Chart Beat
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The Contenders is a midweek column that looks at artists aiming for the top of the Billboard charts, and the strategies behind their efforts. This week, for the upcoming charts dated Aug. 10, we look at two artists who have largely defined the summer in pop music so far, and who are experiencing new gains after Kamala Harris’ announced presidential candidacy.
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Chappell Roan, The Rise and Fall of a Midwest Princess (KRA/Amusement/Island/Republic): Since climbing to a peak of No. 5 on the Billboard 200 dated July 13, Chappell Roan‘s Midwest Princess has hung around the top 10 of the chart, landing at No. 8 this week. Improbably, the album continues to grow in streams — most recently thanks in large part to a surge in interest and consumption after “Femininomenon,” the album’s anthemic lead track, was used in a promotional TikTok from the official Kamala Harris account just days after Harris became the frontrunner for the Democratic presidential nomination.
“Femininomenon” debuts at No. 96 on the Billboard Hot 100 this week, the lowest of an incredible five songs from Midwest Princess which have bowed on the chart in the past two months and are still working their way up its rankings. Each of the other four reaches a new peak position this week: “Hot to Go!” is the highest at No. 26, while “Red Wine Supernova” reaches No. 47, “Pink Pony Club” No. 50 and “Casual” No. 79. None of the songs has yet found a major foothold at radio, which would likely be the final step in them threatening for the chart’s top tier, but “Hot to Go!’ and “Red Wine Supernova” have both started to gather steam on the top 40 airwaves.
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In the meantime, with steady streaming and sales numbers, Midwest Princess could move back up on the Billboard 200 this upcoming week. There aren’t major new Friday releases currently threatening for a top debut, and with the sales-driven bows of Stray Kids’ ATE and Jimin’s MUSE likely to take a hit in their second week, there should be an opening for the album to return to the top five – and if it can continue to build on its recent momentum, it may even challenge for a new peak of No. 4. It will still have its work cut out to pass the 30-plus-track streaming behemoths from Taylor Swift and Morgan Wallen that have been lodged near the top of the Billboard 200 since their respective releases, but it should be in the mix for some time to come, and with another extra song boost or two – or perhaps a physical reissue – it wouldn’t be inconceivable that it could get to No. 1 before year’s end.
Chappell Roan, “Good Luck, Babe!” (KRA/Amusement/Island/Republic): Arguably the most impressive thing about the run that Midwest Princess has had on the Billboard 200 is that it’s making it without even getting any help from the song that’s actually Roan’s biggest of all of 2024. “Good Luck, Babe!” was released in April as a standalone single, unattached thus far to Midwest Princess or any other album of hers, and it has taken her further on the Hot 100 than any of that album’s breakout hits. This week, “Babe” returns to its peak of No. 10, which it originally reached on the chart dated July 13, while gaining on both the Streaming Songs (9-7) and Digital Song Sales (22-17) charts.
More important to its chart potential is that it has finally clicked the last piece of the puzzle into place: major radio support. Unlike the Midwest Princess hits, “Babe” has been fully (if somewhat belatedly) embraced by top 40 radio: It climbs 12-9 on Billboard’s Pop Airplay chart this week, and 25-21 on the all-format Radio Songs listing. As “Babe” continues to expand on the airwaves, and with no major new song releases expected to provide additional traffic in front of it on the Hot 100, it has a good chance of getting even higher on the chart next week. And with plenty of room for it still to grow – and streaming and sales support also strong – a run to the top five could certainly be in play for the song in the weeks to come.
Could it get to No. 1? It’s still well behind such four-quadrant smashes as Shaboozey’s “A Bar Song (Tipsy),” Post Malone and Morgan Wallen’s “I Had Some Help” and Kendrick Lamar’s “Not Like Us” at the top of the chart, so it would take some considerable growth across all metrics for “Babe” to really mount a challenge there. But it’s worth noting that as far as “Babe” has already come, it’s done so without some of the more traditional promotional tactics used to boost songs in its position – no official remixes, no major national performances of it beyond a Tonight Show Starring Jimmy Fallon appearance, not even a non-lyric music video. So if it gets close, there’s plenty of cards for Roan still to play to get it that final push over the top.
Charli XCX, Brat (Atlantic/AG): The season familiarly known as Brat Summer has mostly come with impressive, but not quite overwhelming chart returns. Brat did debut at No. 3 on the Billboard 200, which marked a career-best showing for Charli XCX, but three weeks later it was out of the top 10, and it’s been hanging around the chart’s teens ever since. Meanwhile, before this week, she’d only launched two tracks from it onto the Hot 100, and neither in the top half – lead cut “360” debuted at No. 73 the same week as the album’s bow and had hung around the chart’s bottom quadrant since, while “Girl, So Confusing” entered at a slightly higher No. 63 two weeks later following the release of its Lorde-featuring remix, and was off the chart altogether a couple weeks after that.
But three words might have turned around the entire chart momentum of Brat Summer. The Sunday (July 21) that President Joe Biden officially dropped his re-election campaign and endorsed Kamala Harris as his replacement, Charli tweeted “Kamala IS Brat” — unofficially making her exciting new album the soundtrack to the global moment. Harris’ campaign seized said moment by adapting Brat’s already-iconic cover design for the header on their HQ’s official Twitter page, and within days, CNN was airing discussions about Brat Summer and what kind of impact the coolest pop star in the world could have on this year’s presidential election.
Despite seeing respectable gains in both sales and streams following last week’s spike in interest, Brat actually slides 13-14 on the latest Billboard 200 – thanks to a glut of high-performing new albums released at the start of the tracking week, four of which debut ahead of it on the chart. But with the album continuing to grow in both sales and streams so far this week, next week it could be ticketed for a trip back to the top 10, its first time back in the region since the chart dated July 6, which was its third frame on the listing.
In the meantime, two songs from Brat are surging on the Hot 100. “360” hits a new peak of No. 55 this week, while the TikTok-approved “Apple” debuts at No. 81. A top 40 hit could be in Brat’s future, as both songs still have room to grow – the latter has major virality on its side, with everyone from Twisters star Glen Powell to Foo Fighters frontman Dave Grohl doing the dance challenge that helped it light up social media, while “360” is starting to make inroads at radio, up 56% in plays for the week, according to Luminate, and bubbling under the Pop Airplay chart. And the album might not be done spawning hits yet: “365,” the album’s meme-spawning closing complement to “360,” has been rising in streams and sales the past couple weeks, and re-enters Spotify’s Daily Top Songs USA chart today.
The album is still pretty far from being a major contender for the top spot on the Billboard 200. But who knows? With the twists and turns that Charli’s season has already taken, we’d be foolish to bet against her finding new ways to challenge for supremacy on the chart, and officially cement Brat Summer in the 2024 record books. (Perhaps a new remix to one of the album’s deluxe edition bonus tracks — widely believed to be co-starring alt-pop superstar Billie Eilish — will be one of them.)
Zach Bryan rules Billboard’s June Boxscore report with 10 shows from The Quittin’ Time Tour. According to figures reported to Billboard Boxscore, Bryan grossed $68.9 million and sold 340,000 tickets in June.
It’s the first monthly win for Bryan, after scaling as high as No. 2 in March, seated behind Bad Bunny. He clocked two more top 10 placements in April (No. 10) and May (No. 4) before hitting the summit. Following Morgan Wallen (April 2023), he is only the second country artist to top the list.
The Quittin’ Time Tour has earned $184 million and sold 929,000 tickets since launching on March 5, current through the end of June. Barely past its halfway point, the trek has already quadrupled the gross of Bryan’s Burn Burn Burn Tour from last year, which itself had quadrupled 2022’s The American Run Tour. In two years, he has multiplied his average per-show gross by more than 14, up from $292,000 in ’22, to $4.3 million.
Coldplay is June’s runner-up, logging its third month at No. 2, in addition to its three months at No. 1. During the month, the British rockers grossed $68 million and sold 576,000 tickets.
The band’s consistency – six months in the top two, plus eight more elsewhere in the top 10 – has paid off: the Music of the Spheres Tour has grossed $875.8 million and sold 8.2 million tickets since launching in March 2022.
Both the tour’s gross and attendance are the second biggest in Boxscore history. Elton John’s Farewell Yellow Brick Road Tour (2018-23) grossed $939.1 million, and Ed Sheeran’s The Divide Tour (2017-19) sold 8.9 million tickets. With more dates scheduled, Coldplay is likely to overtake both by the end of the summer.
The major asterisk for these all-time highs is that Taylor Swift has not reported figures for The Eras Tour. Billboard estimated more than $900 million in the bank and over four million tickets sold by last November. Since then, she’s performed in Asia, Australia and Europe, with a return to North America scheduled for the fall, meaning that she is likely far beyond $1 billion and nearing Sheeran’s attendance total to boot.
While Bryan leads Coldplay on Top Tours, they reverse fortunes on Top Boxscores, with the latter’s three shows at Groupama Stadium in Lyon, France, ($22.6 million, 165,000 tickets) beating the former’s double-header at Mile High Stadium in Denver ($20.5 million, 110,000 tickets). The Lyon venue rules Top Stadiums.
Both acts litter the rest of Top Boxscores, with Coldplay appearing four times in the top half, and Bryan totaling six entries. That’s each artist’s entire slate of shows from June, dominating the chart in stadiums – Coldplay in Europe and Bryan in the U.S.
In a first, the entire top 10 artists – Bryan, Coldplay, P!nk, Dead & Company, Aventura, Justin Timberlake, Kenny Chesney, Chris Brown, Green Day and Luke Combs – boast grosses of $30 million or more. Nine tours had done it in August and September 2022, and again in June and July 2023.
Further, the entire Top Tours chart is stronger than ever. German singer Roland Kaiser rounds out the list at No. 30, via $11.5 million from nine shows. That’s higher than the bottom of the list has ever been, outpacing the $10.8 million from Marco Antonio Solis last September. June marks the second month since the charts launched in 2019 that all 30 ranked tours reported grosses of $10 million or more.
June’s top 30 artists mix veteran artists such as Dead & Company, Billy Joel and Luis Miguel with fresh faces including Bryan, Feid and Noah Kahan. Classic pop groups make their mark, as Girls Aloud’s 2024 reunion lands at No. 14 with $19.1 million and Take That’s U.K. tour continues at No. 26 with $13 million.
The top-grossing venue of June is Las Vegas’ Sphere. The room hosted 10 shows across four weekends with artist-in-residency Dead & Company. The supergroup brought in $50.2 million and sold 162,000 tickets, enough to land at No. 4 on Top Tours and sprinkle Top Boxscores at Nos. 4, 5 and 8.
Up 38% from May, it’s Sphere’s second consecutive month at No. 1, with its one-of-a-kind concert experience driving high ticket prices. Madison Square Garden out-sold Sphere by more than 80,000 tickets and grossed about $12 million less, with the latter nearly doubling MSG’s average ticket ($309 vs. $156).
The lower-capacity venue charts are dominated by Glasgow (OVO Hydro), Atlanta (Fox Theatre) and Las Vegas (Dolby Live and Encore Theater at Wynn Las Vegas). Historically blocked by larger venues on the 5,000-capacity-and-under ranking, Encore Theater scores its first month at No. 1 on the new chart that breaks out venues with a cap of 2,500 or less.
“For us, this is the launch of a signature artist,” then-RCA Records marketing vp Nick Cucci mused in the July 24, 1999, Billboard issue of Christina Aguilera, whose eponymous debut album arrived a month later. “She’s not a quick-burn teen artist. We’re planning on her being around for a long time. We’re pursuing performance opportunities to present her as an artist of extraordinary depth.”
The following week, Aguilera, then 18, was No. 1 on the Billboard Hot 100 with the LP’s lead single, “Genie in a Bottle.” Beginning with the July 31-dated chart, it reigned for five weeks.
Aguilera’s debut album subsequently launched at No. 1 on the Billboard 200 with 253,000 copies sold in the United States in its first week, according to Luminate.
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Per Billboard’s story, written by Larry Flick, in the July 24, 1999, issue, RCA had showcased Aguilera that June in New York, Los Angeles, Toronto, Las Vegas and Minneapolis, as she performed the album with only piano backing. “It was a highly effective way of presenting her,” George Harrison, then-assistant music director at KSNE Las Vegas, shared. “She has the voice of a young Whitney Houston. Midway through the first song, it was clear that she’s going to be a big, big star.”
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With “Genie in a Bottle,” Aguilera unleashed her first of five Hot 100 No. 1s and 11 top 10s. Her introductory set also yielded the leaders “What a Girl Wants” and “Come On Over Baby (All I Want Is You).”
On the Billboard 200, Aguilera boasts two No. 1s among seven top 10s, through the No. 6-peaking Liberation in 2018. Her chart history also includes her second LP, the Spanish-language Mi Reflejo, which ruled Top Latin Albums for 19 weeks in 2000-01.
Aguilera’s breakthrough sparked her best new artist Grammy Award win in 2000. Among others, she triumphed in the category over Britney Spears, with whom she starred in The All-New Mickey Mouse Club in the early ‘90s (and whose own debut album, …Baby One More Time, had soared in at No. 1 on the Billboard 200 in January 1999). Aguilera’s experience on the show also led to her recording “Reflections,” the theme to the 1998 hit Disney film Mulan.
“It was a great way to grow up,” Aguilera told Billboard in 1999 about being a Mouseketeer. “I got the most incredible education, both in terms of who I wanted to be as an artist and in terms of how the business works. It gave me the focus I needed to make this album.”
To date, Aguilera, who served as a coach on NBC’s The Voice in 2011-16, has sold 17.6 million albums in the U.S. Her songs have drawn 28.5 billion in radio audience and 3.1 billion official on-demand streams. Her upcoming tour dates include shows in Las Vegas and Japan, with her eight-month Christina Aguilera at Voltaire residency at The Venetian in Las Vegas running through Aug. 31.
Of “Genie in a Bottle” — which David Frank, Steve Kipner and Pamela Sheyne co-wrote — Aguilera told Billboard in 1999, “At first, I was a little afraid that some people might not completely get where I’m coming from,” referring to the song’s “occasionally seductive lyrical tone,” per Flick. (“Fueled by a chugging groove and richly layered vocals, the tune is punctuated by a breathy command to ‘rub me the right way’,” he wrote.)
“The song is not about sex,” Aguilera said. “It’s about self-respect. It’s about not giving in to temptation until you’re respected. It’s time for something different. It’s time that music make[s] kids feel confident and secure.”
Brent Jones banks his second total and consecutive No. 1 on Billboard’s Gospel Airplay chart as “Live Your Best Life!” ascends to the top of the Aug. 3-dated list. During the July 19-25 tracking week, the song advanced by 3% in plays among format reporters, according to Luminate. The single is the title cut from […]
K-pop has been gathering commercial momentum in the U.S. over a decade, and this week it achieves a historic milestone on the Billboard 200. As Billboard reported on Sunday, this current chart (dated Aug. 3) marks the first time that the top two spots are both held by K-pop (Korean pop) albums. Stray Kids’ ATE debuts […]
Teddy Swims’ “Lose Control” adds another No. 1 to its uncommonly impressive résumé of radio chart coronations, as it rises to the top of Billboard’s Adult Contemporary survey (dated Aug. 3).
The song, on SWIMS Int./Warner Records, rules a fifth airplay ranking, as it led the all-format Radio Songs chart, Pop Airplay, Adult Pop Airplay and Adult R&B Airplay prior to its Adult Contemporary takeover.
(Also notably, the track halts Miley Cyrus’ record 57-week Adult Contemporary reign with “Flowers.”)
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“Lose Control” becomes just the fifth song to have reached No. 1 on the five charts, and the first in nearly a decade, after the first four led in 2014-16. Here’s a recap of the elite such crossover hits (dating to the early/mid-1990s, when the bulk of Billboard’s airplay charts began).
“Lose Control,” Teddy Swims:
Adult Pop Airplay, four weeks at No. 1, beginning March 23, 2024
Pop Airplay, two, beginning, April 13, 2024
Radio Songs, nine, beginning April 20, 2024
Adult R&B Airplay, three, beginning June 15, 2024
Adult Contemporary, one week (to date), beginning Aug. 3, 2024
“Hello,” Adele:
Radio Songs, 11 weeks at No. 1, beginning Nov. 28, 2015
Adult Contemporary, 21, beginning Nov. 28, 2015
Pop Airplay, four, beginning Dec. 5, 2015
Adult Pop Airplay, seven, beginning Dec. 5, 2015
Adult R&B Airplay, one week, beginning Feb. 20, 2016
“Stay With Me,” Sam Smith:
Radio Songs, six weeks at No. 1, beginning Aug. 23, 2014
Adult Contemporary, five, beginning Aug. 23, 2014
Pop Airplay, two, beginning Aug. 30, 2014
Adult Pop Airplay, two, beginning Sept. 6, 2014
Adult R&B Airplay, 13, beginning Oct. 11, 2014
“Happy,” Pharrell Williams:
Radio Songs, eight weeks at No. 1, beginning March 15, 2014
Pop Airplay, four, beginning March 29, 2014
Adult Pop Airplay, six, beginning April 5, 2014
Adult R&B Airplay, 13, beginning April 5, 2014
Adult Contemporary, six, beginning May 3, 2014
“All of Me,” John Legend:
Adult R&B Airplay, eight weeks at No. 1, beginning Feb. 15, 2014
Pop Airplay, five, beginning May 3, 2014
Radio Songs, seven, beginning May 10, 2014
Adult Pop Airplay, four, beginning May 17, 2014
Adult Contemporary, 10, beginning June 14, 2014
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Prior to topping the five airplay charts noted above, “Lose Control” also ascended to a No. 2 peak on Adult Alternative Airplay in January. It joins only Adele’s “Hello” and Sam Smith’s “Stay With Me” in having led Radio Songs, Pop Airplay, Adult Pop Airplay, Adult R&B Airplay and Adult Contemporary and having reached the top two on Adult Alternative Airplay, reflecting rare support at formats ranging from pop and adult to R&B and rock. (“Hello” and “Stay With Me” each hit No. 1 on Adult Alternative Airplay.)
Meanwhile, as “Lose Control” led the all-genre, multimetric Billboard Hot 100 for a week in March, it and “Hello” are the only songs to have topped the Hot 100 and the five airplay charts listed above.
“Teddy Swims is a once-in-a-generation talent who defies genres, making him truly unique in today’s music landscape,” says Warner evp of promotion and commerce Mike Chester. “When we began promoting ‘Lose Control,’ our journey was carefully planned. From the start, we noticed that the song was resonating in various pockets of culture, creating a strong and diverse fanbase. Our digital department played a crucial role, setting the groundwork for the song’s growth; shoutout to [the division’s] Randall Telfer.
“We understood that ‘Lose Control’ needed time to evolve before we could successfully introduce it to other formats, like adult R&B,” Chester adds. “Special thanks to Ron Stewart, our head of urban radio, for crafting an ideal strategy, alongside Josh Reich [pop], Rob Goldklang [rock/alternative] and Michelle Babbitt [adult]. Teddy Swims has a timeless voice that breaks boundaries, and we wanted to ensure his music reached as wide an audience as possible without being confined to a specific genre.”
October London scores his second consecutive No. 1 single on Billboard’s Adult R&B Airplay chart as his song “Mulholland Drive,” featuring Snoop Dogg and Latoiya Williams, glides 3-1 to rule the list dated Aug. 3. The singer’s previous release, “Back to Your Place,” reigned for 10 nonconsecutive weeks between August and December of 2023. Explore […]
For just the second time since Billboard launched the Billboard Artist 100 ranking in 2014, the top two musical acts in the U.S. are K-pop artists.
On the Aug. 3, 2024-dated Artist 100, Stray Kids and Jimin each re-enter, at Nos. 1 and 2, respectively. The only other week in which Korean pop acts took the top two positions was on the chart dated Oct. 17, 2020, when BLACKPINK and BTS – the latter of which Jimin is a member – ranked at Nos. 1 and 2, respectively. (That week, BLACKPINK also became the first all-female group to lead the list.)
The Artist 100 measures artist activity across key metrics of music consumption, blending album and track sales, radio airplay and streaming to provide a weekly multi-dimensional ranking of artist popularity.
Stray Kids rule as the top musical act in the U.S. for a fourth total week thanks to their new release, Ate: Mini Album. The set, released via JYP/Imperial/Republic Records, debuts at No. 1 on the Billboard 200 with 231,000 equivalent album units earned in the United States July 19-25, according to Luminate. It’s Stray Kids’ fifth total and consecutive No. 1 – as the ensemble becomes the first group, and second act overall, joining DMX, ever to debut five initial entries on the Billboard 200 at No. 1.
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With four total weeks spent at No. 1, Stray Kids have logged the second-most time atop the Artist 100 among K-pop acts, after BTS (21).
Jimin re-enters the Artist 100 at No. 2, powered by his new album Muse, which likewise opens at No. 2 on the Billboard 200 with 96,000 units. Outside of BTS, Jimin has spent one week at No. 1 on the Artist 100 as a solo act, in April 2023.
Rounding out the top five spots of the latest Artist 100, Taylor Swift ranks at No. 3 – following a record 117 weeks at No. 1 – Morgan Wallen rises 5-4 and Zach Bryan dips 4-5.
Chappell Roan is on the brink of a remarkable journey from Missouri to the top of the U.K. singles chart. Only, Sabrina Carpenter stands in her way.
Roan’s “Good Luck, Babe” (via Island) continues to gather steam, and, based on midweek sales and streaming data published by the Official Charts Company, should lift 3-2 on the national chart, for a new high.
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According to the OCC, fewer than 1,300 chart units separate “Good Luck” from Carpenter’s “Please Please Please” (Island) — the leader on the Official Chart Update.
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If it maintains its pace, “Please Please Please” will lock-up a fifth non-consecutive week at No. 1, while Carpenter’s former leader “Espresso” is still hot, rising 9-7 on the chart blast.
Completing the podium at the midweek stage is British breakthrough artist Myles Smith with “Stargazing” (RCA), set to rise 5-4, a new peak chart position.
The country takeover didn’t miss the U.K., and Dasha has been a part of the wave. The U.S. artist’s “Austin” (Warner Records) is hanging around, lifting 8-5 on the midweek tally as it cruises to its 23rd week on chart.
Another U.S.-created country number, Shaboozey’s “A Bar Song (Tipsy)” (American Dogwood/ Empire), is also on the up, improving 11-8 on the midweek tally.
Post Malone’s country era should net him another U.K. top 40. Posty’s collaboration with Luke Combs, “Guy For That” (Republic Records), is predicted to debut at No. 23. Malone already has 23 appearances in the U.K. top 40, Combs has just the one.
Finally, Calvin Harris and Ellie Goulding’s latest EDM collaboration, “Free” (Columbia) is on track for a top 40 start. “Free” is new at No. 32 on the chart blast, and could give the British pair a fourth top 40 collaborative appearance, after 2012’s “I Need Your Love” (No. 4 peak), 2014’s “Outside” (No. 6) and last year’s hit “Miracle,” which led the chart for eight weeks. “I Need Your Love”, “Outside” and “Miracle” have together accumulated just shy of 7 billion streams globally, according to Columbia.
All will be revealed when the Official U.K. Singles Chart is published late Friday, Aug. 2.
Two live albums duke it out in the U.K. chart race, with Blur taking pole position.
Based on midweek sales and streaming data published by the Official Charts Company, the Britpop legends lead the way with Live at Wembley Stadium (Parlophone), cut over two summer nights in 2023.
If it holds its course, Live at Wembley Stadium will give Damon Albarn and Co. an eighth U.K. chart leader, seven of them studio recordings.
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The London-formed four-piece led the Official U.K. Albums Chart with Parklife (1994), The Great Escape (1995), blur (1997), 13 (1999), Think Tank (2003), The Magic Whip (2015) and The Ballad of Darren (2023). Those shows last July at England’s national stadium are captured in a two-hour concert film, also titled Live at Wembley Stadium, due out in cinemas Sept. 6 through Altitude Films.
Close behind is Rite Here Rite Now (Loma Vista), the soundtrack to Ghost’s concert film of the same name. The Swedish heavy metal outfit recorded the project at LA’s Kia Forum in September 2023. When the Official Chart is published late Friday, Aug. 2, Rite Here Rite Now should open at No. 2 for the rockers’ fourth U.K. top 10 following 2018’s Prequelle (No. 10 peak), 2022’s IMPERA (No. 2) and 2023’s Phantomime (No. 8).
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Meanwhile, Eminem’s two-week stay at No. 1 is set to come to a halt. The Death Of Slim Shady (Coup De Grace) (via Interscope) dips 1-3 on the midweek tally.
Also new to the Chart Update is English singer Sam Tompkins’ hi, my name is insecure (Island), set for a No. 5 start. That would give the singer-songwriter a career-high, after 2022 release Who Do You Pray To? peaked at No. 7.
Following her stunning performance during the 2024 Olympic Games opening ceremony in Paris, Celine Dion’s catalog is enjoying extra love from her fans in the U.K. The Canadian superstar’s 2016 release My Love – The Essential Collection (Columbia) rises 40 spots up the midweek chart, and is predicted to return to the top 40, at No. 29. The Canadian superstar singer performed Edith Piaf’s “Hymne A L’Amour” on the Eiffel Tower, marking her first public performance since being diagnosed with stiff person syndrome in 2022.