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taylor swift

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Taylor Swift encouraged her fans to “meet me at midnight” on Friday (Jan. 27), when she unveiled the much anticipated music video for her Midnights opening track, “Lavender Haze.”

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Swifties have been waiting for the “Lavender Haze” music video for months, especially since the “Bejeweled” music video premiered in late October. Swift shared the Cinderella-inspired “Bejeweled” visual just two weeks after dropping the first Midnights music video, which was for the album’s No. 1 lead single, “Anti-Hero.”

Swift actually shared a teaser video for all of the album’s music videos during Thursday Night Football, mere hours before Midnights hit streaming services Oct. 21. “Those projects are the Midnights Music Movies, the music videos that I made for this album to sort of explore visually the world of this record,” she said at the time. “I love storytelling, I love songwriting, I love writing videos, I love directing them … I’m really proud of what we made and I really hope you like them. We worked with some amazing actors.”

Watch the “Lavender Haze” music video below.

Lewis Capaldi is the latest celebrity to make a surprise appearance during The 1975‘s tour, and he hopped onstage at the band’s Newcastle, England, show on Tuesday (Jan. 24) to deliver a cover of Taylor Swift‘s “Love Story.”

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“I was going to sing one of my songs next, but I thought it would just be better to play a Taylor Swift song,” the Grammy nominated artist told the crowd in a video he shared to TikTok, before delving into the opening lines of Swift’s Fearless hit. He also performed The 1975’s fan-favorite track, “Antichrist,” off the group’s 2013 self-titled album.

Capaldi’s cover comes just two weeks after Swift herself joined The 1975 at the O2 Arena in London on Jan. 12, where she live-debuted her latest hit single, the eight-week Billboard Hot 100 chart topper, “Anti-Hero.” She also performed The 1975’s “The City” on acoustic guitar.

Among the string of stars who have also joined the British rock band on their global tour over the past few months are Charli XCX, Phoebe Bridgers and Jack Antonoff. The 1975’s UK tour continues until Jan. 30, before they head off to South America, Asia, Australia and New Zealand in the spring.

Talk about “Fifteen” minutes of fame! It turns out one of the contestants on the new season of ABC’s The Bachelor has a surprising connection to Taylor Swift.

Eagle-eyed viewers realized during the season 27 premiere that Christina Mandrell once starred in the superstar’s music video for 2008 Fearless single “Fifteen,” exactly 15 years before she was vying for Bachelor Zach Shallcross’ heart. In the clip, Swift recounts her freshman year of high school with longtime best friend Abigail Anderson, and at the very end, she stands outside in the rain as a young Mandrell glances over at her while chatting with her own bestie.

For her part, Mandrell poked fun at both her music-video past and dating-show present on social media, writing, “Apparently I look at Zach the same way I look at Taylor Swift. New Conspiracy theory, first I stared at Taylor, then stared at Zach, which inevitably leads to me crying on the STAIRs.”

Of course, in the decade-plus since Swift tapped the Bachelor contestant for her “Fifteen” video, she’s released Fearless (Taylor’s Version) as the very first album in her grand plan to re-record her back catalog. The 2021 version of “Fifteen” became an instant fan favorite, with many Swifties remarking that the bittersweet nostalgia of the track has only grown stronger since Swift first recorded it at 18.

Time will tell how far Christina Mandrell — niece of Hot Country Songs chart-topper Barbara Mandrell — gets on The Bachelor.

Swift’s recent clash with Ticketmaster over ticketing for The Eras Tour has already launched a hearing by the Senate Judiciary Committee over the debacle, complete with baked-in lyrical references to “All Too Well” and “Anti-Hero” from Senators Amy Klobuchar and Richard Blumenthal during questioning.

Relive Mandrell staring down Taylor in “Fifteen” below.

The Senate Judiciary Committee held a hearing on Tuesday (Jan. 24) to analyze the ticketing industry following the chaotic handling of the Taylor Swift The Eras Tour ticket sale by Ticketmaster.

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During the Senator Amy Klobuchar and Senator Richard Blumenthal-led hearing, titled “That’s The Ticket: Promoting Competition and Protecting Consumers in Live Entertainment,” a number of senators made references to the 11-time Grammy winner during their statements.

To have a strong capitalist system, you have to have competition,” Klobuchar said in her opening statement. “You can’t have too much consolidation — something that, unfortunately for this country, as an ode to Taylor Swift, I will say, we know ‘all too well.’”

Meanwhile, Blumenthal said, “Ticketmaster ought to look in the mirror, and say, ‘I’m the problem, it’s me,” in reference to Swift’s eight-week Hot 100 chart topper “Anti-Hero,” off her recent album, Midnights. Senator Mike Lee also made a lyric reference to a Midnights track, ending his remarks with, “I have to throw out, in deference to my daughter Eliza, one more Taylor Swift quote: ‘Karma is a relaxing thought, aren’t you envious for you it’s not?’”

Following the Nov. 15 presale, Ticketmaster eventually canceled its general onsale for the remaining 170,000 tickets to Swift’s tour. In December, the company announced a new strategy to sell the passes over the course of four weeks and recently concluded that effort. At the time, the company said “historically unprecedented demand” caused the failure, but blamed bots then, too — saying that 14 million fans and more than 3 billion bots hit the site. That excuse did little to satisfy the more than 100,000 fans who were kicked out of line during the bot attack, and even Swift spoke out blaming the company. With many fans calling for Ticketmaster’s punishment and several even taking legal action against the company, Berchtold also plans to apologize directly to Swift and her followers.

See some of the Swift quotes during the hearing below.

.@SenAmyKlobuchar: “Competition policy is very important to me…to have a strong capitalist system you have to have competition, you can’t have too much consolidation, something that unfortunately for this country, as an ode to Taylor Swift, I will say, we know ‘All Too Well.'” pic.twitter.com/hN7ninMrAi— CSPAN (@cspan) January 24, 2023

.@SenBlumenthal: “Ticketmaster had the temerity to imply that the debacle involved in pre-ticket sales was Taylor Swift’s fault because she was failing to do too many concerts. May I suggest…Ticketmaster outta look in the mirror and say, ‘I’m the problem. It’s me.'” pic.twitter.com/F8HDmsu0Tk— CSPAN (@cspan) January 24, 2023

Don’t expect Live Nation’s Joe Berchtold to be quoting Taylor Swift’s “Anti-Hero” during the Senate Judiciary Committee hearing on ticketing Tuesday. Unlike the pop star’s “I’m the problem it’s me” chorus-turned-meme, the company’s president and CFO plans to take aim at who he says are the real culprits behind Swift’s disastrous Nov. 15 presale — scalpers.

While the Live Nation-owned Ticketmaster was villianized for weeks following the presale for Swift’s upcoming The Eras tour that both broke single-day sales records and threw fans into a fury over service issues, according to a prepared opening statement reviewed by Billboard, Berchtold plans to lay much of the blame on scalpers who used illegal bots to attack the online sale. The statement, to be delivered Tuesday in Washington, D.C., to the committee led by ranking member Dick Durbin (D-Ilinois), details Ticketmaster’s ongoing “arms race” against scalpers illegally using autonomous software to disrupt and attack high profile ticket sales. Country music legend Garth Brooks is lending his support to Berchtold’s testimony as well, with a letter defending Ticketmaster and attacking ticket scalpers who use illegal methods to buy up tickets.

“We knew bots would attack [Swift’s] onsale, and planned accordingly,” reads Berchtold’s planned statement. “We were then hit with three times the amount of bot traffic than we had ever experienced, and for the first time in 400 Verified Fan onsales they came after our Verified Fan access code servers. While the bots failed to penetrate our systems or acquire any tickets, the attack required us to slow down and even pause our sales. This is what led to a terrible consumer experience that we deeply regret.”

Following the Nov. 15 presale, Ticketmaster eventually canceled its general onsale for the remaining 170,000 tickets to Swift’s tour. In December, the company announced a new strategy to sell the passes over the course of four weeks and recently concluded that effort. At the time, the company said “historically unprecedented demand” caused the failure, but blamed bots then, too — saying, 14 million fans and more than 3 billion bots hit the site. That excuse did little to satisfy the more than 100,000 fans who kicked out of line during the bot attack, and even the singer spoke out blaming the company. With many fans calling for Ticketmaster’s punishment, Berchtold also plans to apologize directly to Swift and her followers.

“As we said after the onsale, and I reiterate today, we apologize to the many disappointed fans as well as to Ms. Swift,” his statement reads.

While Berchtold notes Ticketmaster “accepts its responsibility to be the first line of defense against bots in this ever- escalating arms race,” he intends to shift the hearing’s focus to policy changes that could tamp down on scalpers.

“In this forum where we are here to discuss public policy, we also need to recognize how industrial scalpers breaking the law using bots and cyberattacks to try to unfairly gain tickets contributes to an awful consumer experience,” his statement reads. “We are doing everything we can to fight the people who attack our onsales and steal tickets meant for real fans, but we need help passing real reforms to stop this arms race.”

Brooks, in his statement, supports this notion.

“The crush of bots during an on-sale is a huge reason for program failure NO MATTER WHO THE TICKET SELLING COMPANY is,” writes the country icon in his letter addressed to Congress. “And the one who ALWAYS pays for this atrocity is the customer, the LAST one on whom that burden should fall.”

Brooks notes in his letter that he forced Dallas Cowboys owner Jerry Jones to allow him to use Ticketmaster to sell tickets to his April concert at AT&T Stadium, instead of SeatGeek which held the exclusive contract to ticket the stadium.

“I had grown to love and trust the people at Ticketmaster so much,” he explained in his letter, noting, “this was not because of Ticketmaster, but a choice I made.”

Berchtold will be joined on the witness stand by SeatGeek chief executive Jack Groetzinger and longtime Chicago promoter Jerry Mickelson with JAM Productions, along with recording artist Clyde Lawrence and representatives from the James Madison Institute and American Antitrust Institute.

Ticketmaster officials are expecting a pile on, both from Congress and the other testifying witnesses. SeatGeek has filed a number of complaints against Ticketmaster with the Department of Justice for alleged anti-trust violations, and Mickelson testified before Congress in 2010, condemning the merger between Live Nation and Ticketmaster. While company officials aren’t expecting any standing ovations, Berchtold’s testimony will be an important preview of the company’s framing of the challenges facing the business over the next couple of years and promises to be the most detailed defense of Live Nation by an executive in its 18-year history.

Sen. Amy Klobuchar (D-Minnesota) originally called for this hearing in response to public anger over the technical failures of the Taylor Swift Eras ticket sale. But the witness list and the name of the hearing, “That’s the Ticket: Promoting Competition and Protecting Consumers in Live Entertainment,” released Monday (Jan. 23) suggest that the hearing is more likely to focus on long-simmering dissatisfaction over the 2010 consent decree governing the merger of Ticketmaster and Live Nation. That consent decree has had mixed success creating a level playing field for competition in the ticketing business, and critics consider it a failure because it didn’t prevent Ticketmaster from becoming the dominant ticketing company it is today.

“We hear people say that ticketing markets are less competitive today than they were at the time of the Live Nation-Ticketmaster merger. That is simply not true,” reads Berchtold’s statements, claiming Ticketmaster’s market share has decreased since the DOJ estimated it held 80% of the market in 2009.

At the time, Ticketmaster “did not face the level of competition we face today from new competitors including SeatGeek, AEG’s AXS, and Eventbrite, along with established competitors including Tickets.com and Paciolan,” Berchtold continues. “Today, there is intense competition for every ticketing contract that goes out to bid — far more than there was in 2010. Ticketmaster has lost, not gained, market share, and every year competitive bidding results in ticketing companies getting less of the economic value in a ticketing contract while venues and teams get more. The bottom line is that U.S. ticketing markets have never been more competitive than they are today, and we read about new potential entrants all the time.”

Berchtold plans to present the threat posed by bad actors and malicious software as an issue both the government and the private sector must address together. The strategy shifts part of the criticism for the Taylor Swift ticket debacle onto the Senate — which unanimously voted to pass the BOTS act in 2016, effectively outlawing automated ticket-buying technology. Since its passage, the law has only been enforced twice by the FBI and the Federal Trade Commission, despite pleas from Ticketmaster officials that bot attacks on high profile ticket sales are increasing in frequency and complexity, sources tell Billboard. Berchtold also plans to detail how the company has spent more than $1 billion developing technology to prevent bot attacks on the company’s ticket sales using software like Verified Fan and digital ticketing.

A ‘blame the bots’ strategy is not likely to satisfy the members of the Senate Judiciary committee, which include such conservative and liberal firebrands such as Ted Cruz (R-Texas), Josh Hawley (R-Missouri), John Kennedy (R-Louisiana), Diane Fienstein (D-California), Corey Booker (D-New Jersey) and Richard Blumenthal (D-New Jersey). Anti-Ticketmaster sentiment and criticism of the 2010 merger between Ticketmaster and Live Nation is one of the few issues of bipartisan agreement on Capitol Hill.

Berchtold will end his testimony laying out calls to action he believes Congress can take to combat bad actors in the ticketing industry: First, is empowering private parties like Ticketmaster to bring civil actions against ticket sellers who knowingly sell tickets obtained by bots. Second, Berchtold believes Congress should act to outlaw deceptive sales practices like speculative ticket sales “offering for sale tickets you don’t own or have an existing right to obtain,” or deceptive sites that mislabel themselves as “the official” ticket seller for shows they aren’t contracted to work with.

The Senate Judiciary Committee’s “That’s the Ticket: Promoting Competition and Protecting Consumers in Live Entertainment” begins at 10 a.m. EST on Tuesday. Click here to watch the hearing live.

Taylor Swift’s Midnights continues its hot streak atop Billboard’s Top Album Sales chart, as the set spends its 12th consecutive, and total, week at No. 1 on the list dated Jan. 21. The album sold 25,000 copies in the U.S. in the week ending Jan. 12 (down 58%) according to Luminate.

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Midnights now has the most weeks at No. 1 on the Top Album Sales chart since the Frozen soundtrack ruled for 13 nonconsecutive weeks in 2014. Midnights has the most weeks in a row at No. 1 since the Titanic soundtrack logged all 16 of its No. 1 weeks consecutively in 1998.

Midnights’ total U.S. album sales now stand at 1.140 million.

Billboard’s Top Album Sales chart ranks the top-selling albums of the week based only on traditional album sales. The chart’s history dates back to May 25, 1991, the first week Billboard began tabulating charts with electronically monitored piece count information from SoundScan, now Luminate. Pure album sales were the sole measurement utilized by the Billboard 200 albums chart through the list dated Dec. 6, 2014, after which that chart switched to a methodology that blends album sales with track equivalent album units and streaming equivalent album units. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

BTS’ Love Yourself: Her re-enters Top Album Sales at No. 2 following the set’s Jan. 6 release on vinyl. The effort, initially released in 2017, bounds back onto the chart with 20,000 sold (up 2,130%), with most of that sum from vinyl sales (18,000). It’s the first time BTS has released an album on vinyl in the U.S., though the group has issued singles on vinyl.

Love Yourself: Her also debuts at No. 1 on Billboard’s Vinyl Albums chart, the first time a K-pop title has led list. It also halts Swift’s stranglehold of the top spot with Midnights, pushing the album down to No. 2 after 11 straight weeks at No. 1.

Back on Top Album Sales, ATEEZ’s Spin Off: From the Witness falls one spot to No. 3 (14,000; down 66%) while French Montana’s Coke Boys 6: Gangsta Grillz, hosted by DJ Drama, debuts at No. 4 (11,000).

Fleetwood Mac’s Rumours dips 4-5 (just over 7,000; down 17%), RM’s Indigo descends 3-6 (7,000; down 22%) and Michael Jackson’s Thriller falls 6-7 (nearly 7,000; down 16%). Stray Kids’ former No. 1 MAXIDENT re-enters the chart at No. 8 with nearly 6,000 sold (up 378%) after a new Target-exclusive CD edition of the album was released on Jan. 6.

Rounding out the top 10 are two former No. 1s: Harry Styles’ Harry’s House (5-9 with nearly 6,000; down 32%) and Tyler, the Creator’s Igor (7-10 with 5,000; down 23%).

In the week ending Jan. 12, there were 1.837 million albums sold in the U.S. (down 13.5% compared to the previous week). Of that sum, physical albums (CDs, vinyl LPs, cassettes, etc.) comprised 1.512 million (down 14.7%) and digital albums comprised 325,000 (down 7.5%).

There were 589,000 CD albums sold in the week ending Jan. 12 (down 13.6% week-over-week) and 915,000 vinyl albums sold (down 15.4%). Year-to-date CD album sales stand at 1.27 (up 3.4% compared to the same time frame a year ago) and year-to-date vinyl album sales total 1.996 million (up 33.2%).

Overall year-to-date album sales total 3.961 million (up 11.8% compared to the same year-to-date time frame a year ago). Year-to-date physical album sales stand at 3.285 million (up 19.8%) and digital album sales total 676,000 (down 15.4%).

Taylor Swift’s “Anti-Hero” holds at No. 1 on the Billboard Hot 100 songs chart this week, logging an eighth total week on top. The achievement also marks the superstar’s longest Hot 100 reign, surpassing “Blank Space,” which stayed at the summit for seven weeks in 2014-15.

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To celebrate, Swift’s co-writer and producer Jack Antonoff took to his Instagram Stories on Tuesday (Jan. 17) to share a film-style photo of the two pouring drinks. “Remembering right before anti hero came out Taylor saying it’s her favorite song lyrically and that’s why it’s [the] first single,” he wrote under the picture. “But it’s a strange and personal one and we shouldn’t expect it to ever go number 1…. anti hero 8th week at 1 .. insane ..”

Antonoff is credited with co-writing 11 of the 13 songs on the original version of Swift’s most recent studio album, Midnights, and even recorded a remix of “Anti-Hero,” featuring Antonoff’s solo project Bleachers.

In an Instagram post, Swift elaborated on the duo working on the project. “We’d been toying with ideas and had written a few things we loved, but Midnights actually really coalesced and flowed out of us when our partners (both actors) did a film together in Panama,” she wrote. “Jack and I found ourselves back in New York, alone, recording every night, staying up late and exploring old memories and midnights past.”

See below Antonoff’s celebration of eight weeks at No. 1 on the Hot 100 thanks to “Anti-Hero.”

Jack Antonoff vía Ig“Recuerdo que cuando Anti-Hero se estrenó Taylor dijo que era su canción favorita en cuanto a composición y eso es por lo que fue el primer single, pero es una canción extraña y personal y no esperábamos que fuera #1 pic.twitter.com/AXxJEtFeX8— La Tia Puercaylor (@LaPuercaylor) January 17, 2023

ATEEZ captures its third top 10 on Billboard’s Top Album Sales chart (dated Jan. 14) as Spin Off: From the Witness debuts at No. 2. The set sold 40,000 copies in the U.S. in the week ending Jan. 5, according to Luminate. The eight-member South Korean group previously visited the top 10 with The World EP.1: Movement (No. 2 in 2022) and Zero: Fever Part.3 (No. 6 in 2021).

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CDs comprise a little over 39,000 of Spin Off’s sales for the week, while digital album purchases comprise 1,000. Like many K-pop releases, the CD configuration of Spin Off was issued in collectible deluxe packages (six), each with a standard set of items and randomized elements (photocards and posters).

Meanwhile, at No. 1 on Top Album Sales, Taylor Swift’s Midnights spends an 11th consecutive, and total, week atop the list (58,000 sold; up 7%). Midnights has the most weeks at No. 1 since Adele’s 25 collected 11 total nonconsecutive weeks in late 2015 and early 2016. Midnights has the most consecutive weeks atop the list since the Titanic soundtrack scored 16 weeks in a row at No. 1 (the entirety of its No. 1-run) in 1998. Midnights also ties Fearless as Swift’s albums with the most weeks at No. 1 on Top Album Sales.

Billboard’s Top Album Sales chart ranks the top-selling albums of the week based only on traditional album sales. The chart’s history dates back to May 25, 1991, the first week Billboard began tabulating charts with electronically monitored piece count information from SoundScan, now Luminate. Pure album sales were the sole measurement utilized by the Billboard 200 albums chart through the list dated Dec. 6, 2014, after which that chart switched to a methodology that blends album sales with track equivalent album units and streaming equivalent album units. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

RM’s Indigo falls 2-3 on Top Album Sales (9,000; down 41%), Fleetwood Mac’s Rumours rises 5-4 (9,000; down 26%), Harry Styles’ former No. 1 Harry’s House dips 4-5 (8,000; down 38%) and Michael Jackson’s Thriller descends 3-6 (nearly 8,000; down 45%). Tyler, the Creator’s chart-topping Igor is a non-mover at No. 7 (7,000; down 39%), Kendrick Lamar’s good kid, m.A.A.d city falls 6-8 (nearly 7,000; down 44%), Arctic Monkeys’ AM climbs 15-9 (6,000; down 28%) and SZA’s Ctrl jumps 21-10 (5,000; down 27%).

In the week ending Jan. 5, there were 2.123 million albums sold in the U.S. (down 22.4% compared to the previous week). Of that sum, physical albums (CDs, vinyl LPs, cassettes, etc.) comprised 1.772 million (down 24.6%) and digital albums comprised 351,000 (up 8.3%).

There were 681,000 CD albums sold in the week ending Jan. 5 (down 11.4% week-over-week) and 1.081 vinyl albums sold (down 31.1%). Year-to-date CD album sales stand at 681,000 (up 9% compared to the same time frame a year ago) and year-to-date vinyl album sales total 1.081 million (up 36.8%).

Overall year-to-date album sales total 2.123 million (up 16.4% compared to the same year-to-date time frame a year ago). Year-to-date physical album sales stand at 1.772 million (up 24.5%) and digital album sales total 351,000 (down 12.4%).

Looks like Taylor Swift is getting ready for her The Eras Tour with a little stage time. Unsuspecting fans at The 1975‘s concert in London on Thursday (Jan. 12) were beyond surprised when Swift took the stage at the O2 arena to not only perform one of the rock band’s classic tracks, but also to live-debut her latest hit single.

In fan-captured video, Swift is seen emerging onstage in a sparkling silver dress, taking in the screaming crowd of fans. In other moments, the singer takes a shot covering The 1975’s “The City” — a fan-favorite track from the band’s self-titled first album — with the help of her trusty acoustic guitar.

“Yeah, counting cards was the best job he ever had/ Cleaning up/ He got good with his fours and his twos/ Community service was the best job he ever had/ Cleaning up/ He got sick on the floor and his shoes,” Swift sang, before launching into the track’s catchy pre-chorus.

But that wasn’t all Swift came prepared to sing. Shortly after, the mega-star surprised fans even further by giving “Anti-Hero” its first-ever live performance. Considering how big of a splash the track has made — its currently in seventh week atop the Billboard Hot 100, after all — the entire stadium hung onto every word Swift sang, joining her for the track’s catchy refrain: “It’s me, hi/ I’m the problem, it’s me.”

Swift won’t have to wait for long before dusting off her best acoustic guitars: She’s scheduled to head out on the road for The Eras Tour, which is scheduled to kick off March 17 in Glendale, Ariz.

Watch Swift perform during The 1975’s show in the videos below.

In 2022, sales of albums on cassette tape in the U.S. increased by 28% to 440,000 (up from 343,000 in 2021), according to the U.S. 2022 Luminate Year-End Music Report.
While 440,000 a mere fraction of the total album sales market (0.44% to be more precise), it’s a robust figure for a format that was mostly non-existent a few years ago. In 2015, for example, cassettes sold just 74,000.

In 2022, total album sales across all formats — digital and physical — numbered 100.09 million. Physical album sales totaled 79.89 million — thus giving cassettes a 0.55% share of the physical album market last year. (Physical albums include CDs, vinyl LPs, cassettes and other niche physical formats.)

While cassettes are now a niche offering marketed to superfans, they were once the leading format for album purchases in the U.S., from the early 1980s until the early 1990s. Today, cassette tapes are frequently sold exclusively on an artist’s web store and in collectible editions. Tapes are often manufactured in specific colors, such as Billie Eilish’s pink-colored Happier Than Ever tape or Ghost’s metallic gold-colored Impera tape.

The top-selling album on cassette in 2022 was the soundtrack to Guardians of the Galaxy, Vol. 2, with 17,000 copies sold. Two more Guardians-related titles dot the top 10 (at Nos. 3 and 6). As actual cassette mixtapes feature prominently in the Guardians’ storyline, it makes sense that a real-world cassette album offering, mirroring those seen in the films and series, could be a solid seller. (The three Guardians tapes that rank in the year-end top 10 have sold, combined, more than 238,000 since their release a number of years ago.)

TOP 10 SELLING CASSETTE ALBUMS OF 2022 IN U.S.1. Soundtrack, Guardians of the Galaxy, Vol. 2: Awesome Mix Vol. 2 (17,000)2. Taylor Swift, Midnights (14,000)3. Soundtrack, Guardians of the Galaxy: Awesome Mix Vol. 1 (13,000)4. Harry Styles, Harry’s House (11,000)5. Billie Eilish, Happier Than Ever (8,000)6. Soundtrack, Guardians of the Galaxy: Cosmic Mix, Vol. 1 (8,000)7. Nirvana, Bleach (7,000)8. Bo Burnham, Inside (The Songs) (5,000)9. Bad Bunny, YHLQMDLG (5,000)10. Ghost, Impera (5,000)Source: Luminate, for the tracking period Dec. 31, 2021, through Dec. 29, 2022.

Luminate began tracking music sales in 1991 when the company was known as SoundScan. Luminate’s sales, streaming and airplay data is used to compile Billboard’s weekly charts. Luminate’s 2022 tracking year ran from Dec. 31, 2021, through Dec. 29, 2022. Luminate is an independently operated company owned by PME TopCo, a PMC subsidiary and joint venture between Penske Media Corporation and Eldridge.  Billboard is an independently operated company owned by PME Holdings, a subsidiary of PME TopCo.