Tyler, The Creator, performing through the Coachella Pageant in Indio, California, on April 13, 2024, introduced his eighth album, Chromakopia, just a bit greater than per week earlier than releasing it on Monday, October 28.
Valerie Macon/Getty Photographs
cover caption
toggle caption
Valerie Macon/Getty Photographs
Some long-awaited volatility sweeps over the pop charts this week: Tyler, The Creator’s new album, Chromakopia, debuts at No. 1 on this week’s Billboard 200, although it got here out on a Monday and solely loved a four-day window of eligibility. The rapper’s success additionally shakes up the Sizzling 100 singles chart — which makes room for all 14 of the album’s songs, together with two within the high 10. In the meantime, Shaboozey’s “A Bar Track (Tipsy)” returns to No. 1 after per week away for a brand new complete of 16 nonconsecutive weeks atop the chart, which ties a file for this decade.
TOP ALBUMS
Final week, the rapper Yeat stormed the Billboard 200, notching his first-ever No. 1 album with the debut of Lyfestyle. This week, he plunges again all the way down to earth, because the album slides all the way in which to No. 70. Taking his place on this week’s chart is the debut of a file that exhibits hints of getting extra endurance: Tyler, The Creator’s Chromakopia.
Chromakopia had an oddly timed launch: The rapper didn’t announce its title or drop date till Oct. 17, and it got here out a mere 11 days later, and on a Monday. Albums sometimes drop on Fridays, and Billboard’s seven-day window of chart eligibility is about as much as mirror that reality, which suggests Chromakopia had solely 4 days (none of them on the weekend) to compete with everybody else’s seven. It was an act of supreme confidence from an artist who has all the time appreciated to invert his viewers’s expectations. And it was a take a look at of power — one he greater than handed — in a market the place artists sometimes make aggressive strategic strikes (a number of vinyl variants, discounted pricing) to maximise their first-week numbers.
The album did blockbuster enterprise: Should you took simply its gross sales numbers or simply its streaming numbers, both would have counted sufficient to raise the file to No. 1. And, provided that streaming is what tends to feed chart longevity lately — and that Tyler’s songs have been streamed sufficient to propel two of them into this week’s high 10 — he appears to be like to be in for a good run. (The audacious, electrical, incessantly experimental file has gotten terrific opinions, which might’t harm.)
Tyler, The Creator isn’t the one artist to put up a powerful Billboard 200 debut this week. Fueled largely by gross sales — together with the now-standard variant editions and on-line reductions — Halsey’s The Nice Impersonator enters this week’s chart at No. 2, whereas nation singer Kelsea Ballerini bows at No. 4 with Patterns.
Elsewhere within the high 10, Eminem takes a steep climb from No. 44 to No. 6, due to the discharge of The Loss of life of Slim Shady (Coup de Grâce) on vinyl. That makes 4 recent entries within the high 10, every of which displaces a current debut — by Yeat, Jelly Roll, SEVENTEEN and BigXthaPlug — and sends a number of standbys slipping down the chart, if solely a bit bit: Sabrina Carpenter’s Quick n’ Candy is the week’s high holdover from final week, sliding from No. 2 to No. 3, whereas Rod Wave’s Final Lap dips from No. 4 to No. 5.
Rounding out the highest 10, Gracie Abrams’ The Secret of Us climbs from No. 8 to No. 7 as followers proceed to stream its new deluxe version — and as she continues to open for Taylor Swift on the Eras Tour. Morgan Wallen’s One Factor at a Time drops from No. 6 to No. 8, Billie Eilish’s Hit Me Laborious and Delicate holds at No. 9 and GloRilla’s Superb slides from No. 7 to No. 10.
TOP SONGS
Final week may need been the second when Shaboozey’s “A Bar Track (Tipsy)” tied the longest run at No. 1 this decade, set final 12 months when Morgan Wallen’s “Final Night time” sat on the high spot for a powerful 16 weeks. Wallen had different concepts, nevertheless, as his new tune “Love Any individual” debuted at No. 1, leaving Shaboozey on the surface trying in for the primary time in months.
This week, Shaboozey will get his sixteenth week in any case, as “A Bar Track” returns to No. 1 and “Love Any individual” slides to No. 8. It’s a exceptional milestone for “A Bar Track,” which is now tied with three songs — “Final Night time,” “Despacito” (by Luis Fonsi and Daddy Yankee with Justin Bieber) and “One Candy Day” (by Mariah Carey & Boyz II Males) — for the second-longest run at No. 1 within the historical past of the Sizzling 100, which dates again to 1958. As famous a pair weeks in the past, its days at No. 1 are numbered, as the vacation season guarantees to ship “All I Need for Christmas Is You” and different requirements storming to the highest of the charts. However the all-time file of 19 weeks — set by Lil Nas X’s “Outdated City Highway,” that includes Billy Ray Cyrus — is no less than again within the realm of chance.
Shaboozey had some critical competitors this week, too: Girl Gaga and Bruno Mars made a run for No. 1 once they launched three alternate variations of their hit “Die With a Smile” — two instrumentals and one subtitled “Stay in Las Vegas” — and supplied every of the 4 variations of the tune for a reduced 69 cents on the iTunes Retailer. However their bid for No. 1 fell brief, because the tune climbed from No. 4 to a brand new peak at No. 2. (In the meantime, Gaga’s new single, “Illness,” debuts at No. 27.)
The opposite large strikes within the high 10 got here as a reverberation from Tyler, The Creator’s blockbuster chart debut with Chromakopia. With all 14 of its songs touchdown comfortably within the Sizzling 100, two of them — “St. Chroma (feat. Daniel Caesar)” and “Noid” — enter this week’s high 10, as the previous debuts at No. 7 and the latter climbs from No. 43 to No. 10.
Rounding out this week’s high 10, Billie Eilish’s “Birds of a Feather” holds at No. 3, Sabrina Carpenter’s “Espresso” climbs from No. 5 to No. 4 (“Style” additionally holds at No. 9), Publish Malone and Morgan Wallen’s “I Had Some Assist” rises from No. 6 to No. 5 and Teddy Swims’ “Lose Management” ticks up from No. 7 to No. 6 — within the course of extending his run within the high 10 to 42 weeks, the third-longest run within the high 10 ever posted. (The Child LAROI and Justin Bieber’s “Keep” charted within the high 10 for 44 weeks in 2021-22, whereas The Weeknd’s “Blinding Lights” had a 57-week run in 2020-21.)
WORTH NOTING
As famous above, we’re simply weeks away from a surge of vacation requirements overwhelming the Billboard charts. Assume “All I Need for Christmas Is You,” “Rockin’ Across the Christmas Tree” and their cheerful ilk, all storming the highest 10 concurrently. This week, nevertheless, there’s a special sort of vacation surge.
The charts that simply dropped mirror a window of eligibility that spanned the ultimate week of October, and should you’re in search of affirmation of which tracks have develop into Halloween streaming requirements, it’s proper there: Michael Jackson’s “Thriller” re-enters the Sizzling 100 at No. 20, Ray Parker Jr.’s “Ghostbusters” is shut behind it at No. 28, Bobby “Boris” Pickett and the Crypt-Kickers’ “Monster Mash” staggers in at No. 30, The Residents of Halloween’s “This Is Halloween” pops up at No. 38 and Rockwell’s paranoid basic “Any individual’s Watching Me” resurfaces at No. 50.
The Billboard 200 albums chart displays an identical Halloween boomlet, because the soundtrack to Tim Burton’s The Nightmare Earlier than Christmas soars from No. 123 to No. 28, Jackson’s Thriller climbs from No. 71 to No. 29, Pickett’s The Authentic Monster Mash (in case you favor “Monster Mash” in album type) re-enters at No. 110, Andrew Gold’s Halloween Howls: Enjoyable & Scary Music (little doubt a favourite of those that wish to stream spooky music for trick-or-treaters) exhibits up at No. 112, Ray Parker Jr.’s Best Hits (sure, individuals, the person has had different hits) is at No. 135 and Michael Jackson’s Scream lands at No. 172.
Subsequent week? Search for all of ’em besides Thriller (the album, not the tune) and perhaps The Nightmare Earlier than Christmas to drop off the charts and re-enter the crypts from whence they got here.
