State Champ Radio

by DJ Frosty

Current track

Title

Artist

Current show
blank

State Champ Radio Mix

8:00 pm 12:00 am

Current show
blank

State Champ Radio Mix

8:00 pm 12:00 am


Chart Beat

Page: 94

Three weeks after Karol G’s “Si Antes Te Hubiera Conocido” debuted at No. 2 on Billboard’s Hot Latin Songs, the song rolls 3-1 on the Tropical Airplay chart (dated July 20), for the Colombian’s first No. 1 there. It’s the second track by a female soloist, unaccompanied by another act, to rule the tally in the 2020s.

Explore

Explore

See latest videos, charts and news

See latest videos, charts and news

“Si Antes Te Hubiera Conocido,” on Bichota/Interscope/ICLG and released June 21, advances to No. 1 on Tropical Airplay –as the Greatest Gainer of the week– with 7.6 million audience impressions during the July 5-11 tracking week, according to Luminate: that’s a 27% gain from the week prior.

Trending on Billboard

While “Si Antes Te Hubiera Conocido” gives Karol G her first champ on Tropical Airplay, the singer-songwriter previously achieved a No. 8 high through “Casi Nada” in 2016, before the chart became genre-based.

The track, produced in partnership with Coke Studio, makes Karol G the second solo woman, unaccompanied by any other act, to lead Tropical Airplay this decade, after Rosalía hit No. 1 with “Despechá” in 2022. Prior, La India ruled with “Dímelo” for one week in 2016.

[embedded content]

Notably, only six women have seated atop Tropical Airplay in the ‘20s with or without collaborators: Natti Natasha, La India, Rosalía, Maria Becerra, Shakira and now, Karol G. Out of those, Rosalía has successfully managed three champs, while Becerra, two. Here is their collection of No. 1s:

Title, Artist, Peak Date, Weeks at No. 1“La Mejor Versión de Mí,” Natti Natasha & Romeo Santos, Oct. 26, 2019, 15 (seven of its weeks at No. 1 were in 2020)“Victimas Las Dos,” Victor Manuelle & La India, May 29, 2021, one“La Fama,” Rosalía Featuring The Weeknd, May 14, 2022, two“Te Espero”, Prince Royce & Maria Becerra, May 28, 2022, four“Despechá”, Rosalía, Oct. 1, 2022, four“Monotonía,” Shakira & Ozuna, Dec. 3, 2022, nine“El Pañuelo,” Romeo Santos & Rosalía, Feb. 4, 2023, four“Así Es La Vida,” Enrique Iglesias & Maria Becerra, Dec. 9, 2023, eight“Si Antes Te Hubiera Conocido,” Karol G, July 20

Over on Hot Latin Songs, “Si Antes” remains at its No. 2 debut and peak for a third week. Meanwhile, advances 5-2 on the overall Latin Airplay list.

The streak continues at least one more week for Taylor Swift: With her Tortured Poets Department spending its 12th week atop the Billboard 200 albums chart (dated July 20), she now has the longest-reigning LP of her entire storied career. And just below it this week: Americana superstar Zach Bryan’s 19-track new LP The Great American Bar Scene.

Explore

Explore

See latest videos, charts and news

See latest videos, charts and news

While Bar Scene debuted at No. 17 on last week’s Billboard 200 after just its first day of release — with the album receiving an unusual Thursday release to coincide with the 4th of July holiday — it jumps to No. 2 this week, with 137,000 units moved in its first full week of release. While that number is higher than any second-place finisher on the 200 since Billie Eilish’s Hit Me Hard and Soft in early June, it’s down from Bryan’s 2023 self-titled set, which posted 200,000 units and debuted atop the 200.

How should Bryan feel about the set’s early performance? And what might he look to change with his next album and its rollout? Billboard staffers discuss these questions and more below.

Trending on Billboard

1. The Great American Bar Scene reaches No. 2 on the Billboard 200 this week with 137,000 units moved in its first full week of availability. Is that first-week performance lower, higher, or about what you would have expected from Zach Bryan’s new set?

Kyle Denis: These numbers are definitely a bit lower than I expected. Granted the album didn’t spawn an instant first-week smash à la “I Remember Everything” (with Kacey Musgraves), but I thought the goodwill from his arena-packing tour and the steady streaming performance of “Pink Skies” would be enough for the set to at least match the first-week total of Bryan’s 2023 self-titled LP. 

Jason Lipshutz: A little lower based on last year’s self-titled bow, which cracked 200,000 (albeit with a traditional Friday release). Bryan has only grown in stature since last August’s album release — “I Remember Everything” with Kacey Musgraves has joined songs like “Something in the Orange” and “Heading South” as a signature track, while Bryan has been playing to stadium crowds in the album interim — so while another six-figure showing is impressive, especially less than a year after the last full-length, the dip in equivalent album units was a little unexpected. 

Jessica Nicholson: That number feels close to what I would expect, given its July 4 release date and given that fans (especially Bryan superfans) are more apt to delve into the album deeply within its first few days of release.

Kristin Robinson: This is below what I would’ve guessed, especially because this album had 19 songs, a pretty long track listing and longer than his self-titled album from 2023 which had a better first week. Given Zach has picked up so many fans in the last couple years, I would think the long track list plus growing fanbase would equal a stronger first week than previous projects for him. In the streaming era, I think the second and third weeks are especially telling for the success of the album so I’m waiting to see what the next weeks bring – were these first week numbers primarily one-time curiosity listens or will this album be a grower?

Andrew Unterberger: It’s lower. When Zach Bryan debuted with 200,000 units last year, it was attention-grabbing, but it also felt like it was just the beginning for him — his trajectory just kept going up from there, right up to the No. 6 Hot 100 debut for “Pink Skies” last month. To be honest, I thought this album’s debut (well, technically not debut, but you know) would leave the self-titled’s in the dust, and I remain a little at a loss for why it’s instead coming up well short.

2. The first-full-week numbers are down from Bryan’s prior self-titled set, which bowed at No. 1 with 200,000 units in September 2023. What do you think is the biggest reason for the decreased performance?

Kyle Denis: Definitely the lack of a something as instantaneous as “I Remember Everything.” On that note, Kacey is arguably the most streaming-friendly artist Bryan has ever put on one of his studio albums, and the lack of an artist of that specific caliber probably contributed to a dip in general interest for the new record. There’s also the fact that Bryan has been notably ubiquitous over the past two years ago – not that that’s stunted the success of other massive artists like Taylor Swift and Drake. The difference here is that Bryan has released three LPs, one live album, two EPs and several standalone singles in the past two years – and they rarely deviate from his trademark sound. People might be feeling just a little bit of Zach Bryan fatigue.

Jason Lipshutz: The Great American Bar Scene was likely hamstrung by both the Fourth of July release — with plenty of Americans not paying attention to new music that Thursday, and queuing up another spin of “Party in the USA” while celebrating the holiday — as well as an over-saturation of Bryan’s recorded material. The singer-songwriter has become an undisputed superstar, but even the biggest artist would likely struggle to conjure as much excitement around a new 19-song project as the 16-song project that they released 11 months earlier. So while Bryan’s devoted listeners were ready for The Great American Bar Scene to arrive, I’d guess that some casual fans weren’t quite as prepared to press play during its opening week. And that’s fine! Bryan will have plenty of material for both his stadium shows and for all types of listeners to discover at their own pace.

Jessica Nicholson: 2024 has been a year of big album releases so far — Beyonce, Ariana Grande, Taylor Swift, Future and Metro Boomin among them — so one reason for the decreased performance could simply be there are already so many attention-grabbing projects out there for fans to consume this year. That’s in addition to a more upbeat, danceable slate of viral hits that have dominated the first half of 2024, such as Shaboozey’s “A Bar Song (Tipsy),” the Wallen/Post collab “I Had Some Help” and Sabrina Carpenter’s “Espresso.”

Kristin Robinson: Two things. First, I just think the self-titled album was stronger in general. That album was a phenomenal highlight reel of what Zach is capable of as a singer-songwriter. Second, I think Zach’s free-wheeling approach to releases can hurt him and it did here. He does not like playing the industry game, which I can respect to a certain extent, but sometimes his unwillingness to do typical promotion and marketing means that fans just are not aware that new music is coming. Pair that with the fact that he’s put out more music in the last twelve months than some artists do in the span of 2-5 years and you garner a mix of confusion or even apathy from fans with each release.

Andrew Unterberger: It’s easy to blame the 4th of July drop — both for splitting up his first-week numbers and for burying news of its release — and to some extent, it’s probably fair. But I don’t totally buy it as the only or even the main explanation; when artists are as big in 2024 as Zach Bryan has become, fans will find your new album one way or the other, and it’s not like Bryan ever benefited from a particularly massive rollout on prior albums either. I’m more likely to buy that folks are just a little too spent on Bryan — or based on his robust catalog numbers, maybe too busy catching up with the older stuff? — at the moment to stream this new album with any particular ravenousness, and that with no physical release yet to go with the set, his early numbers are a little vulnerable to such dips in enthusiasm. But I’m still sorta stunned the dip was this pronounced.

[embedded content]

3. The two big hits from the album so far seem to be the pre-release single “Pink Skies” and the new top 20 debut “28.” Which of the two songs do you think will ultimately be the biggest hit from the set — or do you think something else on the album will overtake both?

Kyle Denis: I think “Pink Skies” will ultimately stand as the album’s biggest hit, but “28” could certainly overtake it with a remix. While I find the John Mayer joint (“Better Days”) just okay, there’s certainly potential for it to become another hit off the record based solely on their combined star power. 

Jason Lipshutz: “Pink Skies” is the one that will endure, based on both its Hot 100 track record and its sonic makeup; the song remains the highest-charting new Bryan song a few weeks after its release, and its harmonica-heavy, gently rendered reflections of post-death togetherness is ripe for getting fans choked up at Bryan’s shows, in between bellowing out the lyrics. “Pink Skies” demonstrates Bryan’s appeal as a detailed storyteller and subtly powerful vocalist, and will be the defining song from this set.

Jessica Nicholson: “Pink Skies” is beautifully delivered, and music listeners seem to have gravitated toward the song’s story of navigating loss, while the jangly percussion and harmonica keep it from being too forlorn. This seems to have gained the most traction, though “28” feels slightly smoother, sonically, so I could see it potentially overtaking “Pink Skies” as the album’s biggest hit. 

Kristin Robinson: I think “28” will be the most dominant song from this album overall in terms of popularity. That hook is undeniable. But “Pink Skies,” which is about grief and losing a loved one, will continue to live on as a favorite among the fanbase. I see it being cemented in his live sets and continuing to be a high streamer for him, but maybe not his greatest crossover success.

Andrew Unterberger: Honestly, with Bryan’s (still objectively impressive) first-week numbers coming in a little bit soft by his current standards, the massive bow of “Pink Skies” — and its continued top 20 endurance — becomes even more impressive in retrospect. It may end up being more of a defining hit for him than I would’ve thought upon its debut.

4. The guests on Bar Scene are split between the galactically famous (Bruce Springsteen, John Mayer) and the more if-you-know-you-know type (John Moreland, Noeline Hofmann). Do any of them bring out anything particularly new or interesting from Bryan and his music to you?

Kyle Denis: Not particularly – and that’s part of why the new record feels a bit limp at times. There’s nothing close to “Hey Driver,” which found The War and Treaty’s robust, soulful tones pushing Bryan into new, refreshing vocal territory. 

Jason Lipshutz: Noeline Hofmann is the first guest that appears on the Great American Bar Scene track list, on the beautiful and affecting duet “Purple Gas,” and the singer-songwriter had me feeling like the Shaq “I wasn’t familiar with your game” meme. Hofmann not only holds her own against Bryan, but her soaring tone complements the more gravelly aspects of his delivery; not only did “Purple Gas” make me want to take a deeper dive into her discography, but it also made me hope that this collaboration wouldn’t be a one-off. 

Jessica Nicholson: Bryan’s music incorporates elements of so many different styles, that each of his collaborations feels cohesive with the album’s solo tracks. Some lean slightly more rock, others folk or bluesy, but they are all within Bryan’s expansive musical wheelhouse.

Kristin Robinson: Zach tends to do this – equally mixing newer, smaller artists as features next to his big-name heroes. I love that about his records. I was especially impressed by Noeline Hofmann, and I plan to dig into her own music based on her performance on “Purple Gas.” She did not pull out anything particularly new for Zach, we already saw this side of him on the Kacey Musgraves duet “I Remember Everything,” but I think their voices blended well.

Andrew Unterberger: I like John Mayer adding a little loose-limbed jamminess to “Better Days.” There’s definitely something to be unlocked for Bryan and his band there — consider the fever pitch that “Revival” hits live when it stretches out to double-digit minutes, and maybe apply some of those lessons to a mid-album curveball or two next time around.

[embedded content]

5. Bryan may very well be the type of artist who doesn’t put a ton of stock in his first-week performance — but assuming he was, and didn’t want to see those numbers continue to slide from album to album, what’s the most important piece of advice you would give him before he sets out on his next LP?

Kyle Denis: Try not to dilute your presence with so many projects in such quick succession. Let the music – and yourself – breathe for more than a few months at a time. 

Jason Lipshutz: I could tell Bryan to hold off a little bit in between album releases in order to stoke anticipation for his next album a little more cleanly, or limit his track list to the sturdiest 12 tracks to limit the sprawl a bit — but honestly, what Bryan has accomplished over the past two years is so wildly impressive that, if I were him, I wouldn’t take a ton of stock in outside opinions! Bryan has toed the line between gargantuan commercial success and industry singularity, blazing his own trail in country-rock without abiding by traditional rollouts or release schedules; while I’d be tempted to nudge him toward music-biz conventions to help his first-week performances rise even higher, that would also betray what he’s created for himself. So: Keep doing you, Zach, and the world will keep listening.

Jessica Nicholson: Bryan is a prolific writer — over the past year, he’s issued a 16-song self-titled project, the five-song Boys of Faith project, and now his 19-song The Great American Bar Scene album. Perhaps giving slightly more time between project releases would be a good option. The past few releases have included several collaborations with a wide-ranging array of artists, which have sparked intrigue and discussion. Continuing the next project with collaborations with some unexpected artists would seem an obvious choice.

Kristin Robinson: Plan out a true roll out. It doesn’t have to be like everyone else’s. I believe there’s a way to craft a roll out that doesn’t make you look like a pop star sell out. I’m still marveling at Charli XCX’s Brat roll out which felt so totally her, and did a great job at reminding people every other week that she had music coming. We live in a time where our attention is divided more than ever, and I would love to live in a Zach Bryan “era” for longer than what he typically gives to fans. Build the world around the music!

Andrew Unterberger: Take a lesson from The Boss: Bryan’s hero and collaborator never stayed in the same place for multiple albums, switching up his approach, his structure, his songwriting and his themes for pretty much every new record during his peak. What would a Zach Bryan small-town theatrical epic sound like? Or a collection of haunted folk ballads? Or — as I wondered the last time we did this — a hits-on-hits-on-hits blockbuster? Part of Bryan’s charm to date has been that his albums haven’t felt overly considered — neither did Springsteen’s first couple — but the really great ones can also plot out a full LP from top to bottom and execute it to perfection. I’m hoping he shows us that side of his skill set next time out.

It’s taken nearly 28 years for Los Ángeles Azules to score a No. 1 on Billboard’s Latin Airplay chart, but the group’s winning week finally arrives as “Perdonarte Para Qué?” — their collab with Emilia — vaults 15-1 in its fifth week on the chart (dated July 20).

Explore

See latest videos, charts and news

See latest videos, charts and news

The Mexican cumbia, released May 23 via Promotodo/Virgin Music Latin, ascends to the summit on the overall Latin Airplay chart with 8.1 million audience impressions, up 69%, earned across U.S. reporting radio stations during the July 5-11 tracking week, according to Luminate. A pair of Univision stations lead the charge among all reporting stations for the most audience gains, starting with WOJO-FM in Chicago, while KLQB-FM in Austin comes in second.

Trending on Billboard

The new No. 1 unseats Grupo Firme’s “El Beneficio De La Duda,” which dips 1-4 despite a 1% gain in audience to 6.2 million.

With “Perdonarte ¿Para Qué?” both Los Ángeles Azules and Emilia score a career milestone on the overall Latin Airplay tally, checking into the penthouse for the first time.

[embedded content]

Among their nine-career top 10s, Los Ángeles Azules managed a No. 3 best through “Nunca Es Suficiente,” featuring Natalia Lafourcade, in February 2019. Plus, the Mexicans achieved another top 10 in 2024: the No. 5 high “La Cumbia Triste,” their first partnership with Alejandro Fernández. (The group premiered on Latin Airplay in December 1996 with “Come Te Voy a Olvidar,” which peaked at No. 7 the following February.)

Emilia also celebrates her first champ on her second try, after the Argentinian pop artist reached a No. 26 high with “La_Original.mp3” alongside Tini, in April. With the new champ, Emilia becomes the first Argentinian woman to land atop Latin Airplay since Maria Becerra took the throne for one week with “Te Espero” with Prince Royce in June 2022. Since then, another Argentinian has seized the crown: Bizarrap, through two “Bzrp Music Sessions” — Vol. 52 with Quevedo and Vol. 53 with Shakira — in November 2022 and February 2023, respectively.

Beyond its Latin Airplay coronation, “Perdonarte ¿Para Qué?” gifts Los Ángeles Azules its fifth No. 1 on Regional Mexican Airplay where the song pushes 8-1 with the Greatest Gainer honors, awarded weekly to the song with the largest gain in audience impressions.

Plus, Emilia joins two other pop artists who have achieved their maiden No. 1 on the Mexican radio ranking in 2024: Shakira with her Grupo Frontera collab “(Entre Parentesis)” (May 18-dated list) and Becky G through “Por El Contrario,” her Leonardo Aguilar and Angela Aguilar team-up (March 9).

Thanks to its strong radio pull, “Perdonarte ¿Para Qué?” debuts at No. 35 on the airplay-digital sales- and streaming-blended Hot Latin Songs chart, for Emilia’s first chart appearance. Meanwhile, the siblings’ group secures its highest debut since “El Listón De Tu Pelo” in 1999 (No. 32 start, No. 4 high in 2000).

When The Lion King soundtrack rose to the top of the Billboard 200 albums chart in 1994, it marked not only the first No. 1 for the Walt Disney Records label, but the first soundtrack from a fully animated film ever to top the tally.
The album – with songs written by Elton John and Tim Rice, and its score composed by Hans Zimmer – ascended to the summit on the July 16, 1994-dated Billboard 200 in only its fourth week on the chart. It collected 10 nonconsecutive weeks at No. 1 and lingered in the weekly top 40 for over a year.

During the course of The Lion King’s run on the Billboard 200, the album spun off hits in John’s “Can You Feel the Love Tonight” (No. 4 peak on the Billboard Hot 100) and “Circle of Life” (No. 18). The former marked John’s highest charting Hot 100 hit unaccompanied by another artist since 1988, when “I Don’t Wanna Go On With You Like That” reached No. 2.

Trending on Billboard

[embedded content]

The Lion King proved to be so popular that it finished 1994 as the year’s top-selling album in the U.S., according to Luminate, with 4.9 million copies sold that year. The soundtrack’s success ran concurrent with the film’s smash status at the box office. The Lion King closed 1994 as the highest-grossing film at the U.S. and Canada box office, with $295.7 million earned that year.

In March 1995, John and Rice won the Academy Award for best original song for “Can You Feel the Love Tonight,” marking the first nomination and win for John, and the second win for Rice. The two were largely competing against themselves, as three of the five nominees were The Lion King songs that they penned – “Circle of Life” and “Hakuna Matata” also made the cut. Zimmer additionally took home his first Oscar, for best original score.

On the April 29, 1995-dated Billboard 200, a few weeks after the Oscars and the film’s release on home video, The Lion King returned to No. 1 on the Billboard 200 for its 10th and final week on top, more than seven months after it had last led.

In the years since The Lion King’s release, Walt Disney Records has produced 10 more No. 1 soundtracks on the Billboard 200, including chart-toppers from Pocahontas, High School Musical, Frozen and Encanto.

In the first half of 2024 in the United States, Taylor Swift’s The Tortured Poets Department was the most popular album, while Benson Boone’s “Beautiful Things” was the most-streamed song (by on-demand audio streams), respectively, according to data tracking firm Luminate.
Read more about midyear metrics in the 2024 Luminate Midyear Music Report.

‘Poets’ Perched on Top: For the tracking period of Dec. 29, 2023, through June 27, 2024, Swift’s The Tortured Poets Department was the most popular album in the U.S. The pop superstar’s studio set was released on April 19 via Republic Records and earned 4.66 million equivalent album units in the first half of 2024. (See full top 10 chart, below.) Poets spent its first 12 weeks atop the weekly Billboard 200 chart – the first album by a woman to spend its first 12 weeks at No. 1.

Poets is also the top-selling album, by traditional album sales, at the midyear point, with 2.47 million sold. The set is the top-selling album on CD (1.07 million), vinyl (988,000) and digital download (395,000) of 2024’s first six months.

Trending on Billboard

The most-streamed song by on-demand audio streams (inclusive of user-generated content [UGC] streams) was Boone’s breakout hit “Beautiful Things,” with 448.7 million clicks in the first six months of the year. “Beautiful Things,” released via Night Street/Warner Records, marked Boone’s first top 40-charting hit on the weekly Billboard Hot 100 chart, and peaked at No. 2 on the tally in March.

Equivalent album units – for album titles and chart rankings cited below (but not industry volume numbers) – comprise traditional album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sales, or 10 individual tracks sold from an album, or 3,750 ad-supported on-demand official audio and video streams generated by songs from an album, or 1,250 paid/subscription on-demand official and audio streams generated by songs from an album.

Equivalent album units cited for album titles in this story, and in the “Midyear Top 10 Albums in U.S.” chart do not include user-generated content (UGC) streams. UGC streams are included in Luminate’s industry volume numbers and its midyear song streaming rankings. (UGC streams are not factored into any of Billboard’s weekly charts.)

For the sake of clarity, equivalent album units do not include listening to music on broadcast radio or digital radio broadcasts. All numbers cited in this story are rounded, and for the U.S. only. Programmed streams are not included in any of the data in this story.

Luminate (formerly MRC Data, Nielsen Music and SoundScan) began tracking music consumption in 1991. Luminate’s sales, streaming and airplay data is used to compile Billboard’s weekly charts.

Of The Tortured Poets Department’s 4.66 million equivalent album units earned at midyear, album sales comprise 2.47 million, SEA units comprise 2.16 million (equaling 2.82 billion on-demand official audio and video streams of the 31 songs on the deluxe edition of the album) and TEA units comprise 23,000.

The top five most popular albums at the midyear point in the U.S. are The Tortured Poets Department, Morgan Wallen’s March 2023 release One Thing at a Time (1.78 million), Noah Kahan’s October 2022 release Stick Season (1.22 million), Beyoncé’s March release Cowboy Carter (1.10 million) and SZA’s December 2022 release SOS (1.06 million). In 2023, One Thing at a Time and SOS  were the Nos. 1 and 3 most popular albums of the year in Luminate’s year-end report.

2024’s Midyear Top 10 Albums in U.S. (by Equivalent Album Units)1. Taylor Swift, The Tortured Poets Department (4.660 million)2. Morgan Wallen, One Thing at a Time (1.776 million)3. Noah Kahan, Stick Season (1.224 million)4. Beyoncé, Cowboy Carter (1.105 million)5. SZA, SOS (1.064 million)6. Future & Metro Boomin, We Don’t Trust You (1.046 million)7. Morgan Wallen, Dangerous: The Double Album (1.010 million)8. Zach Bryan, Zach Bryan (984,000)9. Taylor Swift, 1989 (Taylor’s Version) (953,000)10. Taylor Swift, Lover (948,000)Source: Luminate, for the tracking period Dec. 29, 2023, through June 27, 2024. UGC (user-generated content) streams are not included in this chart, but are included in Luminate’s on-demand streaming charts (below). Luminate’s equivalent album unit totals include SEA and TEA for an album’s songs registered before an album’s release, but only during the tracking period.

2024’s Midyear Top 10 Selling Albums in U.S. (Physical & Digital Album Sales Combined)1. Taylor Swift, The Tortured Poets Department (2.474 million)2. Billie Eilish, Hit Me Hard and Soft (306,000)3. Beyoncé, Cowboy Carter (257,000)4. Taylor Swift, 1989 (Taylor’s Version) (250,000)5. Taylor Swift, Lover (208,000)6. TOMORROW X TOGETHER, Minisode 3: TOMORROW (193,000)7. ATEEZ, Golden Hour: Part.1 (191,000)8. Taylor Swift, Folklore (174,000)9. TWICE, With YOU-th (174,000)10. Taylor Swift, Midnights (171,000)Source: Luminate, for the tracking period Dec. 29, 2023, through June 27, 2024.

2024’s Midyear Top 10 Selling Vinyl Albums1. Taylor Swift, The Tortured Poets Department (988,000)2. Billie Eilish, Hit Me Hard and Soft (160,000)3. Taylor Swift, 1989 (Taylor’s Version) (117,000)4. Taylor Swift, Folklore (108,000)5. Taylor Swift, Lover (106,000)6. Taylor Swift, Midnights (100,000)7. Beyoncé, Cowboy Carter (94,000)8. Taylor Swift, Evermore (88,000)9. Noah Kahan, Stick Season (87,000)10. Olivia Rodrigo, Guts (74,000)Source: Luminate, for the tracking period Dec. 29, 2023, through June 27, 2024.

Total Album Consumption Increases 7.4% at Midyear: Year-to-date, total equivalent album units grew by 7.4% (to 527.3 million) as compared to the same time frame in 2023 (491.1 million in the span of Dec. 30, 2022, through June 29, 2023). However, Luminate notes in its midyear report that due to changes in methodology and provider reporting, a trend break occurred in the first half of 2024, and they are unable to provide an accurate representation of year-over-year changes with regards to independent retail physical sales. In turn, for the above total equivalent album unit comparison, sales from independent retail stores are excluded from both the midyear 2024 and 2023 numbers above as there is no comparable historical data to provide an accurate year-over-year trend. Indie store album sales are included in the top 10 album rankings in this story. (In January 2024, Luminate retired a weighted data modeling method that previously measured physical sales in the indie retail sector. In April, Luminate launched a partnership with data provider StreetPulse to collect music sales from independent retailers.)

On-Demand Audio Streaming Up 8%, ‘Beautiful Things’ Most-Streamed Song: Boone’s “Beautiful Things” was the most-streamed song by on-demand audio streams in the first half of 2024 in the U.S. (see list, below), with 448.7 million streams (inclusive of UGC). Zach Bryan’s “I Remember Everything,” featuring Kacey Musgraves (437.3 million) and Teddy Swims’ “Lose Control” (409.7 million) round out the top three.

Total on-demand audio streams at midyear grew 8% in the U.S. as compare to the same point a year ago (665.8 billion versus 616.5 billion).

UGC streams are included in Luminate’s industry streaming on-demand volume numbers (above) and its midyear streaming song charts (below). UGC streams are not factored into any of Billboard’s weekly charts.

In general, all songs in the below charts combine the assorted remixes of a song into one overall total.

2024’s Midyear Top 10 Most Streamed Songs in U.S. (On-Demand Audio)1. Benson Boone, “Beautiful Things” (448.7 million)2. Zach Bryan featuring Kacey Musgraves, “I Remember Everything” (437.3 million)3. Teddy Swims, “Lose Control” (409.7 million)4. Tommy Richman, “Million Dollar Baby” (374.9 million)5. Future, Metro Boomin & Kendrick Lamar, “Like That” (374.9 million)6. Kendrick Lamar, “Not Like Us” (362.1 million)7. Noah Kahan, “Stick Season” (342.9 million)8. Jack Harlow, “Lovin On Me” (340.8 million)9. Shaboozey, “A Bar Song (Tipsy)” (333.1 million)10. Hozier, “Too Sweet” (333.1 million)Source: Luminate, for the tracking period Dec. 29, 2023, through June 27, 2024. Includes UGC streams.

Digital Song Sales Fall 11%: Digital song sales declined 10.9% in the first six months of 2024, falling to 61.96 million, as compared to 69.57 million sold in the first half of 2023. The top-selling digital song at the midyear point is Shaboozey’s “A Bar Song (Tipsy)” with 219,000 sold.2023’s Midyear Top 10 Selling Digital Songs in U.S.1. Shaboozey, “A Bar Song (Tipsy)” (219,000)2. Benson Boone, “Beautiful Things” (200,000)3. Teddy Swims, “Lose Control” (195,000)4. Beyoncé, “Texas Hold ‘Em” (178,000)5. Post Malone featuring Morgan Wallen, “I Had Some Help” (156,000)6. Megan Thee Stallion, “Hiss” (107,000)7. Jack Harlow, “Lovin On Me” (95,000)8. Tom MacDonald & Ben Shapiro, “Facts” (93,000)9. Eminem, “Houdini” (88,000)10. Hozier, “Too Sweet” (85,000)Source: Luminate, for the tracking period Dec. 29, 2023, through June 27, 2024.

Harlow Hot at Radio: The most-heard song on U.S. radio in the first half of 2024 was Harlow’s “Lovin On Me,” with a cumulative 1.743 million audience impressions across all formats monitored by Luminate.  “Flowers,” with a cumulative 2.409 billion audience impressions across all formats monitored by Luminate. The track led Billboard’s weekly Radio Songs airplay chart for 12 consecutive weeks (from Jan. 27, 2024 through April 13, 2024).

2024’s Midyear Top 10 Radio Songs in U.S. (Based on Audience Impressions)1. Jack Harlow, “Lovin On Me” (1.743 billion)2. Teddy Swims, “Lose Control” (1.692 billion)3. Doja Cat, “Agora Hills” (1.544 billion)4. Taylor Swift, “Cruel Summer” (1.402 billion)5. Tate McRae, “Greedy” (1.388 billion)6. Luke Combs, “Fast Car” (1.248 billion)7. Tyla, “Water” (1.210 billion)8. Benson Boone, “Beautiful Things” (1.142 billion)9. Sabrina Carpenter, “Feather” (1.123 billion)10. SZA, “Snooze” (1.111 billion)Source: Luminate, for the tracking period Dec. 29, 2023, through June 27, 2024.

As the U.K. midweek singles charts heat up, Eminem is again set to perform some serious chart magic.
His single, “Houdini,” is on track to reclaim the No. 1 spot, thanks to the hype surrounding his new album The Death of Slim Shady (Coup de Grâce). The track previously held the top position for two weeks, marking Eminem’s longest stint at No. 1.

But that’s not all— Eminem is also set to land two more tracks in the U.K. Top 10 this week. “Habits” and “Renaissance,” both from his new album, are currently sitting at Nos. 8 and 10, respectively. The rapper is also set to secure his 11th U.K. No. 1 album with his latest album, according to the latest midweek album chart data.

Explore

Explore

See latest videos, charts and news

See latest videos, charts and news

Em’s previous charting singles in the U.K. include “The Real Slim Shady” (2000), “Stan” (2000), “Without Me” (2002), “Lose Yourself” (2002), “Just Lose It” (2004), “Like Toy Soldiers” (2005), “Smack That” with Akon (2006), “The Monster” with Rihanna (2013), “River” with Ed Sheeran (2017) and “Godzilla” with the late Juice WRLD (2020).

Trending on Billboard

In other chart news, as England geared up to face Spain in the Euros final, the nation’s excitement was palpable. The enthusiasm has propelled David Baddiel, Frank Skinner, and The Lightning Seeds’ iconic football anthem “Three Lions” back up the chart.

“Three Lions” gets the boot 21-5 on the midweek chart, but, just like the England team, is unlikely to win on this occasion. The song, originally released in 1996 and known for its catchy chorus “It’s coming home,” has become a perennial favorite during football tournaments.

Ice Spice and Central Cee’s eye-catching collaboration “Did It First” is making a strong debut, entering the chart blast at No. 17.

With such intense competition, the race for the top spot is more exciting than ever. Will Eminem’s “Houdini” hold onto No. 1, or will Sabrina Carpenter’s “Espresso” reclaim the throne?

Sabrina Carpenter, who has been a strong contender with two tracks in the top four, continues to impress with her pop prowess and dedicated fan base. And how will the potential triumph of England’s football team affect the charts?

All will be revealed when the Official U.K. Singles Chart is published late Friday, July 19.

Eminem is on track to secure his 11th U.K. No. 1 album with The Death of Slim Shady (Coup de Grâce), according to the latest midweek charts.
The Detroit rapper is outselling his nearest rival more than three times over.

The album’s lead single, “Houdini” is set to perform another magic trick as it looks to reclaim the top spot on the Official Singles Chart for a third non-consecutive week.

Eminem‘s illustrious career, spanning 25 years, has seen him amass ten U.K. No. 1 albums so far, including The Marshall Mathers LP (2000), The Eminem Show (2002), Encore (2004), Curtain Call: The Hits (2005), Relapse (2009), Recovery (2010), The Marshall Mathers LP 2 (2013), Revival (2017), Kamikaze (2018), and Music to Be Murdered By (2020).

Explore

Explore

See latest videos, charts and news

See latest videos, charts and news

In a fiercely competitive week, Glasgow, Scotland band Travis aims for their highest-charting album in 23 years with L.A. Times, currently sitting at No. 2. This could become their tenth Top 10 album in the U.K., following a string of successful releases since the late ’90s.

Newcomer Griff is also making strides with her second Top 10 album, Vertigo, which is tracking at No. 3. Meanwhile, Cat Burns is on the verge of her first Top 10 album with early twenties, currently at No. 4.

Trending on Billboard

Cigarettes After Sex look like they’ll achieve a career-best with their new album X’s, expected to enter the charts at No. 5. This marks a major leap from their previous albums, Cigarettes After Sex (2017) and Cry (2019), which peaked at Nos 27 and 36, respectively.

John Lennon’s 1973 album Mind Games is enjoying a resurgence, aiming for a new peak at No. 10 following a multi-format reissue. The album originally peaked at No. 13 upon its release 51 years ago.

Clairo’s third studio album Charm is set to be her first Top 40 entry, currently tracking at No. 12. Similarly, Cassandra Jenkins’ My Light, My Destroyer is aiming for a Top 40 spot, coming in at No. 15.

Teddy Swims’ debut album I’ve Tried Everything But Therapy (Part 1) is making a comeback, jumping to 31-28, thanks to the success of his new single “Funeral.” OneRepublic’s latest release, Artificial Paradise, is also making its mark, aiming for a Top 40 position at No. 29.

Liverpool, England’s STONE is poised to debut on the Official Albums Chart with Fear Life for a Lifetime, currently at No. 38, marking an exciting milestone for the rock outfit.

Zach Bryan’s The Great American Bar Scene soars to No. 1 on multiple Billboard charts dated July 20 following the set’s first full tracking week, including the nearly nine-month-old Top Streaming Albums tally, where it vaults to the top spot from No. 18. Explore Explore See latest videos, charts and news See latest videos, charts and news […]

Nearly 50 years after making his Billboard chart debut, Bruce Springsteen scores a first, notching his initial appearance on the Hot Country Songs survey.
The Boss also returns to the all-genre Billboard Hot 100 for the first time in over 15 years.

Springsteen achieves his latest chart feats, on lists dated July 20, thanks to his featured role on Zach Bryan’s “Sandpaper,” from the latter’s new album, The Great American Bar Scene. The set surges to No. 1 on Billboard’s Top Streaming Albums, Top Country Albums and Top Rock & Alternative Album charts, among others, and No. 2 on the Billboard 200, following its first full tracking week (July 5-11, after it was released July 4).

The collaboration drew 7.1 million official U.S. streams and 22,000 in radio airplay audience and sold 1,000 downloads in its first full week, according to Luminate. It debuts at No. 26 on Hot Country Songs and No. 71 on the Hot 100.

Trending on Billboard

[embedded content]

As Springsteen logs his maiden Hot Country Songs entry, he hits the Hot 100 for the first time since “Working on a Dream” debuted and peaked at No. 95 in February 2009. “Sandpaper” marks his 27th Hot 100 showing, a haul that began in 1975 with his iconic “Born to Run,” which reached No. 23.

Notably, Springsteen showed up to duet with Bryan on “Sandpaper” on March 27 at Brooklyn’s Barclays Center. The song is drawing comparisons to Springsteen’s “I’m on Fire” – one of seven Hot 100 top 10s from his Born in the U.S.A. album in 1984-86 – which Bryan has covered in concert.

Springsteen boasts 12 career Hot 100 top 10s. His first, “Hungry Heart,” which reached No. 5 in 1980, was followed by his highest-charting single, “Dancing in the Dark,” which climbed to No. 2 in 1984. He made his most recent trip to the tier with “Streets of Philadelphia,” which rose to No. 9 in 1994.

The 1999 Rock & Roll Hall of Fame inductee has become synonymous with lengthy concerts alongside his legendary E Street Band. He has posted 11 No. 1s on the Billboard 200, among 22 top 10s. The River, which ruled for four frames in 1980, became his first leader and High Hopes his most recent in 2014.

Springsteen, 74, reached critical mass in the mid-‘80s with Born in the U.S.A., which dominated for seven weeks, beginning in July 1984, and has charted for 144 weeks, most recently last month.

Zach Bryan has a huge week on Billboard’s charts (dated July 20), thanks to the arrival of his new album, The Great American Bar Scene.
Released July 4 on Belting Bronco/Warner Records, the set debuted at No. 17 on the Billboard 200 chart (dated July 13) after just one day of activity. Following its first full week, it jumps to No. 2 with 137,000 equivalent album units earned, according to Luminate. Nearly all of that sum is from streaming, as the album is slated to be released on CD and vinyl on Oct. 11.

The album earns Bryan his fourth top 10 on the Billboard 200, after American Heartbreak (No. 5 peak in June 2022); Zach Bryan (No. 1, September 2023); and his EP Boys of Faith (No. 8, October 2023).

Explore

Explore

See latest videos, charts and news

See latest videos, charts and news

On the Billboard Hot 100, Bryan charts 17 songs from The Great American Bar Scene. Here’s a look at all 18 of Bryan’s entries on the latest list (with all but one from the new set; all are debuts except where noted).

Trending on Billboard

Rank, Title:

No. 12, “Pink Skies” (up from No. 13; peaked at No. 6 in June)

No. 14, “28”

No. 21, “American Nights”

No. 22, “I Remember Everything,” feat. Kacey Musgraves (down from No. 19; peaked at No. 1 in September)

No. 46, “Better Days,” feat. John Mayer

No. 48, “Oak Island”

No. 57, “The Way Back”

No. 58, “The Great American Bar Scene”

No. 61, “Bass Boat”

No. 69, “Purple Gas,” with Noeline Hofmann (re-entry; new high)

No. 71, “Sandpaper,” feat. Bruce Springsteen

No. 73, “Mechanical Bull”

No. 74, “Boons”

No. 83, “Memphis, The Blues,” feat. John Moreland

No. 91, “Like Ida”

No. 93, “Northern Thunder”

No. 94, “Towers”

No. 99, “Funny Man”

(Only two songs from Bryan’s new album aren’t on this week’s chart: “Lucky Enough [Poem]” and “Bathwater.”)

[embedded content]

Of Bryan’s 18 entries on the Hot 100, 15 are debuts, upping his career total to 42 career titles. Of those, 19 have reached the top 40 and three have hit the top 10.

Thanks to his featured appearance on the new LP, John Mayer returns to the Hot 100 for the first time since “Outta My Head” with Khalid reached No. 58 in April 2019. He logs his highest rank since “Shadow Days” reached No. 42 in 2012.

Plus, Bruce Springsteen earns his 27th career Hot 100 hit, and first since “Working on a Dream” (No. 95 peak, February 2009). He earns his highest placement on the chart since “The Rising” reached No. 52 in 2002.

Meanwhile, John Moreland achieves his first career Hot 100 entry thanks to his featured appearance on “Memphis, The Blues.” The singer-songwriter, from Tulsa, Okla., has been releasing music for nearly two decades, including 10 studio albums. He has charted three collections on the Americana/Folk Albums chart: High on Tulsa Heat (No. 14 peak in 2016); Big Bad Luv (No. 18, 2017); and LP5 (No. 17, 2020).


blank
Share on Facebook
Share on Twitter
Share on Pinterest
Share on Linkedin
Send by Whatsapp
Love