Chart Beat
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Post Malone’s “I Had Some Help,” featuring Morgan Wallen, notches a fourth total and consecutive week at No. 1 on the Billboard Hot 100 songs chart. The song, Post Malone’s sixth leader and Wallen’s second, is the first to spend at least its first four weeks on the chart at No. 1 since Miley Cyrus’ […]
Taylor Swift’s The Tortured Poets Department scores a seventh straight and total week at No. 1 on the Billboard 200 albums chart (dated June 15), as the set earned 148,000 equivalent album units in the U.S. in the week ending June 6 (down 16%), according to Luminate.
Poets is the first album to spend its first seven weeks at No. 1 since Morgan Wallen’s One Thing at a Time led for its first 12 weeks a year ago (March 18-June 3, 2023-dated charts). Among Swift’s collection of 14 No. 1s, Poets surpasses Folklore for the most weeks at No. 1 from its debut, as Folklore spent its first six weeks atop the list (before it slipped to the No. 5 spot in its seventh frame).
Of Swift’s No. 1s on the Billboard 200, Poets matches Red for her fourth-most weeks on top. Ahead of them are 1989 and Fearless (each with 11) and Folklore (eight).
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Meanwhile, Swift adds her 76th career week at No. 1 on the Billboard 200, extending her record among soloists. (Elvis Presley has the second-most among soloists, with 67.) The total encompasses her 14 leaders. (She’s tied with Jay-Z for the most No. 1s among soloists.)
Also in the top 10 of the new Billboard 200, ATEEZ achieves its fifth consecutive, and total, top 10-charting effort as Golden Hour: Part.1 bows at No. 2, while Shaboozey lands his first charting album as his new release Where I’ve Been, Isn’t Where I’m Going launches at No. 5.
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new June 15, 2024-dated chart will be posted in full on Billboard‘s website on June 11. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of The Tortured Poets Department’s 148,000 equivalent album units earned, SEA units comprise 120,000 (down 10% — it’s No. 1 on Top Streaming Albums; its SEA units equal 157.26 million on-demand official streams of the deluxe edition’s 31 songs), album sales comprise 27,000 (down 35%) and TEA units comprise 1,000 (down 22%).
ATEEZ achieves its fifth consecutive, and total, top 10-charting album on the Billboard 200 as Golden Hour: Part.1 debuts at No. 2 with 131,000 equivalent album units earned (the largest week of 2024 for any K-pop album). Of that sum, album sales comprise 127,000 (the year’s biggest sales week for a K-pop album; it’s also the top-selling album of the week; it’s No. 1 on Top Album Sales), SEA units comprise 4,000 (equaling 6.15 million on-demand official streams of the set’s six songs) and TEA units comprise a negligible sum. The album’s first-week sales were supported by its availability across 31 CD variants, all containing branded paper merch and other collectibles.
Billie Eilish’s Hit Me Hard and Soft slips 2-3 with 117,000 equivalent album units earned (down 19%). With the top three titles on the Billboard 200 each exceeding 100,000 units earned for the week, it’s the second week in a row that the top three have all cleared at least 100,000. The last time that happened was on the Oct. 28- and Nov. 4, 2023-dated lists.
Morgan Wallen’s chart-topping One Thing at a Time is a non-mover at No. 4 on the new Billboard 200 with 71,000 equivalent album units earned (down 3%).
Shaboozey’s third album, Where I’ve Been, Isn’t Where I’m Going, debuts at No. 5 on the Billboard 200, marking the first chart entry from the artist. The set was ushered in by the smash single “A Bar Song (Tipsy),” which has reached No. 3 on the all-genre Billboard Hot 100 and No. 1 on Hot Country Songs. The album earned 50,000 equivalent album units in its first week, and of that figure, SEA units comprise 39,000 (equaling 52.66 million on-demand official streams of the set’s 12 songs, largely powered by “A Bar Song”), album sales comprise 8,000 (it was only available to purchase as a standard digital download album) and TEA units comprise 3,000.
Wallen’s former leader Dangerous: The Double Album is a non-mover at No. 6 on the new Billboard 200 with 43,000 equivalent album units earned (down 4%), Noah Kahan’s Stick Season steps 9-7 (42,000; up 5%), Future and Metro Boomin’s chart-topping We Don’t Trust You slips 7-8 (40,000; down 6%), Gunna’s One of Wun falls 8-9 (nearly 40,000; down 6%) and Zach Bryan’s self-titled former No. 1 is stationary at No. 10 (36,000; down 3%).
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.
Kendrick Lamar’s “Not Like Us” scores its first Billboard radio crown as it reaches No. 1 on the Rhythmic Airplay chart dated June 15. The single, released on pgLang/Interscope Records/ICLG, climbs from the runner-up spot to lead the list as the most-played song on reporting U.S. rhythmic radio stations, according to Luminate.
The new champ registered a 22% surge in plays May 31-June 6. Thanks to the increase, the track claims the chart’s Greatest Gainer prize, awarded each week to the song with the largest vault in plays at the format.
“Not Like Us” was released May 4 amid Lamar’s feud with Drake. With the beef dominating hip-hop news cycles and pop culture at large, the track exploded instantly: It debuted at No. 1 on the Billboard Hot 100, largely thanks to 70.2 million official U.S. streams in the corresponding tracking week – the highest weekly count for any hip-hop song in the last three years. In its first four weeks on the Hot 100, the track has yet to leave the top two.
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The fervor has translated into strong radio momentum for “Not Like Us,” which tops Rhythmic Airplay in just its fifth week on the list. It wraps the quickest climb, by weeks, to the summit since Jack Harlow’s “First Class” also completed a five-week run to No. 1 in May 2022.
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“Not Like Us” gives Lamar his sixth Rhythmic Airplay leader. Here’s a review of his collection:
Song Title, Artist, Weeks at No. 1, Date Reached No. 1“Humble.,” three, June 3, 2017“Loyalty.,” feat. Rihanna, one, Sept. 30, 2017“Love.,” feat. Zacari, one, Dec. 30, 2017“Pray for Me,” with The Weeknd, two, April 14, 2018“Like That,” with Future & Metro Boomin, four, May 18, 2024“Not Like Us,” one (to date), June 15, 2024
Elsewhere, “Not Like Us” repeats at its No. 5 best on the Mainstream R&B/Hip-Hop Airplay chart, up 24% in weekly plays as it likewise captures Greatest Gainer honors. It also holds at No. 2 on Rap Airplay, again with the chart’s Greatest Gainer tag thanks to a 23% improvement in audience impressions.
Jelly Roll banks his fourth No. 1 in a row on Billboard’s Country Airplay chart as “Halfway to Hell” ascends to the top of the tally dated June 15. It rose by 16% to 33.2 million audience impressions May 30-June 6, according to Luminate. Jelly Roll (born Jason DeFord) co-authored the song with Jessie Jo Dillon, […]
Five Finger Death Punch extends its record streak of No. 1s on Billboard’s Mainstream Rock Airplay chart, while featured artist DMX achieves a posthumous leader, as “This Is the Way” tops the June 15-dated survey.
The song is Five Finger Death Punch’s 11th straight Mainstream Rock Airplay No. 1, lengthening the longest streak of leaders in the chart’s 43-year history. The Ivan Moody-fronted band’s run began in 2018 with “Sham Pain.”
In all, Five Finger Death Punch boasts 15 No. 1s. That gives the band sole possession of the third-most in the chart’s history, breaking out of a tie with Foo Fighters and Metallica. Five Finger Death Punch first led in 2012 with “Coming Down.”
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Most No. 1s, Mainstream Rock Airplay:
19, Shinedown
17, Three Days Grace
15, Five Finger Death Punch
14, Foo Fighters
14, Metallica
13, Godsmack
13, Van Halen
12, Disturbed
As for DMX, “This Is the Way” is the late rapper’s first No. 1 on Mainstream Rock Airplay, logged in his first appearance on the tally. The track is a mashup of two songs, mixing vocals from his “The Way It’s Gonna Be,” released in 2009, and Five Finger Death Punch’s “Judgement Day,” from the band’s 2022 LP AfterLife.
DMX now sports two No. 1s on Billboard airplay charts. His previously ruled Rap Airplay for six weeks in 2000 with “Party Up (Up in Here).” He died of a heart attack on April 9, 2021.
Concurrently, “This Is the Way” holds at its No. 9 high on the all-rock-format, audience-based Rock & Alternative Airplay chart with 3.3 million audience impressions, up 24%, in the week ending June 6, according to Luminate. On the most recent multimetric Hot Hard Rock Songs chart (dated June 8, reflecting data over May 24-30), the single ranked at No. 14, after reaching No. 4 in April; in addition to its airplay, it earned 576,000 official U.S. streams and sold 1,000 downloads.
“This Is the Way” is on the deluxe reissue of AfterLife, released April 5.
“The idea of collaborating with DMX had been in discussion for years, and it was a long and winding road to turn this particular item on our wish list into reality,” Five Finger Death Punch guitarist Zoltan Bathory said in a press release announcing the song. “He was a lyrical warrior, a true original who spoke his mind incorruptibly. We have always viewed DMX as the metalhead of hip-hop because of his aggressive, raw and untamed style. He growled and snarled, aiming to rattle some cages – an attitude we share, as Five Finger Death Punch has always been drawn to the fearless and the real. It made all the sense in the world, but today this is more than just a song; it’s a salute to a legend, a way to honor DMX’s memory.”
AfterLife debuted at No. 1 on the Top Hard Rock Albums chart in September 2022 and has earned 276,000 equivalent album units to date.
Five Finger Death Punch is on tour in Europe through July, ahead of a return to the U.S. beginning in August.
All Billboard charts dated June 15 will update on Billboard.com Tuesday, June 11.
Nicki Nicole crosses off a new milestone thanks to her latest single, “Ojos Verdes,” released April 24 via Sony Music Latin. The song rises from No. 2 to lead the Billboard Argentina Hot 100 chart (dated June 8). Her second ruler of the year arrives seven weeks after “Una Foto” — with Mesita, Tiago PZK and Emilia — culminated its 10-week domination (chart dated April 20), the longest leading song of 2024.
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As “Ojos Verdes” lands at the summit it ejects “Bésame (Remix)” by Bhavi, Seven Kayne, Milo J, Tiago PZK, Khea and Neo Pistea from the summit: falls 1-4.
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While Maria Becerra’s “Iman (Two Of Us)” dips 5-2, Los Ángeles Azules secure their first entry of the year as “Perdonarte Para Qué?,” with Emilia, debuts at No. 3. The Hot Shot Debut of The week earns the Mexican group its third top 10, while the Argentinian singer collects her 16th.
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Fifteen-year-old Argentinian Valentino Merlo and Chilean band The La Planta join in the upper region thanks to “Hoy,” their first team-up which climbs 32 places, from No. 37 to No. 5. While The La Planta picks up its second top 10, Merlo’s “Tu Foto,” with Q’ Lokura, advances 13-6, for his second top 10 hit.
Above the top 30, Chilean Lewis Somes makes his first chart visit thanks to “Apaga El Cel,” his first collab with compatriot FloyyMenor, which joins at No. 29. Meanwhile ECKO, Los Turros and Doble P’s “Loquita (Remix)” rallies up 58 places, from No. 99 to No. 41 with the week’s Greatest Gainer honors.
Further, four more songs debut this week, starting with Tiago PZK who adds a 34th career entry with “Corazón” at No. 60. Cris MJ’s “Si No Es Contigo” bows at No. 77. The song earns the Chilean his second top 10 on Billboard’s Hot Latin Songs chart this week, following the eight-week domination of “Gata Only,” with FloyyMenor. Plus, NewJeans’ “How Sweet” opens at No. 79.
Lastly Trueno scores three simultaneous entries on the current chart: “The Roof Is on Fire” at No. 94, “Pull Up!” at No. 97, and “Real Gangsta Love” at No. 100, all stemming from his album El Último Baile released May 23 via Sony Music Latin.
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When Myles Smith initially posted a teaser of what would become the soaring folk-pop hit “Stargazing” to his TikTok in early April, he had no idea what would become of it — both in terms of its overwhelming fan response, but more pressingly, how the then-still-unfinished preview would sound when it ultimately became a completed product.
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“As the song was gaining momentum, I was like, ‘Oh snap, I’m gonna have to finish this thing,’ ” Smith tells Billboard. A week after making that initial post, which featured him singing a stripped-down rendition of the song’s captivating hook over a simple acoustic guitar, Smith unveiled a studio demo of “Stargazing,” which he continued to use as a teaser — generating 80 million views across several videos — until its official release on May 10.
Soulful melodies, heartfelt lyrics and an online following of fans hungry for more made the perfect recipe for the 26-year-old Luton, England native’s debut on the Billboard charts. With 6.7 million official U.S. streams in its opening week, according to Luminate, the track became Smith’s first-ever Billboard Hot 100 entry at No. 77 on the chart dated May 26. And the song is continuing to heat up as summer rolls in — it reaches a new No. 51 high on this week’s list, boosting Smith into the top five on Billboard‘s Emerging Artists chart for the first time as well.
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As “Stargazing” continues to shine, Smith is taking it all in, without abandoning his go-to strategy: sharing glimpses of unfinished projects with fans along the way. In the past few weeks alone, Smith has already posted demos of the pop-infused folk ballad “Whispers” and the charming love song “Be Mine” to his TikTok. “It could be a ‘Stargazing’ part two,” he teases of the latter track. “You never know with these things. I was itching to get it out.”
Below, Smith opens up about the cosmic growth of “Stargazing,” balancing social media with mental health, his experience being on tour, his dream collaboration list and more.
Where did you get the idea for “Stargazing,” and how did it come together?
It was something that was birthed out of being with the people that I loved in a space that I loved. I was out in Malibu in L.A. [in January], my first time ever there, and distinctly different from where I grew up. I was with songwriter Jesse Fink and a songwriter-producer Peter Fenn, who I’ve collaborated with before. I just signed with my label [RCA Records], and I was like, “I want to write something that’s really warm, fun and happy.” I came up with the hook pretty instantaneously.
It was just us jumping around, about day five into writing — looking at each other with guitars and having the time of our lives. It came from the idea of the people that you love, the things that you love, always being present in your life, maybe in a way you don’t recognize or see. And then that coming into light later in the day, and that euphoric moment of realizing that. The whole song wasn’t finished on that day, but the embers of it definitely were. From the very moment that that melody was found, the warmth in the room was infectious.
Where did the “Stargazing” metaphor come from?
It jumped out of nowhere. It was getting late in Malibu, and we’re looking over at the ocean and the sun setting, and in that beautiful moment, I stood there and it was quite cathartic. I was like, “Damn, I’m doing the thing that I’ve really wanted to be doing while looking at this beautiful night sky setting.” We were like, “Oh snap, is this what it’s called?” We threw the word in and it found its life there.
How much did the initial recording change from the final product?
At the time, it was just really the hook and the bare bones of the verse and melody. I think that’s the exciting part of where we are now in music. Not everything has to be done, and not everything has to be perfect. In fact, the process of getting there was very much a reciprocal relationship between me and my fans. Watching them react to it, I was even more inspired to finish the song. We kept the bones of the demo in there, and we embellished it to bring it to studio standard. We wanted to not step too far away from the magic that had been created.
So when you posted that initial snippet on TikTok, you didn’t have the whole song done yet?
No, the whole song was not done by that point but it was something that we knew was special. “Solo” and “My Home” — my two songs before that — were a similar process. I just fell in love with the bare bones of the song. I’ve got this really itchy finger in which I can’t wait to put something out. I know for a lot of artists, it’s about putting out what’s perfect. But for me, there’s so much beauty in imperfection.
A big part of why I love the audience that I have is that they bear with me as I get through things and as I explore what something should sound like. Them being part of my creative process is integral to the music being what it is and to it connecting the way that it connects. I’m forever thankful to the feedback online. It really matters in that final mastering and finishing of any song that I make.
Has there been any reaction to its chart success from friends or family that stands out?
My mum was exactly like me, and was like, “Is this real? Are you being scammed?” [Laughs.] We got on FaceTime and I got about 50 texts from friends and family because my mum had gone mental on all the group chats. Especially here in the U.K., the reality of a U.K. artist being on the Billboard [charts] isn’t very big, so when you hear it, it does sound a little bit like a dream. Then it happened, and we were like, “Oh my word. We’re making waves across the pond.”
It’s so fulfilling and so inspiring, the fact that I’m able to do this, and follow so many great British artists. To have support across the water and feel like I have a home away from home has just been so humbling, and such a privilege of an experience. Charting on the Hot 100 has such a profound impact on an artist’s journey, to really gain confidence and validity in how they think and feel about their art and their music.
Do you have a favorite interaction or use of the song on TikTok?
The ones that really get me are the wedding ones. This is someone’s biggest day of their life to this point, potentially. And they’ve chosen my voice, a kid from a million miles away who grew up in a town that no one’s ever heard of, as their soundtrack. It stops me in my tracks every time that I see it, and it reminds me that the thing that we do as artists really does have an impact on people’s lives.
Sometimes on the internet, you can be so distracted by the things that don’t matter. When you’re pulled back into reality by those moments, it really amplifies the role of an artist — but also the beauty of the music industry and moving towards social media in a global perspective. I’m so lucky to be a part of a generation of artists who are doing that.
What is your current relationship with social media like?
My relationship is healthier than what it was. We naturally compare ourselves to people so much and look at people doing amazing things. For a long time, I took that as a reflection of what I wasn’t doing. That wasn’t great for me. But I started to use social media, for lack of a better word, in a more selfish way — like, “Hey, I want to use this as a tool to find my community, build relationships and network.” I started focusing on what was important to me, and it became such an incredible part of my artist journey.
Now I have a community that thinks, feels and expresses themselves in such similar ways and teaches me things about myself and the world that I didn’t know. I see it now as an opportunity to connect with people across the world.
You’re currently on tour in Europe. What’s that experience been like?
I did a mini-run of shows at the start of this year, and that was my first moment of bridging the gap between online and real life. It was such a surreal moment. Being on stage and being in cities I’ve never been and people singing lyrics back to me, it stopped me in my tracks every single night. This tour is that, just a little bit bigger. It’s still the exact same feeling. It feels like I’m living a dream. People ask me, “Is this normal yet?” For me, it’s not. I don’t ever want it to be normal.
The magic of living your dream and seeing it every night is what I think what music’s all about. To see people in real life, hear their stories and hardships and sing, laugh, cry in a room together is what I want to do for the rest of my life. I’ve loved every moment of this tour. I can’t wait to go to the States and run it back.
What’s next for you after tour?
After tour I will be taking… I’m lying. I’m not gonna be taking a break. I don’t have time to take a break! I’m going to be straight back in the studio, writing and recording more music. The part I love about what I do, and the part about working with the people I work with and the label that I now call home at RCA, is that they really support my vision of being able to put out music, and not always having to wait.
Who are some of your dream collaborators?
I’m a huge Mumford & Sons stan. I love Noah Kahan — I think what he does is just unbelievable. I can’t think of someone who’s a better songwriter at this current stage. Hozier is a GOAT of GOATs. But if I had to pick an all-time dream, it’d be Chris Martin. I will forever be a Coldplay stan.
A version of this story originally appeared in the June 1, 2024, issue of Billboard.
Twenty One Pilots and Bring Me the Horizon score new No. 1s on Billboard’s rock album charts dated June 8, with the former’s Clancy debuting atop the Top Rock Albums survey and the latter’s Post Human: Next Gen entering atop the Top Hard Rock Albums list.
Clancy bows with 143,000 equivalent album units earned in the U.S. in the week ending May 30, according to Luminate. The sum largely encompasses 113,000 album sales and 29,000 streaming-equivalent units. The week is the biggest in units for any title on Top Rock Albums in 2024 and the best since Zach Bryan’s self-titled LP started with 200,000 on the Sept. 9, 2023, survey.
Clancy marks Twenty One Pilots’ fourth Top Rock Albums leader. The duo first led with Blurryface in 2015, followed by 2018’s Trench and 2021’s Scaled and Icy.
The new set also begins at No. 2 on Top Rock & Alternative Albums and Top Alternative Albums, where Billie Eilish’s Hit Me Hard and Soft reigns for a second week (145,000 units).
On the all-genre Billboard 200, Clancy debuts at No. 3, the act’s third top three entry.
The entirety of Clancy’s 13-song tracklist reaches the Hot Rock & Alternative Songs chart, led by “The Craving” at No. 20 with 5.9 million official U.S. streams, 3.9 million radio audience impressions and 1,000 downloads sold. The song, the latest promoted single from the LP, concurrently debuts at Nos. 23 and 40 on Alternative Airplay and Pop Airplay, respectively. Lead single “Overcompensate” peaked at No. 2 on Alternative Airplay in May.
Bring Me the Horizon’s Post Human: Next Gen starts at No. 1 on the Top Hard Rock Albums chart with 19,000 units. It’s the band’s second leader, following That’s the Spirit for a week in 2015.
Post Human: Next Gen also begins at No. 10 on Top Rock & Alternative Albums, marking the Oli Sykes-fronted act’s sixth top 10, all logged since 2010’s There Is a Hell Believe Me I’ve Seen It. There Is a Heaven Let’s Keep It a Secret.
“Top 10 Statues That Cried Blood,” the new album’s latest radio single, concurrently debuts at No. 1 on Hot Hard Rock Songs with 2.6 million streams and 266,000 airplay audience impressions. It also starts at No. 39 on Mainstream Rock Airplay.
Chappell Roan’s The Rise and Fall of a Midwest Princess reaches the top 10 of Billboard’s Top Album Sales chart for the first time, as the set re-enters the list dated June 8 at No. 8. The set sold 6,000 copies in the U.S. in the week ending May 30 (the album’s best sales week yet, up 168%), according to Luminate. The surge in sales is owed to a replenishment of stock for the CD and vinyl editions of the album across retail, along with continued exposure of the artist and the growth of the album’s hit single “Good Luck, Babe!,” which reaches the top 40 of the Billboard Hot 100 for the first time, rallying 43-31.
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Midwest Princess also hits new peaks on the Billboard 200 (28-16), Top Current Album Sales (38-8), Vinyl Albums (a re-entry at No. 5) and Top Streaming Albums (29-20).
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Also in the top 10 of Top Album Sales, the latest releases from Twenty One Pilots, RM and Wallows arrive.
Billboard’s Top Album Sales chart ranks the top-selling albums of the week based only on traditional album sales. The chart’s history dates back to May 25, 1991, the first week Billboard began tabulating charts with electronically monitored piece count information from SoundScan, now Luminate. Pure album sales were the sole measurement utilized by the Billboard 200 albums chart through the list dated Dec. 6, 2014, after which that chart switched to a methodology that blends album sales with track equivalent album units and streaming equivalent album units. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.
Twenty One Pilots’ Clancy debuts at No. 1 on Top Album Sales, marking the band’s second leader on the list. Clancy bows with 113,000 copies sold – the largest sales week of 2024 for a rock album. (Rock albums are defined as those titles that have charted, or are eligible to chart on the Top Rock Albums ranking.) Clancy’s first-week sales were bolstered by its availability across 11 vinyl variants, signed and unsigned zine/CD journal editions and digipak CDs, deluxe CD boxed sets containing branded merch, and a deluxe digital album with four bonus live tracks.
RM logs his third top five-charting set on Top Album Sales as Right Place, Wrong Person enters at No. 2 with 43,000 sold – his best debut sales week. The album’s first-week sales were supported by its availability across 13 different CD variants, all containing branded paper merch and other collectibles. Taylor Swift’s former leader The Tortured Poets Department falls 1-3 with 41,000 sold (down 81%), and Billie Eilish’s Hit Me Hard and Soft falls 2-4 with nearly 41,000 (down 79%).
Wallows scores its fourth top 10-charting effort, and highest sales week yet, as Model enters with nearly 15,000 sold at No. 5. The set’s first-week sales were supported by its availability across a dozen vinyl variants (including three signed editions, one for each of the trio’s members), two cassettes, two CDs (one of which was signed by the band) and a standard digital album.
TOMORROW X TOGETHER’s chart-topping minisode 3: TOMORROW climbs 12-6 with 9,000 (up 52% following a stock replenishment at brick-and-mortar retail). SEVENTEEN’s SEVENTEEN Best Album ‘17 Is Right Here’ rises 8-7 with 7,000 (down 7%) and two chart-toppers from Swift close out the top 10: Lover (11-9 with 6,000; down 6%) and 1989 (Taylor’s Version) (13-10 with nearly 6,000; down 7%).
Creepy Nuts, SixTONES and Mrs. GREEN APPLE lead in their respective categories on Billboard Japan’s 2024 mid-year charts, tallying the weeks from Nov. 27, 2023, through May 26, 2024.
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Creepy Nuts’ “Bling-Bang-Bang-Born” tops the Japan Hot 100 on the mid-year roundup. The MASHLE season 2 opener was released digitally on Jan. 7, and has been streamed 348,998,877 times during the tallying period. Total streams for the hip-hop hit sailed past 300 million at the second fastest pace in Japan chart history, second only to YOASOBI’s “Idol,” the No. 1 song of the year for 2023. “BBBB” also holds the No. 1 spot on Billboard Japan’s Global Japan Songs Excl. Japan list for the first half of the year. This chart ranks songs from Japan being heard in more than 200 countries and regions worldwide.
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On “BBBB” ruling the mid-year charts, Creepy Nuts’ rapper R-shitei shares, “I wasn’t expecting it at all, so I’m surprised, or rather… It still hasn’t really hit me yet. But I’m thankful. It’s gratifying,” while DJ Matsunaga says with a laugh, “The song became a hit when I was working at my own pace, in a kind of ‘I’ll just take it slow and have fun making music’ mindset, which highlighted the unexpectedness of it all. I’m at a place where it’s all too much of a blessing and I haven’t been able to take it in.”
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Fifteen-year-old singer-songwriter tuki.’s “Bansanka” follows at No. 2 on the mid-year Japan Hot 100, and YOASOBI’s “Idol” is still going strong at No. 3.
SixTONES
Billboard Japan
On the Japan Hot Albums list, SixTONES’ fourth project THE VIBES takes the top spot, selling a total of 571,187 copies during the tallying period after being released Jan. 10, hitting No. 1 for the sales metric.
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“We’re thankful for being ranked No. 1 for the first half of this year,” says SixTONES member Jesse. “We’re very happy and full of gratitude because this is the result of our music reaching so many people. Each of our albums has its own concept, and this time we aimed to create a work that ‘boosts your vibes’ by including a wide range of songs with a focus on rock. We’re sure anyone can find a song in this set that ‘boosts their vibes,’ and that this album will make people go, ‘Such idols exist?!’ with surprise. If you haven’t listened to it yet, please give it a try! Our group will continue to take on various musical challenges, so please look forward to it!”
At No. 2 on the mid-year albums chart is SEVENTEEN’s best-of collection 17 IS RIGHT HERE, and Hikaru Utada’s all-time greatest hits album SCIENCE FICTION, celebrating the 25th anniversary of the J-pop superstar’s debut, is at No. 3.
Mrs. GREEN APPLE
Billboard Japan
Mrs. GREEN APPLE is the top artist on the mid-year Japan Artist 100 chart, compiled from the results of the Japan Hot 100 and Hot Albums charts. The three-man band has been a constant on the Japan Hot 100, with 14 tracks including “Que Sera Sera” and “Dance Hall” charting on the list.
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“We’re very honored to be ranked No. 1 on the artist chart,” says Mrs. GREEN APPLE frontman Motoki Ohmori. “We’d like to thank our JAM’S (fandom) and the many people who always support us from the bottom of our hearts. We hope to keep making the ship that is Mrs. GREEN APPLE bigger through various activities to deliver works that we ourselves can be excited about and think are good! Once again, thank you very much for this honor.”
YOASOBI follows at No. 2 on the Artist 100 tally, now one of Japan’s biggest acts whose performances at this year’s Coachella and visit to the White House made headlines in the duo’s home country. Veteran band back number comes in at No. 3, with nine songs charting in the top 100, including hits “Suiheisen” and “Takaneno Hanakosan.”
Billboard Japan Hot 100 Mid-Year Chart 2024
1. “Bling-Bang-Bang-Born” / Creepy Nuts2. “Bansanka” / tuki.3. “Idol” / YOASOBI4. “Show” / Ado5. “Que Sera Sera” / Mrs. GREEN APPLE6. “Kaiju No Hanauta” / Vaundy7. “IKUOKUKONEN” / Omoinotake8. “SPECIALZ” / King Gnu9. “The Brave” / YOASOBI10. “Be a flower” / Ryokuoushoku Shakai
Billboard Japan Hot Albums Mid-Year Chart 2024
1. THE VIBES / SixTONES2. 17 IS RIGHT HERE / SEVENTEEN3. SCIENCE FICTION / Hikaru Utada4. THE GREATEST UNKNOWN / King Gnu5. SEVENTEENTH HEAVEN / SEVENTEEN6. MATCH UP / INI7. AWARD / WEST.8. Road to A / Travis Japan9. PULL UP! / Hey! Say! JUMP10. Reboot / TREASURE
Billboard Japan Artist 100 Mid-Year Chart 2024
1. Mrs. GREEN APPLE2. YOASOBI3. back number4. Ado5. Vaundy6. Official HIGE DANdism7. King Gnu8. Creepy Nuts9. Yuuri10. Aimyon