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Luis Angel “El Flaco” achieves a career milestone with his first No. 1 as a solo singer on a Billboard chart thanks to “Amor Bonito,” which climbs 6-1 to lead the Regional Mexican Airplay ranking (dated Dec. 7).
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“Amor Bonito,” released on Sept. 19 via Sony Music Latin, lands at the summit with the Greatest Gainer honors of the week thanks to a 53% gain in audience impressions — up to 8 million — earned in the U.S. for the tracking week of Nov. 22-28, according to Luminate. The song trades places with last week’s champ, Jessi Uribe’s “Si Ya Me Voy,” which dips 1-6 due to a 24% drop in impressions.
While “Amor Bonito” gives Angel his first No. 1 as a solo singer — dating to his first visit to a Billboard radio chart in 2021 — the Mexican singer has been part of many No. 1s in the past. While he was the lead singer of Banda Los Recoditos, the group achieved 13 No. 1s across various Latin rankings (both albums and songs) during a 13-year career with the band.
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Beyond his first champ on Regional Mexican Airplay as a soloist, El Flaco has claimed six other top 10s, nearly missing the No. 1 slot with the No. 2-peaking “Una Julio 70” in 2022. In total, he’s landed seven times in the upper region among 10 career performances.
“Amor Bonito” also gives El Flaco his second top 10 on the overall Latin Airplay chart, where it surges 12-2 for his best placement to date. “Una Julio 70” took him to his first top 10, peaking at No. 6, in December 2022.
El Flaco’s first No. 1 song, produced by Arturo Gárate and written by Meño Segovia, concurrently earns him a maiden appearance on the Emerging Artists chart with a No. 42 debut. The chart ranks the most popular developing artists of the week, using the same formula as the all-encompassing Billboard Artist 100, which measures artist activity across multiple Billboard charts, including the Billboard Hot 100 and Billboard 200.
El Flaco’s breakthrough arrives on the heels of the banda singer’s Latin Grammy award nomination for best música banda album for Yo Te Extrañaré.
Kendrick Lamar’s surprise album GNX debuts at No. 1 on the Billboard 200 chart (dated Dec. 7), marking his fifth chart-topper, all earned consecutively. It launches with 319,000 equivalent album units earned in the U.S. in the week ending Nov. 28, according to Luminate — the year’s sixth-largest debut frame. The set’s opening week was largely driven by streaming activity, and the 12-song effort launches with 2024’s third-biggest streaming week for any album. GNX arrived with no warning on Nov. 22 around noon ET.
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Also in the top 10 of the latest Billboard 200, the Wicked film soundtrack enters at No. 2, notching the highest debut for a big-screen adaptation of a stage musical ever. The new Wicked film, starring Cynthia Erivo and Ariana Grande, is based on the long-running stage musical of the same name, which has played on Broadway in New York since 2003.
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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. 7, 2024-dated chart will be posted in full on Billboard‘s website on Tuesday (Dec. 3). For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of GNX’s 319,000 first-week equivalent album units, SEA units comprise 285,000 (equaling 379.72 million on-demand official streams of the set’s 12 songs; it debuts at No. 1 on Top Streaming Albums), album sales comprise 32,000 (it was only available as a widely available standard digital download, in both a clean and explicit edition; it debuts at No. 2 on Top Album Sales), and TEA units comprise 2,000.
GNX scores 2024’s sixth-largest opening week, by equivalent album units, among all albums. Further, with 379.72 million on-demand official streams generated by its songs, the album yields the year’s biggest streaming week for any R&B/hip-hop album. Further, among all albums, it logs the year’s second-biggest debut streaming week, and the year’s third-largest streaming week overall. (The year’s two bigger streaming weeks were the first and second weeks of Taylor Swift’s The Tortured Poets Department, with 891.37 and 428.54 million, respectively.)
Lamar previously led the Billboard 200 with Mr. Morale & the Big Steppers (2022), DAMN. (2017), Untitled Unmastered (2016) and To Pimp a Butterfly (2015). Earlier in 2024, he nabbed a pair of No. 1s on the Billboard Hot 100 songs chart with his solo cut “Not Like Us” (in May), shortly after he led the list with the co-billed collaboration “Like That” (in April) with Future and Metro Boomin. Neither song is included on GNX.
GNX precedes Lamar headlining turn at the upcoming Super Bowl halftime show on Feb. 9, 2025, in New Orleans. He was announced as the star act of the festivities on Sept. 8. It will mark his second appearance at the halftime show, following the all-star 2022 hip-hop showcase with Dr. Dre at the helm.
The Wicked film soundtrack takes a bow at No. 2 on the Billboard 200, the highest debut ever by a big-screen adaptation of a stage musical.
The last time a stage-to-screen musical soundtrack debuted in the top five was when Chicago danced in at No. 4 — over 21 years ago, on the Feb. 1, 2003 chart — on its way to a No. 2 peak a week later. Setting aside debut ranks, the last stage-to-screen movie musical soundtrack to reach the top two was Les Miserables, which spent a week at No. 1 on the Jan. 19, 2013-dated chart. (It debuted at No. 33, and then moved to No. 2 and No. 1 in its second and third weeks.)
Among all soundtracks in 2024, Wicked is the second soundtrack to reach the top 10 for the first time this year, and the highest charting, following Twisters (No. 7 peak) in August.
Wicked launches with 139,000 equivalent album units earned in the week ending Nov. 28 — the biggest week for a full-length theatrical film soundtrack since Lady Gaga and Bradley Cooper’s A Star Is Born earned 143,000 units in its second week (Oct. 17, 2018, chart; down from its 162,000 bow). Wicked also logs the biggest week for any stage-to-screen musical soundtrack since the Billboard 200 began ranking titles by equivalent album units in December 2014.
Of Wicked’s opening-week sum, album sales comprise 85,000 (it’s No. 1 on Top Album Sales, SEA units comprise 52,000 (equaling 67.66 million on-demand official streams of the album’s tracks; it’s No. 4 on Top Streaming Albums) and TEA units comprise 2,000. With 67.66 million streams generated by its songs, Wicked has 2024’s biggest streaming week for any soundtrack, and the largest streaming week ever for a stage-to-screen musical film soundtrack.
Wicked’s first-week album sales score the largest sales week for a full-length theatrical film soundtrack since A Star Is Born’s second week (86,000). Wicked has the largest debut sales week for a stage-to-screen musical film since Dreamgirls opened with 92,000 (Dec. 23, 2006 chart). The last time a stage-to-screen musical film soundtrack sold more than Wicked this past week was when Les Miserables reached No. 1 on the Billboard 200 with 93,000 in its third chart week (Jan. 19, 2013, chart).
Wicked’s opening week sales were bolstered by its availability across six vinyl variants (including a signed edition, autographed by Erivo and Grande), four CD variants (including a signed edition) and a standard digital download album.
Sabrina Carpenter‘s chart-topping Short n’ Sweet rises 5-3 on the Billboard 200 (69,000 equivalent album units; down 4%); Tyler, The Creator’s former No. 1 CHROMAKOPIA falls 3-4 (61,000; down 24%) and Billie Eilish’s Hit Me Hard and Soft rounds out the top five, rising 9-5 with 50,000 (up 2%).
Gracie Abrams’ The Secret of Us steps 8-6 (48,000 equivalent album units; down 5%); Rauw Alejandro’s Cosa Nuestra falls 6-7 (44,000; down 35% in its second week); Swift’s former leader The Tortured Poets Department climbs 11-8 (43,000; up 1%); Morgan Wallen’s chart-topping One Thing at a Time ascends 12-9 (42,000; up 2%); and Chappell Roan’s The Rise and Fall of a Midwest Princess is a non-mover at No. 10 (42,000; down 2%).
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.
ATEEZ add their second No. 1 album on the Billboard 200 chart as GOLDEN HOUR: Part.2 debuts atop the list (dated Nov. 30) with 184,000 equivalent album units earned in the U.S. in the week ending Nov. 21, according to Luminate. With an opening frame driven largely by album sales — 179,000 copies sold — the set marks the best week yet for the pop ensemble by both units earned or traditional album sales.
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The act previously topped the chart with THE WORLD EP.FIN: WILL in 2023. In total, GOLDEN HOUR: Part.2 is the sixth top 10-charting set for the group, all consecutive.
Also in the top 10 of the latest Billboard 200, Linkin Park logs its 12th top 10-charting set with the No. 2 bow of From Zero; Jin’s debut album, Happy, enters at No. 3; Rauw Alejandro achieves his first top 10 with the arrival of Cosa Nuestra at No. 6; and ENHYPEN’s ROMANCE: UNTOLD re-enters the list at No. 7 following its reissue on Nov. 15 (dubbed ROMANCE: UNTOLD -daydream-) with two bonus tracks. The set debuted and peaked at No. 2 in July.
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With K-pop acts ATEEZ, Jin and ENHYPEN at Nos. 1, 4 and 7, respectively, on the Billboard 200, there are three K-pop albums in the top 10 for the first time.
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 Nov. 30, 2024-dated chart will be posted in full on Billboard‘s website on Tuesday (Nov. 26). For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of GOLDEN HOUR: Part.2’s 184,000 equivalent album units earned, album sales comprise 179,000 (it’s the top-selling album of the week and debuts at No. 1 on Top Album Sales; it’s also the sixth-largest sales debut week of 2024 for any title), SEA units comprise 5,000 (equaling 6.43 million on-demand official streams of the set’s songs) and TEA units comprise a negligible sum. The album’s first-week sales were bolstered by its availability across 29 physical format variants (23 CDs and six vinyl editions; all containing collectible branded paper ephemera, some randomized) and three digital download variants (a standard edition and two versions containing voice notes from the acts as bonus tracks).
As GOLDEN HOUR: Part.2 is mostly in the Korean language, it is the 26th mostly non-English-language album to hit No. 1, and the third of 2024. Two other mostly-Korean-language sets topped the chart earlier this year: on the Aug. 3-dated list, Stray Kids’ ATE become the group’s fifth leader, and on the March 9 ranking, TWICE’s With YOU-th garnered the act its first leader. Of the 26 mostly non-English-language albums to reach No. 1, 17 are mostly Korean, five mostly (or all) Spanish, one mostly Italian, one entirely French, and two mostly a blend of Spanish, Italian and French. Of the 26 mostly non-English-language albums to reach No. 1, 22 have topped the chart since 2018 (the year that K-pop superstars BTS scored their first of six No. 1s, the chart’s first Korean-language leaders).
Linkin Park returns to the Billboard 200 with its first new studio album in seven years, as From Zero enters at No. 2 with 97,000 equivalent album units earned. Of that sum, album sales comprise 72,000 (it debuts at No. 2 on Top Album Sales), SEA units comprise 24,000 (equaling 32.18 million on-demand official streams of the set’s songs; it bows at No. 17 on Top Streaming Albums) and TEA units comprise 1,000. From Zero is the band’s 12th top 10-charting set and the first to feature new members Emily Armstrong (co-lead vocals) and Colin Brittain (drums). The album is the first without vocalist Chester Bennington (who died in 2017) and drummer Rob Bourdon (who departed the group in 2018).
From Zero’s first-week sales were aided by its availability across 11 vinyl editions (multiple color variants, two picture discs and four alternative cover versions), four CD variants (including a deluxe boxed set containing branded merch and a CD, and a Zine/CD package), two cassette editions and two digital download editions. All versions of the album contain the same 11 songs, except for one download album, which boasts three bonus live tracks.
The new album was announced on Sept. 5 during a livestream concert that also announced Armstrong and Brittain joining the band, along with the release of the set’s first single “The Emptiness Machine.” The track debuted and peaked at No. 21 on the Billboard Hot 100, marking the highest charting cut from the band since 2009’s “New Divide” hit No. 6. “Emptiness” also led the Alternative Airplay chart for five weeks, marking the 13th leader for the band on the ranking. Three more songs previewing the album were released before From Zero dropped on Nov. 15: “Heavy Is the Crown,” “Over Each Other” and “Two Faced.”
Tyler, The Creator’s chart-topping CHROMAKOPIA falls 1-3 in its fourth week on the chart, after spending its first three weeks atop the list. It earned 81,000 equivalent album units in its fourth charting frame (down 22%).
BTS’ Jin sees his solo debut project, Happy, bow at No. 4 on the Billboard 200 with 77,000 equivalent album units earned. Of that sum, album sales comprise 66,000 (it debuts at No. 3 on Top Album Sales), SEA units comprise 8,000 (equaling 10.53 million on-demand official streams of the set’s songs) and TEA units comprise 3,000. Happy’s first-week sales were enhanced by its availability across 13 CD variants (containing branded paper ephemera, some editions include randomized items) and seven digital variants (a standard version, two with alternate cover art, and four with assorted bonus tracks ranging from a voice memo to remixes).
Happy is Jin’s first charting album on the Billboard 200, and he becomes the seventh, and final, member of BTS to have achieved a top 10-charting effort. BTS itself has logged seven top 10s, including six No. 1s. BTS is the first K-pop act to see all of its members chart a solo top 10 title on the Billboard 200.
Sabrina Carpenter’s former leader Short n’ Sweet dips 3-5 with 72,000 units (up 6%).
Rauw Alejandro lands his first top 10-charting effort on the Billboard 200 as Cosa Nuestra debuts at No. 6 with 67,000 equivalent album units earned — the artist’s biggest week by units earned. The album’s opening week was overwhelming driven by streaming activity, as SEA units comprise 66,000 of the album’s first week (equaling 87.66 million on-demand official streams of the set’s songs; it debuts at No. 2 on Top Streaming Albums). Album sales comprise 1,000 (from just one digital download edition of the album) and TEA units comprise a negligible sum. Cosa Nuestra boasts guests including Bad Bunny, Laura Pausini, Romeo Santos and Pharrell Williams.
ENHYPEN’s ROMANCE: UNTOLD re-enters the Billboard 200 at No. 7 with 54,000 equivalent album units earned in the latest tracking week (up 960%), following it Nov. 15 repackage and reissue with two bonus tracks. The new iteration of the album is dubbed ROMANCE: UNTOLD -daydream-. All versions of the album, old and new, are combined for tracking and charting purposes. The initial release of the project debuted and peaked at No. 2 in July.
Of the album’s 54,000 units earned in the week ending Nov. 21, album sales comprise 51,000 (up 1,473%, it jumps 26-4 on Top Album Sales), SEA units comprise 3,000 (equaling 4.45 million on-demand official streams of the album’s songs) and TEA units comprise a negligible sum. The set’s album sales were bolstered by its availability across 12 new CD variants and three new download editions, joining its previously available 17 CD editions, two vinyl variants and a standard download album. All physical editions of the album contain branded paper ephemera, some randomized.
Rounding out the top 10 of the latest Billboard 200: Gracie Abrams’ The Secret of Us (4-8 with 50,000 equivalent album units; down 5%), Billie Eilish’s Hit Me Hard and Soft (5-9 with 49,000; up 2%) and Chappell Roan’s The Rise and Fall of a Midwest Princess (6-10 with 43,000; down 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.
Tyler, The Creator’s CHROMAKOPIA spends a third consecutive and total week at No. 1 on the Billboard 200 chart (dated Nov. 23). It’s the artist’s album with the most weeks atop the list, surpassing the two weeks spent at No. 1 by his previous leader, Call Me If You Get Lost in 2021-22.
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CHROMAKOPIA earned 104,000 equivalent album units in the United States in the week ending Nov. 14 (down 35% in its third week), according to Luminate.
Also in the top 10 of the new Billboard 200 chart, TOMORROW X TOGETHER debuts at No. 2 with The Star Chapter: SANCTUARY, marking the sixth top 10-charting set for the group.
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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 Nov. 23, 2024-dated chart will be posted in full on Billboard‘s website on Tuesday (Nov. 19). For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of CHROMAKOPIA’s 104,000 equivalent album units earned in its second week, SEA units comprise 76,000 (down 34%, equaling 106.87 million on-demand official streams of the album’s songs; it holds at No. 1 on the Top Streaming Albums chart), album sales comprise 28,000 (down 37%; it’s steady at No. 2 on Top Album Sales) and TEA units comprise a negligible sum (down 35%).
The album continues to profit from sales generated by Tyler, The Creator’s official webstore, with the set’s vinyl, CD, and eight previously available deluxe collectible boxed sets continuing to ship to customers. The third week also saw four additional boxed sets shipped to customers. All boxed sets contain a CD, poster and another branded merch item in a branded box. All physical editions of the album are exclusively sold via the artist’s webstore.
TOMORROW X TOGETHER nabs its sixth top 10-charting effort on the Billboard 200 as The Star Chapter: SANCTUARY debuts at No. 2. The set earned 98,000 equivalent album units in its first week. Album sales comprise 95,500 of that sum (it debuts at No. 1 on Top Album Sales), SEA units comprise 2,500 (equaling 3.74 million on-demand official streams of the set’s songs) and TEA units comprise a negligible sum. The album’s first-week sales were bolstered by its availability across 23 CD variants (all containing collectible branded paper ephemera, some randomized), eight digital download variants (seven were exclusive to the act’s official webstore; all included bonus tracks).
The Star Chapter: SANCTUARY is the group’s second top 10-charting effort of 2024, following No. 3-peaking Minisode 3: TOMORROW in April.
Sabrina Carpenter’s chart-topping Short n’ Sweet slips 2-3 on the Billboard 200 (68,000 equivalent album units earned; up 1%), Gracie Abrams’ The Secret of Us climbs 5-4 (52,000; up 5%) and Billie Eilish’s Hit Me Hard and Soft spikes 7-5 (48,000; up 9%) to round out the top five.
Chappell Roan’s The Rise and Fall of a Midwest Princess is a non-mover at No. 6 (47,000; up 3%); Morgan Wallen’s former leader One Thing at a Time rises 10-7 (43,000; up 1%); Taylor Swift’s chart-topping The Tortured Poets Department ascends 9-8 (nearly 43,000; down less than 1%); Rod Wave’s Last Lap falls 8-9 (38,000; down 12%); and Noah Kahan’s Stick Season steps 14-10 (33,000; up 7%).
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.
Tyler, The Creator’s CHROMAKOPIA secures a second consecutive and total week atop the Billboard 200 chart (dated Nov. 16). It’s the rapper’s first album to spend two consecutive weeks at No. 1, and second set to log at least two frames in the lead. He previously notched two nonconsecutive weeks at No. 1 with Call Me If You Get Lost — separated by nine months — in 2021-22. He ruled the list with one other album, Igor, which logged one frame at No. 1 in 2019.
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CHROMAKOPIA earned 160,000 equivalent album units in the United States in the week ending Nov. 7 (down 47% in its second week), according to Luminate. It’s the set’s first full seven-day tracking week on the chart, following an abbreviated debut frame of only four days, as the album was released on an off-cycle Monday (Oct. 28; most albums are released on Fridays).
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Also in the top 10 of the new Billboard 200 chart, Lil Uzi Vert scores their fifth top 10 set with the No. 3 debut of Eternal Atake 2, while The Cure achieves its highest charting album over 30 years, and first top 10 in over 20 years, with the No. 4 debut of Songs of a Lost World.
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 Nov. 16, 2024-dated chart will be posted in full on Billboard‘s website on Tuesday (Nov. 12). For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of CHROMAKOPIA’s 160,000 equivalent album units earned in its second week, SEA units comprise 115,500 (down 27%, equaling 160.31 million on-demand official streams of the album’s songs; it holds at No. 1 on the Top Streaming Albums chart), album sales comprise 44,500 (down 69%; it falls to No. 2 on Top Album Sales) and TEA units comprise a negligible sum (down 3%). The set’s sales were aided in its second week by the continued sturdy sales of six deluxe collectible boxed sets (each containing a CD, poster and another branded merch item). The album’s second week got a sales boost from the release of its stand-alone CD and two additional boxed sets. All physical variants of the album are exclusively sold via Tyler, The Creator’s official webstore.
Sabrina Carpenter’s chart-topping Short n’ Sweet steps 3-2 with 68,000 equivalent album units earned (down 9%).
Lil Uzi Vert’s Eternal Atake 2 bows at No. 3 on the Billboard 200, marking the fifth top 10-charting set for the rapper (all of which have reached the top three). The set launches with 59,000 equivalent album units earned, of which SEA units comprise 56,000 (equaling 76.43 million on-demand official streams of the set’s songs), album sales comprise 3,000 and TEA units comprise a negligible sum.
The album was announced Oct. 24 and released on Nov. 1. Its first-week sales were aided by the album’s availability across seven CD variants (five with a randomized branded trading card; one with a branded T-shirt and a CD in a collectible box; and a standard CD) and a digital download.
The Cure debuts in the top five on the Billboard 200 with Songs of a Lost World, bowing at No. 4, marking the band’s highest charting album since 1992 and first top 10 since 2004. Songs of a Lost World is the group’s first album of new material since 2008. The new album is the act’s third top 10-charting set on the Billboard 200, following its self-titled effort (No. 7 in July 2004) and Wish (No. 2 in May 1992).
Songs of a Lost World bows with 57,000 equivalent album units earned (the act’s best week by units). Of that sum, album sales comprise 53,000 (The Cure’s biggest sales week since 2004, when its self-titled album launched with 91,000), SEA units comprise 4,000 (equaling 5.02 million on-demand official streams of the album’s songs) and TEA units comprise a negligible sum. Songs of a Lost World also debuts at No. 1 on Top Album Sales; the first leader for The Cure on the 33-year-old chart. The new album’s first-week sales were bolstered by its availability across five vinyl variants (which sold a combined 23,000 copies; the band’s best week on vinyl since Luminate began tracking sales in 1991), a standard CD, a CD/blu-ray audio package, two cassettes, a standard digital download and a deluxe digital download with five bonus live tracks (exclusive to the band’s webstore).
Songs of a Lost World was released on Nov. 1, and cryptically announced in early September. The set’s title and release date were confirmed on Sept. 26, alongside the release of the album’s first cut (and first new song in 16 years), “Alone.” On Oct. 9, a second song from the set, “A Fragile Thing,” arrived. The latter track climbs 25-22 (a new peak) on Alternative Airplay and 12-10 on Adult Alternative Airplay. It’s the first charting hit for The Cure on Alternative Airplay since 2008 and the band’s highest-charting song since 2004’s “The End of the World” reached No. 19. On the Adult Alternative Airplay ranking, “Fragile” is the act’s third charting song ever (dating to the chart’s 1996 start), and first to reach the top 10.
Gracie Abrams’ The Secret of Us rises 7-5 on the Billboard 200 with 50,000 equivalent album units (up 2%).
Chappell Roan’s The Rise and Fall of a Midwest Princess pounces 12-6 with 46,000 equivalent album units earned (up 5%), following the singer’s performance on NBC’s Saturday Night Live (Nov. 2). On the show, she sang the album’s “Pink Pony Club” and a new track, “The Giver.” Princess was last in the top 10 on the Oct. 26-date list when it ranked at No. 6.
Billie Eilish’s Hit Me Hard and Soft climbs 9-7 on the Billboard 200 (44,000 equivalent album units; down 4%); Rod Wave’s Last Lap falls 5-8 (44,000; down 15%); Taylor Swift’s chart-topping The Tortured Poets Department ascends 11-9 (43,000; down 2%); and Morgan Wallen’s former leader One Thing at a Time falls 8-10 (nearly 43,000; down 7%).
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.
Sakurazaka46’s “I want tomorrow to come” rises to No. 1 on the Billboard Japan Hot 100, dated Oct. 30, selling 559,181 CDs in its first week.
The 10th single by the popular girl group topped physical sales while coming in at No. 12 for downloads, No. 5 for streaming, No. 68 for radio airplay, and No. 71 for video views.
Creepy Nuts’ “Otonoke” slips to No. 2. While down a notch from the top spot, points for the Dandadan opener is on the rise, with streaming up by about 108% from the week before from 8,460,000 to 9,130,000 streams, and video up by 101%.
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Mrs. GREEN APPLE’s “Lilac” continues to hold at No. 3. Points for each metric have decreased slightly as the former No. 1 hit logs its 29th week on the tally, coming in at No.15 for downloads, No. 2 for streaming, and No. 5 for video and karaoke.
M!LK’s “Everybody Good Job!” soars 47-4 to break into the top 5. The title track off the five-man group’s sixth major-label release sold 71,036 copies to hit No. 2 for sales while coming in at No. 56 for streaming.
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Rosé & Bruno Mars’ “APT.” also shoots to No. 5 from No. 96. The track debuted on the Japan Hot 100 at No. 96 after its release on Oct. 18. The earwormy repetition of “apateu” (apartment) made a splash on social media, and streams for the track increased by about 6 times, downloads and videos by about 2.5 times, and radio by 8 times from the week before. It’s the first time a Western song entered the top 5 of the Japan Hot 100 since Coldplay and BTS’s “My Universe” in October 2021. “APT.” is also charting at No. 8 on the Billboard Hot 100.
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from Oct. 21 to 27, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
Yeat lands his first No. 1 album on the Billboard 200 as Lyfestyle debuts atop the list dated Nov. 2. The set earned 89,000 equivalent album units in the U.S. in the week ending Oct. 24, according to Luminate — his best week ever by units, largely driven by album sales. Lyfestyle is the fifth total and consecutive top 10-charting set for the rapper, who had gone as high as No. 2 in March with 2093.
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Also in the new top 10 of the Billboard 200, SEVENTEEN snares its sixth top 10 effort, all earned consecutively, as SPILL THE FEELS debuts at No. 5. Meanwhile, Gracie Abrams’ The Secret of Us surges 19-8 following a deluxe reissue with added songs, for its first week in the top 10 since it debuted at No. 2 in July.
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 Nov. 2, 2024-dated chart will be posted in full on Billboard‘s website on Tuesday (Oct. 29). For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
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Of Lyfestyle’s 89,000 equivalent album units earned, album sales comprise 60,000 (Yeat’s best sales week ever; it’s No. 2 on the Top Album Sales chart), SEA units comprise 29,000 (equaling 39.67 million on-demand official streams of the songs on the streaming edition of the album; it debuts at No. 17 on the Top Streaming Albums chart) and TEA units comprise a negligible sum.
Lyfestyle’s first-week sales were bolstered by its availability across many variants, exclusively sold through the artist’s webstore. Lyfestyle’s opening-week sales actually exceed the cumulative sales of Yeat’s entire album catalog before this past week. Until Lyfestyle’s release, his catalog of albums had sold a combined 35,000 copies.
The new album, his fifth full-length studio effort, was issued as a widely-available 22-track digital download and streaming set, and in a CD and vinyl edition exclusively sold through his webstore. (It’s the first time Yeat has released an album on CD.) The CDs were only available as part of deluxe boxed sets (exclusive to his webstore), and all CDs and vinyls were signed by the artist. There were six different deluxe CD boxed sets, each containing a T-shirt and a CD inside a branded box. There were also three webstore-exclusive CD variants, signed by the artist, and each contained two additional bonus tracks unique to the CD (one has “Style Lyfe” and “Back Thën,” the second has “5Brazy” and “Barbarian” and the third has “Graveyard” and “Gonë”)
In addition, Yeat’s webstore offered two exclusive digital download album variants — one with the bonus track “Project Lyfestyle” and one with four bonus tracks: “Project Lyfestyle,” “For Lyfe,” “Night Come” and “5Brazy Remix,” featuring Quavo.
All of the bonus tracks on the CD and download album variants were not available to purchase as stand-alone tracks through any retailer, nor available to stream through an official service.
In total, of Lyfestyle’s first-week sales of 60,000, digital downloads comprise 43,500; CD sales comprise 12,000 and vinyl sales comprise 4,500.
Yeat’s last album, 2093, which debuted and peaked at No. 2 earlier this year, was available in its first week across three digital download variants, but only one of them was exclusive to the artist’s webstore. 2093 sold 12,000 copies in its first week — all from downloads.
Sabrina Carpenter’s chart-topping Short n’ Sweet climbs 4-2 on the Billboard 200 with 79,000 equivalent album units earned (down 7%). After debuting at No. 1, Jelly Roll’s Beautifully Broken falls to No. 3 with 68,000 (down 58%). Rod Wave’s Last Lap dips 2-4 in its second week with 67,000 units (down 47%).
SEVENTEEN collects its sixth top 10-charting effort on the Billboard 200 as SPILL THE FEELS debuts at No. 5 with 66,000 equivalent album units earned. Of that sum, album sales comprise 64,000 (it’s No. 1 on Top Album Sales), SEA units comprise 2,000 (equaling 2.61 million on-demand official streams of the set’s songs) and TEA units comprise a negligible sum. The album’s sales were bolstered by its availability across 17 CD variants, each containing collectible branded paper ephemera (such as photocards, posters, lyric books and stickers, some randomized).
Morgan Wallen’s former leader One Thing at a Time rises 9-6 on the Billboard 200 with 50,000 equivalent album units earned (up 5%), GloRilla’s Glorious falls 5-7 in its second week with nearly 50,000 (down 27%), and Gracie Abrams’ The Secret of Us surges 19-8 with 49,000 units (up 78%). The latter vaults up the chart, and back into the top 10 for the first time since its No. 2 debut in July, thanks to its Oct. 18 deluxe reissue on digital download and streaming services with seven additional tracks. Of the 49,000 units The Secret of Us earned in the latest tracking week, SEA units comprise the bulk of the sum — a little over 45,000 (up 89%).
Rounding out the top 10 of the new Billboard 200 are Billie Eilish’s Hit Me Hard and Soft (falling 7-9 with a little over 48,000 equivalent album units earned; down 4%) and BigXthaPlug’s Take Care (8-10 in its second week; with 48,000; up less than 1%).
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.
Lil Nas X‘s 2019 smash “Old Town Road,” featuring Billy Ray Cyrus, has maintained some pretty impressive records on the Billboard charts. But five years later, he’s happily passing the torch to two other artists. Last week, Kendrick Lamar‘s “Not Like Us” broke the record for most weeks at No. 1 (21) on Billboard‘s Hot […]
Coldplay captures its fifth No. 1 album on the Billboard 200 chart, and first in over a decade, as Moon Music debuts atop the list (dated Oct. 19). The set launches with 120,000 equivalent album units earned, of which 106,000 are in traditional album sales. Both figures represent the biggest week, by units and album sales, for the group since 2015.
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Overall, Moon Music marks the 10th top 10-charting effort for the band. The act previously led the list with Ghost Stories (2014), Mylo Xyloto (2011), Viva La Vida or Death and All His Friends (2008) and X&Y (2005).
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 Oct. 19, 2024-dated chart will be posted in full on Billboard‘s website on Tuesday (Oct. 15). For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
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Of Moon Music’s first-week units of 120,000, album sales comprise 106,000 (it’s the top-selling album of the week at No. 1 on Top Album Sales), SEA units comprise 13,000 (equaling 16.71 million on-demand official streams of the set’s songs) and TEA units comprise 1,000. The group last garnered a larger week, in either overall units or album sales, with the debut frame of 2015’s A Head Full of Dreams, which bowed with 210,000 units, of which 195,000 were in traditional album sales.
The new album’s opening-week sales were bolstered by its availability across at least eight vinyl variants (including two signed editions, and a Target edition with three bonus tracks) and in six CD variants (including a signed edition, and a “notebook edition” in collectible packaging with bonus voice notes) — all of which were manufactured with eco-friendly initiatives. The set was also available in at least four digital download variants. Of the digital editions, there were two versions that each included 10 bonus tracks each. Coldplay’s official webstore offered the download editions at a discount during release week.
The album’s vinyl sales total 29,000 for the week — Coldplay’s best sales week on vinyl ever.
The new album was preceded by the single “feelslikeimfallinginlove,” which reached No. 81 on the all-genre Billboard Hot 100 chart in July. It also reached the top 10 on Alternative Airplay and Adult Pop Airplay, the act’s 15th and 12th top 10 on those tallies, respectively.
The new album’s Oct. 4 release was ushered in with a flurry of media looks, including appearances and/or performances by the band or its frontman Chris Martin on CBS’ Sunday Morning (Sept. 29), QVC (Oct. 2), NBC’s The Tonight Show Starring Jimmy Fallon (Oct. 3), NBC’s Saturday Night Live (Oct. 5) and NBC’s Today (Oct. 8).
Notably, among British groups, Coldplay ties for the fourth-most No. 1 albums on the Billboard 200. Leading the pack are The Beatles, with 19 leaders. The Rolling Stones are second, with nine, while Led Zeppelin is third, with seven No. 1s. Coldplay, Pink Floyd and Wings (counting albums billed to either Wings, or Paul McCartney and Wings) are tied with five No. 1s each.
Sabrina Carpenter’s Short n’ Sweet falls a spot to No. 2 (with 93,000 equivalent album units; down 8%) after four nonconsecutive weeks atop the list. It’s No. 1 on the Top Streaming Albums chart for a sixth nonconsecutive week. Chappell Roan’s The Rise and Fall of a Midwest Princess dips 2-3 on the Billboard 200 (56,000; down 12%), Morgan Wallen’s chart-topping One Thing at a Time is a non-mover at No. 4 (50,000; down less than 1%), and Billie Eilish’s Hit Me Hard and Soft is stationary at No. 5 (50,000; up 1%).
Three former leaders are up next, with Taylor Swift’s The Tortured Poets Department rising one spot to No. 6 (45,000 equivalent album units; up 1%), Post Malone’s F-1 Trillion dips 6-7 (43,000; down 8%) and Future’s Mixtape Pluto falls 3-8 (40,000; down 28%).
Rounding out the top 10 are Noah Kahan’s Stick Season, descending 8-9 (37,000 equivalent album units; down 2%), and Wallen’s former No. 1 Dangerous: The Double Album, holding steady at No. 10 (32,000; down 2%).
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.
It’s a constant refrain in the modern music business: “A hit can come from anywhere.”
The increasingly varied nature of hits, which now erupt from South Korea and South Africa and Mexico and carom from country to country in the nearly frictionless streaming landscape, has been reflected on Billboard’s two global charts. Halfway through 2022, 85% of top 10 hits on the Billboard Global Excl. U.S. ranking were releases from artists outside of the mainland U.S. That number rose to 92% in 2023.
But unexpectedly, the big global hits in the first six months of 2024 came primarily from one place: America.
Halfway through this year, U.S. acts accounted for 60% of the top 10 hits on the Global Excl. U.S. chart. And American artists were also responsible for the top eight songs on the Billboard Global 200 this summer. “American artists are crushing this year,” says Scott Cutler, co-CEO of Pulse Records. Pulse has contributed to the surge — the company signed Tommy Richman, whose bouncy, high-gloss “Million Dollar Baby” was No. 8 on the Global Songs of the Summer ranking.
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Executives attribute America’s show of musical might this year to three factors: The strength of the release calendar for U.S. stars, at a time when many prominent acts from outside the U.S. have been off cycle; the boom in country music, which is finding an increasingly global audience; and American labels’ increased emphasis on international marketing.
U.S. global dominance in music used to be a given. But that changed as listeners around the world adopted streaming services, and the cost of making and marketing music plummeted thanks to new technology and social media platforms. “When the cost structure changes, local [music] bounces back,” Will Page, former chief economist at Spotify, told Billboard last year.
In a 2023 paper, Page and Chris Dalla Riva, a senior product manager at the streaming platform Audiomack, documented this shift. They found that less than 20% of the top 10 songs in Poland, France, Netherlands and Germany were by local artists in 2012. A decade later, however, homegrown acts accounted for 70% of top 10s in Poland, 60% in France, 30% in the Netherlands, and 20% in Germany. The authors called this shift “glocalisation.”
That said, these country-by-country gains are probably partially obscured on Billboard‘s global charts, because they aggregate streaming and sales data from more than 200 territories, according to Glenn McDonald, the author of You Have Not Yet Heard Your Favorite Song: How Streaming Changes Music.
Imagine that Polish listeners are playing more Polish rap, but also some Sabrina Carpenter. Similarly, French listeners are enjoying more French rap, but dabbling in Carpenter’s discography as well. If you pool the two listening populations together, Carpenter will still be popular, but French listeners are unlikely to appreciate Polish rap, and vice versa.
Still, it’s notable that the upper reaches of Billboard‘s global charts show such a pronounced uptick for American artists so far this year — defying the last two years of data as well as conventional wisdom about the increasingly competitive nature of the music industry around the world.
Executives believe the surge is partly due to random chance. While superstars set their own schedules, either due to coincidence or competitive spirit, seemingly every American heavy-hitter has dropped an album this year. That group includes Ariana Grande, Ye, Beyoncé, Billie Eilish, Future, Taylor Swift and Post Malone.
At the same time, international powerhouses like Harry Styles have been quiet. The members of BTS are serving in the military, so they haven’t released much music or scored a major hit. (Jung Kook‘s “Seven” was Billboard‘s global song of the summer last year.) And recent albums from Dua Lipa and Ed Sheeran haven’t been as successful as past projects.
On top of that, “it feels like a new generation of stars are here” in the U.S., says Peter Kadin, senior vp of marketing at EMPIRE. “There was a void for a time after the pandemic. Now artists that have been developing for a few years have really come into their own.” EMPIRE has its own budding star in Shaboozey. Carpenter, Chappell Roan, Richman, Benson Boone and Teddy Swims have also scored breakout singles this year, giving the U.S. an unusually strong slate of hits from newcomers who can be promoted abroad.
And it’s notable that some of these big singles are emerging from Nashville: Shaboozey’s “A Bar Song (Tipsy)” is one of two country songs that finished in the top 10 in the song of the summer race on the Billboard Global 200. Luminate has surveyed a 12-week summer listening period for the past four years and found that streaming of country music outside America keeps rising. If international demand for the genre continues to increase, this gives U.S. labels another potential source of hits to export, one they couldn’t draw from the same way a decade ago.
Their approach to exporting has changed, too. U.S. labels once focused first on American consumers before looking abroad. Now they are often running global campaigns — or even starting promotion abroad, in territories where marketing is cheaper and fandom can be more of a social activity, before they begin a push Stateside. “It’s much easier to tap into all of these other markets because so much of promotion is digital now,” says Mike Weiss, head of A&R at United Masters.
Stellar, a Copenhagen-based marketing company, was founded in 2019 with the express purpose of helping artists find and nurture audiences in Southeast Asia and Latin America, which they might have neglected before streaming. The timing was right: “We have experienced a growing international focus from U.S. labels realizing the essential need for working artist campaigns with a global perspective,” says Felipe Martinez, Stellar’s head of Latin America. “Arguably U.S. labels have shown to be ahead of the curve in this understanding, while other markets seem to be more conservative in their international marketing efforts.”
At least this year, these efforts appear to be paying off for American artists. “If we see energy coming out of the Philippines or India,” Kadin says, “we’re going to run with it.”