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SZA’s SOS racks up a seventh consecutive week at No. 1 on the Billboard 200 chart (dated Feb. 4) – the entirety of its chart run. The last album by a woman with seven weeks at No. 1 was Taylor Swift’s Folklore, more than two years ago, as it notched its eighth and final week atop the list on the chart dated Oct. 31, 2020.

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SOS earned 111,000 equivalent album units in the U.S. in the week ending Jan. 26 (down 7%), according to Luminate.

Also in the top 10 of the latest Billboard 200 chart: Trippie Redd logs his seventh top 10-charting effort with the No. 3 debut of Mansion Muzik, while HARDY clocks his first top 10 with the No. 4 arrival of The Mockingbird & The Crow.

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 Feb. 4, 2023-dated chart will be posted in full on Billboard‘s website on Jan. 31. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of SOS’ 111,000 equivalent album units earned in the week ending Jan. 26, SEA units comprise 109,500 (down 7%, equaling 148.87 million on-demand official streams of the set’s tracks), album sales comprise 1,000 (up 37%) and TEA units comprise 500 units (down 8%).

In the last year, only three albums have spent at least seven weeks at No. 1: SOS, Bad Bunny’s Un Verano Sin Ti (13 nonconsecutive weeks) and the Encanto soundtrack (nine nonconsecutive weeks).

Here are a few statistics about SOS’ seven-week run at No. 1 on the Billboard 200:

SZA Meets Whitney in Chart History: SOS is the first R&B/hip-hop album by a woman, or R&B album by any act, to spend its first seven weeks at No. 1 since Whitney Houston’s Whitney in 1987. The latter debuted at No. 1 on the June 27, 1987-dated list and spent its first 11 weeks at No. 1 (its total run at No. 1). Whitney was the first R&B/hip-hop album by a woman, or R&B album by a woman, to debut at No. 1 on the Billboard 200 chart.

R&B/hip-hop and R&B albums are defined as those that have hit or are eligible for Billboard’s Top R&B/Hip-Hop Albums and Top R&B Albums charts, respectively.

Drake’s Views was the last R&B/hip-hop set to spend its first seven weeks at No. 1 — it spent its first nine weeks at No. 1 (May 21-July 16, 2016 charts).

Most Consecutive Weeks at No. 1 in Nearly a Year: The last album, regardless of genre classification, with seven weeks in a row at No. 1 on the Billboard 200 was the Encanto soundtrack, with eight straight weeks atop the list (Jan. 29-March 19, 2022-dated charts). The Encanto soundtrack spent a total of nine weeks at No. 1, as it logged one earlier frame at No. 1 on the Jan. 15, 2022 chart.

The last album by a woman with seven consecutive weeks at No. 1 was Adele’s 25, which spent its first seven weeks at No. 1 in late 2015 and early 2016 (Dec. 12, 2015-Jan. 23, 2016). 25 spent 10 total nonconsecutive weeks at No. 1.

Most Weeks at No. 1 for an Album by a Woman Since 2020: Taylor Swift’s Folklore was the last album by a woman to score seven weeks atop the list. The album topped the list for its first six weeks (Aug. 8-Sept. 12, 2020) and then returned for two more nonconsecutive weeks (Oct. 3 and Oct. 31, 2020).

‘SOS’ Is the First Album by a Woman With its First Seven Weeks at No. 1 Since 2016: Adele’s 25 was the last album by a woman to spend its first seven weeks on the chart at No. 1. The 25 album ruled the list in its first seven weeks (Dec. 12, 2015-Jan. 23, 2016) and then logged three more later frames at No. 1, for a total of 10 nonconsecutive weeks at No. 1. (The last album with its first seven weeks at No. 1 was Morgan Wallen’s Dangerous: The Double Album, which spent it first 10 weeks at No. 1 [its total run at No. 1] from the Jan. 23-March 27, 2021-dated charts.)

Only Three Women Have Had Albums With Seven Weeks at No. 1 in the Last 20 Years: In the last two decades – from February 2003 through the latest chart – only three women have spent at least seven weeks at No. 1 on the Billboard 200 chart. Before SZA’s SOS, there was Swift’s Folklore (eight weeks, 2020), Adele’s 25 (10, 2015-16), Swift’s 1989 (11, 2014-15), Adele’s 21 (24, 2011-12) and Swift’s Fearless (11, 2008-09). Before Fearless, the last album by a woman with seven weeks at No. 1 was Alanis Morissette’s Jagged Little Pill, with 12 weeks in 1995-96.

Most Weeks at No. 1 for an R&B/Hip-Hop Album Since Drake’s ‘Views’ in 2016: The last R&B/hip-hop album with seven weeks atop the list was Drake’s Views, which spent 13 nonconsecutive weeks at No. 1 (May 21-Oct. 8, 2016). Views was also the last R&B/hip-hop set to spend its first seven weeks at No. 1 (it spent its first nine weeks at No. 1: May 21-July 16, 2016).

SOS has the most weeks at No. 1 for an R&B/hip-hop album by a woman, or an R&B album by a woman, since Mariah Carey’s Music Box spent eight nonconsecutive weeks at No. 1 in late 1993 and early 1994. SOS has the most weeks at No. 1 for an R&B album by any act since Usher’s Confessions ruled for nine nonconsecutive weeks in 2004.

At No. 2 on the new Billboard 200, Swift’s former No. 1 Midnights is a non-mover with 67,000 equivalent album units earned (down 8%). It has spent the entirety of its 14 weeks on the chart inside the top two. The last album by a woman to spend its first 14 weeks at either Nos. 1 or 2 was Swift’s own 1989, with its first 15 weeks in the top two (Nov. 15, 2014-Feb. 21, 2015).

Trippie Redd notches his seventh top 10-charting effort on the Billboard 200 as Mansion Muzik debuts at No. 3 with 56,000 equivalent album units earned. Of that sum, SEA units comprise 50,000 (equaling 68.1 million official on-demand streams of the set’s 25 tracks), album sales comprise 5,000 and TEA units comprise 1,000. Mansion Muzik is the hip-hop artist’s seventh consecutive top five-charting effort, stretching back to 2018’s Life’s a Trip, which debuted and peaked at No. 4 (Aug. 25, 2018-dated chart).

HARDY hits the top 10 of the Billboard 200 for the first time as his new double album The Mockingbird & The Crow arrives at No. 4 with 55,000 equivalent album units earned – easily his best week ever in terms of units. Of the starting sum, SEA units comprise 34,000 (equaling 44.68 million official on-demand streams of the set’s 17 tracks), album sales comprise 19,500 and TEA units comprise 1,500. The half-country/half-rock project includes guest turns from Jeremy McKinnon (of A Day To Remember), Lainey Wilson and Morgan Wallen.

The Mockingbird & The Crow marks the highest-debuting rock album since Red Hot Chili Peppers’ Return of the Dream Canteen entered at No. 3 (Oct. 29, 2022) and highest-bowing country album since Luke Combs’ Growin’ Up started at No. 2 (July 9, 2022).

Four former No. 1s are next on the Billboard 200, as Metro Boomin’s Heroes & Villains falls 3-5 (53,000 equivalent album units; down 4%), Drake and 21 Savage’s Her Loss dips 4-6 (46,000; down 4%), Bad Bunny’s Un Verano Sin Ti falls 6-7 (41,000; down 4%) and Wallen’s Dangerous: The Double Album descends 7-8 (nearly 41,000; down 2%).

Zach Bryan’s American Heartbreak falls 8-9 with 32,000 equivalent album units (though up 2%) and Lil Baby’s former No. 1 It’s Only Me slips 9-10 with 28,000 (down 5%).

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.

SZA’s SOS makes it a month at No. 1 on the Billboard 200 chart, as the album spends a fourth straight and total week atop the list (dated Jan. 14). It earned 125,000 equivalent album units in the U.S. in the week ending Jan. 5 (down 2%), according to Luminate.
SOS is the first album by a woman to spend its first four weeks at No. 1 in a year, since Adele’s 30 ruled for its first six weeks (Dec. 4, 2021 through Jan. 8, 2022-dated charts) and is the first album by a woman to have four consecutive weeks at No. 1 since 30’s six week-run at No. 1.

SOS is also the first R&B album by a woman to have four weeks at No. 1 since February of 2008, when Alicia Keys’ As I Am notched a fourth and final nonconsecutive week atop the list (Feb. 16, 2008). More strikingly, SOS is the first R&B album by a woman to spend its first four weeks at No. 1 in nearly 30 years, since Janet Jackson’s janet. ruled for its first six frames (June 5-July 10, 1993). (R&B albums are defined as those that have hit or are eligible for Billboard’s Top R&B Albums chart.)

Also in the top 10: holiday albums vacate the region (and chart) entirely after five dotted the top 10 a week ago, while ATEEZ notches its second top 10-charting album, as Spin Off: From the Witness debuts at No. 7.

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 Jan. 14, 2023-dated chart will be posted in full on Billboard‘s website on Jan. 10. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of SOS’ 125,000 equivalent album units earned, SEA units comprise 121,500 (down 4%, equaling 162.42 million on-demand official streams of the set’s tracks), album sales comprise 3,000 (up 289%) and TEA units comprise 500 (down 7%). SOS got a sales boost following the release of two new digital album variants of the set, released late on Jan. 5 exclusively in SZA’s Top Dawg Entertainment webstore. The two versions included two bonus tracks (“PSA” and a solo version of the album’s “Open Arms”) and sold for $4.99 each, and one of them boasted alternative cover art. SZA promoted the release on her social media, including her official Twitter.

The rest of the top six on the Billboard 200 consists of former No. 1s. Taylor Swift’s Midnights is a non-mover at No. 2 (117,000 equivalent album units; up 10%). The set’s album sales grew by 7% for the week (to 58,000) following the release of four new digital album variants in Swift’s webstore for one day only on Jan. 5. Each had alternative cover art, an exclusive bonus track (a short “behind the song” commentary from Swift about one of four different songs on the album) and sold for $4.99 each. The four alternative covers, if combined, would complete a clock face image – similar to the back covers of her CD and vinyl LP variants. Swift promoted the limited-time offer in her Instagram Stories.

Metro Boomin’s Heroes & Villains rises 4-3 (57,000 equivalent album units; down 2%), Drake and 21 Savage’s Her Loss bumps 6-4 (52,000; up 4%), Bad Bunny’s Un Verano Sin Ti climbs 7-5 (50,000; up 4%) and Morgan Wallen’s Dangerous: The Double Album jumps 11-6 (42,000; up 6%).

ATEEZ collect its second top 10-charting album on the Billboard 200 as Spin Off: From the Witness debuts at No. 7. The set starts with 41,500 equivalent album units earned. Of that sum, album sales comprise 40,000; SEA units comprise 1,500 (equaling 2.11 million on-demand official streams of the set’s tracks) and TEA units comprise a negligible sum.

CDs comprise a little over 39,000 of Spin Off’s sales for the week, while digital album purchases comprise 1,000. Like many K-pop releases, the CD configuration of Spin Off was issued in collectible deluxe packages (six), each with a standard set of items and randomized elements (photocards and posters).

ATEEZ previously visited the top 10 with The World EP.1: Movement last June, debuting and peaking at No. 3.

Rounding out the Billboard 200’s new top 10: Zach Bryan’s American Heartbreak (22-8 with 33,000 equivalent album units; up 12%), Lil Baby’s chart-topping It’s Only Me (20-9 with 32,000; up 6%) and Harry Styles’ former No. 1 Harry’s House (19-10 with 29,000; down 4%). Bryan continues to benefit from his guest appearance in the Dec. 18 episode of the hit show Yellowstone, which has prominently featured his music in previous episodes.

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.

Rihanna conquers a new radio format with her long-awaited comeback single, “Lift Me Up.” The track, from the soundtrack to the film Black Panther: Wakanda Forever, crowns the Adult R&B Airplay list dated Dec. 24. It’s her first No. 1 — and top 10 — on the chart and her ninth charting song on the list to date.

“Lift” jumps from No. 3 after a 24% surge in plays that made it the most-played song on U.S. monitored adult R&B stations in the week ending Dec. 18, according to Luminate. Thanks to the double-digit improvement, the new champ captures the weekly Greatest Gainer honor for the biggest increase in plays among the chart’s 30 titles.

“Lift” seizes the throne from Jazmine Sullivan’s “Hurt Me So Good,” displacing the latter after two weeks in charge. “Hurt” is pushed 1-2, despite a 5% gain in plays at the format.

With “Lift,” Rihanna registers her first Adult R&B Airplay No. 1 upon her ninth appearance on the list. Before the new champ, her previous career peak was a No. 13 result from her and Bryson Tiller’s featured slots on DJ Khaled’s “Wild Thoughts” in 2018. As a lead act, her prior best was her maiden entry, “Take a Bow,” which reached No. 21 in 2008.

Elsewhere, “Lift” continues its run across several other formats. It repeats at No. 5 on the R&B/Hip-Hop Airplay chart, where it registered 17.1 million in weekly audience impressions, an 18% upswing from the prior week. With that boost, the single captures that chart’s Greatest Gainer honor, too. On Rhythmic Airplay, it holds at its No. 6 peak thus far, though it gained 3% in weekly plays in the latest tracking week. The single moves 9-8 on the Mainstream R&B/Hip-Hop Airplay chart to return to its peak, first reached two weeks ago, and added 5% more plays. And though it slides 14-17 on Adult Pop Airplay, “Lift” registered a 4% bump in weekly plays at that format.

One week after SZA’s first anniversary at No. 1 on Billboard’s Hot R&B/Hip-Hop Songs chart, the singer-songwriter returns to the summit for her second career chart-topper thanks to “Kill Bill.” The track debuts at No. 1 on the list dated Dec. 24 and is one of seven SZA titles in the top 10, all from her new album, SOS.

“Kill Bill” traces its chart-topping start largely to 36.9 million official U.S. streams in the week ending Dec. 15, according to Luminate, for a No. 1 opening on the R&B/Hip-Hop Streaming Songs chart. The track also sold 1,000 downloads in the same period and pulled 22,000 in radio audience impressions. The low radio audience is due to the song not being an actively promoted single to radio stations — “Shirt” is the current track at R&B/hip-hop stations, while “Nobody Gets Me” is targeted toward the pop and rhythmic sectors.

Before “Kill Bill,” SZA reigned on the Hot R&B/Hip-Hop Songs chart with “I Hate U,” which likewise earned its chart-topping rule by debuting in the top slot. The single arrived in the penthouse on the chart dated Dec. 18, 2021, and led for one week. As both “I Hate U” and “Kill Bill” appear on SOS, the album is the first to yield two Hot R&B/Hip-Hop Songs leaders since The Weeknd’s After Hours sparked No. 1s in “Heartless” and “Blinding Lights.”

SOS also arrives with chart-topping accolades. The set storms in at No. 1 on the all-genre Billboard 200, Top R&B/Hip-Hop Albums and Top R&B Albums charts with 318,000 equivalent album units. Of that sum, 310,000 units derive from streaming — equal to 404.6 million official on-demand U.S. streams for the album’s songs, a new one-week record for any R&B album. On the former two charts, SOS grants SZA her first No. 1, while she picks up her second on the lattermost, after Ctrl reigned in 2017 upon its original release and again, earlier this year, following its deluxe edition’s premiere on the set’s fifth anniversary.

“Kill Bill” leads a parade of SZA cuts onto Hot R&B/Hip-Hop Songs, with seven tracks in the top 10 and 20 on the chart overall. Here’s a rundown of all her placements this week:

No. 1, “Kill Bill”No. 2, “Nobody Gets Me”No. 3, “Blind”No. 6, “Low”No. 7, “Shirt”No. 8, “Love Language”No. 9, “Seek & Destroy”No. 11, “Snooze”No. 12, “Used,” featuring Don ToliverNo. 13, “SOS”No. 16, “Special”No. 17, “Ghost in the Machine,” featuring Phoebe BridgersNo. 19, “Gone Girl”No. 20, “Notice Me”No. 23, “Smoking on My Ex Pack”No. 24, “Open Arms,” featuring Travis ScottNo. 27, “Conceited”No. 29, “Far”No. 30, “Too Late”No. 35, “Forgiveless,” featuring Ol’ Dirty Bastard

Plus, in addition to “I Hate U,” another prior SOS single, “Good Days,” reached No. 3 in 2021.

The SZA takeover also extends to the Hot R&B Songs chart, where the hitmaker posts eight tracks in the top 10 and 18 songs on the 25-position list. “Bill” leads the pack and becomes her third No. 1 on the list, after “The Weekend” and “I Hate U” each ruled for one week in, respectively, 2018 and 2021.

Anuel AA nets his fifth straight top five album on Billboard’s Top Latin Albums chart as his latest release, LLNM2, debuts at No. 2 on the Dec. 24-dated ranking. The Puerto Rican’s fourth solo studio album boasts the fifth-largest opening sum of 2022 among Latin albums.

LLNM2 starts with 23,000 equivalent album units earned in the U.S. in the week ending Dec. 15, according to Luminate. The 33-track set was released Dec. 9 via Anuel’s label Real Hasta La Muerte.

Among all Latin albums in 2022 (anything that reached the Top Latin Albums chart), LLNM2 posts the fifth-largest opening sum, behind Bad Bunny’s Un Verano Sin Ti (273,000 units), Eslabon Armado’s Nostalgia (29,000), Daddy Yankee’s Legendaddy (29,000) and Romeo Santos’ Formula, Vol. 3 (26,000).

On the multi-metric Top Latin Albums chart as measured in equivalent album units, 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.

Streaming comprises 22,000 of LLNM2’s first-week units, which equates to 33 million on-demand official streams of the album’s songs. The remaining 1,000 stem from traditional album units and track-equivalent album units.

LLNM2 follows Anuel’s fourth-studio album, Las Leyendas Nunca Mueren, which debuted in Dec. 2021 at No. 1, where it remained for two weeks. Notably, Emmanuel, his second entry, holds strong at No. 31 on Top Latin Albums in its 133rd week on the tally.

As LLNM2 arrives, four tracks secure a spot on the multi-metric Hot Latin Songs chart, three debuts and a reentry, starting with “La Máquina” at No. 23. The song earned 2.75 million clicks in the tracking week ending in Dec. 15. Here are the new recruits:

No. 23, “La Máquina,” with Jowell & Randy & De La Ghetto, featuring Yailin La Mas ViralNo. 40, “BRRR”No. 44, “Sufro,” with Kodak Black & Nengo FlowNo. 54, “Si Yo Me Muero” (reentry)

Elsewhere, LLNM2 debuts on the all-genre Billboard 200 at No. 30 and at No. 2 on Latin Rhythm Albums.

Metro Boomin’s superstar-filled album Heroes & Villains debuts at No. 1 on the Billboard 200 chart (dated Dec. 17), giving the producer his third leader on the list. The 15-song set starts with his biggest week yet: 185,000 equivalent album units earned in the U.S. in the week ending Dec. 8, according to Luminate — largely driven by streaming activity.
Heroes & Villains boasts a cavalcade of heavy-hitters, including 21 Savage, A$AP Rocky, Chris Brown, Future, Gunna, John Legend, Travis Scott, the late Takeoff, Don Toliver, The Weeknd, Young Thung and unbilled spoken word cameos from Morgan Freeman.

Heroes & Villains is Metro Boomin’s seventh charting effort on the Billboard 200, and fifth to reach the top 10. He previously hit the region with Savage Mode II (a collaborative album with 21 Savage, No. 1 in 2020), Not All Heroes Wear Capes (No. 1, 2018), Double or Nothing (a collaborative set with Big Sean, No. 6 in 2017) and Without Warning (billed to 21 Savage, Offset and Metro Boomin, No. 4 in 2017).

On Sept. 16, Heroes & Villains was initially announced with a release date of Nov. 4. Then, on Oct. 26, the set was pushed to Dec. 2 due to sample clearance issues.

Also in the top 10 on the Billboard 200, Mariah Carey’s Merry Christmas returns, rising 11-10. The album, released in 1994, peaked at No. 3 that year, and has returned to the top 10 in each of the last four holiday seasons.

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 Dec. 17, 2022-dated chart will be posted in full on Billboard‘s website on Dec. 13. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Heroes & Villains’ 185,000 equivalent album units earned, SEA units comprise 179,000 (equaling 233.38 million on-demand official streams of the set’s tracks), album sales comprise 5,000 and TEA units comprise 1,000. The album’s sales were largely powered by its digital download album, though there was a CD available in limited quantities (including a signed version), which resulted in about 3,000 sales. In addition, on Dec. 5 the album was reissued in a deluxe edition on streamers and at digital retail with 15 bonus instrumental tracks of the album’s standard songs.

Following Heroes & Villains (released via Boominati/Republic) on the Billboard 200, a pair of former No. 1s is up next, as Taylor Swift’s Midnights (Republic) falls to No. 2 with 143,000 equivalent album units (down 5%) and Drake and 21 Savage’s Her Loss (OVO Sound/Republic) dips 2-3 with 78,000 (down 16%). Thus, Republic Records completes a sweep of the top three on the Billboard 200, the first time any label has held the top three since Republic itself did it on the Feb. 6, 2021-dated list. That week, the chart was led by Morgan Wallen’s Dangerous: The Double Album (Big Loud/Republic), Pop Smoke’s Shoot for the Stars Aim for the Moon (Victor Victor Worldwide/Republic) and Swift’s Evermore (Republic).

Bad Bunny’s chart-topping Un Verano Sin Ti falls 3-4 on the Billboard 200 with 55,000 equivalent album units earned (though up 5%). Michael Bublé’s former No. 1 Christmas is pushed down 4-5 despite a 16% gain to 54,000 units. Harry Styles’ No. 1 Harry’s House rises 9-6 with 49,000 units (up 42% — mostly owed to vinyl LP sales) and Wallen’s Dangerous descends 6-7, but with a gain of 16% to 47,000.

Wrapping up the top 10 are The Weeknd’s The Highlights (7-8 with 42,000 equivalent album units; up 5%), Nat King Cole’s The Christmas Song (8-9 with just over 40,000; up 13%) and Carey’s Merry Christmas (11-10 with 40,000; up 23%).

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.

BRISBANE, Australia — Australian dance music fans have two new charts to add to their weekly diet.
The fresh surveys, the Australian Dance Singles Chart, a countdown of the top 20 dance singles, and the Australian Dance Albums Chart, a tally of the top 10 dance albums, will publish each Friday starting this week.  

Both charts will sit alongside ARIA’s other Australia-focused albums and singles charts, which include Australian Hip- Hop/R&B, Country, and Top 20 Singles and Albums, and more.

“ARIA is determined to find ways to showcase Australian music from all who create it, this is another step in the right direction as we endeavor to provide a transparent scoreboard for our industry and music fans alike to understand how local music is being streamed, purchased and engaged with,” explains the trade body’s CEO Annabelle Herd.

ARIA’s suite of charts are calculated with a combination of streams, physical and digital sales, with the exception of the ARIA Club Chart, which is based on reports by working DJs across Australia. None of those “official” tallies collate radio airplay information.

“It makes total sense to have Australian Dance Charts in addition to our regular Dance Charts, you only have to look at this year’s ARIA Awards featuring Rüfüs Du Sol, Luude and Flume to see that dance music plays such an important role in Australian music culture,” comments Herd.

“It represents many of our most-loved acts across the globe and countless DJs filling clubs across the country on a nightly basis. We’re determined to work with the dance music community to find ways to ensure established and up-and-coming producers are recognized for their contribution to this culture, and provide a greater spotlight as nightlife across Australia continues to recover.”

In June, the labels body and charts compiler rolled out its first new survey in three years — the New Release Chart, a weekly examination of the most popular new local and international singles on a four-month cycle. Earlier in the year, ARIA’s main charts began incorporating data on music consumption from YouTube.

Next year, 2023, marks the 40th anniversary of the ARIA Singles and Albums Charts.

Billboard News stepped into Diddy’s home and sat down with the legendary artist to discuss his single “Gotta Move On” with Bryson Tiller reaching No. 1 on Billboard’s Adult R&B Airplay chart. Plus, Taylor Swift’s “Anti-Hero” tops the Hot 100 once again.

After a decade of tireless work in the music industry, Sam Smith is finally celebrating a long-awaited career milestone.
On Tuesday (Oct. 25), Smith posted a message on their Twitter reacting to “Unholy,” the viral collaboration with Kim Petras, reaching the No. 1 spot on the Billboard Hot 100. “I can’t believe it. Number 1 in America,” they wrote. “I am honestly speechless, overwhelmed, nautious [sic], and extremely happy.”

The singer explained that “Unholy” is “so special to me for so many reasons,” and expressed gratitude to those who worked on the track for their “bravery and guts and spirit.” They also shared a special thank you for Petras: “And Kim … what magic you are. You are a treasure and an inspiration to so many. Thank you for jumping with me.”

Despite Smith’s popularity over the last decade, “Unholy” is their first song to hit No. 1 on the Hot 100. “Stay With Me,” their breakthrough 2014 hit, peaked at No. 2 on the chart dated August 16, 2014, just underneath “Rude” by Magic. Throughout their career, Smith has scored seven other top 10 singles, including “Too Good at Goodbyes,” “I’m Not the Only One,” “Dancing With a Stranger” and more.

“Unholy” is just the first taste of new music to come from Smith. Following the song’s debut on the chart, Smith announced their fourth studio album, Gloria, which is set to be released Jan. 27, 2023. In their interview for Billboard‘s cover story earlier this year, Smith teased that the project is their “first non-heartbreak album,” and that the subject matter would focus primarily on queer joy. “I think joy for me, and for a lot of queer people, is quite a dangerous place,” Smith said. “We’re all masters of pain, and I think it’s actually a very courageous act to step into the queer joy of it all.”’

Closing out their statement on Twitter, Smith expressed gratitude most of all to their fans. “This is ours Sailors,” they wrote, using their fanbase’s affectionate nickname. “I do this for you and you only,” they wrote. “What a journey. What a 10 years. What a life.”

Check out Smith’s full statement on Twitter, as well as their music video for “Unholy,” below:

Ahead of Rihanna’s Super Bowl halftime, here’s a look back at some of the biggest halftime show winners since 1993.