Chart Beat
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SZA’s SOS is No. 1 on the Billboard 200 albums chart (dated Jan. 28) for a sixth consecutive week – the entirety of its chart run. The last album by a woman with six weeks atop the list was Adele’s 30 a little over a year ago, which also spent its first six weeks on the chart at No. 1 (Dec. 4, 2021-Jan. 8, 2022-dated charts).
SOS earned 119,000 equivalent album units in the U.S. in the week ending Jan. 19 (down 4%), according to Luminate.
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multimetric 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 Jan. 28, 2023-dated chart will be posted in full on Billboard‘s website on Jan. 25 – one day later than usual due to data processing delays. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.
Of SOS’ 119,000 equivalent album units earned in the week ending Jan. 19, SEA units comprise 118,000 (down 3%, equaling 160.1 million on-demand official streams of the set’s tracks), album sales comprise a little over 500 (down 77%) and TEA units comprise 500 units (up 18%).
SOS has the most weeks at No. 1 on the Billboard 200 among R&B/hip-hop albums since Drake’s Views notched 13 nonconsecutive weeks at No. 1 in 2016, and the most weeks at No. 1 for an R&B album since Usher’s Confessions was tops for nine nonconsecutive weeks in 2004.
SOS has the most weeks at No. 1 among R&B/hip-hop or R&B albums by women since Mariah Carey’s Daydream, which notched six nonconsecutive weeks at No. 1 in late 1995 and early 1996.
And, the last R&B/hip-hop or R&B album by a woman to spend its first six weeks at No. 1 was Janet Jackson’s janet., which led the list for its first six weeks (June 5-July 10, 1993). Further, SOS is the first R&B album, from any act, to spend its first six weeks at No. 1 since janet. (R&B/hip-hop and R&B albums are defined as those that have hit or are eligible for Billboard’s Top R&B/Hip-Hop Albums and Top R&B Albums charts, respectively.)
Incredibly, in the last decade-plus, the only albums by women with six or more weeks at No. 1 have been those by Adele, Taylor Swift and SZA. The last album by a woman not named Adele, Swift or SZA to spend at least six weeks at No. 1 was Susan Boyle, who saw her debut effort I Dreamed a Dream top the list for six total weeks (Dec. 12, 2009-Jan. 16, 2010).
Since I Dreamed a Dream, eight albums by women have spent at least six weeks at No. 1, and seven of them are by Adele and Swift. They are Swift’s Speak Now (six weeks, 2010-11), Adele’s 21 (24, 2011-12), Swift’s Red (seven, 2012-13), Swift’s 1989 (11, 2014-15), Adele’s 25 (10, 2015-16), Swift’s Folklore (eight, 2020), Adele’s 30 (six, 2021-22) and SZA’s SOS (six thus far, 2022-23).
Back on the new Billboard 200, the entire top four titles are all former No. 1s and are non-movers as compared to their ranks a week ago. Swift’s Midnights is No. 2 (73,000 equivalent album units; down 10%), followed by Metro Boomin’s Heroes & Villains (56,000; down 2%) and Drake and 21 Savage’s Her Loss (47,000; down 7%).
The Weeknd’s compilation album The Highlights jumps back to the top 10, climbing 36-5 with 44,000 equivalent album units earned (up 185%). The best-of effort contains such hits as “Blinding Lights” and the resurgent “Die for You” (from The Weeknd’s studio albums After Hours and Starboy, respectively). On the new chart, the TEA and SEA units for those songs contribute to The Highlights, as a song’s activity is assigned to the artist’s album with the most traditional album sales in a week. (The Highlights sold nearly 1,000 copies in the latest tracking week, while After Hours and Starboy each sold under 1,000.) A week ago, the TEA and SEA for the songs were directed to After Hours and Starboy, respectively, as they outsold The Highlights that week.
Bad Bunny’s Un Verano Sin Ti falls 5-6 (43,000 equivalent album units; down 5%) and Morgan Wallen’s Dangerous: The Double Album dips 6-7 (41,000; down 4%).
Closing out the new Billboard 200’s top 10 are Zach Bryan’s American Heartbreak (falling 7-8 with 32,000 equivalent album units earned, down 5%), Lil Baby’s chart-topping It’s Only Me (8-9 with 29,000 units; down 7%) and Harry Styles’ former leader Harry’s House (holding at No. 10 with 24,000 units; down 7%).
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.
Almost 15 years after its release, Courteeners’ debut St. Jude (via Polydor/UMR) hits No. 1 on the U.K. album chart — setting a new mark in the process.
The 2008 debut album blasts to the summit of the Official U.K. Albums Chart, published Jan. 20, powered by a 15th anniversary edition containing remastered tracks, rarities and previously-unreleased works.
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St. Jude becomes the album with the longest span between release and charting at No. 1 in U.K. chart history, the Official Charts Company reports, doing so in 14 years, 9 months and 14 days after its initial release.
It’s the first leader for the Manchester trio, and it sees them join the rarest of company. Liam Fray, Michael Campbell and Daniel “Conan” Moores are, collectively, only the third act to chart at No. 1 with a reissued album. The others? The Rolling Stones (Goats Head Soup, Exile On Main St.) and the Beatles (Abbey Road, Sgt Pepper’s Lonely Hearts Club Band).
St. Jude previously peaked at No. 4 back in 2008, and carries three U.K. top 40 singles: “Not Nineteen Forever,” “No You Didn’t, No You Don’t” and “What Took You So Long?”
Physical sales (97%) fueled its big week, as St. Jude tops the Official Vinyl Albums Chart.
Meanwhile, London rapper Clavish bows at No. 4 with his 28-track mixtape Rap Game Awful (via Polydor), while former Supergrass guitarist Gaz Coombes scores his first solo top 10 with Turn The Car Around (Hot Fruit), his fourth effort. Turn The Car Around parks at No. 6.
Liverpool indie rocker outfit Circa Waves score a fifth top 40 with Never Going Under (Lower Third). The followup to 2020’s Sad Happy (No. 4 peak), Never Going Under bobs up at No. 15.
Finally, Garthamlock, Scotland singer Joesef earns a top 20 on debut with his first album, Permanent Damage (Bold Cut). It’s new at No. 18.
Miley Cyrus stands tall on the U.K. singles chart as “Flowers” (via Columbia) arrives at No. 1, for her third leader.
“Flowers” blooms with imposing numbers. During its first chart cycle, “Flowers” racks up 92,000 chart units, including total streams of nearly 10 million. That’s Cyrus’ biggest-ever opening week for streams, the Official Charts Company reports, and the market’s biggest debut week since Harry Styles’ “As It Was” blasted to the summit in May 2022.
Lifted from Cyrus’ forthcoming eighth studio album Endless Summer Vacation, “Flowers” got away to a hot start everywhere. The single opened at No. 1 on Australia’s chart, and it smashed Spotify’s global one-week streaming mark. The track will make its official mark on the Billboard Hot 100 when the latest charts are unveiled Monday (Jan. 23), though Billboard readers already voted it as their favorite new release last week.
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Previously, Cyrus lead the Official U.K. Singles Chart with “We Can’t Stop” (from 2013) and “Wrecking Ball” (2013), the latter earning her a chart double as its parent Bangerz simultaneously led the national albums survey.
Positions 2-6 are unchanged on the current survey, while St. Louis-raised Metro Boomin bags a career-best with “Creepin’” (Republic Records), featuring the Weeknd and 21 Savage. It’s up 11-7 for Metro Boomin’s first-ever U.K. top 10 single.
Further down the list, British singer and songwriter Mimi Webb lands her sixth top 40 with “Red Flags” (Epic). It’s the second-highest new entry this week at No. 23.
Also new to the chart, published Jan. 20, is Fredo’s “Flow” (PG Records), new at No. 30. It’s the London rapper’s 17th top 40 appearance.
Finally, Shakira scores her first U.K. top 40 appearance in almost a decade with “Bizarrap – BZRP Music Sessions #53” (via Dale Play), the break-up song cut Argentine DJ and YouTuber Bizarrap. It’s new at No. 31, Shakira’s 13th top 40 hit — and first for the Colombian star since 2014’s “Empire” (No. 25 peak).
Taylor Swift’s Midnights continues its hot streak atop Billboard’s Top Album Sales chart, as the set spends its 12th consecutive, and total, week at No. 1 on the list dated Jan. 21. The album sold 25,000 copies in the U.S. in the week ending Jan. 12 (down 58%) according to Luminate.
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Midnights now has the most weeks at No. 1 on the Top Album Sales chart since the Frozen soundtrack ruled for 13 nonconsecutive weeks in 2014. Midnights has the most weeks in a row at No. 1 since the Titanic soundtrack logged all 16 of its No. 1 weeks consecutively in 1998.
Midnights’ total U.S. album sales now stand at 1.140 million.
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.
BTS’ Love Yourself: Her re-enters Top Album Sales at No. 2 following the set’s Jan. 6 release on vinyl. The effort, initially released in 2017, bounds back onto the chart with 20,000 sold (up 2,130%), with most of that sum from vinyl sales (18,000). It’s the first time BTS has released an album on vinyl in the U.S., though the group has issued singles on vinyl.
Love Yourself: Her also debuts at No. 1 on Billboard’s Vinyl Albums chart, the first time a K-pop title has led list. It also halts Swift’s stranglehold of the top spot with Midnights, pushing the album down to No. 2 after 11 straight weeks at No. 1.
Back on Top Album Sales, ATEEZ’s Spin Off: From the Witness falls one spot to No. 3 (14,000; down 66%) while French Montana’s Coke Boys 6: Gangsta Grillz, hosted by DJ Drama, debuts at No. 4 (11,000).
Fleetwood Mac’s Rumours dips 4-5 (just over 7,000; down 17%), RM’s Indigo descends 3-6 (7,000; down 22%) and Michael Jackson’s Thriller falls 6-7 (nearly 7,000; down 16%). Stray Kids’ former No. 1 MAXIDENT re-enters the chart at No. 8 with nearly 6,000 sold (up 378%) after a new Target-exclusive CD edition of the album was released on Jan. 6.
Rounding out the top 10 are two former No. 1s: Harry Styles’ Harry’s House (5-9 with nearly 6,000; down 32%) and Tyler, the Creator’s Igor (7-10 with 5,000; down 23%).
In the week ending Jan. 12, there were 1.837 million albums sold in the U.S. (down 13.5% compared to the previous week). Of that sum, physical albums (CDs, vinyl LPs, cassettes, etc.) comprised 1.512 million (down 14.7%) and digital albums comprised 325,000 (down 7.5%).
There were 589,000 CD albums sold in the week ending Jan. 12 (down 13.6% week-over-week) and 915,000 vinyl albums sold (down 15.4%). Year-to-date CD album sales stand at 1.27 (up 3.4% compared to the same time frame a year ago) and year-to-date vinyl album sales total 1.996 million (up 33.2%).
Overall year-to-date album sales total 3.961 million (up 11.8% compared to the same year-to-date time frame a year ago). Year-to-date physical album sales stand at 3.285 million (up 19.8%) and digital album sales total 676,000 (down 15.4%).
When Madonna hits the road later this year for her career-spanning Celebration Tour, she’ll be taking a global victory lap, further cementing her legacy as the Queen of Pop. She’ll also be taking home big money — upwards of $100 million, by Billboard‘s estimate.
The parade of concerts will feature Madonna’s greatest hits from across her 40-year career, a rare straightforward ambition for one of the world’s most enigmatic artists. With 38 top 10 songs on the Billboard Hot 100 and 23 top 10 albums on the Billboard 200, the tour stands to continue her streak as the highest-grossing solo female artist in Billboard Boxscore history (provided she can fend off Taylor Swift‘s upcoming Eras tour). How high will it go?
Madonna’s touring career began in earnest with 1985’s The Virgin Tour, averaging more than 10,000 tickets and $100,000 per night, according to figures reported to Billboard Boxscore. (The average ticket price on that tour was $14.74, a distant whiff of what her — and all artists’ — arena concert tickets cost in the 2020s. In today’s dollars, adjusted for inflation, that skimpy price would translate to $29.56.)
Already a sell-out force, Madonna’s next trek, 1987’s Who’s That Girl World Tour, tripled her draw and nearly quintupled her selling power in just two years, pacing 35,000 tickets and $756,000 per show in a mix of arenas and stadiums that year.
Both of those figures were just the beginning. They were followed by 1990’s Blond Ambition Tour, 1993’s The Girlie Show and seven tours in the 21st century that have grossed at least $50 million each.
Madonna’s highest-grossing tour thus far is the 85-date Sticky & Sweet Tour in 2008-09, playing stadiums around the world to the tune of $407.7 million and 3.5 million tickets. Fifteen years later, it remains the highest-grossing tour by a woman ever. (Her next trek, 2012’s MDNA Tour – her lengthiest tour by number of shows at 88 – played a mix of stadiums and arenas, and became her second-highest grossing run, with $305.2 million.)
The Celebration Tour was announced on Tuesday (Jan. 17) with 26 shows in North America and 12 in Europe. Throughout this week, that routing expanded to 41 and 20, respectively. Madonna begins the trek on July 15 in Vancouver and is scheduled to wrap Dec. 2 in Amsterdam. Thus far, no dates outside the U.S., Canada and western Europe have been announced.
To gauge the tour’s financial prospects, it would be unfair to simply reflect on Madonna’s most recent tour. That was the 2019-20 Madame X Tour, an experiment that placed the Queen of Pop in intimate theater-based mini-residencies in major markets on both sides of the Atlantic. The 75-show run sold itself out at 179,000 tickets and $51.5 million, but it’s an outlier in a career comprised of (much) larger venues.
A more apt comparison would be the Rebel Heart Tour of 2015-16, a string of 82 arena shows after the stadium madness of her previous two treks. That tour grossed $169.8 million and sold 1.05 million tickets worldwide, including quick stints in Asia and Oceania. On the Rebel Heart Tour, more relevant to the Celebration routing, Madonna averaged $1.8 million and 12,500 tickets in the U.S. and Canada, and $1.7 million and 14,600 tickets in Europe. Given her current 61-show routing for The Celebration Tour, maintaining those averages would put the entire run on track to gross $106.9 million and sell 802,000 tickets.
But ticket prices have risen since Madonna was charging $15-and-under in the ‘80s, including a significant spike in the last five years. Platinum ticketing and dynamic pricing have blown out arena and stadium grosses in the post-pandemic era, with Bad Bunny, Harry Styles, The Rolling Stones and more approaching $200 averages on tour last year.
For example, on Elton John’s Farewell Yellow Brick Road Tour, his average arena ticket in North America jumped from $139 in 2018 to $181 in 2022. That’s a 30% increase, which would bolster Madonna’s projected gross to $140.6 million. But the surge in prices hasn’t been as great in Europe, which could soften our prediction back toward the $130 million mark.
Further, Madonna has long been a global icon. So far, The Celebration Tour spans two continents, while she has frequently hit South America, Asia and Oceania throughout her career. An expansion of the tour — which seems like a natural idea based on the marketability of an all-hits show — would drastically change what is realistic for the 2023 trek. And as noted above, Madonna already increased the number of North American shows for the tour by more than 50% before The Celebration Tour’s general on-sale began on Jan. 20. Demand could dictate further additions.
Today’s on-sale generated over 600,000 tickets sold, with 35 sold-out shows and more to become available next week.
Over nearly 40 years, Madonna has grossed a reported $1.376 billion and sold 11.7 million tickets across 575 shows. That makes her the most successful female act in Boxscore history. The Celebration Tour will nudge her closer to the $1.5 billion mark. Among all acts, only four have grossed more in Boxscore history.
Yellowstone continues to have a strong impact on Billboard’s Top TV Songs chart, powered by Tunefind, ranking four songs within the top 10 of the December 2022 list, including the No. 1.
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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 December 2022.
Lainey Wilson’s “Watermelon Moonshine,” heard in the Dec. 11 episode of the Paramount show, leads at No. 1. It scored 4.9 million official U.S. streams and 10,000 downloads in December 2022, according to Luminate.
As a result of its Yellowstone synch, the song, originally released Aug. 12, 2022, reached No. 5 on Billboard’s Country Digital Song Sales chart, as well as No. 15 on the all-format Digital Song Sales ranking.
Wilson, who also acts on the show, performed the song as her character in the episode.
Other Yellowstone appearances on the chart include a pair of Zach Bryan songs (“Motorcycle Drive By,” No. 4 — 3.9 million streams, 6,000 downloads; “Summertime Blues,” No. 7 – 3.7 million streams, 2,000 downloads) and one from Flatland Cavalry (“Mountain Song, No. 8 – 2 million streams, 2,000 downloads). Bryan performed both songs on the Dec. 18 episode.
The top non-Yellowstone title, meanwhile, belongs to Mitski, whose “Washing Machine Heart” bows at No. 2 after a Dec. 2 synch in Mythic Quest. In December 2022, the song earned 13.1 million streams.
See the full top 10, also featuring music from Fire Country, The White Lotus, The Rookie, Harry & Meghan and The Good Doctor, below.
Rank, Song, Artist, Show (Network)1. “Watermelon Moonshine,” Lainey Wilson, Yellowstone (Paramount)2. “Washing Machine Heart,” Mitski, Mythic Quest (Apple TV+)3. “Never Say Never,” Cole Swindell & Lainey Wilson, Fire Country (CBS)4. “Motorcycle Drive By,” Zach Bryan, Yellowstone (Paramount)5. “Ciao Ciao,” La rappresentante di lista, The White Lotus (HBO)6. “Katla,” Zander Hawley & Abby Gundersen, The Rookie (ABC)7. “Summertime Blues,” Zach Bryan, Yellowstone (Paramount)8. “Mountain Song,” Flatland Cavalry, Yellowstone (Paramount)9. “Follow the Sun,” Xavier Rudd, Harry & Meghan (Netflix)10. “What Makes You Sad,” Nicotine Dolls, The Good Doctor (ABC)
TALK achieves the first new No. 1 of 2023 on Billboard’s Adult Alternative Airplay chart with “Run Away to Mars,” which lifts from No. 2 to the top of the Jan. 28-dated survey.
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“Mars” is also TALK’s first No. 1 on a Billboard chart, notched in the Canadian solo artist’s first appearance on the airplay ranking.
The song was released on DOOGOOD/Range/Capitol Records.
TALK is the latest act to score a first No. 1 on Adult Alternative Airplay, after Rosa Linn‘s “Snap” ruled for seven weeks beginning in October. Like TALK, Linn crowned the tally in her first appearance and was initially aided by TikTok virality.
Concurrently, “Mars” ranks at No. 8, after rising as high as No. 6 in December, on Alternative Airplay. On the all-rock-format, audience-based Rock & Alternative Airplay chart, the song ascends 12-11 with 2.5 million audience impressions, up 3%, according to Luminate.
“Mars” has also hit No. 22 on the multimetric Hot Rock & Alternative Songs chart, in September. On the most recently published, Jan. 21-dated ranking, it places at No. 31, with 1.3 million official U.S. streams and 1,000 downloads sold in addition to its radio success.
“Mars” is currently a standalone single. TALK released an EP, Talk to Me, in November 2021.
All charts dated Jan. 28 will update on Billboard.com Tuesday, Jan. 24.
David Guetta and Bebe Rexha’s viral collab-turned-smash “I’m Good (Blue)” ascends to No. 1 on Billboard’s mainstream top 40-based Pop Airplay chart (dated Jan. 28).
The song, on What a DJ/Warner Records, gained by 2% to 15,551 plays on 153 reporting stations, or, an average of 102 plays per panelist, Jan. 13-19, according to Luminate.
All charts dated Jan. 28 will update on Billboard.com Tuesday, Jan. 24.
Guetta claims his second Pop Airplay No. 1, after “Without You,” featuring Usher. As the song topped the tally dated Dec. 3, 2011, Guetta ends the longest break between leaders since the chart began in 1992: 11 years, one month and three weeks. He surpasses Sean Paul’s 10-year, three-month and one-week gap in 2006-16.
Rexha also achieves her second Pop Airplay No. 1, after “Me, Myself & I,” with G-Eazy, reigned for two weeks in April 2016.
Meanwhile, as “Good” climbs from No. 3 to the Pop Airplay summit, it bests the peak of the song that it prominently interpolates: Eiffel 65’s “Blue (Da Ba Dee),” which reached No. 2 on the list in January 2000.
Guetta and Rexha’s single holds at its No. 4 high on the most recently published all-genre, multi-metric Billboard Hot 100 (dated Jan. 21), likewise having topped the No. 6 peak of Eiffel 65’s hit.
“[David] had played [‘I’m Good’] at a festival after we had cut it, and somebody took a YouTube video of it and posted it,” Rexha recently told Billboard‘s Pop Shop Podcast. “Then somebody found that and made a remix and posted it to TikTok. Then this big gamer posted it from TikTok, and then it blew up from her page.
“It’s crazy, because you just never know what people want,” Rexha added. “Everybody was going crazy and being like, ‘We want this song! Why can’t we find it?’ And I was hitting up David [saying], ‘David, people really want this record! We should just put it out!’ At this point, it’s viral on TikTok, and people are asking for it. Let’s just give the people what they want. It’s just a great, fun record.”
Zach Bryan spends a 31st total week at No. 1 on Billboard’s Country Songwriters chart (dated Jan. 21), tying Ashley Gorley for the most weeks spent on top since the chart’s launch in 2019.
Bryan, who has ruled for the past 23 consecutive weeks, matches the mark on the strength of five writing credits on Billboard’s Hot Country Songs chart, led by his breakthrough single “Something in the Orange.” The track tallies a third week at No. 1 on Hot Country Songs, as it reaches the top 10 of the Billboard Hot 100, rising 11-10.
Here’s a look at all five of Bryan’s songwriting credits on the latest Hot Country Songs chart, all of which he wrote solo and recorded, and which contribute to his placement on Country Songwriters:
Rank, Title:
No. 1, “Something in the Orange”
No. 27, “Oklahoma Smoke Show”
No. 32, “Burn, Burn, Burn”
No. 41, “Sun to Me”
No. 45, “The Good I’ll Do”
As Bryan ties Gorley for the most weeks logged at No. 1 on Country Songwriters, here’s an updated look at the artists with the most weeks spent on top:
Most Weeks at No. 1 on Country Songwriters:
31, Zach Bryan
31, Ashley Gorley
18, Blanco Brown
15, Luke Combs
14, Morgan Wallen
13, Taylor Swift
10, Josh Thompson
9, HARDY
8, Josh Jenkins
7, Josh Osborne
5, Laura Veltz
On Billboard’s Country Producers chart, Joey Moi continues his domination as he extends his record-run at No. 1 to 91 weeks. He sports seven production credits on Hot Country Songs, via Morgan Wallen’s “You Proof” (No. 2), “Wasted on You” (No. 5) and “Thought You Should Know” (No. 6); HARDY’s “Wait in the Truck,” featuring Lainey Wilson (No. 11); and Wallen’s “One Thing at a Time” (No. 21), “Tennessee Fan” (No. 26) and “Days That End in Why” (No. 38).
The weekly Country Songwriters and Country Producers charts are based on total points accrued by a songwriter and producer, respectively, for each attributed song that appears on the Hot Country Songs chart. As with Billboard’s yearly recaps, multiple writers or producers split points for each song equally (and the dividing of points will lead to occasional ties on rankings).
The full Country Songwriters and Country Producers charts, in addition to the full genre rankings, can be found on Billboard.com.
Miley Cyrus flourishes on Australia’s singles chart with “Flowers” (Columbia/Sony), which debuts at No. 1.
“Flowers” is, surprisingly, the U.S. pop star’s first leader in the land Down Under. Her previous best on the ARIA Singles Chart was No. 2 for 2013’s “Wrecking Ball,” though she has led the national albums chart with two titles — Bangerz in 2013 and Breakout in 2008.
Cyrus has a deep connection with Australia, which extends beyond music. She and Aussie actor Liam Hemsworth dated on and off for years after meeting on the set of the 2010 film movie The Last Song. The couple married in December 2018, but separated the following year. Later, Cyrus briefly dated another Aussie singer, Cody Simpson.
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Raye is enjoying the best-possible start to 2023. First, she crashed the Official U.K. Singles Chart with “Escapism” (via RCA/Sony), the British singer’s first No. 1 in her homeland. Now, the single climbs to a new high in Australia. “Escapism,” featuring U.S. rapper 070 Shake, lifts 4-3 on the ARIA Singles Chart, published Friday (Jan. 20).
Also bringing a fresh vibe to the ARIA Chart is “Vibe” (Interscope/Universal), the new collaboration from BigBang member Taeyang and BTS member Jimin. It’s new at No. 48. “Vibe” should get a shot in the arm from the release this week of a new live performance of the song, accompanied with a full backing band.
Over on the ARIA Albums Chart, also published Jan. 20, Taylor Swift locks-up another No. 1 with Midnights (Universal). Swift’s tenth and latest studio album has led the Australian survey for 11 non-consecutive weeks, her longest-running leader in these parts.
Meanwhile, SZA’s SOS (RCA/Sony) holds at No. 2 for a third week, while British acts Arctic Monkeys and Elton John enjoy sales spikes following their recent, respective live runs. Arctic Monkeys’ The Car (Domino/EMI) freewheels 46-3, and Elton’s Diamonds (Universal) shines at No. 5.
The only new title to debut this week on the ARIA Albums Chart is Duncan Toomb’s Steel On Steel (Compass Brothers Records/Universal), the Australian country artist’s solo debut. It’s new at No. 30.