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Olivia Rodrigo’s “Vampire” is striking fear in its U.K. chart rivals.
The U.S. pop phenomenon’s latest release starts at No. 2 on the midweek singlessurvey, and is challenging Dave and Central Cee’s “Sprinter” (Live Yours/Neighbourhood) for the crown.
“Vampire” is the first official release from Rodrigo’s sophomore album Guts, the followup to her record-breaking 2021 debut Sour.
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With Sour and its single “Good 4 U,” Rodrigo became, at 18 years and three months, the youngest solo artist in history to snag the Official U.K. Chart double.
The Grammy Award winner’s debut also broke the U.K. record for most first-week streams ever for a debut album, and she’s the first female solo artist to bag three simultaneous U.K. top 5 singles with “Good 4 U,” “Deja Vu” and “Traitor” (Rodrigo’s “Drivers License” also went to No. 1).
“Vampire” should give Rodrigo her fifth U.K. top 10.
“Sprinter” is racing to a fifth consecutive week at No. 1, while the midweek podium is completed by J Hus and Drake’s “Who Told You” (Black Butter/OVO/Republic). The rap collab appears to have missed its chance to hit the summit, dipping 2-3 in its fourth week on the Official Chart Update.
Meanwhile, Kylie Minogue’s “Padam Padam” (BMG) is on the rise, and appears set for a No. 8 spot, a new peak.
Also on the climb is Taylor Swift’s “Cruel Summer” (EMI), which is on the verge of its first stint in the top 10. The Lover track lifts 13-9 on the Official Chart Update, and could net Swift her 22nd top 10.
The next highest new entry on the chart should be a homegrown hip-hop number, “Pakistan,” by rap collective D-Block Europe and Londoner Clavish. It’s new at No. 11 on the midweek tally.
All will be revealed when the Official U.K. Singles Chart is published Friday, July 7.
The mud has dried on Glastonbury Festival 2023, but the good times continue to roll for a string of this year’s performers.
Elton John’s Diamonds (via Mercury/UMC) collection goes off like a rocket following the pop legend’s headline slot at the main Pyramid Stage, on the final night.
The career retrospective climbs 11-2 on the Official U.K. Albums Chart, published June 30, with an 188% uptick in week-on-week chart sales (sales and streams), according to the Official Charts Company.
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The Rocket Man also makes his mark on the Official U.K. Singles Chart as his “Cold Heart” (EMI/Warner Records) collaboration with Dua Lipa, remixed by Pnau, vaults 66-30 and his 1983 classic “I’m Still Standing” (Mercury) stands at No. 34. That’s the first top 40 appearance for the single since its year of release.
Elton’s Glastonbury slot was billed as potentially his last show on home soil.
There’s an impressive chart ride for Stephen Sanchez who, after joining Elton on stage, sees his ballad “Until I Found You” (Republic Records) reennter the singles chart at No. 14, for a new high. “Until I Found You” posts a 105% week-on-week gain in combined sales.
Lewis Capaldi’s emotionally-charged performance at Glasto has seen the Scottish artist’s sophomore set Broken By Desire To Be Heavenly Sent (EMI) fly 16-3 — thanks to a 68% week-on-week gain in combined sales, the OCC reports. Also, Lewis’s debut LP Divinely Uninspired To A Hellish Extent rises 34-9 on the chart, with a 114% gain in combined sales, while his trans-Atlantic hit “Someone You Loved” climbs 98-49 on the singles survey.
Around 210,000 people partied at Glastonbury from Friday, June 23, until Sunday, June 25, with the BBC airing all the hottest performances and highlights.
The Arctic Monkeys swung into Glastonbury with a Friday night headline slot, and this week lands three albums in the U.K. top 40 –– the most for any performer at the popular summertime festival.
The Sheffield rock band’s 2013 set AM lifts 12-7, 2005 debut Whatever People Say I Am, That’s What I’m Not gains 29-20 and 2006’s Favourite Worst Nightmare reenters the top 40 at No. 38 — all through Domino Recordings.
Also benefiting from the exposure of playing Britain’s best-know festival is Foo Fighters. The band’s surprise set at the Eavis’ Worthy Farm helps lift former leader But Here We Are (Columbia), up 31-14, while their career retrospective The Essential Foo Fighters (Sony Music CG) enjoys a 63-22 spike, with a 67% week-on-week gain in combined sales, according to the OCC.
Lana Del Rey’s abridged Glasto set has added steam to her sophomore album Born To Die (Polydor), up 43-29, while Did You Know That There’s A Tunnel Under Ocean Blvd. renters at No. 75, and Norman F**king Rockwell returns to the tally at No. 90.
Finally, Saturday Glastonbury headliners Guns N’ Roses can boast the highest-climber on the Official U.K. Albums Chart with Greatest Hits. Thanks to a 95% gain in combined sales, the collection soars 96-31.
One of those mega-hits, “Sweet Child O’ Mine” (Geffen), which peaked at No. 6 back in 1989, appears at No. 40 on the singles tally. That’s “Sweet Child’s” first stint in the top 40 in 34 years.
Dave and Central Cee complete a full month at No. 1 in the U.K. with “Sprinter” (Live Yours/Neighbourhood), as the hip-hop hit retains its chart crown.
The leader at the halfway stage, “Sprinter” soaks up 8.6 million streams during the latest cycle, the Official Charts Company reports, for its fourth consecutive week at the summit.
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The rap track outruns J Hus and Drake’s “Who Told You” (holding at No. 2 via Black Butter/OVO/Republic) and Calvin Harris and Ellie Goulding’s “Miracle” (unmoved at No. 3 via Columbia), respectively.
Also making moves inside the top 10, published June 30, are Rudimental, Charlotte Plank and Vibe Chemistry’s “Dancing Is Healing” (Room Two) up 6-5; while Hannah Laing and RoRo’s ”Good Love” (Polydor) is up 9-7; and South Korean DJ and producer Peggy Gou enters the top tier for the first time with ”(It Goes Like) Nanana” (XL Recordings), up 14-9.
The highest new entry belongs to Stormzy and Fredo with “Toxic Trait” (Def Jam), the British hip-hop artists’ first collaborative venture. It’s new at No. 11 on the Official U.K .Singles Chart, published Friday, June 30, for Stormzy’s 29th top 40 appearance, and Fredo’s 19th.
As Swifties enjoy the British summer, listening to their favorite artist, Taylor Swift’s “Cruel Summit” (EMI) continues its march up the chart. The Lover release from 2019 rises 28-12 on the U.K. tally, for a new chart peak. Further down the list is Swift’s Midnights number “Karma,” up 32-31, and “Anti-Hero,” up 45-42. Swift recently announced the U.K. leg of her The Eras Tour, which is set to visit these parts in June 2024.
Also new to the Official U.K. Singles Chart is Ice Spice and Nicki Minaj’s contribution of the Barbie soundtrack, the Aqua-sampling “Barbie World” (Atlantic). It’s new at No. 25 for Ice Spice’s second U.K. top 40 appearance and Minaj’s 43rd.
Finally, Afrobeats star Burna Boy bags his 10th U.K. top 40 single with “Sittin’ On Top Of The World” (Atlantic), which lifts 46-38.
Maisie Peters casts a spell on her countrymen and women as The Good Witch (via Atlantic/Gingerbread Man) debuts at No. 1 on the U.K. chart.
At just 23, Peters becomes the youngest British female solo artist to lead survey in almost a decade, the Official Charts Company reports.
You’d have to go back to Ella Henderson and her debut LP, Chapter One, which hit the top back in 2014 when Henderson was just 18 years of age, to find a younger female Brit to hit the summit.
The leader at the midweek stage, The Good Witch goes one better than its predecessor, Peters’ debut album You Signed Up for This, which peaked at No. 2 in 2021.
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“It’s just the craziest and coolest thing! I’m so happy for myself, my fans and everyone I work with; my band, crew, manager and label,” Peters tells the OCC.
“All of the fans, we’ve been on this journey together for the longest time and this album really felt like an album for all of us. This No. 1 is for all of us, too, so thank you so much.”
Further down the Official U.K. Albums Chart, published June 30, Young Thug bags his third U.K. top 40 with Business is Business (300 Entertainment), new at No. 15. The Atlanta rapper, singer and songwriter previously cracked the list with 2019’s So Much Fun (peaking at No. 9) and 2021’s Punk (No. 22).
Also fresh on the chart is Kelly Clarkson’s Chemistry (Atlantic), new at No. 22. It’s the U.S. pop and country star’s eighth U.K. top 40 LP, and first in six years, the most recent with 2017’s Meaning of Life (peaking at No. 11).
Finally, Glastonbury Festival is in the books, and a string of performers at this year’s edition are flying up the chart. They include Elton John, Lewis Capaldi, Arctic Monkeys and Lana Del Rey, all of whom enjoy top 10 spikes.
Hip-hop is bouncing on Australia’s charts as homegrown rapper Kerser lifts the albums chart crown for the first time, and Brits Dave and Central Cee retain the singles title.
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Kerser’s A Gift & A Kers (via ABK/ADA) debuts at No. 1 on the ARIA Albums Chart, published Friday, June 30, for his eighth top 10 appearance.
The West Sydney artist (real name: Scott Froml) “is a phenomenal example of independent artist success in Australia and someone whose career path we need to celebrate at a time where we search for more ways for artists to connect with Australian listeners,” comments ARIA CEO Annabelle Herd.
“Huge congratulations are in order, especially as we hit two weeks in a row of Australian No. 1s.”
It’s the fourth Australian leader on the ARIA Albums Chart this year, and second straight following The Teskey Brothers’ The Winding Way (Liberation/Universal). The Teskeys’ latest album dips 1-33 on the latest survey.
Also new to the top 5 is Maisie Peters’ sophomore album The Good Witch (Atlantic/Warner), flying to No. 4. The English singer and songwriter performed to more than three-quarters-of-a-million Aussies earlier in the year when she opened for Ed Sheeran’s stadium tour of these parts. The Good Witch was the leader on the midweek U.K. chart and becomes Peters’ first LP to chart in Australia.
Further down the list, Trophy Eyes’ Suicide and Sunshine (HR/RKT) starts at No. 8 debut; Kelly Clarkson’s Chemistry (Atlantic/Warner) impacts at No. 31; Young Thug’s Business Is Business (Atlantic/Warner) bows at No. 36; and Lastlings’ Perfect World (Liberation/Universal) arrives at No. 39.
It’s been an exciting (and stressful) week for Swifties in Australia, as tickets were finally released for her two-city The Eras Tour shows. Taylor Swift will play seven dates across Sydney and Melbourne next year, the on-sale for which has broken records. As fans waited for the news, they tuned into Swift’s catalog, sending her classic albums back up the chart – including three in the top 5 and five in the top 10.
Leading the pack is her latest, Midnights, up 2-5; while Lover rises 11-3; 1989 climbs 9-5; Reputation improves 13-6, and Folklore vaults 16-10, all via Universal.
It’s a similar tale on the ARIA Singles Chart, as Swift’s 2019 song “Cruel Summer” from Lover roars 29-3, while “Anti-Hero” gains 9-7 and “Karma” is up 15-8.
At the top of the singles chart is Dave and Central Cee’s “Sprinter” (Virgin Music Australia/Universal), which wins the race for a fourth consecutive week.
The Billboard Global 200 and Billboard Global Excl. U.S. charts have been home to wide a variety of international hits, across many genres, cultures and languages. Dance music has been able to seamlessly float across cultural and geographic lines, including on the latest, July 1-dated rankings, as three artists, each from a different continent, debut with their own high-energy boosts.
Kylie Minogue, one of Australia’s most enduring stars, debuts on the Global 200 with “Padam Padam” at No. 190 while climbing to No. 169 on the Global Excl. U.S. list. Since its May 18 release, the thumping track has increased its weekly streams each week, culminating in a 17% bump to 9.6 million worldwide in the frame ending June 22, according to Luminate.
The song is Minogue’s first non-holiday entry on either global chart and continues to build months before the expected September release of parent album Tension; no tracks from her 2020 set Disco appeared on the surveys.
Elsewhere, South Korea-born, Germany-based singer, DJ and producer Peggy Gou makes her global chart debut, at No. 137 on Global Excl. U.S. with “(It Goes Like) Nanana.” The house single drew 9.6 million streams worldwide June 16-22, its first full week of release.
Plus, Germany’s Purple Disco Machine teamed with France’s Kungs on “Substitution,” new on Global Excl. U.S. at No. 199, up by 3% to 7.9 million streams around the world. Neither act has made the Global 200, but “Substitution” is the second entry for both on Global Excl. U.S., following the former’s “Hypnotized,” which hit No. 121 over a 23-week stay in 2020-21, and the latter’s “Never Going Home,” which reached No. 107 amid a 15-week run in 2021.
The burst of dance music on this week’s global charts is diverse, both geographically and stylistically. These tracks join others by chart mainstays including David Guetta and Calvin Harris, as well as such pop artists drawing from the dance world as Dua Lipa, whose “Dance the Night” holds in the Global 200’s top 40, and Jain, who jumps from 68-41 with 2016’s resurgent “Makeba” (which is now being promoted to pop radio).
YOASOBI‘s “Idol” extends its stay atop the Billboard Japan Hot 100 to 11 weeks on the chart dated June 28, tallying the week from June 19 to 25. The CD version of the Oshi no Ko opener went on sale during this chart week, selling 53,589 copies to come in at No. 2 for the […]
J-pop vocalist Daoko was tapped to sing the theme for Pretty Guardian Sailor Moon Cosmos The Movie, a two-part animated feature due to hit Japanese theaters June 9 (Part 1) and June 30 (Part 2).
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The film depicts the final story of the Sailor Guardians, known as the Shadow Galactica arc. Daoko wrote the theme song “Tsuki no Hana” (“Moon Flower”) for this movie, set to be included in the Pretty Guardian Sailor Moon Cosmos The Movie Theme Song Collection, scheduled for release on the day Part 2 drops in theaters.
Daoko sat down with Billboard Japan to chat about the new song and her thoughts on the Sailor Moon franchise, which existed before she was born, the songwriting process for the movie theme, and where she expects to go next in her musical journey.
When did you first come across the Sailor Moon anime series?
I wasn’t born when the original series first aired, but reruns were being broadcast on cable TV when I was in kindergarten and that was the first time I watched it. The transformation scenes were cute, and from a kindergartener’s point of view, the characters were older young women and that also stands out in my memory. I see now that the items on the show like the rods are beautifully designed, but when I was little I just thought they were cute. We also pretended to be the Sailor Guardians in kindergarten.
What do you think is the appeal of the Sailor Moon franchise?
When I was little, I liked the visuals, transformation scenes, and worldview as a whole because I just thought everything was so cute. But now that I’ve grown up, and after watching the entire series over again, I thought it was cool how the concepts could be seen in the details of the design, like the planets being used as motifs. When I went to the Pretty Guardian Sailor Moon Museum (a major exhibition held in 2022), I took a long time looking at the transformation gear from each era.
You’ve mentioned that you “read the original manga and watched the anime series over and over again to take in the worldview more deeply” when creating the music for the movie.
Yes. I reread all the manga, watched the anime, and bought books containing model sheets and books geared towards fans to gaing new perspective on the work.
What part of “Tsuki no Hana” reflects what you took in through that process?
Since I knew that the song should exist alongside and support the world of Sailor Moon, I searched for a common language between my own worldview and that of the series. I tend to be too meticulous about being faithful to the source material and the original work, but Seiichi Nagai — who co-wrote the song with me — helped to loosen that up a bit, so that people who don’t know that “Tsuki no Hana” is from Sailor Moon will think it’s good when they hear it on the street. We aimed to please Sailor Moon fans while also adjusting the wording and the expression to make sure it also resonates with a wider audience. One of the themes was the nobility of the Sailor Guardians overcoming hardships.
Did the producers of the movie ask for the kind of music they wanted?
Since it was for the ending of the final chapter of the series, I initially had a ballad in mind, but as we discussed it further, it became clear they wanted the song to represent the strength of women and the thoughts of the Sailor Guardians as they confront their vicissitudes. Not mellow, but glorious. So the arrangement has powerful and dreamy elements to it.
Seiichi Nagai is the guitarist of TESTSET and also a supporting member of your backing band.
He’s been supporting me as a band member for my solo endeavors for a long time. We decided to form a new band called QUBIT with those same members, meaning he and I are now really bandmates. So we’re close like that, and I’ve also worked with him on several songs before. When he’s backing me in my solo projects, he peppers his performances with metal guitar flavors and I like his intense, cool playing style. His guitar playing also has a kind of starry sparkle to it that only he can create. I thought that would match the world of Sailor Moon and that’s why I invited him to collaborate.
The arrangement is credited to kensuke ushio, who also produces music under the name agraph. He’s worked on lots of anime-related music before.
Mr. Nagai introduced us, and it was the first time I worked with Mr. ushio on a song’s arrangement. I thought he was so proficient. He made the song sound cool, and he scattered lots of sounds that would resonate nicely in a movie theater. The interlude is majestic, reminiscent of outer space, and we all had a lot of fun thinking about the song’s impact in theaters while working on it. I was in charge of singing and lyrics this time, so I didn’t get to see the entire exchange between the composer and arranger. It did kind of feel like something awesome was done before I knew it, and the demo came to me pretty much completed.
Have you received any response from your fans outside of Japan about releasing a Sailor Moon theme?
Sailor Moon is also very popular internationally, so I did receive many comments from people living in other countries when it was announced that I would be doing the theme song. My fanbase expanded internationally after working on anime music so I currently have quite a few fans in different countries. It seems they’re happy about my latest collaboration and looking forward to the movie’s release. I hope it’ll be a chance for people who like Sailor Moon to get to know Daoko. I’m sure people from many different countries will see the movie, and I wonder how “Tsuki no Hana” will sound to them.
When you perform outside of Japan, do you find the reactions of the audience different from those back home?
It depends on the country, and I do think there are individual differences, but people tend to be more expressive in a physical way. I guess it depends on the type of music, but in Japan, people are generally shy and seem to enjoy themselves internally, but elsewhere, people dance like crazy and that was also fun. I’d never seen anything like that before, so it left a big impression on me. Now I want the Japanese audience to dance, too, so I’ve been trying to build my shows to make it happen.
Are there any genres you’d like to try moving forward? Also, are you working on any new songs?
I think bands have their own cool ways of presenting themselves, but I decided to quit my former management to pursue what I like as Daoko the solo artist. I want to write cute anime music that falls under the “denpa song” genre (intentionally strange and catchy pop music). I want to write music that everyone can dance to at clubs, like “four-on-the-floor” stuff and house. I also want to expand the world in my demos, and since I’ve been practicing guitar recently, I’d like to write songs I can perform live “unplugged.” I like lots of music regardless of genre and want to keep doing music that I like. Right now, I have a strong desire to expand overseas, so I’ll probably make music with an overseas audience in mind, which probably means stuff people can dance to. I’d love to collaborate with artists from different countries, and am exploring various avenues at the moment.
—This interview by Akihiro Watanabe first appeared on Billboard Japan
Barring any unforeseen hurdles, Dave and Central Cee’s “Sprinter” (Live Yours/Neighbourhood) is bolting to a fourth week atop the U.K. chart. The record-breaking British hip-hop collaboration soaked up another 9 million streams last week, for a third consecutive cycle at the top. Based on sales and streaming data for the first half of the latest […]
Maisie Peters’ The Good Witch (Atlantic/Gingerbread Man) is working its magic on the United Kingdom.
The English pop singer and songwriter’s sophomore set leads the midweek chart, ahead of Harry Styles’ Harry’s House (via Columbia up 5-2) and Tom Grennan’s What Ifs & Maybes (down 1-3 via Insanity), respectively.
The Good Witch is the followup to Peters’ 2021 debut You Signed Up For This, which peaked at No. 2 on the Official U.K. Albums Chart. A chart crown would cap a huge half-year for Peters, who supported Ed Sheeran for stadium shows across Australia and New Zealand earlier in 2023.
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Also set for high entries this week are Young Thug’s Business Is Business (300 Entertainment), which could become his second top 10 appearance, at No. 9; and Kelly Clarkson’s Chemistry (Atlantic), which could net the U.S. singing star her sixth U.K. top 10, at No. 10.
The “Glastonbury effect” can be seen up and down the Official Chart Update.
Scottish singer and songwriter Lewis Capaldi is one of the beneficiaries of a high-profile slot at Glastonbury Festival last weekend, which powers his albums Broken By Desire To Be Heavenly Sent (up 16-4 via EMI) and debut Divinely Uninspired To A Hellish Extent (up 34-12) on the midweek tally.
Elton John is winding up his touring career in the coming weeks, and enjoyed a boisterous send-off at Glastonbury. Now, his hits compilation Diamonds (Mercury/UMC) is on track to appear in the top 5 again, up 15-5.
Celebrated British alternative rock act Arctic Monkeys are hanging high on the midweek chart, with AM (No. 6), Whatever People Say I Am, That’s What I’m Not (No. 20) and Favourite Worst Nightmare (No. 38) — all via Domino Recordings — on the bounce following their Friday night performance at the Eavis’ famous fest.
Other Glastonbury performers enjoying a post-event albums blitz include Foo Fighters (But Here We Are at No. 16 via Columbia and The Essential Foo Fighters at No. 28 via Sony Music CG), Lana Del Rey (Born To Die at No. 36 via Polydor) and Guns N’ Roses (Greatest Hits at No. 37 via Geffen).
Finally, Taylor Swift’s The Eras Tour hasn’t yet reached the U.K., but anticipation is causing her hit albums to spike. According to the Official Charts Company, former leaders Midnights (No. 7), 1989 (No. 11), Lover (No. 14), Reputation (No. 22) and Folklore (No. 31), all via EMI, are on the climb.
All will be revealed when the Official U.K. Albums Chart is published Friday, June 30.