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It’s a great week for BTS‘s Jung Kook, who establishes a chart record in the U.K. with “Seven.”
The K-pop star’s hit lands at No. 3 on the Official U.K. Singles Chart, published July 21, for the highest-charting debut by a solo Korean act.
The singer’s hot start with “Seven” (via BigHit Entertainment) surpasses the first-week bows by BTS bandmates j-hope and Jimin, the Official Charts Company reports.
All seven members of the K-pop phenomenon – Jin, Jimin, Suga, Jung Kook, RM, V and J-Hope – have shared solo material, with Jimin setting the bar with a top 10 for “Like Crazy” (peaking at No. 8) in March; he separately secured a top 40 appearance with “Set Me Free Pt. 2,” hitting No. 30.
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J-hope was the first member of BTS to bag a U.K. top 40 single, thanks to his J. Cole collaboration “On The Street” peaking at No. 37.
With his podium finish, Jung Kook matches BTS’ best U.K. chart positions so far — 2020’s “Dynamite,” plus “Butter” and “My Universe” with Coldplay (both from 2021) all debuted and peaked at No. 3.
The highest-charting U.K. solo single by a Korean act belongs to Psy, whose “Gangnam Style” dropped in September 2012 at No. 61, then climbed to No. 1 in its fourth week on the tally. The viral hit clocked 55 weeks on the chart, last appearing in 2014.
“Seven,” which features vocals from U.S. rapper Latto, and blasts to No. 2 on Australia’s ARIA Chart, is pipped in the U.K. by Dave and Central Cee’s hip-hop hit “Sprinter” (Live Yours/Neighbourhood), which races to a seventh consecutive chart title. Following a tight three-way race at the top, Olivia Rodrigo’s “Vampire” (Geffen) flies in at No. 2, unchanged from the previous week.
Finally, U.S. pop star Billie Eilish lands her ninth U.K. top 10 single with “What Was I Made For?” (Interscope). The new release, lifted from the Barbie movie soundtrack, is new at No. 10.
More than half of the debuts on this week’s July 22-dated Billboard global charts come from Taylor Swift, as she lands 22 new entries from Speak Now (Taylor’s Version). But despite her record-tying haul, she doesn’t score the highest new entry on either list.
This week’s Hot Shot Debut comes courtesy of NewJeans, starting at No. 2 on the Billboard Global 200 and Billboard Global Excl. U.S. rankings with “Super Shy.” For good measure, the South Korean group adds a second arrival, the eponymous “New Jeans,” at Nos. 32 and 19, respectively.
“Super Shy” starts with 63 million streams and 6,000 downloads sold worldwide in the week ending July 13, according to Luminate. Not only is it NewJeans’ highest-charting single yet, its first frame yields the biggest one-week streaming total of the group’s career, surpassing the 46.5 million clicks for “Ditto” in the week ending Jan. 5.
NewJeans’ new peak is another in a year of building success. The five-person group – Danielle, Haerin, Hanni, Hyein, and Minji – earned its first global chart hit when “Attention” debuted on the Aug. 13, 2022-dated Global Excl. U.S. listing at No. 174. “Hype Boy” debuted one week later, and “Cookie” the week after that, signaling the arrival of K-Pop’s new contenders.
At the turn of the year, “Ditto” and “OMG” hit the top 10 of both lists, with the former reaching as high as No. 4 on Global Excl. U.S.
Just before the one-year anniversary of NewJeans’ global chart debut, “Super Shy” extends the group’s peak, blocked from the top spot by Olivia Rodrigo’s “Vampire” on the Global 200 and by Myke Towers’ “LaLa” on the Global Excl. U.S. tally.
NewJeans’ international strength continues to spread. The group’s roster of hits has performed well on Billboard’s Hits of the World charts, crowning lists across Asia, including multiple No. 1s in Singapore, Taiwan and its native South Korea. “Super Shy” debuts atop those rankings and marks the group’s first chart-topper in Hong Kong and Malaysia.
Further, “Super Shy” is breaking ground in English-language markets as the first NewJeans track on Australia Songs, debuting at No. 22. In the U.S., it instantly becomes the group’s highest-charting entry on the Billboard Hot 100, arriving at No. 66.
BTS star Jung Kook just misses out on his first solo chart crown in Australia, as “Seven” starts at No. 2.
Featuring rapper Latto, “Seven” (via ING/Universal) arrives on the ARIA Chart, published July 21, behind Dave and Central Cee’s “Sprinter” (Virgin Music Australia/Universal), which races away for its sixth non-consecutive week at No. 1.
That’s easily the best solo effort for the K-pop superstar, who featured on Charlie Puth’s 2022 release “Left And Right,” peaking at No. 19 on the national tally. Latto’s previous best was a No. 6 peak for 2021’s “Big Energy” featuring DJ Khaled.
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Also new to the ARIA Singles Chart is Billie Eilish, with “What Was I Made For?” (Interscope/Universal) from the soundtrack to the Barbie movie, which has opened in theaters countrywide. “What Was I Made For?” debuts at No. 8, for the U.S. pop star’s 14th top 10 single in these parts, a collection that includes her chart-leader from 2019, “Bad Guy.”
Two other Barbie numbers are on the climb this week: “Barbie World” by Nicki Minaj, Ice Spice and AQUA (up 42-23) and Dua Lipa’s “Dance The Night” (up 40-27), both via Atlantic/Warner.
Australian pop artist Troye Sivan bags his 12th top 50 single with “Rush” (EMI), lifted from his forthcoming album, Something To Give Each Other, slated to drop in October. “Rush” is new at No. 12, and not far from his career best chart position, a No. 10 peak for 2014’s “Happy Little Pill.”
It’s all Taylor Swift on the ARIA Albums Chart as Speak Now (Taylor’s Version) (via Universal) retains top spot for a second week. A week ago, Swift’s third and latest “Version” LP replaced her own Midnights album at the summit, a handover never seen before on the Australian chart.
The two-week stint for Swift’s recorded Speak Now album eclipses the one-week reign for its original, from 2010, ARIA reports.
The highest debut on the albums tally belongs to legendary Australian artist Tina Arena, whose new set Love Saves (Positive Dream/ADA) starts at No. 2. Arena now boasts nine top 10 albums, including No. 1s for 1994’s Don’t Ask and 1997’s In Deep. Earlier this year, Arena was the inaugural recipient of Rolling Stone Australia’s Icon Award, which she received during a ceremony in Sydney.
Swift secures three of the top 5, with Midnights holding at No. 3 and Lover unchanged at No. 4.
YOASOBI’s “Idol” sets a new record this week on the Billboard Japan Hot 100, logging its 14th consecutive week at No. 1 on the chart unveiled July 19.
The Oshi no Ko opener debuted atop the chart released April 19 and has stayed there ever since, now breaking Billboard Japan’s all-time record for consecutive weeks at No. 1. While overall points for the track is moderately declining, points for downloads increased slightly (No. 2). It continues to dominate streaming and karaoke for the 8th straight week and also comes in at No. 2 for video views and No. 10 for radio airplay, still ahead of the No. 2 song by approximately 1.8 times the total points. In addition, the song hit 300 million total streams this week, which also breaks Billboard Japan’s record for fastest to mark the milestone.
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Notably, YOASOBI’s Ayase’s collaborative project with Creepy Nuts rapper R-Shitei (R-rated) called “Hiten” debuts on the Japan Hot 100 at No. 73. The opener for the new TV anime series Rurouni Kenshin was digitally released July 6 and hits the Japan song chart this week after reaching No. 14 for downloads and jumping 55-24 for radio.
At No. 2 this week is BTS member Jung Kook’s solo single “Seven (feat. Latto),” released July 14. Campaigns on streaming platforms played a part in the track hitting 4,608,696 streams to come in at No. 14 for the metric. The song also ruled downloads with 39,170 units, while the music video released on July 15 hit 74.88 million views on YouTube alone (as of July 19) in just four days since its release (No. 1 for video).
Kitani Tatsuya’s “Where Our Blue Is” rises 8-3 after debuting on the Japan Hot 100 last week. Streaming for the Jujutsu Kaisen Season 2 opener increased 2.3 times from the previous week to 8,907,498 streams, landing the song at No. 2 behind “Idol” for the metric. It also came in at No. 3 for downloads (14,362 units), No. 15 for radio, and No. 28 for video. With the CD version coming out today (July 19), its performance on next week’s chart is something to keep an eye on.
NewJeans’ new song “Super Shy,” released digitally on July 7, breaks into the top 10 this week from No. 60. This is the lead track off the breakout K-pop girl group’s second EP Get Up, due July 21 in Japan. It’s off to a good start ahead of the “Ditto” group’s first new release in about six months, reaching No. 7 for streaming (6,167,279 streams), No. 7 for radio, No. 8 for video and No. 39 for downloads (1,641 units).
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Mrs. GREEN APPLE, currently on their domestic arena tour, charted four songs in the top 20 this week. While “Magic” off the pop-rock band’s latest album, ANTENNA, slips 5-6 on the Japan Hot 100, it rises to No. 6 for downloads and video. “Que Sera, Sera” rises 11-8 powered by a significant increase in downloads. “Dancehall” holds at No. 16 and “Ao to Natsu” moves 14-11, with points in karaoke showing a gradual increase overall.
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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 July 10 to 16, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Kenshi Yonezu released his new single “Chikyuugi” (Globe) on digital services July 17. The song serves as the theme of Studio Ghibli’s highly anticipated latest animated movie The Boy and the Heron, which opened in Japanese theaters on Friday. The artwork features an original layout illustration of a scene from the Hayao Miyazaki-directed movie. The […]
The road to Utopia has gotten bumpier for Travis Scott after Egyptian government officials canceled his July 28 concert at the Pyramids of Giza on Tuesday (July 18), according to multiple reports.
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The news comes after The Egyptian Syndicate of Musical Professions reportedly cited myriad issues about Scott’s forthcoming performance. The Syndicate, which ultimately approves concert permits, is said to have concerns about ensuring “the safety and protection of the audience.”
Dr. Mohamed Abdullah, in a statement on behalf of the Musicians Syndicate obtained by Egypt Today said: “Regarding the concert scheduled to be held on 28th July at the Pyramids area in Giza by American rapper Travis Scott, the Musicians Syndicate, as the entity responsible for issuing licenses for music and singing concerts in Egypt, in coordination with the Egyptian Ministry of Culture represented by the Censorship Authority for Artistic Works and the Ministry of Labor, emphasizes the necessity of considering security aspects and obtaining approvals from the relevant authorities as a top priority when organizing concerts. This is to ensure the safety and protection of the audience.”
The statement also cites Abdullah as saying that the group welcomes various art forms, “it has set conditions and regulations to safeguard the customs and traditions inherited by the Egyptian people.”
In addition, Egypt Today quotes Abdullah as saying that social media played a part in the decision to cancel the concert’s license. “After examining social media opinions and feedback, as well as the news circulating on search engines and social media platforms, which included authenticated images and information about peculiar rituals performed by the star during his performance, contradicting our authentic societal values and traditions, the Syndicate’s president and board of directors have decided to cancel the license issued for hosting this type of concert, which goes against the cultural identity of the Egyptian people,” he reportedly said in his statement.
Billboard has reached out to Scott’s reps for comment.
In 2021, 10 people died and many more were injured at Scott’s Astroworld Festival due to a crowd crush. After 19 months of police investigation, a grand jury ultimately decided that no one should be criminally charged for the disastrous event. In a statement to Billboard, Scott’s attorney Kent Schaffer said the grand jury’s decision proved that “Travis Scott is not responsible for the Astroworld tragedy.”
“This is consistent with investigative reporting by numerous media outlets and federal and state government reports that have squarely placed the onus for event safety crises on organizers, operators and contractors — not performers,” Schaffer said. “While waiting patiently for the District Attorney’s decision to not file charges, Travis Scott has been inaccurately and wrongly singled out, despite stopping the show three separate times and being unaware of the events as they were unfolding. Now that this chapter is closed, we hope for the government efforts to focus on what is most important — stopping future heartbreaking tragedies like Astroworld from ever occurring again.”
Utopia marks Travis Scott’s fourth studio album and drops July 28.
It’s tight at the top of the midweek U.K. albums chart, as J Hus’s Beautiful and Brutal Yard (Black Butter) takes the lead.
Beautiful and Brutal Yard leads Official Chart Update and, if it holds its spot, would give the Stratford, England rapper his second leader following 2020’s Big Conspiracy. J Hus enjoyed a critical and commercial breakthrough with his 2017 debut Common Sense, which peaked at No. 6 on the national survey and was shortlisted for the Mercury Prize.
Close behind is Taylor Swift’s Speak Now (Taylor’s Version) (via EMI), last week’s leader which dips to No. 2 on the chart blast.
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Coming in at No. 3 on the midweek survey is Rita Ora’s long-awaited third studio album You & I (BMG), which could give the British pop star a second top 10, after her debut Ora from 2012 which went all the way to No. 1. You & I is the followup to 2018’s Phoenix, which peaked at No. 11 on the weekly list.
According to the Official Charts Company, fewer than 2,000 chart units currently separate the top three albums.
Meanwhile, Glasgow, Scotland singer-songwriter Gerry Cinnamon is set to arrive at No. 4 with Live At Hampden Park (Little Runaway); American alt-pop artist Pvris who could bag a second top 10 with Evergreen (Hopeless), poised to debut at No. 5; Lauren Spencer Smith’s debut full-length album Mirror (Island) could bow at No. 6; and Mahalia’s second record IRL (Atlantic) is on course for No. 9, for what would be the British R&B artist’s first top 10 entry.
Finally, U.S. rapper Lil Tjay could snag a third top 40 with 222 (Columbia), new at No. 24 on the chart blast, while Joel Corry’s singles collection Another Friday Night (Atlantic) is at No. 28, and could give the British DJ and producer his first appearance on the Official Albums Chart.
All will be revealed when the national survey is published this Friday, July 22.
Toni Watson, the chart-busting Australian singer and songwriter who, as her alias Tones And I, set records around the globe with “Dance Monkey,” is one of the finalists for the 2023 Australian Women In Music Awards (AWMAs).
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Watson is up against Tanya Batt and The Superjesus leader Sarah McLeod for the songwriter award, which recognizes an outstanding female songwriter or composer.
Other high-profile artists nominated for this year’s event include Kate Ceberano, the one-time ARIA Award winner for best female artist, who is a finalist for the AWMAs lifetime achievement award, a category that also includes Jeannie Lewis and Clare Moore.
Meanwhile, chart-topping pop artist Jessica Mauboy will face-off with Beccy Cole, and Vika & Linda for the artistic excellence award, which celebrates “exceptional creative achievement from a female artist/musician across any genre.”
Established in 2018, the AWMAs acknowledges the contributions and shines a light on the accomplishments of women across all areas of industry from on stage, including those behind the scenes, technicians, leaders, elders, performers, songwriters, producers, engineers, filmmakers and photographers, music journalists and more.
One of those awards is the inaugural ARIA executive leader game changer, which rewards the “exceptional leadership” of an executive leader who “creates significant and positive change to bring about equality for women in the Australian music industry,” and is open to a CEO, CFO, COO, CMO, MD or GM.
“I have seen the industry of music in this country change so much and the education and delivery of music through the eyes and hearts of Australian women, my peers Renée, Chrissie, Olivia, Colleen, Kylie and more,” says Ceberano in a statement.
“It has been an education and at times a baptism by fire. But we are hardy and the Australian singers that are striking notes globally, not only with their music but with their minds, is outstanding.” She continues, “I’m glad to be a part of this modern community of likeminded artists who wish to share their wisdom and prevail despite all provocation to do otherwise.”
Twenty AWMAs will be handed out at a ceremony Sept. 27 in Meanjin/Brisbane, the designated 2032 Olympic city, and broadcast later on the Australian Broadcasting Corporation.
Each category is assessed by a 37-seat jury, with representation across a diverse range of music disciplines and cultures.
The 2023 AWMAs and conference program is supported by the Queensland government together with corporate, industry and community partners.
The event “not only celebrates the most innovative, committed, and visionary singers and songwriters in Australian music, it provides an opportunity to further promote gender equality and diversity including the voices of First Nations women,” comments Queensland Premier Annastacia Palaszczuk. “The future looks bright for the music industry as our government invests in a 10-year roadmap to promote arts, culture, and creativity.’’
AWMA is an initiative of the not-for-profit Charity Cicada International Ltd, and is spearheaded by AWMA founding executive producer and program director Vicki Gordon.
“AWMA has raised the collective voice – demanding equitable access, safety and recognition for women in the Australian music industry. We support and promote women as vital, essential contributors to the future business growth of the sector and are calling on the industry to adopt gender equality as a core music industry value,” explains Gordon. “Gender equity is still a long way in the future and we all need to remain vigilant.”
For the full list of nominations visit womeninmusicawards.com.au.
After completed the Swift Sweep last week on the ARIA Chart, Taylor Swift has retaken the chart throne with Speak Now (Taylor’s Version) (via Universal), setting another record in the process.
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Swift’s third and latest “Version” release debuts at No. 1, for her 11th leader in Australia, a feat that includes three rerecorded titles.
By replacing herself at No. 1 on the latest tally, published July 14, Swift becomes the first artist to do so since the ARIA Charts began in 1983, according to ARIA.
For the previous week, Taylor locked up the entire top five on the ARIA Albums Chart, a level of dominance never seen before on the national survey. Swift continues to swamp the top tier, with four of the top five titles, and six of the top 10. It’s a similar story on the national singles tally, where Taylor takes nine of the top 20 spots.
It takes a little heavy metal magic to disrupt Swift’s dominance on the ARIA Albums Chart.
King Gizzard & The Lizard Wizard prevents another sweep, as the Aussie act bows at No. 2 with possibly the longest album title of the year: PetroDragonic Apocalypse; or, Dawn of Eternal Night: An Annihilation of Planet Earth and the Beginning of Merciless Damnation (via KGLW)
PetroDragonic Apocalypse equals King Gizz’s career peak of No. 2, achieved with four previous albums: Flying Microtonal Banana (2017), Infest The Rats’ Nest (2019), Chunky Shrapnel (2020) and Butterfly 3000 (2021)
The prolific band has released 24th studio album (including five in one year), 15 live albums, three compilations, a remix album, three EPs and snared two ARIA Awards.
Over on the ARIA Singles Chart, “Sprinter” (Virgin Music/Universal) by U.K. rappers Dave and Central Cee races to a fifth week at No. 1.
Finally, South Korean K-pop girl group NewJeans enjoys a top 40 berth with “Super Shy” (ING/Universal), which drops at No. 27. NewJeans has an Aussie connection; Danielle Marsh was born-and-raised in Newcastle, and her bandmate Hanni Pham calls Melbourne home.
Argentina’s dream team of LIT Killah, Tiago Pzk, Maria Becerra, Duki, Emilia, Rusherking, Big One and FMK hold strong atop the Billboard Argentina Hot 100 chart (dated July 8) as “Los Del Espacio” rules the ranking for a fifth week. The team-up ties “Un Finde: Big One CROSSOVER #2” by Ke Personajes, Big One and […]