Pop
Page: 133
It’s a circus out there! Corey Feldman has dropped a colorful ’80s inspired music video for his latest single, “The Joke,” and Billboard is premiering the visual directed by Limp Bizkit’s Fred Durst.
“‘The Joke’ is more than just a song — it’s a statement. For years, I’ve faced criticism from those who want to undermine my dedication to music. This single is my way of reclaiming the narrative and showing that my commitment to my art is unshakeable,” Feldman tells Billboard. “Fred and I have a long history of working together. We originally recorded ‘Seamless’ as a feature in 2016 on my Angelic 2 The Core album, which will be re-released digitally on July 4th weekend. We co-wrote and co-produced that song, but working with Fred Durst as a director on the music video has been an incredible experience. He had a clear concept in mind and I relinquished the creative to him, and although it wasn’t how I saw it, his version surprised me and delivers the laughs. I can’t wait for my fans to see the energy and vision we’ve brought to life”
The video kicks off with actor-singer on stage bouncing around to circus music, his dancers and band behind him, everyone dressed in the decade’s brightest duds. The tune then takes a creepy turn as Feldman laughs like a maniac before the band — complete with headbands and hair inspired by the likes of Robert Smith and Alice Cooper — begins to jam.
The video slows down during the bridge, when The Lost Boys actor rips open his multicolored tracksuit’s jacket to reveal the Goonies T-shirt underneath, paying homage to the 1985 Steven Spielberg-directed classic in which he starred as he sings, “Maybe there are times, I second guess myself/ The pain outweighs the wealth?/ Maybe it is time, to crawl back in my shell, contemplate farewell?/ Well …”
A familiar “hee hee!” is heard as the former child star covers his eyes, then re-emerges dressed as his late friend Michael Jackson. “Let’s give ’em hell!” Feldman sings as he busts out some moves by the King of Pop.
The Limp Bizkit frontman makes a cameo at the end, clapping as the video ends and Feldman — still dressed as Jackson — joins him on the set. “Fantastic!” the rocker praises, but the actor has a few concerns about the video they just filmed.
“Listen, I love that you’re directing this. I think it’s gonna be amazing; everything looks great,” Feldman starts before gesturing to his sequined Michael Jackson outfit. “I really don’t know about this whole thing, though.”
The rocker assuages his fears by saying, “Brother, look at me. It’s not going in the video.” Guess “The Joke” is on Feldman!
Ahead of the video’s premiere on Billboard.com, the singer-actor performed the song on the Howie Mandel Does Stuff podcast and talked to the host about his music and influences. “I grew up studying from Michael. I learned from Michael,” he shared. “So a lot of the stuff I design musically … has gotta have that same kind of drive, it’s gotta have that thing that makes me dance, that makes me want to move so that it comes alive when I perform it.”
Watch the music video for “The Joke” above, and check out Corey Feldman when he joins Limp Bizkit on the Loserville tour, which kicks off July 16 in Somerset, Wis.
Dave Grohl has been a longtime fan of Taylor Swift, but a recent comment he made hasn’t sat well with Swifties. The Foo Fighters rocker seemingly took a jab at Swift’s Eras Tour while performing at London Stadium on Saturday (June 22), which happened to take place at the same time as the pop superstar’s nearby […]
Sabrina Carpenter’s “Please Please Please” is the newly minted biggest song in the world, as it rises to No. 1 in its second week on both the Billboard Global 200 and Billboard Global Excl. U.S. charts.
The track becomes Carpenter’s second leader on each list, dethroning her first on each ranking, “Espresso,” which a week earlier ascended to the Global 200 summit and logged a fifth week atop Global Excl. U.S.
Carpenter is just the second artist to notch new Global 200 No. 1s in consecutive weeks, after Taylor Swift’s “Cruel Summer” and “Is It Over Now? (Taylor’s Version) [From the Vault]” reached the top spot in back-to-back frames in November 2023.
Trending on Billboard
Elsewhere, Trueno earns his first Global Excl. U.S. top 10 with “Real Gangsta Love.”
The Global 200 and Global Excl. U.S. charts rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Global 200 is inclusive of worldwide data and the Global Excl. U.S. chart comprises data from territories excluding the United States.
Chart ranks are based on a weighted formula incorporating official-only streams on both subscription and ad-supported tiers of audio and video music services, as well as download sales, the latter of which reflect purchases from full-service digital music retailers from around the world, with sales from direct-to-consumer (D2C) sites excluded from the charts’ calculations.
[embedded content]
“Please Please Please” crowns the Global 200, lifting from No. 2, with 119.2 million streams (up 14%) and 9,000 sold (down 10%) worldwide June 14-20.
The song by the Quakertown, Pa.-born singer-songwriter-actress was released June 7, alongside its official video, and she performed it during her set at New York’s Governors Ball the following day. On June 18, acoustic, a cappella, instrumental, sped up and slowed down versions of the single were released. On June 20, Carpenter announced her 29-date Short n’ Sweet Tour, set to start Sept. 23 in Columbus, Ohio. Her album Short n’ Sweet, featuring both “Please Please Please” and “Espresso,” is due Aug. 23.
“Espresso” dips to No. 2 on the Global 200 as Carpenter becomes the first woman to hold the chart’s top two spots in consecutive weeks. Among all acts, she joins only Peso Pluma, who achieved the feat for two weeks in June 2023.
Billie Eilish’s “Birds of a Feather” rises 4-3 for a new Global 200 high; Shaboozey’s “A Bar Song (Tipsy)” lifts 5-4 for a new best; and Tommy Richman’s “Million Dollar Baby” rebounds 7-5 after it spent two weeks at No. 1 earlier in June.
On Global Excl. U.S., “Please Please Please” vaults 5-1 with 69 million streams (up 26%) and 2,000 sold (down 11%) outside the U.S. June 14-20.
“Espresso” ranks at No. 2 on Global Excl. U.S. – making Carpenter the first solo woman to claim the chart’s top two spots simultaneously. Among all acts, Jung Kook (two weeks in 2023), BLACKPINK (one, 2022) and BTS (one, 2020) have also earned such a double-up.
Carpenter is also the first solo woman to place at Nos. 1 and 2 on both the Global 200 and Global Excl. U.S. concurrently. Overall, Jung Kook (“Standing Next to You,” “Seven,” featuring Latto; Nov. 18, 2023) and BLACKPINK (“Shut Down,” “Pink Venom,” Oct. 1, 2022) previously made such a mark in the charts’ top two ranks simultaneously.
Eilish’s “Birds of a Feather” wings 4-3 for a new Global Excl. U.S. high; FloyyMenor and Cris Mj’s “Gata Only” drops to No. 4 from its No. 3 peak; and Benson Boone’s “Beautiful Things” bumps 6-5 following eight weeks at No. 1 beginning in February.
[embedded content]
Plus, Trueno scores his first Global Excl. U.S. top 10 as “Real Gangsta Love” soars 26-10 with 41.5 million streams (up 43%) outside the U.S. The track by the Argentinian singer and rapper rules four tallies in Billboard’s Hits of the World menu (Bolivia Songs, Ecuador Songs, Peru Songs and Spain Songs) for a second week each and has hit the top five on the Billboard Argentina Hot 100.
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated June 29, 2024) will update on Billboard.com Tuesday, June 25. For both charts, the top 100 titles are available to all readers on Billboard.com, while the complete 200-title rankings are visible on Billboard Pro, Billboard’s subscription-based service. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
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.
Summer officially kicked off a few days ago, and it feels impossible to consider that this time last year, espresso was simply a coffee-brewing method and post-dinner option. At the start of spring, none of us were me espresso — were we ever so young?
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
But then, Sabrina Carpenter went on the type of months-long run that turns an artist into a superstar. Over the past couple months, she played Coachella; performed on the season finale of Saturday Night Live; announced a tour that will make her an arena headliner, after playing opening act to Taylor Swift’s Eras stadium shows just a few months earlier; snagged a top spot at a major U.S. festival, Outside Lands; made her runway debut at Vogue World; hung out on- and off-camera with her movie star boyfriend, Barry Keoghan; and received countless celebrity co-signs as the cool new kid to join their ranks.
[embedded content]
After years of Disney-approved studio albums and a gradual reinvention into an adult pop singer-songwriter, the 25-year-old has scooped up several wins reserved for undeniable A-listers in a short amount of time. Of course, “Espresso,” the buoyant single that Carpenter released in early April, helped caffeinate her career. A top 10 mainstay on the Hot 100 since its release, “Espresso” has not only become a defining pop hit of 2024, but got meme’d ad nauseam, sending “me espresso” into the cultural lexicon as other superstars warbled its best parts in viral tribute. As “Espresso” spends another week in the Hot 100’s top 5, it shows no signs of slowing down.
Trending on Billboard
“Espresso” is Carpenter’s mainstream breakthrough — but it isn’t her first No. 1 hit. That honor is reserved for “Please Please Please,” Carpenter’s follow-up single, which climbs to the top spot after debuting at No. 2 last week. It’s an unexpected development following weeks of “Espresso” ubiquity, but for Carpenter, it’s an even more impressive crowning achievement.
“Please Please Please” may contain some typical characteristics of a modern smash — Jack Antonoff produced it, after all, and co-wrote the song with Carpenter and regular hit-maker Amy Allen. Its buzzy music video co-stars Keoghan, in a bit of action-packed celebrity interplay that has racked up 34 million YouTube views. Yet the studio pedigree and must-see visuals don’t mask its idiosyncrasies. The biggest song in America is a sly, low-key, downright weird single; “Please Please Please” doesn’t boast the instant catchiness of “Espresso,” but instead provides an even stronger jolt of Carpenter’s singular persona.
[embedded content]
Pivoting away from the confident synth-pop bounce of “Espresso,” Carpenter treats “Please Please Please” like a country-tinged confessional. She speak-sings about past and present errors in judgment over muted guitar and drum taps in the verses. When the hook hits, Carpenter pleads in high-definition, harmonizing with herself in a way that somehow splits the difference between a disco anthem and folksy ballad.
By the time Carpenter’s register dips in the second half of the chorus and she gurgles the threat, “I beg you, don’t embarrass me, motherf–ker,” she’s obviously upended any expectations of an “Espresso” rehash — but also, she’s remained as playful and off-kilter as she sounded when she sang “I’m working laaaate / ‘Cuz I’m a singerrrrr.” Carpenter possesses a wry sense of humor that helped define the songwriting on her great 2022 album Emails I Can’t Send, and after injecting her eccentricities into “Espresso,” “Please Please Please” amplifies them. Her personal and musical quirks can be felt in every line, hook and ad-lib, and they turn “Please Please Please” into a song that no other artist could deliver in quite the same way.
The immediate success of “Please Please Please” — which debuted at No. 2 on the Hot 100 last week after quickly becoming a streaming juggernaut, then overtook Post Malone and Morgan Wallen’s “I Had Some Help” in its second frame — confirms the breadth of Carpenter’s newfound popularity. After “Espresso” became her first career top 20 on the Hot 100, Carpenter quickly followed it with a song that was a sonic departure but a spiritual relative, and revealed more about what type of pop star she wants to be.
Maybe “Espresso” eventually hits No. 1 and stands as the bigger hit for Carpenter, or maybe its success was simply prelude for a less traditional smash. It doesn’t really matter. Either way, pop listeners are clearly invested in Carpenter beyond her breakout hit’s ultra-catchy refrain and have latched onto the personality that helped power these two hits.
Now, we’re likely about to experience a summer full of two tonally disparate Carpenter singles racking up millions of streams and numerous weeks in the top 10 of the Hot 100. At the end of it, we’ll get a new Carpenter full-length, Short n’ Sweet — after a first half of 2024 full of big-name album releases, it could dominate the cultural conversation during a relatively quiet third quarter. Carpenter commanded the spring thanks to “Espresso”; “Please Please Please” may have set her up for a whole lot more winning seasons.
Sabrina Carpenter’s “Please Please Please” rises to No. 1 on the Billboard Hot 100 songs chart, a week after it debuted at No. 2. It becomes the first leader on the list for the pop singer-songwriter and actress.
The song, on Island Records and promoted to radio by Republic Records, drew 50.9 million official streams (up 1%) – Carpenter’s best career streaming week for a song – and 3.2 million radio airplay audience impressions (up 502%) and sold 7,000 (down 10%) in the United States in the June 14-20 tracking week, according to Luminate.
The single spends a second week at No. 1 on the Streaming Songs chart and holds at No. 7 in its second frame on Digital Song Sales. (It’s as yet bubbling under the Radio Songs chart.)
[embedded content]
“Please Please Please” was released June 7, alongside its official video starring Carpenter’s significant other, Oscar-nominated Barry Keoghan, and she performed it during her set at New York’s Governors Ball the following day. On June 18, acoustic, a cappella, instrumental, sped-up and slowed-down versions of the song were released. On June 20, Carpenter announced her 29-date Short n’ Sweet Tour, set to start Sept. 23 in Columbus, Ohio. (She opened on the South American run of Taylor Swift’s The Eras Tour in August-November 2023 and rejoined Swift this February-March for dates in Australia and Singapore.)
The track, along with “Espresso,” at No. 4 on the Hot 100 a week after reaching No. 3, introduces Carpenter’s album Short n’ Sweet, due Aug. 23.
The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data, the lattermost metric reflecting purchases of physical singles and digital tracks from full-service digital music retailers; digital singles sales from direct-to-consumer (D2C) sites are excluded from chart calculations. All charts (dated June 29, 2024) will update on Billboard.com Tuesday, June 25. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
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.
Below is a deeper look at Carpenter’s coronation and the rest of the latest Hot 100’s top 10.
Carpenter’s First Hot 100 No. 1
Please, please, please give fans more! Sabrina Carpenter stunned when she made her runway debut at the Vogue World 2024: Paris on Sunday (June 23). The “Espresso” singer added a jolt of joie de vivre she walked the fashion event held at the Place Vendôme. Dressed in a red-and-white striped bathing suit with a matching […]
There’s nothing fancy about this request. Charli XCX is asking fans to be civil when it comes to Taylor Swift after the “Boom Clap” singer’s sold-out Partygirl DJ set Friday (June 21) at Club Zig in Sao Paolo, Brazil. After seeing online that attendees at the show were chanting “Taylor is dead,” the Grammy nominee […]
Every composer hopes their music outlives them – and Henry Mancini’s music certainly has. Thirty years after Mancini died of pancreatic cancer at the too-young age of 70, his music came to life in a star-studded, season-opening concert at the Hollywood Bowl. The event, commemorating the 100th anniversary of Mancini’s birth (the actual date was […]
Taylor Swift‘s Wembley Stadium show got silly Sunday night (June 23) when Travis Kelce made an unexpected appearance on the London stage during the singer’s Tortured Poets Department set. Plus, the tour date marked the live debut of Swift’s newest song.
The couple had some fun at the third of a trio of Swift’s concerts at Wembley this weekend. Kelce, after watching the show among friends, family and celebrities all three evenings in London, made his Eras Tour stage debut at the start of “I Can Do It With a Broken Heart.” The Kansas City Chiefs tight end carried an exhausted Swift to the couch on set in the over-the-top final act of her Tortured Poets extravaganza.
The audience whooped in surprise at the sight of the NFL player on Swift’s stage; he’s been spotted at a handful of Eras concerts, but usually as a VIP spectator who’s trading friendship bracelets or vibing to songs like “Blank Space,” “Karma” and “So High School.” Among those watching at Wembley Sunday night was Paul McCartney.
Trending on Billboard
Kelce played along with Swift’s dancers, in character to get the star ready to “fake it ’til you make it” for the crowd and smile, “even when you wanna die” — as the song goes.
“I was grinnin’ like I’m winnin’/ I was hittin’ my marks/ ‘Cause I can do it with a broken heart,” Swift sings on the pop track with a cheeky chorus: “I’m so depressed, I act like it’s my birthday every day/ I’m so obsessed with him, but he avoids me like the plague/ I cry a lot, but I am so productive, it’s an art/ You know you’re good when you can even do it with a broken heart.”
When The Tortured Poets Department era of the show ended, the pop star began her acoustic set, which typically features one guitar and one piano performance of songs she hasn’t ever, or doesn’t often, play live. Lately, she’s been presenting many of her surprise song picks as mashups.
On Sunday, she told the stadium that “if you know the words to this one, you get extra credit points ‘cause it’s only been out for like two days.”
“It’s my friend Gracie’s,” she added, speaking of Gracie Abrams, who just released the album The Secret of Us, which includes a duet with Swift. (The night they wrote the duet “us.” will be hard to forget, as the songwriting session wound up in flames: a candle caused a small kitchen fire that Swift managed to put out herself with a fire extinguisher.)
Swift performed “us.” live for the first time, beginning on guitar and joined by Abrams on piano when she arrived on stage alongside her.
“I just love this girl so much,” Swift said at one point.
She also praised her as a collaborator: “Writing with her, she’s just so badass. That’s a writer.”
The two hugged as the song concluded, and then Swift offered London a medley of some 1989-era fan favorites: “Out of the Woods,” “Is It Over Now?” and “Clean.”
Check out clips of all of those unique moments from Sunday’s show at Wembley Stadium below.
Watch Travis Kelce carry Taylor Swift on the stage for the “I Can Do It With a Broken Heart” bit:
Watch Taylor Swift and Gracie Abrams perform ‘Us’ together, plus Swift on piano for a mashup of “Out of the Woods,” “Is It Over Now?” and “Clean.”
Taylor Swift’s The Tortured Poets Department notches its ninth consecutive and total week at No. 1 on the Billboard 200 chart (dated June 29). It earned 126,000 equivalent album units in the U.S. in the week ending June 20 (down 1%), according to Luminate.
Explore
See latest videos, charts and news
See latest videos, charts and news
Of Swift’s 14 No. 1s on the Billboard 200, Poets now has the second-most weeks at No. 1; only 1989 and Fearless, each with 11, have more weeks at No. 1.
Swift adds her 78th 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.)
Trending on Billboard
Also in the top 10 of the new Billboard 200, Don Toliver nets his fourth top 10 effort, and best week by units earned, with the No. 3 debut of Hardstone Psycho; $uicideboy$ score their highest-charting album ever, and best weekly units sum, as New World Depression launches at No. 5; Luke Combs nabs his sixth top 10 with the No. 6 bow of Fathers & Sons; and NAYEON achieves her second top 10 with NA’s start at No. 7.
With four debuts in the top 10, the region has the most new entries since a little over a year ago, when six albums debuted in the top 10 on the June 17, 2023-dated list.
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 29, 2024-dated chart will be posted in full on Billboard‘s website on June 25. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of The Tortured Poets Department’s 126,000 equivalent album units earned, SEA units comprise 93,000 (down 11% — it’s No. 1 on Top Streaming Albums for a ninth week; its SEA units equal 121.32 million on-demand official streams of the deluxe edition’s 31 songs), album sales comprise 33,000 (up 42%) and TEA units comprise less than 1,000 (down 11%). The album’s sales grew 42% in the tracking week thanks largely to two new CD variants of the set that shipped to customers. The two CDs, which were sold exclusively in Swift’s webstore, were briefly available to pre-order in early June. Both CDs contain the standard album’s 16 songs and an acoustic bonus track (one includes “Down Bad” and one includes “Guilty as Sin?”).
Notably, as The Tortured Poets Department has spent its first nine weeks at No. 1, it joins just five other albums that have achieved that same feat: Morgan Wallen’s One Thing at a Time (first 12 weeks at No. 1, of its total 19 weeks at No. 1 in 2023-24); Wallen’s Dangerous: The Double Album (all 10 of its weeks at No. 1 were from its debut atop the chart, 2021); Drake’s Views (first nine weeks at No. 1, of its total 13 weeks at No. 1 in 2016); Whitney Houston’s Whitney (all 11 of its weeks at No. 1 were from its debut atop the chart, 1987); and Stevie Wonder’s Songs in the Key of Life (first 13 weeks at No. 1, of its total 14 weeks at No. 1 in 1976). (For context, today, it’s common for albums to debut at No. 1. However, before 1991, when the Billboard 200 began utilizing Luminate’s electronically monitored tracking information, only six albums debuted at No. 1, including Whitney and Songs In the Key of Life.)
At No. 2 on the new Billboard 200, Billie Eilish’s Hit Me Hard and Soft is a non-mover, with 84,000 equivalent album units earned (down 20%).
Don Toliver’s Hardstone Psycho debuts at No. 3 on the Billboard 200 with 76,500 equivalent album units earned, his best week by units. Hardstone marks the hip-hop artist’s fourth consecutive top 10, the entirety of his charting releases. Of the 76,500 earned by the album in its opening week, SEA units comprise 57,000 (equaling 75.98 million on-demand official streams of the set’s 16 songs on its streaming edition; that marks his largest streaming week ever), album sales comprise 19,500 (his best sales week yet, all from digital download album purchases) and TEA units comprise a negligible sum.
Hardstone Psycho was announced on May 22 and features guest turns from Cash Cobain, Future, Kodak Black, Metro Boomin, Travis Scott, Teezo Touchdown and Charlie Wilson. The set’s release was preceded by a trio of songs, all of which reached the top 40 on the Hot R&B/Hip-Hop Songs chart: the Toliver-solo cuts “Bandit” and “Deep in the Water,” and “Attitude,” featuring Wilson and Cash Cobain.
The album’s first-week sales were bolstered by a mid-week release of a deluxe digital download album, sold exclusively through Toliver’s webstore, for $5, containing four additional bonus tracks exclusive to this download version and features from Lil Uzi Vert and Yeat.
Morgan Wallen’s chart-topping One Thing at a Time holds at No. 4 on the new Billboard 200 with 73,000 equivalent album units (up 2%).
$uicideboy$ clock their highest-charting album and biggest week by units earned as New World Depression debuts at No. 5 with 66,000 equivalent album units earned. It’s the fourth top 10-charting effort for the hip-hop duo (comprising cousins $crim and Ruby da Cherry) and first to reach the top five.
Of the album’s 66,000 units earned in its first week, SEA units comprise 46,000 (equaling 62.75 million on-demand official streams of the set’s 13 songs, marking the act’s biggest streaming week), album sales comprise 20,000 (with 16,000 of that sum on vinyl, bolstered by its availability across six variants — it’s the top-selling vinyl album of the week and the act’s best-ever sales week on vinyl) and TEA units comprise a negligible sum. The album was announced in early March and its release was preceded by the release of the song “Us Vs. Them,” which become the act’s first charting hit on the Billboard Hot 100 chart.
Luke Combs collects his sixth top 10 on the Billboard 200 as his new Fathers & Sons bows at No. 6 with 60,000 equivalent album units earned. The set was released on June 14 with little warning, as the country star announced the effort on June 6 alongside the release of its first cut, “The Man He Sees in Me.” The track debuted at No. 14 on the Hot Country Songs chart dated June 22.
Fathers & Sons is a thematic album “about being a dad” and was issued June 14, two days before the Father’s Day holiday. Combs has two sons, both under the age of 2.
Of the 60,000 units earned in Fathers & Sons’ first week, SEA units comprise 45,000 (equaling 58.11 million on-demand official streams of the set’s 12 songs), album sales comprise 14,000 (it was widely available as a digital download album; it had just one CD and one vinyl LP, both sold exclusively via Combs’ webstore) and TEA units comprise 1,000.
NAYEON nets her second top 10-charting title on the Billboard 200 as the TWICE member’s second solo album, NA, enters at No. 7 with 47,000 equivalent album units earned. The set was announced in May and not preceded by any pre-release songs. (The set’s first single is “ABCD,” released simultaneously with the album on June 14.) Of the album’s 47,000 units earned, album sales comprise 43,000 (making it the top-selling album of the week; it debuts at No. 1 on Top Album Sales), SEA units comprise 4,000 (equaling 5.41 million on-demand official streams of the set’s seven songs) and TEA units comprise a negligible sum. The album’s first-week sales were bolstered by its availability across 15 CD variants and two vinyl variants, all containing branded paper merchandise.
Chappell Roan’s The Rise and Fall of a Midwest Princess continues to climb the chart, as the buzzy artist’s album steps 10-8 (a new peak) with 46,000 equivalent album units earned (up 19%, the set’s best week yet). With a gain of nearly 7,500 units in the tracking week, the album also scores the week’s Greatest Gainer trophy, indicating the chart’s biggest unit gain of the week. During the tracking week ending June 20, Roan played the Bonnaroo Music & Artist Festival (June 16). Her interview and performance on NBC’s The Tonight Show Starring Jimmy Fallon (which aired early in the morning of June 21, and garnered wide attention through its social media clips that day) will impact next week’s chart (dated July 6).
Rounding out the top 10 are Charli XCX’s Brat (falling 3-9 in its second week with 45,000 units earned; down 42%) and Wallen’s chart-topping Dangerous: The Double Album (dipping 7-10 with 44,000; up less than 1%).
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.