Chart Beat
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When Ed Sheeran releases new music, his fellow Brits tune-in en masse. That’s certainly been the case since the release last week of Subtract, the fifth and final release in his mathematics-themed collection.
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Based on sales and streaming data captured from the early stages of the chart week, Sheeran is on track for two top ten singles, including the debutant “Curtains.” The album track is set to arrive at No. 10 on the national survey, for what would be Sheeran’s 42nd U.K. top 10 appearance.
Also on the First Look chart, former leader “Eyes Closed,” the first release from Subtract, and a track Sheeran performed Sunday on ABC’s American Idol, is set to lift 6-3 on the U.K. chart. Meanwhile, Sheeran’s “Boat” should sail into the top 20, at No. 12, well advanced on its peak position of No. 46.
The English singer and songwriter is a perfect five-for-five on the Official U.K. Albums Chart, including 2019’s No 6 Collaborations Project. Subtract is expected to keep his streak intact.
Fifty Fifty’s “Cupid” hasn’t had its wings clipped. After cracking the U.K. top 10 last Friday (May 5), earning Fifty Fifty the distinction as the first K-pop girl group to do so, the viral number could lift to No. 8.
Also on the chart blast, David Guetta, Anne-Marie and Coi Leray’s “Baby Don’t Hurt Me,” which interpolates Haddaway’s ’90s house number, is hovering just outside the top tier. It’s up 13-11 on the chart blast.
Bring Me The Horizon is on track for a sixth top 40 and the British rockers’ first-ever top 20 single with “LosT.” After 48 hours, the single makes an impact at No. 15.
Finally, British punk outfit Krown Jewelz could net another top 40 appearance with the protest song, “Scrap The Monarchy”. It’s new at No. 17 on the chart blast. Krown Jewelz is the act otherwise known as the K**ts, whose blistering bids for the Christmas No. 1 has landed top 10s in three consecutive years.
At the top of the chart blast, “Miracle,” the ’90s throwback rave tune by Calvin Harris and Ellie Goulding, is heading for a fifth week at No. 1.
All will be revealed when the Official U.K. Singles Chart is published Friday (May 12).
ILLENIUM bows at No. 1 on Billboard’s consumption-based Top Dance/Electronic Albums chart (dated May 13) with his self-titled set. ILLENIUM earned 17,000 equivalent album units, including 7,000 from traditional album sales, in the April 28-May 4 tracking week, according to Luminate.
It’s ILLENIUM’s second-best sales week yet, trailing only the debut frame of his first No. 1, Ascend (25,000 units; Aug. 31, 2019). ILLENIUM now owns three total No. 1s, as his new entry follows Fallen Embers (one week, 2021) and Ascend (eight weeks, 2019). All six of his chart entries have hit the top 10, a history that also includes Ascend (Remixes) (No. 5, 2020), Awake (No. 3, 2017) and Ashes (No. 6, 2016).
ILLENIUM’s start halts Beyoncé’s 24-week streak at No. 1, which began last November, with Renaissance (No. 2; 13,000 units, down 7%). Dating to the chart’s 2001 inception, no album has logged more consecutive weeks at No. 1 beginning with its debut week. Plus, 24 weeks in a row at No. 1 mark the most for any album, a feat also achieved only by Lady Gaga’s The Fame (December 2009-May 2010). The Fame leads all albums in total weeks at No. 1, with 175 since its 2008 release.
ILLENIUM yields nine new entries on the multi-metric Hot Dance/Electronic Songs chart, led by “Eyes Wide Shut,” with Avril Lavigne and Travis Barker (No. 9). With those, all 16 ILLENIUM tracks have hit the chart, as the other seven tracks on the album debuted previously.
“Eyes,” however, is ILLENIUM’s first top 10 from the LP and the eighth in his career. It’s also his 57th total charted title since the chart originated in January 2013, tying him with Marshmello for the third-most, after David Guetta (78) and Kygo (62). “Eyes” marks the first appearance on the chart for Lavigne and the third (and first top 10) for Barker.
“Eyes” earned 2.2 million official streams and sold 500 downloads in the United States in the tracking week, also good for starts on the Dance/Electronic Streaming Songs (No. 18) and Dance/Electronic Digital Song Sales (No. 11) charts.
Grupo Frontera and Bad Bunny’s “Un x100to” adds a second week at No. 1 on both the Billboard Global 200 and Billboard Global Excl. U.S. charts (dated May 13). A week earlier, it became the first leader on each list for Grupo Frontera and the second for Bad Bunny.
Meanwhile, Fifty Fifty’s “Cupid” becomes the group’s first top five Global 200 hit, jumping 8-5.
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.
‘100’ No. 1 Again on Global 200
Grupo Frontera and Bad Bunny’s “Un x100to” notches a second week at No. 1 on the Billboard Global 200, with 99.5 million streams (down 10%) and 3,000 sold (down 28%) worldwide April 28-May 4.
Eslabon Armado and Peso Pluma’s “Ella Baila Sola” keeps at No. 2 on the Global 200, two weeks after it hit No. 1, and Yng Lvcas and Peso Pluma’s “La Bebe” holds at its No. 3 best. Thanks to “Un x100to,” “Ella Baila Sola” and “La Bebe,” regional Mexican (and Spanish-language) songs place at Nos. 1, 2 and 3 simultaneously for a second straight week, a triple that had not previously been achieved until a week ago.
Miley Cyrus’ “Flowers” is steady at No. 4 on the Global 200, after 12 weeks on top in January-April.
Rounding out the Global 200’s top five, South Korea’s Fifty Fifty reaches the region for the first time as its breakthrough hit “Cupid” soars 8-5, bounding by 38% to 77.7 million streams and 54% to 4,000 sold globally.
The quartet – Aran, Keena, Saena and Sio – becomes the third K-pop group to have hit the Global 200’s top five, joining BTS (eight top five hits) and BLACKPINK (three).
Meanwhile, “Cupid” sparks history on the Official U.K. Singles chart: It surges 18-9, making Fifty Fifty, formed last year by South Korean entertainment agency ATTRAKT, the first all-female K-pop group to have hit the tally’s top 10.
Grupo Frontera & Bad Bunny Hold Atop Global Excl. U.S.
Grupo Frontera and Bad Bunny’s “Un x100to” concurrently crowns the Billboard Global Excl. U.S. chart for a second week, led by 75.4 million streams (down 8%) outside the U.S. April 28-May 4.
Peso Pluma ranks at Nos. 2 and 3 on Global Excl. U.S.: “La Bebe,” with Yng Lvcas, rebounds to its No. 2 high, from No. 3, and “Ella Baila Sola,” with Eslabon Armado, dips to No. 3, from its No. 2 best.
As on the Global 200, thanks to “Un x100to,” “La Bebe” and “Ella Baila Sola,” regional Mexican (and Spanish-language) songs rank at Nos. 1-3 on Global Excl. U.S. simultaneously for a second straight week, likewise the only two such frames in the chart’s history so far.
YOASOBI’s “Idol” climbs 5-4 for a new Global Excl. U.S. high and Miley Cyrus’ “Flowers” falls 4-5, following a record-tying (with Harry Styles’ “As It Was”) 13 weeks at No. 1 beginning upon its debut in January.
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated May 13, 2023) will update on Billboard.com tomorrow (May 9). 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 One Thing at a Time continues to lead the Billboard 200 albums chart (dated May 13) for a ninth consecutive, and total, week on top. The set earned 138,000 equivalent album units in the United States in the week ending May 4 (down 8%), according to Luminate. The album bowed at No. 1 on the chart dated March 18 and has yet to depart the top slot.
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The last album to spend nine weeks in a row at No. 1 was Wallen’s last release, Dangerous: The Double Album, which spent its first 10 weeks at No. 1 (its total run atop the list), from the Jan. 23-March 27, 2021-dated charts.
Meanwhile, thanks to extended runs at No. 1 on the Billboard 200 in recent months by both One Thing at a Time and SZA’s SOS, there have only been four No. 1 albums in the 21 weeks since the Dec. 24, 2022-dated list.
For the seven weeks from the Dec. 24, 2022, through Feb. 4 charts, SOS was No. 1. Then, on the Feb. 11, 2023 chart, TOMORROW X TOGETHER’s The Name Chapter: Temptation debuted at No. 1 and spent one week on top. SOS returned to No. 1 for three weeks (Feb. 18-March 3) and then Karol G’s Mañana Será Bonito debuted at No. 1 and spent one week in the lead (March 11). From March 18 onwards, One Thing at a Time has been No. 1.
Also in the top 10 of the new Billboard 200, SEVENTEEN, Eslabon Armado and Jack Harlow all see their latest releases debut.
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 13, 2023-dated chart will be posted in full on Billboard‘s website on May 9. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.
Of One Thing at a Time’s 138,000 equivalent album units earned in the week ending May 13, SEA units comprise 130,000 (down 8%, equaling 174.18 million on-demand official streams of the set’s 36 songs), album sales comprise 5,500 (down 7%) and TEA units comprise 2,500 (down 10%).
SEVENTEEN notches its highest charting album yet on the Billboard 200, as 10th Mini Album FML debuts at No. 2. It’s the third top 10, all earned consecutively, for the 13-member Korean pop ensemble. The set bows with 135,000 equivalent album units earned, of which album sales comprise 132,000 (it’s the top-selling album of the week, with the fourth-largest sales week of 2023), SEA units comprise 3,000 (equaling 4.36 million on-demand official streams of the set’s six tracks) and TEA units comprise a negligible sum.
Like many K-pop releases, the CD edition of FML was issued in collectible CD packages (14 total, including exclusives for Barnes & Noble, Target and the Weverse webstore), each containing a standard set of items and randomized elements (postcards, mini posters, bookmarks and stickers). It was also available as a standard digital download album, as well as via 17 digital download variants that were sold exclusively through the act’s official webstore, each with alternate cover art. Four of them have two bonus tracks — one instrumental track and a voice memo from certain group members — that are different on each album. The remaining 13 alternate digital albums all have the album’s standard tracklist, just with a different cover (one for each of the group members). Of FML’s first-week album sales, 98% were CDs, while the remaining 2% were digital album downloads. The set was not available in any other retail format (such as vinyl or cassette).
Taylor Swift’s chart-topping Midnights rises 4-3 on the Billboard 200 with 57,000 equivalent album units (though down 7%), while SOS climbs 6-4 (56,000; down 5%) and Dangerous skips 7-5 (47,000; down 2%).
Eslabon Armado’s Desvelado debuts at No. 6 on the Billboard 200, making it the highest charting regional Mexican album ever on the list. It’s only the second regional Mexican set to reach the top 10, following the act’s No. 9 debut and peak of Nostalgia on the May 21, 2022-dated list. (Regional Mexican albums are defined as those that are eligible for, or have charted on, Billboard’s Regional Mexican Albums chart.)
Desvelado bows with 44,000 equivalent album units earned, with 43,500 of that sum in SEA units (equaling 63.51 million on-demand streams of the set’s 16 tracks) and album sales and TEA units comprise the remaining 500 units.
The album contains the hit single “Ella Baila Sola,” a co-billed collaboration with Peso Pluma, which ranked at No. 4 on the most recently published all-genre Billboard Hot 100 songs chart (dated May 6). The track — which initially garnered notoriety because of its popularity on TikTok — marks the first regional Mexican song to reach the top 10 on the Hot 100.
Luke Combs’ Gettin’ Old bumps 8-7 on the Billboard 200 with 37,000 equivalent album units earned (down 5%).
Jack Harlow achieves his third top 10-charting effort on the Billboard 200 albums chart as Jackman. enters at No. 8. The set starts with 35,500 equivalent album units earned. Of that sum, SEA units comprise 33,500 (equaling 43.37 million on-demand official streams of the set’s 10 tracks), album sales comprise 1,500 and TEA units comprise 500.
Jackman. was released with little warning, as it was announced on April 25, just before its April 28 release.
Two former No. 1s round out the top 10 on the new Billboard 200, as Metro Boomin’ Heroes & Villains is a non-mover at No. 9 (34,500 units; down 6%) and Swift’s Lover is stationary at No. 10 (just over 34,000; down 5%).
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.
The Lottery Winners roll to their first U.K. No. 1 with Anxiety Replacement Therapy (Modern Sky), their fifth studio album.
After leading at the halfway mark, the British four-piece (Thom Rylance, Robert Lally, Katie Lloyd and Joe Singleton) completes a tight finish ahead of new albums by Nines, Jessie Ware and the National, the Official Charts Company reports.
Prior to Anxiety Replacement Therapy, the Lottery Winners had never entered the top 10, and impacted the top 40 just twice — with 2020’s The Lottery Winners (No. 23 peak) and 2021’s Something To Leave The House For (No. 11).
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Anxiety Replacement Therapy is the best-selling title on physical formats and digital downloads, the Official Charts Company reports.
Coming in at No. 2 is Londoner Nines with Crop Circle 2 (Warner Records). It’s his fourth top 5 album, following 2017’s One Foot Out (No. 4), 2018’s Crop Circle (No. 5) and 2020 leader Crabs in a Bucket.
Completing the podium is Jessie Ware’s That Feels Good (EMI). It’s new at No. 3, for the British singer and songwriter’s third top 5 album.
The latest albums survey, published May 5, is stacked with new releases. Among them, U.S. alternative rock outfit the National’s First Two Pages of Frankenstein (4AD). Thanks in part to assists from Taylor Swift, Phoebe Bridgers and Sufjan Stevens, the set opens at No. 4, and leads the Official Vinyl Albums Chart.
Meanwhile, Reverend & the Makers’ Heatwave in the Cold North (Distiller) bows at No. 6, for the Sheffield-formed rock act’s first top 10 appearance in 16 years. That’s just one spot adrift of the band’s 2007 album The State of Things, which peaked at No. 5.
Also enjoying top 10 debuts this week are English artist Freya Ridings’ Blood Orange (Good Soldier), new at No. 7 for her second top tier effort; and punk veterans the Damned’s Darkadelic (Ear Music), new at No. 9, also for the English punk veterans’ second stint in the top frame.
With Fifty Fifty’s “Cupid” soaring into the U.K. top 10, South Korea’s latest pop export snags a slice of U.K. chart history.
On the latest Official U.K. Singles Chart, published May 5, “Cupid” improves 18-9, giving Fifty Fifty honors as the first K-pop girl group to appear in the top 10.
True, BlackPink has smashed various records, and chalked up eight U.K. top 40 appearances along the way.
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In the U.K., however, their best showing on the national singles tally is No. 17 for “Sour Candy” their 2020 collaboration with Lady Gaga. BlackPink does, however, boast a No. 1 on the U.K. Albums Chart with 2022’s Born Pink, and a No. 2 peak for 2020’s The Album.
Comprising Aran, Keena, Saena and Sio, Fifty Fifty was formed in 2022 by South Korean entertainment agency ATTRAKT.
The track caught fire on TikTok, where it has generated more than 8 million TikTok videos, and views on the short-video platform are at about 12 billion.
As “Cupid” opened its wings and took flight on sales and consumption charts last month, Warner Records/Warner Music Group Korea announced a partnership for the group.
Australians, meanwhile, are officiallysmitten with “Cupid”. The track zooms 6-2 on the latest ARIA Chart, also published last Friday. Blackpink already has its flag planted in the land Down Under; their Born Pink hit “Pink Venom” blasted to No. 1 there last August.
Calvin Harris and Ellie Goulding keep the good times rolling, as “Miracle” (via Columbia) rules the U.K. survey for a fourth non-consecutive week.
The throwback ‘90s club tune continues to rack-up a market-leading volume of streams, bagging 5.4 million over the latest chart cycle, the Official Charts Company reports.
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“Miracle” matches Goulding’s 2015’s release “Love Me Like You Do” for her longest reigning U.K. leader. It’s still a month off equalling Harris’ eight-week reign with “One Kiss,” his 2018 collaboration with Dua Lipa.
Meanwhile, David Kushner’s “Daylight” (Miserable Music) holds at No. 2 on the Official U.K. Singles Chart, published May 5, while Libianca’s Afrobeats sensation “People” (5K) lifts 4-3.
Another club tune dances up the chart this week — Switch Disco’s “React” (Relentless) featuring Ella Henderson, and sampling Robert Miles’ mid-’90s dream-house classic “Children”. “React” lifts 8-7, for a new high.
Close behind, “Cupid” (Attrakt) opens its wings and gives K-pop girl group Fifty Fifty a new chart high — and a piece of history. The slick pop production flies 18-9, giving the four-piece honors as the first K-pop girl group to crack the U.K. top 10.
Blackpink has set all manner of records, and accumulated eight U.K. top 40 appearances along the way. However, their best effort on the national singles tally is No. 17 for “Sour Candy,” their 2020 collaboration with Lady Gaga. Blackpink does, though, boast a No. 1 on the U.K. Albums Chart with 2022’s Born Pink, and a No. 2 best for 2020’s The Album.
Finally, London rapper Nines grabs his first U.K. top 10 as “Tony Soprano 2” (Warner Records) lifts 11-10. It’s one of three numbers from his new album Crop Circle 2 to make an impression on the top 40, as “Calendar” opens at No. 19 for the highest debut on the latest survey, while “Favela” featuring J Styles is new at No. 34, lifting Nines’ tally of U.K. top 40 hits to five.
On May 6, 1978, Dolly Parton’s “It’s All Wrong, But It’s Alright,” began a two-week reign on Billboard’s Hot Country Songs chart. It became her eighth of 25 No. 1s, the most among women.
The song was written solely by Parton and produced by Gary Klein. It was released as the second single from Parton’s LP Here You Come Again, which became her second of eight No. 1s on Top Country Albums.
The set’s title track topped Hot Country Songs for five frames. It also became Parton’s first single to cross over to pop formats, reaching No. 3 on the all-genre Billboard Hot 100, marking her first of three top 10s. On Adult Contemporary, it reached No. 2, becoming her first of five top 10s.
In addition to two leaders as a recording artist, Parton has scored her greatest Hot 100 success as a writer: Whitney Houston’s cover of Parton’s “I Will Always Love You” reigned for 14 weeks in 1992-93.
Parton was born in Sevier County, Tenn., on Jan. 19, 1946. The icon is widely known for her infectious personality, unique vocal stylings, songwriting, acting and rousing live performances. Her legendary career led to her induction into the Country Music Hall of Fame in 1999 and the Rock & Roll Hall of Fame last November. She has been a member of the Grand Ole Opry since 1969.
On May 11 at 8 p.m. ET, Parton will co-host the 2023 Academy of Country Music Awards, to livestream on Amazon Prime Video, at the Ford Center in Frisco, Texas, with fellow superstar Garth Brooks.
Morgan Wallen earns his ninth leader on Billboard’s Country Airplay chart as “Last Night” leaps from No. 5 to No. 1 on the May 13-dated survey.
In the tracking week ending May 4, the single increased by 21% to 29.5 million audience impressions, according to Luminate.
The song — written by John Byron, Ashley Gorley, Jacob Kasher Hindlin and Ryan Vojtesak — reaches the Country Airplay summit in just its 11th week on the chart, completing the quickest coronation since Luke Bryan’s “Strip It Down” also needed only 11 frames to hit No. 1 in October 2015.
Plus, Wallen rules Country Airplay 11 weeks after his eighth leader, “Thought You Should Know,” reached No. 1. That marks the quickest accumulation of two chart-toppers by a single act since, again, Bryan likewise went 11 weeks between notching new No. 1s “Kick the Dust Up” and “Strip It Down” in August-October 2015.
“Last Night” has also crossed over, led by its Nos. 13 and 15 ranks on Pop Airplay and Adult Pop Airplay, respectively. It added a fourth week atop the multimetric, all-genre Billboard Hot 100 dated May 6.
Wallen’s second song inside the Country Airplay top 10 (and 10th career top 10) is “One Thing at a Time,” the title track to his new LP. Concurrently being promoted to country radio, the song ranks at No. 9 (18.3 million).
‘Orange’ Is the New Top 10
Megan Moroney achieves her first Country Airplay top 10 as her freshman entry “Tennessee Orange” rises 11-10 (17.6 million, up 2%).
The song, which the 25-year-old co-wrote, marks the first top 10 by a woman in a debut appearance since Lainey Wilson’s “Things a Man Oughta Know,” which became her first leader in September 2021.
Papa Roach reaches No. 1 on Billboard’s Mainstream Rock Airplay chart for the ninth time as “Cut the Line” lifts to the top of the May 13-dated survey.
“Cut the Line” is the second No. 1 in a row for the veteran rockers, following the one-week reign of “No Apologies” in September 2022.
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The Jacoby Shaddix-fronted band first led Mainstream Rock Airplay for six weeks in 2009 with “Lifeline.” Its career on the tally stretches back to its first entry, “Last Resort,” which hit No. 4 in 2000. The band has notched 25 top 10s on the chart.
“Cut the Line” is Papa Roach’s third No. 1 from its 2022 album Ego Trip, with the set’s first ruler being “Kill the Noise,” for four weeks in late 2021. An additional single, “Stand Up,” peaked at No. 12 in April 2022.
Concurrently, “Cut the Line” holds at its No. 10 high on the all-rock-format, audience-based Rock & Alternative Airplay chart with 2.6 million audience impressions in the week ending May 4, according to Luminate.
The song also appeared on the multimetric Hot Hard Rock Songs list for one week in March 2022, peaking at No. 19.
Ego Trip debuted at No. 6 on the Top Hard Rock Albums survey in April 2022 and has earned 91,000 equivalent album units to date.
The band has tour dates in the United States and Europe lined up through October, with its next stop May 13 in Las Vegas.
All charts dated May 13 will update Tuesday, May 9, on Billboard.com.