Chart Beat
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Lewis Capaldi can almost taste victory in the U.K. chart race.
The Scottish singer and songwriter will be hard to beat, as Broken By Desire To Be Heavenly Sent (EMI) notches 68,000 chart sales by the midweek point, the Official Charts Company reports, and is currently outselling the rests of the top 20 combined.
It’s on track to overtake Ed Sheeran’s Subtract (Asylum) as the year’s fastest-selling LP, and push Sheeran’s album from the summit after a two-week stay (Subtract opened with 76,000 chart sales).
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Assuming Capaldi reigns supreme when the Official U.K. Albums Chart is published Friday, May 26, it’ll give the Scot his second leader after his 2019 debut Divinely Uninspired To A Hellish Extent, which has passed one million U.K. combined sales and features the global hit “Someone You Loved,” which is recognized by the OCC as the most-streamed song in the U.K.
Broken By Desire To Be Heavenly Sent is already a hit machine. Three songs from it, “Forget Me,” “Pointless,” and “Wish You The Best,” have led the Official U.K. Singles Chart.
Capaldi leads an all-new top four on the Official Chart Update. Based on midweek sales and streaming data, ‘80s rockers Def Leppard could debut at No. 2 with Drastic Symphonies (Mercury), a collaboration with the Royal Philharmonic Orchestra, while fellow British rock band Sleep Token could complete the podium with Take Me Back To Eden (Spinefarm), set to arrive at No. 3.
Close behind is Swedish rock act Ghost with their covers EP Phantomime (Loma Vista), set to start at No. 4, while Sheeran’s Subtract is poised to drop 1-5.
Also eyeing top 10 berths are veteran prog-rock group Yes with Mirror To The Sky (Century Media), at No. 6 on the chart update, and iconic U.S. singer and songwriter Paul Simon with Seven Psalms (Sony Music CG), set to bow at No. 9.
Finally, as fans mourn the death of the Smiths’ bass player Andy Rourke, the indie legends’ music is providing some comfort. The Smiths’ hits compilation The Sound of The Smiths (Rhino) could return to top 40, at No. 30.
Lana Del Rey‘s long-overdue release of “Say Yes To Heaven” (via Polydor) could immediately land her a U.K. top 10. The U.S. alternative pop star blasts to No. 8 on the chart update, and is on track for the week’s top debut. Co-written and produced in 2012 with her frequent collaborator Rick Nowels, “Heaven” was […]
Hailey Whitters is officially a Billboard Hot 100-charting hitmaker, as her breakthrough single “Everything She Ain’t” debuts on the latest list (dated May 27) at No. 94.
The song, released in January 2022 via Songs & Daughters/Pigasus/Big Loud Records, tallied 9.3 million radio audience impressions (up 4%), 3.9 million official streams (up 14%), and 1,000 downloads sold (up 45%) in the U.S. in the May 12-18 tracking week, according to Luminate.
The track also rises 28-25 on Hot Country Songs, in its 33rd week on the chart, and 24-22 on Country Airplay, in its 55th week. Notably, in the 33-year history of Billboard’s Country Airplay chart, only three songs by female artists have had longer runs than “Everything She Ain’t”: Priscilla Block’s “Just About Over You” and Tenille Arts’ “Somebody Like That” (both 64 weeks in 2020-21), and Maddie & Tae’s “Die From a Broken Heart” (59 weeks, 2019-20).
Whitters, 33, from Shueyville, Iowa, is a newcomer to Billboard’s charts as a recording artist. “Everything She Ain’t” is her first solo song as a billed artist to chart. Her first entry on Billboard’s rankings was with her 2022 album Raised, which includes “Everything She Ain’t,” on Big Loud. The set reached No. 9 on Heatseekers Albums.
In a 2022 interview with Billboard, Whitters said that “Everything She Ain’t” was a late addition to Raised. “This song was one of the absolute last songs we cut,” she said. “To be completely honest, in my mind, my record was done.” As for its content, in which Whitters playfully spells out to a prospective beau why she’d make a better girlfriend than his current one, “The world is heavy, and it was heavy when we were writing this and it’s gonna continue to be heavy,” she mused. “I’m not trying to change anyone’s life. I’m just trying to make someone’s day. I feel like this song does that in two minutes and 30 seconds.”
Whitters performed the song at the 58th ACM Awards on May 11, where she also took home the trophy for new female artist of the year.
Outside of “Everything She Ain’t,” Whitters is an accomplished songwriter, having written tracks for Alan Jackson, Little Big Town and Martina McBride. Little Big Town’s “Happy People,” which she co-wrote with Lori McKenna, reached No. 40 on Hot Country Songs and No. 46 on Country Airplay in 2017. She received a Grammy nomination for song of the year in late 2021 as one of eight writers of Alicia Keys and Brandi Carlile’s “A Beautiful Noise.”
Earlier this year, Whitters embarked on her first solo tour, the Raised Tour. She’s currently on the road as the supporting act on multiple treks: Shania Twain’s Queen of Me Tour, the Cody Johnson & Friends Tour, Eric Church’s The Outsiders Revival Tour and Luke Bryan’s Country On Tour.
Fifty Fifty’s “Cupid” shoots to No. 1 on the Billboard Global Excl. U.S. chart (dated May 27), marking the first leader on the list for the South Korean pop quartet.
Notably, the act is the first K-pop group, or all-female group of any genre, to reign with a debut entry on the chart, dating to the list’s 2020 inception.
Meanwhile, Eslabon Armado and Peso Pluma’s “Ella Baila Sola” adds a third week atop the Billboard Global 200 survey.
Plus, two songs hit the respective charts’ top 10s: Loreen’s “Tattoo” soars from No. 146 to No. 7 on Global Excl. U.S., after the single won Sweden the 2023 Eurovision Song Contest, while Lil Durk’s “All My Life,” featuring J. Cole, debuts at No. 7 on the Global 200.
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.
‘Cupid’ Feels the Love Atop Global Excl. U.S.
Fifty Fifty’s “Cupid” rises from No. 2 to No. 1 to rule the Billboard Global Excl. U.S. chart for the first time, despite dips of 2% in streams, to 65.1 million, and 9% in sales, to 2,000, outside the U.S. May 12-18.
The quartet – Aran, Keena, Saena and Sio – becomes the third K-pop group to have scaled the Global Excl. U.S. summit, joining BTS (six No. 1s) and BLACKPINK (three). Fifty Fifty is the first K-pop group, or all-female group of any genre, to reign with a debut entry on the chart, dating to the list’s September 2020 inception.
Contributing to the success of “Cupid” are its original recording, a “Twin” mix and an instrumental version, with TikTok having been a key factor in the single’s growth over its ascent.
Fifty Fifty was formed by South Korean entertainment agency ATTRAKT last year and the group debuted its first single, “Higher,” on its introductory four-track EP, The Fifty, released Nov. 18, 2022. A new partnership with Warner Records was announced in April.
Peso Pluma ranks in the next two spots on Global Excl. U.S., as “La Bebe,” with Yng Lvcas, returns to its No. 2 high, from No. 3, and “Ella Baila Sola,” with Eslabon Armado, rebounds 4-3, after reaching No. 2.
Miley Cyrus’ “Flowers” lifts 5-4 on Global Excl. U.S., following a record-tying (with Harry Styles’ “As It Was”) 13 weeks at No. 1 beginning upon its debut in January; YOASOBI’s “Idol” rises 6-5, after reaching No. 4; and Grupo Frontera and Bad Bunny’s “Un x100to” falls to No. 6 from No. 1, after three weeks in the top spot.
Elsewhere in the Global Excl. U.S. top 10, Loreen’s “Tattoo” inks a 146-7 vault, after the song won the 2023 Eurovision Song Contest for Sweden May 13. It blasts to the tier with 30.7 million streams (up 247%) and 12,000 sold (up 756%) outside the U.S. May 12-18, marking the singer’s first top 10.
Loreen is the first woman to win Eurovision twice, having triumphed in 2012 with the song “Euphoria.” Meanwhile, Sweden has tied Ireland for the most victories – seven each – since the competition began in 1956. “The only thing I feel right now is so much love,” Loreen, from Stockholm, said upon the new coronation. “Not in my wildest dreams did I think this was going to happen.”
‘Ella Baila Sola’ Tops Global 200
Eslabon Armado and Peso Pluma’s “Ella Baila Sola” leads the Billboard Global 200 for a third week, with 90.5 million streams (down 3%) and 2,000 sold (down 21%) worldwide May 12-18. The collab initially ruled four weeks earlier, becoming the chart’s first No. 1 for the regional Mexican genre.
Fifty Fifty’s “Cupid” climbs 3-2 on the Global 200 for a new high, with 81.7 million streams (down 3%) and 4,000 sold (down 15%) worldwide; Yng Lvcas and Peso Pluma’s “La Bebe” revisits its No. 3 best, from No. 4; Grupo Frontera and Bad Bunny’s “Un x100to” descends 2-4, following two weeks at the summit, as it became the second regional Mexican leader on the list; and Miley Cyrus’ “Flowers” holds at No. 5, after 12 weeks on top in January-April.
Meanwhile, Lil Durk’s “All My Life,” featuring J. Cole, bounds in at No. 7 on the Global 200, with 48.8 million streams and 1,000 sold worldwide from its release May 12 through May 18.
Lil Durk tallies his third Global 200 top 10 – and first in a lead role – following his featured turns on Drake’s “Laugh Now Cry Later” (No. 5, 2020) and “In the Bible” (No. 9, 2021), the latter also featuring Giveon. J. Cole notches his fifth top 10 (and first as a featured artist).
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated May 27, 2023) will update on Billboard.com tomorrow (May 23). 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 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” logs a seventh week at No. 1 on the Billboard Hot 100 songs chart.
Next up, Lil Durk’s “All My Life,” featuring J. Cole, soars onto the Hot 100 at No. 2, tying a career-best rank for each artist.
Plus, Luke Combs’ cover of Tracy Chapman’s classic “Fast Car” speeds from No. 11 to No. 9 on the Hot 100.
The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated May 27, 2023) will update on Billboard.com tomorrow (May 23). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.
Wallen’s “Last Night,” released on Big Loud/Mercury/Republic Records, drew 63.3 million radio airplay audience impressions (up 5%) and 33 million streams (down 4%) and sold 9,000 downloads (down 6%) in the May 12-18 tracking week, according to Luminate.
The song, which first led the Hot 100 in March, becoming his initial leader on the list, adds a ninth week at No. 1 on the Streaming Songs chart and holds at No. 2 on Digital Song Sales, following a week on top, and its No. 5 best on Radio Songs.
“Last Night” also tops the Country Airplay chart for a third week, having become the first track to rule the Hot 100 and Country Airplay simultaneously, and continues climbing in the top 20 on Pop Airplay, Adult Pop Airplay and Adult Contemporary.
“Last Night” concurrently leads the Hot Country Songs chart, which uses the same methodology as the Hot 100, for a 15th week. It became just the 20th song to have topped both charts – and having now ruled the Hot 100 for seven weeks, it claims outright the longest Hot 100 reign among those 20 hits, surpassing Kenny Rogers’ “Lady” and Johnny Horton’s “The Battle of New Orleans,” which spent six weeks at No. 1 on the Hot 100 in 1980 and 1959, respectively.
As previously reported, parent album One Thing at a Time dominates the Billboard 200 for an 11th week, encompassing its entire stay on the chart so far. It boasts the most weeks in a row at No. 1 since the Titanic soundtrack linked 16 in 1998. One Thing at a Time is also the first album to spend its first 11 weeks on the chart on top since Whitney Houston’s Whitney also ruled in its first 11 frames in 1987; the only other title to tally as many or more weeks at No. 1 from a debut is Stevie Wonder’s Songs in the Key of Life (13 in 1976-77), dating to the chart’s 1956 launch.
Lil Durk’s “All My Life,” featuring J. Cole, launches at No. 2 on the Hot 100, with 30.9 million streams, 10.8 million in radio audience and 3,000 sold from its release May 12 through May 18.
Both artists match their best career Hot 100 placements. Lil Durk lands his third top 10 – and first in a lead role – following his featured turns on Drake’s “Laugh Now Cry Later” (No. 2, August 2020) and “In the Bible” (No. 7, September 2021), the latter also featuring Giveon. J. Cole tallies his 11th top 10 (and first as a featured artist); he previously hit No. 2 with “my.life,” with 21 Savage and Morray, in May 2021.
The new collab also opens atop the multi-metric Hot R&B/Hip-Hop Songs and Hot Rap Songs charts. On the former, Lil Durk earns his third leader and J. Cole, his second. On the latter, they each score a No. 1 for a second time.
Miley Cyrus’ “Flowers” holds at No. 3 on the Hot 100, after eight weeks at No. 1 beginning upon its debut in January. It posts a 14th week atop Radio Songs (91.2 million in audience, essentially even week-over-week).
“Flowers” ties for the seventh-longest reign since Radio Songs began in December 1990, and is one of just 10 hits with at least 14 weeks at No. 1. (It also moves to within a week of tying the longest rule for a Columbia Records single, held by Adele’s “Easy On Me.”)
Most Weeks at No. 1 on Radio Songs:26, “Blinding Lights,” The Weeknd, 202018, “Iris,” Goo Goo Dolls, 199816, “Girls Like You,” Maroon 5 feat. Cardi B, 201816, “We Belong Together,” Mariah Carey, 200516, “Don’t Speak,” No Doubt, 1996-9715, “Easy On Me,” Adele, 2021-2214, “Flowers,” Miley Cyrus, 202314, “High Hopes,” Panic! At the Disco, 2018-1914, “No One,” Alicia Keys, 2007-0814, “Because You Loved Me,” Celine Dion, 1996
SZA’s “Kill Bill” slips 2-4 on the Hot 100, four weeks after it became her first No. 1. It rules the multi-metric Hot R&B Songs chart for 22nd week.
Eslabon Armado and Peso Pluma’s “Ella Baila Sola” descends to No. 5 on the Hot 100 from its high at No. 4 – the best rank ever for a regional Mexican song. The collaboration adds a seventh week at No. 1 on the multi-metric Hot Latin Songs chart.
Rema and Selena Gomez’s “Calm Down” dips from its No. 5 Hot 100 best to No. 6. It tops the Billboard U.S. Afrobeats Songs chart for a 38th week, extending the longest rule since the ranking began over a year ago (in partnership with music festival and global brand Afro Nation).
Metro Boomin, The Weeknd and 21 Savage’s “Creepin’ ” retreats 6-7 on the Hot 100, after hitting No. 3, and Toosii’s “Favorite Song” is stationary at its No. 8 high.
Luke Combs’ faithful remake of Tracy Chapman’s “Fast Car” zooms to the Hot 100’s top 10, accelerating 11-9 with 19.5 million streams (down 2%), 13 million all-format radio audience impressions (up 51%) and 8,000 sold (up 15%).
As with Wallen’s “Last Night,” Combs’ “Fast Car” is a country and pop/adult radio hit, as it revs 28-21 as the Greatest Gainer on Country Airplay and advances 31-23 on Adult Pop Airplay and 37-35 on Pop Airplay.
Combs claims his third Hot 100 top 10, following “The Kind of Love We Make” (No. 8, October 2022) and “Forever After All” (No. 2, November 2020).
“Fast Car,” which Chapman solely wrote, hit No. 6 on the Hot 100 in August 1988 and went on to win the singer-songwriter the Grammy Award for best female pop vocal performance in 1989. Combs’ cover marks the first remake (not including samples or interpolations) of an ‘80s Hot 100 top 10 to also reach the region since Artists for Haiti’s “We Are the World 25: For Haiti” hit No. 2 in 2010, after USA for Africa’s original “We Are the World” dominated for four weeks in 1985.
Closing out the Hot 100’s top 10, Taylor Swift’s “Anti-Hero” keeps at No. 10. The song became her sole longest-leading No. 1, for eight weeks in November-January. It adds a 28th week in the top 10, likewise extending her longest stay in the bracket.
Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated May 27), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (May 23).
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.
On May 12, singer-songwriter Lauren Daigle released her new 10-song self-titled album. Ten more tracks are due later this year, rounding out its bonus edition.
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The set launches at No. 1 on Billboard’s Top Christian Albums chart (dated May 27) with 25,000 equivalent album units, including 20,000 in album sales, in the United States May 12-18, according to Luminate. It becomes Daigle’s fourth leader on the list. The project bows at No. 21 on the Billboard 200.
The album, which pairs Daigle with new producer Mike Elizondo, is also her first with Atlantic Records. She signed with the pop label in January in a partnership with her longtime label, Centricity Music.
The LP’s lead single, “Thank God I Do,” tops the streaming-, airplay- and sales-based Hot Christian Songs chart for a second week, having become Daigle’s sixth No. 1. It is No. 13 and climbing on the Adult Contemporary chart.
Daigle’s new set marks her first new music since Look Up Child, which opened at the Top Christian Albums summit in September 2018 and proceeded to ring up a record 102 frames at the summit. It was bolstered by the crossover smash “You Say,” which dominated Hot Christian Songs for an also unprecedented 132 weeks starting in July 2018.
On Christian Airplay, “You Say” reigned for 18 weeks. It also crossed over, crowning Adult Contemporary for two weeks.
Billboard caught up with Daigle at her management’s offices in Nashville about her new album and some of its recent achievements.
Congratulations on the new album. With 10 songs now and another 10 later this year, is it finished, and why did you decide to release it this way?
Yes, it’s mastered and completed, and we’ll definitely get it out there this year. As far as why, I was in a listening session with some of my team and we heard all 20 songs top to bottom … and it’s a long session! One of them says, “OK, it’s your baby and it’s like asking Van Gogh to cut [The] Starry Night in half, but would you be open to splitting this into two releases?” At first, I was like, “What? … no.” But then thinking about it more and more, I didn’t want listeners forced to skim, say, tracks 14 to 20, because they’re fatigued. So, that’s why.
You’re a big believer in the album format as a cohesive piece of work, aren’t you?
Yeah, it’s a streaming-driven world right now, but I’m an album purist at heart. I love getting in the car, jumping on a road trip and listening to records from start to finish. And something else that makes this fun: I’ve not released an album in five years, so for loyal longtime fans they can get excited about two albums instead of one.
It’s your fourth studio album, yet it’s self-titled. Why did you make that choice?
First of all, working with Mike Elizondo was a dream, and a dream I didn’t know I had until we started recording together. He’s so collaborative, so I was able to speak into a lot of the creative elements like melodies that I may have held back on before.
Do you mean in the actual recording process?
Yes. We did this old-school, all the musicians on the floor at the same time. I was in the room with the whole band and we all tracked together. Plus, we did as much in one take that we could possibly get. Don’t get me wrong – there’s some overdubs and things like that, but it’s cohesive for the most part. That’s what made the process liberating. It made me feel like I was part of a method that for the most part doesn’t exist anymore.
You have a new label involved in Atlantic, and there has to be some pressure to have a hit as big as “You Say.” How do you not let that consume you?
So, whenever [you’re] creating under rules of comparison to something you’ve done previously, then you’re not really creating from a blank canvas. Essentially, when those questions come up, it’s noise. I have to block out the noise. That way I can stay in the present. If I am going to compare to an earlier song, like “You Say,” it inhibits me from going forward.
Listening to your album as a fan, or even as a former program director, there are many options for hit singles. Why did you come with a ballad as your first single, “Thank God I Do.”
As I push forward, I also don’t want to leave people behind. That’s really imperative. I’m talking about the fans that have been here the entire time. With “Thank God I Do,” to a degree there’s familiarity. Leading with that might feel a little like home.
I was talking to a young fan of yours recently – she’s about 20, a student – and when she started explaining how much “You Say” meant to her, she started tearing up. How do you talk to people like that? They’re not in the record industry; they’re fans and it seems like they’re the most important component.
You’re right, they are the most significant. As an artist, when you have all of these different voices coming at you, these folks have to be the loudest voice. With so many people vying for attention — contracts, appearances, interviews, etc., which is just part of the process, that’s all fine – as long as those fans maintain the loudest voice. I think maintaining that helps keep you grounded.
When I hear about one of these stories, maybe it’s about grief. I try to internalize it, write about it, and in effect, give language and voice to their story that maybe they’ve always longed to say but just didn’t know how. That exchange is the greatest gift that I can ever be a part of.
When we talk about not leaving people behind, does that also include Christian radio? Some of those programmers have been with you since the beginning.
Christian radio is really vital, and that’s where we launched “Thank God I Do.” As I had my first success in the mainstream, a lot of Christian programmers celebrated that, even cheering me on. That was really beautiful. Another thing that we’re really conscious about is that just because pop stations may be supporting my music, that does not mean we’re leaving any of our early supporters behind. Plus, with streaming such a big part of the puzzle, it’s better for radio in general if they stay united.
Finally, what do you want fans both old and new to take from this album?
I love carrying messages of hope. That’s what inspires me. It’s the thing that motivates me to get up every morning. You never know the moment when someone needs a message or a song to be lifted up. I truly hope that people gain new elements of encouragement from this album. I found myself coming alive making this record, after all that we have been through during the pandemic. I hope that my listeners feel that, too. If they’ve been overwhelmed, overcome, this album is something they too can find strength in.
Ed Sheeran is unmoved at the summit of the U.K. albums survey as – (Subtract) (via Asylum) logs a second week at No. 1. The English singer and songwriter has a perfect six No. 1s, with all of his albums logging multiple weeks at the top. Just one week after scooping the year-best sales tally in the U.K., Subtract is set to chase down another target. It’ll draw level with the three-week reign of Sheeran’s 2011 debut set + (plus) if it holds its position when the next chart is published, Friday, May 26.The highest new entry on the latest chart, published May 19, belongs to English rapper Potter Payper, as his debut full-length LP Real Back in Style (0207) starts at No. 2. That’s a career high for the artist (real name: Jamel Bousbaa), who previously cracked the top 10 with 2020 mixtape Training Day 3 (No. 3) and 2021’s Thanks for Waiting (No. 8). Completing the podium is Jonas Brothers with The Album (Polydor), new at No. 3. It’s the fourth top 10 LP for the brothers Joe, Kevin and Nick Jonas, following 2007 debut Jonas Brothers (No. 8), 2009’s Lines, Vines and Trying Times (No. 9) and 2019’s record Happiness Begins (No. 2).Also new to the top 10 on the fresh Official U.K. Albums Chart is Brighton, England indie-rock act Lovejoy with their third EP Wake Up & It’s Over (Anvil Cat). It’s new at No. 5, for the four-piece’s first-ever top 10 appearance, bettering the No. 12 peak for 2021’s Pebble Brain.And finally, Alison Goldfrapp grabs her first solo top 10 album, as The Love Invention (Skint) starts at No. 6. As the singer for electro-pop duo Goldfrapp, alongside Will Gregory, the British artist boasts a further five U.K. Top 10 albums: 2005’s Supernature (No. 2), 2008’s Seventh Tree (No. 2), 2010’s Head First (No. 6), 2013’s Tales of Us (No. 4) and 2017’s Silver Eye (No. 6).
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Loreen very nearly made it two wins in the space of a week.
Sweden’s representative at the 2023 Eurovision Song Contest won by a landslide with “Tattoo”. And in the U.K., “Tattoo” (via UMG International) has made a big impression with music fans, as it gathered momentum through the chart week.
“Tattoo” debuts at No. 2 on the Official U.K. Singles Chart, published last Friday (May 19), in a tight race won by Calvin Harris and Ellie Goulding’s “Miracle” (Columbia).
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According to the Official Charts Company, “Miracle” clocked up a market-leading 5.1 million U.K. streams during the latest seven-day stretch, for its sixth non-consecutive week at No. 1.
Meanwhile, Loreen lands a new career high, beating the No. 3 best for “Euphoria,” her winning entry from the 2012 Eurovision.
“Tattoo” leads a “record-breaking” charge for Eurovision songs in the U.K. top 10, the OCC reports, as Finland act Käärijä’s “Cha Cha Cha” (No. 6 via WM Finland), U.K. entry Mae Muller’s “I Wrote A Song” (up 45-9 via Capitol) and Norway singer Alessandra’s “Queen of Kings” (No. 10 via Universal Music AS) all enter the top tier for the first time, following the recent song contest, the final of which took place held at May 13 at Liverpool’s M&S Arena.
Further down the list, Chicago hip-hop artist Lil Durk bags his third U.K. top 40 appearance as “All My Life” (Ministry of Sound) featuring J Cole starts at No. 17, while east coast drill rapper Lil Mabu cracks the top 40 for the first time with “Mathematical Disrespect” (Lil Mabu), new at No. 27.
Finally, two songs are enjoying revivals for totally different reasons. Florence + The Machine’s “Dog Days Are Over” (Island), which appeared on the English act’s 2009 album Lungs, is on the rise following its sync to Guardians Of The Galaxy Vol. 3. It’s up 27-21.
And as the U.K. leg of her Renaissance World Tour gets underway, Beyonce’s “Cuff It” (Columbia/Parkwood Ent) reenters the chart at No. 24.
Morgan Wallen’s One Thing at a Time clocks an 11th consecutive, and total, week atop the Billboard 200 albums chart (dated May 27). It now has the most weeks in a row at No. 1 since the Titanic soundtrack sailed at No. 1 for 16 consecutive weeks (its entire run at No. 1).
One Thing at a Time is also the first album of any genre to spend its first 11 weeks at No. 1 since Whitney Houston’s Whitney also ruled for its first 11 weeks in 1987 (its total run at No. 1). The only other album to spend its first 11 weeks at No. 1 is Stevie Wonder’s Songs in the Key of Life, which logged its first 13 weeks at No. 1 (of a total of 14 weeks in the top slot) in late 1976 and early 1977.
One Thing at a Time debuted at No. 1 on the Billboard 200 chart dated March 18 and has yet to depart the top slot. It has now surpassed the total No. 1 run of Wallen’s last release, Dangerous: The Double Album, which spent its first 10 weeks at No. 1 (Jan. 23-March 27, 2021-dated charts).
One Thing at a Time earned 134,500 equivalent album units in the United States in the week ending May 18 (down 5%), according to Luminate.
The last album to spend at least 11 weeks in total at No. 1 was Bad Bunny’s Un Verano Sin Ti, which pieced together 13 nonconsecutive weeks atop the list in May-October 2022.
One Thing at a Time has the most weeks at No. 1 for any country album since Taylor Swift’s Fearless notched 11 nonconsecutive weeks at No. 1 in late 2008 and early 2009. (Country albums are those that have charted on, or are eligible for, Billboard’s Top Country Albums chart.)
Further, Wallen has now spent a total of 21 weeks at No. 1 across his two chart-topping albums (One Thing, with 11 weeks, and Dangerous, with 10). He surpasses Swift for the most weeks at No. 1 this decade (2020-onwards). Swift logged eight weeks at No. 1 with Folklore in 2020, four with Evermore in 2020-21, two with Fearless (Taylor’s Version) in 2021, one with Red (Taylor’s Version) in 2021 and five with Midnights in 2022. Swift will release her third Taylor’s Version re-recorded album, Speak Now, on July 7.
Also in the top 10 of the new Billboard 200, Jonas Brothers notch their seventh top 10 with the No. 3 arrival of The Album, YoungBoy Never Broke Again achieves his 15th top 10 (and third of 2023) with the No. 4 bow of Richest Opp, Bailey Zimmerman earns his second top 10 with the No. 7 debut of Religiously. The Album., and Daft Punk’s chart-topping Random Access Memories re-enters the chart at No. 8 after its 10th anniversary deluxe reissue.
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 May 27, 2023-dated chart will be posted in full on Billboard‘s website on May 23. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.
Of One Thing at a Time’s 134,500 equivalent album units earned in the week ending May 18, SEA units comprise 124,500 (down 7%, equaling 165.47 million on-demand official streams of the set’s 36 songs), album sales comprise 8,000 (up 61% after the release of its standard vinyl album on May 12) and TEA units comprise 2,000 (down 5%).
Taylor Swift’s chart-topping Midnights rises 3-2 with 60,000 equivalent album units earned (up 1%).
Jonas Brothers notch their seventh top 10-charting album on the Billboard 200 as The Album debuts at No. 3. The set launches with 52,000 equivalent album units earned. Of that sum, album sales comprise 35,500 (making it the top-selling album of the week), SEA units comprise 16,000 (equaling 20.5 million on-demand official streams of the set’s 12 songs) and TEA units comprise a little over 500.
The album’s current single, “Waffle House,” climbed 88-82 on the most recently published Billboard Hot 100 songs chart (dated May 20). It also stepped 37-34 on the all-format Radio Songs tally the same week. On the Pop Airplay chart, “Waffle” wings 18-15 on the latest list (dated May 27).
The prolific YoungBoy Never Broke Again clocks his third top 10 of 2023 on the Billboard 200, as Richest Opp bows at No. 4. In total, it’s the rapper’s 15th top 10 — all earned since 2018. He now ties Drake and Future for the second-most top 10s among rap acts. Only Jay-Z and Nas have more among rap acts, each with 16.
Richest Opp enters with 51,000 equivalent album units earned. SEA units comprise nearly all of that sum, with 50,500 (equaling 74.37 million on-demand official streams of the set’s 17 songs). Album sales comprise 500 and TEA units comprise a negligible sum.
In total, YoungBoy Never Broke Again has placed 30 titles on the Billboard 200 albums chart, starting with AI YoungBoy in 2017, which peaked at No. 24 in August 2017.
SZA’s former leader SOS falls 4-5 with 51,000 equivalent album units earned (down 5%), while Wallen’s Dangerous: The Double Album, dips 5-6 with 48,000 (down 1%).
Bailey Zimmerman nabs his second top 10-charting effort on the Billboard 200 as Religiously. The Album. starts at No. 7. The set bows with 46,500 equivalent album units earned. Of that sum, SEA units comprise 38,000 (equaling 50.5 million on-demand official streams of the set’s 15 songs), album sales comprise 8,000 and TEA units comprise 500.
In October 2022, Zimmerman made his Billboard 200 debut with Leave the Light On, debuting and peaking at No. 9. In a little over a year, he’s earned eight top 40-charting his on Billboard’s Hot Country Songs chart (through the most recently published list, dated May 20).
Chart-watchers may have noticed that there are three titles in the top 10 that use the word “album” in their title: Jonas Brothers’ The Album at No. 3, Wallen’s Dangerous: The Double Album at No. 6 and Zimmerman’s Religiously. The Album. at No. 7. It’s the first time at least three albums concurrently in the top 10 have had the word “album” in their title since August of 1963, when Billboard combined its separate stereo and mono album charts into one single album chart. (See more history on the Billboard 200, which began publishing as a regular, weekly fixture in March of 1956.)
Daft Punk’s former No. 1 Random Access Memories jumps back onto the Billboard 200, re-entering at No. 8 with 40,000 equivalent album units earned (up 1,046%). The set was reissued for its 10th anniversary in a deluxe edition with previously unreleased archival tracks from the album’s recording sessions. Of its 40,000 units earned, album sales comprise 32,000, SEA units comprise nearly 8,000 and TEA units comprise a negligible sum. The set became the first leader for the duo, which disbanded in 2021, spending its first two weeks at No. 1 in June 2013.
Rounding out the top 10 of the new Billboard 200 is Ed Sheeran’s – (Subtract), falling 2-9 with nearly 40,000 equivalent album units (down 64%) in its second week and Swift’s chart-topping Lover, descending 7-10 with 38,000 units (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.
For the 11th time in their lengthy career – and the first time since early 2015 – Foo Fighters are No. 1 on Billboard’s Alternative Airplay chart. “Rescued,” the band’s latest single, lifts from No. 2 to No. 1 on the ranking dated May 27.
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The Dave Grohl-led rockers first ruled Alternative Airplay with one-week leader “Learn to Fly” in November 1999 and had last led with “Something From Nothing” for eight weeks beginning in December 2014. In between “Something From Nothing” and “Rescued,” Foo Fighters scored seven top 10s, charting highest with the No. 5-peaking “Congregation” in May 2015.
“Rescued” previously became Foo Fighters’ record 29th Alternative Airplay top 10.
The band first reached Alternative Airplay with the No. 2-peaking “This Is a Call” (August 1995) and prior to “Rescued” had last appeared with “Love Dies Young” (No. 6, March 2022).
With 11 No. 1s, the band moves into sole possession of the fourth-most rulers since Alternative Airplay began in 1988. Red Hot Chili Peppers lead all acts with 15.
Most No. 1s, Alternative Airplay:15, Red Hot Chili Peppers12, Green Day12, Linkin Park11, Foo Fighters10, Cage the Elephant10, twenty one pilots8, U28, Weezer7, Imagine Dragons
A week earlier, “Rescued” rose to No. 1 on the Mainstream Rock Airplay and all-rock-format, audience-based Rock & Alternative Airplay charts, with it retaining the top spot on the May 27 surveys. The song accumulated 10.4 million audience impressions, up 5%, May 12-18 on the latter chart’s reporting panel, according to Luminate.
Concurrently Rock & Alternative Airplay, the band’s latest release, “Under You,” debuts at No. 48 with 683,000 impressions following its release on May 17.
On the most recently published, May 20-dated multi-metric Hot Hard Rock Songs tally, “Rescued” ranked at No. 4, with 810,000 official U.S. streams in addition to its radio airplay.
“Rescued” is the lead single from But Here We Are, Foo Fighters’ 11th studio album and first since the death of drummer Taylor Hawkins, due June 2.
All May 27-dated Billboard charts will update on Billboard.com on Tuesday, May 23.