Billboard Hot 100: 05/04/2024

[dremolus - solarpunk]

Taylor Swift Claims Record Top 14 Spots on Billboard Hot 100, Led by ‘Fortnight’ With Post Malone

Taylor Swift achieves one of the most record-shattering weeks in the history of the Billboard Hot 100 songs chart – surpassing unprecedented heights that she previously set – as she claims the top 14 positions on the survey dated May 4. All 14 songs, led by “Fortnight,” featuring Post Malone, are from her new album, The Tortured Poets Department, which, following the Republic Records set’s April 19 release, blasts in at No. 1 on the Billboard 200 chart.

Swift was already the only artist ever to dominate the Hot 100’s entire top 10 — thanks to tracks from her last album of all-new material, Midnights, in 2022, led by the collection’s “Anti-Hero.”

Among other new chart feats for Swift, “Fortnight” becomes her 12th Hot 100 No. 1, as she ties for the sixth-most leaders in the chart’s archives; she ups her career count of top 10s from 49 to 59, the most among women; and she charts 32 songs – all 31 from the deluxe version of The Tortured Poets Department plus established smash “Cruel Summer” – on the latest list overall, the most ever in a single week by a woman.


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 May 4, 2024) will update on Billboard.com tomorrow, April 30. 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 look at Swift’s latest groundbreaking week on the Hot 100.

Swift at Nos. 1 Through 14 on the Hot 100

Swift ranks at Nos. 1 through 14 on the Hot 100, rewriting the record week that she logged on the Nov. 5, 2022-dated chart when she became the first artist to boast the entire top 10 in a single week.

Here’s a recap of Swift’s songs in the top 14 spots on the May 4-dated Hot 100:

No. 1, “Fortnight,” feat. Post Malone
No. 2, “Down Bad”
No. 3, “I Can Do It With a Broken Heart”
No. 4, “The Tortured Poets Department”
No. 5, “So Long, London”
No. 6, “My Boy Only Breaks His Favorite Toys”
No. 7, “But Daddy I Love Him”
No. 8, “Florida!!!,” feat. Florence + The Machine
No. 9, “Who’s Afraid of Little Old Me?”
No. 10, “Guilty as Sin?”
No. 11, “Fresh Out the Slammer”
No. 12, “loml”
No. 13, “The Alchemy”
No. 14, “The Smallest Man Who Ever Lived”

Fortnight,” which arrives as the 1,170th No. 1 in the Hot 100’s 65-year history, drew 76.2 million official streams and 31.1 million radio airplay audience impressions and sold 19,000 in the U.S. April 19-25.

The single soars in as Swift’s ninth leader on the Streaming Songs chart, the most among women (and second overall only to Drake’s 20), and her record-extending 29th No. 1 on Digital Song Sales. On the Radio Songs chart, it debuts at No. 14 (Swift’s second-highest entrance, after “Anti-Hero” started at No. 13).

The premiere of “Fortnight” with 76.2 million streams marks the top total for a song in a single week since YouTube song user-generated content was removed from chart calculations in 2020, surpassing the 76.1 million that Olivia Rodrigo’s “Drivers License” drew in its first frame, as reflected on charts dated Jan. 23, 2021. (With 66.2 million official on-demand streams, “Fortnight” scores the biggest week by that metric since “Drivers License” drew 66.8 million that week.)

‘Fortnight’ First-Week Streams, Airplay & Sales

“Fortnight,” which arrives as the 1,170th No. 1 in the Hot 100’s 65-year history, drew 76.2 million official streams and 31.1 million radio airplay audience impressions and sold 19,000 in the U.S. April 19-25.

The single soars in as Swift’s ninth leader on the Streaming Songs chart, the most among women (and second overall only to Drake’s 20), and her record-extending 29th No. 1 on Digital Song Sales. On the Radio Songs chart, it debuts at No. 14 (Swift’s second-highest entrance, after “Anti-Hero” started at No. 13).

The premiere of “Fortnight” with 76.2 million streams marks the top total for a song in a single week since YouTube song user-generated content was removed from chart calculations in 2020, surpassing the 76.1 million that Olivia Rodrigo’s “Drivers License” drew in its first frame, as reflected on charts dated Jan. 23, 2021. (With 66.2 million official on-demand streams, “Fortnight” scores the biggest week by that metric since “Drivers License” drew 66.8 million that week.)

Swift’s 12th Hot 100 No. 1

With her 12th Hot 100 No. 1, Swift passes Whitney Houston and ties Madonna and The Supremes for the sixth-most leaders in the chart’s history. Among women, only Mariah Carey (19) and Rihanna (13) have more.

Most Billboard Hot 100 No. 1s:

20, The Beatles
19, Mariah Carey
14, Rihanna
13, Drake
13, Michael Jackson
12, Madonna
12, The Supremes
12, Taylor Swift
11, Whitney Houston
10, Janet Jackson
10, Stevie Wonder

Here’s a recap of Swift’s 12 Hot 100 No. 1s (with debuts atop the chart noted with *). “Fortnight” is her second leader billed with another artist, following “Bad Blood,” featuring Kendrick Lamar:

“Fortnight,” feat. Post Malone, one week at No. 1 to-date, May 4, 2024*
“Is It Over Now? (Taylor’s Version) [From the Vault],” one week, Nov. 11, 2023*
“Cruel Summer,” two weeks, beginning Oct. 28, 2023
“Anti-Hero,” eight weeks, beginning Nov. 5, 2022*
“All Too Well (Taylor’s Version),” one week, Nov. 27, 2021*
“Willow,” one week, Dec. 26, 2020*
“Cardigan,” one week, Aug. 8, 2020*
“Look What You Made Me Do,” three weeks, beginning Sept. 16, 2017
“Bad Blood,” feat. Kendrick Lamar, one week, June 6, 2015
“Blank Space,” seven weeks, beginning Nov. 29, 2014
“Shake It Off,” four weeks, beginning Sept. 6, 2014*
“We Are Never Ever Getting Back Together,” three weeks, beginning Sept. 1, 2012
Now with seven No. 1 Hot 100 debuts, Swift ties Ariana Grande for the most among women. Overall, only Drake has more (nine).

Plus, Swift pushes her total to seven Hot 100 No. 1s in the 2020s, tying Drake for the most this decade. BTS and Grande follow with six No. 1s each in the ‘20s.

Swift’s Record-Breaking Streak of Albums With Hot 100 No. 1s

As noted last October, when the revived “Cruel Summer” hit No. 1 on the Hot 100, four years after its release on her 2019 album Lover, Swift tied Rihanna for the most consecutive studio albums of all-new material – seven – each generating at least one Hot 100 No. 1.

Now, with the reign of “Fortnight,” Swift solely boasts a record eight consecutive albums of all-new music (excluding her rerecorded projects) each spinning off Hot 100 No. 1s. Here’s a recap:

The Tortured Poets Department: “Fortnight” (feat. Post Malone), 2024
Midnights: “Anti-Hero,” 2022
Evermore: “Willow,” 2020
Folklore: “Cardigan,” 2020
Lover: “Cruel Summer,” 2023 (originally released in 2019)
Reputation: “Look What You Made Me Do,” 2017
1989: “Shake It Off,” “Blank Space,” “Bad Blood” (feat. Kendrick Lamar), 2014-15
Red: “We Are Never Ever Getting Back Together,” 2012

Department of title tracks: As it debuts at No. 4, “The Tortured Poets Department” becomes Swift’s highest-charting album title cut, and her first top five such entry, on the Hot 100. It passes four others of hers that have also hit the top 10: “Red” (No. 6 peak), “Speak Now” (No. 8), “Fearless” (No. 9) and “Lover” (No. 10).

Swift First Woman With 50-Plus Hot 100 Top 10s

Instantly adding 10 new Hot 100 top 10s, Swift becomes the first woman to surpass 50 career top 10s, boosting her total from 49 to 59.

Most Billboard Hot 100 Top 10s:

77, Drake
59, Taylor Swift
38, Madonna
35, The Beatles
32, Rihanna
30, Michael Jackson
29, Elton John
28, Mariah Carey
28, Stevie Wonder
27, Janet Jackson
26, Justin Bieber
25, Lil Wayne
25, Elvis Presley (whose career start predated the Hot 100’s inception)
Overall, Swift charts 32 songs – all 31 on the deluxe edition of The Tortured Poets Department plus “Cruel Summer” – on the latest Hot 100, the most in a single week by a woman. Only Morgan Wallen has sent more songs onto the chart in a frame: 36, on the March 18, 2023-dated chart, when his album One Thing at a Time roared in at No. 1 on the Billboard 200.

As Wallen debuted 27 songs on the Hot 100 that week, Swift’s 31 debuts this week mark the most ever in a single week.

Swift’s Newest No. 1 as a Writer & Producer

Jack Antonoff and Taylor Swift
Jack Antonoff and Taylor Swift attend the 65th Grammy Awards at Crypto.com Arena on Feb. 5, 2023, in Los Angeles.
Photo : Kevin Mazur/Getty Images for The Recording Academy
Swift co-wrote “Fortnight” with Post Malone and Jack Antonoff, the latter of whom also produced it with Swift. Swift has now co-written 12 and co-produced six Hot 100 No. 1s.

Antonoff adds his sixth Hot 100 No. 1 as both a songwriter and producer. Post Malone notches his fifth leader as a writer.

Post Malone, Florence + The Machine’s New Hits

Just as Lana Del Rey contributed to Swift’s top 10 takeover on the Hot 100 dated Nov. 5, 2022, as featured on the No. 4 hit “Snow on the Beach,” Post Malone and Florence + The Machine join Swift in her second such achievement.

With “Fortnight,” Post Malone earns his fifth Hot 100 No. 1 – and first No. 1 debut – and his 12th top 10. Here’s a rundown of his leaders:

“Fortnight,” Taylor Swift feat. Post Malone, one week at No. 1 to-date, May 4, 2024
“Circles,” three weeks, beginning Nov. 30, 2019
“Sunflower (Spider-Man: Into the Spider-Verse),” with Swae Lee, one week, Jan. 19, 2019
“Psycho,” feat. Ty Dolla $ign, one week, June 16, 2018
“Rockstar,” feat. 21 Savage, eight weeks, beginning Oct. 28, 2017
Meanwhile, Florence + The Machine reaches the Hot 100’s top 10 for the first time thanks to the act’s featured billing on “Florida!!!,” at No. 8. Frontwoman Florence Welch previously scored one top 10, as featured on Calvin Harris’ “Sweet Nothing,” which hit No. 10 in February 2013.

Beyond Swift: Boone & More

Below Swift’s tracks at Nos. 1 through 14 on the Hot 100, Benson Boone charts the highest hit, as his No. 2-peaking “Beautiful Things” falls 3-15. (When Swift claimed the entire top 10 with tracks from Midnights, Sam Smith and Kim Petras’ “Unholy” halted her haul, ranking at No. 11, a week after it reached No. 1.)

Hozier’s “Too Sweet,” at No. 16, follows on the newest Hot 100, a week after it rose to No. 1. Future, Metro Boomin and Kendrick Lamar’s former three-week leader “Like That” is pushed down 2-17 and Teddy Swims’ former one-week No. 1 “Lose Control” backtracks 4-18, as it tops Radio Songs for a third week (69.5 million in audience, down 1%).

[Angel]

Ditch the clowns, get the crown 👑

[Caviar]

Wow

[alexandria2001]

This is so iconic! The fact someone can hold the top 14 is crazy. Taylor Swift is truly the pop queen these days and I'm saying that as someone who isn't a big swiftie (but i do like a few of her songs.)

[Deleted]

Congrats to Taylor Swift. The Top 14 is insane and historic. I also saw that TTDP is still doing more streams than any other album by a women not called Taylor Swift has ever done in its 10th day. Not bad for an album that supposedly won't have longevity

[Rose "Payola" Nylund]

Cue the tears and whining (on twitter at least)

[Choco]

This is really amazing. I'm sure several labels must be fuming and complaining. Whether this finally makes them do something about album bombs or not... IDK. Probably not. But I can see why the Grammy room could almost audibly groan when she announced her album. She's just too far ahead everyone else.

[kcdawg13]

Post Malone collab king, I'm wondering if he'll ever get another big hit on his own again. His last couple hits have all been collaborations, and it doesn't seem like he's stopping with that Morgan Wallen song on the way.

[mms82]

Poor Benson, could've gotten the number one this week.

[Baby Yoda Hot100Fan]

Taylor Swift Charts 32 Songs on Hot 100, Including Every Track From ‘The Tortured Poets Department’

Rank, Title:

No. 1, “Fortnight,” feat. Post Malone
No. 2, “Down Bad”
No. 3, “I Can Do It With a Broken Heart”
No. 4, “The Tortured Poets Department”
No. 5, “So Long, London”
No. 6, “My Boy Only Breaks His Favorite Toys”
No. 7, “But Daddy I Love Him”
No. 8, “Florida!!!,” feat. Florence + The Machine
No. 9, “Who’s Afraid of Little Old Me?”
No. 10, “Guilty as Sin?”
No. 11, “Fresh Out the Slammer”
No. 12, “loml”
No. 13, “The Alchemy”
No. 14, “The Smallest Man Who Ever Lived”
No. 20, “I Can Fix Him (No Really I Can)”
No. 21, “Clara Bow”
No. 23, “thanK you aIMee”
No. 24, “So High School”
No. 25, “The Black Dog”
No. 26, “imgonnagetyouback”
No. 30, “The Albatross”
No. 32, “The Prophecy”
No. 34, “I Hate It Here”
No. 35, “How Did It End?”
No. 36, “Chloe or Sam or Sophia or Marcus”
No. 39, “I Look in People’s Windows”
No. 41, “Cruel Summer” (down from No. 13; spent four weeks at No. 1)
No. 44, “Cassandra”
No. 46, “Peter”
No. 47, “The Bolter”
No. 51, “The Manuscript”
No. 55, “Robin”

[mms82]

30 songs in the top 50!! 60% of the top half of the chart!

[Baby Yoda Hot100Fan]

Taylor Swift & Post Malone’s ‘Fortnight’ Debuts at No. 1 on Billboard Global Charts

4/29/2024

By Gary Trust

In a first, Swift claims the top nine spots on the Global 200, all from her new album, The Tortured Poets Department.

Taylor Swift’s “Fortnight,” featuring Post Malone, arrives as the biggest song in the world, launching at No. 1 both the Billboard Global 200 and Billboard Global Excl. U.S. charts. The song is from her new album, The Tortured Poets Department, which rockets in at No. 1 on the U.S.-based Billboard 200.

On the Global 200, Swift scores her fifth No. 1, the most for a soloist in the survey’s history. On Global Excl. U.S., she lands her third leader, tying for the most among solo artists. Post Malone tops each tally for the first time.

Meanwhile, Swift boasts the top nine songs on the Global 200, all from her new LP, a first in the chart’s archives. She previously claimed nine of the top 10, including the top five, in November 2022 with songs from Midnights, her last album of all-new material before The Tortured Poets Department.

The Billboard Global 200 and Billboard Global Excl. U.S. charts, which began in September 2020, 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.

“Fortnight” debuts atop the Global 200 with 176.8 million streams and 27,000 sold worldwide in its first week of release, April 19-25.

The streaming sum for the song marks the eighth-biggest in a single week since the Global 200 began.

Biggest Worldwide Streaming Weeks in Global 200 History:

289.2 million, “Butter,” BTS, June 5, 2021
217.1 million, “Seven,” Jung Kook feat. Latto, July 29, 2023
217.1 million, “Flowers,” Miley Cyrus, Feb. 4, 2023
212.1 million, “Pink Venom,” BLACKPINK, Sept. 3, 2022
185.6 million, “Flowers,” Miley Cyrus, Feb. 11, 2023
179.1 million, “Flowers,” Miley Cyrus, Jan. 28, 2023
178.2 million, “Easy on Me,” Adele, Oct. 30, 2021
176.8 million, “Fortnight,” Taylor Swift feat. Post Malone, May 4, 2024
170.8 million, “Permission To Dance,” BTS, July 24, 2021
169.8 million, “Butter,” BTS, June 12, 2021

Swift scores her fifth Global 200 No. 1, as she breaks out of a tie with Bad Bunny for the most leaders among soloists; overall, only BTS has more, with seven. Here’s a rundown of her No. 1s:

“Fortnight,” feat. Post Malone, one week at No. 1 to-date, May 4, 2024
“Is It Over Now? (Taylor’s Version) [From the Vault],” one week, Nov. 11, 2023
“Cruel Summer,” four weeks, beginning Nov. 4, 2023
“Anti-Hero,” four weeks, beginning Nov. 5, 2022
“All Too Well (Taylor’s Version),” one week, Nov. 27, 2021

Meanwhile, here’s a recap of Swift’s nine songs in the top 10, from Nos. 1 through 9, on the May 4-dated Global 200:

No. 1, “Fortnight,” feat. Post Malone
No. 2, “Down Bad”
No. 3, “The Tortured Poets Department”
No. 4, “So Long, London”
No. 5, “I Can Do It With a Broken Heart”
No. 6, “My Boy Only Breaks His Favorite Toys”
No. 7, “But Daddy I Love Him”
No. 8, “Florida!!!,” feat. Florence + The Machine
No. 9, “Who’s Afraid of Little Old Me?”

With nine new Global 200 top 10s, Swift ups her total to 33 since the chart began, second only to Drake’s 35. As featured on “Florida!!!,” Florence + The Machine reaches the top 10 for the first time.

Breaking up Swift’s bid for the entire Global 200’s top 10, Artemas’ “I Like the Way You Kiss Me” drops to No. 10 from its No. 2 high. (Last week’s leader, “Too Sweet,” by Hozier, falls to No. 13.)

On the Global Excl. U.S. chart, “Fortnight” starts at No. 1 with 101.7 million streams and 8,000 sold outside the U.S. Swift previously led the chart with “Anti-Hero,” for two weeks, and “All Too Well (Taylor’s Version),” for one week. With three leaders, she ties Bad Bunny, BLACKPINK, Ariana Grande and Jung Kook for the most among soloists; among all acts, only BTS has banked more (seven).

Swift also enters the Global Excl. U.S. top 10 with “Down Bad” (No. 4), “The Tortured Poets Department” (No. 6), “So Long, London” (No. 7), “I Can Do It With a Broken Heart” (No. 9) and “My Boy Only Breaks His Favorite Toys” (No. 10). With six new top 10s, she swells her count to 20, surpassing Bad Bunny (18) for the most since the chart originated.

Elsewhere in the Global Excl. U.S. top 10, Artemas’ “I Like the Way You Kiss Me” dips to No. 2, after a week at No. 1; FloyyMenor and Cris Mj’s “Gata Only” rises 4-3 for a new high; Benson Boone’s “Beautiful Things” falls 2-5, after eight nonconsecutive weeks on top; and ILLIT’s “Magnetic” descends to No. 8 from its No. 3 best.

The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated May 4, 2024) will update on Billboard.com tomorrow, April 30. 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.

[thirddegree50123]

Boring

[KeepDeanWeird]

Apr 29, 2024 13:50:24 GMT -5 Choco said:

This is really amazing. I'm sure several labels must be fuming and complaining. Whether this finally makes them do something about album bombs or not... IDK. Probably not. But I can see why the Grammy room could almost audibly groan when she announced her album. She's just too far ahead everyone else.

Re: bombs the only thing I'd like to see changed is upping the minimum time for chart purposes. The 30-seconds is too much like the old days of previewing tracks on iTunes.

At least one-minute for charts - it wouldn't affect royalties. However, I'm pretty confident with Taylor's releases, it probably wouldn't change much.

Now, the real question: will Taylor's team try to push at least one other track - ICDIWABH - to #1. They couldn't quite get there with Midnights.

[Baby Yoda Hot100Fan]

Shaboozey & Beyoncé Make History as ‘A Bar Song (Tipsy)’ Replaces ‘Texas Hold ’Em’ Atop Hot Country Songs Chart

4/29/2024

By Jim Asker

This marks the first time two Black artists have led the chart back-to-back.

Shaboozey’s “A Bar Song (Tipsy)” bounds to No. 1 from No. 6 on Billboard’s Hot Country Songs chart (dated May 4). The song, which interpolates J-Kwon’s 2004 hip-hop classic “Tipsy,” marks the first leader on the list for the Virginia native (born Collins Obinna Chibueze).

“A Bar Song (Tipsy)” surged by 95% to 20.9 million official U.S. streams; 1,202% to 170,000 radio airplay audience impressions; and 48% to 14,000 sold April 19-25, according to Luminate. 

Notably, as Shaboozey dethrones Beyoncé’s “Texas Hold ‘Em,” which reigned for the past 10 weeks, two Black artists have led back-to-back for the first time since Hot Country Songs became an all-encompassing genre ranking in 1958.

Shaboozey guests on two tracks on Beyoncé’s LP Cowboy Carter, which leads Top Country Albums for a fourth week (with 66,000 equivalent album units): “Spaghettii” (also with Linda Martell) and “Sweet * Honey * Buckiin’.” He recently told Billboard that he’s “so happy to have such a powerhouse of an artist that chose to take this journey to country, so it’s amazing to be a part of that.” 

A week earlier, Shaboozey soared to No. 1, from No. 34, on the Emerging Artists chart and “A Bar Song (Tipsy)” topped Digital Song Sales and Country Digital Song Sales, marking his first coronations on Billboard’s charts. He adds a second week atop Emerging Artists, while the track paces Country Digital Song Sales for a second frame.

The song is the lead single from Shaboozey’s American Dogwood/EMPIRE album Where I’ve Been, Isn’t Where I’m Going, due May 31. He previously released the sets Cowboys Live Forever, Outlaws Never Die in 2022 and Lady Wrangler in 2018. He told Billboard that he describes the new LP as “a little bit of this genre that even Cowboy Carter created, just a bit of everything. A lot of country, but some hip-hop moments on there, too. But a lot of my personal story and journey.”

J-Kwon’s “Tipsy” ruled the Hot Rap Songs chart for five weeks and hit No. 2 on both the Billboard Hot 100 and Hot R&B/Hip-Hop Songs in 2004. The St. Louis rapper recently told Billboard of Shaboozey’s revival of the song, “It really ain’t even paying homage … let’s say it like this: we did that together, and I’m proud of him.”

All charts dated May 4 will update on Billboard.com tomorrow, April 30.

[mms82]

Apr 29, 2024 15:28:11 GMT -5 Baby Yoda Hot100Fan said:

Taylor Swift & Post Malone’s ‘Fortnight’ Debuts at No. 1 on Billboard Global Charts

4/29/2024

By Gary Trust

In a first, Swift claims the top nine spots on the Global 200, all from her new album, The Tortured Poets Department.

Taylor Swift’s “Fortnight,” featuring Post Malone, arrives as the biggest song in the world, launching at No. 1 both the Billboard Global 200 and Billboard Global Excl. U.S. charts. The song is from her new album, The Tortured Poets Department, which rockets in at No. 1 on the U.S.-based Billboard 200.

On the Global 200, Swift scores her fifth No. 1, the most for a soloist in the survey’s history. On Global Excl. U.S., she lands her third leader, tying for the most among solo artists. Post Malone tops each tally for the first time.

Meanwhile, Swift boasts the top nine songs on the Global 200, all from her new LP, a first in the chart’s archives. She previously claimed nine of the top 10, including the top five, in November 2022 with songs from Midnights, her last album of all-new material before The Tortured Poets Department.

The Billboard Global 200 and Billboard Global Excl. U.S. charts, which began in September 2020, 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.

“Fortnight” debuts atop the Global 200 with 176.8 million streams and 27,000 sold worldwide in its first week of release, April 19-25.

The streaming sum for the song marks the eighth-biggest in a single week since the Global 200 began.

Biggest Worldwide Streaming Weeks in Global 200 History:

289.2 million, “Butter,” BTS, June 5, 2021
217.1 million, “Seven,” Jung Kook feat. Latto, July 29, 2023
217.1 million, “Flowers,” Miley Cyrus, Feb. 4, 2023
212.1 million, “Pink Venom,” BLACKPINK, Sept. 3, 2022
185.6 million, “Flowers,” Miley Cyrus, Feb. 11, 2023
179.1 million, “Flowers,” Miley Cyrus, Jan. 28, 2023
178.2 million, “Easy on Me,” Adele, Oct. 30, 2021
176.8 million, “Fortnight,” Taylor Swift feat. Post Malone, May 4, 2024
170.8 million, “Permission To Dance,” BTS, July 24, 2021
169.8 million, “Butter,” BTS, June 12, 2021

Swift scores her fifth Global 200 No. 1, as she breaks out of a tie with Bad Bunny for the most leaders among soloists; overall, only BTS has more, with seven. Here’s a rundown of her No. 1s:

“Fortnight,” feat. Post Malone, one week at No. 1 to-date, May 4, 2024
“Is It Over Now? (Taylor’s Version) [From the Vault],” one week, Nov. 11, 2023
“Cruel Summer,” four weeks, beginning Nov. 4, 2023
“Anti-Hero,” four weeks, beginning Nov. 5, 2022
“All Too Well (Taylor’s Version),” one week, Nov. 27, 2021

Meanwhile, here’s a recap of Swift’s nine songs in the top 10, from Nos. 1 through 9, on the May 4-dated Global 200:

No. 1, “Fortnight,” feat. Post Malone
No. 2, “Down Bad”
No. 3, “The Tortured Poets Department”
No. 4, “So Long, London”
No. 5, “I Can Do It With a Broken Heart”
No. 6, “My Boy Only Breaks His Favorite Toys”
No. 7, “But Daddy I Love Him”
No. 8, “Florida!!!,” feat. Florence + The Machine
No. 9, “Who’s Afraid of Little Old Me?”

With nine new Global 200 top 10s, Swift ups her total to 33 since the chart began, second only to Drake’s 35. As featured on “Florida!!!,” Florence + The Machine reaches the top 10 for the first time.

Breaking up Swift’s bid for the entire Global 200’s top 10, Artemas’ “I Like the Way You Kiss Me” drops to No. 10 from its No. 2 high. (Last week’s leader, “Too Sweet,” by Hozier, falls to No. 13.)

On the Global Excl. U.S. chart, “Fortnight” starts at No. 1 with 101.7 million streams and 8,000 sold outside the U.S. Swift previously led the chart with “Anti-Hero,” for two weeks, and “All Too Well (Taylor’s Version),” for one week. With three leaders, she ties Bad Bunny, BLACKPINK, Ariana Grande and Jung Kook for the most among soloists; among all acts, only BTS has banked more (seven).

Swift also enters the Global Excl. U.S. top 10 with “Down Bad” (No. 4), “The Tortured Poets Department” (No. 6), “So Long, London” (No. 7), “I Can Do It With a Broken Heart” (No. 9) and “My Boy Only Breaks His Favorite Toys” (No. 10). With six new top 10s, she swells her count to 20, surpassing Bad Bunny (18) for the most since the chart originated.

Elsewhere in the Global Excl. U.S. top 10, Artemas’ “I Like the Way You Kiss Me” dips to No. 2, after a week at No. 1; FloyyMenor and Cris Mj’s “Gata Only” rises 4-3 for a new high; Benson Boone’s “Beautiful Things” falls 2-5, after eight nonconsecutive weeks on top; and ILLIT’s “Magnetic” descends to No. 8 from its No. 3 best.

The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated May 4, 2024) will update on Billboard.com tomorrow, April 30. 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.

Main pop girl Artemas pulling an Anti-Hero blocking the album bomb from getting the whole Top 10

[spiritboy]

I didn't like the album but wow at Taylor

[mms82]

Apr 29, 2024 15:36:10 GMT -5 Baby Yoda Hot100Fan said:

Shaboozey & Beyoncé Make History as ‘A Bar Song (Tipsy)’ Replaces ‘Texas Hold ’Em’ Atop Hot Country Songs Chart

4/29/2024

By Jim Asker

This marks the first time two Black artists have led the chart back-to-back.

Shaboozey’s “A Bar Song (Tipsy)” bounds to No. 1 from No. 6 on Billboard’s Hot Country Songs chart (dated May 4). The song, which interpolates J-Kwon’s 2004 hip-hop classic “Tipsy,” marks the first leader on the list for the Virginia native (born Collins Obinna Chibueze).

“A Bar Song (Tipsy)” surged by 95% to 20.9 million official U.S. streams; 1,202% to 170,000 radio airplay audience impressions; and 48% to 14,000 sold April 19-25, according to Luminate. 

Notably, as Shaboozey dethrones Beyoncé’s “Texas Hold ‘Em,” which reigned for the past 10 weeks, two Black artists have led back-to-back for the first time since Hot Country Songs became an all-encompassing genre ranking in 1958.

Shaboozey guests on two tracks on Beyoncé’s LP Cowboy Carter, which leads Top Country Albums for a fourth week (with 66,000 equivalent album units): “Spaghettii” (also with Linda Martell) and “Sweet * Honey * Buckiin’.” He recently told Billboard that he’s “so happy to have such a powerhouse of an artist that chose to take this journey to country, so it’s amazing to be a part of that.” 

A week earlier, Shaboozey soared to No. 1, from No. 34, on the Emerging Artists chart and “A Bar Song (Tipsy)” topped Digital Song Sales and Country Digital Song Sales, marking his first coronations on Billboard’s charts. He adds a second week atop Emerging Artists, while the track paces Country Digital Song Sales for a second frame.

The song is the lead single from Shaboozey’s American Dogwood/EMPIRE album Where I’ve Been, Isn’t Where I’m Going, due May 31. He previously released the sets Cowboys Live Forever, Outlaws Never Die in 2022 and Lady Wrangler in 2018. He told Billboard that he describes the new LP as “a little bit of this genre that even Cowboy Carter created, just a bit of everything. A lot of country, but some hip-hop moments on there, too. But a lot of my personal story and journey.”

J-Kwon’s “Tipsy” ruled the Hot Rap Songs chart for five weeks and hit No. 2 on both the Billboard Hot 100 and Hot R&B/Hip-Hop Songs in 2004. The St. Louis rapper recently told Billboard of Shaboozey’s revival of the song, “It really ain’t even paying homage … let’s say it like this: we did that together, and I’m proud of him.”

All charts dated May 4 will update on Billboard.com tomorrow, April 30.

Shaboozey!! So well earned, and if him getting the success he deserves is the only lasting legacy of Cowboy Carter, I'll still mark it as a success 🫡

[ccchui]

Apr 29, 2024 16:39:32 GMT -5 mms82 said:

Apr 29, 2024 15:28:11 GMT -5 Baby Yoda Hot100Fan said:

Taylor Swift & Post Malone’s ‘Fortnight’ Debuts at No. 1 on Billboard Global Charts

4/29/2024

By Gary Trust

In a first, Swift claims the top nine spots on the Global 200, all from her new album, The Tortured Poets Department.

Taylor Swift’s “Fortnight,” featuring Post Malone, arrives as the biggest song in the world, launching at No. 1 both the Billboard Global 200 and Billboard Global Excl. U.S. charts. The song is from her new album, The Tortured Poets Department, which rockets in at No. 1 on the U.S.-based Billboard 200.

On the Global 200, Swift scores her fifth No. 1, the most for a soloist in the survey’s history. On Global Excl. U.S., she lands her third leader, tying for the most among solo artists. Post Malone tops each tally for the first time.

Meanwhile, Swift boasts the top nine songs on the Global 200, all from her new LP, a first in the chart’s archives. She previously claimed nine of the top 10, including the top five, in November 2022 with songs from Midnights, her last album of all-new material before The Tortured Poets Department.

The Billboard Global 200 and Billboard Global Excl. U.S. charts, which began in September 2020, 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.

“Fortnight” debuts atop the Global 200 with 176.8 million streams and 27,000 sold worldwide in its first week of release, April 19-25.

The streaming sum for the song marks the eighth-biggest in a single week since the Global 200 began.

Biggest Worldwide Streaming Weeks in Global 200 History:

289.2 million, “Butter,” BTS, June 5, 2021
217.1 million, “Seven,” Jung Kook feat. Latto, July 29, 2023
217.1 million, “Flowers,” Miley Cyrus, Feb. 4, 2023
212.1 million, “Pink Venom,” BLACKPINK, Sept. 3, 2022
185.6 million, “Flowers,” Miley Cyrus, Feb. 11, 2023
179.1 million, “Flowers,” Miley Cyrus, Jan. 28, 2023
178.2 million, “Easy on Me,” Adele, Oct. 30, 2021
176.8 million, “Fortnight,” Taylor Swift feat. Post Malone, May 4, 2024
170.8 million, “Permission To Dance,” BTS, July 24, 2021
169.8 million, “Butter,” BTS, June 12, 2021

Swift scores her fifth Global 200 No. 1, as she breaks out of a tie with Bad Bunny for the most leaders among soloists; overall, only BTS has more, with seven. Here’s a rundown of her No. 1s:

“Fortnight,” feat. Post Malone, one week at No. 1 to-date, May 4, 2024
“Is It Over Now? (Taylor’s Version) [From the Vault],” one week, Nov. 11, 2023
“Cruel Summer,” four weeks, beginning Nov. 4, 2023
“Anti-Hero,” four weeks, beginning Nov. 5, 2022
“All Too Well (Taylor’s Version),” one week, Nov. 27, 2021

Meanwhile, here’s a recap of Swift’s nine songs in the top 10, from Nos. 1 through 9, on the May 4-dated Global 200:

No. 1, “Fortnight,” feat. Post Malone
No. 2, “Down Bad”
No. 3, “The Tortured Poets Department”
No. 4, “So Long, London”
No. 5, “I Can Do It With a Broken Heart”
No. 6, “My Boy Only Breaks His Favorite Toys”
No. 7, “But Daddy I Love Him”
No. 8, “Florida!!!,” feat. Florence + The Machine
No. 9, “Who’s Afraid of Little Old Me?”

With nine new Global 200 top 10s, Swift ups her total to 33 since the chart began, second only to Drake’s 35. As featured on “Florida!!!,” Florence + The Machine reaches the top 10 for the first time.

Breaking up Swift’s bid for the entire Global 200’s top 10, Artemas’ “I Like the Way You Kiss Me” drops to No. 10 from its No. 2 high. (Last week’s leader, “Too Sweet,” by Hozier, falls to No. 13.)

On the Global Excl. U.S. chart, “Fortnight” starts at No. 1 with 101.7 million streams and 8,000 sold outside the U.S. Swift previously led the chart with “Anti-Hero,” for two weeks, and “All Too Well (Taylor’s Version),” for one week. With three leaders, she ties Bad Bunny, BLACKPINK, Ariana Grande and Jung Kook for the most among soloists; among all acts, only BTS has banked more (seven).

Swift also enters the Global Excl. U.S. top 10 with “Down Bad” (No. 4), “The Tortured Poets Department” (No. 6), “So Long, London” (No. 7), “I Can Do It With a Broken Heart” (No. 9) and “My Boy Only Breaks His Favorite Toys” (No. 10). With six new top 10s, she swells her count to 20, surpassing Bad Bunny (18) for the most since the chart originated.

Elsewhere in the Global Excl. U.S. top 10, Artemas’ “I Like the Way You Kiss Me” dips to No. 2, after a week at No. 1; FloyyMenor and Cris Mj’s “Gata Only” rises 4-3 for a new high; Benson Boone’s “Beautiful Things” falls 2-5, after eight nonconsecutive weeks on top; and ILLIT’s “Magnetic” descends to No. 8 from its No. 3 best.

The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated May 4, 2024) will update on Billboard.com tomorrow, April 30. 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.

Main pop girl Artemas pulling an Anti-Hero blocking the album bomb from getting the whole Top 10

Wait a second....I thought Artemas is a guy, not a main pop girl. I know there is female-sounding vocal there, but I thought it is an AI-technology thing that make it sounds like that in some part of that song.

[mms82]

Do people think this is bigger than 25? I’m trying to imagine the numbers this would be in a similar sales / streaming environment to 2015 and I think 25 would still be bigger. However, if these both came out in a similar sales / streaming environment to 2024 I think TTPD would outperform 25.

[katebush]

I would be curious to see the day Taylor Swift will start to fail on charts - that dayd will come definitely, but these one album records on singles chart are pathetic, are we all excited?

[mms82]

Apr 29, 2024 17:01:45 GMT -5 ccchui said:

Apr 29, 2024 16:39:32 GMT -5 mms82 said:

Main pop girl Artemas pulling an Anti-Hero blocking the album bomb from getting the whole Top 10

Wait a second....I thought Artemas is a guy, not a main pop girl. I know there is female-sounding vocal there, but I thought it is an AI-technology thing that make it sounds like that in some part of that song.

Main pop girl is a gender inclusive term, Artemas is a guy

[mms82]

Apr 29, 2024 17:17:54 GMT -5 katebush said:

I would be curious to see the day Taylor Swift will start to fail on charts - that dayd will come definitely, but these one album records on singles chart are pathetic, are we all excited?

Definitely not excited, but I think she’ll fall into a Lover era sales “lull” in the next five years (which still results in what would be a #1 song debut unless it’s against one of the biggest songs of all time, and an album bomb that would be massive for anybody not named Drake/TS

[mikeymonster]

As a Taylor stan, I do think it's iconic how she was able to occupy the entire top 10 again, HOWEVER, as a chart fanatic each and every album bomb (no matter the artist) has angered me more and more.

I just hate seeing all the other big hits collapse bc of 1-week album songs flooding the top 10 (and the rest of the Hot 100, too).

I just wish Billboard would change the rules so things like this don't happen anymore (which I know they won't). It makes the charts look tacky. Idk, I just wish there was something that can be done to prevent these ludicrous weeks that completely ruin the chart runs of more well-balanced hits.

[Mayman]

Apr 29, 2024 17:16:47 GMT -5 mms82 said:

Do people think this is bigger than 25? I’m trying to imagine the numbers this would be in a similar sales / streaming environment to 2015 and I think 25 would still be bigger. However, if these both came out in a similar sales / streaming environment to 2024 I think TTPD would outperform 25.

I think what makes it impressive is she's selling almost 900k $45 vinyl sets. I wouldn't be surprised if the amount of revenue TTPD made this week was higher than 25's opening week.

[Baby Yoda Hot100Fan]

Apr 29, 2024 17:16:47 GMT -5 mms82 said:

Do people think this is bigger than 25? I’m trying to imagine the numbers this would be in a similar sales / streaming environment to 2015 and I think 25 would still be bigger. However, if these both came out in a similar sales / streaming environment to 2024 I think TTPD would outperform 25.

The biggest difference from 25 is that other than Hello, the rest of the album was withheld from streaming services for a little bit over 7 months. That definitely favored pure sales of the album, as well as digital song sales of Hello. For TTPD, I think many people that bought the album also did stream it to a certain extent, which probably explains its record weekly streams. I don't think that would have been the case for 25 if the full album would have been available for streaming on its release week, since it would have "lost" pure sales that probably wouldn't have made up for whatever streaming it would have gotten outside of Hello.

[ccchui]

Apr 29, 2024 17:21:37 GMT -5 mms82 said:

Apr 29, 2024 17:17:54 GMT -5 katebush said:

I would be curious to see the day Taylor Swift will start to fail on charts - that dayd will come definitely, but these one album records on singles chart are pathetic, are we all excited?

Definitely not excited, but I think she’ll fall into a Lover era sales “lull” in the next five years (which still results in what would be a #1 song debut unless it’s against one of the biggest songs of all time, and an album bomb that would be massive for anybody not named Drake/TS

Well a record is definitely exciting. I excited about seeing this week's chart. However I think everyone will eventually slow down in their career. Like even look at Drake this week, he put out a new song but that song is not even competitive enough to be chart higher than "Beautiful Things", "Too Sweet" or "Like That". So even he is now slowing down a bit. I won't be surprise Taylor will have that happen. But now she is just really at the peak that anything she put is just golden.

[Choco]

Apr 29, 2024 17:47:34 GMT -5 Baby Yoda Hot100Fan said:

. For TTPD, I think many people that bought the album also did stream it to a certain extent, which probably explains its record weekly streams.

Honestly I'd bet over 75% of the copies get a single play or none at all. Physicals these days are just collector's items. There's no practical reason to not stream. Especially when they pull shit like The Anthology and your $45 dollar album is just half the album.

This is not a Taylor only issue. It's why everyone is doing colored variants and alternative covers.

[badrobot]

Apr 29, 2024 17:16:47 GMT -5 mms82 said:

Do people think this is bigger than 25? I’m trying to imagine the numbers this would be in a similar sales / streaming environment to 2015 and I think 25 would still be bigger. However, if these both came out in a similar sales / streaming environment to 2024 I think TTPD would outperform 25.

I’d say 25 is still bigger.

Adele at her peak was crossing over to virtually everyone. Taylor, while undeniably massive, seems to have an overwhelmingly huge fan base audience that powers her success. Yes she crosses over to casual listeners too, there’s no denying that, but Adele’s peak I think is a notch above, although Adele didn’t sustain it.

Lest anyone think I’m being negative against Taylor, I think it is pretty fair to say Taylor’s overall career has made her the most successful commercial artist in history (at least in the US, I don’t know if this dominance is worldwide), perhaps second only to the Beatles. Adele just happened to have a once-in-a-generation mega peak that no one has surpassed.

[theycallmedualian]

Apr 29, 2024 18:24:07 GMT -5 badrobot said:

Apr 29, 2024 17:16:47 GMT -5 mms82 said:

Do people think this is bigger than 25? I’m trying to imagine the numbers this would be in a similar sales / streaming environment to 2015 and I think 25 would still be bigger. However, if these both came out in a similar sales / streaming environment to 2024 I think TTPD would outperform 25.

I’d say 25 is still bigger.

Adele at her peak was crossing over to virtually everyone. Taylor, while undeniably massive, seems to have an overwhelmingly huge fan base audience that powers her success. Yes she crosses over to casual listeners too, there’s no denying that, but Adele’s peak I think is a notch above, although Adele didn’t sustain it.

Lest anyone think I’m being negative against Taylor, I think it is pretty fair to say Taylor’s overall career has made her the most successful commercial artist in history (at least in the US, I don’t know if this dominance is worldwide), perhaps second only to the Beatles. Adele just happened to have a once-in-a-generation mega peak that no one has surpassed.

Most of what you said is correct except for this part:” Taylor, while undeniably massive, seems to have an overwhelmingly huge fan base audience that powers her success.”

She literally has the biggest audience numbers on all 3 platforms, Spotify, Apple Music, and Amazon music as reported last Year.

So If a normal artist has a 1:10 fan-to-casual proportions, maybe it’ll be 2:10-3:10 for her? But obviously vast majority of her listens are casuals as well. Cus if it’s true that “most of her listeners are fans”, then given Spotify revealed that midnights had an 8 million unique listeners in the US on its debut day alone, then she’d sell a lot more than 1.1M physical copies for midnights. She’d WISH she’d mostly propelled by fans in that case.this is just some sad brain dead twitter coping argument that got spread around and no one with a brain disputed it.

And not only the math never adds up, it is illogically fundamentally: how is an artist who was able to convert more people into fans, NOT impressive than artists who are around for some time and failed to garner a big base? How It is more impressive that your career hinges on whether people feel like giving a fucj about you this year vs. the artist who has ensured they will be successful for over 20 years?



Almost of these dim witted twitter arguments are so stupid that it doesn’t even make sense if you just give it 5 seconds of thought.