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Lewis Capaldi wouldn’t be denied his first No. 1 in Australia, as Broken By Desire To Be Heavenly Sent blasts to the summit.
The Scottish singer and songwriter’s sophomore album eclipses the No. 7 best for his debut Divinely Uninspired To A Hellish Extent from 2019. Platinum-certified Divinely Uninspired bounces 34-30 this week in its 210th cycle on the survey.
Coming in at No. 2 on the ARIA Chart, published May 26, is John Farnham’s Finding The Voice (Wheatley Records / Sony Music Australia), the soundtrack to the documentary of the same name.
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Finding The Voice becomes the legendary Australian singer’s 20th top 10 album in Australia.
The documentary, like its companion album, is a hit. In the weeks following its release May 18 through Sony Pictures, Finding the Voice was confirmed as the best-selling theatrical release of an Australian music documentary.
Farnham is accustomed to life at or near the top of the charts. His blockbuster 1986 album Whispering Jack spending 25 weeks at No. 1, and is the highest selling album by an Australian act, shifting more than 1.6 million copies. Today, it’s certified 24-times platinum.
He also led the albums tally with Age Of Reason (1988), Chain Reaction (1990), Then Again… (1993), Highlights From The Main Event with Olivia Newton-John and Anthony Warlow (1998), 33 1/3 (2000), The Last Time (2002), Highlights from Two Strong Hearts: Live (2015) and Friends For Christmas, both with Olivia Newton-John (2016).
Farnham has been in the headlines due to poor health. The ARIA Hall of Fame-inducted singer underwent major surgery last year to remove a cancerous growth on his throat, and subsequently endured a stint in hospital as he battled a chest infection.
Completing an all-new top three is Sleep Token’s third album, Take Me Back To Eden (Spinefarm/Inertia). It’s new at No. 3 for the British rock band’s first appearance on the ARIA Chart, while Ed Sheeran‘s latest, Subtract (Atlantic/Warner), dips 1-4.
Also cracking the top 10 on debut is South Coast, Australian indie band The Vanns with their second album Last Of Your Kind (Upper River Records/AWAL), new at No. 8, for their first impression on the tally.
Adelaide alternative rock band Bad//Dreems starts at No. 10 with Hoo Ha! (BMG/ADA).
Over on the ARIA Singles Chart, Morgan Wallen logs a seventh week at No. 1 with “Last Night” (Republic/Universal).
Finally, Lana Del Rey secures the top debut with her recently unearthed recording from 2012, “Say Yes To Heaven” (Interscope/Universal), new at No. 20, while Australia’s pop princess Kylie Minogue scores her 49th top 50 single with “Padam Padam” (Liberation), new at No. 39.
Roger Waters is addressing widespread backlash he’s received after wearing a Nazi-like uniform during his recent concerts in Berlin.
On Friday (May 26), the Pink Floyd co-founder shared a statement on social media about his controversial May 17-18 shows at Berlin’s Mercedes-Benz Arena, which have prompted an investigation by German police.
“My recent performance in Berlin has attracted bad faith attacks from those who want to smear and silence me because they disagree with my political views and moral principles,” Waters wrote in his statement, which was posted on Twitter.
“The elements of my performance that have been questioned are quite clearly a statement in opposition to fascism, injustice, and bigotry in all its forms. Attempts to portray those elements as something else are disingenuous and politically motivated.”
During his Berlin shows, Waters wore a costume reminiscent of a Nazi SS soldier’s uniform — a long black coat with a red armband — while pointing a fake rifle at the crowd. In his statement, the singer/bassist said that the “depiction of an unhinged fascist demagogue” has been featured in his past live performances since the release of the 1980 film The Wall.
Following the concerts, Berlin police opened an investigation of Waters on suspicion of incitement over the Nazi-style uniform. Authorities said the costume could constitute glorification, justification or approval of Nazi rule and therefore a disturbance of the public peace, the Associated Press reports.
“I have spent my entire life speaking out against authoritarianism and oppression wherever I see it,” Waters wrote in reaction. “When I was a child after the war, the name of Anne Frank was often spoken in our house, she became a permanent reminder of what happens when fascism is left unchecked. My parents fought the Nazis in World War II, with my father paying the ultimate price.”
Waters concluded his statement, writing, “Regardless of the consequences of the attacks against me, I will continue to condemn injustice and all those who perpetrate it.”
See Waters’ full statement on Twitter below.
BERLIN (AP) — Police in Berlin said Friday (May 26) that they have opened an investigation of Roger Waters on suspicion of incitement over a costume the Pink Floyd co-founder wore when he performed in the German capital last week. Images on social media showed Waters firing an imitation machine gun while dressed in a […]
Japanese artist NON is set to drop her second album called PURSUE on June 28, and has been teasing details leading up to the release. The actress and singer announced that she’s collaborating with ASIAN KUNG-FU GENERATION on a track called “Beautiful Stars” on the highly anticipated set. The new track performed by NON and […]
At the end of last year, singer/actress Fiona Sit was in the midst of filming the TV show Memories Beyond Horizon when tragedy struck. Her father became ill and was admitted to the ICU. Despite the difficulties, Fiona was determined to express her longing for her family and hometown through music.
On the day of the Winter Solstice (Dec. 21), she released a new song called “Hong Kong’s Night.” This heartfelt work was a simple, honest story of her own. “We all have beautiful and gentle nights in our hometowns, and if you’re missing home, this song can become ‘Beijing’s Night’ or ‘Chengdu’s Night,’ with the same melody and expression,” Fiona tells Billboard China for a new cover story. “Music is a blessing to us all.”
For two decades, music has been a constant companion to Fiona, providing her with a platform to express emotions, from love to healing. After all these years, her heartfelt love for music still shines.
‘I’m also surprised that I’ve been singing for 20 years’
Fiona was starting from scratch when she first stepped into the recording studio. She had no experience or knowledge of the music industry and was intimidated by the producer and backup singers. With no idea how to express her ideas, she was left feeling overwhelmed and helpless. She often asked questions like, “What color should this sentence be? How shy should the boy in the song be? Are there other people in the room when we’re together? How many?”
Fiona’s journey to becoming a musician was an extraordinary one. She began as an installation artist, where she could express her feelings through her brush and materials. But when it came to music, she realized she needed to collaborate with lyricists, composers and other behind-the-scenes creatives to make something special. She chose to communicate through art, honing her skills in a professional way, until she could use her own voice to express her emotions. Fiona’s voice is like a unique blend of lemon, honey and mint — a perfect harmony to accurately portray the vibrant emotions of a girl’s heart.
Fiona’s art is a vivid expression of her emotions. From the golden trophies she has earned since her debut, to the self-doubt and confusion she experiences in difficult times, to the pink romantic mood of love and the thoughts of her hometown at night, Fiona’s art captures it all. When she’s stuck for inspiration, Fiona turns to painting. As she puts it, “Drawing a song is like listening to it over and over again and painting a picture. The picture is the song.”
Becoming a star without much thought
Fiona had big dreams of becoming an artist when she was in school. She studied Creative Media and Installation Art in college, but people around her often asked her if she wanted to be a model because of her natural beauty. Despite being only 5-foot-6, she decided to give it a go and soon found out that modeling isn’t just about strutting down a catwalk — it also involves photo shoots and videos. And that’s how Fiona’s modeling career began. She’s since starred in TV commercials for big brands like HSBC and Coca-Cola.
“At age 20, I shot commercials for 6-8 hours and earned HKD 3,000-4,000 [around $350-$500 USD] per session. I’d keep 800 [$100 USD] for myself and gave the rest to my parents, and I haven’t asked them for money since. Little did I know back then that modeling would become my future career. I just felt I was a precocious child who was already supporting my family.”
Fiona had always been passionate about singing, but it wasn’t until people started asking her if she wanted to pursue it professionally that she began to seriously consider it. She knew her uncle worked at a record company and had been responsible for the work of many singers, so she decided to seek his advice. When Fiona told her uncle about her singing aspirations, he was surprised. “You like singing? Do you have perfect pitch?” he asked. Her uncle then arranged for her to meet with a Warner Music agent and have an informal audition at a KTV (a karaoke business). Fiona remembers the whole process as being quite magical. She can’t remember much about that day, but she was sure that she sang a lot of Leslie Cheung’s songs. Fiona loves to cover songs by male singers, as it gives her the opportunity to tell a story from a different perspective.
Fiona’s star-studded career began in the same year she released her debut album and starred in her first movie. Director Derek Yee was looking for the perfect female lead for his upcoming movie 2 Young, and Fiona was the one he chose for the 2005 project. Years later, when they became close friends, Derek joked about Fiona’s audition, “Out of all the girls who auditioned, you put in the least effort. You showed up wearing flip-flops and a baggy T-shirt!” Despite her laid-back approach, Fiona’s ease and authenticity won over the producers and directors.
Roaring through the music world for a decade
Fiona’s 2004 debut album F Debut was a huge success. The song “A Letter From Keanu Reeves” topped the music charts in Hong Kong and won the “Top 10 Gold Songs” award at the Radio Television Hong Kong’s Top Ten Chinese Gold Songs Award, along with Jay Chou’s “Common Jasmine Orange,” Leo Ku’s “Love and Fidelity” and Miriam Yeung’s “Storm in a Teacup.”
When Fiona went onstage to accept the award, she smiled happily and simply said “thank you.” After she stepped off the stage, the staff was amazed by her composure. They asked her how she could remain so calm in the face of such an accomplishment. “My calmness is also happiness, pure joy. I just didn’t think too much at that time,” she replied.
Fiona’s life was a whirlwind of activities after achieving fame. She was constantly on the move, juggling interviews and photo shoots, and pushing herself to the brink of exhaustion. But amid her hectic lifestyle, Fiona still found time to reflect on her journey and the future ahead. In her 2013 song “Dear Me in Ten Years,” she expresses the fears of a young girl growing up in a world full of uncertainty: Have I done things that make me proud without regret? Have my beliefs stayed strong? Will I keep my sense of style as I mature? Should I be smart instead of impulsive? Am I happy?
Every time Fiona mentioned “Dear Me in Ten Years” when promoting her songs, she would cry because she was really facing the “question marks” in the song, confronted with the unknown, feeling scared and uncertain about the future. However, after enough crying and thinking, she began to discuss with her company that, in addition to singing and acting, she wanted to step out of her comfort zone and explore new possibilities.
To commemorate her decadelong journey in the music industry since her debut, Fiona released the conceptual album Tenacious in 2013. She took on many roles for the first time, from producer to costume designer, cover designer and art director for the music video sets and lighting. Fiona chose the album title for a reason: It reflects her relentless pursuit of music and unwavering commitment to her craft.
For this album, Fiona took a brave step forward by writing her own lyrics and composing her own music for the first time. The song “Recovery” is a touching reminder of the bond between Fiona and her cat. Fiona’s story is one of pain and regret. After her cat was diagnosed with a painful heart condition, Fiona had to make the difficult decision to let it go. The next day, she found solace in her music, and the song “Recovery” was born.
Fiona hopes to comfort those who have experienced sadness from parting with this song and learn to face the impermanence of life, becoming wise in adversity. “We should not forget all the hardships we have experienced. If you forget them, you will not be able to learn and gain from them. Don’t forget, don’t resent, don’t get angry. Slowly it will turn from a bad thing into a good thing.”
Ten years ago, Fiona was a confused girl, unsure of what the future held. But 10 years later, she had a different outlook. She had learned that growing up doesn’t have to be something to be feared, but something to be embraced. Fiona expressed this newfound understanding in her song “Me After Ten Years.” Through her music, she was able to convey the message that the price of growing up is not something to be dreaded, but a journey that can bring joy and appreciation for life.
Redefining herself & showcasing her true self on multiple stages
Fiona was filled with uncertainty before joining season 3 of the TV series Sisters Who Make Waves last year. Would people be let down after seeing her on the show? She recalled her dance teacher’s initial impression of her as being cold, only to discover her humorous side after getting to know her. After much contemplation, Fiona accepted that while she may have a cold side, she is much more than that. The songs she performs on the show will be her true self, and through them, everyone can get to know the real Fiona.
Fiona used to be content with singing the same familiar pieces. But when she joined Sisters Who Make Waves 3, she had to embrace a new approach. She was now in a “you choose, I learn” state of mind. Through this experience, Fiona discovered that her voice can express a much wider range of emotions. She is now open to learning and collaborating with different styles and genres, as long as it sounds good.
Fiona is taking a break from releasing new music to focus on discovering her true artistic identity. She wants to use her singing to tell stories that are honest and meaningful, instead of pretending to be someone she isn’t. “I want to tell stories that are real and true to who I am,” Fiona says. “I’m determined to find my own voice and express it through my music and its accompanying arrangements. By the end of the year, I’m hoping to have achieved this goal and be able to share my stories with the world.”
If one day Fiona’s career in the arts comes to an end, she plans to become a director. Years ago, two dreams had come to her in the night, connected in a way she couldn’t explain. From these dreams, she had crafted an outline for a script, a story she wanted to bring to life on the big screen. Someday, she hoped, her dreams would become a great movie.
Fiona has had a lifelong curiosity and a passion for the unknown. For the past 20 years, she has been on a journey of exploration, driven by her youthful spirit and accompanied by music and art. Despite the passing of time, her love and dedication remain unwavering. Even after two decades in entertainment, Fiona remains true to herself.
Fiona Sit on the cover of Billboard China.
Courtesy of Billboard China
YOASOBI’s “Idol” dominates the Billboard Japan Hot 100 for the sixth consecutive week, on the chart dated May 24.
While points for each metric of the chart’s measurement besides radio airplay are falling slightly for the track, it rules streaming and video views for the sixth straight week. On top of these two metrics, the song continues to show strength in downloads though it slips to No. 2.
Spitz’s “Utsukushii Hiré” also holds at No. 2 on the Japan Hot 100, with points increasing in all metrics but karaoke. In particular, the Case Closed movie theme racked up 10,864,706 streams this week to exceed the weekly 10 million mark for the first time.
Travis Japan’s “Moving Pieces” debuts at No. 3 on the Japan Hot 100 this week, topping downloads with 38,006 units and hitting No. 20 for streaming with 4,431,520 streams. The track by the new boy band is at No. 44 for video and No. 50 for radio, leaving room for improvement in the future.
In other notable moves on the Japan Hot 100, MAZZEL’s debut single “Vivid” leaps 22-4 to score the group its first top ten hit. The single sold 43,340 CDs in its first week to hit No. 1 for sales and is also the No. 1 song for radio, but came in at No. 24 for downloads and No. 16 for video.
“Vivid” Music Video
INI’s “FANFARE” bows at No. 10 this week, off to a good start coming in at No. 5 for radio, No. 13 for streaming, No. 17 for video, and No. 34 for downloads.
“FANFARE” Music Video
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
Check out the full Billboard Japan Hot 100 chart, tallying the week from May 15 to 21, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Japanese pop icon Kyary Pamyu Pamyu sat down with Billboard Japan for its Women in Music interview series featuring trailblazing female players in the country’s music industry. Billboard Japan launched its WIM initiative in 2022 in the same spirit as the established example of Billboard’s event that began in 2007, honoring artists, producers and executives who have made significant contributions to the music industry and empowered women through their work, the highest accolade being Woman of the Year.
Kyary Pamyu Pamyu is currently in the midst of her world tour that kicked off May 15. Since her debut, the “Fashion Monster” singer has established a one-of-a-kind world with her unconventional style and has grown into an artist with loyal fans in her home country and abroad. While the Harajuku icon recalls that the little girl who eventually made her debut as Kyary Pamyu Pamyu used to be “shy and withdrawn,” she transformed her insecurities into her strengths as she built her career. In this interview, the KRK LAB label founder shares how she has valued taking a step forward without worrying about how other people see her, and encourages others to do the same.
Could you tell us about the women you looked up to growing up?
I think the first person I looked up to was my kindergarten teacher. She must have been in her early twenties, and from my point of view as a little girl, she was a flawless woman who was cheerful and kind, could play the piano and good at making crafts. It wasn’t until I was a little older that I realized what a great person my mother was. Especially after I started living alone at the age of 18, I came to realize that my mother, who had been there for me all along, had been doing various things to make our family’s life easier.
What were you like as a child?
Originally, I was shy and withdrawn. I was also easily swayed and wasn’t very interested in fashion until I entered high school. Even then I’d tag along with my friends to SHIBUYA 109 (fashion complex), and if someone said, “This dress is cute so let’s get the same one,” I’d be influenced by that and end up buying one.
But after I began hanging out like that, I saw some clothes in a window display in a store in Harajuku one day on my way home and thought, “That’s so cute!” It was really like a bolt of lightning. That’s how I got into Harajuku fashion and became more and more flamboyant. I really enjoyed wearing the clothes I liked and going out on the town, and it felt like I’d found my place in the world.
I imagine it would take a lot of courage for a shy and withdrawn girl to dress in loud fashion. You didn’t feel any hesitation?
I didn’t feel comfortable presenting something in front of everyone at school and drawing attention to myself like that, but I actually felt happy when strangers on the street looked at what I was wearing. I even wore makeup like a clown, and even when people giggled at me, I felt like I could stand proud and say, “This is me!” I was myself in the fashion I liked, and that was when I began thinking that was how I wanted to live my life. That has continued after my debut as Kyary Pamyu Pamyu.
So Harajuku fashion helped expand your world in a major way. People tend to worry about how others see them, especially around high school age, or are caught up in stereotypes of femininity. Why do you think you were able to free yourself from such stereotypes?
Back in those days [in Japan], we had magazines that everyone read that presented role models that supposedly helped you become more popular [with the opposite sex] in a comprehensible way, so I think I also had a vague idea of how I should dress myself and do my hair to be popular. If that particular style had suited me, I might have gone along with it, but I didn’t think I looked good in it. I think felt insecure about certain aspects of myself and was trying to hide that or was make myself look strong by wearing eccentric clothes and flamboyant colors. Especially after I made my debut, I was complimented because I didn’t fit into that framework and that made me happy.
If you were to give advice to someone who wants to dress the way they want to, like you do, but feel hesitant about doing so, what would you say?
I’ve had people tell me, “I’m interested in your style, Kyary-chan, but I can’t do it myself, so I’m content to just look at you,” and the thing that goes through my mind is, “Please just try it once!” My favorite quote is by [the Japanese author] Mariko Hayashi, who wrote, “Regret about the things you’ve done grows smaller by the day, but regret about the things you didn’t do grows larger by the day.” [from Yashin no susume]. If there’s something you’d like to do, just do it once, it’s OK if it doesn’t work out.
[Hayashi’s] words actually helped me out last year. When I performed at Coachella, three of the four dancers who were supposed to perform with me on the second weekend suffered health problems. My team was concerned and suggested maybe I should cancel the show, but I decided to go ahead with it by myself. Until then, I didn’t think it was possible [to do alone] but when I gave it a try, I managed to pull though like Mario in superstar mode. And I thought, “Why didn’t I try it before?” I realized that I had been limiting my own possibilities. There may be a lot of things you can do when you actually try them, even if you don’t think you can, so I encourage everyone to give whatever a try.
You got married in March and began new stage in your personal life. I’d like to ask how this might affect your work as an artist, but first of all, congratulations on your marriage!
Thank you so much. I think this industry is a world where there’s a gap between the glamorous side and everything else. There are times I find myself eating fast food alone in a corner of a room after performing on a big stage. [Laughs] I think it’s important for people to support each other precisely because it’s such a world, so it’s reassuring to have someone I can support who will also do the same for me.
While I’m not sure what will happen yet, I’ve thought about having children. I often hear of [female] colleagues who fear the gap [in their career] brought about by childbirth, since women do need a period of rest. They’re afraid they won’t be able to return to their place in the industry after taking a break. Now that I’m married, I feel I need to face these issues properly by accepting that they happen.
Having one’s career interrupted due to motherhood is a major issue for many women. Has being a woman affected your choices in any other ways?
Around the time when I was in high school, I think there were even fewer female politicians than there are now, and I don’t think there were many women in decision-making positions in schools as well, like principals or year-head teachers. Things have changed now compared to those times, and I feel that the world is becoming easier to live in. Having said that, I still sometimes find myself being the only female artist in the lineup at music festivals and other events where multiple artists perform, and have always wondered why.
Also, I faced a lot of frustrating moments when I first started out. In addition to being a young woman, people wanted to treat me as some kind of ditzy character, perhaps because of my eccentric stage name and fashion. My comments in interviews would be rewritten as being overly friendly or rude in tone, or the writer would add something like, “Kyary threw candy at us the moment she walked in.” [Laughs] Then there were times when I would greet clients on site and they wouldn’t even look me in the eye. Because of these experiences, I’ll always remember the people who were kind to me back then, and I want to make sure that I treat everyone equally in the workplace.
That’t unacceptable, to be treated without respect because of one’s gender or fashion. What do you think is necessary for women to thrive in the Japanese music and entertainment industry?
I think [Japanese] society is in the process of shifting into an era of new values from that of the old. For example, when a politician comes under fire for making a derogatory remark about women, they say things like it was meant to be a joke. I find it hard to believe that someone who said something derogatory as a joke would realize that “times are different now, so I should change the way I live.” It makes me think that people’s values don’t change that easily. If more people of the younger generation with new values are given decision-making powers, that would make it easier for women to work.
—This article by Rio Hirai (SOW SWEET PUBLISHING) first appeared on Billboard Japan
It’s that time of year again! Thirty-seven countries around Europe competed in the 67th annual Eurovision Song Contest, searching for the greatest new piece of songwriting on the continent. On May 13, Sweden’s Loreen took home top honors for “Tattoo,” sending streams and sales for the song soaring. It leads a pack of titles from the competition on Billboard’s May 27-dated global charts.
“Tattoo” debuts on the Billboard Global 200 at No. 15, while shooting from No. 146 to No. 7 on the Billboard Global Excl. U.S. tally. In the week ending May 18, the ballad generated 32 million official streams and sold 12,000 downloads worldwide, according to Luminate, up by 245% in streams and 737% in sales from the week prior.
Not only is Loreen the first woman to win Eurovision twice (following her victory with “Euphoria” in 2012), “Tattoo” instantly becomes the highest charting Eurovision song in each chart’s two-and-a-half-year history. It surpasses Måneskin’s “Zitti E Buoni,” which hit No. 10 on Global Excl. U.S. and No. 22 on the Global 200, following its victory in 2021. The Italian band later reached the top three of both lists with its cover of The Four Seasons’ 1967 hit “Beggin’.”
Finland’s Käärijä follows with this year’s Eurovision runner-up, “Cha Cha Cha.” The song debuts at No. 13 on Global Excl. U.S. and No. 27 on the Global 200, with 24.4 million streams and 4,000 downloads sold worldwide. Norway’s “Queen of Kings” by Alessandra is next, at Nos. 29 and 58, respectively (19.5 million streams; 5,000 sold). Israel’s Noa Kirel arrives on Global Excl. U.S. at No. 153, while Italy’s Marco Mengoni’s re-enters Global Excl. U.S. with “Due Vite” at No. 174, after reaching No. 32 following its victory at Sanremo, previewing Eurovision, in February.
Eurovision’s three entries on the Global 200 matches hauls from 2022 and 2021, while the count of five on Global Excl. U.S. marks a decline from last year’s six and 2021’s seven. Still, Loreen, Käärijä and Alessandra boast three of the four top streaming figures for charted competing songs following the contest’s final round in that spain. Below the 32 million for “Tattoo” are Måneskin’s “Zitti E Buoni,” which drew 30.1 million global streams in the week ending May 27, 2021; “Cha Cha Cha” (24.4 million) and “Queen of Kings” (19.5 million).
Meanwhile, this year’s group of chart entries averaged 3.6% of their streams from the U.S. and 96.4% from beyond, with each hitting Billboard European Hits of the World charts. Unsurprisingly, Loreen leads again, as “Tattoo” crowns lists in Belgium, Luxembourg, the Netherlands and Switzerland.
Here is a look at top 10 ranks for this year’s charting Eurovision titles on the latest Hits of the World surveys.
Käärijä is also No. 1 on four lists, including his native Finland, Poland, Iceland and, perhaps unexpectedly, Sweden, despite Loreen’s home-field advantage. There, “Tattoo” is No. 3, while Alessandra’s “Queen of Kings” is No. 7.
Ultimately, Loreen appears on 21 Hits of the World charts, hitting the top 10 on 15. Käärijä follows on 17 charts, in the top 10 on 11. Next is “Queen of Kings,” on 14 rankings (eight top 10 placements), while “Unicorn” is on four international tallies (two top 10s). Plus, Mengoni is No. 19 in Iceland.
On Iceland Songs, the group nearly pulls off a clean sweep, as Käärijä, Loreen and Alessandra line up at Nos. 1-3, with Kirel at No. 5.
Lewis Capaldi can almost taste victory in the U.K. chart race.
The Scottish singer and songwriter will be hard to beat, as Broken By Desire To Be Heavenly Sent (EMI) notches 68,000 chart sales by the midweek point, the Official Charts Company reports, and is currently outselling the rests of the top 20 combined.
It’s on track to overtake Ed Sheeran’s Subtract (Asylum) as the year’s fastest-selling LP, and push Sheeran’s album from the summit after a two-week stay (Subtract opened with 76,000 chart sales).
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See latest videos, charts and news
See latest videos, charts and news
Assuming Capaldi reigns supreme when the Official U.K. Albums Chart is published Friday, May 26, it’ll give the Scot his second leader after his 2019 debut Divinely Uninspired To A Hellish Extent, which has passed one million U.K. combined sales and features the global hit “Someone You Loved,” which is recognized by the OCC as the most-streamed song in the U.K.
Broken By Desire To Be Heavenly Sent is already a hit machine. Three songs from it, “Forget Me,” “Pointless,” and “Wish You The Best,” have led the Official U.K. Singles Chart.
Capaldi leads an all-new top four on the Official Chart Update. Based on midweek sales and streaming data, ‘80s rockers Def Leppard could debut at No. 2 with Drastic Symphonies (Mercury), a collaboration with the Royal Philharmonic Orchestra, while fellow British rock band Sleep Token could complete the podium with Take Me Back To Eden (Spinefarm), set to arrive at No. 3.
Close behind is Swedish rock act Ghost with their covers EP Phantomime (Loma Vista), set to start at No. 4, while Sheeran’s Subtract is poised to drop 1-5.
Also eyeing top 10 berths are veteran prog-rock group Yes with Mirror To The Sky (Century Media), at No. 6 on the chart update, and iconic U.S. singer and songwriter Paul Simon with Seven Psalms (Sony Music CG), set to bow at No. 9.
Finally, as fans mourn the death of the Smiths’ bass player Andy Rourke, the indie legends’ music is providing some comfort. The Smiths’ hits compilation The Sound of The Smiths (Rhino) could return to top 40, at No. 30.
Lana Del Rey‘s long-overdue release of “Say Yes To Heaven” (via Polydor) could immediately land her a U.K. top 10. The U.S. alternative pop star blasts to No. 8 on the chart update, and is on track for the week’s top debut. Co-written and produced in 2012 with her frequent collaborator Rick Nowels, “Heaven” was […]