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Taylor Swift possesses the key to another No. 1 on Billboard’s Pop Airplay chart. She adds her record-extending 14th leader on the list as “The Fate of Ophelia” leaps three spots to the top of the Nov. 22-dated ranking.
Justin Bieber, Maroon 5, Bruno Mars, Katy Perry and Rihanna share the second-most Pop Airplay No. 1s, 11 each.
Here’s a recap of Swift’s 14 No. 1s on Pop Airplay, which measures songs’ weekly plays, as tabulated by Mediabase and provided to Billboard by Luminate, on more than 150 U.S. mainstream top 40 radio stations. (The chart began in October 1992.)
Title, Weeks at No. 1, Year(s):
“The Fate of Ophelia,” one (to date), 2025
“Is It Over Now? (Taylor’s Version) [From the Vault],” one, 2024
“Cruel Summer,” 10, 2023
“Karma,” one, 2023
“Anti-Hero,” three, 2022-23
“Delicate,” one, 2018
“Look What You Made Me Do,” one, 2017
“Wildest Dreams,” two, 2015
“Bad Blood” (feat. Kendrick Lamar), five, 2015
“Style,” three, 2015
“Blank Space,” six, 2014-15
“Shake It Off,” two, 2014
“I Knew You Were Trouble.,” seven, 2013
“Love Story,” one, 2009
The coronation for “The Fate of Ophelia” marks the song’s latest achievement on Pop Airplay, after it debuted at No. 8 on the Oct. 18 chart, becoming the first title ever to arrive in the top 10. It reigns in its sixth week on the list, completing Swift’s quickest rise to No. 1 since “Bad Blood” led in its fifth frame in 2015.
“The Fate of Ophelia” is from Swift’s album The Life of a Showgirl. The set and song have topped the Billboard 200 and Billboard Hot 100 charts, respectively, for five weeks running, encompassing their entire runs on the rankings so far.
Plus, the album’s “Opalite” ascends 25-20 on Pop Airplay for a new high.
“‘The Fate of Ophelia’ allowed her fans to peek in the window of her newfound happiness,” Nadine Santos, Music Choice vp of programming and artist relations, tells Billboard; Music Choice’s Pop Airplay reporter Today’s Hits is playing both of Swift’s love songs on the current chart. “With her witty and creative approach to her song lyrics, it’s the Taylor we have all been waiting to hear.”
All charts dated Nov. 22 will update on Billboard.com Tuesday, Nov. 18.
Trending on Billboard Taylor Swift has regained the top spots on both the U.K.’s Official Albums and Singles Chart in a stunning comeback for The Life of a Showgirl and its lead single “The Fate of Ophelia” on Friday (Nov. 14). The LP and its lead single first shot to No. 1 on the U.K. […]
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It’s time, earlier than ever before, for Mariah Carey’s “All I Want for Christmas Is You” to return to the Billboard Hot 100.
As previously reported, the carol jingles back onto the Hot 100 dated Nov. 15 at No. 31.
Notably, “All I Want for Christmas Is You” appears on the Hot 100 for the first time via activity, in part, during Halloween, as the latest list reflects the tracking week beginning Oct. 31.
Still, the metrics for “All I Want for Christmas Is You” have remained fairly steady at the beginning of November in recent years. As counted toward the latest Hot 100, it drew 9.9 million official streams and 942,000 airplay audience impressions and sold 1,000 in the United States Oct. 31-Nov. 6, according to Luminate.
The song’s totals the year before in the corresponding chart week: 10.4 million streams, 1.7 million in airplay audience and 1,000 sold (Nov. 1-7, 2024). The year before that, it scored 10.8 million streams, 1.8 million in airplay audience and 1,000 sold (Nov. 3-9, 2023).
As with Michael Jackson’s “Thriller” hitting a new streaming-era high in the Hot 100’s top 10 concurrent with the reentry of “All I Want for Christmas Is You,” factors beyond the latter’s metrics appear to play into its sleigh ride back to the chart while pumpkins are still on doorsteps before Christmas ornaments have likely been brought down from the attic. In analyzing the chart vault for “Thriller,” Billboard’s Andrew Unterberger cited such factors as generally lower streaming counts year-over-year for current hits and the recent Hot 100 rule change to remove long-charting hits more rapidly, helping to make more room for holiday songs.
“All I Want for Christmas Is You,” originally released in 1994, hit the Hot 100’s top 10 for the first time in December 2017. In December 2019, it ascended to No. 1 at last. Having led in each holiday season since, Carey’s soloist-record 19th leader has ruled for 18 weeks to date, the third-longest command in the chart’s history. It’s also at the North Pole on Billboard’s Greatest of All Time Holiday 100 Songs recap.
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Taylor Swift hits the ARIA Charts for six, as the U.S. pop star extends her reign with The Life Of A Showgirl (via Republic/Universal) and its lead single, “The Fate Of Ophelia.”
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As Swift’s latest album completes its sixth week atop the national albums tally, published Friday, Nov. 14, Paul Kelly bags the top new release with Seventy (EMI), his 28th studio album. Seventy opens at No. 2 on the ARIA Chart.
The 70-year-old Kelly is one of Australia’s most-cherished singer-songwriters, boasting a collection of 16 ARIA Awards, induction into the ARIA Hall of Fame (in 1997), and four No. 1 albums with Life Is Fine (No. 1 for one week in 2017), Nature (one week in 2018), Songs From The South: 1985-2019 (one week in 2019), and Paul Kelly’s Christmas Train (one week in 2022).
Homegrown pop-punk band Teen Jesus and the Jean Teasers makes a glorious top ten debut, with GLORY (Community Music), their second studio album. Hailing from Canberra, the four-piece snagged the Michael Gudinski Breakthrough Artist award at the 2024 ARIA Awards, after opening the ceremony with a performance, and cracked the ARIA top 10 with 2023’s I Love You (peaking at No. 6).
Spanish superstar Rosalia makes her first top 50 in Australia with Lux (Columbia/Sony), new at No. 15. Lux is already a hit, everywhere. Following its release, the collection accumulated 42.1 million streams in its first 24 hours, the biggest global tally by a female, Spanish-speaking artist.
Meanwhile, veteran Australian country artist James Blundell nabs a top 40 entry with Patience Wins (AMB/MGM), his 12th studio album. It’s new at No. 25.
Western Australia singer-songwriter Stella Donnelly grabs her third top 40 appearance with Love and Fortune (DOT/RMT), new at No. 31. Donnelly previously made a mark with 2019’s Beware Of The Dogs (No. 15) and 2022’s Flood (No. 29).
Close behind is beloved punk rock act Cosmic Psychos with I Really Like Beer (RKT), pouring in a No. 32, while fellow Melburnians Icecream Hands crack the top 40 with the independently-released Giant Fox Pineapple Tree, new at No. 38, It’s the eighth album from the Aussie power pop band, and their first ARIA top 50 appearance.
Over on the ARIA Singles Chart, Taylor Swift ties a personal best as “The Fate Of Ophelia” enters its sixth week at No. 1. That effort draws level with 2022’s “Anti-Hero” as TayTay’s longest-running leader.
U.K. act Haven has the top debut with the viral number “I Run,” new at No. 8. It’s the only new release in the top 50. And finally, Tame Impala has, once again, the only appearance by an Australian artist on the chart, as “Dracula” (Columbia/Sony) improves 37-34, a new high.
Trending on Billboard Florence + the Machine’s latest studio album Everybody Scream makes noise on Billboard’s album charts (dated Nov. 15), debuting at No. 1 on Top Rock & Alternative Albums, Top Rock Albums, Top Alternative Albums, Top Album Sales, Top Current Album Sales and Indie Store Album Sales. It also launches at No. 4 […]
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Kenshi Yonezu’s “IRIS OUT” stays atop the Billboard JAPAN Hot 100 for the eighth straight week, on the chart released Nov. 12.
Across individual metrics, the Chainsaw Man – The Movie: Reze Arc theme continues to dominate streaming, video views, and karaoke, while coming in at No. 3 for both radio airplay and downloads, and No. 15 for CD sales. Radio impressions saw a 168% increase from the previous week.
Until now, Yonezu’s longest-running No. 1 was “Lemon,” which led for a total of seven weeks. “IRIS OUT” has now surpassed this record with eight weeks at the summit. Among all artists, the track now ties for the sixth-most total weeks at No. 1 in Japan Hot 100 chart history.
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List of All-Time Total Weeks at No. 1 on the Billboard Japan Hot 100
YOASOBI “Idol” 22 weeks
Creepy Nuts “Bling-Bang-Bang-Born” 19 weeks
Ado “Show” 13 weeks
Official Hige Dandism “Subtitle” 13 weeks
Aimer “Zankyosanka” 9 weeks
LiSA “Homura” 8 weeks
Kenshi Yonezu “IRIS OUT” 8 weeks
Official Hige Dandism “Pretender” 7 weeks
Mrs. GREEN APPLE “Lilac” 7 weeks
Official Hige Dandism “I LOVE…” 7 weeks
Kenshi Yonezu “Lemon” 7 weeks
Yonezu and Hikaru Utada’s “JANE DOE” returns to No. 2. Though overall points for the ending theme of the same movie declined, the track rises from No. 5 last week. Yonezu also scores multiple entries this week: “1991” climbs from No. 9 to No. 5, while “Plazma” comes in at No. 50, “KICK BACK” at No. 70, and “BOW AND ARROW” at No. 89.
HANA’s “Blue Jeans” rises 11-3 this week, while the group’s “My Body” lands at No. 6 — one of seven songs the girls have on the chart this week. AiNA THE END’s “On the Way” rebounds from No. 12 to No. 4, marking her first return to the top five in about two months.
MAZZEL’s “Only You” debuts at No. 8. The lead track from their upcoming single of the same name, due out Nov. 26, leads downloads and hits No. 3 for video views and No. 27 for streaming with its advance digital release. Outside the top 10, Tatsuro Yamashita’s “MOVE ON” bows at No. 12. Featured in Daihatsu’s TV commercial for its kei-type vehicle MOVE, the song from the veteran singer-songwriter’s first single in two years earns the week’s No. 1 in radio.
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from Nov. 3 to 9, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
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Speakers were widely attuned to Taylor Swift when her third studio LP, Speak Now, debuted at No. 1 on the all-genre Billboard 200 chart and Top Country Albums dated Nov. 13, 2010.
The set followed 2008’s Fearless as the second of six Swift albums that have started atop both lists.
Speak Now’s release was heavily publicized, as Swift made performances at New York’s Kennedy Airport, on ABC’s Dancing With the Stars and on Los Angeles’ Hollywood Boulevard as she shot an NBC special, Taylor Swift – Speak Now.
Five Speak Now singles reached the top five on the Hot Country Songs chart: “Mine” (No. 2 peak, November 2010), “Back to December” (No. 3, March 2011), “Mean” (No. 2, June 2011) and two No. 1s, which led for one week each: “Sparks Fly” (November 2011) and “Ours” (March 2012), the latter from a Target-exclusive CD version of the album.
On the Billboard Hot 100, four Speak Now songs hit the top 10, including the title track, with “Mine” charting the highest (No. 3).
Amplifying Speak Now’s legacy, Dan + Shay’s new cover of “Back to December” debuted at No. 4 on Billboard’s Country Digital Song Sales chart dated Nov. 1.
Speak Now logged 13 weeks at No. 1 on Top Country Albums. Meanwhile, the re-recording, Speak Now (Taylor’s Version), led for two weeks in 2023.
In addition to Swift’s six albums that have topped both the country and all-genre album lists, her self-titled debut dominated Top Country Albums for 24 weeks beginning in August 2007 and her EP Beautiful Eyes went No. 1 on the chart for a week in August 2008.
Nine more of Swift’s titles have led the Billboard 200 but not Top Country Albums, including The Life of a Showgirl, currently ruling (on the Nov. 15-dated survey) for a fifth week. Her 15 Billboard 200 No. 1s are the most among soloists and second overall only to the Beatles’ 19.
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Radiohead’s second live album, Hail to the Thief: Live Recordings 2003-2009, makes a top 10 debut across four Billboard album charts (dated Nov. 15), including a No. 8 bow on Top Album Sales, marking the band’s ninth top 10. The set also enters the top 10 on Indie Store Album Sales (No. 4), Vinyl Albums (No. 5) and Top Current Album Sales (No. 8).
On the overall Billboard 200 chart, the set squeaks in at No. 200, landing the group its 17th chart entry. The set also bows at No. 30 on Independent Albums and at No. 48 on Top Rock & Alternative Albums.
In the tracking week ending Nov. 6 in the United States, the album earned a little over 8,000 equivalent album units, of which essentially all were in traditional album sales (purchases of digital and physical copies of the album).
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 (TEA) units and streaming equivalent album (SEA) units.
Radiohead’s new live album is one of six debuts or re-entries among the top 10 on the latest Top Album Sales chart, where Florence + the Machine’s Everybody Scream debuts atop the list. Tyler, The Creator’s chart-topping CHROMAKOPIA reenters at No. 2 after its one-year anniversary reissue on CD, vinyl and in two deluxe boxed sets (each containing branded merch and a copy of the CD). Grateful Dead’s latest archival live set Dave’s Picks, Vol. 56: Rainbow Theatre, London, England, 3/20/81 & 3/21/81 enters at No. 3, while Taylor Swift’s former No. 1 The Life of a Showgirl slips 3-4. The KPop Demon Hunters soundtrack rises a spot to No. 5, while Hamilton: 10 Shots (Highlights From the Original Broadway Cast Recording) bows at No. 6. Stray Kids’ chart-topping KARMA climbs 9-7, Bob Dylan’s from-the-vaults compilation Through the Open Window: The Bootleg Series, Vol. 18, 1956-1963 debuts at No. 9 and Vince Guaraldi Trio’s A Charlie Brown Christmas soundtrack returns to the top 10, rising 14-10.
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Welcome to Billboard Pro’s Trending Up newsletter, where we take a closer look at the songs, artists, curiosities and trends that have caught the music industry’s attention. Some have come out of nowhere, others have taken months to catch on, and all of them could become ubiquitous in the blink of a TikTok clip.
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This week: Gordon Lightfoot’s signature story song sees massive gains due to an anniversary of its titular tragedy, HAVEN. inspires odd trends and strange questions with a mysterious dance smash, Lily Allen grows buzz for her comeback album and more.
The Legend of ‘The Wreck of the Edmund Fitzgerald’ Lives On With 50th Anniversary Spike
Even among recent unlikely bringback streaming hits, few could’ve seen this one coming. “The Wreck of the Edmund Fitzgerald,” the sweeping and highly dramatic story song first captained by the late great Canadian singer-songwriter Gordon Lightfoot in 1976 — about a real-life 1975 tragedy at sea that struck the SS Edmund Fitzgerald, with all 29 on board dying — has found a second life among TikTok audiences.
The song had gone viral in recent weeks, with videos and merch and even Chicago bar nights celebrating the song and the ship that inspired it, in commemoration of the wreck’s then-upcoming 50th anniversary (ultimately observed on Nov. 10, 2025). According to Luminate (and Billboard’s own reporting), the song had begun to rise in streams solidly in advance of that anniversary, with “Wreck” racking up 1.4 million official on-demand U.S. streams for the tracking week ending Nov. 6 — up a strong 77% from the prior week.
And then, of course, on the actual date of the anniversary, it exploded: “The Wreck of the Edmund Fitzgerald” amassed over one million streams on Monday (Nov. 10) alone — while also selling over 1400 digital songs — up a whopping 436% and 930%, respectively, from its numbers the previous Monday (Nov. 3), according to early data provided by Luminate. It was enough to get “Wreck” onto the top 100 of the Spotify Daily Top Songs USA chart — and towards the top of the iTunes real-time chart, where it remains in the top five two days later. — ANDREW UNTERBERGER
Enigmatic Artist HAVEN. ‘Run’s Into Streaming Breakthrough
Thanks to a viral trend likening the nondescript dance-pop of department store playlists to that of ski resorts and clubs, HAVEN. — an enigmatic artist with minimal musical footprint — has scored a streaming smash.
“I Run” earned over 290,000 official on-demand U.S. streams during the four-day period of Oct. 31-Nov. 3. During the comparable four-day period the following week (Nov. 7-10), the viral EDM track exploded over 1,106% to 3.5 million streams, according to early data provided by Luminate.
Though the song has quickly overtaken TikTok, opinions have been split on its quality. To date, the official “I Run” TikTok sound plays in over 25,000 posts. Last month (Oct. 21), Jorja Smith denied the narrative that the song’s vocal was sourced from an old demo of hers, leading some users to question if AI was used in the creation of “I Run.” At press time, “I Run” is unavailable on Spotify, but remains playable on Apple Music and TIDAL; the track appears to have been pulled from streaming due to possible rights issues.
On Wednesday (Nov. 12), Andre Benz, the CEO of Broke Records, the label through which HAVEN. released “I Run,” shared an image to his Instagram Story that read “All my homies hate Sony.” Billboard has reached out to Benz, Sony Music Publishing and SoundOn for comment. — KYLE DENIS
Lily Allen Word-of-Mouths Her Way Into Top ‘End’ of Billboard 200
Veteran U.K. pop star Lily Allen hadn’t released an album since 2018’s tepidly received No Shame, which debuted at No. 168 on the Billboard 200 and No. 8 on the UK Official Albums Chart, becoming her first album to miss the top 100 and top two on the respective listings. Now, she’s back in both chart regions thanks to the slowly building embrace of her late-October-released new LP, the explosive concept album West End Girl.
While West End Girl arrived with little fanfare, having only been announced by Allen four days prior, the minor detonation it sparked slowly grew over the course of last week, largely thanks to its subject matter: her recent separation from Stranger Things actor David Harbour, which the album details in often uncomfortable (if still quite catchy) detail. As the album captured headlines for its tabloid-y narrative, it also won over critics with its accessible melodies, biting lyrics and strong structuring, becoming a new favorite of pop fans who didn’t realize how much they’d missed Allen in her absence.
As a result, the album grew steadily in official on-demand U.S. streams over the course of its debut week, ultimately racking up 11.5 million for the tracking week ending Oct. 30 — helping to propel it to a No. 118 debut on the Billboard 200 (and a No. 4 bow on the UK Official Albums Chart). By the next week (ending Nov. 6), that stream count was up 17% week-over-week, pushing it to No. 93 on the Billboard 200, as it also climbed to No. 2 on its home country’s chart. – AU
‘Wicked: For Good’ Anticipation & Live Special Boost Streams for Film Soundtrack & A Judy Garland Classic
Wicked: For Good doesn’t hit theatres for another week and a half (Nov. 21), but the highly anticipated sequel to last year’s Oscar-winning, box office-topping musical epic is already boosting related songs on streaming.
During the period of Oct. 31-Nov. 3, the 2024 Wicked motion picture soundtrack, led by Cynthia Erivo and Ariana Grande, earned 4.3 million official on-demand U.S. streams, according to early data provided by Luminate. By the comparable four-day period the next week (Nov. 7-10), the soundtrack spiked 55% to over 6.7 million official streams. Last year, the soundtrack reached No. 2 on the Billboard 200, and last week (Nov. 7), the compilation (and score soundtrack) earned three combined Grammy nominations, including best pop duo/group performance for Erivo and Grande’s rendition of “Defying Gravity.”
The two Oscar-nominated witches also led the cast in a Nov. 7 special titled Wicked: One Wonderful Night. Featuring appearances from the principal Wicked film cast, viral fans and Broadway OGs Idina Menzel and Kristin Chenoweth, the Peacock special also churned out an accompanying live album. Billed to Grande and Erivo, the live album racked up over 4.3 million streams during the period of Nov. 7-10.
To close the special, Erivo and Grande recreated Barbra Streisand and Judy Garland’s iconic 1963 duet of “Get Happy / Happy Day Are Here Again.” In the four-day period preceding the special (Oct. 31-Nov. 3), Garland’s version of “Get Happy” earned just over 10,000 official streams. In the four-day period after the special aired (Nov. 7-10), “Get Happy” logged 33,000 official streams, marking a 214% boost.
The Wicked: For Good soundtrack, which features a pair of new original songs penned by three-time Oscar-winning composer Stephen Schwartz (“The Girl in the Bubble” and “No Place Like Home”), arrives on Nov. 21. — KD
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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 Billboard 200 dated Nov. 22, as Taylor Swift and KPop Demon Hunters continue to rule the roost, we look at artists with good chances to break into the top 10 below them.
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Rosalía, LUX (Columbia): Few new pop sets this year have been either as hotly anticipated or as rapturously received as Spanish singer-songwriter Rosalía’s ambitious new set LUX, which arrived on Friday (Nov. 7). That is, if you can even plausibly call the album pop: While the album certainly has its big melodies and catchy moments, it’s as influenced by opera, classical, jazz and showtunes as much as it is by any of the genres most directly feeding into contemporary top 40, and it’s sung in over a dozen different languages.
Still, LUX has proven dazzling enough to delight critics and fans alike — and given both its rapturous critical acclaim and its strong start on streaming, it seems likely to become Rosalía’s highest-charting album on the Billboard 200 to date. Aiding its first-week performance will be its availability for purchase in four different CD boxed sets — each including branded merch and a CD — as well two vinyl editions, one of which is signed by the artist.
Will it be enough to get Lux to the Billboard 200’s top 10 — which, somewhat surprisingly for an artist of Rosalía’s profile, she has still yet to even get near, peaking highest (No. 33) with 2022’s Motomami? With solid sales and steady streams, it certainly seems likely — with a top five debut also a possibility — though it depends on both how well the set maintains on DSPs, as other more-streaming-proven releases continue to perform at a high level.
But it helps that the set already seems to have something of a breakout hit: Yahritza y Su Esencia collab “La Perla,” which is still on both the Spotify Daily Top Songs USA and Apple Music real-time charts, and climbing again on each.
Hayley Williams, Ego Death at a Bachelor Party (Post Atlantic): Hayley Williams’ first release on her new independent imprint Post Atlantic — can you guess which major label she recently parted ways with? — has had an extremely unconventional rollout. First, in late July Williams released 17 of its tracks to her website for free streaming, before uploading them to DSPs all as individual singles in early August. Then in late August, the set was collected on streaming as the full album Ego Death at a Bachelor Party, with two new songs joining the then-19-track set.
Now, the album has reached its (possibly) final form: Last week, Williams released Ego Death on CD and vinyl for the first time — while also re-releasing it to DSPs — all with the extra new track “Showbiz” now making the tracklist an even 20 songs. The set, which was very well received by fans and critics even with its somewhat jumbled release, should sell fairly well — with multiple vinyl variants on sale — and Ego Death should bound up from its No. 173 debut this week on the Billboard 200 (due to early availability of its vinyl in some indie stores), possibly even threatening a new peak in the top 10.
IN THE MIX
Sombr, I Barely Know Her (SMB/Warner): One of the year’s most exciting new breakout hitmakers is coming off a very big weekend, both scoring his first Grammy nomination (for best new artist) and making his debut appearance on Saturday Night Live as a performer. Keeping the good times rolling: the first physical release on CD, vinyl and cassette of his debut album I Barely Know Her, which should give the album a nice boost on the Billboard 200, from where it currently sits at No. 27 to somewhere around its original No. 10 peak.
Yeonjun, No Labels Part 1 (Big Hit): Also threatening the top 10 this week: the debut solo EP from Yeonjun, singer/songwriter in the chart-topping Korean pop group TOMORROW X TOGETHER. The six-track set does not yet have a major presence on streaming, but is expected to sell very well, assisted by a litany of different CD variants, each including collectible paper goods, some of which is randomized per copy.
