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Global Chart Report

'Espresso' leads an eighth week
Sunday, July 14, 2024
by Fred Chuchel, Dresden


The first half of the year 2024 is over, so let's take a look back: 'Beautiful Things' by Benson Boone was the big winner during this period. The power-ballad about the meaning of life, where Boone reflects on gratitude for life, love and volatility of happiness, started in the calendar week 5 at no.35, reached quickly number one and stayed there for nine weeks. Meanwhile it has achieved a total of 6,706,000 points. Another powerful ballad lands at the runner-up spot: it's 'Lose Control' by Teddy Swims with 5,662,000 points added up. 'Greedy' by Tate McRae rounds out the top three of the year-to-date list with 5,026,000 points in 2024. Already bowed in September last year, it got additional 3,215,000 points in 2023. Taylor Swift's new album 'The Tortured Poets Department' has left the competition far behind. In only 10 weeks the set generated more than 6 million equivalent sales, the fastest selling album since Adele's '25' eight and half years ago! It's not only the most

successful album of the first half of 2024, rather certainly of the entire year. Also at number two of the year-to-date list ranks Taylor Swift, the addition of her '1989' and '1989 (Taylor's Version)' albums brings it to another 2,21 million equivalent sales between January and June 2024. With a total of nearly 21,85 million units the effort lands currently at no.59 on the ALL TIME CHART. Morgan Wallen's 'One Thing At A Time' lands at no.3 on the half-year chart with 1,81 million equivalent sales. Back to our weekly charts, where Sabrina Carpenter's 'Espresso' reigns the Global Track Chart for an eighth non-consecutive week with 376,000 points (down 5% compared to the previous week). Broken down by segments the summer smash generated 257,000 points by streaming (down 8,5%), 34,000 points by sales (down 1%), and 85,000 points by airplay (up 4%). Billie Eilish's 'Birds Of A Feather' reaches a new peak at no.2 with 291,000 points (239,000 points by streaming, 30,000 points by sales, and 22,000 points by airplay). Sabrina Carpenter's second big smash 'Please Please Please' falls at no.3, after four weeks on the runner-up slot. The song gets another 287,000 points, down 10% compared to the previous week and with 236,000 points by streaming, 31,000 points by sales, and 20,000 points by airplay). All in all it was a very quiet chart week again, the fourth time in a row there's no new entry in the Top 10. The most striking movement was made by Kendrick Lamar's 'Not Like Us'. With the official video release, the diss-track jumps from no.10 to no.4, driven by a 27% points boost to 276,000. 'Not Like Us' started in the calendar week 20 at no.4 with 299,000 points and peaked one week later at no.2 with 357,000 points. Outside our weekly Top 40 waiting among other 'The Night We Met' by Lord Huron at no.42, 'Alibi' by Sevdaliza | Pabllo Vittar | Yseult at no.51, and 'Move' by Adam Port | Stryv | Keinemusik | Orso | Malachiii at no.52 for their first appearance on the hitlist. Back to the roots: Over 20 years ago Media Traffic started the weekly Global Album Chart. At that time this hitlist was based exclusively on sales figures and - like the Track Chart - included 40 positions. But the global album sales fell dramatically over the years, and that's why we shortened the Top 40 to a Top 10 list in June 2016. Later we included streaming data and now with the further increase in the streaming share we can finally offer an expanded hitlist again. Taylor Swift's 'The Tortured Poets Department' tops the Global Album Chart for an eighth non-consecutive week with another 187,000 equivalent sales (up 33,5% compared to the previous week with 82,000 streaming points + 105,000 sales points). It's the longest stay at the summit for an album since Adele's '25' topped the hitlist for 13 weeks in 2015 and 2016. The only new-entry on the current Top 20 comes from American country star Zach Bryan. His fifth studio effort 'The Great American Bar Scene' bows at the runner-up slot globally with 145,000 equivalent sales, most of it comes from streaming (129,000). Billie Eilish's 'Hit Me Hard And Soft' rounds out the top three with 99,000 sales (down 4% with 71,000 streaming points + 28,000 sales points). Exactly 10 years ago Sam Smith's 'Stay With Me' reigns the Global Track Chart. The corresponding album 'In The Lonely Hour' breaks through the 10 million border in sales now. It's the 10th album from the last decade, which reaches this wall. And now, as every week, additional stats from outside the current Global Album Top 20 in alphabetic order, the first figure means last week's sales, the second figure the total sales: '1989' by Taylor Swift 11,000 / 16,325,000, '1989 (Taylor's Version)' by Taylor Swift 36,000 / 5,576,000, '21' by Adele 14,000 / 32,923,000, '25' by Adele 8,000 / 25,041,000, '30' by Adele 7,000 / 6,435,000, 'After Hours' by The Weeknd 30,000 / 9,655,000, the soundtrack to 'Barbie: The Album' 15,000 / 2,340,000, 'Certified Lover Boy' by Drake 6,000 / 6,651,000, 'Cowboy Carter' by Beyoncé 20,000 / 1,348,000, 'Divide' by Ed Sheeran 16,000 / 21,012,000, 'Endless Summer Vacation' by Miley Cyrus 9,000 / 1,912,000, 'Equals' by Ed Sheeran 9,000 / 6,014,000, 'Evermore' by Taylor Swift 13,000 / 5,997,000, 'Folklore' by Taylor Swift 34,000 / 10,211,000, 'For All The Dogs' by Drake 13,000 / 3,096,000, 'Future Nostalgia' by Dua Lipa 23,000 / 8,884,000, Génesis' by Peso Pluma 20,000 / 2,109,000, 'Golden' by Jung Kook 33,000 / 2,609,000, 'Harry's House' by Harry Styles 24,000 / 6,927,000, 'Heroes & Villains' by Metro Boomin 21,000 / 4,084,000, 'Midnights' by Taylor Swift 35,000 / 11,103,000, 'Radical Optimism' by Dua Lipa 32,000 / 595,000, 'Red (Taylor's Version)' by Taylor Swift 17,000 / 5,896,000, '17 Is Right Here' by Seventeen 13,000 / 1,194,000, 'Sour' by Olivia Rodrigo 40,000 / 10,360,000, 'Speak Now (Taylor's Version)' by Taylor Swift 13,000 / 3,325,000, 'Utopia' by Travis Scott 37,000 / 4,029,000, 'Vultures 1' by ¥$: Kanye West & Ty Dolla $ign 9,000 / 1,164,000, and 'When We All Fall Asleep, Where Do We Go?' by Billie Eilish 14,000 / 11,883,000.

GLOBAL NO.1 - 10 YEARS AGO ... "Stay With Me", released on 14 April 2014, is from Sam Smith's debut studio album In the Lonely Hour (2014). It's a gospel-inspired ballad that details the protagonist pleading with his one-night stand not to leave him. The music legends Tom Petty and Jeff Lynne receiving co-writer credits due to the song's similarity to Petty's single "I Won't Back Down". In an interview Sam Smith said that the song was written in a studio in Old Street with James Napier and William Phillips. The latter started playing with three chords on the piano, and Napier quickly provided a drum pattern, and according to Sam Smith, "the song just flowed out of us so naturally." After finishing the song, he started to layer his vocal about 20 times, singing in different parts of the studio and harmonizing. The result sounded like a gospel choir, but all from his own voice, and this demo was then used in the released song. The single topped the charts in United Kingdom, Canada, Ireland and New Zealand, in the United States it reached no.2. At the 57th Annual Grammy Awards ceremony, "Stay With Me" won two Awards for Record of the Year and Song of the Year.

Billboard Report
Kendrick Lamar's 'Not Like Us' returns to No.1
Tuesday, July 16, 2024
by Keith Caulfield & Gary Trust, Los Angeles

Kendrick Lamar's “Not Like Us” rebounds to No. 1, from No. 3, on the Billboard Hot 100 songs chart, sparked by the July 4 premiere of its official video. The track adds a second week at

the Hot 100’s summit, after it debuted at No. 1 nine weeks earlier. It became a pop-culture fixture and spent the next eight weeks after its arrival between Nos. 2 and 6, including the last two frames at No. 3. In that span, it was further boosted by Lamar’s Juneteenth The Pop Out: Ken & Friends concert – in which he performed the seething diss track five times – at the Kia Forum in Inglewood, Calif. “Not Like Us,” on Top Dawg / Aftermath / Interscope, reigns with 53.8 million official streams (up 20%), 40 million radio airplay audience impressions (up 9%) and 8,000 sold (up 16%) in the United States July 5-11. The song scores a fifth week over 50 million weekly streams, the most for a title this year. (Tommy Richman’s “Million Dollar Baby” ranks second with three such weeks.) In all, songs have combined for 17 weeks of 50 million or more streams in 2024; last year, only one song reached that mark, twice: Miley Cyrus’ “Flowers.” “Not Like Us” lifts 2-1 for a fifth week atop

the Streaming Songs chart, the most for a track this year; 6-4 on Digital Song Sales, after reaching No. 3; and 10-9 for a new high on Radio Songs. Morgan Wallen’s “Lies Lies Lies” enters the Hot 100 at No. 7 with 27 million streams, 4.5 million in airplay audience and 14,000 sold in its first week, following its July 5 wide release. The ballad was originally recorded at London’s Studio Two at Abbey Road Studios last December and first released March 3 as part of his seven-song Abbey Road Sessions digital series. Shaboozey’s “A Bar Song (Tipsy)” ranks at No. 2 on the Hot 100, a week after it became his first No. 1, and claims the chart’s top Airplay Gainer award (69.5 million in audience, up 16%). It leads Digital Song Sales for a ninth week (21,000, down 8%). Post Malone’s “I Had Some Help,” featuring Morgan Wallen, slips 2-3 on the Hot 100 following six nonconsecutive weeks at No. 1 beginning in May. It tops Radio Songs for a third week (81 million, up 2%). Tommy Richman’s “Million Dollar Baby” rises 5-4 on the Hot 100, after hitting No. 2. Sabrina Carpenter’s “Espresso” dips 4-5 on the Hot 100, after reaching No. 3, and her “Please Please Please” keeps at No. 6, three weeks after it became her first No. 1. Hozier’s “Too Sweet” descends 7-8 on the Hot 100, following a week at No. 1 in April. Rounding out the Hot 100’s top 10, Benson Boone’s No. 2-peaking “Beautiful Things” drops 8-9 and Teddy Swims’ “Lose Control,” which led for a week in March, backtracks 9-10. Taylor Swift’s The Tortured Poets Department captures a 12th consecutive and total week at No. 1 on the Billboard 200 (dated July 20), beating 1989 and Fearless (each with 11 weeks at No. 1) as her longest-leading No. 1 album. Of The Tortured Poets Department’s 163,000 units earned in the week ending July 11, album sales comprise 90,000 (up 154%, making it the top-selling album of the week, and No. 1 on Top Album Sales for a sixth non-consecutive week), SEA units comprise 72,000 (down 7%, equaling 94.83 million on-demand official streams of the deluxe album’s 31 songs; it falls 1-2 on the Top Streaming Albums chart after 11 weeks in a row at No. 1) and TEA units comprise 1,000 (up 7%). Of Swift’s overall album sales for the week, CD sales comprise 67,000 (up 127%), digital album download sales comprise 19,000 (up 1,266%) and vinyl sales comprise 4,000 (down 10%). The Tortured Poets Department’s overall weekly increase was bolstered in part by sales generated from Swift’s official webstore, which restocked seven earlier-released CD variants of the album (including a signed edition). Zach Bryan’s The Great American Bar Scene rises 17-2 in its second week on the Billboard 200, following its first full tracking week of activity. The set earned 137,000 equivalent album units in the week ending July 11 (up 363% from its first day). The previous week’s list captured the tracking week of June 28-July 4, and Bryan’s album was released on Thursday, July 4. The set premiered on the previous week’s list with 32,000 units from first day of release. (Albums are typically released on Friday each week, which is the first day of the chart’s tracking week.) Of The Great American Bar Scene’s second chart-week units, SEA units comprise 127,500 (up 390%, equaling 163.87 million on-demand official streams of the set’s 19 tracks; it jumps 18-1 on Top Streaming Albums), album sales comprise 8,500 (up 66%, it was only available to purchase as a digital download album) and TEA units comprise 1,000 (up 113%). The album will be released on CD and vinyl on Oct. 11. The album was preceded by a pair of Billboard Hot 100-charting songs: “Pink Skies” (peaking at No. 6 in June) and “Purple Gas,” with Noeline Hofmann (No. 70). The Great American Bar Scene marks the fourth top 10-charting effort for Bryan on the Billboard 200, following Boys of Faith (No. 8, October 2023) his-self titled set (No. 1, two weeks, September 2023) and American Heartbreak (No. 5, June 2022). Morgan Wallen’s former leader One Thing at a Time falls 2-3 with 69,000 equivalent album units earned (down 6%); Billie  Eilish’s Hit Me Hard and Soft is a non-mover at No. 4 with 58,000 (down 8%); and Chappell Roan’s The Rise and Fall of a Midwest Princess is stationary at No. 5 with 54,000 (down 10%). Wallen’s chart-topping Dangerous: The Double Album holds at No. 6 (40,000; down 8%); Noah Kahan’s Stick Season rises 9-7 (38,000; down 3%); Shaboozey’s Where I’ve Been, Isn’t Where I’m Going is a non-mover at No. 8 (36,000; down 10%); and Megan Thee Stallion’s Megan falls 3-9 in its second week (32,000; down 50%). Closing out the top 10 is a second Zach Bryan title, as his self-titled No. 1 rises 12-10 with nearly 32,000 equivalent album units (down 12%). It’s the second time Bryan has placed two titles in the top 10. He first did it on the Oct. 7, 2023-dated chart, when his self-titled set fell 3-5 in its fifth week, while his Boys of Faith project bowed at No. 8.

Record Of The Month
'Alibi' is a furious tune by Iranian-Dutch singer, songwriter and visual artist Sevdaliza,
together with Brazilian singer and drag queen Pabllo Vittar and French musician Yseult.

United Kingdom
Music Week Report
Shaboozey's 'A Bar Song (Tipsy)' remains at No.3
Monday, July 15, 2024
by Alan Jones, London

Sabrina Carpenter continues to dominate the singles chart, taking the top two positions for the fourth week in a row but with a twist, as her first No.1, Espresso – which spent five weeks at the summit, before retreating to No.2 for a further five weeks – wrests control from her follow-up, Please Please Please,

which has reigned for the last three weeks. Consumption of both tracks is down quite significantly however, with Espresso (2-1, 54,074 sales including 52 CDs, three cassettes, 928 digital downloads and 53,091 sales-equivalent streams) off 12.00% week-on-week to a 12-week low, while Please Please Please (1-2, 53,112 sales) declines 13.63% week-on-week. Espresso’s tally is the lowest for a No.1 for 17 weeks. Carpenter becomes one of the few artists in chart history to replace themselves at No.1, joining an elite group consisting of The Beatles, John Lennon, Elvis Presley, Justin Bieber, Ed Sheeran, Ariana Grande and Elton John. She is the third artist in chart history (and first woman) to secure the top two slots on the chart for four weeks in a row, the others being Justin Bieber (2015, four weeks in a row) and Ed Sheeran (2017, five weeks in a row). Shaboozey appears to be drawing closer to Carpenter’s two hits with his debut smash, A Bar Song

(Tipsy) which is at its peak position of No.3 for the third week in a row and sixth time in all. It was 35.35% in arrears of her No.1 a fortnight ago, 22.92% behind last week, and now trails by 16.85% - but, despite getting a boost from the release of David Guetta and Alesso mixes a fortnight ago, it is also in decline, with its lead over the rest of the Top 10 diminishing quickly. Down 6.33% week-on-week to 46,861 units, consumption of A Bar Song (Tipsy) is at a 10-week low. More positively, the track has now gone platinum with to-date consumption of 613,167 units. Currently No.1 in the USA, it has probably lost its chance here, with ACR likely a fortnight away. After falling for five consecutive weeks from its peak position of No.6 to No.21, Kendrick Lamar’s diss track Not Like Us has climbed three times in a row, with consumption growing 28.94% week-on-week to 31,780 units in the first full week since its promotional video debuted, helping it to jump 11-9 in the latest frame, its highest position for eight weeks. The rest of the Top 10: Birds Of A Feather (5-4, 41,315 sales) by Billie Eilish, Good Luck, Babe! (4-5, 40,489 sales) by Chappell Roan, Stargazing (7-6, 38,974 sales) by Myles Smith, Houdini (6-7, 32,588 sales) by Eminem, I Had Some Help (8-8, 31,891 sales) by Post Malone feat. Morgan Wallen and Austin (9-10, 30,921 sales) by Dasha. Overall singles consumption is down 3.01% week-on-week to 27,780,426 units – a 26-week low but 5.34% above same week 2023 consumption of 26,372,317 units. Paid-for sales are down 18.28% week-on-week at 266,266 – 8.58% below same week 2023 sales of 291,261. Kasabian become the second group and third act in chart history to debut at No.1 with seven consecutive albums this week, with their eighth studio album, Happenings’ chart-topping arrival being attended by consumption of 19,752 units (12,940 CDs, 5,044 vinyl albums, 545 digital downloads and 1,223 sales-equivalent streams). Consisting of 10 songs with a playing time of just 28 minutes Happenings is the shortest No.1 album since Blackpink’s Born Pink (2022, 24m 34s). It is the second Kasabian album on which their principal songwriter Sergio Pizzorno – who singlehandedly wrote every song, although first track Darkest Lullaby is spookily redolent of Angie Stone’s superb 2002 No.30 hit Wish I Didn’t Miss You in parts – has also served as lead vocalist, following the 2020 departure of Tom Meighan, who had fronted the group ever since its formation in Leicester 27 years ago. Meighan’s only solo effort to date, The Reckoning, reached No.17 last year. First week sales of Happenings are the lowest for any Kasabian studio effort. Their previous No.1s, their first week sales, and release years are: Empire (109,397, 2006), West Ryder Pauper Lunatic Asylum (98,423, 2008), Velociraptor! (94,088, 2011), 48:13 (70,339, 2014), For Crying Out Loud (52,413, 2017) and The Alchemist’s Euphoria (21,548, 2022). Ending a run of 11 consecutive weeks in which female solo artists held the crown, Happenings is the fourth album to wrest chart leadership from Taylor Swift’s latest album, The Tortured Poets Department (TTPD) in the last nine weeks, following Dua Lipa’s Radical Optimism, Billie Eilish’s Hit Me Hard And Soft and Gracie Abrams’ The Secret Of Us. Its consumption down for the fourth week in a row to a new low of 11,909 units, TTPD nevertheless raises its overall consumption since its release on 19 April to 568,131 units – well over twice as much as 2024’s next most-consumed album, The Weeknd’s The Highlights (235,052 units). On physical sales alone, TTPD would be No.1 for the year to date, with its to-date tally of 254,243 units, including 166,423 CDs, 83,076 vinyl albums and 4,744 cassettes. It is only the fifth album to achieve physical sales in excess of 250,000 in the 2020s, following 30 by Adele (522,122 sales), Voyage by Abba (423,881), = (Equals) by Ed Sheeran (367,537) and her own Midnights (278,398). Swift’s overall physical sales in the 2020s up to last week were 1,543,065 – more than the next two biggest acts (Ed Sheeran – 626,445 and Adele – 606,820) combined. After pausing at No.6 last week, Chappell Roan’s first album, The Rise And Fall Of A Midwest Princess, reaches a new peak for the ninth time in 10 weeks, advancing to No.5 even as its consumption falls 4.54% to 7,315 units. The rest of the Top 10: Hit Me Hard And Soft (2-3, 9,153 sales) by Billie Eilish, Brat (4-4, 8,083 sales) by Charli XCX, The Highlights (7-6, 7,090 sales) by The Weeknd, Curtain Call: The Hits (9-7, 5,598 sales) by Eminem, 50 Years: Don’t Stop (12-8, 5,168 sales) by Fleetwood Mac, Stick Season (13-9, 5,007 sales) by Noah Kahan and Lover (11-10, 4,666 sales) by Taylor Swift. Overall album sales are down 4.23% week-on-week at 2,221,865 units, 1.57% above same week 2023 sales of 2,187,432. Physical product accounts for 256,486 sales, 11.54% of the total.