Chart Beat
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SEVENTEEN scores its sixth No. 1 on Billboard’s Top Album Sales chart (dated Nov. 2) as SPILL THE FEELS enters atop the list with 64,000 copies sold in the U.S. in the week ending Oct. 24, according to Luminate. All six of the group’s leaders have come since 2021, and the act now ties TOMORROW X TOGETHER for the second-most No. 1s in the 2020s decade. Only Taylor Swift, with eight No. 1s since 2020, has more chart-toppers this decade.
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Also in the top 10 of the new Top Album Sales chart, rapper Yeat nabs his biggest sales week ever with the No. 2 debut of Lyfestyle, Tom Petty and the Heartbreaker’s reissue of Long After Dark arrives at No. 6, Kylie Minogue’s Tension II starts at No. 7, Jerry Cantrell’s I Want Blood bows at No. 8 and Dan + Shay kick off the holiday season with It’s Officially Christmas: The Double Album entering at No. 10.
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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.
SPILL THE FEELS’ sales were bolstered by its availability across 17 CD variants, each containing collectible branded paper ephemera (such as photocards, posters, lyric books and stickers, some randomized). Of the set’s 64,000 copies sold, 99% were CDs and the remaining sales were digital downloads.
Yeat logs his biggest sales week ever as Lyfestyle bows at No. 2 with 60,000 sold. Lyfestyle’s first-week sales were bolstered by its availability across many variants, exclusively sold through the artist’s webstore. Lyfestyle’s opening-week sales actually exceed the cumulative sales of the rapper’s entire album catalog before this past week. Until Lyfestyle’s release, his catalog of albums had sold a combined 35,000 copies.
Jelly Roll’s Beautifully Broken dips 1-3 in its second week (33,000; down 71%), Sabrina Carpenter’s Short n’ Sweet is steady at No. 4 (11,000; down 17%) and Chappell Roan’s The Rise and Fall of a Midwest Princess falls 3-5 (nearly 11,000; down 26%).
Tom Petty and The Heartbreakers’ Long After Dark, first released in 1982, makes its debut on Top Album Sales at No. 6, following its deluxe remastered reissue on Nov. 18. In the tracking week, the album – with all versions, new and old, combined – sold 10,000 copies. The reissue was available in multiple permutations, including a deluxe digital download, two vinyl variants, and two CD/Blu-ray audio combo editions (most inclusive of additional unearthed bonus tracks).
Kylie Minogue’s Tension II starts at No. 7 on Top Album Sales with 9,000 copies sold. It’s the sequel set to her 2023 release Tension. The new album was issued in four CD variants, four vinyl editions, two download editions and a cassette tape.
Jerry Cantrell’s I Want Blood bows at No. 8 with nearly 9,000 sold, marking his best sales week as a soloist since 2002. It’s also his first top 10-charting effort as a solo artist on the ranking. The set was available across five vinyl variants, three CD editions and a download.
Charli XCX’s Brat falls 2-9 with almost 9,000 sold (down 82%).
Rounding out the top 10 on the new Top Album Sales chart is the debut of Dan + Shay’s It’s Officially Christmas: The Double Album at No. 10 with 6,000 sold. It’s the first holiday release from the duo – and the first seasonal effort to reach the top 10 on Top Album Sales in 2024. The set was issued in two vinyl variants, two CD variants and a digital download.
Amyl and The Sniffers are turning heads on the ARIA Albums Chart this week, debuting at No. 2 with their high-energy third album, Cartoon Darkness.
It’s a big moment for the Melbourne punk rockers, who’ve managed to climb even higher than their self-titled debut in 2019, which landed at No. 22, and almost match their 2021 release Comfort To Me, which peaked at No. 2. Their chart presence, paired with three ARIA Awards (including Best Group in 2022), marks them as a fierce force in the Australian music scene.
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While Amyl and The Sniffers were poised to snatch the top spot, it was hip-hop innovator Tyler, The Creator who claimed No. 1 with Chromakopia. Released on an unusual Monday schedule, Tyler’s album marks his seventh studio effort and his first ARIA Albums Chart topper, narrated by none other than his mother, Bonita Smith. The record features the hit single “Noid,” debuting at No. 13, alongside four other tracks in the Top 50. Tyler’s star power in Australia continues to rise, building on his previous top 10 albums, with Igor reaching No. 3 in 2019 and Call Me If You Get Lost landing at No. 2 in 2021.
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Meanwhile, Aussie favorites Sheppard re-enter the chart at No. 10 with their fourth album, Zora, which had earlier peaked at No. 8, meaning they’ve now locked in four consecutive Top 10 albums.
Green Day makes a throwback splash, too, with the 20th-anniversary edition of American Idiot hitting No. 12. The 2004 classic, which spent two weeks at No. 1 upon its initial release, is proving its staying power, especially as fans celebrate its recent reissue.
On another nostalgic note, Powderfinger’s Parables For Wooden Ears re-enters the chart at No. 36 for its 30th anniversary. Originally peaking at No. 51 in 1994, the album now returns as fans reflect on Powderfinger’s legacy, including six No. 1 albums and a massive 18 ARIA Awards to their name.
On the singles front, Rosé and Bruno Mars continue their reign at the top with “APT.,” making history as Rosé becomes the first solo Korean artist to hold the No. 1 spot on the ARIA Singles Chart for more than a week since PSY’s “Gangnam Style” in 2012.
Bruno Mars also holds steady at No. 4 with his duet with Lady Gaga, “Die With A Smile,” showing his consistent staying power in the Australian market.
With Cartoon Darkness, Amyl and The Sniffers remind us that punk is alive, well, and making serious waves on the charts. Their gritty, unfiltered sound is resonating louder than ever, bringing fresh energy to the Australian rock scene and showing that they’re here to stay.
Karol G tallies a seventh consecutive week at No. 1 on the Billboard Argentina Hot 100 chart as “Si Antes Te Hubiera Conocido” rules the Oct. 26-dated ranking. The song lengthens the third-longest command in 2024, following the 11-week coronation by Valentino Merlo and The La Planta’s “Hoy” and Mesita, Nicki Nicole, Tiago PZK and […]
One of the most successful regional Mexican groups, Calibre 50 is no stranger to leading the pack, and the group is at again with its record-extending 26th No. 1 on Billboard’s Regional Mexican Airplay chart, as “El Amor De Mi Vida” jumps 2-1 to lead the Nov. 2-dated list. Explore Explore See latest videos, charts […]
One of hip-hop’s earliest hitmakers is back on the Billboard charts, returning with his first new song to reach the rankings in more than two decades. Young MC’s “Fun Part,” released on the rapper’s Disco Theory label, lands a No. 38 debut on the Rhythmic Airplay chart and gives its creator his first visit to a Billboard chart with a new song since “Heatseeker” in 2002. Among other placements, “Heatseeker” reached No. 6 on the Hot Singles Sales chart and No. 92 on the Hot R&B/Hip-Hop Songs list.
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“It feels exhilarating and nerve-wracking at the same time,” Young MC tells Billboard upon his new track’s entrance to the charts. “On the one hand, it’s a validation for all the hard work I’ve put in over decades to grow as an artist and a producer. But at the same time, I feel the pressure to keep the momentum going. I’m looking forward to the challenge.”
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Born Marvin Young, the artist who later became Young MC first came to prominence as a songwriter on two 1989 hits for Tone-Loc that broke barriers as some of hip-hop’s earliest crossover success stories on the charts. “Wild Thing” soared to No. 2 on the Billboard Hot 100 – at the time, the genre’s highest peaking hit on the flagship chart – while “Funky Cold Medina” nearly duplicated the feat, reaching a No. 3 best.
That same year, the rapper also touched a third classic, but this time, as the main attraction. “Bust a Move,” which features the Red Hot Chili Peppers’ Flea on drums, flew to No. 7 on the Hot 100 and won a Grammy Award for best rap performance. The single has lived on with countless uses in pop culture, including in films such as Dude, Where’s My Car? and The Blind Side, a 1997 commercial for Priceline in which William Shatner recited some of the song’s lyrics, and moments on TV’s Glee and The Big Bang Theory.
Thirty-five years on from his first hit, landing a new one in a new generation of hip-hop isn’t lost on the pioneer. “It’s wild to think that many of the people listening to ‘Fun Part’ weren’t even born when I released ‘Bust a Move’,” he says. “I’m finding the delicate balance of appealing to them while not alienating those people who were fans of ‘Bust a Move’ when it was out and still come to shows to see it today.”
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An underlying reason for Young MC’s return? Last year’s celebrations surrounding the 50th anniversary of hip-hop’s creation, dating to its accepted 1973 origin in New York City, and virtually every major music publication and organization’s salute to the genre’s expansion from a potential fad to a world-conquering sound. “I can only speak for myself, but I was impacted by seeing all the Hip-Hop 50 stuff flying around. I reflected on what I had personally given to hip-hop during the 50 years and if I could possibly give more.”
And he isn’t the only one of his generation back in the game. LL Cool J wrapped a decade-long hiatus from music with the September release of The Force album, his first since 2013. Its current single, the Eminem-assisted “Murdergram Deux,” begins at No. 39 on Rhythmic Airplay, directly below “Fun Part.” The dual resurgences, to Young MC, feel connected. “I can relate to all the legacy artists putting out new music today – for most of us, it’s a ‘want to’ more than a ‘have to,’” he explains.
But at least the response to his latest song gives him peace over those concerns about whether he still had more to offer: “’Fun Part’” proves to me that the answer to that question is a resounding ‘yes!’”
Yeah Yeah Yeahs’ “Maps” becomes the fifth song in the 13-month history of the TikTok Billboard Top 50 chart to reign for at least four weeks, spending its fourth straight frame at No. 1 via the Nov. 2-dated ranking, while A.J. & Big Justice’s social media smash “We Bring the Boom” is one of the week’s top debuts.
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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 Oct. 21-27. Activity on TikTok is not included in Billboard charts except for the TikTok Billboard Top 50.
“Maps” joins similar reigns by Alek Olsen’s “Someday I’ll Get It” and Flo Milli’s “Never Lose Me,” both in 2024, for four weeks each; Mitski’s “My Love Mine All Mine” ruled for six weeks in 2023; while the all-time leader, Tommy Richman’s “Million Dollar Baby,” secured the top spot for 10 weeks beginning in May.
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Released in 2003 on Yeah Yeah Yeahs’ debut LP Fever to Tell, “Maps” reigns via a pair of trends on TikTok, one involving a dance while the other has creators using a filter to remove their facial features and have them cascade back down onto their countenance in the clip. While the original version of the song has been widely used, a sped-up remix has also contributed to the success of “Maps” on the chart.
The top three of the TikTok Billboard Top 50 remains intact from the previous week (Oct. 26), with Alphaville’s “Forever Young” and Akon’s “Akon’s Beautiful Day” following at Nos. 2 and 3, respectively. While it’s Akon’s second week at No. 3, Alphaville has now stood at No. 2 for three weeks in a row and hasn’t fallen below No. 3 since mid-September.
Vines’ “Being Loved Isn’t the Same As Being Understood,” following its No. 8 debut on the Oct. 26 survey, crashes the party as the lone new entrant in the top five, jumping to No. 4 in week two. The song, self-released in March by the artist known also as Cassie Wieland, continues its ascent thanks to a trend on TikTok where the user posts about either themselves or someone they know, usually as a photo collage, to “sum up the kind of person” they are or were. Some of the top-performing clips discuss a person who has since died.
“Being Loved Isn’t the Same As Being Understood” sported a 99% leap in official U.S. streams to 116,000 in the week ending Oct. 24, according to Luminate.
Gigi Perez’s “Sailor Song,” following its first week in the top 10 (No. 10) on the Oct. 26 chart, also rises four spots, leaping 10-6. The 2024 tune, which leapt another 4% in streams to 13.5 million in the week ending Oct. 24, has benefited from a variety of trends since it first began exploding on TikTok in the summer, often relationship- and romance-related.
It’s followed by Oscar Maydon and Fuerza Regida’s “Tu Boda,” which vaults 14-7, its first week in the top 10. The song has exploded on TikTok – as well as on streaming services – in recent weeks, particularly following the release of its music video on Oct. 14.
“Tu Boda” concurrently catapults 157% in streams to 15.2 million in the week ending Oct. 24, enough to blast the song to a No. 23 debut on the Billboard Hot 100.
The tune’s TikTok ecosystem includes edits and trends involving the 2005 movie Corpse Bride, plus lip-synch content.
The Cramps’ cover of “Goo Goo Muck” sports the week’s top TikTok Billboard Top 50 debut, starting at No. 9. Released in 1981 on the rockers’ album Psychedelic Jungle, the tune returned to prominence in 2022 when it was featured in the Netflix series Wednesday.
In recent weeks on TikTok, “Goo Goo Muck” has been embraced in a link to its status as a Halloween-time standard, following a trend where the user is running from danger but then runs back when realizing their pursuer is attractive, often starting to take off their shirt in the process.
Gabriela Bee’s “Maybe” is the third new entrant into the top 10, rounding it out at No. 10 after its No. 11 debut on Oct. 26. Usages of the song revolve around its “Maybe one day I’ll get married/ And you’ll be my maid of honor” lyric, with creators either remembering their own weddings or noting who they’d like to be the maid of honor at their wedding.
And A.J. & Big Justice bring the boom to the TikTok Billboard Top 50, with “We Bring the Boom!” debuting at No. 15. The father-and-son TikTok stars released what’s become their theme song to streaming services in July, and the tune has only risen as prominence as the duo (plus others often featured in their uploads, from family members to The Rizzler) has gained in popularity on the platform, currently boasting over 2 million followers.
The majority of the top-performing videos using “We Bring the Boom!” are from the A.J. & Big Justice account itself, though others have gotten in on the song’s accompanying dance as well — including professional athletes in game.
In the tracking week ending Oct. 24, “We Bring the Boom!” earned 327,000 streams in the U.S., up 24%.
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.
Tyler, the Creator’s new era is already off to a strong start, as the rapper’s “Noid” storms onto Billboard’s Hot R&B/Hip-Hop Songs chart (dated Nov. 2) at No. 9, despite partial availability for the chart’s tracking week. The song was released Monday, Oct. 21, allowing for roughly four days of eligibility for the streaming, sales […]
BLACKPINK’s Rosé is crowned on Australia’s singles chart for the first time, a feat that etches her name in the history books.The New Zealand-born, Australia-raised superstar singer ends Sabrina Carpenter’s reign on the ARIA Single Chart, as “APT.” (via Atlantic/Warner), her collaboration with Bruno Mars, debuts at No. 1.With that, Rosé becomes the first solo female K-pop star to top the ARIA Chart. She’s just the second solo artist from South Korea to climb the chart ladder after PSY’s “Gangnam Style” spent six weeks on top back in 2012.
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Born in Auckland and raised in Melbourne, Rosé (born Roseanne Park) made the move to South Korea aged 15, when the world of K-pop came calling. At her father’s suggestion, she auditioned for South Korean music company YG Entertainment. It was a shrewd move. The rest is music history.BLACKPINK – comprising Rosé, Jisoo, Jennie and Lisa — smash records for fun. In 2022, BLACKPINK set the mark for the highest-debuting single by a K-pop group in ARIA Chart History when “Pink Venom” hit No. 1, beating the No. 2 start for BTS’ 2020 hit “Dynamite.”BLACKPINK’s two studio albums, The Album (from 2020) and Born Pink (2022), both debuted and peaked at No. 2 on the Australian albums survey. In support of Born Pink, the pop group last year embarked on an east coast arena tour of Australia. “APT.,” a reference to the Korean drinking game aparteu, or apartment in English, is the first single from Rosé’s debut album Rosie, which lands on Dec. 6. The track lands at No. 1 on both the Billboard Global 200 and Billboard Global Excl. U.S. charts, and arrived at No. 4 on the Official U.K. Singles Chart, setting a new record in the process.
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In the United States, “APT.” powers to No. 8 on the Billboard Hot 100. That too is a history-making achievement; Rosé becomes the first female solo artist prominent in K-pop (Korean pop) to hit the top 10.
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A little over eight months ago, Olivia Rodrigo had only headlined theaters. Flash forward to today, and she has sold out arenas on four continents and staged one of the year’s biggest tours. The pop phenom wrapped the Guts World Tour last week, bringing in $184.6 million from over 1.4 million tickets sold, according to figures reported to Billboard Boxscore.
The Guts cycle began in June 2023, when Rodrigo unleashed “Vampire,” the Grammy Award-nominated single that topped the Billboard Hot 100 for two weeks. The album followed, debuting atop the Billboard 200, landing its entire track list on the Hot 100, and earning two Grammy nominations of its own. After hedging bets with a theater tour following 2021’s gargantuan debut with Sour, the stage was set for an upgrade to arenas now that the sophomore slump had been avoided.
Rodrigo kicked off the Guts World Tour on Feb. 23 at Acrisure Arena in Palm Desert, Calif. That show sold 9,998 tickets, marking the smallest attendance for any stop on the tour. Things picked up quickly, ending her first North American leg with four shows at New York’s Madison Square Garden, earning $10 million from 57,900 tickets between April 5-9.
Though the New York run stands as the highest-grossing engagement of the Guts World Tour, that was not the end of Rodrigo’s run. She played 29 shows across 19 cities in Europe before returning to the U.S. and Canada for another 20 dates. To cap things off, she hit six Asian markets, plus four-night runs in Melbourne and Sydney, Australia.
During Rodrigo’s stint in Asia, her Oct. 5 performance at Manila’s Philippine Arena grossed $1.2 million and sold 48,800 tickets. It’s the best-selling single show of the entire tour – and her entire career – eclipsed only by four-night engagements in major markets like New York, London and Los Angeles. But out of 62 stops throughout 2024, it’s her third-lowest earner. That’s because she purposely kept tickets cheap, averaging $25.04 USD, which stands as less than a fifth the tour’s average of $128.81. Rodrigo is Filipino-American, and the show was a special stop – she is one of just seven artists to report concerts in Philippines this year – where all net proceeds went to local charity Jhpiego through the Fund 4 Good.
In terms of venue capacity and global reach, the Guts World Tour was a major step up for Rodrigo. While reporting for the Sour Tour was incomplete, its 16 reported shows averaged $415,000 and sold 5,517 tickets per show. Two years later, her nightly attendance is up 173% to 15,084, and her average gross jumped by 369% to $1.9 million. In 2022, she played 33 shows in North America and 16 in Europe. In 2024, those numbers bloated to 48 and 29, respectively, plus the 18 combined shows in Australia and Asia.
Still, there might be more room to grow. Co-manager Zack Morgenroth told Billboard that, per tour promoter Live Nation, demand indicated that Rodrigo could’ve packed stadiums just as well. Even at a low price, Rodrigo moved nearly 50,000 tickets in Manila, giving proof of concept.
The numbers are huge, but the tour’s greater impact extends beyond the accolades. Rodrigo’s Fund 4 Good led the way, in collaboration with HeadCount, the National Network of Abortion Funds and more. And then, there’s the secondhand buzz that helped guide Chappell Roan from the first leg’s opening act to industry noisemaker, eventually returning as a special guest in August, rousing the crowd with a choreographed sing-along of her own “Hot To Go.”
At 21 years old, Rodrigo’s Guts World Tour is the highest-grossing tour for someone of her young age (or younger) in a decade, dating back to when One Direction ruled the year-end Top Tours chart in 2014 with the Where We Are Tour. But that’s not enough – Rodrigo herself laments “When am I gonna stop being great for my age and just start being good” on Guts deep cut “Teenage Dream.” Her 2024 trek is now one of the 10 biggest pop tours of the decade so far, ranking among treks by peers like Harry Styles and icons like Madonna.