KISS scores its highest-charted title on Billboard’s Top Album Sales chart in more than a decade, as KISS Destroys Anaheim ’76 debuts at No. 8 on the list dated Sept. 5. The archival live project brings the band to its highest rank on the tally since 2012, with the group’s final studio album, Monster, debuted and peaked at No. 3 in October 2012.

KISS Destroys Anaheim ’76 commemorates the 50th anniversary of the group’s Aug. 20, 1976 show at the Anaheim Stadium, where the band played to its largest audience at the time: 42,000. As part of KISS’ The Spirit of ’76 Tour (also known as the Destroyer Tour), the recording was newly mixed for its first official public release across an array of physical and digital formats.

The album boasts recordings of KISS favorites like “Detroit Rock City,” “Strutter,” “Shout It Out Loud” and “Rock and Roll All Nite.” KISS Destroys Anaheim ’76 also debuts on an array of other Billboard charts: Indie Store Album Sales (No. 8), Vinyl Albums (No. 16), Top Hard Rock Albums (No. 12), Top Rock & Alternative Albums (No. 48) and the overall Billboard 200 (No. 173). On the latter, the set marks KISS’ 37th chart entry

Elsewhere on the Sept. 5-dated Top Album Sales chart, ENHYPEN nabs its fifth No. 1 with THE SIN : BLISS’ chart-topping arrival, while Weezer and Twenty One Pilots see their latest projects make top 10 bows at Nos. 4 and 5. Check out the full chart.

Billboard’s Top Album Sales chart ranks the top-selling albums of the week based only on pure album sales (physical and digital download purchases combined). The chart’s history dates 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 (TEA) units and streaming equivalent album (SEA) units.

Eladio Carrión scores his second No. 1 on Billboard’s Latin Airplay chart, as “Polaroid” jumps 3-1 on the Sept. 5 dated ranking. The new winning chapter lands two years after the Latin rapper last held the crown in April 2024.

“Polaroid” completes its climb to the top of the overall Latin radio chart after a lengthy 18 weeks. It cracked the top 10 on Aug. 15 (climbing 11-9), but then dipped to No. 13 the following week, before jumping back into the top 10 on Aug. 29 (rising 13-3). A 13% audience gain drove the track to 6.9 million impressions in the United States during the tracking week ending Aug. 27, according to Luminate, sending Carrión to its first No. 1 since 2024’s “TQMQA.”

“Polaroid,” produced by Carrión, Hide Miyabi and AndrahPR, broke into the charts in May as its parent album, CORSA, stormed into the top 10 on the Top Latin Albums chart. The song also put a spin on Latin radio, sampling Michael Sembello’s Flashdance classic “Maniac” the 1983 Billboard Hot 100 chart-topper. That’s not all the recent popularity surrounding the latter’s 80s hit, as it landed on the 2026 Greatest of All Time Songs of the Summer chart.

Adding on, thanks to its radio haul, Carrión’s “Polaroid” climbs 40-35 on the hybrid Hot Latin Songs chart, its highest rank dating to its debut at No. 25 in May.

La Arrolladora Banda El Limón Reaches New Milestone: Elsewhere on the Latin charts, La Arrolladora Banda El Limón de René Camacho banks its 23rd champ as “Si Las Miradas Mataran” races 9-1 on Regional Mexican Airplay. The feat breaks its tie with Banda MS for the second-most leaders, behind only Calibre 50’s 29 No. 1s.

“Si Las Miradas Mataran” reaches the summit with 6.3 million audience impressions, up 39%, during the tracking period. Released May 29 via Ferca/UMLE as the title track of a seven-song set, it also appears on the deluxe edition of its parent album, released May 28.

Beyond its Regional Mexican Airplay coronation, La Arrolladora adds a fourth entry on Hot Regional Mexican Songs, with “Si Las Miradas” debuting at No. 18.

Dolly Parton is on course for her first-ever No. 1 on the Official U.K. Singles Chart following a posthumous surge in streams for her signature hit “9 To 5.”

Penned for the 1980 comedy film of the same name, the song stands as one of Parton’s most iconic and beloved numbers, and hit a new peak of No. 12 on last week’s chart (Aug. 28). Yet “9 to 5” is now striding towards the summit in the chart’s midweek update (Aug. 30), which would give the country music icon her maiden U.K. No. 1 single. In a press release, the Official Charts Company reports a 350% week-on-week increase in streams and sales.

Parton is also set for a major presence elsewhere in the upper reaches of the U.K. chart. Having previously reached No. 7 upon release, “Jolene,” her 1973 classic, is currently tracking at No. 2, while Kenny Rogers collaboration “Islands in the Stream” is up to No. 6.

Last Tuesday (Aug. 25), it was announced that Parton had died in Nashville at age 80 after a brief battle with cancer. The singer, songwriter and philanthropist had been mostly out of the public eye for the past 12 months following a struggle with unspecified health issues that forced her to cancel a planned 2025 Las Vegas residency. 

In honour of an illustrious career spanning several decades, in 2024, Parton was named the top country artist of all time by Billboard staff. She also landed 49 albums in the top 10 on Billboard’s Top Country Albums chart, the most of any woman. 2023’s Rockstar, a collection of rock covers and originals with appearances from Paul McCartney, Elton John, goddaughter Miley Cyrus and more, debuted at No. 3 on the Billboard 200, marking her pinnacle on the chart.

Elsewhere on the midweek update of the Official U.K. Singles Chart, Alex Warren could land two new entries in the top 40 following the release of his second album, Wildchild. “Cry Wolf” currently lands at No. 21, while “Emerald Eyes” follows at No. 23. Dua Lipa’s 2024 track “Training Season” is also set for a return to the chart, currently at No. 36 following the release of her Training Season’s Over EP, which features multiple live versions of the song.

Olivia Rodrigo could meanwhile add another chart entry with “Serena Joy,” her politically-charged track named after the character from The Handmaid’s Tale. The song lands at No. 39 following Rodrigo’s appearance at this past weekend’s Daisy Chains Festival in Irvine, California, where she performed it live.

Dolly Parton’s best-of collection Ultimate Dolly Parton re-enters the Billboard 200 albums chart dated Sept. 5 at No. 5, marking the late icon’s fourth top 10-charted set and her second-highest-charting album ever.

Parton died on Aug. 25 at age 80 after a short battle with cancer. The entertainer previously visited the top 10 with the all-star collaborations project Rockstar (No. 3 in 2023, her highest-charted album), Blue Smoke (No. 6 in 2014) and the collaborative album Trio (No. 6, in 1987) with Linda Ronstadt and Emmylou Harris.

Ultimate Dolly Parton was released in 2003 and originally peaked at No. 112 in 2019. Until this week, it hadn’t been on the chart since 2020. In the Aug. 21-27 tracking week, which reflects less than three days of impact following the announcement of Parton’s death, Ultimate Dolly Parton earned 59,000 equivalent album units (up from a negligible sum in the previous week), largely driven by streaming activity of the songs on the album.

The 20-track Ultimate Dolly Parton includes familiar Parton favorites such as “Jolene,” “I Will Always Love You,” “Here You Come Again,” “9 to 5” and “Islands In the Stream” (with Kenny Rogers). Many of the songs on this album are shared among other Parton projects — hits compilations and studio albums. For chart purposes, songs shared across an artist’s albums have their streaming equivalent album units and track equivalent album units assigned to whichever of those albums sells the most, by pure album sales, in a given week. In the latest tracking week, Ultimate Dolly Parton was the legend’s best-selling album, with 7,000 copies sold.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 2,500 ad-supported or 1,000 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Sept. 5, 2026-dated chart will be posted in full on Billboard‘s website on Sept. 1. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

After 10 years and fifth album releases, DMA’S finally have a No. 1.

The Australian alternative rock trio opens at the top of the latest ARIA Albums Chart (published Friday, Aug. 28) with DMA’S, their fifth studio album.

It’s the band’s first ever No. 1 on the national chart, after successive near-misses. And just the second homegrown album to top the tally this year after Karnivool’s In Verses (via Cymatic Records/Sony Music), following its release in February.

“Congratulations to DMA’S on a career best chart performance, taking the number one spot with their self-titled album no less,” comment ARIA CEO Annabelle Herd. “This is just another achievement in a string of incredible work over more than a decade and we couldn’t be more thrilled to welcome them to the top of the ARIA Chart.” 

DMA’S is notable, for several reasons. That fastest possible chart start follows close chances with 2023’s How Many Dreams, which opened and peaked at No. 2 on the ARIA Chart (and No. 3 on the Official U.K. Albums Chart). And its predecessor, 2020’s The Glow, which also peaked at No. 2 in Australia (and No. 4 in the United Kingdom). The Aussies will learn of their U.K. chart debut later Friday.

As previously reported, it’s the band’s first release through a new deal with Wonderlick and Sony Music, one that introduces the trio into the major label machine for the first time. Their previous albums, going back to their debut full-length collection Hill’s End, which this year celebrates its 10^th anniversary, were independently released through I Oh You, part of the Mushroom Group.

Also, it’s the first of the DMA’S albums to be self-recorded. Bandmates Johnny Took (acoustic guitar, backing vocals), Matt Mason (lead guitar) and Tommy O’Dell (lead vocals) cut the new effort in their studio in Sydney’s Glebe, a space that was established by local rock’n’roll legend Col Joye, and hosted sessions with David Bowie, Bruce Springsteen and the Bee Gees.

Speaking ahead of the new release, Mason told Billboard that an ARIA No. 1 was on his mind. “I’d be lying if I said that wasn’t a part of it,” he said, a nod to their new major label route.

Since their arrival with Hill’s End (which cracked the ARIA Top 10, peaking at No. 8), DMA’S have amassed over 535 million streams. In Australia, their breakthrough came with the 2016 cover of Cher’s ‘90s dance hit “Believe.” Their version came out on top of triple j’s inaugural Hottest 100 “Live A Version” countdown in 2023, and they won the ARIA Award for best group in the same year.

DMA’S will support their new chart leader with an east coast tour of Australia this November and December.

In other chart news, Tasmanian artist Miss Kaninna bags a top 10 with her debut mixtape, BLACKPRINT, new at No. 8, while Aussie singer and songwriter Vera Blue starts at No. 12 with Modern Rituals. Over on the ARIA Singles Chart, Ella Langley returns to the summit with “Choosin’ Texas,” up 2-1 for its 11th non-consecutive week at the top. Female artists or groups have now led the national singles chart for every week since early August 2025, ARIA reports.

Jay Wheeler’s “De Lejitos” is no longer distant from the No. 1 spot, as the song jumps 2-1 on Billboard’s Latin Airplay chart (dated Aug. 29). The new chart-topper arrives just five months after the Puerto Rican led the overall Latin radio ranking in March.

“’De Lejitos’ is a special song for me,” Wheeler shares with Billboard. “Today it’s a success because it went from being my daughter Aiunii’s favorite to becoming a favorite among all my fans, long before my team and I decided to officially release it. Every time I release music, I do it with the intention of getting everyone to dance, sing, and be happy listening to my songs, and reaching No. 1 on Billboard simply fills me with great pride.

“De Lejitos” lands at the summit on Latin Airplay with 6.7 million audience impressions earned in the United States during the Aug. 14-20 tracking week, according to Luminate; that’s a 4% growth from the week prior.

“De Lejitos” began its chart journey with a top 20 debut on the Hot Latin Songs chart in April, holding in the top 10 for nearly 11 straight weeks. Its only detour from the upper region came during Karol G’s blockbuster debut week (dated Aug. 12), when songs from her album No Me Arrepiento de Sentir Tanto flooded the multi-metric tally, sending the song from No. 7 to No. 18, and back to the top 10 on this week’s chart, at No. 8, from streaming gain.

On Latin Airplay, “De Lejitos” spent three weeks in the top 20 before landing at No. 2 last week. With its new ruling result, Wheeler ups his chart-topping count to four No. 1s. It follows “Viendo El Techo,” “Dos Tragos,” and its latest “Si Te Vas,” with Jay Balvin, all one-week champs between 2021-26.

Band El Recodo Revives Antonio Aguilar’s 1958 ‘La Cama De Piedra’ For No. 1: Elsewhere on the Latin charts, Banda El Recodo de Cruz de Lizárraga picks up its 21st No. 1 on Regional Mexican Airplay with “La Cama de Piedra.” The new reworked version of Antonio Aguilar’s hit, released in 1958, was produced by his son Pepe Aguilar and Alfonso ‘Poncho’ Lizárraga, band leader.

“La Cama de Piedra” rises after a 10% gain in impressions, to 5.9 million, earned during the tracking week. The song trades places with Xavi’s “Dosis” which leaves the top spot after an equal 10% decline, to 5.6 million.

With its 21st Regional Mexican Airplay No. 1, Banda El Recodo now claims seven leaders in the ‘20s —the most that it has earned in any decade, following two in the 1990s and six each in the 2000s and ‘10s. The group also ties with Intocable for the fourth-most champs since the chart began in 1994. Here’s the list of champs:

No. 1s, Artist
29, Calibre 50
22, Banda MS de Sergio Lizárraga
22, La Arrolladora Banda el Limón de René Camacho
21, Banda El Recodo de Cruz Lizárraga
21, Intocable
18, Los Tigres del Norte
17, Christian Nodal
17, Grupo Frontera

For seven straight decades, from the 1960s on through the 2020s, the late Dolly Parton charted an iconic string of 50 albums on the all-genre Billboard 200 chart — including 15 top 40-charted sets.

From her debut with Porter Wagoner on Just the Two of Us in 1969, on through her most recent new entry, 2023’s Rockstar, the singer-songwriter left a remarkable impression on Billboard’s signature album chart.

Parton notched four early albums on the Billboard 200 with her former TV co-star and duet partner Wagoner in 1969-71. She charted her first solo entry also in 1969, with My Blue Ridge Mountain Boy.

Parton would not reach the top 40 of the all-genre Billboard 200 albums chart until 1978, when Here You Come Again climbed to a No. 20 peak off the strength of its smash title track. The single sailed to No. 3 on the overall Billboard Hot 100 songs chart, and marked her first of eight top 40 hits on the ranking.

After the Here You Come Again album, Parton would hit the top 40 again in short order with Heartbreaker (No. 27 in 1978), Great Balls of Fire (No. 40 in 1979) and 9 to 5 and Odd Jobs (No. 11 in 1981). The latter boasted her first Hot 100 No. 1 in “9 to 5,” which also scored Parton her first Academy Award nomination, for best original song (from the film of the same name in which Parton co-starred with Jane Fonda and Lily Tomlin).

Parton would hit the top 40 of the Billboard 200 again in late 1984 with her holiday album Once Upon a Christmas, with Kenny Rogers. Just a year before, the pair teamed up on Parton’s second Hot 100 No. 1, “Islands in the Stream.”

In 1987, Parton joined Linda Ronstadt and Emmylou Harris for the successful Trio album, which reached No. 6 on the Billboard 200 and granted Parton her first top 10 on the chart. Trio would garner Parton her first, and so far only, Grammy Award nomination for album of the year.

In the 1990s, Parton notched two more top 40 albums on the Billboard 200 with Eagle When She Flies (No. 24 in 1991) and Slow Dancing With the Moon (No. 16 in 1993). In the 2000s, she brought Backwoods Barbie to the top 40, hitting No. 17 in 2009.

In 2014, Parton achieved her first top 10 on the Billboard 200 unaccompanied by any other acts, as Blue Smoke debuted and peaked at No. 6. She followed it with another top 40 album two years later, Pure & Simple, which hit No. 11.

In the 2020s, Parton has claimed four new top 40-charted albums — more than in any other decade. In 2020, she reached No. 16 with A Holly Dolly Christmas and followed it with Run, Rose, Run (No. 34 in 2022) and the best-of compilation Diamonds & Rhinestones: The Greatest Hits Collection (No. 27 in 2022).

In 2023, Parton claimed her highest charting Billboard 200 album ever, as the all-star collabrations project Rockstar debuted and peaked at No. 3.

The Rockstar project was promoted as Parton’s first rock album, and its recording was sparked by Parton’s induction to the Rock & Roll Hall of Fame in 2022. Through her career, Parton primarily recorded country music, but took detours (via albums and songs) into such genres as Americana/folk, bluegrass, children’s music, Christian, dance/electronic and pop.

The 30-song Rockstar album mixed covers and original tunes and included guests such as Pat Benatar, Miley Cyrus, Melissa Etheridge, Joan Jett and The Blackhearts, Elton John, Lynyrd Skynyrd, Paul McCartney, Stevie Nicks, Chris Stapleton, Ringo Starr, Sting and Steven Tyler.

Dolly Parton built an unparalleled career in country music, charting more than 100 hits on Billboard’s Hot Country Songs ranking and earning 25 No. 1s — the most among women all-time. But Parton, who died Tuesday in Nashville at age 80, also ventured into other genres, even finding success on Billboard’s dance charts.

Parton’s first foray into dance music came in 1978, when she released the disco-influenced country album Heartbreaker. The set reached No. 5 on the Top Country Albums chart (though it long predated the 2001 launch of Billboard’s Top Dance Albums chart).

Heartbreaker generated Parton’s first dance hit in the double-sided single “Baby I’m Burnin’”/“I Wanna Fall in Love,” which peaked at No. 15 in early 1979 on the (now-inactive) Dance Club Songs chart.

Parton returned to Dance Club Songs in 1981 with another paired entry, “9 to 5”/“House of the Rising Sun.” The former served as the famed theme to the film of the same name, in which Parton co-starred, while the latter was her take on the traditional folk ballad.,

She made three more appearances on Dance Club Songs: with “Potential New Boyfriend” in 1983, bolstered by a nearly six-minute extended dance mix; her 1997 cover of Cat Stevens’ “Peace Train,” which received several dance remixes, including one featuring Ladysmith Black Mambazo; and, following a two-decade-plus absence, “Faith,” with Galantis and featuring Mr. Probz, in 2020.

“Faith,” a dance reworking of John Hiatt’s 1987 song “Have a Little Faith in Me,” gave Parton a No. 1 on a dance chart at last, as it topped Dance Airplay in 2019. It also reached No. 10 on Hot Dance/Electronic Songs.

When Parton announced “Faith” at the Grand Ole Opry in Nashville in 2019, she noted that she was prioritizing the release of positive, uplifting music. “This world is just so dark and ugly and awful … so I’m going to make it my business to try to do songs that are more uplifting, not all Christian-based songs, but songs about better things,” she said. “Do better, and have a little more love, a little more light and don’t be so dark and dirty.”

During her lifetime, Parton topped five of Billboard’s currently published radio charts: Adult Contemporary, Country Airplay, Christian Airplay, Christian AC Airplay and Dance Airplay.

Parton’s genre-spanning exploration continued through her most recent studio album, Rockstar, in 2023. The set, her 49th studio release, earned the icon her first No. 1 on a Billboard rock chart when it spent a week atop the Top Rock Albums list. It also became her highest-charted entry on the Billboard 200 when it debuted and peaked at No. 3. The collection includes covers of rock classics and collaborations with many of the genre’s biggest names, including Lynyrd Skynyrd on “Free Bird,” Joan Jett on “I Hate Myself for Loving You” and Paul McCartney and Ringo Starr on “Let It Be.”

KATSEYE lands its first No. 1 album on the Billboard 200 as WILD debuts atop the list (dated Aug. 29). The set earned 170,000 equivalent album units in the United States in the week ending Aug. 20, according to Luminate. WILD marks the group’s second top 10-charted effort, following the No. 4-peaking Beautiful Chaos in 2025.

WILD is the fourth No. 1 album by an all-woman group this decade. It follows TWICE’s With YOU-th (2025), NewJeans’ 2nd EP ‘Get Up’ (2023) and BLACKPINK’s Born Pink (2022). Before Born Pink, the last No. 1 album by an all-woman group was Danity Kane’s Welcome to the Dollhouse in 2008.

WILD also lands KATSEYE its biggest week by equivalent album units earned, and by pure album sales (145,000). Further, WILD tallies the largest week by units for an all-woman group since the Billboard 200 began ranking by units in December 2015. WILD additionally has the largest pure album sales week for an all-woman group in more than three years, since TWICE’s Ready To Be: 12th Mini Album debuted with 146,000 (March 25, 2023).

Also in the top 10 of the latest Billboard 200, Phoebe Bridgers gets her first top 10 as Lost Weekend bows at No. 2 with both her biggest week ever by units and by pure album sales.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 2,500 ad-supported or 1,000 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Aug. 29, 2026-dated chart will be posted in full on Billboard‘s website on Aug. 25. For all chart news, follow @billboard and @billboardcharts on both X and Instagram.

Of WILD’s 170,000 first-week equivalent album units, album sales comprise 145,000 (it debuts at No. 1 on the Top Album Sales chart), SEA units comprise 24,500 (equaling 26.95 million on-demand official streams of the set’s songs; it debuts at No. 19 on Top Streaming Albums) and TEA units comprise about 500.

WILD’s album sales were largely driven by its availability across more than 30 CD and vinyl variants (all containing collectible items such as photocards, with some items randomized, including signed editions; some editions also contain bonus tracks).

WILD was preceded by a pair of Billboard Hot 100-charting cuts: “Pinky Up” (No. 28 peak in April) and “Animal” (No. 24 on the Aug. 8 chart).

Phoebe Bridgers collects her first top 10-charted set as Lost Weekend debuts at No. 2 with 118,000 equivalent album units earned — the singer-songwriter’s best week ever by units. Of that sum, traditional album sales comprise 77,000 (her largest sales week; it debuts at No. 2 on Top Album Sales), SEA units comprise 41,000 (equaling 41.6 million on-demand official streams of the set’s songs, it debuts at No. 7 on Top Streaming Albums) and TEA units comprise a negligible sum. First-week album sales were bolstered by the set’s availability across 16 physical editions (CD, vinyl and cassette).

Lost Weekend is Bridgers’ first solo studio album since 2020’s Punisher. In the years since, she formed the supergroup Boygenius with Julien Baker and Lucy Dacus. The trio released The Record in 2023, which reached No. 4 on the Billboard 200.

The Nos. 3-9 titles on the latest Billboard 200 are all former No. 1s. Stray Kids’ THIS & THAT falls 1-3 in its second week, earning 82,000 equivalent album units (down 78%). Olivia Rodrigo’s you seem pretty sad for a girl so in love dips 3-4 (70,000, down 3%); Ella Langley’s Dandelion descends 4-5 (nearly 70,000, down 1%); Morgan Wallen’s I’m the Problem shifts down 5-6 (67,000, down 5%); Noah Kahan’s The Great Divide falls 6-7 (56,000, up less than 1%); Ariana Grande’s Petal slides 2-8 (51,000, down 38%); and Drake’s ICEMAN is a non-mover at No. 9 (43,000, down 5%).

Plus, Olivia Dean’s The Art of Loving returns to the top 10, up one slot to No. 10 with 41,000 units (up 11%).

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.