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Coldplay captures its fifth No. 1 album on the Billboard 200 chart, and first in over a decade, as Moon Music debuts atop the list (dated Oct. 19). The set launches with 120,000 equivalent album units earned, of which 106,000 are in traditional album sales. Both figures represent the biggest week, by units and album sales, for the group since 2015.
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Overall, Moon Music marks the 10th top 10-charting effort for the band. The act previously led the list with Ghost Stories (2014), Mylo Xyloto (2011), Viva La Vida or Death and All His Friends (2008) and X&Y (2005).
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 Oct. 19, 2024-dated chart will be posted in full on Billboard‘s website on Tuesday (Oct. 15). For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
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Of Moon Music’s first-week units of 120,000, album sales comprise 106,000 (it’s the top-selling album of the week at No. 1 on Top Album Sales), SEA units comprise 13,000 (equaling 16.71 million on-demand official streams of the set’s songs) and TEA units comprise 1,000. The group last garnered a larger week, in either overall units or album sales, with the debut frame of 2015’s A Head Full of Dreams, which bowed with 210,000 units, of which 195,000 were in traditional album sales.
The new album’s opening-week sales were bolstered by its availability across at least eight vinyl variants (including two signed editions, and a Target edition with three bonus tracks) and in six CD variants (including a signed edition, and a “notebook edition” in collectible packaging with bonus voice notes) — all of which were manufactured with eco-friendly initiatives. The set was also available in at least four digital download variants. Of the digital editions, there were two versions that each included 10 bonus tracks each. Coldplay’s official webstore offered the download editions at a discount during release week.
The album’s vinyl sales total 29,000 for the week — Coldplay’s best sales week on vinyl ever.
The new album was preceded by the single “feelslikeimfallinginlove,” which reached No. 81 on the all-genre Billboard Hot 100 chart in July. It also reached the top 10 on Alternative Airplay and Adult Pop Airplay, the act’s 15th and 12th top 10 on those tallies, respectively.
The new album’s Oct. 4 release was ushered in with a flurry of media looks, including appearances and/or performances by the band or its frontman Chris Martin on CBS’ Sunday Morning (Sept. 29), QVC (Oct. 2), NBC’s The Tonight Show Starring Jimmy Fallon (Oct. 3), NBC’s Saturday Night Live (Oct. 5) and NBC’s Today (Oct. 8).
Notably, among British groups, Coldplay ties for the fourth-most No. 1 albums on the Billboard 200. Leading the pack are The Beatles, with 19 leaders. The Rolling Stones are second, with nine, while Led Zeppelin is third, with seven No. 1s. Coldplay, Pink Floyd and Wings (counting albums billed to either Wings, or Paul McCartney and Wings) are tied with five No. 1s each.
Sabrina Carpenter’s Short n’ Sweet falls a spot to No. 2 (with 93,000 equivalent album units; down 8%) after four nonconsecutive weeks atop the list. It’s No. 1 on the Top Streaming Albums chart for a sixth nonconsecutive week. Chappell Roan’s The Rise and Fall of a Midwest Princess dips 2-3 on the Billboard 200 (56,000; down 12%), Morgan Wallen’s chart-topping One Thing at a Time is a non-mover at No. 4 (50,000; down less than 1%), and Billie Eilish’s Hit Me Hard and Soft is stationary at No. 5 (50,000; up 1%).
Three former leaders are up next, with Taylor Swift’s The Tortured Poets Department rising one spot to No. 6 (45,000 equivalent album units; up 1%), Post Malone’s F-1 Trillion dips 6-7 (43,000; down 8%) and Future’s Mixtape Pluto falls 3-8 (40,000; down 28%).
Rounding out the top 10 are Noah Kahan’s Stick Season, descending 8-9 (37,000 equivalent album units; down 2%), and Wallen’s former No. 1 Dangerous: The Double Album, holding steady at No. 10 (32,000; down 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.
Post Malone’s “Pour Me a Drink,” featuring Blake Shelton, tops Billboard’s Country Airplay survey (dated Oct. 19) for a second week. The team-up advanced by 12% to 31.3 million audience impressions Oct. 4-10, according to Luminate. Explore See latest videos, charts and news See latest videos, charts and news The song, which Malone co-wrote, became […]
Leon Bridges’ “Peaceful Place” becomes his third No. 1 on Billboard’s Adult Alternative Airplay chart, lifting a spot to the top of the Oct. 19-dated tally. Explore Explore See latest videos, charts and news See latest videos, charts and news The song is Bridges’ first ruler in six years, since “Bad Bad News” led for […]
The soundtrack to the animated film The Wild Robot debuts at No. 10 on Billboard’s Kid Albums chart (dated Oct. 12), while Vince Guaraldi Trio’s classic TV soundtrack A Charlie Brown Christmas returns to No. 1 for a 106th nonconsecutive week on top. The Wild Robot opened atop the United States and Canada box office […]
For the fourth straight week, the TikTok Billboard Top 50 chart has a new No. 1 — this time Yeah Yeah Yeahs’ “Maps,” which reigns on the Oct. 12-dated survey.
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The TikTok Billboard Top 50 is a weekly ranking of the most popular songs on TikTok in the United States based on creations, video views and user engagement. The latest chart reflects activity from Sept. 30-Oct. 6. Activity on TikTok is not included in Billboard charts except for the TikTok Billboard Top 50.
“Maps” rules the chart in its second week on the list, following a No. 20 debut on the Oct. 5 tally. Its rise is attributed to a recent trend using the song wherein creators use a filter to remove their facial features and then have them cascade back down onto their face, often with uncanny results.
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A previous, continuing trend that began in September also sets a sped-up version of “Maps” to a dance trend.
“Maps” peaked at No. 87 on the Billboard Hot 100 in 2004, and it appeared on the Yeah Yeah Yeahs’ debut album Fever to Tell in 2003. In the week ending Oct. 3, the song earned 1.5 million official U.S. streams, up 40%, according to Luminate.
“Maps” follows the reigns of Alphaville’s “Forever Young” (Oct. 5), BabyChiefDoit’s “Rollin’” (Sept. 28) and Surf Curse’s “Disco” (Sept. 21), which each ruled the TikTok Billboard Top 50 for one week.
NLE Choppa and 41’s “Or What” lifts one spot to rank at No. 2 on the Oct. 12 survey, followed by Alphaville’s “Forever Young,” which drops 1-3. “Or What” is mostly driven by lip-synching uploads to the 2024 song (it was released a month ago on Sept. 6), with the tune concurrently leaping 79% in official U.S. streams to 5.7 million in the week ending Oct. 3, begetting its No. 91 debut on the latest Hot 100.
The latest TikTok Billboard Top 50 is the first chart of the year to incorporate October data, and that can only mean one thing: the return of Girl in Red’s “We Fell in Love in October.” The song re-enters at No. 4, a new peak, after rising as high as No. 5 last October. The song trends on TikTok, as well as other platforms, every year around this time, sans any sort of dominating trend other than the changing of the month.
The top debut of the week belongs to J. Cole, whose “She Knows,” featuring Amber Coffman and The Cults, bows at No. 7. The 11-year-old song (it was released as part of the rapper’s album Born Sinner in 2013) is largely being used in content about the arrest of Sean “Diddy” Combs and allegations that he was involved in the deaths of multiple musicians (honing in on the lyric “Only bad thing ‘bout a star is they burn up/ Rest in peace to Aaliyah/ Rest in peace to Left Eye/ Michael Jackson, I’ll see ya/ Just as soon as I die” (other videos also bring Beyoncé into the fold, alleging she was aware of Diddy’s alleged crimes).
“She Knows,” which peaked at No. 90 on the Hot 100 in 2014, sports a 133% jump in streams to 2.8 million in the week ending Oct. 3.
A pair of Milli Vanilli songs also debut on the TikTok Billboard Top 50: “Blame It on the Rain” and “Girl I’m Gonna Miss You,” which start at Nos. 34 and 37, respectively. The songs’ rise on the chart runs concurrent with the duo’s catalog gaining in streams after multiple tunes’ synchs in Netflix’s Monsters: The Lyle and Erik Menendez Story series, which was released on Sept. 19.
See the full TikTok Billboard Top 50 here. You can also tune in each Friday to SiriusXM’s TikTok Radio (channel 4) to hear the premiere of the chart’s top 10 countdown at 3 p.m. ET, with reruns heard throughout the week.
The top spot of the second iteration of the TouchTunes Frontline Chart is the same as its first: Shaboozey’s “A Bar Song (Tipsy)” reigns on the ranking for the third quarter of 2024.
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The TouchTunes Frontline and Catalog charts for the third quarter of the year track the most played music on TouchTunes jukeboxes from July 1 to Sept. 30, with the Frontline ranking inclusive of music released in the last 18 months, followed by the Catalog tally for any music that was released more than 18 months ago. TouchTunes has jukeboxes in over 60,000 locations worldwide. TouchTunes data is not factored into other Billboard charts.
Much like the first charts, which covered the second quarter of 2024 (April 1-June 30), “A Bar Song” is not only No. 1 on the Frontline Chart — it was also the most played song on TouchTunes overall, besting all entries on the Catalog Chart.
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Its continued reign is concurrent with the song’s ascension to No. 1 on the Billboard Hot 100 during the timeframe; its coronation occurred on the July 13-dated Hot 100, and it’s ruled for 13 weeks in all (including the most recent survey, dated Oct. 12).
The latest Frontline Chart represents the first full quarter of data for “A Bar Song”; Shaboozey released the song on April 12, 12 days into the second quarter of the year.
In quarter two, the second-most-played song on TouchTunes was, unlike “A Bar Song,” a much older release – Chris Stapleton’s “Tennessee Whiskey,” which reigned on the Catalog Chart. And while, yes, “Tennessee Whiskey” indeed remains atop the latest Catalog survey, it’s surpassed by another Frontline contender in Post Malone’s Morgan Wallen-featuring “I Had Some Help,” which lifts to No. 2 on the Frontline Chart after premiering at No. 3 in quarter two.
Like “A Bar Song,” the third quarter is also the first full tracking period of data for “I Had Some Help,” which was initially released May 10. The song preceded “A Bar Song” at No. 1 on the Hot 100, ruling for six weeks in all beginning in May.
With Stapleton’s “Tennessee Whiskey,” from his 2015 album Traveller, again leading the Catalog Chart and ranking as the third-most-played song overall, the country genre occupies the entire top three.
Teddy Swims’ “Lose Control” follows as the most-played non-country song, ranking at No. 3 on the Frontline Chart after appearing at No. 2 in the second quarter.
It’s one spot ahead of perhaps the biggest mover of the month (as well as the most-played hip-hop song): Kendrick Lamar’s “Not Like Us,” which leaps to No. 4. The Drake diss was released May 4, begetting an appearance at No. 18 on the inaugural Frontline Chart.
Wallen’s “Cowgirls,” featuring Ernest (No. 5), and Hozier’s “Too Sweet” (No. 7) are the two other new entries into the Frontline Chart’s top 10.
Meanwhile, the top three of the Catalog Chart remains intact, with the aforementioned “Tennessee Whiskey” followed by Toby Keith’s “I Love This Bar” and Garth Brooks’ “Friends in Low Places” at Nos. 2 and 3, respectively. Brooks & Dunn’s “Neon Moon,” a two-week No. 1 for the duo on Billboard’s Hot Country Songs chart in 1992, breaks into the top five, rising 6-4, and Wallen’s “Whiskey Glasses” (No. 8), Steve Earle’s “Copperhead Road” (No. 9) and Journey’s “Don’t Stop Believin’” (No. 10) reach the top 10 for the first time.
As for the top debut on either chart? Wallen again. “Lies Lies Lies” bows at No. 11 on the Frontline Chart following its July 5 release, followed by the Wallen-featuring “Whiskey Whiskey” by Moneybagg Yo at No. 12 after its June 14 premiere as part of the rapper’s album Speak Now.
Sure enough, Wallen boasts eight appearances across both rankings — six on Frontline and two on Catalog. He has double the entries of the next closest, Jelly Roll, who appears three times on Frontline and once on Catalog.
See both 25-position charts below.
TouchTunes Frontline Chart
1. “A Bar Song (Tipsy),” Shaboozey2. “I Had Some Help,” Post Malone feat. Morgan Wallen (+1)3. “Lose Control,” Teddy Swims (-1)4. “Not Like Us,” Kendrick Lamar (+14)5. “Cowgirls,” Morgan Wallen feat. ERNEST (+7)6. “Last Night,” Morgan Wallen (-2)7. “Too Sweet,” Hozier (+6)8. “Fast Car,” Luke Combs (-3)9. “Beautiful Things,” Benson Boone (-3)10. “Save Me” Jelly Roll with Lainey Wilson (-2)11. “Lies Lies Lies,” Morgan Wallen (debut)12. “Whiskey Whiskey,” Moneybagg Yo feat. Morgan Wallen (debut13. “Million Dollar Baby,” Tommy Richman (debut)14. “Where the Wild Things Are,” Luke Combs (-4)15. “White Horse,” Chris Stapleton (-4)16. “Ain’t No Love in Oklahoma,” Luke Combs (debut)17. “Pink Pony Club,” Chappell Roan (debut)18. “Pour Me a Drink,” Post Malone feat. Blake Shelton (debut)19. “I Am Not Okay,” Jelly Roll (debut)20. “Houdini,” Eminem (debut)21. “I Remember Everything,” Zach Bryan feat. Kacey Musgraves (-6)22. “Lovin on Me,” Jack Harlow (-13)23. “Wild Ones,” Jessie Murph with Jelly Roll (debut)24. “You Proof,” Morgan Wallen (-7)25. “Sweet Dreams,” Koe Wetzel (debut)
TouchTunes Catalog Chart
1. “Tennessee Whiskey,” Chris Stapleton2. “I Love This Bar,” Toby Keith3. “Friends in Low Places,” Garth Brooks4. “Neon Moon,” Brooks & Dunn (+2)5. “Son of a Sinner,” Jelly Roll (-1)6. “Fat Bottomed Girls,” Queen (+1)7. “Drinkin’ Problem,” Midland (+1)8. “Whiskey Glasses,” Morgan Wallen (+5)9. “Copperhead Road,” Steve Earle (+2)10. “Don’t Stop Believin’,” Journey (+4)11. “Something in the Orange,” Zach Bryan (+1)12. “I Think I’ll Just Stay Here and Drink,” Merle Haggard (-3)13. “Simple Man,” Lynyrd Skynyrd (+2)14. “Rockstar,” Nickelback (+3)15. “Family Tradition,” Hank Williams Jr. (+1)16. “The Joker,” The Steve Miller Band (+2)17. “Wasted on You,” Morgan Wallen (-7)18. “Oklahoma Smokeshow,” Zach Bryan (+5)19. “Thunderstruck,” AC/DC (+3)20. “Brown Eyed Girl,” Van Morrison (-1)21. “Should’ve Been a Cowboy,” Toby Keith22. “Higher,” Creed (debut)23. “Sweet Child o’ Mine,” Guns N’ Roses (+1)24. “Truck Bed,” HARDY (-19)25. “Bartender Song,” Rehab (debut)
Singer-songwriter tobyMac banks his 11th No. 1 on Billboard’s Christian AC Airplay chart as “Nothin’ Sweeter” ascends to the top of the Oct. 12-dated ranking. The song increased by 6% in plays Sept. 27-Oct. 3, according to Luminate.
tobyMac, from Fairfax, Va., co-wrote the hit with Benji Cowart and Jordan Mohilowski. It’s the first single from his upcoming album.
“Nothin’ Sweeter,” also tobyMac’s 29th Christian AC Airplay top 10, follows his “Faithfully,” which dominated for eight weeks starting in February, becoming his longest-leading No. 1. Before that, “Christmas Is Different,” with Tasha Layton, hit No. 3 in December. tobyMac first reached the chart in May 2005; first hit the top 10 with “Made for Love” (No. 3, April 2007); and first led with “City on Our Knees,” for five weeks beginning in November 2009.
With 11 Christian AC Airplay No. 1s, tobyMac ties for King + Country for the fourth-most since the list launched in 2003. MercyMe ranks first with 20, followed by Jeremy Camp and Casting Crowns, each with 13.
Pace Paces Gospel Airplay
Latrice Pace scores her first No. 1 on Billboard’s Gospel Airplay chart as “It’s Morning” rises two spots to the summit. The hit, which the Atlanta-based Pace solely wrote, rose by 15% in plays during the tracking week.
“It’s Morning” is the first rookie single to dominate Gospel Airplay this year, and the first since Angel Taylor’s “Speak” led for a week in December 2023.
Latrice Pace is also a member of gospel group the Anointed Pace Sisters, who have scored one Gospel Airplay top 10: “High Praise,” which reached No. 6 in 2007. The act has also logged two top 10s on Top Gospel Albums: Access Granted (No. 5, 2009) and the act’s maiden entry, U Know (No. 2, 1993).
Karol G claims a fourth week at No. 1 on the Billboard Argentina Hot 100 chart as “Si Antes Te Hubiera Conocido” rules the chart dated Oct. 19. The single enters a tie with Luck Ra and KHEA’s “Hola Perdida” for the fourth-most weeks at the summit in 2024.
Here’s a recap of the songs with the most weeks at No. 1 on the Billboard Argentina Hot 100 chart this year:
Weeks at No. 1, Song, Artists11, “Hoy,” Valentino Merlo & The La Planta10, “Una Foto (Remix),” Mesita, Nicki Nicole, Tiago PZK & Emilia5, “Bésame (Remix),” Bhavi, Seven Kayne, Milo j, Tiago PZK, KHEA & Neo Pistea4, “Hola Perdida (Remix),” Luck Ra & KHEA4, “Si Antes Te Hubiera Conocido,” Karol G
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Valentino Merlo and The La Planta’s “Hoy” remains at No. 2 for a fifth week, after the song’s 11-week domination which began as the song jumped 2-1 on the July 6-dated ranking.
The Hot Shot Debut of the week goes to Lali’s “Fanático,” which opens at No. 5, for her second top 10 among 22 chart performances. Lali last landed in the upper region through “N5” in 2022.
Omar Courtz and De La Rose join for their second collab and highest-charting visit as “Qué Vas A Hacer” debuts at No. 30.
Plus, Shakira captures her second entry as a soloist, unaccompanied by any other act, with the No. 31 launch of “Soltera.”
Elsewhere, Billie Eilish takes the weekly Greatest Gainer honors –awarded weekly to the song with the largest jump among the 100 songs on the tally– as “Birds Of A Feather” climbs 42 spots, from No. 93 to No. 51.
One other song debuts this week, Sebastian Yatra’s “Los Domingos” at No. 89, for the Colombian’s 28th career entry.
Welcome to Billboard Pro’s Trending Up newsletter, where we take a closer look at the songs, artists, curiosities and trends that have caught the music industry’s attention. Some have come out of nowhere, others have taken months to catch on, and all of them could become ubiquitous in the blink of a TikTok clip. This week: Netflix has a new hit series on its hands and many alt-pop artists are benefiting from it, an ’00s indie rock classic proves timeless once again, it’s Girl in Red season again and much more.
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‘Nobody Wants This,’ But Lots of People Want the Soundtrack
The new Netflix series Nobody Wants This is one of the breakout hits of this late-2024 TV season, with good reviews and word-of-mouth buzz spreading the Kristen Bell and Adam Brody co-starring series – about the romantic relationship between a podcaster and a rabbi, and the reactions of their respective families and communities – all over social media and pop culture. That of course extends to the series’ soundtrack, which is stacked with synchs from some of the most popular and acclaimed alt-pop artists of the past decade-plus, as well as some exciting new up-and-comers.
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Perhaps the biggest beneficiary so far has been Francis and the Lights’ “See Her Out (That’s Just Life),” which plays in multiple key scenes in the season, including during the first kiss between Bell’s and Brody’s characters. The song racked up 432,000 official on-demand streams in the U.S. last week (ending Oct. 3) following the show’s Sept. 26 debut, up from just 13,000 streams the prior frame – an eye-popping gain of 3,157%, according to Luminate. Multiple songs from star sister trio HAIM are also featured, with the group’s “Now I’m in It” jumping 120% to 177,000 streams over the same period, while “You & I” from veteran Swedish pop singer-songwriter LÉON is also up 245% to 196,000.
The series has also had a big impact on the catalog of newer singer-songwriter Anna Graves, who has a couple songs featured in the series. Her “Fly” is up 304% to 63,000 streams over this period, while her “When the Love Is Gone” spikes 615% to 41,000 streams. – ANDREW UNTERBERGER
Wait, They Don’t TikTok Like I TikTok: Yeah Yeah Yeahs’ ‘Maps’ Gets a Viral Trend
Yeah Yeah Yeahs’ “Maps”: early-00’s classic, timeless alt-rock love song, iconic music video, the anthem that unwittingly launched Karen O and co. towards indie stardom. And now, more than 20 years after the 2003 single’s release, “Maps” is getting the viral treatment on TikTok thanks to the “Maps Dance,” in which a remixed version of the song soundtracks users shaking their hips and hitting them with their hands, then pausing (or moving in slow motion) when Karen O declares, “Wait!,” as in, “Wait! They don’t love you like I love you!”
The TikTok trend has helped “Maps” nearly double in U.S. on-demand weekly streams over a two-week period: the YYYs track earned 1.49 million streams during the week ending on Oct. 3, according to Luminate, up from 766,000 streams for the week ending Sept. 19. “Maps” crept onto the Billboard Hot 100 at No. 87 in 2004; depending on how this trend grows, maybe the Yeah Yeah Yeahs can hip-shake back onto the chart two decades later. – JASON LIPSHUTZ
‘Joker’ Sequel & Harlequin LP Lift Lady Gaga’s Jazz Catalog
Although Joker: Folie à Deux has suffered from dismal reviews and a disastrous box office performance, there is a silver lining for the film’s leading lady. Lady Gaga, who portrays Harley Quinn in the new film, injects the Joker sequel with her love for jazz standards, which spilled over into both Harlequin, her new Billboard chart-topping companion album featuring both covers and original cuts, and even to a couple her older jazz collections.
According to Luminate, combined official on-demand U.S. streams for Cheek to Cheek and Love for Sale – Gaga’s two Grammy-winning duets albums with the late Tony Bennett – have risen 30% since the release of Harlequin (Sept. 27). During the period of Sept. 20-26, the two LPs earned about 380,000 combined official on-demand U.S. streams. That figure ballooned to over 490,000 combined streams in the week following Harlequin’s release (Sept. 27-Oct. 3). It’s unlikely – but not completely out of the question – that Harlequin will launch a Hot 100 hit, but its arrival has spurred some gains for Gaga’s non-pop catalog. A win is a win!
Latto Squeezes Another Streaming Hit Out of ‘Sugar Honey Iced Tea’
Latto’s Billboard chart-topping Sugar Honey Iced Tea already boasts streaming hits like “Big Mama” and “Brokey,” and it looks like “Georgia Peach,” the record’s intro, could join those ranks.
Bolstered by a rise in social media adoration for the song – alongside the album and Latto in general – official on-demand U.S. streams for “Georgia Peach” have risen over 83% from Sept. 27-20 to Oct. 4-7, according to Luminate. During the period of Sept. 27-30, the Southern hip-hop banger collected over 588,000 streams, which rose to over 1.07 million streams during the period of Oct. 4-7. On TikTok, the official “Georgia Peach” sound boasts nearly 30,000 clips, while an unofficial upload soundtracks a further 13,000 videos.
Although “Georgia Peach” does have an official music video, it’s rise in popularity isn’t tied to that clip, a dance trend or anything else. Should its streams continue to rise, “Georgia Peach” could become the fourth Hot 100 entry from Sugar Honey Iced Tea. — KD
Q&A: Sarah Patellos, Head of Spotify Music Studios, on What’s Trending Up in Her World
How did the Spotify Anniversaries series idea form?
This concept was born as a result of a few creative inspirations from our team. We wanted to find a way to celebrate iconic catalog music, especially as we’ve seen listeners engage positively in that space over the past few years. Our Los Angeles Spotify Studio is an incredible space that has always birthed creativity, so the idea of bringing artists into the space to revisit their classics as a series felt like it had a lot of potential. It would give existing fans something new to experience, while engaging new fans in discovering the music for the first time.
From that initial internal excitement, we started to build out what the series would be. On that would exist through music and video. Knowing that every project’s lifespan is unique, our thought was to allow for a flexible anniversary window that made sense for each album and artists’ milestones. That gave us a wide canvas to find the right projects to bring back to life.
How did you decide on the artists and projects that made sense for the series, and what goes into each one?
Spotify Anniversaries celebrates the staying power of iconic albums. We’ve worked with artists from different genres, but the throughline is the timelessness of the projects we’re celebrating. From Isaiah Rashad’s EP Cilvia Demo to Weezer’s The Blue Album to Christina Aguilera’s debut album Christina Aguilera – we are honored to have the opportunity to help celebrate these anniversaries.
For each episode, we invite the artists to perform 4-6 songs from the project, ideally both the hits and the tracks that embody this milestone for the project. We partner closely with the artist to create an environment in our Spotify Studio that feels aesthetically right for the project and their vision, but keep it really focused on the live performance and the quality of the studio recording.
What have been some highlights thus far?
Our first episode with Isaiah Rashad felt incredibly special – he is such a captivating performer and really set the stage for the vision of this series. For Christina Aguilera, her special guests Ron Fair, Heather Holley, mgk and Sabrina Carpenter brought a unique element to the making of the project, while also reimagining and bringing new life to it.
Weezer was also a highlight. The band chose the direction to perform facing each other, which led to a really natural conversation and allowed the meaning of the project amongst the band to shine beautifully. Not only were the songs being revisited, but watching the band connect face-to-face created a unique experience, and that’s one of the reasons why that episode in particular has been so impactful. It’s a great example how artists can take the series and steer it into their own creative space.
How has Spotify Anniversaries impacted engagement with those projects on the Spotify platform?
The beauty of this project is that is led by music, but supported by video on socials and YouTube. Each Spotify Anniversaries episode has a live EP that lives exclusively on platform. We’ve seen incredible responses to each EP release – the Christina/Sabrina collab was even seen on New Music Friday and Teen Beats. The more this program grows, the more ways we are testing the use of other products to make this even more layered. – JL
Season’s Gainings: Leaves Turning, Pumpkin Spice Lattes Arriving & Girl in Red Rising
If Earth, Wind & Fire’s moment has already passed and you’re not hearing Ray Parker Jr. and Bobby “Boris” Pickett & The Crypt-Kickers everyone just yet, that must mean it’s Girl in Red season. As happens annually around this time of year, the Norwegian singer-songwriter born Marie Ulven Ringheim is rising on streaming with her indie-pop modern classic “We Fell in Love in October” – with the song racking up 3.6 million official on-demand U.S. streams over the first four days of the month, a 73% gain from the 2.1 million combined streams of the prior four-day period. The song even hit a new all-time peak of No. 38 on the Spotify Daily Top Songs USA chart, suggesting that folks are falling even more in love with Girl in Red this October. – AU
JO1’s “WHERE DO WE GO” hits No. 1 on the Billboard Japan Hot 100, dated Oct. 9, tallying the week ending Oct. 6.
The title track of JO1’s ninth single debuted at No. 31 on the chart dated Sept. 18 after being released digitally on Sept. 9. It remained in the Japan Hot 100 since then and soared 73-1 powered by sales with the release of the CD on Oct. 2. The track rules sales this week while coming in at No. 4 for downloads, No. 36 for streaming, No. 2 for radio airplay, and No. 29 for video views. The CD sold 732,009 copies, coming in second to the group’s previous single “HITCHHIKER” (738,776 copies), currently the record-holder for highest first-week sales for the band.
SKE48’s “Kokuhaku Shinpakusu” debuts at No. 2. The group’s 33rd single launched with 319,722 copies to come in at No. 2 for sales, while hitting No. 64 for radio.
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Mrs. GREEN APPLE’s “Lilac” slips a notch to No. 3. The former No. 1 hit continues to rule streaming for the 16th straight week, though showing a slight decrease (94%) from the week before. The track comes in at No. 3 for video, No. 15 for downloads, and No. 5 for karaoke.
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ATEEZ’s “Birthday” bows at No. 4. The title track off the K-pop boy band’s fourth single in Japan sold 154,296 copies in its first week to debut at No. 3 for sales. The track also comes in at No. 93 for downloads and No. 65 for radio. No. 4 on the Japan Hot 100 is tied for the group’s best position so far, previously achieved by “NOT OKAY.”
King & Prince’s “WOW” enters at No. 5. The track off the duo’s sixth album Re:ERA dropped digitally on Sept. 30 and rules downloads and radio, while also coming in at No. 25 for video. This is the second time King & Prince topped downloads, following “halfmoon.”
Official HIGE DANdism’s “Same Blue” debuts at No. 7. The opener for the anime series Blue Box comes in at No. 2 for downloads (11,375 units), No. 4 for radio, No. 20 for video, and No. 27 for streaming.
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 Sept. 30 to Oct. 6, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.