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Ed Sheeran notches his sixth No. 1 on Billboard’s Top Album Sales chart (dated Oct. 14), as his latest studio effort, Autumn Variations, debuts atop the list. It sold 46,500 copies sold in the U.S. in the week ending Oct. 5, according to Luminate.
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With the No. 1 bow of Autumn Variations, Sheeran is the only artist to earn at least two new No. 1s on Top Album Sales in 2023. Autumn’s arrival comes just five months after Sheeran last hit No. 1, when his previous studio set, – (Subtract), launched at No. 1 on the May 20-dated tally, spending a week in charge. Only one other act has had two albums at No. 1 in 2023, but they did so with a carryover title that first hit No. 1 in 2022: Taylor Swift. Her Midnights album had 14 weeks at No. 1 nonconsecutively from Nov. 5, 2022, through June 10, 2023, while her Speak Now (Taylor’s Version) debuted at No. 1 on the July 22, 2023, chart, logging two weeks at No. 1.
Autumn Variations was announced on Aug. 24, a little over a month before the album was released on Sept. 29.
Also in the top 10 of the new Top Album Sales chart: titles from NCT, Joe Hisaishi and Royal Philharmonic Orchestra, Wilco, Grateful Dead, Lil Peep all debut in the top 10, while Green Day’s Dookie re-enters the chart in the top 10 after its 30th anniversary reissue, and Jason Isbell’s Southeastern surges back onto the chart following its 10th anniversary reissue.
Billboard’s Top Album Sales chart ranks the top-selling albums of the week based only on traditional album sales. The chart’s history dates back to May 25, 1991, the first week Billboard began tabulating charts with electronically monitored piece count information from SoundScan, now Luminate. Pure album sales were the sole measurement utilized by the Billboard 200 albums chart through the list dated Dec. 6, 2014, after which that chart switched to a methodology that blends album sales with track equivalent album units and streaming equivalent album units. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.
Of Autumn Variations’ 46,500 first-week sales, physical sales comprise 33,500 (17,500 on CD and 16,000 on vinyl – his largest week ever on vinyl) and digital downloads comprise a little over 13,000. The set also launches at No. 1 on the Vinyl Albums chart, marking his fourth No. 1 on the 12-year-old tally. The album’s debut-week sales were bolstered by its availability across five vinyl variants, a signed CD and a deluxe digital edition of the album with live versions of each of the album’s songs.
Olivia Rodrigo’s Guts falls 1-2 on Top Album Sales with nearly 16,000 sold (down 31%). NCT’s Golden Age: The 4th Album debuts at No. 3 with 13,000 sold, marking the third top 10-charting effort for the Korean pop ensemble.
Joe Hisaishi and Royal Philharmonic Orchestra’s A Symphonic Celebration: Music From the Studio Ghibli Films of Hayao Miyazaki bows at No. 4, following its vinyl release on Sept. 29. The set was initially released via digital download and CD on June 30. In the week ending Oct. 5, the Celebration album sold 12,500 copies – with 12,000 of that sum on vinyl, marking the single biggest sales week for a classical album on vinyl since Luminate began electronically tracking music sales in 1991. (Its vinyl sales were enhanced by its availability in five vinyl variants.)
With 12,500 overall copies sold, Celebration logs the second-largest sales week for a classical album released in 2023, following Def Leppard’s Drastic Symphonies (15,000; June 3-dated chart).
Wilco logs its ninth top 10-charting effort on Top Album Sales as the band’s new studio set, Cousin, debuts at No. 5 with a little over 12,000 copies sold. Green Day’s Dookie re-enters the chart at No. 6 with 11,000 sold (up 1,744%) following its 30th anniversary deluxe reissue. The album peaked at No. 2 in 1995 and hasn’t been in the top 10 since April of that year. Grateful Dead’s Wake of the Flood debuts on Top Album Sales at No. 7 following its 50th anniversary reissue. The set, first released in 1973, sold nearly 10,500 copies in the tracking week (up from a negligible sum the previous week). Jason Isbell also celebrates an anniversary, as his Southeastern album re-enters at No. 8 – a new peak and its first week in the top 10 – with 10,000 sold (up 4,723%) after its 10th anniversary reissue. The album originally peaked at No. 23 in June of 2013.
The physical commercial debut of Lil Peep’s 2016 mixtape Hellboy prompts the album’s debut at No. 9 on Top Album Sales with nearly 10,000 sold. It was released via CD, vinyl and cassette on Sept. 29, but was previously available as a digital download (and via streaming services). It’s the fourth top 10-charting set for the late rapper, who died in 2017. All of his charting efforts on Top Album Sales debuted on the list following his passing.
Closing out the top 10 on Top Album Sales is V’s Layover, which falls 3-10 with 9,000 sold (down 22%).
In the week ending Oct. 5, there were 1.695 million albums sold in the U.S. (up 8.8% compared to the previous week). Of that sum, physical albums (CDs, vinyl LPs, cassettes, etc.) comprised 1.369 million (up 11.1%) and digital albums comprised 327,000 (down 0.1%).
There were 573,000 CD albums sold in the week ending Oct. 5 (up 6.7% week-over-week) and 784,000 vinyl albums sold (up 14.2%). Year-to-date CD album sales stand at 26.160 million (up 0.5% compared to the same time frame a year ago) and year-to-date vinyl album sales total 34.883 million (up 19.4%).
Overall year-to-date album sales total 75.521 million (up 6.0% compared to the same year-to-date time frame a year ago). Year-to-date physical album sales stand at 61.449 million (up 10.4%) and digital album sales total 14.071 million (down 9.7%).
After repeated monthly triumphs, a series of broken records and 39 cities turned to mute, Beyoncé closed out the Renaissance World Tour on Oct. 1. According to figures reported to Billboard Boxscore, the tour grossed $579.8 million and sold 2.8 million tickets across 56 shows in North America and Europe.
In a vacuum, those are massive numbers. And in the context of Boxscore’s nearly 40-year history, they are monumental. The Renaissance World Tour is the highest grossing tour by a woman, by a Black artist and by any American soloist.
Among women and domestic solo acts, Beyoncé passes Madonna’s Sticky & Sweet Tour, which broke ground upon its 2009 finale with $407.7 million. Among Black acts, she replaces herself atop the heap, exceeding The Formation World Tour’s 2016 gross of $256.1 million by a margin of 2.26 to 1. In the interim, The Weeknd’s ongoing After Hours Til Dawn Tour has slid in the middle, with a gross of $305.9 million as of Sept. 30.
Doubling her previous peak – already a towering high that topped Boxscore’s 2016 year-end round-up – and digging deep into the record books, Beyoncé breaks the top 10 highest grossing tours of all time, hitting No. 7. She’s barely blocked by Guns N’ Roses’ Not in This Lifetime… Tour, which earned $584.2 million from 2016-19, and ahead of The Rolling Stones’ A Bigger Bang Tour, which brought in $558 million from 2005-07.
Notably, those tours ran for four years and three years, respectively. In fact, the Renaissance World Tour is the only one among the all-time top 10 to take place within one calendar year. At 56 shows, it played for roughly half the length of all-timers by Coldplay, The Rolling Stones and U2; about one fifth of Ed Sheeran’s The Divide Tour; and one sixth of Elton John’s Farewell Yellow Brick Road Tour.
Post-pandemic-era ticketing practices such as dynamic pricing and primary market resale have allowed fan demand to push an artist’s market value higher than ever before. The Renaissance World Tour averaged $253 a ticket, allowing grosses to bloom quicker than her fellow all-time leaders.
The next highest one-year earner is Taylor Swift’s Reputation Stadium Tour, which brought in $345.7 million in 2018. Coincidentally, Beyoncé and Swift have shared a very bright spotlight this year, as their concurrent treks have dominated headlines and boosted economies. Official numbers have yet to be reported for The Eras Tour, but it’ll likely join the Renaissance World Tour in this vaulted space.
In speeding to the all-time top 10, Beyoncé maintained a breathtaking pace from May through October. The Renaissance World Tour earned $141.8 million and sold more than a million tickets from 21 shows in Europe. (Previous reports cited $154 million, but official numbers have since been adjusted.) That evens out to $6.8 million and just under 50,000 tickets (49,873) per show.
Though those averages were already the highest of any leg of any Beyoncé tour, (much) bigger business awaited across the pond. Her 35 Renaissance shows in the U.S. and Canada averaged $12.5 million each night. In all, the North American leg earned $438 million, alone enough to break the global touring records referenced above.
Three shows at the SoFi Stadium in Inglewood, Calif. (Los Angeles area), earned $45.5 million and sold 156,000 tickets. That makes it the sixth-highest grossing engagement in Boxscore history. Like the tour it was a part of, it’s the biggest reported Boxscore for a woman, Black artist and American soloist. And like its parent tour, it reaches its all-time status with brevity. The five higher-grossing engagements range from a six-night stay at London’s Wembley Stadium for Coldplay to Harry Styles’ 15-show mini-residency at New York’s Madison Square Garden.
The tour follows Renaissance, Beyoncé’s latest solo LP. The set debuted atop the Billboard 200 last year and spawned two top 10s on the Billboard Hot 100 – “Break My Soul,” which became her seventh No. 1 hit, and “Cuff It,” which became her longest-charting song on the tally earlier this year. Renaissance and both singles won Grammy awards at this year’s ceremony, making her the most awarded singer in Grammy history.
And while the Renaissance World Tour has come to a close, its lifespan hasn’t ended just yet. Renaissance: A Film by Beyoncé opens in theaters on Dec. 1, distributed directly by AMC Theaters.
Across her 20-year solo career, Beyoncé has grossed more than $1.3 billion and sold 11.6 million tickets, including her portion of co-headline runs with Jay-Z, and Alicia Keys and Missy Elliott.
Drake collars Australia’s albums chart as For All The Dogs (via Republic/Universal) bows to No. 1.
For All The Dogs starts at the summit of the new ARIA Chart, published Friday, Oct. 13, for Drizzy’s fifth No. 1 Down Under, following Views (2016), Scorpion (2018), Dark Lane Demo Tapes (2020) and Certified Lover Boy (2021).
Lead single “Slime You Out” featuring SZA peaked at No. 12 in September, and vaults on the latest singles chart, up 65-13. It’s one of 20 For All The Dogs tracks which impact the top 100 of the national singles survey, including three in the top 10, led by “First Person Shooter” featuring J. Cole at No. 4.
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Meanwhile, Olivia Rodrigo‘s sophomore set Guts (Geffen/Universal) is unchanged at No. 2 on the ARIA Albums Chart.
Also new to the top 10 is Aussie rock outfit The Screaming Jets, with their ninth studio album, Professional Misconduct (Independent). It’s new at No. 3, for the band’s fifth top 10 appearance following All For One (No. 2 in 1991), Tear Of Thought (No. 3 in 1992), The Screaming Jets (No. 5 in 1995) and All For One 30th Anniversary Edition (No. 4 in 2021). The latest album includes contributions from founding bass player Paul Woseen, who died Sept. 15 at the age of 56.
ARIA Hall of Fame-inducted singer Russell Morris lands at No. 5 with The Real Thing: Symphonic Concert (MGM), recorded in Melbourne in July with the 54-piece Southern Cross Symphony and his 10-piece band. The “Real Thing” singer has released 15 studio albums, three live albums and six compilations since launching his recording career in 1969. Morris set a career high in 2014 when Van Diemen’s Land peaked at No. 4.
Close behind on the fresh ARIA Chart is Teen Jesus and the Jean Teasers, who enjoy a top tier start with I Love You (Domestic La La), the Canberra four-piece pop-punk band’s debut LP. It’s new at No. 6.
Also crashing the top 10 is NCT Dream’s Fact Check (Virgin Music Australia/Universal), the fourth studio album from the sub-unit of South Korean boyband NCT. It’s new at No. 9. The pop group hit No. 20 in August of this year with ISTJ – The 3rd Album, while another NCT sub-unit, NCT 127, has charted here twice, with a best of No. 3 for 2 Baddies from 2022, ARIA reports.
Over on the ARIA Singles Chart, Doja Cat’s “Paint The Town Red” (RCA/Sony) enters an eighth week at No. 1, respectively beating Tate McRae’s “Greedy” (RCA/Sony) and Kenya Grace’s “Strangers” (Warner) to the line. “Paint The Town Red” ties with Morgan Wallen’s “Last Night” for the second longest-running leader of 2023, behind only Miley Cyrus’ “Flowers” at 12 weeks.
Finally, BLACKPINK star Jennie lands at No. 69 on the ARIA Chart with “You & Me” (YG Entertainment/ Interscope Records), for her first solo appearance on the Australian singles tally.
Luck Ra’s “La Morocha,” featuring BM, adds a fourth week at No. 1 on the Billboard Argentina Hot 100 chart (dated Oct. 14). The team-up ties with Bizarrap & Shakira’s Bzrp Music Sessions, Vol. 53 for the fifth-most weeks at the summit in 2023. Let’s look at the leaderboard:
Weeks at No. 1, Title, ArtistsSeven, “Los del Espacio” LIT killah, Maria Becerra, FMK, Rusherking, Duki, Emilia, Tiago PZK & Big OneSeven, “En La Intimidad,” Emilia, Big One, Callejero FinoSix, “Lala,” Myke TowersFive, “Un Finde: Big One CROSSOVER #2,” Ke Personajes, Big One, FMKFour, “Bzrp Music Sessions, Vol. 53,” Bizarrap & ShakiraFour, “La Morocha,” Luck Ra, featuring BM
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Emilia’s “GTA.Mp3” pushes up the tally, jumping 7-2, while Los Angeles Azules and Maria Becerra’s “El Amor de Mi Vida” dips 3-2. Meanwhile, Grupo Frontera and Ke Personajes’ “Ojitos Rojos” rises to its new No. 4 peak, and Big One, Ulises Bueno and Rusherking’s “Mentiras I Crossover #3”, enters the top 5, as it lifts 8-5.
This week’s Greatest Gainer goes to Spaniard Iñigo Quintero’s “Si No Estás” which rallies up 69 ranks, from No. 85 to No. 16.
Enrique Iglesias and Maria Becerra’s first partnership, “Así Es La Vida,” takes the Hot Shot Debut of the week, at No. 34.
Elsewhere, Bizarrap and Milo J each add a new career entry as “Bzrp Music Sessions Vol 57” bows at No. 35. With the new recruit, BIzarrap adds his 49th chart visit and enters a tie with J Balvin for the third-most entry on the tally, trailing only Bad Bunny’s 60 total appearances and Duki’s 56.
Further, singer-songwriter Jere Klein adds his second Billboard Argentina Hot 100 entry with “Ando” at No. 41.
Four other songs debut this week, starting with Trueno’s “Ohh Baby” at No. 75. Jung Kook and Jack Harlow’s “3D” follows at No. 79. Plus, Doble P, Lauty Gram and Gusty dj’s “Me Escapé” joins at No. 86. Lastly, Lauty Gram adds another entry through “Linda” (Remix),” his collab with Marka Akme, Migrantes, Peipper and DJ Tao join at No. 91.
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Maluma captures his 23rd No. 1 on Billboard’s Latin Airplay chart as “Coco Loco” rises 2-1 to crown the Oct. 14-dated list.
“Coco Loco” lands at the summit on the overall Latin Airplay chart in its 15th week. It ejects Karol G’s “Mi Ex Tenía Razón” from the lead after one week in charge with an 8% gain in audience impressions, to 10.1 million, earned in the U.S. during the Sept. 29-Oct. 5 tracking week, according to Luminate. The latter drops 1-6 with 8.7 million in audience, down 12%.
With his new champ, Maluma improves his career total to 23 No. 1s, and breaks from a tie with Bad Bunny and Wisin for the fifth-most No. 1s since the chart launched in 1994. Here’s a look at the leaders:
35, J Balvin33, Ozuna32, Enrique Iglesias28, Daddy Yankee23, Maluma22, Bad Bunny22, Wisin
“Coco Loco” also marks Maluma’s 10th No. 1 as a soloist, unaccompanied by any other act, among his 23 rulers. Let’s look at those solo winners:
Peak, Title, Weeks at No. 1Nov. 21, 2015, “Borro Cassette,” threeAug. 26, 2017, “Felices Los 4,” twoJune 2, 2018, “El Préstamo,” twoNov. 10, 2018, Mala Mia, oneJune 8, 2019, “HP,” oneNov. 23, 2019, “11:00 PM,” oneJuly 11, 2020, “ADMV,” oneNov. 6, 2021, “Sobrio,” oneOct. 15, 2022, “Junio,” oneOct. 14, 2023, “Coco Loco,” one
Elsewhere, “Coco Loco” holds at No. 1 on Latin Rhythm Airplay for a second week. Plus, it holds at No. 37 on the multi-metric Hot Latin Songs for a second week despite a 4% drop in streams.
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Gone is the typical start and stop of touring cycles. Releasing an album and going on tour every few years can make for a simple structure for a pop star career, but particularly in the post-pandemic era, artists are blurring multiple albums into one tour. Or, after postponing a tour for a couple years due to COVID, some are ending their originally scheduled treks and then jumping into a new one the following year.
But no one is doing it quite like P!nk: After wrapping 41 stadium dates on Monday, she’s hitting pause on Summer Carnival only to kick off an entirely separate arena tour on Thursday night (Oct. 12).
So far, according to figures reported to Billboard Boxscore, P!nk’s Summer Carnival has grossed $257.6 million and sold 1.8 million tickets across 41 shows. (P!nk will play a makeup date at Globe Life Field in Arlington, Texas, on Nov. 26 before the Summer Carnival resumes Feb. 9 in Sydney for a sweep of 20 shows in Australia and New Zealand.)
Summer Carnival began with 19 shows in Europe, bringing in $106.8 million from 871,000 tickets. The run was highlighted by two shows at London’s Hyde Park on June 24-25, earning $20.9 million and selling 130,000 tickets. Just behind The Rolling Stones’ $22.4 million, it’s the biggest gross by an American act or by a soloist in the venue’s storied history.
Just over the pond, P!nk flew Stateside for a $150.7 million run in the U.S. and Canada, selling 914,000 tickets. Boston and Philadelphia earned double-header status, claiming the North American leg’s tallest tallies. Two shows at Fenway Park (July 31-Aug. 1) grossed $13.6 million and sold 78,000 tickets, while two at Philly’s Citizens Bank Park topped out at $14.2 million and 93,000.
Not only were those the two biggest engagements on P!nk’s recent domestic run, they are the biggest continental engagements of her entire career. It’s not surprising, given this was her first stint in North American stadiums, after leveling up in Europe on the Beautiful Trauma World Tour in 2019.
The upcoming run in Oceania will be P!nk’s first try in stadiums over there, but one needn’t worry. On past tours, she’s stuck to arenas but played several shows in each city, sticking around for 18 nights in Melbourne on 2013’s The Truth About Love Tour. That equaled 235,000 tickets in the market, leaving more than enough room for multiple stadiums per city for the February-March leg.
But before we get there, P!nk has a 20-date arena trek. Consider Summer Carnival to be her grand reintroduction after a four-year gap since the Beautiful Trauma World Tour, while the impending start of the Trustfall Tour acts as the true celebration of its namesake album, released in February. Kicking off Thursday night in Sacramento and wrapping Nov. 19 in Orlando, it’s expected to earn more than $70 million and sell more than 300,000 tickets, according to promoter Live Nation.
Within 12 months, P!nk will have played three legs of Summer Carnival, all while squeezing in an entirely separate tour with the Trustfall shows. It’s likely to be the biggest year of her touring career, exceeding the $397.3 million from the Beautiful Trauma World Tour in 2018-19. When that wrapped, it was one of the 10 highest-grossing tours in Boxscore history. Edged out by recent runs by Elton John, Harry Styles and others, P!nk’s all-time stature continues to rise, as her career gross climbs to $973.6 million and total attendance just under 9 million. When it’s all said and done, Billboard projects she’ll be the newest member of two elite Boxscore clubs, blowing past $1 billion and 10 million tickets.
The No. 1 song on Billboard’s Top TV Songs chart, powered by Tunefind, for September 2023 is fitting: it’s “September,” by Earth, Wind & Fire.
Rankings for the Top TV Songs chart are based on song and show data provided by Tunefind and ranked using a formula blending that data with sales and streaming information tracked by Luminate during the corresponding period of September 2023.
“September” sported a synch in the latest season of Netflix’s Virgin River. The entire fifth season premiered Sept. 7, and the Earth, Wind & Fire classic was heard in the third episode.
In all, “September” received 19 million official on-demand U.S. streams and 8,000 downloads in September 2023, according to Luminate. Some of its metrics are also due to annual gains for the song (No. 8 on the Billboard Hot 100 in February 1979) each September around Sept. 21, corresponding with the track’s opening lyric.
Virgin River boasts three entries on Top TV Songs this month, with fellow third episode song “In the Shadows,” by Amy Stroup, bowing at No. 3, while Lily Allen’s cover of Keane’s “Somewhere Only We Know,” heard in episode 10, appears at No. 8.
The top non-Virgin River entry, meanwhile, belongs to Gerry Rafferty’s “Baker Street,” which ranks at No. 2. Rafferty’s top-charting song on the Hot 100 (No. 2, June 1978), it appears in the second episode (Sept. 29) of new show The Continental, from Peacock, which is a newly released spinoff of the John Wick franchise.
Thanks to its The Continental synch, “Baker Street” earned 2.9 million streams and 1,000 downloads in September 2023.
Like Virgin River, The Continental also has three tracks on the latest Top TV Songs tally, with “Baker Street” followed by ZZ Top’s “La Grange” at No. 5 and Tommy James and the Shondells’ “Crimson and Clover” at No. 10.
Back to Earth, Wind & Fire: the group charts two songs on two different shows in September, as “Let’s Groove,” which appears at No. 6, was heard in HBO’s Winning Time: The Rise of the Lakers Dynasty.
See the full top 10, also featuring music from Wilderness and The Walking Dead: Daryl Dixon, below.
Rank, Song, Artist, Series (Network)1. “September,” Earth, Wind & Fire, Virgin River (Netflix)2. “Baker Street,” Gerry Rafferty, The Continental (Peacock)3. “In the Shadows,” Amy Stroup, Virgin River (Netflix)4. “Gold,” Kiiara, Wilderness (Amazon Prime Video)5. “La Grange,” ZZ Top, The Continental (Peacock)6. “Let’s Groove,” Earth, Wind & Fire, Winning Time: The Rise of the Lakers Dynasty (HBO)7. “Blue Monday,” New Order, The Walking Dead: Daryl Dixon (AMC)8. “Somewhere Only We Know,” Lily Allen, Virgin River (Netflix)9. “Sacrilege,” Yeah Yeah Yeahs, Wilderness (Amazon Prime Video)10. “Crimson and Clover,” Tommy James and the Shondells, The Continental (Peacock)
Ado’s “Show” logs its third week at No. 1 on the Billboard Japan Hot 100, dated Oct. 11, continuing to improve in various metrics in a balanced way.
On the chart tallying the week ending Oct. 8, the Halloween event theme for Universal Studios Japan holds at No. 2 for downloads for the second week with 16,486 units, increasing by 0.9 percent from the week before. The track also continues to rule streaming for the third week in a row with 14,258,058 weekly streams, also an 0.9 percent increase. In other metrics of the chart’s methodology, “Show” rises 2-1 for video views and comes in at No. 7 for radio and No. 48 for karaoke.
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YOASOBI dominate the next two slots this week, with the hit-making duo’s latest track “The Brave” rising 9-2 and former No. 1 hit “Idol” holding at No. 3. The former, the opener for the high fantasy anime Frieren, continues to rule downloads with 21,267 units. Streaming for the track soared by about three times the previous week to hit 8,139,175 streams, leaping 49-4 for the metric. The music video has currently racked up over 9 million views to rise 7-4 for video, and the song also soars 51-5 for radio.
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The latter, the 21-week record-holder for longest stay at No. 1 on the Japan Hot 100, is currently at No. 3 for streaming, No. 10 for downloads, No. 3 for video, No. 46 for radio, and logs its 20th week at No. 1 for karaoke.
NMB48‘s “Nagisa Saiko!” debuts at No. 5 this week. The girl group’s 28th single sold 262,542 copies in the first week — 67,657 more copies than its predecessor, “Sukidamushi” to rule physical sales. It’s a fitting send-off to popular member Nagisa Shibuya, who will be leaving the group after being featured in center position for the last time.
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Two tracks by BTS’s Jung Kook charts in the top 10 this week. His collaboration with Jack Harlow, “3D,” debuted on the Japan Hot 100 on the chart dated Oct. 4 at No. 17 after the single dropped Sept. 29, and climbs to No. 7 this week. The track is at No. 9 for downloads, No. 12 for streaming, No. 20 for radio, and No. 8 for video. His hit collab with Latto, “Seven,” is at No. 10 this week on its 13th week on the chart, coming in at No. 7 for streaming with 6,337,765 weekly streams, maintaining a higher count than “3D,” which logged 4,955,275 streams this week.
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Three-man band shy taupe reached a new career-high on the Japan Hot 100, with “Rendez-vous” breaking into the top 10 at No. 8. This song bowed on the chart dated Aug. 23 at No. 66, then made its way to No. 14 two weeks later. It spent the next five weeks in the top 20 and hit its current position this week. The track is powered by streaming, which increased by about 0.9 percent from the previous week at 7,235,586 weekly streams, coming in No. 6. It’s still rising in other metrics, with downloads moving 67-54, video 50-33, and karaoke 56-52 on its 10th week on the chart.
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from Oct. 2 to 8, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Feid captures his second top 10 on Billboard’s Top Latin Albums chart — and highest charting release yet — with his latest set Mor, No Le Temas a La Oscuridad, which debuts at No. 4 on the Oct. 14-dated survey.
Mor, No Le Temas a La Oscuridad launches with 20,000 equivalent album units earned in the U.S. during the Sept. 29-Oct. 5 tracking week, according to Luminate. It’s the biggest opening week in terms of units among Feid’s six career entries on the overall albums ranking.
On Top Latin Albums, an equivalent album unit equals one album sale, or 10 individual tracks sold from an album (track equivalent album units, TEA), or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album (streaming equivalent album units, SEA).
Streaming powers most of the album’s activity, with 15,000 of the first week from the consumption method. That figure equals to 20.1 million official U.S. on-demand streams for the album’s songs in its opening week. Traditional albums sales, meanwhile, account for 5,000 units, while a negligible amount derives from track-equivalent unit.
Mor, No Le Temas gives Feid, whose off-stage name is Salomón Villada Hoyos, his second top 10 on Top Latin Albums. The album was released Sept. 28 via Universal Music Latino/UMLE. Previously, Feliz Cumpleaños Ferxxo: Te Pirateamos El Album peaked at No. 6 in Oct. 2022. The set held in the top 10 for 12 weeks. In between, Sixdo (EP) debuted and peaked at No. 32 last December.
Feid also nabs his highest charting album on the all-genre Billboard 200, as Mor debuts at No. 31. Plus, the album arrives at No. 3 on Latin Rhythm Albums, likewise his highest charting album there.
Mor was previewed by two songs: Feid’s first collab with Sean Paul, “Niña Bonita,” which peaked at No. 41 on the multi-metric Hot Latin Songs chart, and “Bubalu,” with Rema, that rises 39-32. Further, “Luces de Tecno” debuts at No. 40 on the current tally.
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U2 pads its record for the most entries on Billboard’s Alternative Airplay and Mainstream Rock Airplay charts as “Atomic City” debuts on multiple tallies dated Oct. 14.
The song premieres at No. 27 on Alternative Airplay. It’s the Bono-led band’s 43rd chart appearance, extending its mark for the most visits to the ranking, which began in 1988.
Foo Fighters and Pearl Jam are the next-closest acts, earning 40 entries each.
Most Appearances, Alternative Airplay:
43, U2
40, Foo Fighters
40, Pearl Jam
37, Red Hot Chili Peppers
36, Green Day
34, Weezer
30, Coldplay
30, Linkin Park
29, The Offspring
27, The Smashing Pumpkins
U2’s Alternative Airplay chart run began on the Sept. 17, 1988, survey – the list’s second week of existence – when “Jesus Christ” debuted at No. 11. With entries now in the 1980s, ‘90s, 2000s, ‘10s and ‘20s, the band matches Depeche Mode and Red Hot Chili Peppers as the only acts with appearances in each decade of the list’s archives.
Of U2’s 43 appearances, 23 have reached the top 10 and eight have gone No. 1, beginning with the five-week ruler “Desire” in October 1988. The band last led the chart with “Vertigo” (four weeks, November 2004) and most recently hit the top 10 with “Get On Your Boots” (No. 5, February 2009).
On Mainstream Rock Airplay, “Atomic City” debuts at No. 38, the quartet’s record-extending 51st appearance. Tom Petty, solo and with the Heartbreakers, is next with 48.
Most Appearances, Mainstream Rock Airplay:
51, U2
48, Tom Petty (solo and with the Heartbreakers)
47, Van Halen
46, John Mellencamp
45, Pearl Jam
44, Aerosmith
43, Metallica
42, Rush
42, Bruce Springsteen (solo and with the E Street Band)
U2 gains entrance to a select club of acts that have appeared on Mainstream Rock Airplay every decade of its existence, since it began in 1981, joining AC/DC, Guns N’ Roses, Motley Crue, Ozzy Osbourne, Red Hot Chili Peppers and The Rolling Stones.
As with Alternative Airplay, U2 was on Mainstream Rock Airplay during the ranking’s inaugural year (starting in the tally’s fifth week), peaking at No. 20 with “I Will Follow” in April 1981. The act boasts 21 top 10s and seven No. 1s, last leading with “Hold Me, Thrill Me, Kiss Me, Kill Me” in August 1995 and last hitting the top 10 with “Vertigo” in November 2004.
But unlike Alternative Airplay, where U2 had gone just under six years between appearances (“You’re the Best Thing About Me” peaked at No. 21 in October 2017), the band until this week had not made Mainstream Rock Airplay since “Invisible” debuted and peaked at No. 27 in early 2014.
“Atomic City” also premieres at No. 17 on Adult Alternative Airplay, U2’s 32nd entry since the ranking began in 1996, behind only Dave Matthews (solo and with Dave Matthews Band) with 36 entries.
Most Appearances, Adult Alternative Airplay:
36, Dave Matthews (solo and with Dave Matthews Band)
32, U2
29, Coldplay
27, Jack Johnson
25, Sheryl Crow
25, John Mayer
19, Beck
18, Death Cab for Cutie
18, R.E.M.
First ranking on Adult Alternative Airplay in 1997 with “Discotheque” (No. 7, February 1997), U2 has notched 13 No. 1s, most recently the seven-week leader “You’re the Best Thing About Me” beginning in November 2014. Prior to “Atomic City,” U2 last appeared with the No. 34-peaking “Your Song Saved My Life” in January 2022.
“Atomic City” bows at No. 5 on the all-rock-format, audience-based Rock & Alternative Airplay chart, U2’s highest rank dating to the tally’s 2009 inception. It earned 3.7 million radio audience impressions Sept. 29-Oct. 5, according to Luminate.
U2’s previous best on Rock & Alternative Airplay had been a pair of No. 12 peaks in “Invisible” and “The Miracle (of Joey Ramone),” both in 2014.
The combination of airplay, streams and sales in its first week allows “Atomic City” to debut at No. 38 on the multi-metric Hot Rock & Alternative Songs chart. In addition to its radio airplay, the song earned 1.1 million official U.S. streams and sold 3,000 downloads, the latter count good for a No. 1 debut on Alternative Digital Song Sales – U2’s first ruler dating to the chart’s 2011 debut. (U2 first led a Billboard list when “With or Without You” rose to No. 1 on Mainstream Rock Airplay in April 1987.)
“Atomic City” is currently a stand-alone single for U2, which last released a full-length of new material in 2017 with Songs of Experience. Most recently, Songs of Surrender was released this March and features re-recordings of the band’s catalog.
