Chart Beat
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Kendrick Lamar’s “Not Like Us” rebounds to No. 1, from No. 3, on the Billboard Hot 100 songs chart, sparked by the July 4 premiere of its official video.
The track adds a second week at the Hot 100’s summit, after it debuted at No. 1 nine weeks earlier. It became a pop-culture fixture and spent the next eight weeks after its arrival between Nos. 2 and 6, including the last two frames at No. 3. In that span, it was further boosted by Lamar’s Juneteenth The Pop Out: Ken & Friends concert – in which he performed the seething diss track five times – at the Kia Forum in Inglewood, Calif.
(Only two non-holiday songs have logged more time, nine weeks each, between stays at No. 1 on the Hot 100: Olivia Rodrigo’s “Vampire” in 2023 and Miley Cyrus’ “Wrecking Ball” in 2013.)
Meanwhile, Lamar lands his first multi-week Hot 100 No. 1 on his own; he previously led with no billed collaborators for a week in 2017 with “Humble.” He has ruled the Hot 100 for an overall personal-best three weeks in April with “Like That,” with Future and Metro Boomin. He earned the first of his four No. 1s for a week in 2015 as featured on Taylor Swift’s “Bad Blood.”
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Also in the latest Hot 100’s top 10, Morgan Wallen’s “Lies Lies Lies” launches at No. 7, becoming his 10th song to reach the region.
The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data, the lattermost metric reflecting purchases of physical singles and digital tracks from full-service digital music retailers; digital singles sales from direct-to-consumer (D2C) sites are excluded from chart calculations. All charts (dated July 20, 2024) will update on Billboard.com tomorrow, July 16. 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.
Below is a rundown of the latest Hot 100’s top 10.
‘Not Like Us’ Streams, Airplay & Sales
Kasabian is back on top! The Leicester rockers have claimed their seventh Official U.K. No. 1 album with their latest release, Happenings.
The eighth studio album sees Sergio Pizzorno, Chris Edwards, Ian Matthews, and Tim Carter displace Taylor Swift to clinch the chart-topping spot.
Happenings joins an illustrious lineup of previous U.K. No. 1 albums, including Empire (2006), West Ryder Pauper Lunatic Asylum (2009), Velociraptor! (2011), 48:13 (2014), For Crying Out Loud (2017), and The Alchemist’s Euphoria (2022).
Their debut album, Kasabian (2004), peaked at No. 4, while their compilation album Kasabian: The Albums reached No. 22.
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Speaking to the U.K. Official Charts, Pizzorno expressed the band’s gratitude: “What’s up, pop pickers? That’s seven U.K. Official No. 1 albums on the spin. Thank you to our fans, the greatest in the world. We’re nothing without you, we absolutely adore you!”
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Kasabian also celebrated their achievement with a more colorful remark: “That’s wonderful, f–k yeah! Come on!”
In addition to topping the U.K. Official Albums Chart, Happenings leads the Official Vinyl Albums Chart as the most popular record on vinyl this past week and the U.K. Official Record Store Chart.
Kasabian’s seventh chart-topping album places them in the esteemed company of other music legends such as Blur, Muse, The Prodigy, Paul McCartney, Barbra Streisand, Elton John, Cliff Richard, and Ed Sheeran.
Swift’s The Tortured Poets Department drops to No. 2 after spending eight non-consecutive weeks at the top. The album remains the U.K.’s biggest of 2024 so far, having shifted over 542,000 chart units since its release in April.
Chappell Roan breaks into the U.K. top 5 with The Rise And Fall Of A Midwest Princess, while Eminem’s Curtain Call: The Hits rises two places to No. 7 following the release of his new album The Death of Slim Shady (Coup de Grâce).
Fleetwood Mac’s 50 Years – Don’t Stop climbs four places to No. 8, coinciding with Stevie Nicks’ headlining performance at London’s BST Hyde Park.
Zach Bryan’s The Great American Bar Scene debuts at No. 16, marking a career-best for the Oklahoma country star, while The Killers’ Rebel Diamonds jumps 14 spots to No. 32 as they begin their six-night residency at London’s The O2.
Sabrina Carpenter is serving up another round of success with her hit “Espresso,” which has percolated its way back to No. 1 on the U.K. singles chart.
This chart-topper sees Sabrina grinding out her own competition, as her other smash “Please Please Please” cools off to No. 2. This feat makes her the first artist since Ed Sheeran and Elton John to replace their own No. 1 hit, a milestone last achieved in December 2021.
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“Espresso” now enjoys its sixth non-consecutive week at the peak of the charts, steamed by a whopping 6.3 million streams.
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The song’s resurgence extends Sabrina’s record as the female artist to simultaneously hold the top two spots for the most consecutive weeks. She now matches Justin Bieber’s four-week streak, proving her flavor is anything but bitter.
Riding a wave of national pride, the iconic football anthem “Three Lions” by David Baddiel, Frank Skinner, and The Lightning Seeds has surged 53 places, re-entering the top 20 at No. 20.
This leap follows England’s semi-final victory over the Netherlands in Euro 2024, setting the stage for another chart climb with the team facing off against Spain in the final on Sunday, July 14.
Elsewhere, Belfast’s rising star Jordan Adetunji continues to impress, with “KEHLANI” reaching a new peak at No. 21. Chappell Roan’s energetic “HOT TO GO!” climbs to No. 24, while the collaborative hit “Kisses” by Bl3SS, CamrinWatsin, and bbyclose debuts strongly at No. 26.
The Kid LAROI maintains his upward trajectory, with “Nights Like This” now sitting at No. 28.
In a remarkable leap, the powerhouse collaboration of Eminem, Big Sean, and BabyTron sees “Tobey” rocket 49 spots to No. 29 amid the release of Eminem’s highly-anticipated new album The Death Of Slim Shady (Coup De Grâce).
Rounding out the week’s notable entries, Quavo and Lana Del Rey’s genre-defying “Tough” makes its chart debut at No. 32, further propelling both artists’ impressive chart legacies.
Taylor Swift’s The Tortured Poets Department captures a 12th consecutive and total week at No. 1 on the Billboard 200 (dated July 20) — beating 1989 and Fearless (each with 11 weeks at No. 1) as her longest-leading No. 1 album.
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The Tortured Poets Department earned 163,000 equivalent album units in the U.S. in the week ending July 11 (up 43% — its first gain in seven weeks), according to Luminate. The album debuted atop the chart dated May 4 and has yet to yield the No. 1 slot.
The Tortured Poets Department surpasses Whitney Houston’s 1987 album Whitney to become the only album by a woman to spend its first 12 weeks at No. 1. The latter spent all 11 of its weeks atop the list from its debut frame (June 27, 1987-dated chart).
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Only two other albums have spent at least their first 12 weeks at No. 1: Morgan Wallen’s One Thing at a Time (first 12 weeks at No. 1, of its total 19 weeks at No. 1 in 2023-24) and Stevie Wonder’s Songs in the Key of Life (first 13 weeks at No. 1, of its total 14 weeks at No. 1 in 1976). (For context, today it’s common for albums to debut at No. 1. However, before 1991, when the Billboard 200 began utilizing Luminate’s electronically monitored tracking information, only six albums debuted at No. 1, including Whitney and Songs in the Key of Life.)
Also in the top 10 of the latest Billboard 200 chart, Zach Bryan’s The Great American Bar Scene soars 17-2 in its first full tracking week. The previous week’s list captured the tracking week of June 28-July 4, and Bryan’s album was released on Thursday, July 4. (Albums are typically released on Friday each week, which is the first day of the chart’s tracking week.)
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 July 20, 2024-dated chart will be posted in full on Billboard‘s website on July 16. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Prior to Swift’s The Tortured Poets Department, the last album by a woman to spend at least 12 total weeks at No. 1 was Adele’s 21, which earned 24 nonconsecutive weeks on top in 2011-12. (Overall, the last album to spend at least 12 total weeks at No. 1 was Morgan Wallen’s One Thing at a Time, which logged 19 total weeks at No. 1 in 2023-24, of which its first 12 were consecutive from its debut week.)
The last album by a woman with at least 12 consecutive weeks at No. 1 was the Whitney Houston-led soundtrack to The Bodyguard, which strung together 13 straight weeks at No. 1 (of its total 20 nonconsecutive weeks atop the list) from December 1992 to March 1993.
Swift adds her 81st 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 No. 1 albums. (She’s tied with Jay-Z for the most No. 1s among soloists.)
Of The Tortured Poets Department’s 163,000 units earned in the week ending July 11, album sales comprise 90,000 (up 154%, making it the top-selling album of the week, and No. 1 on Top Album Sales for a sixth non-consecutive week), SEA units comprise 72,000 (down 7%, equaling 94.83 million on-demand official streams of the deluxe album’s 31 songs; it falls 1-2 on the Top Streaming Albums chart after 11 weeks in a row at No. 1) and TEA units comprise 1,000 (up 7%).
Of Swift’s overall album sales for the week, CD sales comprise 67,000 (up 127%), digital album download sales comprise 19,000 (up 1,266%) and vinyl sales comprise 4,000 (down 10%).
The Tortured Poets Department’s overall weekly increase was bolstered in part by sales generated from Swift’s official webstore, which restocked seven earlier-released CD variants of the album (including a signed edition). The restocked items were available to purchase for a few hours on Sunday, June 7, and shipped shortly afterwards. In addition, Swift released three new digital album download variants of the album on Thursday, July 11, sold exclusively in her webstore for $4.99 each, and were only available to purchase that day. Each contained the original standard 16-song album tracklist, along with one bonus live acoustic track, recorded during her The Eras Tour stop in Stockholm (“Guilty as Sin?,” “How Did It End?” or “Peter”).
The Tortured Poets Department also got a boost in the latest chart’s tracking week thanks to activity generated by the July 8 release of two versions of the album’s lead single, the Post Malone-featuring “Fortnight,” to streaming services and digital retailers: a Cults remix and an acoustic rendition. (The latter was previously available only as a bonus track on a limited-edition CD version of Poets.)
Zach Bryan’s The Great American Bar Scene rises 17-2 in its second week on the Billboard 200, following its first full tracking week of activity. The set earned 137,000 equivalent album units in the week ending July 11 (up 363% from its first day). The previous week’s list captured the tracking week of June 28-July 4, and Bryan’s album was released on Thursday, July 4. The set premiered on the previous week’s list with 32,000 units from first day of release. (Albums are typically released on Friday each week, which is the first day of the chart’s tracking week.)
Of The Great American Bar Scene’s second chart-week units, SEA units comprise 127,500 (up 390%, equaling 163.87 million on-demand official streams of the set’s 19 tracks; it jumps 18-1 on Top Streaming Albums), album sales comprise 8,500 (up 66%, it was only available to purchase as a digital download album) and TEA units comprise 1,000 (up 113%). The album will be released on CD and vinyl on Oct. 11.
The album was preceded by a pair of Billboard Hot 100-charting songs: “Pink Skies” (peaking at No. 6 in June) and “Purple Gas,” with Noeline Hofmann (No. 70).
The Great American Bar Scene marks the fourth top 10-charting effort for Bryan on the Billboard 200, following Boys of Faith (No. 8, October 2023) his-self titled set (No. 1, two weeks, September 2023) and American Heartbreak (No. 5, June 2022).
Morgan Wallen’s former leader One Thing at a Time falls 2-3 with 69,000 equivalent album units earned (down 6%); Billie Eilish’s Hit Me Hard and Soft is a non-mover at No. 4 with 58,000 (down 8%); and Chappell Roan’s The Rise and Fall of a Midwest Princess is stationary at No. 5 with 54,000 (down 10%).
Wallen’s chart-topping Dangerous: The Double Album holds at No. 6 (40,000; down 8%); Noah Kahan’s Stick Season rises 9-7 (38,000; down 3%); Shaboozey’s Where I’ve Been, Isn’t Where I’m Going is a non-mover at No. 8 (36,000; down 10%); and Megan Thee Stallion’s Megan falls 3-9 in its second week (32,000; down 50%).
Closing out the top 10 is a second Zach Bryan title, as his self-titled No. 1 rises 12-10 with nearly 32,000 equivalent album units (down 12%). It’s the second time Bryan has placed two titles in the top 10. He first did it on the Oct. 7, 2023-dated chart, when his self-titled set fell 3-5 in its fifth week, while his Boys of Faith project bowed at No. 8.
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.
Nathaniel Rateliff & the Night Sweats’ “Heartless” ascends to No. 1 on Billboard’s Adult Alternative Airplay chart dated July 20. The song reigns as the Rateliff-fronted act’s first leader since “Survivor” ruled for six weeks in 2021. In between “Survivor” and “Heartless,” Rateliff & the Night Sweats reached Adult Alternative Airplay with two tracks, paced […]
Falling in Reverse and Jelly Roll’s “All My Life” rises to No. 1 from No. 4 on Billboard’s Mainstream Rock Airplay chart dated July 20, becoming each act’s third leader on the list and completing a brisk five-week trip to the summit.
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Both acts wrap their quickest coronation on any Billboard airplay survey. Falling in Reverse’s two previous radio rulers, “Popular Monster” and “Zombified” (both on Mainstream Rock Airplay), took 16 weeks to No. 1 in 2020 and 2022, respectively.
Jelly Roll soars past his prior fastest run to No. 1 on a radio chart, as “Need a Favor” needed 18 weeks to lead Mainstream Rock Airplay in 2023; he boasts three No. 1s on Mainstream Rock Airplay and four on Country Airplay.
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“All My Life” wraps the second-quickest flight to No. 1 on Mainstream Rock Airplay this year; Pearl Jam’s “Dark Matter” led in its fourth frame in March.
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Each of Jelly Roll’s entries has led Mainstream Rock Airplay, with “All My Life” and “Need a Favor” preceded by “Dead Man Walking,” a one-week No. 1 in 2022. He becomes the first act to send three initial entries to No. 1 since The Pretty Reckless, which racked up a streak of four out of the gate in 2014-16 via “Heaven Knows,” “Messed Up World,” “Follow Me Down” and “Take Me Down.”
Concurrently, “All My Life” jumps 8-5 on the all-rock-format, audience-based Rock & Alternative Airplay chart with 2.9 million impressions in the week ending July 11, up 8%, according to Luminate. It’s Falling in Reverse’s best-charting song on the survey, having surpassed the No. 11-peaking “Last Resort (Reimagined),” a cover of Papa Roach‘s original, last year. Jelly Roll’s best remains “Need a Favor,” which reached No. 3. Assisting the success of “All My Life” is support on alternative radio, as it’s currently bubbling under the Alternative Airplay survey.
On the most recently published multimetric Hot Hard Rock Songs chart (dated July 13, reflecting data in the week ending July 4), “All My Life” ranked at No. 2 after three weeks at No. 1. In addition to its radio airplay, it drew 3.2 million official U.S. streams and sold 1,000 downloads.
“All My Life” previews Popular Monster, Falling in Reverse’s fifth studio album, due Aug. 16.
All Billboard charts dated July 20 will be updated on Billboard.com on Tuesday, July 16.
There are just two film or TV soundtracks on the current Billboard 200 album chart – and neither is from a 2024 film. Barbie: The Album, which drops to No. 172 in its 50th week on the chart, was tied to last summer’s box-office juggernaut. Moana, which drops to No. 173 in its 379th week, is the soundtrack to a film that was released way back in 2016.
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This is the first time that the highest-ranking soundtrack on the Billboard 200 has ranked as low as No. 172 in the more than seven years that the Billboard 200 and the Top Soundtracks chart have adhered to the same chart formula.
Both charts rank 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).
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Everything is the music business is cyclical, and this seems to be especially true with soundtracks. They have years where they dominate the Billboard 200 and years where they hardly make a dent.
From Feb. 11, 2017, the week that the two charts first adhered to the same formula, through the chart dated Sept. 23, 2017, at least one soundtrack appeared in the top 20 every week, thanks to such winners as La La Land, Fifty Shades Darker, Trolls, Moana, Beauty and the Beast, Guardians of the Galaxy, Vol. 2, Purple Rain and Descendants 2.
What’s more, at least one soundtrack appeared in the top 100 every week through April 24, 2021. After that, the ongoing pandemic slowed the flow of hit films, and as a consequence, hit soundtracks. There were 22 weeks in 2021 in which no soundtracks appeared in top 100.
The picture for soundtracks brightened considerably in 2022, thanks largely to Encanto and Elvis. At least one soundtrack appeared in the top 100 every week that year. In 33 of those weeks, at least one soundtrack appeared in the top 20.
There were seven weeks in 2023 in which no soundtracks appeared in the top 100. There have been nine such weeks so far in 2024.
Valentino Merlo and The La Planta hold steady atop the Billboard Argentina Hot 100 chart as “Hoy,” their first partnership, rules the July 13-dated ranking for a second week. As the song rose 2-1 the week prior (list dated July 6), Argentinian Merlo became the youngest act to score a No. 1 since the chart […]
Post Malone’s “I Had Some Help,” featuring Morgan Wallen, commands Billboard’s Country Airplay chart (dated July 20) for a fourth week, becoming the first song to lead that long among the 15 singles that have scored their initial weeks atop the tally in 2024.
The collaboration increased by 1% to 33 million audience impressions July 5-11, according to Luminate.
The song became Post Malone’s first Country Airplay No. 1 (and Wallen’s 13th), after he notched 10 leaders on Rhythmic Airplay and five on Pop Airplay beginning in 2016. His new album, F-1 Trillion, is due Aug. 16; second single “Pour Me a Drink,” featuring Blake Shelton, ranks at No. 34 on Country Airplay (3 million, up 37%).
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Post Malone “deserves to be a superstar in country music, primarily because he is being real,” WJVC Nassau-Suffolk, N.Y., program director Phathead tells Billboard. “He’s put together a team that created one of the best songs we’ve heard, while singing it with the biggest act in the format. And he has a monster to follow with Shelton. A good boss in any business is only as good as the people around them. Great to see Post put his ego aside.”
Wallen 1, 2 for 3rd Week
For the first time in Country Airplay’s 34-year history, an act has ranked at Nos. 1 and 2 simultaneously for three weeks, as Wallen’s “Cowgirls,” featuring Ernest, holds at its No. 2 high (31.6 million, up 4%). Luke Bryan locked up the top two spots for two weeks in May-June 2014, while Luke Combs landed such a double-up for a week in September 2023.
Speaking of Combs, he earns his 21st consecutive career-opening top 10 single on Country Airplay as “Ain’t No Love in Oklahoma” pushes 11-10 (17.5 million, up 8%). The song introduces the soundtrack to the film Twisters, with both due July 19.
Baldridge Makes History
Drew Baldridge’s “She’s Somebody’s Daughter (Reimagined)” rises 10-8 on Country Airplay (19.3 million, up 5%). After becoming only the second self-released single ever to reach the top 10, it’s now the sole highest-charting, passing Aaron Watson’s “Outta Style,” which peaked at No. 10 in 2017.
“‘Flowers’ is one of those songs that has stood the test of time at multiple formats,” says Jon Zellner, iHeartMedia president, programming operations/digital music, of Miley Cyrus’ smash single. “It’s a mass-appeal song with a very strong hook and sounds like a song you already knew the first time you heard it.” A year and […]