Chart Beat
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In its 20th week on the Billboard Hot 100, Billie Eilish‘s “Birds of a Feather” just continues to keep flying higher and higher. The Hit Me Hard and Soft single, which initially debuted at No. 13 on the Hot 100 back in early June, has since taken over the set’s initial focus track “Lunch” as the biggest hit of this Eilish era.
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This week, it jumps from No. 6 on the chart to a new peak of No. 2 — helped in large part by the debut of its official music video. The only song that remains in the way of the single becoming Eilish’s second No. 1 on the chart is Shaboozey’s “A Bar Song (Tipsy),” which remains at No. 1 for a 13th week this frame, while still leading “Birds” on each of Streaming Songs, Digital Song Sales and Radio Songs.
How has the song remained so commercially potent 20 weeks into its lifespan? And will it be able to make that final jump to No. 1 on the Hot 100? Billboard staffers answer these questions and more below.
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1. Billie Eilish’s “Birds of a Feather” reaches a new peak of No. 2 on the Hot 100 this week, in its 20th week on the chart. Are you surprised at the legs (or wings) that the song has had as a pop hit?
Stephen Daw: I’m very pleasantly surprised. When Hit Me Hard and Soft came out in May, “Birds of a Feather” certainly stood out to me among the other tracks, but it didn’t strike me as the logical follow-up to a lead single like “Lunch.” It is an objectively good piece of pop music, I just did not foresee “Birds” having this kind of chart omnipresence five months later.
Kyle Denis: I’m not surprised at all. Even though “Skinny” was my immediate favorite from Hit Me Hard and Soft, “Birds of a Feather” always struck me as a surefire hit. And Billie’s singles tend to stick around for weeks before peaking, so “Birds” taking 20 weeks to reach No. 2 isn’t all that strange.
Lyndsey Havens: Not totally. When the album first arrived, “Birds” was a favorite among many. And whether intentional or not, I think it was smart for team Eilish to hold off on promoting it as a single until recently. With an album like Hit Me, the songs so seamlessly flow into one another and as Eilish has said herself, she purposely held off on releasing any singles before its release so that the album could be consumed as a full project. And in doing so, she’s allowed her fans to tell her which songs they’re most connecting with, versus the other way around. A strategy like that takes time — and in this case, 20-ish weeks seems to be the magic number.
Jason Lipshutz: “Birds of a Feather” snuck up on me as a no-brainer, firing-on-all-cylinders pop smash, considering how the song features Eilish in a different vocal and structural mode than we’re used to hearing. Yet “Feather” is effervescent in sound and immediate in its appeal, with a mid-tempo approach that makes it an easy connector on streaming playlists and pop radio blocks; in this way, it reminds me of Miley Cyrus’ “Flowers,” another song that persisted for months near the top of the Hot 100 and crept towards that artist’s biggest-hit-yet status.
Andrew Unterberger: I am a little surprised, just because “Lunch” seemed like the big one for me off the bat — but “Birds of a Feather” is such a sweet moment and pretty song that once it founds its way to the center of the culture, it’s hardly shocking that it would nest there for a while.
2. Much of the reason for the song jumping from 6-2 on the listing this week is the debut of its new official music video. Does the new visual add to your appreciation / understanding of the song, detract from it, or have no major impact for you?
Stephen Daw: It certainly adds to my appreciation, though marginally. I really loved that Billie took a minimalist approach to the video while adding to the kind of off-kilter, occult vibe that defined so many of her previous visuals. The effects were amazing and I loved that she left it a little bit up to interpretation. That said, I don’t see this as the kind of music video that will move the needle for people who were on the fence about the song — if you were already into “Birds of a Feather” (or not into it, for that matter), then I doubt the video is going to change that.
Kyle Denis: It’s not my favorite music video from Billie, but I appreciate the decision to never actually show the person she’s “sticking together” with. Overall, the clip has no major impact on my enjoyment or understanding of the song, but it does help “Birds” retain a bit of the intimacy it sacrificed on its way to becoming a genuine hit single.
Lyndsey Havens: It’s been a minute since I’ve seen a music video create so much discourse — and not really in the most positive way. The reaction among many seemed to be confusion, not quite understanding the visual or expecting Eilish to go in a different, perhaps more floral-inspired, direction. Either way, the video accomplished what it likely set out to do: get people talking. And as a result, it reached new heights on the Hot 100. That’s a win any way you spin it.
Jason Lipshutz: The music video adds to my appreciation, in the same way that most of Eilish’s visuals have deepened the meaning of her biggest hits. She remains one of the more visually striking pop superstars working today, an A-lister whose music videos really matter by often offering something unexpected in relation to the music. The “Feather” clip is simple enough but also breathtaking in terms of visual effects, with Eilish defying gravity in an empty room; the music video grabs your attention while also placing the emotion of the song front and center.
Andrew Unterberger: It adds a little. I don’t think it’s one anyone expected or even really wanted from the visual — the song seemed to call out for something more lush and sentimental — but that ability and willingness to curve expectations and follow her own muse has long been a hallmark of Eilish’s stardom and artistry, and the gravity-defying, wind-swept, still incredibly personal and striking images from this more minimal clip will I think still end up being iconic of this era.
3. Perhaps surprisingly for a pop star of her stature, “Birds” is only Billie’s third top two hit on the Hot 100 (after “Bad Guy” and “Therefore I Am”). Do you think it will be remembered as one of the defining songs of her career, or is it too difficult to judge the overall impact of Eilish’s songs by their chart placement?
Stephen Daw: I think it’s too hard to call based solely on chart performance. Just look at her other top two hits — while “Bad Guy” is such a clear, career-defining smash for Billie, “Therefore I Am” doesn’t feel like one of the five songs I would list when asked what Billie’s most definitive tracks are. Songs like “Happier Than Ever,” “When the Party’s Over,” “Bury a Friend” or “Ocean Eyes” would take those spots up for me, and they didn’t crack the chart’s top 10. Maybe “Birds” could take on that level of prominence as her career continues, but for the moment, it feels too early to tell.
Kyle Denis: “Birds” will almost certainly be remembered as one of Billie’s defining songs; it takes the somber introspection of her best tracks and transposes it through the lens of grade-A pop songwriting. It’s also an endlessly applicable love song that can work for both platonic and romantic relationships. Billie’s most impactful songs — “Lovely” (with Khalid), “When the Party’s Over,” and “Happier Than Ever,” for example – often miss the Hot 100’s top 10, but “Birds of a Feather” seems to be following in the steps of “Bad Guy” with its combination of commercial success and cultural impact.
Lyndsey Havens: The thing I love about Billie is when I think of her today or how she’ll be remembered in the future, it’s often for being Billie Eilish. Not for any one album or any one song or even any one hair color (though her debut lime green look is burned into memory). I don’t know if “Birds” will become a career-defining hit — and don’t necessarily think it will — but that’s fine. I think some artists’ legacies transcend their chart histories, and I believe Eilish to be one of them.
Jason Lipshutz: At this point, “Birds of a Feather” is only second to “Bad Guy” as Eilish’s defining hit, surpassing songs like “Happier Than Ever,” “Everything I Wanted” and “Therefore I Am” in terms of cultural impact and chart longevity. It’s funny to think about how “Lunch” was positioned as the focus track from Hit Me Hard and Soft upon its release, and listeners simply selected “Feather” as the album’s true standout through their streaming selections. Now, I could see “Feather” as a go-to track for any casual Eilish fan — or as a set-closing moment on her future arena tours.
Andrew Unterberger: Certainly Eilish’s chart peaks do not always correlate to cultural relevance — despite its Hot 100 bow, I don’t know if anyone considers “Therefore I Am” one of her 20 best or most impactful songs — but it does feel like “Birds” will hold a special place in her catalog, unlikely to be supplanted or replaced. It’s just too powerful, too intoxicating, too meaningful for those who have most found meaning in it.
4. Meanwhille, “Wildflower” continues to climb on the Hot 100, moving 45-35 on the Hot 100 this week after having originally debuted at No. 17 in June. Does the song also feel like a major hit to you, or more like spillover from “Birds” and other recent successes of Eilish’s?
Stephen Daw: “Wildflower” is probably my second favorite song off of Hit Me Hard (“Chihiro” will always have my heart), so I’m delighted to see it blooming on the chart. I don’t know that I would call “Wildflower” a certified hit, since its rise does feel like a symptom of “Birds” flying so high. But given the right attention from fans (and maybe another video from Billie) it definitely could be the project’s next breakout hit.
Kyle Denis: “Wildflower” is another one of my favorites from Hit Me Hard and Soft, and it definitely sounds like a hit to me – especially that back half. I think the song is getting a couple of new eyes and ears thanks to the success of “Birds” and “Guess,” but I also think people are rallying around “Wildflower” because it’s such an undeniably great song. It’s raw and painfully truthful in a way that calls back to Billie’s scar-baring 2019 debut LP while offering a darker alternative to the sweetness of “Birds” and the suggestive nature of “Guess.”
Lyndsey Havens: With an album as tender as Hit Me, it’s hard to measure success in terms of hit potential. Eilish has certainly proved the power of a softly soaring ballad, and as a result I think songs like “Birds” and “Wildflower” have simply taken more time to catch on. They surely bring listeners back time and time again, but in a different way than a punchy pop hit does. So, while I don’t see “Wildflower” enjoying the same success as “Birds” has, the fact that it’s moving up at all after so many months is proof that Eilish was right in releasing the album all at once — and proof that only few can pull off what she has.
Jason Lipshutz: “Wildflower” has been oscillating on the Hot 100 for months now, almost as a counterpoint for the more radio-friendly “Birds of a Feather” and as further proof of a general hunger for Eilish’s new music. I don’t foresee “Wildflower” challenging for the top 10 anytime soon, but I think it will live on as a fan favorite in playlists and set lists, and places the success of Hit Me Hard and Soft in bold font, beyond just the album’s biggest hit.
Andrew Unterberger: The endurance of “Wildflower” has been very impressive to me — honestly, the fact that Hit Me still has four separate songs on the Hot 100 20 weeks into its lifespan is pretty absurd during an era when even the biggest albums are able to get two hits that long-lasting. I dunno if “Wildflower” is ever gonna be a real top 10 contender given how un-radio-friendly the acoustic ballad is, but I could see it enduring as a fan favorite and live fixture for a long time.
5. Do you think “Birds of a Feather” will eventually become Eilish’s second Hot 100 No. 1 hit?
Stephen Daw: “Birds,” to me, is the song with the best chance to end Shaboozey’s run at the top of the chart at this moment — with the right push from Billie (maybe a sync on a hit show or something similar), she could finally have her second No. 1.
Kyle Denis: Probably? From a smartly timed live performance to remixes and other versions, there are plenty of ways “Birds” could eventually reach the top of the Hot 100. After all, “Bad Guy” spent nine weeks at No. 2 before eventually peaking at No. 1, so who knows how much gas “Birds” has left in the tank!
Lyndsey Havens: You know what, I do think it can get there. Given that Eilish is on a massive tour right now — and coming on the heels of the song’s music video — the extra attention could give the song the final boost it needs to hit the top spot.
Jason Lipshutz: I do. Although it’s difficult to bet against “A Bar Song (Tipsy)” logging more frames atop the Hot 100, “Birds of a Feather” has proven durable enough as a multi-platform hit that I think it will sneak up to No. 1 for at least a week over the next month, rightfully joining “Bad Guy” as the two chart-toppers in Eilish’s career thus far.
Andrew Unterberger: I don’t think so, just because it’s already pretty late in its lifespan, I can’t see its radio play getting that much more massive, and even with this video bump, it’s still being pretty handily outstreamed by “A Bar Song.” A No. 2 peak feels perfect to me for this song anyway; let it keep just a little bit of that outsider edge.
Odetari first broke through on Billboard’s charts in 2023, and now he’s officially a Billboard Hot 100-charting artist.
The Houston producer scores his first entry on the Hot 100 (dated Oct. 12) with “Keep Up.” The song debuts at No. 96 almost entirely from its streaming sum: 5.7 million official U.S. streams in the Sept. 27-Oct. 3 tracking week, according to Luminate.
TikTok has been a huge factor in the song’s growing profile, largely due to a viral dance trend. A portion of its audio has been used in nearly 1 million clips on the platform to date. That activity pushed the song 14-4 on the Oct. 5-dated TikTok Billboard Top 50 chart.
“Keep Up” also rises two spots to No. 6 on Hot Dance/Electronic Songs. It’s Odetari’s 16th career entry on the chart, and sixth top 10. His first hit, “Narcissistic Personality Disorder,” reached No. 10 in May 2023, followed by “Good Loyal Thots” (No. 8); “Look Don’t Touch,” with Cade Clair (No. 9); “GMFU,” with 6arelyhuman (No. 5); and “I Love You Hoe,” with 9lives (No. 3).
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Odetari’s music style is fast-paced and hectic EDM, a genre that he calls “ODECORE.” Earlier this year, Billboard reported that Odetari has a unique approach to releasing his songs. While the original versions of his songs are posted on his primary Odetari Spotify profile, various other versions and remixes of his songs are released under a separate Spotify profile called ODECORE. “[He] frequently has two to three different versions of records coming out a month,” explained Corey Calder, svp of marketing and creative services at Artist Partner Group, Odetari’s label. “If we were to have that all sit on his page, it would feel cluttered and make it hard for his fanbase to follow and track it all.”
It’s a growing trend that has also been adopted by Odetari’s collaborator and labelmate 6arelyhuman, who releases music under his own name, plus remixes under the name Sassy Scene.
Before Odetari’s music career took flight last year, Billboard reported that in February he was substitute-teaching at a high school in his native Houston. He said that he would even upload his music during school hours. “The students were, like, hitting their dab pens in class, secretly under their sleeves,” he said. “The teachers walked in and smelled it and were like, ‘You should have been supervising the class better.’”
By the end of 2023, Odetari wrapped at No. 7 on Billboard’s Top Dance/Electronic Artists annual recap. He also landed six songs on the year-end Hot Dance/Electronic Songs ranking, including “Good Loyal Thots” and “Look Don’t Touch” at Nos. 16 and 19, respectively.
It’s twice as nice for Chappell Roan as she charts her first two entries on Billboard’s Pop Airplay ranking in the top 10 simultaneously. “Good Luck, Babe!,” which became her first No. 1, leading the Sept. 21-dated list, places at No. 5 on the Oct. 12-dated chart, while “Hot to Go!” jumps three spots to No. 9.
Both songs were released on KRA/Amusement/Island Records and are being promoted to radio by Republic. The Pop Airplay chart ranks songs by weekly plays on over 150 mainstream top 40 radio stations monitored by Mediabase, with data provided to Billboard by Luminate.
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Roan becomes the first artist to lodge two initial Pop Airplay chart entries in the top 10 at the same time since Iggy Azalea just more than a decade ago. For 11 weeks in June-August 2014, the rapper’s breakthrough singles, both of which hit No. 1, ranked in the top 10 together: “Fancy,” featuring Charli XCX, and Ariana Grande’s “Problem,” featuring Azalea.
No artist until Roan had charted two maiden Pop Airplay hits in lead roles on both songs in the top 10 together since Macklemore and Ryan Lewis. For two weeks in May 2013, their “Thrift Shop,” featuring Wanz, and “Can’t Hold Us,” featuring Ray Dalton, spared space in the tier.
The last artist before Roan to boast two first Pop Airplay hits without any other billed acts in the top 10 simultaneously? Avril Lavigne, 22 years ago, for five weeks in September-October 2002 with “Complicated” and “Sk8er Boi.”
The only other acts to chart two initial Pop Airplay hits without any guests in the top 10 simultaneously did so in the mid-1990s (following the survey’s 1992 start): Hootie & The Blowfish, Real McCoy and Ace of Base.
To date, Alpha Media-owned KBFF Portland, Ore., leads all Pop Airplay reporters with more than 2,000 plays of “Good Luck, Babe!” Bonneville International’s KMVQ San Francisco ranks first with nearly 1,000 spins for “Hot to Go!”
The wait is over for Yuridia, who achieves her first No. 1 on any Billboard U.S. radio chart during an almost two-decade career span. She achieves the feat with “Mi Eterno Amor Secreto” alongside Eden Muñoz, as the song jumps 5-1 on the Regional Mexican Airplay chart (dated Oct. 12).
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The single, the only song that previewed Yuridia’s EP Literal, released June 27 via Sony Music Entertainment Mexico, takes the throne in its eighth week after a 46% surge in audience impressions to 6.7 million in the tracking week of Sept. 27-Oct. 3, according to Luminate.
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Thanks to the rise, “Mi Eterno Amor Secreto” wins the weekly Greatest Gainer award among the 40 songs on Regional Mexican Airplay. It also evicts Banda MS’ “Tengo Claro,” featuring Alfredo Olivas, after the latter’s one week in charge.
“Mi Eterno Amor Secreto” becomes Yuridia’s first ruler during a Billboard chart career that dates to 2005, when the Mexican singer-songwriter reached a No. 16 high on Top Latin Albums through her debut album La Voz de Un Ángel (March 2006). The set also took her to her first top 10 on any chart, peaking at No. 6 on Latin Pop Albums.
The song’s coronation on Regional Mexican Airplay arrives after Yuridia came close to the summit with the No. 3-peaking “Que Agonía,” with Angela Aguilar, in March 2023.
Muñoz secures his fifth champ, previously topping the list with the one-week ruler “Como En Los Viejos Tiempos” in January.
The pair previously collaborated on “Me Hace Tanto Bien,” one of 14 tracks on Yuridia’s album Pa’ Luego Es Tarde, her first foray with a regional Mexican Album, which reached a No. 7 high on Regional Mexican Albums in 2022; the song did not land on a radio ranking.
“Mi Eterno Amor Secreto” also flies 13-2 on the overall Latin Airplay chart, for both artists’ highest charting entry to date. While “Que Agonía” took Yuridia to a No. 3 high in March 2023, Muñoz locked a No. 4 high with “Como En Los Viejos Tiempos” in January.
The latest on Yuridia and Muñoz becomes the fourth female-male soloist team-up to land in the top three on Latin Airplay in 2024. Peso Pluma did it twice through collabs with Karol G and Kali Uchis. Here are those combined gender hits on the overall radio tally thus far:
Artists, Title, Peak Position, Peak Date
Karol G & Peso Pluma, “Qlona,” No. 1, March 2
Kali Uchis & Peso Pluma, “Igual Que Un Ángel,” No. 1, June 29
Alejandro Fernández & Anitta, “La Tóxica,” No. 2, Sept. 21
Yuridia & Eden Muñoz, “Mi Eterno Amor Secreto,” No. 3, Oct. 12
From a behind-the-scenes start lifting others’ careers to carving out his own colossal catalog, Bruno Mars has become one of the most consistent hitmakers of the last decade. After Mars spent years shuffling through the label system and building a roster of collaborators, he earned a key breakthrough as a co-writer of Flo Rida’s “Right […]
On Oct. 8, 1994, Toby Keith’s “Who’s That Man” ascended to No. 1 on Billboard’s Hot Country Songs chart. It became the second of his 20 career leaders, among 42 top 10s. The hit, which Keith wrote and Nelson Larkin and Harold Shedd produced, was released as the lead single from Keith’s sophomore LP, Boomtown. […]
Billy Strings’ Highway Prayers arrives at No. 1 on Billboard’s all-genre Top Album Sales survey dated Oct. 12.
The set also launches at No. 1 on Bluegrass Albums, marking the first time that bluegrass has boasted the top-selling album among all genres in 22 years. The O Brother, Where Art Thou? soundtrack spent two weeks at No. 1 on Top Album Sales in March 2002. It also ruled Bluegrass Albums for 15 weeks.
Highway Prayers, which includes 20 songs, sold 19,000 – Strings’ biggest career sales week – in the United States in its first week (Sept. 27-Oct. 3), according to Luminate.
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The 32-year-old singer-songwriter and multi-instrumentalist from Lansing, Mich., now based in the Nashville area, leads Top Album Sales for the first time following three top 10s: Live, Vol. 1 entered at its No. 5 high on the chart dated July 27 with 15,000 sold; Me/And/Dad started at its No. 5 peak in December 2022 with 16,000 sold (his previous high mark); and Renewal began at its No. 7 best in October 2021 (8,000). He posted his initial appearance in October 2019 as Home entered at its No. 34 peak.
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With Highway Prayers, Strings (born William Apostol) earns his fifth leader among eight top 10s on Bluegrass Albums.
Simultaneously, the LP — which Strings produced with Jon Brion — arrives at No. 8 Top Country Albums, awarding Strings his third top 10. The set starts with 24,000 equivalent album units, the largest consumption week of his career. The collection also opens at No. 6 on Americana/Folk Albums, marking his fourth top 10.
Currently on tour, Strings makes his next stop Oct. 11 in Indianapolis.
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 to May 25, 1991, when 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 X and Instagram.
It seems everything Shed Seven touches turns to Liquid Gold, with the rockers scoring their second No. 1 album of 2024 on the U.K. Official Album Charts.
Their latest project, Liquid Gold, follows their first-ever chart-topper A Matter of Time back in January, putting them in some seriously elite company. They now stand shoulder-to-shoulder with legends like The Beatles, Queen, Elton John, Diana Ross, Taylor Swift, Ed Sheeran, and ABBA—artists who’ve managed to land two U.K. No. 1 albums in a single year.
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“Can’t quite really believe that we’re standing here once again this year, but this is our second No. 1 of 2024, which is absolutely mind-blowing,” Shed Seven told the Official Charts Company.
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“We would like to thank our amazing label, Cooking Vinyl, all our crew, and most of all, all the fans who’ve been getting out there this week and getting behind us. We’re immensely proud, and we can’t wait to get out on tour and celebrate what an amazing year we’ve had.”
“We’d like to dedicate this to our departed loved ones; our four Dads and Max’s Mum. Thank you”
Just behind Shed Seven, Bring Me The Horizon jumped to No. 2 with POST HUMAN: NeX GEn, thanks to its physical release. The album previously peaked at No. 5 back in June and has now marked the group’s fifth Top 10 album.
Meanwhile, North-West London rapper Nines hit No. 4 with his sixth and final album Quit While You’re Ahead, while Ed Sheeran’s +–=÷× (Tour Collection) secured the No. 5 spot, making this Ed’s eighth Top 10 album.
In a big moment for jazz, Ezra Collective broke into the Top 10 for the first time with Dance, No One’s Watching, debuting at No. 7. The last time jazz had such a big moment in the U.K. Top 10 was Chris Kamara’s Here’s To Christmas in 2019. Ezra Collective previously earned Top 40 success with their Mercury Prize-winning Where I’m Meant To Be in 2022, but this leap to the Top 10 marks a game-changer for the genre.
Elsewhere, Manchester’s Pale Waves made waves of their own with their fourth studio album Smitten, landing at No. 13, while indie veterans Maximo Park claimed No. 21 with Stream of Life, keeping their streak of Top 40 albums intact.
And in a surprise surge, Benson Boone’s Fireworks & Rollerblades shot back into the Top 40, climbing 20 spots to land at No. 37 in what was a week full of chart shakeups and big wins across the board.
Sabrina Carpenter has continued her unstoppable reign on the U.K. Official Singles Chart with her hit “Taste,” which remains at No. 1 for a sixth consecutive week.
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Over the past seven days, the track has garnered 6.2 million streams, keeping it comfortably ahead of Chappell Roan’s “Good Luck Babe” at No. 2. Despite its relentless push for the top spot, “Good Luck Babe” still hasn’t managed to surpass Sabrina’s impressive run.
The Weeknd and Playboi Carti have also made their mark with their collaboration “Timeless,” from The Weeknd’s upcoming sixth album Hurry Up, Tomorrow, debuting at No. 7 on the chart. This marks The Weeknd’s 17th Top 10 hit in the U.K., while for Playboi Carti, it’s his second.
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Meanwhile, Billie Eilish’s “Wildflower” has been steadily climbing the chart and has now broken into the Top 20 for the first time, landing bang on No. 20.
Billie is no stranger to chart-topping success, having previously reached No. 2 with her 2019 smash hit “Bad Guy.” With “Wildflower” continuing to gain momentum, it could mean Billie may be heading for another chart milestone.
In another impressive leap, Linkin Park’s “Heavy Is The Crown” skyrocketed 48 places this week to No. 18, marking the band’s 20th U.K. Top 40 single. It’s clear that even after years in the game and a new vocalist, their fanbase remains as dedicated as ever, proving their staying power in a constantly evolving music landscape.
Addison Rae also continues to rise, as her song “Diet Pepsi” moved up 15 spots to No. 22. This marks her first time breaking into the U.K. Top 40, marking a major achievement for the emerging pop star.
Rounding out the chart’s newcomers is London MC Nines, who enters the Top 40 at No. 39 with “Going Crazy,” following the release of his final album. His latest effort has garnered enough attention to secure his seventh U.K. Top 40 single.
Additionally, Noah Kahan’s “Stick Season,” named the biggest song of the year so far in the U.K., has made a return to the Top 40, landing at No. 40. The track’s ability to rebound into the chart after slipping out showcases its enduring popularity and appeal across various audiences.
Stay tuned to see what tracks make movements on the U.K. Official Charts this week.
Lady Gaga scores her third No. 1 on Billboard’s Jazz Albums and Traditional Jazz Albums charts, as Harlequin debuts atop both tallies (dated Oct. 12). The companion set to her film Joker: Folie à Deux, earned 25,000 equivalent album units in the U.S. in the week ending Oct. 3, according to Luminate. Of that sum, 16,000 are traditional album sales.
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Gaga previously topped both rankings with her collaborative albums with Tony Bennett: Love for Sale (in 2021) and Cheek to Cheek (2014).
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Harlequin earns the biggest debut week, by units earned, for any jazz album, or traditional jazz album, since Love for Sale earned 41,000 units in its opening week (Oct. 16, 2021-dated charts).
Equivalent album 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. All Oct. 12, 2024-dated charts will be posted in full on Billboard‘s website on Tuesday, Oct. 8. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of Harlequin’s first-week units, streaming equivalent album-units comprise nearly 9,000 – equaling 11.34 million official on-demand streams of the album’s songs. The latter figure marks the biggest debut streaming week for a jazz album in over a year, since Laufey’s Bewitched bowed with 22.36 million clicks (Sept. 23, 2023-dated chart).
Harlequin also debuts at No. 20 on the overall Billboard 200 and No. 3 on both Vinyl Albums and Top Album Sales.
Jazz Albums and Traditional Jazz Albums rank the week’s most popular jazz and traditional jazz albums, respectively, by equivalent album units earned. The Billboard 200 ranks the week’s most popular albums across all genres, by units. Vinyl Albums and Top Album Sales tally the week’s top-selling vinyl albums, and overall albums, by traditional album sales.
Also on Top Album Sales, Billy Strings’ Highway Prayer debuts at No. 1 with 19,000 sold in its first week – the act’s biggest sales week ever. It’s also the first No. 1 for the artist. Chappell Roan’s The Rise and Fall of a Midwest Princess slips one spot to No. 2 (18,000; down 67%), Sabrina Carpenter’s Short n’ Sweet is steady at No. 4 (14,000; down 3%), Katy Perry’s 143 falls 2-5 (9,000; down 77%), Luke Bryan’s Mind of a Country Boy bows at No. 6 (nearly 8,000), Taylor Swift’s chart-topping Folklore vaults 33-7 (7,500; up 153% after a stock replenishment of its CD at retail), Stray Kids’ former leader ATE is a non-mover at No. 8 (7,000; down 6%), P1Harmony’s Sad Song falls 3-9 (6,000; down 77%) and Billie Eilish’s Hit Me Hard and Soft climbs 15-10 (nearly 6,000; up 8%).
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.