Chart Beat
Page: 48
Sabrina Carpenter shows no signs of losing her flavor as “Taste” continues to satisfy fans at the midweek mark on the Official U.K. Singles Chart, holding firm at No. 1 for a potential sixth week in a row.
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2024 has undeniably been the year of Sabrina Carpenter on the U.K. charts. With “Taste” holding steady at the top, Carpenter has collectively spent 17 weeks at No. 1 this year alone, thanks to earlier smashes like “Espresso” (which dominated for seven weeks) and “Please Please Please” (which ruled for five).
But the race isn’t over yet—Chappell Roan’s “Good Luck, Babe!” is creeping up fast, now sitting at No. 2 and just 2,300 chart units behind.
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But wait, there’s more – The Weeknd is also coming in hot with his latest collab with Playboi Carti. Their track “Timeless” made an explosive debut at No. 3 and eyeing a spot in the upper echelon. It’s a strong start for this new release, and it wouldn’t be surprising to see a chart shakeup next week.
As mentioned, Sabrina’s other hits are still hanging strong. “Espresso” proves it’s still brewing strong as it holds steady at No. 4, and “Please Please Please” remains at No. 6, making it clear she’s having a banner year. Carpenter’s chart reign is far from over, but with strong competition from Roan and The Weeknd, we’ll see if she can keep the momentum going.
Elsewhere on the chart, Lady Gaga and Bruno Mars are on the rise, with their duet “Die With a Smile” climbing from No. 6 to No. 4. And speaking of rising stars, Chappell Roan’s “Hot to Go” has cracked the Top 10 for the first time, jumping two spots from No. 12 to No. 10.
Teddy Swims is on the brink of his first Top 10 breakthrough as “The Door” edges up to No. 11, just one spot away from making it into the coveted top tier. Coldplay, too, are making moves—”feelslikeimfallinginlove” has shot up 13 places to land at No. 18, thanks in part to their upcoming U.K. tour.
Stay tuned to see how the U.K. Official Singles Chart unfolds this Friday.
Chappell Roan’s The Rise and Fall of a Midwest Princess has a banner week on the Billboard charts (dated Oct. 5), reaching No. 1 on Top Album Sales for the first time (rising 6-1), returning to the top of Vinyl Albums (up 4-1), as well as rising 3-2 on the Billboard 200 for a third nonconsecutive week at its peak position. She also leads the Billboard Artist 100 chart for the first time, ascending 3-1. The tally ranks the most popular artists of the week.
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The new Oct. 5-dated charts will be posted in full on Billboard‘s website on Tuesday, Oct. 1.
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The Rise and Fall of a Midwest Princess earned 105,000 equivalent album units in the U.S. in the week ending Sept. 26 (up 64%) according to Luminate, marking its biggest week yet by units earned.* Traditional album sales comprise a career weekly-best 56,000 (up 328%). Vinyl sales were red-hot for the set, with 50,000 sold (up 548%), easily Roan’s best week on vinyl and the sixth-largest week for any vinyl album in 2024.
The week-over-week growth is owed to the release of four new vinyl variants and a cassette tape in celebration of the album’s first anniversary on Sept. 22.
The set also returns to No. 1 on the Indie Store Album Sales chart (up one spot), for a seventh nonconsecutive frame, continuing as the title with the most weeks atop the ranking in 2024. The album sold 15,500 copies at independent record stores – the second-biggest week for any album in the indie sector this year. Only Taylor Swift’s The Tortured Poets Department had a bigger week with indies in 2024, when it sold 17,000 copies in its opening week.
Midwest Princess’ total year-to-date sales now rise to 248,000 sold, making it the 10th-biggest selling album of 2024. The Tortured Poets Department has a runaway lead as the year’s top-seller, with 2.77 million. Her 2024 vinyl sales climb to 167,000 – the third-biggest selling vinyl title of the year thus far. Poets is also the top-selling vinyl album of 2024, with 1.03 million.
* 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.
“Tengo Claro” takes Banda MS and Alfredo Olivas to No. 1 on Billboard’s Regional Mexican Airplay chart, where the song rises a spot on the Oct. 5-dated list. The coronation comes thanks to 6.4 million U.S. audience impressions, up 12% from the week prior, registered in the week ending Sept. 26, according to Luminate.
While both acts add their second champ of 2024, Banda MS collects its 21st No. 1, after “Tu Perfume” ruled for one week in April. With the new win, the group continues as the act with the second-most leaders since the tally launched in 1994, coming closer to Calibre 50’s 25 rulers.
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Here’s a review of the acts with the most No. 1s on the almost 30-year-old chart:
25, Calibre 5021, Banda MS19, Intocable18, Banda El Recodo de Cruz Lizárraga18, La Arrolladora Banda el Limón de Rene Camacho17, Christian Nodal17, Los Tigres del Norte
With “Tengo Claro,” Olivas ups his career count to five total No. 1s among 23 chart visits. The song also becomes his second champ through a collaboration, following his featured role on Alejandro Fernández’s “Cobijas Ajenas,” for one week atop Regional Mexican Airplay in June.
“Tengo Claro” was released July 5 via Lizos Music and marks the label’s 17th No. 1. Lizos’ latest hit follows its previous most recent, another Banda MS win: “Tu Perfume” (one week in charge in April).
Beyond its Regional Mexican Airplay coronation, “Tengo Claro” also cracks the top five on the overall Latin Airplay ranking, where it races 6-2, marking Banda MS’ highest-charting song since the No. 1-peaking “No Elegí Conocerte” in 2019. Plus, the group ties with Alejandro Fernández and Marco Antonio Solis for the second-most top 10s among regional Mexican acts, trailing Calibre 50 with 58 top 10s since the chart’s inception.
All charts (dated Oct. 5, 2024) will update on Billboard.com tomorrow, Oct. 1). For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Eight weeks after Elena Rose earned her first entry on a Billboard songs chart, the Venezuelan singer-songwriter scores her maiden top 10 on a ranking thanks to “Orión,” her collaboration with Boza.
The song, released May 29 via Sony Music Latin, flies 17-4 on the Latin Pop Airplay chart (dated Oct. 5) after a 217% surge in audience impressions, to with 2.1 million, earned on U.S. monitored stations during the Sept. 20-26 tracking week, according to Luminate.
Thanks to the 217% surge, “Orión” takes the Greatest Gainer honor of the week, awarded weekly to the song with the most audience impressions among the chart’s 40-deep entries. Univision stations WKAQ-FM (Puerto Rico) and WXNY-FM (New York) lead with the most plays in the latest tracking week. Meanwhile, another New York station, SBS’ WPAT-FM, joins in as part of the top three supporters.
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“Orión” ties Play-N-Skillz, Natti Natasha and Deorro’s “Como La Flor” for the largest single-week jump on Latin Pop Airplay in 2024, both rallying 13 positions. The latter climbed 21-8 on the Sept. 28-dated list, for Mexican American DJ Deorro’s first entry and top 10 there. The song keeps pushing, moving 8-3 on the current ranking.
While Boza has enjoyed chart hits dating back to 2020, the Panamanian celebrates his second radio top 10 with “Orión,” following the Silvestre Dangond and Reik team-up, “Sé Que Estás Con Él,” which took them to a No. 6 on Latin Rhythm Airplay in June 2023.
Venezuelan Elena Rose made her maiden chart appearance as a songwriter in 2022, debuting at No. 5 on the Latin Songwriters chart then. “Orión” also gives Elena Rose her first visit on the overall Latin Airplay chart, where the song debuts at No. 49. Boza picks up his third entry.
The new chart achievement arrives following Elena Rose’s three Latin Grammy Award nominations, including song of the year for “Caracas En El 2000.”
All charts (dated Oct. 5, 2024) will update on Billboard.com tomorrow, Oct. 1). For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Elena Rose will speak at Latin Music Week Oct. 14-18 at the Fillmore Miami Beach. To register, please visit BillboardLatinMusicWeek.com.
Lady Gaga and Bruno Mars’ “Die With a Smile” dominates both the Billboard Global 200 and Billboard Global Excl. U.S. charts for a fifth total and consecutive week.
The song is a stand-alone single by the superstars. On Friday (Sept. 27), Gaga released her new album, Harlequin.
The Global 200 and 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.
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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.
“Die With a Smile” rules the Global 200 with 117.8 million streams (up less than 1% week-over-week) and 9,000 sold (down 2%) worldwide Sept. 20-26. The song is Lady Gaga and Bruno Mars’ first No. 1 each since the chart began.
Notably, the duet has drawn over 100 million streams globally in each of the last four weeks – the most such frames for a song this year; it one-ups Sabrina Carpenter’s “Please Please Please” (three weeks, June-July) and Kendrick Lamar’s “Not Like Us” (three, May-July).
Plus, “Die With a Smile” has gained in streams in each of its six Global 200 chart weeks, having started (at No. 2) with 75.2 million worldwide on the Aug. 31 survey and rising, respectively each week, to 97.2 million, 105.8 million, 111.4 million, 117.4 million and 117.8 million. It’s the first non-holiday song to link as many as four consecutive weeks of 100 million streams with gains in each week since The Kid LAROI and Justin Bieber’s “Stay” did so for four frames in August-September 2021.
Billie Eilish’s “Birds of a Feather” holds at No. 2 on the Global 200, following three weeks at No. 1 beginning in August.
Carpenter claims three songs in the Global 200’s top 10 for a fifth week: “Espresso” buzzes 4-3, following three nonconsecutive weeks at No. 1 beginning in June; “Taste” drops 3-4 after reaching No. 2; and “Please Please Please” holds at No. 6, after two weeks at No. 1 also starting in June. She’s the first artist to triple up in the top 10 over five weeks in 2024; next up, Eilish and Taylor Swift each have posted two such weeks this year.
Rounding out the Global 200’s top five, Chappell Roan’s “Good Luck, Babe!” is steady at its No. 5 high.
“Die With a Smile” leads Global Excl. U.S. with 93.9 million streams (up 1%) and 5,000 sold (down 2%) outside the U.S. Sept. 20-26. As on the Global 200, the team-up became Lady Gaga and Bruno Mars’ first No. 1 each since the list launched.
Eilish’s “Birds of a Feather” flies high again at No. 2 on Global Excl. U.S., following three weeks at No. 1 beginning in August; Carpenter’s “Espresso” rises 4-3, following eight nonconsecutive weeks at No. 1 beginning in May; Linkin Park’s “The Emptiness Machine” descends 3-4 after reaching No. 2; and Karol G’s “Si Antes Te Hubiera Conocido” repeats at No. 5, also after hitting No. 2.
Carpenter’s “Taste” holds at No. 6 on Global Excl. U.S. (after reaching No. 4) and “Please Please Please” keeps at No. 7 (following a week at No. 1 in June); already the only artist with multiple weeks with three songs in the top 10 simultaneously this year, she adds a fifth week achieving the triple triumph.
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Oct. 5, 2024) will update on Billboard.com tomorrow, Oct. 1. 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 X, formerly known as 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.
Shaboozey’s “A Bar Song (Tipsy)” tallies a 12th week at No. 1 on the Billboard Hot 100, extending 2024’s longest command. Notably, it has now reigned for twice as long as any other No. 1 this year, doubling up on Post Malone six-week leader “I Had Some Help,” featuring Morgan Wallen. “A Bar Song (Tipsy),” […]
As we await the only vice presidential debate of the 2024 campaign, a showdown between Democratic nominee Tim Walz and Republican nominee JD Vance on Tuesday (Oct. 1), let’s look back on the only No. 1 hit on the Hot 100 that was written or co-written by a future VP.
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The hit was Tommy Edwards’ “It’s All in the Game,” a philosophical romantic ballad which topped the Hot 100 for six weeks in the fall of 1958. Charles Gates Dawes, a self-taught pianist, flutist and composer, composed the melody in 1911 under the title “Melody in A Major.” Dawes later became an American diplomat and Republican politician, a Nobel Peace Prize winner and a TIME magazine cover subject. He served as the 30th VP of the U.S. from 1925-29 under Calvin Coolidge.
Dawes’ melody was not a major hit under its original title, but noted lyricist Carl Sigman remembered it and 40 years later added lyrics to it, transforming it into “It’s All in the Game.” Sigman’s most memorable lyric: “Once in a while he won’t call/ But it’s all in the game.” Edwards first recorded the song in 1951, the same year Sigman added lyrics to it. His pretty, but unremarkable, recording reached No. 18 on Billboard’s Disk Jockey and Best Sellers charts.
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The great Nat “King” Cole included the song on his 1957 album Love Is the Thing, which topped the Billboard 200 for eight consecutive weeks.
In 1958, Edwards re-recorded the song, giving it a light doo-wop flavor which made it compatible with pop playlists — which by that point included a lot of doo-wop and rock and roll. Leroy Holmes was the orchestra leader on both versions. Both versions were released on the same label (MGM Records). But the differences are stark. The earlier version is awash in strings; the update is leaner. And Edwards doesn’t rush through the lyrics. Inserting pauses on two key lines (“You have words/ With him” and “And he’ll kiss/ Your lips”) adds considerable drama.
A re-release of the 1951 “traditional pop” version would likely not have succeeded in 1958 – music had changed a lot in the intervening seven years – but the re-recording was a smash. It reached No. 1 on the Hot 100 in seven weeks, bumping Domenico Modugno’s “Nel Blu Dipinto Di Blue (Volare)” (which went on to win Grammys for record and song of the year) from the top spot in September 1958. “It’s All in the Game” remained on top for six consecutive weeks, before being replaced by Conway Twitty’s “It’s Only Make Believe.”
Unfortunately, Dawes died in April 1951, shortly before Sigman added lyrics to his tune, so he never knew that the little ditty he wrote 40 years earlier was about to become a hit, and later, a timeless classic.
Edwards returned to the top 20 on the Hot 100 three times by 1960, with “Love Is All We Need,” “Please Mr. Sun” and “I Really Don’t Want to Know.” He died in 1969 at age 47 due to complications from cirrhosis of the liver.
“It’s All in the Game” has returned to the top 30 on the Hot 100 twice. British pop singer Cliff Richard took it to No. 25 in 1964. Motown greats the Four Tops took it to No. 24 in 1970. In addition, Eddie Holman featured the song as the B-side of “Hey There Lonely Girl,” a No. 2 Hot 100 hit in 1970.
The Four Tops’ recording made the top 10 on what was then called Best Selling Soul Singles. The song was also a big country hit, making it a true multi-format smash. Tom T. Hall’s single reached No. 12 in 1977 on what was then called Hot Country Singles.
Numerous other artists have recorded the song, including Barry Manilow, on his Billboard 200-topping album The Greatest Songs of the Fifties (2006), and George Benson on his double-live album Weekend in L.A., which made the top five in 1978. The song also appeared on top 10 albums by pianist Roger Williams, bandleader Lawrence Welk and actor/singer George Maharis (a regular on Route 66).
Donny & Marie Osmond recorded the song in 1975. Earlier that year, they had a top 10 hit on the Hot 100 with “Morning Side of the Mountain,” which was Edwards’ first chart hit in 1951, right before “It’s All in the Game.”
Other artists to have recorded “It’s All in the Game” include Ricky Nelson, Keely Smith, Robert Goulet, Andy Williams, The Lettermen, Sandy Posey, Bobby Vinton, Bing Crosby, Brook Benton, Freddy Fender, Van Morrison, Issac Hayes, Glenn Jones, Merle Haggard & the Strangers and Johnny Mathis & Take 6.
In addition to being the only future VP to have written or co-written a No. 1 Hot 100 hit, Dawes is one of just two people credited with writing or co-writing a No. 1 hit who have also won a Nobel Prize. He shares that distinction with Bob Dylan, whose many hits include “Mr. Tambourine Man,” a No. 1 for The Byrds in 1965. Dawes was a co-winner of the Nobel Peace Prize in 1925 for his work on the Allied Reparations Commission, where he helped formulate the Dawes Plan to aid the struggling German economy. Dylan won the Nobel Prize for Literature in 2016.
Sigman, the lyricist of “It’s All in the Game,” wrote many famous songs over the course of his long career, including “Pennsylvania 6-5000,” “Crazy He Calls Me,” “Ebb Tide,” “What Now My Love,” “You’re My World” and “(Where Do I Begin) Love Story.” He was inducted into the Songwriters Hall of Fame in 1972 and died in 2000 at age 91.
CBS Evening News anchor Norah O’Donnell and Margaret Brennan of CBS’ Face the Nation are set to moderate Tuesday’s VP debate.
Sabrina Carpenter has done it again. Her latest hit, “Taste,” has claimed the No. 1 spot on the U.K. Official Singles Chart for the fifth consecutive week, marking 17 total weeks at the top in 2024.
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This chart domination is thanks to her three standout singles: “Espresso,” which spent seven weeks at No. 1, “Please Please Please,” with five weeks at the summit, and now “Taste,” with five weeks and counting. Her success with the catchy pop single is no small feat, showcasing her consistent appeal in a hugely competitive market.
Elsewhere on the chart, Lady Gaga and Bruno Mars are inching closer to the top spot with their collaborative track “Die With A Smile,” which now sits at No. 4. Rising stars are also making their mark, with Chappell Roan’s kitschy camp hit “HOT TO GO!” sashaying its way up to No. 7, and Lana Del Rey-inspired “Pink Pony Club” by Roan also trotting, reaching No. 15.
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In other highlights, Sonny Fodera, Jazzy, and D.O.D.’s “Somedays” has cracked the Top 10, moving to No. 9, while Gigi Perez’s viral track “Sailor Song” has jumped two spots to No. 11. Teddy Swims’ “The Door” and Gracie Abrams’ “I Love You, I’m Sorry” also saw boosts, landing at Nos. 13 and 17, respectively.
TikTok continues to be a breeding ground for chart hits, as UK rapper NDOTZ celebrates his first Top 20 entry with “Embrace It,” climbing 16 places to No. 20. Billie Eilish’s “Wildflower” blooms with a new peak at No. 23, while Coldplay’s “feelslikeimfallinginlove” rebounds to No. 31.
Addison Rae also makes her Top 40 debut with “Diet Pepsi,” entering at No. 37. Meanwhile, BTS’s Jimin sees a resurgence with “Who,” re-entering the chart at No. 40 after a six-week absence.
With this chart success, Sabrina Carpenter has proven that 2024 is undeniably her year, and with new releases on the horizon, she might not be done dominating just yet.
Blossoms have again proven their indie rock prowess, securing their fourth U.K. Official No. 1 album with Gary, their fifth studio release. The British band’s latest effort topped the charts after a tight battle with chart-dominating pop princess Sabrina Carpenter’s Short N’ Sweet (No. 2) and Chappell Roan’s hugely popular The Rise and Fall of […]
Future notches his 11th No. 1 album on the Billboard 200 chart — and third in 2024 — as Mixtape Pluto debuts atop the list dated Oct. 5. The long-teased set’s Sept. 20 release date was announced on Sept. 11. Mixtape Pluto earned 129,000 equivalent album units in the U.S. in the week ending Sept. 26, according to Luminate, largely driven by streaming activity.
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Future scored two No. 1s earlier in 2024 with his two co-billed sets with Metro Boomin: We Don’t Trust You (a debut atop the April 6 chart) and We Still Don’t Trust You (also debuting at No. 1, April 27). The last act to notch three new No. 1 albums faster than Future — who has earned his three latest in a span of just six months — was the Glee Cast, which notched three chart-topping soundtracks in less than two months in 2010. If one discounted the Glee titles, as they were soundtracks and not traditional artist-driven albums, the last act to notch three new No. 1s as fast as Future was The Beatles in 1965-66. The Fab Four collected its fifth, sixth and seventh No. 1 albums also in a span of six months, as Beatles VI hit No. 1 on the July 10, 1965 chart, followed by the Help! soundtrack on Sept. 11 and then Rubber Soul on Jan. 8, 1966. (Since the Billboard 200 began publishing on a regular, weekly basis in March of 1956, no other solo artist has accumulated three new No. 1s as fast as Future.)
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With an 11th No. 1 on the Billboard 200, Future ties Eminem, Bruce Springsteen, Barbra Streisand and Ye (formerly Kanye West) for the fifth-most No. 1s on the Billboard 200, dating to March 1956. Ahead of them are The Beatles (a record 19 No. 1s), Jay-Z and Taylor Swift (each with 14) and Drake (13).
Also in the top 10 of the latest Billboard 200 chart, Chappell Roan scores her best week yet in terms of units and album sales, as The Rise and Fall of a Midwest Princess returns to its peak of No. 2 in the wake of promotion surrounding its first anniversary. Plus, Katy Perry lands her sixth top 10 with the arrival of 143, and Lil Tecca nabs his fourth top 10-charting set with the debut of Plan A.
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. 5, 2024-dated chart will be posted in full on Billboard‘s website on Tuesday (Oct. 1). For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of Mixtape Pluto’s first-week equivalent album units of 129,000, SEA units comprise 118,500 (equaling 156.62 million on-demand official streams of the 17 songs on the streaming edition of the album; it debuts at No. 1 on Top Streaming Albums), album sales comprise 10,000 and TEA units comprise 500. The album was available to purchase either as a standard 11-song album (via download, CD and vinyl) or as an expanded 17-song album (download).
Chappell Roan’s The Rise and Fall of a Midwest Princess rises 3-2 on the Billboard 200 for a third nonconsecutive week at its peak position. The set earned 105,000 equivalent album units in the tracking week (up 64%) — it’s biggest week yet by units earned. Of that sum, album sales comprise a career weekly-best 56,000 (up 328%; it’s also the top-selling album of the week, reaching No. 1 on Top Album Sales for the first time). The week-over-week growth is owed to the release of four new vinyl variants and a cassette tape in celebration of the album’s first anniversary on Sept. 22. Of the album’s sales, vinyl comprises 50,000 — easily Roan’s best week on vinyl and the sixth-largest week for any vinyl album in 2024.
Sabrina Carpenter’s former No. 1 Short n’ Sweet slips 2-3 on the Billboard 200 with 100,000 equivalent album units earned (down 7%); Post Malone’s chart-topping F-1 Trillion is a non-mover at No. 4 (53,000; down 12%), and Morgan Wallen’s former leader One Thing at a Time is steady at No. 5 (53,000; up 2%).
Katy Perry lands her sixth top 10-charting effort on the Billboard 200 as her new studio album 143 debuts at No. 6. The set earned 48,000 equivalent album units in the tracking week ending Sept. 26. Of that sum, album sales comprise 37,500 (her best sales week since 2017), SEA units comprise 10,000 (equaling 13.11 million streams of the album’s songs) and TEA units comprise 500. The album’s first-week sales were bolstered by its availability across eight vinyl variants (including a signed edition), four CD variants (including a signed edition), a cassette tape and multiple digital download variants (including two exclusive to her webstore, each with bonus tracks).
The album was preceded by a trio of songs, including its first single, “Woman’s World,’ which reached the top 30 on the Pop Airplay, Adult Pop Airplay and Adult Contemporary radio charts.
Taylor Swift’s chart-topping The Tortured Poets Department falls 6-7 on the latest Billboard 200 (47,000 equivalent album units; down 9%), while Billie Eilish’s Hit Me Hard and Soft is steady at No. 8 (45,000; up 2%).
Lil Tecca captures his fourth top 10-charting set on the Billboard 200 as Plan A arrives at No. 9 with 42,000 equivalent album units earned — his biggest week by units since 2019. Of that sum, SEA units comprise 28,500 (equaling 40.45 million on-demand official streams of the set’s songs), album sales comprise 13,500 (his best sales week ever) and TEA units comprise a negligible sum. The set’s sales were aided by its availability in two CD variants (including a signed edition) and multiple digital download variants (including three exclusive to the artist’s webstore, two of which included bonus tracks).
The album was preceded by a pair of charting songs on Hot R&B/Hip-Hop Songs: “Number 2” (peaking at No. 45) and “Bad Time” (No. 25).
Closing out the top 10 of the new Billboard 200 is Noah Kahan’s Stick Season, falling 9-10 with 38,000 equivalent album units earned (down 1%).
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.