Charts
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Taylor Swift’s The Tortured Poets Department holds atop the Billboard 200 chart (dated June 22) for an eighth consecutive and total week. The set earned 128,000 equivalent album units earned in the U.S. in the week ending June 13 (down 14%), according to Luminate.
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Poets is the first album to spend its first eight weeks at No. 1 since Morgan Wallen’s One Thing at a Time led for its first 12 weeks a year ago (March 18-June 3, 2023-dated charts). Of Swift’s 14 No. 1s on the Billboard 200, Poets ties Folklore with eight weeks on top; only 1989 and Fearless, with 11 each, have more weeks at No. 1 among Swift’s leaders.
Meanwhile, Swift adds her 77th career week at No. 1 on the Billboard 200, extending her record among soloists. (Elvis Presley has the second-most among soloists, with 67.) The total encompasses her 14 leaders. (She’s tied with Jay-Z for the most No. 1s among soloists.)
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Also in the top 10 of the new Billboard 200, Charli XCX scores her highest-charting album ever as Brat bows at No. 3; Bon Jovi secures its 14th top 10 with the No. 5 arrival of Forever; and Chappell Roan reaches the top 10 for the first time, as The Rise and Fall of a Midwest Princess climbs 12-10.
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new June 22, 2024-dated chart will be posted in full on Billboard‘s website on June 18. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of The Tortured Poets Department’s 128,000 equivalent album units earned, SEA units comprise 104,000 (down 14% — it’s No. 1 on Top Streaming Albums for an eighth week; its SEA units equal 135.53 million on-demand official streams of the deluxe edition’s 31 songs), album sales comprise 23,000 (down 13%) and TEA units comprise 1,000 (down 11%).
Billie Eilish’s Hit Me Hard and Soft rises 3-2 on the Billboard 200 in its fourth week, matching its debut and peak position, with 106,000 equivalent album units earned (down 9%).
Charli XCX achieves her second top 10 on the Billboard 200, and her highest-charting album yet, as Brat debuts at No. 3 with 82,000 equivalent album units earned (also her best week by units). Of that sum, album sales comprise 45,000 (her largest sales week ever), SEA units comprise 37,000 (equaling 46.72 million on-demand official streams of its deluxe edition’s 18 songs; her biggest streaming week yet) and TEA units comprise less than 1,000.
Charli XCX previously visited the top 10 with Crash, which debuted and peaked at No. 7 in 2022.
Brat was led by the single “Von Dutch,” which debuted and peaked at No. 7 on Billboard’s Hot Dance/Electronic Songs chart.
The album’s first-week sales were supported by its availability across 14 vinyl variants (mostly color variants, two were issued in deluxe editions containing collectible paper ephemera, one of which also housed a bonus 7-inch vinyl), which added up to 34,000 copies sold on vinyl — Charli XCX’s biggest week on vinyl. The set was also issued as a standard CD, a signed CD and as a deluxe boxed set containing a branded T-shirt and a CD. On June 10, the album was reissued as a deluxe digital download and streaming album with three bonus tracks.
Morgan Wallen’s chart-topping One Thing at a Time is a non-mover at No. 4 on the new Billboard 200 with 72,000 equivalent album units earned (up 2%).
Bon Jovi collects its 14th top 10-charting effort on the Billboard 200 as Forever starts at No. 5. The set earned 52,000 equivalent album units, of which album sales comprise 50,000 (it’s the top-selling album of the week and debuts at No. 1 on Top Album Sales), SEA units comprise 2,000 (equaling 2.31 million on-demand official streams of the 12 songs on the streaming edition of the set) and TEA units comprise a negligible sum.
The new album was led by the single “Legendary,” which reached the top 10 on the Adult Contemporary airplay chart (the band’s seventh top 10 and highest-charting song on the tally since 2011) and the top 15 on the Adult Pop Airplay ranking.
Forever’s first-week sales were supported by its availability across 11 vinyl variants (mostly color variants; three had collectible paper ephemera contained inside, one of which was a signed edition), four CD editions (a standard set, two with alternative cover art, and one that was signed), a cassette tape, a standard digital download album, and a deluxe digital download edition with two bonus tracks that was sold via the band’s official webstore starting June 8.
Bon Jovi made its Billboard chart debut just over 40 years ago, when the single “Runaway” debuted on the Mainstream Rock Airplay chart dated Feb. 11, 1984. Two weeks later, the band made its Billboard 200 debut with its self-titled album entering the Feb. 25, 1984-dated list at No. 178, on its way to a No. 43 peak that April.
In total, Forever marks the 22nd charting album on the Billboard 200 for Bon Jovi. The band first reached the top 10 in 1986 with Slippery When Wet, their first of six No. 1s. They have notched new top 10s in the 1980s, ‘90s, 2000s, ‘10s (adding their latest leader with This House Is Not for Sale in 2016) and now the ‘20s. Bon Jovi is the fifth group to achieve a newly-charting top 10 album on the Billboard chart in each of the last five decades, joining AC/DC, Def Leppard, Metallica and U2.
ATEEZ’s Golden Hour: Part.1 falls 2-6 in its second week on the Billboard 200 (45,000 equivalent album units earned, down 66%); Wallen’s former leader Dangerous: The Double Album slips 6-7 (44,000; up 1%); Noah Kahan’s Stick Season dips 7-8 (42,000; down 1%); and Shaboozey’s Where I’ve Been, Isn’t Where I’m Going falls 5-9 in its second week (41,000; down 17%).
Closing out the top 10 is a new arrival to the region, as Chappell Roan’s The Rise and Fall of a Midwest Princess pounces 12-10 with 40,000 equivalent album units earned (up 26%). The set posted double-digital percentage gains in album sales (8,000; up 87%), streaming equivalent album units (32,000; up 16%) and track equivalent album units (a negligible sum, though up 23%).
The album and artist has been basking in the glow of recent press coverage stemming from the singer-songwriter’s buzzy performance at the 2024 Governor’s Ball on June 9 (the third day of the chart’s tracking week), which prompted a shout-out from Ariana Grande.
Princess reaches the top 10 in its 12th week on the chart. It’s atypical for an album would climb into the top 10 for the first time, as most albums that peak in the top 10 debut in the region. The last current (non-catalog) album to climb to the top 10 for the first time after 12 or more chart weeks was Noah Kahan’s Stick Season, which bolted 100-3 on the June 24, 2023-dated list, in the set’s 29th chart week, after it was reissued in a deluxe edition and pressed on vinyl for the first time. Before that, the last non-catalog set to reach the top 10 after at least 12 chart weeks was Doja Cat’s Hot Pink, which rallied 19-9 on the May 16, 2020-dated chart — during the album’s 27th chart week. The set zoomed up the list following the release of a remix of the album’s “Say So” featuring Nicki Minaj.
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.
The list includes all Estefan’s No. 1 hits on the Hot Latin Songs and Billboard Hot 100 charts, and some classics from her days with Miami Sound Machine.
Taylor Swift’s The Tortured Poets Department spends a sixth straight and total week at No. 1 on the Billboard 200 albums chart (dated June 8), as the title earned 175,000 equivalent album units in the U.S. in the week ending May 30 (down 54%), according to Luminate.
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Tortured Poets is the first album to spend its first six weeks at No. 1 since Morgan Wallen’s One Thing at a Time led for its first 12 weeks a year ago (March 18-June 3, 2023-dated charts). Among Swift’s collection of No. 1s, Tortured Poets ties Folklore for the most weeks at No. 1 from its debut with six weeks each.
With 175,000 units earned in Tortured Poets’ sixth week, the set scores the largest sixth-week for any album since Adele’s 25 earned 363,000 units in its sixth frame (chart dated Jan. 16, 2016).
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Swift adds her 75th career week at No. 1 on the Billboard 200, extending her record among soloists. (Elvis Presley has the second-most among soloists, with 67.) The total encompasses her 14 leaders. (She’s tied with Jay-Z for the most No. 1s among soloists.)
Also in the top 10 of the new Billboard 200, Twenty One Pilots’ Clancy debuts at No. 3 with the biggest week for any rock album in 2024 (in either equivalent album units or traditional album sales), while RM’s Right Place, Wrong Person launches at No. 5 with his biggest debut week (in both units and sales).
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new June 8, 2024-dated chart will be posted in full on Billboard‘s website on June 4. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of The Tortured Poets Department’s sixth-week unit sum of 175,000, SEA units comprise 133,000 (down 20% — it’s No. 1 on Top Streaming Albums; its SEA units equal 173.65 million on-demand official streams of the deluxe edition’s 31 songs), album sales comprise 41,000 (down 81%) and TEA units comprise 1,000 (down 30%).
Billie Eilish’s Hit Me Hard and Soft is a non-mover at No. 2 in its second week on the list, earning 145,000 equivalent album units (down 57%). It’s the largest second week for any Eilish album, a week after she scored her top weekly career total with the set (339,000).
Twenty One Pilots’ new studio album, Clancy, bows at No. 3 with 143,000 equivalent album units earned. Of that sum, albums sales comprise 113,000 (making it the top-selling album of the week and No. 1 on Top Album Sales), SEA units comprise 29,000 (equaling 38.64 million on-demand official streams of the set’s songs) and TEA units comprise a negligible sum. Clancy scores the biggest week, by both units and album sales, for any rock album in 2024. (Rock albums are defined as those that are eligible for, or have charted on, Billboard’s Top Rock Albums chart.)
Clancy marks the fourth top 10-charting set for Twenty One Pilots. The band previously visited the region with Scaled and Icy (No. 3 in 2021), Trench (No. 2, 2018) and Blurryface (No. 1, 2016).
The new album was led by the single “Overcompensate,” which reached No. 2 on the Alternative Airplay chart in May, marking the 16th top 10-charting song for the act. The track also hit No. 64 on the all-genre, multi-metric Billboard Hot 100 in March. The new album was announced on Feb. 29 as the final chapter of the band’s conceptual series which began with Blurryface.
Clancy’s first-week sales were bolstered by its availability across 11 vinyl variants, signed and unsigned zine/CD journal editions and digipak CDs, deluxe CD boxed sets containing branded merch, and a deluxe digital album with four bonus live tracks.
Morgan Wallen’s chart-topping One Thing at a Time falls 3-4 on the Billboard 200 with 73,000 equivalent album units earned (down 3%).
RM collects his second solo top 10-charting album as Right Place, Wrong Person debuts at No. 5 with 54,000 equivalent album units. Of that sum, album sales comprise 43,000, SEA units comprise 7,500 (equaling 10.16 million on-demand streams of the set’s songs) and TEA units comprise 3,500. The album yields the BTS member his best debut position on the Billboard 200, as well as his largest opening week by both units and traditional album sales.
Right Place, Wrong Person was preceded by the single “Come Back to Me,” which reached the top 30 on both the Billboard Global 200 and Billboard Global Excluding U.S. charts. The album’s first-week sales were supported by its availability across 13 different CD variants, all containing branded paper merch and other collectibles.
RM previously hit the top 10 with Indigo (No. 3, December 2022).
Wallen’s former leader Dangerous: The Double Album is stationary at No. 6 with 45,000 equivalent album units earned (down less than 1%); Future and Metro Boomin’s chart-topping We Don’t Trust You dips 5-7 (43,000; down 11%); Gunna’s One of Wun falls 4-8 (42,000; down 25%); Noah Kahan’s Stick Season is pushed down 7-9 despite a gain of 4% (to 40,000); and Zach Bryan’s self-titled former No. 1 falls 8-10 (37,000; 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.
Taylor Swift’s The Tortured Poets Department locks in its fourth consecutive week atop the Billboard 200 (dated May 25), as the set earned 260,000 equivalent album units in the U.S. in the week ending May 16 (down 8%), according to Luminate. The effort is the first album to spend its first four weeks at No. 1 since Travis Scott’s Utopia led in its first four weeks last summer (Aug. 12-Sept. 2, 2023).
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With 260,000 units earned in Poets’ fourth week, the set scores the largest fourth-week for any album since Adele’s 25 tallied 825,000 units in its fourth frame (chart dated Jan. 2, 2016).
Plus, Swift adds her 73rd career week at No. 1 on the Billboard 200, extending her record among soloists (Elvis Presley has the second-most among soloists, with 67). The total encompasses her 14 leaders. (She’s tied with Jay-Z for the most No. 1s among soloists.)
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Also in the top 10 of the new Billboard 200, Gunna lands his sixth top 10-charting effort as One of Wun bows at No. 2.
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 May 25, 2024-dated chart will be posted in full on Billboard‘s website on May 21. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of The Tortured Poets Department’s fourth-week unit sum of 260,000, SEA units comprise 217,500 (down 5%, equaling 282.4 million on-demand official streams of the set’s songs), traditional album sales comprise 41,000 (down 19%) and TEA units comprise 1,500 (up 18%).
Gunna lands his sixth top 10-charting effort, all of which have reached the top five, as One of Wun enters at No. 2 with 91,000 equivalent album units earned. Of that sum, SEA units comprise 90,000 (equaling 118.52 million on-demand official streams of the set’s songs), while album sales comprise 1,000 and TEA units comprise a negligible sum. Gunna previously visited the top 10 with A Gift & a Curse (No. 3, 2023), DS4Ever (No. 1, 2022), Wunna (No. 1, 2020), Drip or Drown 2 (No. 3, 2019) and Drip Harder (No. 4, 2018).
Gunna announced the new project on April 15, though he did not disclose the May 10 release date for the project until May 3. The album was released only as a streaming set and as a retail-available digital download. A CD and vinyl edition of the album are up for pre-order in Gunna’s official webstore, though no release date for those configurations has been announced, and his store only notes they will both ship “in 2024.”
Morgan Wallen’s chart-topping One Thing at a Time is steady at No. 3 on the Billboard 200 with 75,000 equivalent album units (up 7%); Future and Metro Boomin’s former No. 1 We Don’t Trust You is also a non-mover at No. 4 (53,000; down 13%); and Wallen’s earlier leader Dangerous: The Double Album climbs 7-5 (44,000; up 6%). Both Wallen albums likely post increases due to the publicity and promotion around the May 10 release of Post Malone’s “I Had Some Help,” featuring Wallen — even though the song is not on either of the Wallen albums. (The track is expected to be on Post Malone’s upcoming album.) Wallen last had two titles in the top five at the same time on the July 29, 2023-dated chart, when One Thing at a Time and Dangerous were Nos. 2 and 5, respectively.
Noah Kahan’s Stick Season rises 9-6 on the new Billboard 200 with 41,000 equivalent album units (up 2%); SZA’s chart-topping SOS climbs 10-7 (38,000; down 1%); Zach Bryan’s self-titled former No. 1 bumps 12-8 (38,000; up 5%); Benson Boone’s Fireworks & Rollerblades glides 11-9 (just over 35,000; down 4%); and Beyoncé’s chart-topping Cowboy Carter dips 8-10 (35,000; down 14%).
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.
Taylor Swift’s The Tortured Poets Department spends a third straight week at No. 1 on the Billboard 200 chart (dated May 18), marking her first title to spend its first three weeks atop the chart since 2020’s Folklore spent its first six weeks at No. 1. (Between Folklore and the new album, Swift earned six No. 1 albums.) The Tortured Poets Department is the first album to spend its first three weeks in the pole position since Travis Scott’s Utopia led in its first four weeks last summer (Aug. 12-Sept. 2, 2023).
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The Tortured Poets Department earned 282,000 equivalent album units in the U.S. in the week ending May 9 (down 36%), according to Luminate. That marks the largest third-week for any album since Swift’s own Midnights clocked 299,000 units in its third frame (Nov. 19, 2022-dated chart).
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Also in the top 10 of the new Billboard 200, Dua Lipa achieves her highest-charting album yet, as Radical Optimism debuts at No 2. Plus, SEVENTEEN logs its fifth top 10-charting effort with the No. 5 arrival of SEVENTEEN Best Album ’17 Is Right Here.’
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 May 18, 2024-dated chart will be posted in full on Billboard‘s website on May 14. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of The Tortured Poets Department’s third-week unit sum of 282,000, SEA units comprise 229,500 (down 30%, equaling 298.33 million on-demand official streams of the set’s songs), traditional album sales comprise 51,000 (down 53%) and TEA units comprise 1,500 (down 43%).
Swift adds her 72nd career week at No. 1 on the Billboard 200, extending her record among soloists (Elvis Presley has the second-most among soloists, with 67). The total encompasses her 14 leaders. (She’s tied with Jay-Z for the most No. 1s among soloists.)
Dua Lipa scores her highest-charting album yet on the Billboard 200 as her third studio effort, Radical Optimism, bows at No. 2. It enters with 83,000 equivalent album units earned — a personal best for the singer-songwriter. Of its starting sum, album sales comprise 51,500 (it’s the top-selling album of the week, and it’s Lipa’s best sales week ever), SEA units comprise 30,500 (equaling 39.7 million on-demand official streams of the album’s songs) and TEA units comprise 1,000.
The album’s sales were bolstered by its availability across 20 physical variants, all with the same 11 songs. There were 11 vinyl editions in assorted colors (one of which was signed, and most variants were exclusive to specific retailers) and two cassette tapes. In terms of CDs, there was a widely available standard CD with a lenticular cover, and then multiple CD iterations sold exclusively in Lipa’s webstore (a signed standard CD, a zine CD package, and four deluxe CD boxed sets — each containing a branded T-shirt and a CD, and two of the boxes also included a signed art card).
In addition, the album was issued as a widely available standard 11-song digital download and a deluxe digital album with two live bonus tracks sold exclusively in Lipa’s webstore.
Radical Optimism is Lipa’s second top 10-charting effort, following her sophomore set, 2020’s Future Nostalgia, which peaked at No. 3.
The new 11-song album was announced on March 13 following two previously-released singles “Houdini” and “Training Season.” The former dropped last November and peaked at No. 11 on the Billboard Hot 100 that month, while the latter topped out at No. 27 in March. A third single, “Illusion,” bowed at No. 43 on the chart dated April 27.
On the promotional front, Lipa opened both the Brit Awards (March 2) and the Grammy Awards (Feb. 4). On the former, she performed “Training Season,” while on the latter she presented a medley of “Training Season,” the Grammy-nominated Barbie soundtrack hit “Dance the Night” and “Houdini.” On May 4, a day after the album’s release, Lipa hosted and performed on NBC’s Saturday Night Live, performing “Illusion” and the album’s “Happy for You.” Further, the entertainer was named to Time 100 list of the most influential people of 2024 (and appeared on the magazine’s April 29 cover), graced the covers of both Rolling Stone (for its February issue) and Elle (May issue), sat down with Apple Music’s Zane Lowe for an hour-long interview (May 1) and even went day drinking with Seth Meyers (Dec. 11, 2023).
Two former No. 1s are up next on the Billboard 200, as Morgan Wallen’s One Thing at a Time is pushed down 2-3 despite a 3% gain (to 71,000 equivalent album units) and Future and Metro Boomin’s We Don’t Trust You falls 3-4 (down 1% to 61,000 units).
SEVENTEEN collects its fifth top 10 on the Billboard 200, all consecutive, as SEVENTEEN Best Album ‘17 Is Right Here’ debuts at No. 5. The retrospective compilation earned 53,000 equivalent album units in its first week. Of that sum, album sales comprise 49,000, SEA units comprise 4,000 (equaling 5.5 million on-demand official streams of the set’s songs) and TEA units comprise a negligible sum. The set’s sales were supported by its availability across a dozen CD variants, all containing branded paper merchandise like posters and photocards (some randomized). Exclusive iterations were sold by Barnes & Noble and Target, while signed editions were also available.
Ye (formerly Kanye West) and Ty Dolla $ign’s chart-topping Vultures 1 flies back into the top 10, as it wings 52-6 following the set’s arrival on vinyl. The effort earned 45,000 equivalent album units in the tracking week (up 173%), while album sales comprising 31,000 of that sum (up 37,841%). Essentially all of its sales were from vinyl — nearly 31,000, which marks the biggest sales week on vinyl for both Ye and Ty Dolla $ign. The vinyl edition of the album was exclusively sold via Ye’s official webstore, and was initially sold as a pre-order when the album was first released on Feb. 10 (as a paid download and via streaming services). At that time, when customers pre-ordered the vinyl, the webstore stated the vinyl would ship in “2024.”
Wallen’s former No. 1 Dangerous: The Double Album is squeezed 6-7 on the new Billboard 200, though with a 4% gain (to 42,000 equivalent album units). Beyoncé’s chart-topping Cowboy Carter falls 4-8 with 41,000 units (down 21%), Noah Kahan’s Stick Season slips 5-9 with 40,000 units (down 2%) and SZA’s former leader SOS falls 9-10 with 39,000 (down 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.
Taylor Swift’s The Tortured Poets Department holds steady at No. 1 on the Billboard 200 (dated May 11) in its second week, earning 439,000 equivalent album units in the U.S. in the week ending May 2 (down 83%), according to Luminate. It arrived atop the chart a week ago with a massive 2.61 million units.
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Though the set declines by 83%, it still logs the biggest second-week, by units, for any album since Adele’s 25 tallied 1.162 million units in its second week (Dec. 12, 2015-dated chart, down from its 3.482 million in its opening week).
Also in the top 10 of the new Billboard 200, PARTYNEXTDOOR debuts at No. 10 with PARTYNEXTDOOR 4 (P4).
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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 May 11, 2024-dated chart will be posted in full on Billboard‘s website on May 7. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of The Tortured Poets Department’s second-week unit sum of 439,000, SEA units comprise 330,000 (down 52%, equaling 428.54 million on-demand official streams of the set’s songs), traditional album sales comprise 107,000 (down 94%) and TEA units comprise 2,000 (down 82%).
The rest of the top four titles on the Billboard 200 comprises former No. 1s. Morgan Wallen’s One Thing at a Time rises 4-2 (69,000 equivalent album units; up 8%), Future and Metro Boomin’s We Don’t Trust You falls 2-3 (61,000; down 11%) and Beyoncé’s Cowboy Carter dips 3-4 (52,000; down 21%). Noah Kahan’s Stick Season rounds out the top five, stepping 7-5 (41,000; down 10%).
Wallen’s chart-topping Dangerous: The Double Album climbs 11-6 (its highest rank since it was No. 5 on the July 29, 2023, chart) with 40,000 equivalent album units (up 9%). Benson Boone’s Fireworks & Rollerblades glides 8-7 (40,000; down 1%), Future and Metro Boomin’s former leader We Still Don’t Trust You falls 6-8 (39,000; down 28%) and SZA’s chart-topping SOS is steady at No. 9 (nearly 39,000; down 1%).
Closing out the top 10 of the new Billboard 200 is PARTYNEXTDOOR and the arrival of his PARTYNEXTDOOR 4 (P4) at No. 10. It launches with 37,000 equivalent album units earned. Of that sum, SEA units comprise 34,000 (equaling 45.94 million on-demand official streams of the set’s songs), album sales comprise 3,000 and TEA units comprise a negligible sum. PARTYNEXTDOOR4 marks the third top 10-charting set for the singer/songwriter and producer, following PARTYMOBILE (No. 8 in 2020) and PARTYNEXTDOOR 3 (P3) (No. 3 in 2016).
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.
Taylor Swift beamed up to a historic debut on the Billboard 200 with The Tortured Poets Department, the ambitious 31-song collection that she apparently wrote, recorded and released while preparing for and embarking on The Eras Tour (and, to quote track 13, she did it “with a broken heart”).
“What do you MEAN,” she wrote in her immediate reaction to the headline published by Billboard, which she reposted on Sunday (April 28).
As reported earlier, Swift not only has the 14th No. 1 album of her career with TTPD, and the top-selling album of 2024 so far, year-to-date — but also the largest streaming week ever, the second-biggest week for any album by units earned, the third largest sales week in the modern era, and the biggest sales week for vinyl in the modern era.
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The Tortured Poets Department launched with 2.61 million equivalent album units earned in the U.S. in its first week.
“My mind is blown,” Swift posted on her various social media platforms (X, formerly known as Twitter, Instagram and Facebook) Sunday afternoon. “I’m completely floored by the love you’ve shown this album. 2.6 million ARE YOU ACTUALLY SERIOUS?? Thank you for listening, streaming, and welcoming Tortured Poets into your life. Feeling completely overwhelmed.”
“I was already so fired up to get back to the tour but you doing THIS?? May 9th can’t come soon enough,” wrote Swift, who took the opportunity to upload some behind-the-scenes photos from the making of the album, including snapshots with Post Malone and Florence Welch.
My mind is blown. I’m completely floored by the love you’ve shown this album. 2.6 million ARE YOU ACTUALLY SERIOUS?? Thank you for listening, streaming, and welcoming Tortured Poets into your life. Feeling completely overwhelmed.I was already so fired up to get back to the tour… pic.twitter.com/L7lS7WTa2Y— Taylor Swift (@taylorswift13) April 28, 2024
Of TTPD’s 2.61 million sum, traditional album sales (purchases of digital download albums, CDs, vinyl LPs and cassettes) comprised 1.914 million, SEA units comprised 683,000 (equaling 891.37 million on-demand official streams) and TEA units comprised 14,000. Get the full breakdown on the numbers, and why it’s a historic release for Swift, here.
Swift’s May 9 shout-out is for her return to tour after a two-month break. Some are guessing she’ll work in at least some kind of a Tortured Poets era, tracing the evidence in a tour rehearsal clip set to “Fortnight” that Swift shared on Friday. (Looking at you, railing designed like the TTPD logo, and dancers practicing an unfamiliar top-hat-and-cane number.)
She’ll bring The Eras Tour to Paris for a series of four consecutive concerts at La Défense Arena from May 9-12 as she sets off on the European leg of her career-spanning trek, with Paramore opening the show.
Eras will also make its way to Sweden, Portugal, Spain, the U.K., Ireland, the Netherlands, Switzerland, Italy, Germany, Poland and Austria by the end of the summer. All of Swift’s upcoming tour dates are listed on her official website.
Future and Metro Boomin’s second collaborative album, We Still Don’t Trust You, debuts at No. 1 on the Billboard 200 chart (dated April 27), with 127,500 equivalent album units earned in the U.S. in the week ending April 18, according to Luminate. It’s the sequel project to the pair’s We Don’t Trust You, which opened at No. 1 on the April 6-dated chart (with 251,000 units in its first week).
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With We Still Don’t Trust You arriving atop the Billboard 200 only three weeks after We Don’t Trust You debuted at No. 1, that marks the shortest gap between new No. 1s by an artist since Future replaced himself at No. 1 in 2017 in successive weeks with his self-titled album (March 11, 2017, chart) and HNDRXX (March 18, 2017), both of which debuted at No. 1.
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On the latest Billboard 200, We Don’t Trust You rises 4-3 with 83,000 equivalent album units earned (down 17%). In the last 20 years, there have only been seven instances of acts charting two albums in the top three at the same time. Prince did it twice following his death in 2016 (The Very Best of Prince and the Purple Rain soundtrack on the May 7-14, 2016 charts), Future did so once in 2017 with his back-to-back No. 1s (Future and HNDRXX on the March 18, 2017, chart), Taylor Swift achieved the feat three times (Dec. 26, 2020, with Evermore and Folklore; and Dec. 9 and 23, 2023, with 1989 [Taylor’s Version] and Midnights) and now Future and Metro Boomin on the latest chart with We Don’t Trust You and We Still Don’t Trust You.
Future’s total No. 1 count on the Billboard 200 now rises to 10, while Metro Boomin collects his fifth leader. Only 10 acts have earned at least 10 No. 1s: The Beatles (a record 19), Jay-Z (14), Drake and Swift (13 each), Bruce Springsteen, Barbra Streisand and Ye (formerly Kanye West) (11 each), Eminem, Future and Elvis Presley (10 each).
Also in the top 10 of the new Billboard 200, Linkin Park’s first hits compilation, Papercuts, debuts at No. 6, marking the 11th top 10-charting effort for the rock band.
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 April 27, 2024-dated chart will be posted in full on Billboard‘s website on April 23. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of We Still Don’t Trust You’s first-week unit sum of 127,500, SEA units comprise 124,500 (equaling 162.57 million on-demand official streams of the set’s 25 tracks), traditional album sales comprise 2,500 (the album was only available to purchase as a digital download) and TEA units comprise 500.
A CD configuration of We Still Don’t Trust You is due for release on April 26, while its vinyl is scheduled to drop in July. We Don’t Trust You, meanwhile, was issued on CD on April 19, while its vinyl is also due in July.
Beyoncé’s Cowboy Carter slips to No. 2 after spending its first two weeks atop the Billboard 200. It earned 98,000 equivalent album units in its third week (down 24%). Morgan Wallen’s former No. 1 One Thing at a Time rises 5-4 with 71,000 (down 1%). Noah Kahan’s Stick Season jumps 8-5 with 51,000 (up 14%), following the release of the Stick Season (We’ll All Be Here Forever) deluxe edition across four vinyl variants and on CD. The deluxe set was originally released on June 9, 2023, as a digital download and streaming album.
Linkin Park’s first hits compilation album, Papercuts, debuts at No. 6 with 44,000 equivalent album units earned. Of that sum, SEA units comprise 23,000 (equaling 32.04 million on-demand official streams of the set’s 20 songs), album sales comprise 20,500 and TEA units comprise 500. The album’s sales were bolstered by its availability across eight vinyl variants, as well as a CD, cassette and digital download.
Papercuts boasts 14 of the band’s 19 top 10s on Billboard’s Alternative Airplay chart, including 10 of its 12 No. 1s on the list.
In total, Link Park has achieved 11 top 10s on the Billboard 200 albums chart: Hybrid Theory (No. 2 in 2002), Reanimation (No. 2, 2002), Meteora (No. 1, 2003), MTV Ultimate Mash-Ups Presents: Collision Course (with Jay-Z, No. 1 in 2004), Minutes to Midnight (No. 1, 2007), A Thousand Suns (No. 1, 2010), Living Things (No. 1, 2012), Recharged (No. 10, 2013), The Hunting Party (No. 3, 2014), One More Light (No. 1, 2017) and Papercuts (No. 6, 2024).
Benson Boone’s Fireworks & Rollerblades skates 6-7 in its second week with 43,000 equivalent album units earned (down 25%). Three former No. 1s round out the top 10, as SZA’s chart-topping SOS rises 10-8 with just over 40,000 (up 1%), Morgan Wallen’s Dangerous: The Double Album climbs 11-9 with 40,000 (up 1%) and Ariana Grande’s Eternal Sunshine falls 7-10 with nearly 40,000 (down 17%).
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.
Two weeks ago, FloyyMenor and Cris MJ made history as the first Chileans to enter the top 10 on Billboard‘s Hot Latin Songs chart since La Ley and Ednita Nazario’s “Tu Sabes Bien” did so 25 years ago. The only other Chilean artist to have reached similar heights was Myriam Hernández with 1998’s “Huele a Peligro,” which peaked at No. 5. This week, the emerging pair catapulted to No. 1, dethroning Xavi’s months-long reign with “La Diabla.”
The song making waves is “Only Gata,” a sly reggaetón number about online flirtation. According to Luminate, the viral track registered 11.11 million official U.S. streams, a 33% gain from the previous week. That landed them a No. 34 debut on the Streaming Songs chart and gave them a second week atop the Latin Streaming Songs chart. “Gata Only” also occupies No. 48 on the Hot 100. Last week it was at No. 74.
But how did two relatively unknown Chilean artists manage to not only break through on the global music scene but also clinch the top spot on the Hot Latin Songs chart? The success story begins with some strategic planning, innovative marketing and a dash of serendipity.
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Initially, FloyyMenor was a mysterious figure circulating online who had scored a few local hits. His identity was obscured and the art on his early YouTube releases was composed of car imagery, never revealing his face. “You needed to go to the nightclubs to see him,” says Adrian Mainou, artist marketing manager of Latin/U.S. at UnitedMasters.
The Latin team at UnitedMasters had been monitoring the Chilean music scene, having signed Nicko G over two years ago and being fans of Paloma Mami and Polimá Westcast. When the company’s Latin A&R lead, Gerardo Mejía — a music veteran with 30 years of experience and a former rapper/singer originally from Ecuador — began scouting the country’s music scene in the summer of 2023, he encountered FloyyMenor performing live and was captivated by the young artist’s unique appeal and the audience’s enthusiastic response.
“This kid was packing venues [with audiences] singing lyric after lyric,” recalls Mejía. At the time, FloyyMenor’s big local hit was “pa la europa,” while “Gata Only” was just a song people knew from his live shows and online teasers. Eager to sign the promising talent, Mejía had to wait until Floyy turned 18 in December.
After the signing, UnitedMasters released “Gata Only” in December — and the song began gaining traction within the first week and a half of its release. Not long after, Cris MJ — a Chilean act who had gained recognition from Karol G’s remix of “Una Noche en Medellín” featured in Mañana Será Bonito (Bichota Season) — reached out to Floyy, expressing his love for the song and his desire to be part of it.
As Mejía recalls: “When I got back to Chile in January, [Floyy] called me and said, ‘Cris MJ loves the song.’ I said, ‘Cool. We’ll do the remix.’ He said, ‘No. He loves the song so much he wants to be the original.’ I was like, ‘My brother, if Cris MJ calls you, then get on it with their teams and go record.’ We pulled down the original and waited maybe two weeks before we released it [on Feb. 2] with Cris MJ, and the rest is history.”
In a conversation with Billboard, Mejía and Mainou provided an in-depth look at the strategic rise of “Gata Only” to the top of the Hot Latin Songs chart. See below for the full interview.
The accomplishment alone as the first Chilean acts to make the top 10 of the Hot Latin Songs chart in 25 years is already very impressive, then to top the chart at No. 1. How does that happen?
Adrian Mainou: It was a very interesting and entertaining build up. [After we officially released it], we saw social growth and began working with a press team in Chile. It was a no-brainer to see the movement on TikTok and that we needed to lean into this. So I activated the first phase of influencers with Kono Sur [marketing y diseño]. We pushed [the song] in Chile, Argentina, and Ecuador, and we were able to see a lot of reactions on YouTube from those countries. Once we saw that, we had Floyy go to Argentina and do some shows while pushing press and [involving] influencers. For an artist coming out of Chile, having the Argentina push is a very cool look; it’s a very important country to connect with. For Floyy, it was pretty easy. He loves Argentinian culture. He got in on a Monday, did a show that same Tuesday, and by Thursday it was No. 1 on Spotify Argentina.
[Publicist] Cris Nova then joins the team [and he] was able to paint the narrative with press across socials, streaming and [seeing] the bigger perspective. At this point, we activate a second phase of influencers in Mexico, who helped us create more noise. [Mexico is] the third country in his top demographic at the moment.
Activating influencers. Please explain.
Mainou: We looked at lip-synching which fueled social media content. Then we looked into dance challenges. This is where we can start connecting with other countries and going global. We moved from lip-synching to the dance challenge [because] we knew it’s an easier thing for people in other countries to tap into.
We saw a couple of fan [pages] chiming into this. It was key to leverage from this and create new [dance challenges]. We were like, “Let’s take advantage of that and work with them.” We collaborated with fan accounts on TikTok, being like, “Yo, let’s work together. Put this [song] up.” At the end of the day, it’s content that they’re pushing on an organic level.
Once we got into Mexico, it was a no-brainer to start activating DJs for the song. We did that across Colombia, Argentina, Chile, Miami, targeting different demographics. We were able to get data on Spotify, Apple Music and YouTube. That puts us on this new level, and the song started translating into the U.S., and it was going crazy in the U.S.
FloyyMenor is a relatively unknown artist. What is your thought process when attempting to break an unknown act into the U.S.?
Mainou: This is an independent artist, so I don’t have a lot of money. How can we take advantage of what we’re doing? I connected with the digital team to give me Mexico influencers [whose] second-biggest demographic is in the U.S. With that mindset, I can pay for the influencer Mexico fee. Then it caught U.S. growth; [Mexican influencers] have a very strong presence in U.S. Latin culture. That can cover almost every big Latin influencer in the U.S. doing the song without us having to pay. We saw the song growing to almost 20 million streams on Apple, and from that a large portion came from the U.S. That took me into this current new position where I’m starting to push specifically the U.S. The song is already here, and we know it’s [playing] in nightclubs, people doing remixes, and the DSPs are supporting. He’s gotten [on] pretty much every single cover [of official playlists on] DSPs, and social support. We’ve seen artists [using] the audio [on social media], from Kenia Os to Shadi and Malu Trevejo…as well as Trapeton, Trap House Latino, etc.
Why do you think “Gata Only” is resonating with the masses?
Mejía: The lyrics talk about TikTok, about likes, about following. I think that he hit something that resonates with the kids. To top it off, it’s such a great melody. And having Cris MJ never hurts.
Mainou: The sound is very particular. I’ve become a very big fan of the Chilean sound from “Ultra Solo” [by Polimá Westcoast and Paloma Mami] a couple years ago, and from working with Nicko G. I think the production is very Chilean, [combined] with very good vocals and great analogies.
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What is UnitedMasters doing different than other management and agency companies?
Mejía: At UnitedMasters, our mission is to be a tool for the artists and get them wherever they wanna get. We work with independent artists, and that has some challenges around it. Not all of them have managers, nor friends that can make them music videos; not all of them have a studio that they can record music at. We sat down with Floyy, we were able to not only get to know him but make him look at the bigger picture. We told him, “This is what we can do with you if you trust us, if you listen to us. This is where we can take you.” It’s about sitting down with the artists, understanding their needs, and being able to make a plan around it, creating a timeline.
Beyoncé’s Cowboy Carter holds atop the Billboard 200 albums chart (dated April 20), after debuting at No. 1 a week ago, as the set earned 125,500 equivalent album units in the U.S. in the week ending April 11 (down 69%), according to Luminate.
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With a second week in the lead, Cowboy Carter has the most weeks at No. 1 for any Beyoncé album since her self-titled set spent three weeks at No. 1 (its first three weeks on the chart), in December 2013 and January 2014.
Of Beyoncé’s eight No. 1 albums on the Billboard 200, three have spent two or more weeks at No. 1: Cowboy Carter (two, 2024), her self-titled effort (three, in 2013-14) and 4 (two, 2011). (Since her self-titled effort, she’s topped the list three more times, with Lemonade [one week at No. 1, 2016], Renaissance [one week, 2022] and now Cowboy Carter.)
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Elsewhere on the Billboard 200, and for the first time in 2024, three albums debut in the top 10 at the same time, as the latest releases from J. Cole, TOMORROW X TOGETHER and Benson Boone start at Nos. 2, 3 and 6, respectively. The last time the top 10 housed three debuts was on the Nov. 25, 2023-dated list, when Stray Kids, Chris Stapleton and Chris Brown saw their newest albums bow in the region.
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 April 20, 2024-dated chart will be posted in full on Billboard‘s website on April 16. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of Cowboy Carter’s second-week unit sum of 125,500, SEA units comprise 103,000 (down 54%, equaling 132.69 million on-demand official streams of the set’s songs), traditional album sales comprise 20,500 (down 88%) and TEA units comprise 2,000 (down 70%).
While Cowboy Carter’s CD and vinyl editions were available to purchase only via Beyoncé’s official webstore in the set’s first two weeks of release, those physical configurations became widely available to all retailers beginning on April 12. (The album has also been purchasable as a digital download, widely, since its release on March 29.)
At No. 2 on the Billboard 200, J. Cole’s surprise-release album Might Delete Later arrives with 115,000 equivalent album units earned. Of that sum, SEA units comprise 105,000 (equaling 137.95 million on-demand official streams of the set’s 12 songs), album sales comprise 9,000 and TEA units comprise 1,000. The album was only available to stream or to purchase as a digital download.
Might Delete Later was issued on April 5 without warning, and boasts collaborations with Gucci Mane, Cam’ron, Bas, Central Cee, Ari Lennox and Young Dro, among others.
Might Delete Later drew attention for its Kendrick Lamar diss track “7 Minute Drill,” which appears to find Cole responding to Lamar’s apparent disses directed at Cole and Drake on Future and Metro Boomin’s “Like That.” A few days after the release of “7 Minute Drill,” Cole publicly apologized for releasing the track, saying it “don’t sit right with my spirit.” Ultimately, “7 Minute Drill” was removed from the tracklist of the streaming edition of Might Delete Later on April 12, one day after the end of the latest chart’s tracking week. (As of April 14, the song was still available on the digital download edition of the set.) “7 Minute Drill” was the most-streamed song on Might Delete Later during the album’s opening week.
Might Delete Later is J. Cole’s seventh album to reach the top two rungs on the Billboard 200, after he notched six earlier No. 1s in 2011-21. He has logged one other entry on the list, with the Forest Hills Drive: Live, which hit No. 71 in 2016.
TOMORROW X TOGETHER notches its fifth top 10-charting album on the Billboard 200, as Minisode 3: TOMORROW debuts at No. 3 with 107,500 equivalent album units earned. Of that sum, album sales comprise 103,500 (making it the top-selling album of the week), SEA units comprise 4,000 (equaling 5.54 million on-demand official streams of the set’s songs) and TEA units comprise a negligible sum. The album’s sales were supported by its availability across 17 collectible CD editions (including exclusive editions sold by Barnes & Noble, Target and the act’s webstore), all containing randomized paper merchandise (but with the same audio tracklist).
With the Nos. 1-3 titles on the Billboard 200 each earning at least 100,000 equivalent album units, it’s the first time we’ve had as many albums clear 100,000 in a week since the Dec. 2, 2023-dated list. That week, Drake’s For All the Dogs jumped 4-1 with 145,000, Taylor Swift’s 1989 (Taylor’s Version) held at No. 2 with 137,000 and Dolly Parton’s Rockstar debuted at No. 3 with 128,000.
Future and Metro Boomin’s chart-topping We Don’t Trust You falls 2-4 in its third week on the list, earning 99,000 equivalent album units (down 24%). The set’s sequel album, We Still Don’t Trust You, was released on April 12 and will impact next week’s chart dated April 27.
Morgan Wallen’s former leader One Thing at a Time is pushed down 3-5, despite a 4% gain, with 72,000 equivalent album units earned.
Benson Boone’s debut full-length studio album, Fireworks & Rollerblades, skates in at No. 6 with 58,000 equivalent album units earned. It’s the first chart entry for the singer-songwriter. Of the set’s starting sum, SEA units comprise 52,000 (equaling 70.21 million on-demand official streams of the set’s songs), album sales comprise 4,000 (largely from its digital download, as the set’s only physical availability was through a limited release on CD) and TEA units comprise 2,000. The album was led by the hit single “Beautiful Things” (the most-streamed song on the set), which has spent the last nine weeks inside the top five on the Billboard Hot 100 songs chart (through the list dated April 13), peaking at No. 2.
Ariana Grande’s chart-topping Eternal Sunshine falls 4-7 on the Billboard 200 with 48,000 equivalent album units earned (down 17%), Noah Kahan’s Stick Season slips 7-8 (though up 2%) with 45,000 units, Olivia Rodrigo’s former No. 1 Guts dips 6-9 with 43,000 (down 13%) and SZA’s chart-topping SOS drops 9-10, though with a 1% gain, to 40,000 units.
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.