestral Manoeuvres in the Dark) is on track for an eighth top 10 album with Bauhaus Staircase (100 Percent Records), new at No. 2 on the midweek tally, ahead of the Stones’ Hackey Diamonds, down 1-3 on the chart blast.
Duran Duran’s “ultimate Halloween party” album Danse Macabre (BMG) is forecast to enter the chart at No. 4, for what would be the Rock and Roll Hall of Famers’ 12th U.K. top 10 LP. The new set, a collection of covers, reinterpretations of DD songs, and three new numbers, is the followup to Future Past, which opened and peaked at No. 3 in 2021.
Also eyeing top 10 berths are new releases from James Blunt (Who We Used to Be at No. 5 via Atlantic), CASisDEAD (Famous Last Words at No. 6 via XL Recordings), Alfie Boe (Open Arms – The Symphonic Songbook at No. 7 via BMG); Simple Minds’ live recording New Gold Dream – Live from Paisley Abbey (No. 8 via BMG), Billy Bragg’s career retrospective The Roaring Forty 1983-2023 (No. 9 via Cooking Vinyl) and Gaslight Anthem (History Books at No. 10 via Rich Mahogany Recordings).
Iñigo Quintero’s “Si No Estás” crowns the Billboard Global Excl. U.S. songs chart (dated Nov. 4). The Spanish singer-songwriter reigns with his first entry on the chart.
Plus, “Too Much” by The Kid LAROI, Jung Kook and Central Cee debuts at No. 10 on Global Excl. U.S.
The Billboard Global 200 and Billboard Global Excl. U.S. charts, which began in September 2020, rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Global 200 is inclusive of worldwide data and the Global Excl. U.S. chart comprises data from territories excluding the United States.
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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Iñigo Quintero’s “Si No Estás” ascends from No. 4 to No. 1 on the Billboard Global Excl. U.S. chart with 54.2 million streams (up 10%) and 1,000 sold (up 37%) outside the U.S. Oct. 20-26. The piano-pop song is the first entry on the ranking for the singer-songwriter, who becomes the second act to reign with a rookie entry this year, after Fifty Fifty’s “Cupid” led for two weeks beginning in May.
“Si No Estás,” which has benefited from buzz on TikTok and Instagram, made Quintero a first-timer on Billboard’s charts just four weeks earlier. The single also tallies a third week at No. 1 on the Spain Songs chart, among its coronations on other Billboard Hits of the World surveys.
Jung Kook’s “Seven,” featuring Latto, keeps at No. 2 following nine weeks at No. 1 on Global Excl. U.S. beginning in July; Tate McRae’s “Greedy” jumps 6-3 for a new high; Taylor Swift’s “Cruel Summer” charges 8-4, returning to its best rank; and Doja Cat’s “Paint the Town Red” descends 3-5, following two weeks on top starting in September.
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Also in the Global Excl. U.S. top 10, “Too Much” by The Kid LAROI, Jung Kook and Central Cee launches at No. 10, with 31.5 million streams and 14,000 sold outside the U.S.
The Kid LAROI, from Australia, adds his second Global Excl. U.S. top 10, after “Stay,” with Justin Bieber, dominated for nine weeks in 2021. British rapper Central Cee also notches his second top 10, after “Sprinter,” with Dave, hit No. 6 in July.
Jung Kook earns his seventh solo Global Excl. U.S. top 10, the most for a member of BTS; he accounts for half of their 14 top 10s apart from the group. Here’s a rundown, ranked by peak position, of BTS members’ top 10s outside the superstar South Korean septet (which has posted 11 top 10s, including seven No. 1s):
“3D,” Jung Kook & Jack Harlow, No. 1 (one week), October 2023
“Seven,” Jung Kook feat. Latto, No. 1 (nine weeks), July 2023
“Like Crazy,” Jimin, No. 2, April 2023
“Left and Right,” Charlie Puth feat. Jung Kook, No. 2, July 2022
“That That,” PSY feat. SUGA, No. 2, May 2022
“Slow Dancing,” V, No. 4, September 2023
“Dreamers (Music From the FIFA World Cup Qatar 2022),” Jung Kook, No. 4, December 2022
“Love Me Again,” V, No. 6, August 2023
“The Astronaut,” Jin, No. 6, November 2022
“Rainy Days,” V, No. 8, August 2023
“Set Me Free, Pt. 2,” Jimin, No. 8, April 2023
“Stay Alive,” Jung Kook, No. 8, February 2022
“Vibe,” TAEYANG feat. Jimin, No. 9, January 2023
“Too Much,” The Kid LAROI, Jung Kook & Central Cee, No. 10 (to date), November 2023
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Nov. 4, 2023) will update on Billboard.com tomorrow (Oct. 31). 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.
Taylor Swift’s “Cruel Summer” ascends to No. 1 on the Billboard Global 200 songs chart (dated Nov. 4). The song – originally released on Swift’s 2019 album Lover before being promoted as a single and gaining new prominence as the superstar has performed it on her The Eras Tour this year – becomes Swift’s third No. 1 on the survey.
Plus, Iñigo Quintero’s debut hit “Si No Estás” surges from No. 10 to No. 5 on the Global 200 and Tyla likewise scores her first top 10 on the chart as “Water” bounds 21-9.
The Billboard Global 200 and Billboard Global Excl. U.S. charts, which began in September 2020, rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Global 200 is inclusive of worldwide data and the Global Excl. U.S. chart comprises data from territories excluding the United States.
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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“Cruel Summer” climbs 2-1 on the Billboard Global 200 with 61.4 million streams (up 17%) worldwide Oct. 20-26, as well as 10,000 sold (down 78%, a week after it benefited from the release of two new mixes). Swift achieves her third No. 1 on the chart, following two songs that debuted on top: “Anti-Hero” led for four weeks beginning in November 2022 and “All Too Well (Taylor’s Version)” reigned for a week in November 2021.
Swift ties Olivia Rodrigo for the most Global 200 No. 1s among women; Drake also has three leaders. Overall, they rank third after BTS, with seven No. 1s, and Bad Bunny, with four.
Meanwhile, over four years after its release, “Cruel Summer” completes the third-longest trip, from a title’s release, to No. 1 on the Global 200. Kate Bush’s “Running Up That Hill (A Deal With God)” dominated for three weeks beginning in June 2022, sparked by its synch in the fourth season of Netflix’s Stranger Things, after the song was originally released in 1985, and Mariah Carey’s “All I Want for Christmas Is You” spent the first of its 13 weeks at No. 1 to date in 2020, after it was released in 1994.
Doja Cat’s “Paint the Town Red” rebounds 3-2 on the Global 200, following four weeks at No. 1 beginning in September; Tate McRae’s “Greedy” pushes 5-3 for a new high; and Bad Bunny’s “Monaco” falls to No. 4, a week after it debuted at No. 1.
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Iñigo Quintero’s “Si No Estás” jumps 10-5 on the Global 200, with 56.5 million streams (up 10%) and 1,000 sold (up 35%) worldwide. The piano-pop song is the first entry on the chart for the Spanish singer-songwriter, who, benefiting from buzz on TikTok and Instagram, became a first-timer on Billboard’s charts just four weeks earlier.
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Plus, Tyla, from South Africa, achieves her first Global 200 top 10 as “Water,” her first entry on the chart, rushes 21-9, with 43.6 million streams (up 19%) and 4,000 sold (up 14%) worldwide. TikTok has been a key contributor in the song’s growing profile, with a portion of the track having soundtracked nearly 1 million clips on the platform.
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Nov. 4, 2023) will update on Billboard.com tomorrow (Oct. 31). 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.
