Chart Beat
Page: 73
Sabrina Carpenter‘s smash hit “Taste” continues to savor the sweet taste of victory on the U.K. Official Singles Chart, claiming the No. 1 spot for a third consecutive week.
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The track effortlessly holds its position, marking a triumphant run as Carpenter’s fan-favorite song dominates the charts.
Adding to her success, the singer’s previous chart-toppers, “Espresso” and “Please Please Please,” are also still going strong. “Espresso” holds steady at No. 2, while “Please Please Please” rounds out the Top 5, landing at No. 5. With three singles in the Top 5, Carpenter is seeing some seriously sweet success.
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Meanwhile, Linkin Park makes an explosive return with their latest single “The Emptiness Machine,” debuting at No. 4 on the Official Chart, published Friday, Sept. 13. This marks the alt-rock band’s highest-charting single in the U.K. and their first Top 10 hit since 2008.
The track is also the first release to feature new members Emily Armstrong and Colin Brittain, bringing a fresh sound to the group’s legacy.
Elsewhere on the charts, Lady Gaga and Bruno Mars climb one spot to No. 6 with their ballad “Die With a Smile,” securing its third week in the Top 10. Another major jump comes from Sonny Fodera, Jazzy, and D.O.D, whose collaborative track “Somedays” leaps five spots to No. 10, giving all three artists their first Top 10 hit together.
TikTok sensation Gigi Perez continues to rise, with “Sailor Song” jumping 11 spots to No. 13, marking her first-ever Top 20 hit. Other notable movements include Teddy Swims’ “The Door” climbing seven places to No. 16, and Gracie Abrams’ “I love you, I’m sorry” rising to a new peak of No. 21.
Finally, Central Cee and RAYE’s new collaboration “Moi” debuts at No. 38, solidifying another exciting week for the U.K. Official Charts.
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Sabrina Carpenter’s Short n’ Sweet scores a third consecutive week at No. 1 on the Billboard 200 albums chart (dated Sept. 21), becoming the second album to spend its first three weeks atop the list in 2023. Only Taylor Swift’s The Tortured Poets Department also spent its first three frames atop the list in 2024, of its total 15 nonconsecutive weeks at No. 1.
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Short n’ Sweet earned 117,000 equivalent album units in the U.S. in the week ending Sept. 12 (down 25%), according to Luminate — largely driven by streaming activity of the album’s 12 songs.
Also in the top 10 of the Billboard 200, David Gilmour achieves his third solo top 10 album, as his first studio effort in nine years, Luck and Strange, bows at No. 10.
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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 Sept. 21, 2024-dated chart will be posted in full on Billboard‘s website on Tuesday (Sept. 17). For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of Short n’ Sweet’s 117,000 equivalent album units earned in its third week, SEA units comprise 101,000 (down 20%, equaling 134.79 million on-demand official streams of the album’s 12 songs; it holds at No. 1 on the Top Streaming Albums chart), album sales comprise 15,000 (down 45%) and TEA units comprise 1,000 (down 5%).
Nos. 2-6 on the Billboard 200 are all non-movers. Post Malone’s former leader F-1 Trillion ranks at No. 2 (72,000 equivalent album units earned; down 16%); Chappell Roan’s The Rise and Fall of a Midwest Princess is No. 3 (57,000; down 7%); Morgan Wallen’s chart-topping One Thing at a Time places at No. 4 (52,000; down 7%); Swift’s The Tortured Poets Department is No. 5 (51,000; down 3%); and Billie Eilish’s Hit Me Hard and Soft is No. 6 (47,000; down 3%).
Zach Bryan’s The Great American Bar Scene rises one spot to No. 7 with 38,000 equivalent album units earned (down 2%), Noah Kahan’s Stick Season climbs 9-8 with 38,000 (down 3%) and Wallen’s former leader Dangerous: The Double Album ascends 11-9 with 32,000 (down 5%).
David Gilmour rounds out the new top 10, as his first studio album in nine years, Luck and Strange, debuts at No. 10. It’s his third solo top 10-charting effort. He previously visited the top 10 with the solo sets Rattle That Lock (No. 5 in 2015) and On an Island (No. 6, 2006).
The new album earned 32,000 equivalent album units in the U.S. in the week ending Sept. 12. Of that sum, album sales comprise 30,000 (it’s the top-selling album of the week and bows at No. 1 on Top Album Sales), SEA units comprise 2,000 units (equaling 2.17 million on-demand streams of the set’s songs) and TEA units comprise a negligible sum. The album’s first-week sales were bolstered by its availability across four vinyl variants (which combined to sell 8,500 copies), two CD variants and a Blu-ray Audio configuration.
Gilmour is also a member of Pink Floyd, and all 10 of iconic rock band’s top 10-charting albums (from 1973’s No. 1 The Dark Side of the Moon through 2014’s The Endless River) reached the region after Gilmour joined the band in 1967. (The Dark Side of the Moon holds the record for the most weeks on the Billboard 200 of any album in the chart’s history — 990 weeks — having most recently made the list in May.)
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.
Dustin Lynch’s “Chevrolet,” featuring Jelly Roll, rides two spots to No. 1 on Billboard’s Country Airplay chart (dated Sept. 21).
The single – Lynch’s ninth Country Airplay leader and Jelly Roll’s fifth – increased 10% to 30.1 million audience impressions Sept. 6-12, according to Luminate.
“Chevrolet” was written by Chase McGill, Jessi Alexander and Hunter Phelps, with Mentor Williams also receiving writer billing, as it interpolates his classic “Drift Away.” Recorded by Dobie Gray, the original hit No. 5 on the Billboard Hot 100 hit in 1973. Plus, Uncle Kracker’s update, featuring Gray, reached No. 9 in 2003.
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“The response to this song has been absolutely wild to see in our live shows from way early on,” Lynch tells Billboard. “This iconic melody from ‘Drift Away’ is deep within all of us, and connects us instantly for such an epic sing-along. There’s a nostalgia to it that just feels good, and it becoming my ninth No. 1 on Billboard’s Country Airplay chart means so much, especially since I get to celebrate this with my buddy Jelly. To the fans that have been on this crazy journey with me, this one is for you! Let’s keep riding y’all – I’m just getting started!”
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Notably, “Chevrolet” is the latest Country Airplay No. 1 to either interpolate or remake a past hit. It’s the second in a row, as it supplants Shaboozey’s “A Bar Song (Tipsy),” which updates J-Kwon’s 2004 hip-hop hit “Tipsy.”
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Before that, Kane Brown’s “I Can Feel It,” which reworks Phil Collins’ “In the Air Tonight,” led Country Airplay for a week in March; Luke Combs’ faithful cover of Tracy Chapman’s “Fast Car” reigned for five weeks beginning last July; and Cole Swindell’s “She Had Me at Heads Carolina,” which reimagines Jo Dee Messina’s “Heads Carolina, Tails California,” banked four weeks at No. 1 beginning in September 2022.
Plus, Jelly Roll joined MGK for “Lonely Road.” The reinterpretation of John Denver’s “Take Me Home, Country Roads” has spent the last weeks in the top 40 of the multimetric Hot Country Songs chart.
“Chevrolet,” which Zach Crowell and Ben Phillips produced, is from Lynch’s album Killed the Cowboy. He last topped Country Airplay with “Thinking ‘Bout You,” featuring MacKenzie Porter, for six weeks beginning in December 2021. His other No. 1s: “Ridin’ Roads,” for one week in January 2020; “Good Girl” (one, January 2019); “Small Town Boy” (four weeks, starting in September 2017); “Seein’ Red” (one, February 2017); “Mind Reader” (one, June 2016); “Hell of a Night” (one, September 2015); and “Where It’s At (Yep, Yep)” (two, September-October 2014).
Jelly Roll boasts the longest active streak of Country Airplay No. 1s from the start of a career at the format. (Kane Brown boasts the longest run overall: six, dating to July 2021.) Jelly Roll previously led with “Halfway to Hell,” for one week in June; “Save Me,” featuring Lainey Wilson (two weeks, December 2023); “Need a Favor” (four, beginning in August 2023); and “Son of a Sinner” (one, January 2023).
Jelly Roll concurrently climbs 14-11 (17 million, up 15%) on Country Airplay with his own “I Am Not Okay” (Bailee & Buddy/BMG/Republic/Stoney Creek).
Traveling ‘Miles’
Marshmello and the aforementioned Kane Brown’s “Miles on It” hits the Country Airplay top 10 (11-7; 20.8 million, up 19%). Marshmello reaches the tier in the DJ’s first visit to the chart. Brown banks his 13th top 10 and first since “I Can Feel It,” which became his 11th No. 1 in March.
All charts dated Sept. 21 will update Tuesday, Sept. 17 on Billboard.com.
Additional reporting by Gary Trust.
Linkin Park’s “The Emptiness Machine” vaults to the top of Billboard’s Rock & Alternative Airplay chart, soaring from No. 24, where it debuted a week ago, to No. 1 on the Sept. 21-dated survey.
The song reigns with 9.1 million rock radio audience impressions Sept. 6-12 – its first full week of tracking – according to Luminate. The single premiered at 6 p.m. ET on Sept. 5 and debuted on the Sept. 14-dated chart with 1.1 million in rock radio reach.
In the history of Rock & Alternative Airplay, which began in 2009, 14 songs — now including “The Emptiness Machine” — have reached No. 1 in just one or two weeks. Linkin Park had last achieved the feat when “Friendly Fire,” released on the band’s best-of set Papercuts after originally being recorded for the sessions for 2017’s One More Light, launched at No. 1 this March.
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In fact, of those 14 songs, five are by Linkin Park. “Friendly Fire,” “Lost” (2023) and “The Catalyst” (2010) all debuted at No. 1, while “New Divide” (2009) reached the top spot in its second week, like “The Emptiness Machine.”
The quick coronation for “The Emptiness Machine” is supported by its debuts at Nos. 4 and 5 on Mainstream Rock Airplay and Alternative Airplay, respectively. The song’s No. 4 start on Mainstream Rock Airplay is the best since December 2022, when Metallica’s “Lux Æterna” debuted at No. 2. Those two songs represent the only arrivals in the top four since 2008; before then, the last to make such a grand entrance was Linkin Park’s “What I’ve Done” (No. 3, April 2007).
As for Alternative Airplay, No. 5 marks the best beginning since Linkin Park’s “Lost” (No. 4, February 2023). In the last decade, only three songs have premiered that high, with the two Linkin Park songs joined by Mumford & Sons’ “Believe” (No. 5, March 2015).
More chart activity for “The Emptiness Machine” will show once all Sept. 21-dated rankings refresh on Billboard.com Tuesday, Sept. 17. On the Sept. 14-dated Hot Hard Rock Songs chart, the track started at No. 7 from its first few hours of tracking; along with 1.1 million audience impressions, it drew 690,000 official U.S. streams and sold 1,000 downloads in that span.
“The Emptiness Machine” is the lead single from From Zero, Linkin Park’s eighth studio album, due Nov. 15. It’s the band’s first full-length since the death of co-frontman Chester Bennington in 2017 and the departure of drummer Rob Bourdon. Singer Emily Armstrong and drummer Colin Brittain take over those duties on the new LP.
A decade before Brat summer, Charli XCX roared to No. 1 on Billboard’s Pop Airplay chart with “Boom Clap.”
The song began a three-week reign on the list dated Sept. 13, 2014, and marked her first No. 1 on her own and second overall. She first led as featured on Iggy Azalea’s “Fancy” for three weeks beginning that June.
Powered by their explosive choruses, the songs became Charli XCX’s second and third Pop Airplay top 10s, after Icona Pop’s fellow anthemic hit “I Love It,” on which she’s also featured, rose to No. 3 in June 2013.
On the multimetric Billboard Hot 100, “I Love It” hit No. 7; “Fancy” dominated for seven weeks – and earned top honors on the season-ending 2014 Songs of the Summer chart; and “Boom Clap” stormed to No. 8.
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Notably, “Boom Clap” marked the fourth consecutive Pop Airplay No. 1 by an artist in a first chart visit as a lead act, following three fellow enduring hits: Sam Smith’s “Stay With Me,” Magic!’s “Rude” and Nico & Vinz’s “Am I Wrong.”
“Discovering new artists is one of the many things that keeps radio great,” Tommy Chuck, senior vice president of programming for iHeartMedia’s Tampa and Sarasota, Fla., stations, told Billboard upon the chart coronation of “Boom Clap.”
New acts or not, “great songs win,” said Erik Bradley, Audacy brand manager. “And hits like ‘Rude’ and ‘Boom Clap’ are incredible songs.”
“Boom Clap” was released from Charli XCX’s album Sucker, which reached No. 28 on the Billboard 200 in January 2015. The song was also fueled by its synch in the hit film The Fault in Our Stars.
In 2016, the Cambridge, England-born artist hit the Hot 100’s top 10 as a co-writer of Selena Gomez’s “Same Old Love,” while in 2019, her co-write “Senorita,” recorded by Shawn Mendes and Camila Cabello, spent a week at No. 1, marking Charli XCX’s second leader as a writer, after “Fancy.”
In 2022, Crash became Charli XCX’s first Billboard 200 top 10, peaking at No. 7. This June, Brat bounded in at its No. 3 best. The Atlantic Records release has yet to depart the chart’s top 15 and has earned 585,000 equivalent albums in the United States through Sept. 5, according to Luminate. (Meta moment, especially for this post: “I used to never think about Billboard/ But now, I’ve started thinking again, wondering about whether I think I deserve commercial success,” she muses on the set’s reflective track “Rewind.”)
Meanwhile, Brat single “360” becomes Charli XCX’s first Pop Airplay top 10 since “Boom Clap,” rising a spot to No. 10 on the Sept. 21-dated chart. In addition to notching her fourth top 10 on the tally, she scores the list’s highest new entry, as fellow Brat track “Apple” debuts at No. 36.
Looking back for Billboard’s July cover story, Charli XCX called Sucker “an attempt at what Olivia Rodrigo’s Sour was able to do much better. My vision wasn’t fully realized. I was 19 years old. Whilst I think a lot of the songs that I was doing then were good songs, I wouldn’t necessarily have listened to them if it was another artist releasing them. I think I knew that at the time, but I also think I knew that that was OK. At that time, I was writing for a lot of other people, and I wanted to be doing that. I knew I probably wouldn’t have been in those [writing rooms] had ‘Boom Clap’ and those songs not happened the way they happened.”
Chappell Roan rules Billboard’s Pop Airplay chart with her first entry on the survey as “Good Luck, Babe!” ascends to the top of the list dated Sept. 21.
The track, released on KRA/Amusement/Island Records and promoted to radio by Republic, gained by 9% in plays Sept. 6-12. (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.)
The singer-songwriter, who first reached Billboard’s charts in October 2023, when she entered Emerging Artists and her album The Rise and Fall of a Midwest Princess debuted on the Billboard 200, among other rankings, lands her first leader on an airplay chart with “Good Luck, Babe!” (a stand-alone single).
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The song has additionally risen to No. 6 on the all-genre, multimetric Billboard Hot 100. It has drawn 404 million in radio audience and 357 million official on-demand streams and sold 48,000 through Sept. 5.
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“Good Luck, Babe!” also marks a first for Island Records: As the song supplants Sabrina Carpenter’s “Please Please Please” after two weeks at No. 1, the label links back-to-back leaders for the first time in the Pop Airplay chart’s 32-year history.
Plus, Island boasts four Pop Airplay No. 1s in 2024; prior to “Good Luck, Babe!” and “Please Please Please,” Carpenter led with “Espresso” for three weeks in July and “Feather” for a week in April. Island had previously logged as many as two No. 1s in a single year (in 2005 and 2017).
Meanwhile, Republic has promoted seven Pop Airplay No. 1s this year, the most among all labels; in addition to Chappell Roan and Carpenter’s hits, it led via Post Malone’s “I Had Some Help,” featuring Morgan Wallen (two weeks, August); Ariana Grande’s “We Can’t Be Friends (Wait for Your Love)” (two weeks, May-June); and Taylor Swift’s “Is It Over Now? (Taylor’s Version) [From the Vault]” (one week, March).
Chappell Roan is concurrently scaling Pop Airplay with “Hot To Go!” The track, from The Rise and Fall of a Midwest Princess, jumps 22-17 (up 15% in plays).
All charts dated Sept. 21 will update on Billboard.com Tuesday, Sept. 17.
Missy Higgins is back on top with The Second Act (via Eleven/EMI), which debuts at No. 1 on Australia’s albums chart.
Higgins’ first full-length LP in six years, The Second Act opens at No. 1 on the ARIA Chart, published Friday, Sept. 13, for her fourth career leader.
The Second Act arrives 20 years after the release of Higgins’ breakthrough debut The Sound Of White, which dominated the tally for seven non-consecutive cycles.
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Her sophomore set On A Clear Night (from 2007) and third collection The Ol’ Razzle Dazzle (2012) also led the chart, while Oz (2014), Solastalgia (2018) and Total Control (2022) all cracked the top 3.
“I could not be happier or more grateful. This album was just so important to me and I just want to say a massive thank you to all the fans. I’m so touched,” she comments, as her album hits the ARIA Chart summit. “I wanted this No. 1 more than any other album I think. It’s 20 years since The Sound of White went No. 1 so I feel like the luckiest person alive to still be doing what I do to this day. Thank you guys to much. This means the world to me.”
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With that feat, the Melbourne singer and songwriter becomes only the seventh Australian artist in history to have No. 1 albums in at least three consecutive decades.
The Second Act is the fifth homegrown album to hit No. 1 in the past month, a lineup that includes recordings by Lime Cordiale, Tones And I, Amy Shark and Cold Chisel.
Higgins will be inducted into the ARIA Hall of Fame, during the annual ARIA Awards, set for Nov. 20 at Sydney’s Hordern Pavilion.
Also new to the national chart is Ten Days (Atlantic/Warner), by prolific British electronic music producer Fred Again. That’s one better than USB from June this year, which peaked at No. 4. Earlier in 2024, Fred Again embarked on unique tour of Australia – a “pop-up” jaunt, which sold almost one quarter of a million tickets, without any marketing spend.
Further down the tally, legendary Pink Floyd guitarist David Gilmour lands at No. 6 with Luck and Strange (Leg/Sony), his fifth solo album.
It’s the followup to Rattle That Lock, which reached No. 2 in 2015. As a member of Pink Floyd, ARIA reports, he notched 20 ARIA Top 50 albums, including leaders with Wish You Were Here (in 1975), The Wall (1979), The Division Bell (1994) and Pulse (1995).As a member of Pink Floyd, he has racked up 20 top 50 albums, hitting the summit with Wish You Were Here in 1975, The Wall in 1979, The Division Bell in 1994 and Pulse in 1995 (their biggest-selling collection, The Dark Side Of The Moon, reached at No. 2 here in 1973).
Over on the ARIA Singles Chart, Sabrina Carpenter’s “Taste” (Island/Universal) holds top spot ahead of Billie Eilish’s “Birds Of A Feather” (Interscope/Universal) and Lady Gaga’s collaboration with Bruno Mars, “Die With A Smile” (Warner/Universal), respectively.
It’s Valentino Merlo and The La Planta’s winning week on the Billboard Argentina Hot 100 chart as the Argentianians first team-up “Hoy” dominates for an 11th consecutive week (list dated Sept. 14).
With the new week at No. 1, “Hoy” breaks away from a tie with “Una Foto (Remix)” by the all-star team comprising Mesita, Nicki Nicole, Tiago PZK, and Emilia, for the longest-leading song in 2024. Plus, it becomes the seventh-longest run at No. 1 on the almost six-year chart.
Here’s the recap of those longest-leading songs on Billboard Argentina Hot 100 dating back to its 2018 launch:
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Peak Date, Song, Artist, Weeks at No. 1Jan. 11, 2020, “Tusa,” Karol G & Nicki Minaj, 25July 31, 2021, “Entre Nosotros,” Tiago PZK, LIT killa, Nicki Nicole & Maria Becerra, 16Sept. 10, 2022, “La Bachata,” Manuel Turizo, 15May 25, 2019, “Otro Trago,” Sech, Darell, Nicky Jam, Ozuna & Anuel AA, 13Aug. 29, 2020, “Hawai,” Maluma & The Weeknd, 12Jan. 12, 2019, “Calma (Alicia Remix),” Pedro Capo & Farruko, 12July 6, “Hoy,” Valentino Merlo & The La Planta, 10
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Luck Ra and Nicki Nicole add a new top 10 to their chart career with “Doctor,” which arrives at No. 8 as the week’s Hot Shot Debut. While Luck Ra scores his seventh top 10, Nicki Nicole banks her 11th, tying with Karol G for the fourth-most among women. With 11 top 10s each, both trail Maria Becerra, who continues to lead with 28 top 10s, and Emilia and Tini, both with 18 top 10s.
Luck Ra also crosses off a new achievement, as “Hola Perdida (Remix)” with Khea, takes home the Greatest Gainer award, as the song flies from No. 92 to No.19.
Spanish artist Ana Mena earns her first entry with the Emilia collab, “Carita Triste” at No. 26. Meanwhile, Maisak’s “Se Me Olvida,” featuring Feid, debuts at No.45.
Below the top 50, seven other songs make its first chart appearance, starting with Salastkbron and Omar Varela’s “Dímelo Mami” at No. 56.
Elsewhere, Vilma Palma makes its maiden debut thanks to “Auto Rojo,” with Marama, at No. 75. Omar Courtz, De La Rose and Haze follow with “Kyoto” at No. 77, Q’ Lokura and La K’onga’s “La Última Granada” at No. 85, Lisas’ “New Woman,” featuring Rosalia, at No. 88, Ciro’s “Me Gusta” at No. 89, FloyyMenor’s “Tu Ta Rika” at No. 90, while Lira Música and Kingto’s “El Pronóstico” at No. 94.
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Clean Bandit’s “Symphony” and Surf Curse’s “Disco” take the top two spots of the TikTok Billboard Top 50 for the third straight week, while Lady Gaga and Bruno Mars’ “Die With a Smile” inches nearer to the summit at No. 3 on the ranking dated Sept. 14.
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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. 2-8. Activity on TikTok is not included in Billboard charts except for the TikTok Billboard Top 50.
“Symphony,” featuring Zara Larsson, takes hold of a third week atop the ranking, sporting yet another gain in official U.S. streams alongside it; it’s up 23% to 1.8 million listens in the tracking week ending Sept. 5, according to Luminate.
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The 2017 tune remains driven by a meme and trend on TikTok that features users posting videos of technicolor dolphins alongside humorous or dark captions.
It reigns ahead of “Curse,” which spends a third week at No. 2, driven by a multi-person dance trend that concurrently brings the 2019 song onto non-TikTok Billboard charts for the first time. Its 59% jump in streams to 4.5 million drives it to a No. 18 debut on Hot Rock & Alternative Songs, plus a No. 24 premiere on Alternative Streaming Songs.
“Die With a Smile” is the mover of the group, albeit up one spot from No. 4 to 3 on the TikTok Billboard Top 50 (a new peak). Since its Aug. 16 release, the song has been used in a variety of TikTok uploads, usually related in some way to romance, per the song’s theme. Some of the top-performing videos so far include homecoming proposals, footage from movies and TV shows such as Tangled and Elemental, and people talking about how they’d react if their significant other posted them set to the song.
“Die With a Smile” is currently No. 6 on the Billboard Hot 100 as the ranking’s latest Greatest Gainer/Airplay; it debuted at No. 3 in August.
Alphaville’s “Forever Young” follows “Die With a Smile” into a new peak on the TikTok Billboard Top 50, rising 5-4. Creations featuring the song, which peaked at No. 65 on the Hot 100 in 1988, continue to include posts showing the passage of time with loved ones, edits featuring fictional characters and a trend in which one person in a couple lifts the other in the air as they spray water down on both from a water bottle.
Though the songs listed so far were in the previous TikTok Billboard Top 50’s top five, there’s some more substantial movement going on across the rest of the chart, led by Kodak Black’s “No Flockin,” which shoots 20-6. It’s the first time on the TikTok Billboard Top 50 for the rapper, and it comes with a song that was originally released in 2015 and then peaked on the Hot 100 at No. 95 in 2017.
“No Flockin” has received some of its top-performing uploads in recent weeks from sports-related videos, plus other general content. The song is up 20% in streams to 3.6 million in the tracking week ending Sept. 5.
Adrianne Lenker’s “Anything” returns to the TikTok Billboard Top 5’s top 10, blasting 31-8 after previously reaching No. 8 in April. One of the song’s trends features one user asking the other person “Why are you always at my house?” or some variation, with the other lip-synching to Lenker’s “I just wanna be a part of your family” lyric.
And while Sabrina Carpenter’s “Taste” falls from its No. 3 peak to No. 7 on the latest ranking, another song from Short n’ Sweet joins it in the chart’s top 10, as “Bed Chem” vaults 18-9, mostly driven by lip-synch clips.
“Bed Chem” is the third song from Short n’ Sweet to reach the TikTok Billboard Top 50’s top 10, following the aforementioned “Taste” and “Please Please Please,” the latter peaking at No. 2 in June.
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.
LE SSERAFIM celebrates its first No. 1 on Billboard’s Top Album Sales chart, as CRAZY crowns the Sept. 14-dated chart. The set debuts atop the list with 37,500 copies sold in the U.S. in the week ending Sept. 5, according to Luminate. It’s the fourth top three-charting effort the Korean pop group, the entirety of their charting efforts.
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Also in the top 10 of the new Top Album Sales chart, Destroy Lonely scores his first top 10 with the No. 3 bow of Love Lasts Forever, while Nick Cave and The Bad Seeds notch their highest charting set yet as Wild God starts at No. 4.
Billboard’s Top Album Sales chart ranks the top-selling albums of the week based only on traditional album sales. The chart’s history dates back to May 25, 1991, the first week Billboard began tabulating charts with electronically monitored piece count information from SoundScan, now Luminate. Pure album sales were the sole measurement utilized by the Billboard 200 albums chart through the list dated Dec. 6, 2014, after which that chart switched to a methodology that blends album sales with track equivalent album units and streaming equivalent album units. For all chart news, follow @billboard and @billboardcharts on both X and Instagram.
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Of CRAZY’s first-week sales of 37,500 copies, CD sales comprise 36,500 and digital download album sales comprise 1,000. CRAZY’s first-week was bolstered by its availability across more than 20 CD variants, all containing collectible branded paper ephemera such as photocards, postcards, stickers, and posters.
Sabrina Carpenter’s Short n’ Sweet is a non-mover at No. 2 on Top Album Sales with 28,000 sold in its second week (down 85%).
Destroy Lonely logs his first top 10, and best sales week, as Love Lasts Forever arrives at No. 3 with 19,000 sold. The hip-hop album’s first week was bolstered by its availability in a signed CD edition and two digital download album variants – all exclusive to the artist’s webstore. The latter two were each sold for $5 and each included five additional bonus songs (five different songs per variant).
Nick Cave and The Bad Seeds’ new studio album, Wild God, debuts at No. 4, marking the highest charting effort for the group on Top Album Sales. It launches with 13,000 sold – the act’s best sales week since Skeleton Key sold 15,000 copies in its first week (a debut at No. 13 on the chart dated Oct. 1, 2016). The new album was available across five vinyl variants, which combined to sell 8,000 copies (it bows at No. 2 on the Vinyl Albums chart).
Chappell Roan’s The Rise and Fall of a Midwest Princess dips 4-5 on Top Album Sales (13,000; down 29%), Stray Kids’ former No. 1 ATE rises 7-6 (11,000; down 7%), Post Malone’s chart-topping F-1 Trillion falls 6-7 (9,000; down 34%), ENHYPEN’s former leader Romance: Untold ascends 9-8 (8,000; down 3%), Lainey Wilson’s Whirlwind falls 3-9 in its second week (nearly 8,000; down 77%) and Travis Scott’s Days Before Rodeo falls 1-10 in its second week (nearly 8,000; down 98%).