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Ariana Grande may have first come to public attention through the Nickelodeon series Victorious, but the real triumph was her elevation from television teen star to music industry juggernaut like few acts have ever achieved. From the jump, Grande emerged as an instant fan favorite: Her debut single, the Mac Miller-assisted “The Way,” debuted in the […]
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: It’s all things The Pop Out, as Kendrick Lamar and his many Friends see considerable gains following their All-Star Juneteenth concert.
Run It Back: Could “Not Like Us” Recapture No. 1 After Kendrick’s Epic Showcase?
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The main event at The Forum in Los Angeles last Wednesday (June 19) was, of course, the first live performance from Kendrick Lamar since his unofficial (though rather decisive) victory over Drake in the biggest hip-hop feud of the decade so far. Kendrick’s 18-track set, which featured guest appearances from his Black Hippy crewmates and his longtime industry mentor Dr. Dre and was streamed nationally over Amazon Prime, seemed to capture the entire country’s attention on Juneteenth — and unsurprisingly, has led to major catalog gains for Kendrick Lamar. The rap superstar posted nearly 61 million combined official on-demand U.S. streams over the following three-day period (June 20-22), a gain of 31% over the three-day period prior to Juneteenth (June 16-18).
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Of course, the most consequential bump was for Kendrick Lamar’s knockout blow in the Drake bout, the Mustard-produced, Billboard Hot 100-topping Song of the Summer contender “Not Like Us.” The song’s performance was the most anticipated part of the entire evening, and its landing as the show’s final song certainly did not disappoint — particularly because Lamar ran back its opening verse twice, performed the entire song three times, and even let the instrumental play as the closing credits rolled on the telecast. It apparently still wasn’t enough for his fans, as the song collected nearly 21 million combined streams over the three days following the concert, a 62% bump from the prior three-day period. (It should be mentioned that streams collected by a song over a normal Thursday-to-Saturday period usually are a little higher than those from Monday to Wednesday, just based on national streaming patterns.)
Could the bump be enough to send “Not Like Us,” currently the No. 6 song on the Hot 100, back to No. 1 for a second week? It will almost certainly climb back into the top five next week, and could even challenge to pass this week’s champ, Sabrina Carpenter’s “Please Please Please” — which is slipping a little in streams so far this week. But No. 1 could still be out of its reach, given the radio airplay disadvantage it has against Post Malone and Morgan Wallen’s “I Had Some Help,” which reigned for five weeks before being displaced by Carpenter and has remained steady in sales and streams. Still, Lamar has an extra weapon at his disposal: the much-anticipated official “Not Like Us” video, which he was seen filming over the weekend. If he unleashes that before the tracking week ends, the extra attention could be enough to put it over the top.
Black Hippy S–t: ScHoolboy Q, Jay Rock & Ab-Soul Also Up in Streams
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One of the most triumphant stretches of The Pop Out came when Kendrick Lamar was joined on stage by his former Top Dawg Entertainment labelmates ScHoolboy Q, Jay Rock and Ab-Soul for a Black Hippy crew reunion — their first appearance together since Lamar officially departed the label after 2022’s Mr. Morale & The Big Steppers. Jay Rock joined first to perform his Lamar collaborations “Money Trees” and “Kings Dead” and his own “Win,” then Ab-Soul appeared to help Lamar on “6:16 in LA,” and finally ScHoolboy Q completed the set for “Collard Greens” and the Black Hippy remix of “That Part.” The trio then continued dancing onstage through Lamar’s performance of his own solo classic, “King Kunta.”
All three of the special guests were able to parlay their surprise appearances into major streaming gains in the days following the concert. Ab-Soul collected 291,000 total official on-demand U.S. streams over the three-day post-Juneteenth period (June 20-22), up 44% from the three days before the show (June 16-18), according to Luminate. Jay Rock was up 45% over the same period, to just over one million streams. And ScHoolboy Q saw a 31% bump, with over 4.3 million streams amassed. While the other big guest during Lamar’s set, West Coast godfather Dr. Dre, didn’t get as big a catalog percentage bump, his 1999 classic “Still D.R.E.” — which introduced his surprise appearance — was also up 19% over the same period, to over 1.2 million streams.
A Little Help From His Friends: Mustard, YG & More Openers See Gains of Their Own
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The Pop Out was a star-studded event before Kendrick ever even took the stage. Preceding him in the Forum spotlight was fellow L.A. legend Mustard — producer behind “Not Like Us,” as well as an innumerous number of West Coast classics over the past 15 years — who began by reminding the crowd of some of the eternal bangers he was responsible for (including Tyga’s “Rack City,” 2 Chainz’s “I’m Different” and Big Sean’s “I Don’t F–k With You.”) He then brought out a succession of local special guests, some of whom (like Dom Kennedy and Tyler, the Creator) performed songs he took no part in, and some of whom (namely set closers Roddy Ricch and YG) exclusively played songs he helmed.
Many of those artists saw big bumps from their appearances at the televised event over the three days following the event (June 20-22) from the three days prior (June 16-18), and many of the songs performed were particular beneficiaries. Tyler racked up gains for the two songs he performed, “Wusyaname” (up 48% to 657,000) and “Earfquake” (up 28% to 1.5 million), as did Dom Kennedy for his pair of picks, “When I Come Around” (up 142% to 102,000) and “My Type of Party” (up 127% to 69,000), according to Luminate. And YG, who finished off the Mustard set with a selection of classics, saw his entire catalog lift 35%, to nearly four million streams over the three-day period.
Mustard also saw a huge spike for the song that made for the emotional centerpiece of his set: “Perfect Ten,” his collab with the late Nipsey Hussle, whose presence still hung over the entire West Coast celebration. The song was up 127% to 123,000 streams over the three-day period.
Forever No. 1 is a Billboard series that pays special tribute to the recently deceased artists who achieved the highest honor our charts have to offer — a Billboard Hot 100 No. 1 single — by taking an extended look back at the chart-topping songs that made them part of this exclusive club. Here, we honor the late Crazy Town frontman Shifty Shellshock by looking at their lone No. 1 as a group: the surprisingly nice and sweet rap-rock staple “Butterfly.”
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By 2001, rap-rock and nu-metal had long since taken over the world. From the mid-’90s peak of Rage Against the Machine and instruments-era Beastie Boys through the late-’90s takeover of KoRn and Limp Bizkit and the eventually diamond-certified breakthrough of Linkin Park’s 2000 debut LP Hybrid Theory, bands mixing loud guitars with aggressive rhymes and copious record-scratching grew into a truly massive piece of the music industry. They infected TRL and dominated Woodstock ’99 and terrified your Backstreet-and-Britney-worshipping younger siblings. But they didn’t get to No. 1 on the Billboard Hot 100 until Crazy Town.
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To some extent, that’s not surprising. The dawn-to-dusk of the entire nu-metal era transpired when radio was still king on the charts, and top 40 airplay in particular formed the shape of the Hot 100. Many of the genre’s biggest bands were heavy and abrasive enough that they struggled to even secure regular alternative rock airplay, let along crossover playlisting on the pop stations. These groups often outsold the pop hitmakers at the top of the Hot 100, but they weren’t a particularly imposing threat to their supremacy on the airwaves. That was particularly true because, unlike in the hair metal era of the late ’80s and early ’90s — the prior period where hard rock played an obviously central role in music’s mainstream — few, if any of these bands made room for power ballads or love songs between their ragers, the kind of songs that could expand both their radio reach and their demographic appeal. In other (highly reductive) words, none of these bands of angry young dudes wrote songs for women.
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Crazy Town did, though. Or at least, they wrote one, for one woman: “Butterfly,” co-penned by group frontman Seth Binzer — known professionally as Shifty Shellshock, who died this week at age 49 — was inspired by a new girlfriend who made him take a second look at his traditionally misogynistic lyrical content. “I was in love [with her,] and she was asking, ‘What’s up with all these lyrics? Is that what you’re like?’” Shellshock recalled to Fred Bronson in The Billboard Book of Number One Hits. “So that made me come up with the concept of writing a song to her. Instead of writing a male chauvinistic song, I was going to write something nice and sweet to a girl I cared about.”
The lyrics to “Butterfly” are indeed nice and sweet — particularly compared to distinctly un-Hallmark prior Crazy Town singles like “Toxic” (“F–k the critics, we leave them hanging like INXS”) and “Darkside” (“Unearthin’ untamed perversion/ My bad brain’s workin’, circle-jerkin’”). Rather, “Butterfly” celebrates the titular love interest with a series of straightforwardly romantic and decently heartfelt verse tributes (“I used to think that happy endings were only in the books I read/ But you made me feel alive when I was almost dead”) and a chorus hook (“You’re my butterfly, sugar baby”) worthy of The Archies. A few questionable couplets, namely one from co-lead Brett “Epic” Mazur comparing him and his intended to storied punk lovers Sid Vicious and Nancy Spungen — who died by murder-suicide at the former’s hand — invariably opened the song up to Awesomely Bad-type ribbing. But as far as 21st century mainstream rock love songs go, it’s actually pretty touching.
More critical than the lyrics, though, was that the song sounded especially nice and sweet. Whereas the overwhelming majority of signature nu-metal anthems were confrontational head-bangers, the beat to “Butterfly” is a slow-and-low shuffle, with the record-scratching mostly contained to a background flourish. And while no one would mistake Shellshock’s rapped lead for one of 98 Degrees, his come-ons wisely hew closer to gentle invitation than yawped insistence; the most striking vocals on the entire song come via the complementary toneless backing whispers on the hook (“You make me go CRAZY….“)
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But what really gives “Butterfly” its wings is the Red Hot Chili Peppers sample. In fact, in terms of both inspiration and utility, you could make the case for it being one of the 10 most important pop samples of the entire 21st century — it’s hard to think of too many other hits this big where the lift was this crucial to both the makeup of the song and the reason for it taking flight. Especially because its source is at once both incredibly obvious (a mostly shirtless bunch of SoCal rap-rockers finding kinship with an RHCP track, duh) and remarkably obscure: The percolating bass, weightless guitars and rising-sun horns of “Butterfly” are looped not from one of the Chili Peppers’ hits, but from a pre-crossover 1989 deep cut called “Pretty Little Ditty,” a disorientingly gorgeous four-measure pattern that briefly materializes mid-song and disappears for good immediately after.
While the mini-groove was just a flash of divinity in the original “Ditty,” it makes up the whole musical spine of “Butterfly,” running throughout the entire track. Mazur admitted to Bronson he never expected to get the sample cleared, given the band’s traditional reticence for approving such recycling of their songs, saying, “If we had to fight to get it cleared or they didn’t like it, we would have come up with some other music.” It’s utterly impossible to imagine any version of “Butterfly” without the full “Ditty” sample, though — everything about the song’s particular alchemy depends not only on the sample’s melodies and sonics, but in the built-in (and lived-in) Chili Peppers reference point.
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However, with the heavenly sample elevating Shellshock’s sealed-with-a-kiss mash note lyrics — and a perfect accompanying visual in the lush, pleasantly psychedelic music video, co-starring his eventual wife Melissa Clark — “Butterfly” flapped higher than even any RHCP hit. While the latter band’s generational power ballad “Under the Bridge” stalled at No. 2 on the Hot 100 (behind Kris Kross’ “Jump”), Crazy Town’s breakout smash got all the way to No. 1 on the chart dated March 24, 2001, replacing Joe’s “Stutter” on top. It then gave way to Shaggy and Rayvon’s “Angel” — another romantic ode based around a lovey-dovey-all-the-time rock lift — before reclaiming the top spot, then ceding it for good to Janet Jackson’s seven-week No. 1 “All for You.”
“Butterfly” was not only Crazy Town’s only visit to the Hot 100’s top spot, it was their sole cameo on the entire chart. Gift of Gab follow-up “Revolving Door” made the Official UK Singles Chart’s top 40, and “Drowning” (from 2002 sophomore LP Darkhorse) earned some rock airplay, but the group was never interested in attempting another “Butterfly,” and they broke up shortly after Darkhorse. Shellshock had better fortunes outside of the group, scoring another sublime summery smash with the Paul Oakenfold-led dance-rock skate-along “Starry-Eyed Surprise,” peaking just outside the Hot 100’s top 40 and making the U.K.’s top 10. He scored one more minor hit with the solo “Slide Along Side” (as just Shifty), but his music career was largely sidelined by substance abuse; when he returned to music television in the late ’00s, it was as a cast member on VH1’s Celebrity Rehab.
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But even if “Butterfly” was the lone pillar of Shellshock’s musical legacy, it would still be a sturdy one. The song’s sun-drenched, genre-blending composition and unmistakably of-its-time sound and vision have made it an enduringly iconic snapshot of its era — further helped by its extensive usage in early-’00s comedies like Saving Silverman and Orange County and TV shows like Daria and Undeclared. And while later smashes from Linkin Park, Evanescence and Staind all were able to reach the top five of the Billboard Hot 100, “Butterfly” remains unaccompanied on its perch, still the only nu-metal song to top the chart in its history.
Kali Uchis and Peso Pluma add a new No. 1 to their Billboard Latin Airplay chart count as “Igual Que Un Ángel” ascends from No. 3 to lead the June 29-dated ranking.
“Thank you to everyone for your support, for believing in this song,” Uchis tells Billboard. “Thank you!”
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“Igual Que Un Ángel” puts the Colombian-American singer/songwriter back at No. 1 after almost three years, when “Telepatía” climbed 5-1 on the survey dated July 3, 2021, for her second champ on the overall Latin Airplay ranking. Peso picks up his fourth ruler, and second in 2024, following the one-week coronation of “Qlona,” with Karol G (March 2-dated tally).
In the tracking week of June 14-20, “Ángel” registered 7.93 million audience impressions, with a 13% increase from the week prior, according to Luminate. Thanks to that sum, the collab lands at No. 1 in its 11th week. The chart’s previous No. 1, El Fantasma’s “Sabor a Michelada,” falls to No. 10 with a 36% decline in audience, to 5.5 million.
“Ángel” takes the lead on Latin Airplay 23 weeks after it debuted atop the multi-metric Hot Latin Songs, Latin Streaming Songs and Latin Digital Song Sales charts (dated Jan. 27). On the latter, it dominated for four consecutive weeks. The song also made its run across multiple Billboard charts. Here’s the recap:
Peak Date, Chart Peak Postion, Weeks at No. 1Jan. 27, Billboard Global 200, No. 9Jan. 27, Hot Latin Songs, No. 1, oneJan. 27, Latin Streaming Songs, No. 1, oneJan. 27, Latin Digital Song Sales, No. 1, fourFeb. 3, Billboard Global Excl. U.S. No. 10Feb. 3, Billboard Hot 100, No. 22March 30, Rythmic Airplay, No. 35June 29, Latin Airplay, No. 1June 29, Latin Pop Airplay: No. 1
With “Ángel,” Peso Pluma switches genre gears and lands his first No. 1 on Latin Pop Airplay with his firt chart entry, with a 2-1 lift. (He’s previously charted No. 1s on both Regional Mexican Airplay and Latin Rhythm Airplay.) Uchis, meanwhile, loges her second No. 1 on Latin Pop Airplay, also three years after “Telepatía” took charge for one week in March 2021. In between, “No Hay Ley,” her second and last entry as a soloist unaccompanied by any other artist, reached No. 11 high in Feb. 2023.
Elsewhere, thanks to its radio pull, “Ángel” moves 19-16 on Hot Latin Songs, despite a 2% dip in streaming activity, with 2 million official U.S. streams during the tracking week.
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Crystal Aikin’s “He Can Handle It” ascends to No. 1 on Billboard’s Gospel Airplay chart (dated June 29). The single increased by 2% in plays June 14-20, according to Luminate.
The song, which was recorded live, was co-written by Nate Bean and Ayron Lewis.
Aikin, from Tacoma, Wash., banks her first chart-topper in her third Gospel Airplay appearance. It follows “So Amazing,” which peaked at No. 21 in March 2015, and “I Desire More,” which hit No. 18 in June 2009.
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Aikin has achieved two top 10s in her two appearances on Top Gospel Albums. All I Need arrived at its No. 8 best in February 2015 after her self-titled debut set opened and peaked at No. 3 in January 2009.
Aikin, who earned a nursing degree from Pacific Lutheran University, won the first season of BET’s Sunday Best in 2007. Genre cornerstone Kirk Franklin hosted the talent show from that year to 2021.
‘Look At’ Koryn Hawthorne
Also on Gospel Airplay, Koryn Hawthorne adds her fourth top 10 as “Look at God” rises 12-9 (up 23%). The song, which the Abbeville, La., native co-penned, follows “Speak to Me,” which became her second No. 1 in April 2021, leading for a week. Her rookie entry “Won’t He Do It” began a 19-week command in March 2018 and “Unstoppable” reached No. 5 in June 2019.
On the multimetric Hot Gospel Songs tally, Hawthorne has three chart-toppers. As a finalist on the eighth season of NBC’s The Voice, she first led with “How Great Thou Art,” which she performed on the show, for a week in April 2015. “Won’t He Do It” dominated for 41 weeks beginning in March 2018, the chart’s longest reign ever by a female artist, and “Speak to Me” ruled for 19 frames beginning in November 2020.
SiriusXM’s limited engagement channel Billboard Top 500 Summer Hits Countdown has returned, celebrating the all-time biggest summer songs.
The channel counts down, from No. 500 to No. 1, the most sizzling summer classics from 1958 through 2023 based on the Billboard Hot 100 chart, featuring such acts as The Beatles, Bee Gees, Mariah Carey, Drake, Elton John, Madonna, Katy Perry, Elvis Presley, Rihanna, Rolling Stones, Usher and (fittingly) Donna Summer.
SiriusXM’s Billboard Top 500 Summer Hits Countdown channel is available now through June 30 on SiriusXM channel 105 and on the SiriusXM app. The channel will then continue exclusively on the SiriusXM app throughout the year.
The spotlight follows the annual return of Billboard’s Songs of the Summer chart, with Post Malone and Morgan Wallen ringing in this year’s running tally at No. 1 with “I Had Some Help,” which holds atop the latest list. The 20-position chart tracks the most popular titles based on cumulative performance on the weekly streaming-, airplay- and sales-based Hot 100 chart from Memorial Day through Labor Day. At the end of the season, the top song of the summer will be revealed.
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Wallen’s “Last Night” led the season-ending 2023 Songs of the Summer chart and Harry Styles’ “As It Was” reigned in 2022. BTS’ “Butter” glided to a No. 1 finish in 2021, after DaBaby’s “Rockstar,” featuring Roddy Ricch, wrapped on top in 2020. You can check out the top 10 summer songs every year throughout the Hot 100’s history (from the chart’s start in 1958) here.
The Billboard Top 500 Summer Hits Countdown marks the latest partnership between SiriusXM and Billboard. Recent airings include the Billboard Women of Pop Countdown, the Billboard Music Awards Channel, the Billboard #2 Countdown Channel and the Billboard Top 500 R&B Countdown. Additionally, SiriusXM’s Big 40 Countdown, on 80s on 8, and the Back in the Day Replay, on ‘90s on 9, are based on historical weekly Hot 100 charts, with other current and classic charts counted down on channels including 70s on 7, Prime Country and TikTok Radio.
Sabrina Carpenter is on track to secure another U.K. No. 1 single, while Chappell Roan looks set to break into the national top 10 for the first time.
Carpenter’s “Please Please Please” (via Island) holds top spot on the midweek U.K. chart and is positioned to take top spot for a second week — positioning Carpenter for another significant career milestone.
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The track, produced by Jack Antonoff, is the second single from Carpenter’s sixth studio LP, Short ‘n’ Sweet, which was released June 6, following her previous U.K. No. 1 hit with “Espresso.”
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Last Friday, June 21, Carpenter achieved a remarkable feat when “Please, Please, Please” dethroned Eminem’s “Houdini” to secure her second U.K. leader in less than two months, while “Espresso” held strong at No. 2.
The achievement set a new Official Chart record, with Carpenter becoming the youngest female solo artist in history to simultaneously hold the No. 1 and No. 2 spots on the Official Singles Chart, at age 25 years, 1 month, and 10 days old, surpassing Ariana Grande’s previous record.
Grande was 25 years, 7 months, and 20 days old when she achieved the same feat in February 2019 with “7 rings” and “break up with your girlfriend, i’m bored” respectively leading the chart.
Meanwhile, Chappell Roan is making a strong bid for her first U.K. top 10 entry with her single “Good Luck, Babe” (Island), up 16-9 on the chart blast.
The single recently topped the Official Trending Chart, showcasing its growing popularity in the U.K. “Good Luck”, along with her previous hit “HOT TO GO!” from her 2023 debut album The Rise and Fall of a Midwest Princess, has solidified her status as a rising star in the pop scene. “Good Luck, Babe” has spent six consecutive weeks in the top 40, peaking at No. 18.
Roan’s strong social media presence has played a significant role in the single’s success, with “Good Luck, Babe” gaining substantial traction on TikTok with thousands of users featuring the track in their videos.
The Official U.K. Singles Chart will be revealed late Friday, June 30.
Rising singer-songwriter Gracie Abrams is set to claim her first No. 1 album on the Official U.K. Albums Chart with her second studio effort, The Secret of Us.
Midweek sales and streaming figures from the Official Charts Company indicate that the Californian singer’s heartfelt and introspective songs are resonating strongly with U.K. fans, putting her in prime position to clinch the top spot.
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The 23-year-old Californian is currently outpacing her closest rival, Taylor Swift – who coincidentally features on the album’s track “us.” – by a margin of more than 2:1.
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The Secret of Us (Interscope) follows Abrams’ debut LP, Good Riddance, which peaked at No. 3 last year. The new album was preceded by the single “Close To You,” which recently became Abrams’ first U.K. Top 40 hit, reaching No. 35.
Amid her collaborative track with Taylor Swift dropping on June 21 alongside her 13-track sophomore album, Abrams took to Instagram to share a video of the duo playfully creating their collaborative number, calling the evening “some of the most fun I’ve ever had in my life.”
She also included a video of Swift extinguishing an apartment fire. “Now we know how to use a fire extinguisher. I love you,” Abrams wrote.
As Swift wraps up a three-night stint at London’s Wembley Stadium on her The Eras Tour, several of her former chart-topping albums are also present in the U.K. top 40 midweek.
Other notable appearances on the chart blast include The Mysterines’ second album Afraid of Tomorrows (Fiction) eyeing a No. 3 debut, Charli XCX’s BRAT (Atlantic) looking to log a third consecutive week inside the top 5, and Chappell Roan’s The Rise and Fall of a Midwest Princess (Island) potentially reaching a new peak inside the top 10, at No. 8.
Outside the Top 10, Avril Lavigne’s Greatest Hits (Sony Music CG) is on track for a top 20 debut, Ed Sheeran’s X (Asylum) could re-enter the chart thanks to a 10th-anniversary reissue, and Jethro Tull’s Bursting Out (Parlophone) is predicted to become their 26th U.K. top 40 album.
Joe Bonamassa’s Live At The Hollywood Bowl With Orchestra (Provogue) could become his 17th top 40 collection, Kate Nash’s 9 Sad Symphonies (Kill Rock Stars) approaches her highest-charting LP in 14 years, and The Story So Far are expected to enter with I Want To Disappear (Pure Noise).
All will be revealed when the Official U.K. Albums Chart is published late Friday, June 28.
NAYEON scores her second No. 1 on Billboard’s Top Album Sales chart (dated June 29) as NA enters atop the list, with 43,000 copies sold in the U.S. in the week ending June 20, according to Luminate. The TWICE member previously led the list with her first solo entry, IM NAYEON, in 2022.
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Also in the top 10 of the new Top Album Sales chart, the newest releases from $uicideboy$, Don Toliver, Luke Combs and Paul McCartney & Wings debut, while the Twilight soundtrack returns.
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. The new June 29, 2024-dated chart will be posted in full on Billboard‘s website on June 25. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.
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Sales of NAYEON’s NA were largely powered by CD sales (34,500 of its total 43,000). Vinyl accounted for 7,500, while digital download album purchases totaled 1,000. The album’s first-week sales were bolstered by its availability across 15 CD variants and two vinyl variants, all containing branded paper merchandise.
Taylor Swift’s former leader The Tortured Poets Department climbs 4-2 with 33,000 sold. The album’s sales grew 42% in the tracking week thanks largely to two new CD variants of the set that shipped to customers. The two CDs, which were sold exclusively in Swift’s webstore, were briefly available to pre-order in early June. Both CDs contain the standard album’s 16 songs and an acoustic bonus track (one includes “Down Bad” and one includes “Guilty as Sin?”).
$uicideboy$ notch their highest-charting effort on Top Album Sales as New World Depression debuts at No. 3 with nearly 20,000 sold. The set’s sales were aided by its availability across six vinyl variants, which sold a combined 16,000 – the hip-hop duo’s best week ever on vinyl. It also debuts at No. 1 on Vinyl Albums – marking the act’s first leader on the tally.
Don Toliver logs his biggest sales week ever, as his new studio album Hardstone Psycho arrives at No. 4 with 19,500 sold – all from digital download album sales. The album’s first-week sales were bolstered by a mid-week release of a deluxe digital download album, sold exclusively through Toliver’s webstore, for $5, containing four additional bonus tracks exclusive to this download version and features from Lil Uzi Vert and Yeat.
Billie Eilish’s Hit Me Hard and Soft is a non-mover at No. 5 on Top Album Sales with nearly 17,000 sold (down 16%).
Luke Combs’s Fathers & Sons starts at No. 6 with 14,000 sold. The set marks his sixth consecutive top 10 – the entirety of his charting entries. The album, which was announced just a week before it was released, was widely available as a digital download purchase, but had just one CD and one vinyl LP (both sold exclusively via Combs’ webstore).
The chart-topping Twilight soundtrack re-enters Top Album Sales at No. 7 with 13,000 sold (up from a negligible sum the previous week), following the set’s reissue on vinyl in three different color variants. Vinyl sales comprise essentially all of the sales for the week, and the album, first released in 2008, debuts on the Vinyl Albums chart at No. 2.
The first official release of Paul McCartney & Wings’ One Hand Clapping debuts at No. 8 with nearly 13,000 sold. The set, which was recorded in August of 1974, was issued as a digital download, CD and in two vinyl editions.
Closing out the top 10 of the latest Top Album Sales chart are Charli XCX’s Brat (falling 3-9 in its second week with 12,000; down 69%) and ATEEZ’s chart-topping Golden Hour: Part.1 (2-10 with nearly 12,000; down 72%).
Sabrina Carpenter’s “Please Please Please” is the newly minted biggest song in the world, as it rises to No. 1 in its second week on both the Billboard Global 200 and Billboard Global Excl. U.S. charts.
The track becomes Carpenter’s second leader on each list, dethroning her first on each ranking, “Espresso,” which a week earlier ascended to the Global 200 summit and logged a fifth week atop Global Excl. U.S.
Carpenter is just the second artist to notch new Global 200 No. 1s in consecutive weeks, after Taylor Swift’s “Cruel Summer” and “Is It Over Now? (Taylor’s Version) [From the Vault]” reached the top spot in back-to-back frames in November 2023.
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Elsewhere, Trueno earns his first Global Excl. U.S. top 10 with “Real Gangsta Love.”
The Global 200 and Global Excl. U.S. charts rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Global 200 is inclusive of worldwide data and the Global Excl. U.S. chart comprises data from territories excluding the United States.
Chart ranks are based on a weighted formula incorporating official-only streams on both subscription and ad-supported tiers of audio and video music services, as well as download sales, the latter of which reflect purchases from full-service digital music retailers from around the world, with sales from direct-to-consumer (D2C) sites excluded from the charts’ calculations.
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“Please Please Please” crowns the Global 200, lifting from No. 2, with 119.2 million streams (up 14%) and 9,000 sold (down 10%) worldwide June 14-20.
The song by the Quakertown, Pa.-born singer-songwriter-actress was released June 7, alongside its official video, and she performed it during her set at New York’s Governors Ball the following day. On June 18, acoustic, a cappella, instrumental, sped up and slowed down versions of the single were released. On June 20, Carpenter announced her 29-date Short n’ Sweet Tour, set to start Sept. 23 in Columbus, Ohio. Her album Short n’ Sweet, featuring both “Please Please Please” and “Espresso,” is due Aug. 23.
“Espresso” dips to No. 2 on the Global 200 as Carpenter becomes the first woman to hold the chart’s top two spots in consecutive weeks. Among all acts, she joins only Peso Pluma, who achieved the feat for two weeks in June 2023.
Billie Eilish’s “Birds of a Feather” rises 4-3 for a new Global 200 high; Shaboozey’s “A Bar Song (Tipsy)” lifts 5-4 for a new best; and Tommy Richman’s “Million Dollar Baby” rebounds 7-5 after it spent two weeks at No. 1 earlier in June.
On Global Excl. U.S., “Please Please Please” vaults 5-1 with 69 million streams (up 26%) and 2,000 sold (down 11%) outside the U.S. June 14-20.
“Espresso” ranks at No. 2 on Global Excl. U.S. – making Carpenter the first solo woman to claim the chart’s top two spots simultaneously. Among all acts, Jung Kook (two weeks in 2023), BLACKPINK (one, 2022) and BTS (one, 2020) have also earned such a double-up.
Carpenter is also the first solo woman to place at Nos. 1 and 2 on both the Global 200 and Global Excl. U.S. concurrently. Overall, Jung Kook (“Standing Next to You,” “Seven,” featuring Latto; Nov. 18, 2023) and BLACKPINK (“Shut Down,” “Pink Venom,” Oct. 1, 2022) previously made such a mark in the charts’ top two ranks simultaneously.
Eilish’s “Birds of a Feather” wings 4-3 for a new Global Excl. U.S. high; FloyyMenor and Cris Mj’s “Gata Only” drops to No. 4 from its No. 3 peak; and Benson Boone’s “Beautiful Things” bumps 6-5 following eight weeks at No. 1 beginning in February.
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Plus, Trueno scores his first Global Excl. U.S. top 10 as “Real Gangsta Love” soars 26-10 with 41.5 million streams (up 43%) outside the U.S. The track by the Argentinian singer and rapper rules four tallies in Billboard’s Hits of the World menu (Bolivia Songs, Ecuador Songs, Peru Songs and Spain Songs) for a second week each and has hit the top five on the Billboard Argentina Hot 100.
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated June 29, 2024) will update on Billboard.com Tuesday, June 25. For both charts, the top 100 titles are available to all readers on Billboard.com, while the complete 200-title rankings are visible on Billboard Pro, Billboard’s subscription-based service. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
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.