Olivia Rodrigo won’t be budged from the summit of Australia’s albums chart, as You Seem Pretty Sad For A Girl So In Love (via Geffen/Universal) enters a second week at No. 1.

Earlier in the week, Rodrigo told Australian radio listeners that she hadn’t ruled out a tour down under. “I love going to Australia,” she explained to Nova 96.9’s Ricki-Lee & Tim, “and I hope to be back very soon.” She was last on these shores in October 2024 when when her GUTS World Tour routed into Sydney and Melbourne.

The top new release this week belongs to Australian rapper Chillinit (real name: Blake Turnell) with Wisdom Weed & Wordplay (Virgin/Universal). It’s his fifth studio album, it debuts at No. 5, and gives the artist his fifth top five placing.

Meanwhile, homegrown psychedelic rock act Pond splashes in the ARIA top 20 with Terrestrials (RKT), their 11^th studio album. It’s new at No.19 for the Perth, Western Australia outfit’s seventh top 50 appearance.

Further down the list, published late Friday, June 26, are debuts from Placebo (Placebo RE:CREATED at No. 40 via AWAL), Miles Smith (My Mess, My Heart, My Life. at No. 41 via RCA/Sony), Leah Senior (the independently-released Pt. Roadknight at No. 42) and Patrick Roberts (Del Gesu at No. 48 via Decca/Universal).

Over on the ARIA Singles Chart, Taylor Swift returns to the summit with “I Knew It, I Knew You” (Republic/Universal), thanks to the arrival of Top Story 5 in cinemas across the country. “I Knew It,” which is synced to the beloved animated Pixar franchise, debuted at No. 1 three weeks ago and rebounds 11-1 on the latest frame.

Also finding fresh wings is Tame Impala’s “Dracula” (Columbia/Sony). The platinum certified tune bounces 18-10 in its 35^th week on the chart and is one of three Australian-made cuts in the top 50 (G Flip’s “Bed On Fire” via AWAL gains 47-44 and The Kid LAROI’s “Girls” via Columbia/Sony dips 40-45). No new entries impact this week’s tally.

Another album cycle, another pair of No. 1s for Olivia Rodrigo on the Billboard 200 and Billboard Hot 100. You Seem Pretty Sad for a Girl So in Love, released June 12, marks Rodrigo’s third consecutive album (in three tries) to debut atop the former chart while spawning at least one No. 1 hit on the latter chart.

While it’s largely business as usual for the pop-rock singer-songwriter in its chart domination, the degree of it is a little bit new. Pretty Sad bows at No. 1 with 485,000 units moved in its debut frame — a 62% gain on the 302,000 units that sophomore set Guts entered with, a mark that had previously been her career best, and also the highest single-week mark for any solo artist yet in 2026. In addition, the album charts all 13 of its tracks in the top 30 of the Hot 100 (dated June 27), led by the brand-new single “Stupid Song,” which debuts at No. 3.

How surprising is that first-week hike for Rodrigo’s latest? And how do we handicap its future Grammy chances? Billboard staffers answer these questions and more below.

1. Pretty Sad debuts at No. 1 with 485,000 units moved in its first week. Is that number higher, lower, or about what you expected for the album?

Katie Atkinson: Higher! While the buzz and interest around Olivia never went anywhere (and clearly grew) over the past few years, this album didn’t feel like it had an inescapable hit leading the way like both Sour(“drivers license”) and Guts (“Vampire”) did before they dropped. (I’m not forgetting about the Hot 100 No. 1 debut of “Drop Dead”! But it hasn’t hung around like the former singles.) It’s a testament to where Rodrigo stands in pop music that fans didn’t need that pre-release smash to turn out in droves.

Kyle Denis: Definitely higher! I was fairly confident that she’d surpass the Sour opening week, but I’m pleasantly surprised to see Pretty Sad blow past Guts too. 

Chris Eggertsen: About what I expected. While that’s nearly 200,000 more units than either Sour or Guts, Rodrigo has been building lots of goodwill since the release of the latter — including with older fans who perhaps weren’t on board for the first couple of albums, but who have since woken up to her bona fides as a songwriter, musician and student of music (more on that below). 

Lyndsey Havens: Higher. The fact that it’s the year’s biggest week by units for a soloist is an extraordinary accomplishment, especially following what felt like a mega release from Noah Kahan with The Great Divide and considering a superstar like Harry Styles also released a solo album earlier this year. Debuting with nearly half a million units in her first week is definitely something to feel pretty glad about.

Andrew Unterberger: Way higher. And it seems like it’s higher than just about anyone thought, considering initial projections had her landing somewhere in the mid-300k range. And that in itself would’ve still been fairly tremendous; to get within range of half a million is simply remarkable.

2. That 485,000 number is significantly better than the 302,000 than Rodrigo’s sophomore album Guts did in its first week, which had narrowly outperformed Sour for her best debut week to that point. What do you think the biggest reason is for Rodrigo’s dramatically improved performance this time around?

Katie Atkinson: I think the quieter impact of “Drop Dead” and “The Cure,” paired with the fresh sound of both (a departure from her more pop-punk leanings), had fans intrigued about what this full project would sound like. And then once it was released, there was an almost-immediate conversation about why Pretty Sad was her best album yet – which is saying a lot when your first two albums out of the gate were both nominated for album of the year at the Grammys. So if anyone was on the fence about whether to give the project a listen, the discourse around it made the decision for them.

Kyle Denis: Based on my personal assessment, Pretty Sad has had better word-of-mouth than almost any other pop album this year, and that’s still one of the most effective types of marketing. Every group chat had an opinion to share or field, the majority of which were positive. It also helped that those who were less impressed by “Drop Dead” were roped right back in with “The Cure.” And Olivia has done a great job of feeling omnipresent in the lead up to Pretty Sad without veering into overexposed territory. I also have to imagine getting the Robert Smith stamp — and their surprise Primavera duet — helped an older generation of listeners give her music a chance this time around.  

Chris Eggertsen: Olivia has been smartly and steadily building her fanbase over the last few years — including with older fans, many of whom were drawn in by her affinity for icons of earlier generations. In addition to her loud affection for acts like Hole, Fiona Apple and The Breeders — the latter of whom opened several dates on Rodrigo’s Guts tour — she featured Gen X legend Robert Smith on the new album and recently duetted with him at two high-profile festival appearances (Glastonbury and Primavera Sound). I think building a bridge to elder millennials and Gen Xers was one key to the more robust sales this time around.

Lyndsey Havens: Consistency — with a touch of drama. To me, continuing besting your own first week sales is the exact type of career any artist would want. It proves consistency and growth both on Olivia’s part, and the part of her audience. Plus, when you consider all the rumors that swirled around this third album — from her relationship status to the album’s title and overarching theme — it naturally warrants curiosity listens. That said, I think what truly proves this album to be so strong is that no matter why people tuned in for the first time, they kept coming back. This album hits like an unexpected and maybe even necessary slap in the face, even — or especially — on its most tender songs. And that’s something that only Olivia can pull off right now.

Andrew Unterberger: Certainly a better physical strategy seems to have helped greatly; 273,000 in first-week sales (including 164,000 in vinyl) suggests that the double-digit-variant approach favored by many A-list pop stars seems to be paying off for her. But good word-of-mouth and a particular album-y album have also done their fair share in contributing to the strongest streaming numbers of her career; fans really ingested this LP in full time and time again, and from the strong numbers Pretty Sad is still pulling across its tracklist on DSPs, they don’t seem to have stopped yet.

3. “Stupid Song” is by easily the best-performing brand-new song on the set, debuting at No. 3 on the Hot 100. Does it feel like a legitimate breakout hit to you, or just the song with the most initial momentum?

Katie Atkinson: The way this song is sort of a mix of all of Olivia’s biggest hits – the emotive balladry of “drivers license,” the theatrical dynamics of “Vampire,” the eventual driving beat of “good 4 u” – means it feels recognizable but also brand-new. I also think this could end up with a longer life at radio than the pre-release singles because it’s giving me vibes of massive hits like Billie Eilish’s “Happier Than Ever” or Benson Boone’s “Beautiful Things,” where it starts as one thing but becomes something else. So yes, I think this could be a legitimate breakout hit.

Kyle Denis: “Stupid Song” absolutely feels like a legitimate breakout, and it’s also the most instant standout from the album. It’s the perfect combination of the new wave influences that permeate Pretty Sad, Olivia’s now-trademark indie pop bent and her knack for transformative bridges — this one is going to go crazy on tour.  

Chris Eggertsen: It definitely feels like a breakout hit, but then there are lots of songs on the album that could similarly catch on, from “Maggots for Brains” to “My Way” to “Honeybee,” which feels like the most broadly compelling of the album’s ballads. I think “Stupid Song” in particular has resonated for its honest, relatable-yet-artful lyrics (“I’m a heart made of wax and I’m melting in the sun” is a particular highlight) and slow-and-steady sonic build; by the final chorus, it feels like a genuine anthem.

Lyndsey Havens: It feels like both, I think the buzzy music video helps with momentum right now, and it is genuinely a great, winding song — an OR specialty. 

Andrew Unterberger: Yeah, it seems to have the touch that Guts‘ “Get Him Back” (for whatever still-inexplicable reason) lacked in terms of generating excitement outside of the album itself. Hopefully that’ll also help Pretty Sad maintain its commercial longevity a little better than Guts did.

4. Outside of “Stupid Song” and the two previously released singles (“Drop Dead” and “The Cure”), which song on the album do you find the most interesting?

Katie Atkinson: My favorite song on the album that I keep going back to is “Expectations.” If you ever wanted to hear Olivia Rodrigo crossed with Devo, you’re in luck! The lyrics get positively lodged in my head, and this is the one I’d want my daughter and all her little friends to hear and take to heart and scream along to. As Olivia says, never “settle for a guy with a fake job” — and this chorus-ending line is pure gold: “Past mistakes are just new information/ These days, I’ve got expectations.”

Kyle Denis: “What’s Wrong With Me”! I’m a sucker for a cross-generational collab that actually works. I’m also a fan of “Purple” and “My Way,” not enough people are talking about those! 

Chris Eggertsen: I really, really love “Maggots for Brains.” It’s such a bold proclamation of vulnerability, and the lyrics are killer. The line “And sometimes, at a low point, I even wish for a tragedy/’ Cause I know he’d come over and take real good care of me” just gets me. That’s an incredibly dark thought, but also so honest and compelling. And dare I say relatable? Like “Drop Dead” and “Stupid Song,” it also feels like an anthem. While I love both of those other tracks, I find “Maggots” the most interesting of the three, and it’s the one I keep coming back to. How great would it be to have a song with the lyric, “I’m a sad shell of a woman and I’ve got maggots for brains” go to No. 1? Let’s make it happen, Livies.

Lyndsey Havens: I keep going back to “honeybee,” “maggots for brains” and “begged” — but also love “what’s wrong with me” and “my way” and… this is exactly what I mean about the staying power of this album. Identifying two distinct sections of the album ahead of its release was a smart selling point, and one that got listeners thinking before even pressing play — and keeps us all contemplating both sides of any story, or relationship, while we listen. This album feels distinctly engaging, which is all to say that I think majority of the songs are incredibly interesting in their own way.

Andrew Unterberger: Though it’s not one of the three (!!) songs on this album that either features either a prominent reference or a literal member of The Cure, “U + Me = <3” seems like the head-rush, emotions-overflow pop-rock banger that best internalizes the lessons of that band’s poppiest classics. If this album is her study-abroad semester at Cure University, that song would be her final thesis presentation. (Also, as someone who still opts for the old-school “<3” in text communication over an actual heart emoji, I appreciate her keeping that shorthand alive.)

5. With the album’s rapturous critical reception and very impressive commercial performance, whispers have already begun about its chances to win Rodrigo her first album of the year trophy at the Grammys next February. It’s early, of course, but how do you like her chances so far?

Katie Atkinson: Honestly, I think it’s totally in the realm of possibility. This album is excellent, I agree that it’s her best yet, and I don’t see a current clear front-runner that stands in her way. The campaign starts now.

Kyle Denis: Her chances are definitely strong, but between Olivia Dean (The Art of Loving) and RAYE (This Music May Contain Hope.) — as well as releases from more established pop acts like Taylor Swift, Harry Styles and Bruno Mars — I can already sense the big mainstream releases splitting votes next February. 

Chris Eggertsen: Right now, at least, its chances feel pretty good. While we’ve seen hugely successful, relatively acclaimed albums from the likes of Noah Kahan, Harry Styles and Ella Langley released so far this year, none of them quite hit that sweet spot of critical acclaim and broad appeal the way You Seem Pretty Sad has. That said, let’s not forget we’ve got hugely-anticipated sets from the likes of Charli xcx, Ariana Grande and Gracie Abrams still on the release calendar. Any of those could potentially steal Olivia’s thunder.

Lyndsey Havens: I scoffed a bit when I first heard these whispers, that have only grown louder. But, the more I listen, the more I can see it happening for Olivia… I still hold Noah’s album in very high regard, including when it comes to its Grammy chances, but the fact that I keep revisiting You Seem Pretty Sad For a Girl So In Love —especially when it was more of a slow grower for me — proves that I can’t ignore its chances. I’m sure many voters will feel the same way.

Andrew Unterberger: I like her chances a lot, and the fact that she’s been nominated twice before but still yet to win might make her something of a sentimental favorite, even though 23 years old is still a little early to be considering someone as a lifetime snub. But the Recording Academy has long had a soft spot for prodigious young women in its marquee category — from Barbra Streisand to Alanis Morissette to Lauryn Hill to Taylor Swift to Billie Eilish — and I have to imagine that Rodrigo’s name will join theirs in that canon soon enough, and very likely with this already-much-loved album.

Clive Davis was a chart enthusiast even before he became a music industry legend. In his 1974 biography Clive: Inside the Record Business (which he co-wrote with James Willwerth), he explained his fascination with charts, which, he said, grew out of an earlier fascination with baseball statistics and Variety’s lists of top box-office hits.

“It was an extension of the star syndrome,” he wrote, “measuring how singers did against each other, watching their songs climb the Hit Parade. I was a reader of charts and statistics, and I found an excitement in them which is hard to explain, as if they represented a form of energy.” (Emphasis in the original.)

Since Davis was a chart fan to begin with, imagine what a kick it must have been for him to see his companies’ records ascend to the top spot on Billboard Hot 100, especially in the nearly four decades that he directly oversaw day-to-day operations at a succession of labels: CBS (Columbia and Epic), Arista and J Records.

According to Davis’ official bio, the exec was appointed vp and general manager of Columbia Records in 1966. In 1967, he was named president of the company. He oversaw Columbia and Epic and, in the early 1970s, signed a deal with Kenny Gamble & Leon Huff’s famed Philadelphia International Records, which had two No. 1 hits on the Hot 100 in 1972-73.

Davis was fired from CBS in May 1973 for reasons that have never been entirely clear, but which most certainly had nothing to do with his ability to do the job. Afterwards, he wasted no time in re-establishing his career: In January 1975, his Arista Records (named after his high school honors society) landed its first No. 1 Hot 100 hit with Barry Manilow’s “Mandy.” Again, Davis signed agreements that brought in more talent, especially in the burgeoning Black music area. He made an agreement with L.A. Reid and Babyface to form LaFace Records in October 1989. And in 1994, Davis and producer/entrepreneur Sean “Puffy” Combs (later known as Diddy) entered into a 50/50 joint venture that resulted in the creation of Bad Boy Records.

In 2000, Davis was forced out of Arista for age reasons (he was 68 at the time). But again, he wasted no time in re-establishing himself. That same year, he formed J Records (Jay was his middle name), which in August 2001 landed its first No. 1 Hot 100 hit with Alicia Keys’ “Fallin’.” (Both Manilow’s “Mandy” and “Fallin’” received Grammy nods for record of the year. In addition, “Fallin’” won song of the year.)

In November 2002, Davis became president/CEO of the RCA Music Group, assuming responsibility for RCA, Jive, Arista, LaFace and J. In April 2008, he was appointed chief creative officer of all of Sony Music Entertainment, which, as his official bio notes, represented “a change in operational responsibility but an expansion of the artists he would now creatively be responsible for.”

Our focus here is on the 36 years he was the top man at an individual label, not the later years when he oversaw entire label groups. He had 11 No. 1 hits by Whitney Houston in those years, more than any other artist. Elsewhere, he had four with TLC (on LaFace/Arista), and three each with Simon & Garfunkel, Sly & the Family Stone, Manilow, Billy Ocean (on Jive/Arista), Milli Vanilli and Puff Daddy (on Bad Boy/Arista).

Here’s a list of all the Hot 100 No. 1 hits at Davis-headed labels in those 36 years. The dates represent the date each single first reached No. 1, followed by the artist’s name and title of the record, the number of weeks the song held the top spot and the label.

Jan. 1, 1966: Simon & Garfunkel, “The Sounds of Silence,” (two weeks, Columbia)

Sept. 3, 1966: Donovan, “Sunshine Superman” (one week, Epic)

Oct. 21, 1967: Lulu, “To Sir With Love” (five weeks, Epic)

June 1, 1968: Simon & Garfunkel, “Mrs. Robinson” (three weeks, Columbia)

Feb. 15, 1969: Sly & the Family Stone, “Everyday People” (four weeks, Epic)

Feb. 14, 1970: Sly & the Family Stone, “Thank You (Falettin Me Be Mice Elf Agin)” (two weeks, Epic)

Feb. 28, 1970: Simon & Garfunkel, “Bridge Over Troubled Water” (six weeks, Columbia)

March 20, 1971: Janis Joplin, “Me and Bobby McGee” (two weeks, Columbia)

July 24, 1971: Raiders, “Indian Reservation (The Lament of the Cherokee Reservation Indian)” (one week, Columbia)

Dec. 4, 1971, Sly & the Family Stone, “Family Affair” (three weeks, Epic)

Aug. 26, 1972: Looking Glass, “Brandy (You’re a Fine Girl)” (one week, Epic)

Sept. 23, 1972: Mac Davis, “Baby Don’t Get Hooked on Me” (three weeks, Columbia)

Nov. 4, 1972: Johnny Nash, “I Can See Clearly Now” (four weeks, Epic)

Dec. 16, 1972: Billy Paul, “Me and Mrs. Jones” (three weeks, Philadelphia International)

March 24, 1973: The O’Jays, “Love Train” (one week, Philadelphia International)

May 26, 1973: The Edgar Winter Group, “Frankenstein” (one week, Epic)

Jan. 18, 1975: Barry Manilow, “Mandy” (one week, Arista) 

Jan. 3, 1976: Barry Manilow, “I Write the Songs” (one week, Arista)

Jan. 17, 1976: The Bay City Rollers, “Saturday Night” (one week, Arista)

Sept. 23, 1977: Barry Manilow, “Looks Like We Made It” (one week, Arista)

July 25, 1981: Air Supply, “The One That You Love” (one week, Arista)

Aug. 11, 1984: Ray Parker Jr., “Ghostbusters” (three weeks, Arista)

Nov. 3, 1984: Billy Ocean, “Caribbean Queen (No More Love on the Run” (two weeks, Jive/Arista)

Oct. 26, 1985: Whitney Houston, “Saving All My Love for You” (one week, Arista)

Jan. 18, 1986: Dionne & Friends, “That’s What Friends Are For” (four weeks, Arista)

Feb. 15, 1986: Whitney Houston, “How Will I Know”  (two weeks, Arista)

May 17, 1986: Whitney Houston: “Greatest Love of All” (three weeks, Arista)

July 5, 1986: Billy Ocean, “There’ll Be Sad Songs (To Make You Cry)” (one week, Jive/Arista)

April 18, 1987: Aretha Franklin & George Michael, “I Knew You Were Waiting (for Me)” (two weeks, Arista)

June 27, 1987: Whitney Houston, “I Wanna Dance With Somebody (Who Loves Me)” (two weeks, Arista)

Sept. 26, 1987: Whitney Houston, “Didn’t We Almost Have It All” (two weeks, Arista)

Jan. 9, 1988: Whitney Houston, “So Emotional” (one week, Arista)

Feb. 20, 1988: Expose, “Seasons Change” (one week, Arista)

April 9, 1988: Billy Ocean, “Get Outta My Dreams, Get Into My Car” (two weeks, Jive/Arista)

April 23, 1988: Whitney Houston, “Where Do Broken Hearts Go” (two weeks, Arista)

July 1, 1989: Milli Vanilli, “Baby Don’t Forget My Number” (one week, Arista)

Sept. 23, 1989: Milli Vanilli, “Girl I’m Gonna Miss You” (two weeks, Arista)

Nov. 25, 1989: Milli Vanilli, “Blame It on the Rain” (two weeks, Arista)

April 7, 1990: Taylor Dayne, “Love Will Lead Me Back” (one week, Arista)

Dec. 1, 1990: Whitney Houston, “I’m Your Baby Tonight” (one week, Arista)

Feb. 23, 1991: Whitney Houston, “All the Man That I Need” (two weeks, Arista)

Nov. 28, 1992: Whitney Houston, “I Will Always Love You” (14 weeks, Arista)

March 12, 1994: Ace of Base, “The Sign” (six weeks, Arista)

Jan. 28, 1995: TLC, “Creep” (four weeks, LaFace/Arista)

July 8, 1995: TLC, “Waterfalls” (seven weeks, LaFace/Arista)

Nov. 25, 1995: Whitney Houston, “Exhale (Shoop Shoop)” (one week, Arista)

July 27, 1996: Toni Braxton, “You’re Makin’ Me High” / “Let It Flow” (one week, LaFace/Arista)

Dec. 7, 1996: Toni Braxton, “Un-Break My Heart” (11 weeks, LaFace/Arista)

March 22, 1997: Puff Daddy (feat. Mase), “Can’t Nobody Hold Me Down” (six weeks, Bad Boy/Arista)

May 3, 1997: The Notorious B.I.G., “Hypnotize” (three weeks, Bad Boy/Arista)

June 14, 1997: Puff Daddy & Faith Evans (feat. 112), “I’ll Be Missing You” (11 weeks, Bad Boy/Arista)

Aug. 30, 1997: The Notorious B.I.G. (feat. Puff Daddy & Mase), “Mo Money Mo Problems” (two weeks, Bad Boy/Arista)

Feb. 14, 1998: Usher, “Nice & Slow” (two weeks, LaFace/Arista)

April 25, 1998: Next, “Too Close” (five weeks, Arista)

Oct. 3, 1998: Monica, “The First Night” (five weeks, Arista)

Feb. 13, 1999: Monica, “Angel of Mine” (four weeks, Arista)

April 10, 1999: TLC, “No Scrubs” (four weeks, LaFace/Arista)

Sept. 18, 1999: TLC, “Unpretty” (three weeks, LaFace/Arista)

Oct. 23, 1999: Santana feat. Rob Thomas, “Smooth” (12 weeks, Arista)

April 8, 2000: Santana feat. The Product G&B, “Maria Maria” (10 weeks, Arista)

Aug. 18, 2001: Alicia Keys, “Fallin’” (six weeks, J)

Robert Smith appears on the Billboard Hot 100 as a solo artist for the first time in his career this week, thanks to his guest appearance on Olivia Rodrigo’s “What’s Wrong With Me.”

The track debuts at No. 17 on the Hot 100 (dated June 27), fueled by 15.5 million official U.S. streams in its opening week, according to Luminate. The song arrived June 12 on Rodrigo’s third studio album, You Seem Pretty Sad for a Girl So in Love, which opens at No. 1 on the Billboard 200 with 485,000 equivalent album units, the second-largest week of 2026, after only the opening week of BTS’ ARIRANG.

While Smith has charted extensively as the frontman of The Cure through his decades-long career — the band first made a Billboard survey in July 1980, after it formed in 1976 — “What’s Wrong With Me” marks his first appearance on the Hot 100 billed as a solo artist. The Cure charted 14 songs on the Hot 100 in 1986-96, led by “Love Song,” which reached No. 2 in 1989.

Here’s a look at the band’s full history on the chart:

Peak Position, Title, Peak Date
No. 2, “Love Song,” Oct. 21, 1989
No. 18, “Friday I’m in Love,” Aug. 8, 1992
No. 40, “Just Like Heaven,” Jan. 9, 1988
No. 42, “High,” May 2, 1992
No. 44, “The 13th,” May 11, 1996
No. 46, “Fascination Street,” June 17, 1989
No. 54, “Why Can’t I Be You?,” Aug. 8, 1987
No. 58, “Mint Car,” July 20, 1996
No. 65, “Hot Hot Hot!!!” April 9, 1988
No. 71, “Pictures of You,” May 19, 1990
No. 72, “Never Enough,” Nov. 17, 1990
No. 74, “Lullaby,” Dec. 16, 1989
No. 97, “Close to Me,” Jan. 26, 1991
No. 99, “In Between Days,” Feb. 15, 1986

The group, which was inducted into the Rock & Roll Hall of Fame in 2019, has enjoyed even greater success on Billboard’s Alternative Airplay chart, sending 17 songs onto the ranking, including four that hit No. 1: “Fascination Street,” “Never Enough,” “High” and “Friday I’m in Love.” The Cure returned to the chart in 2024 with “A Fragile Thing,” which reached No. 14 and became the band’s first entry on the ranking in 16 years.

Rodrigo has frequently cited The Cure among her favorite artists, and fans had speculated about a potential collaboration after the pair shared the stage during her headlining set at Glastonbury last year.

Ahead of the new album’s release, Rodrigo reflected on the collaboration in a handwritten letter shared through her fan email newsletter. “I’ve been insanely excited to tell you guys about this song & it’s been so hard to keep it a secret!” she wrote. “It’s the first feature I’ve ever done on an album and I actually cannot believe I got to do it with Robert Smith!

“Somebody pinch me!!!” she continued. “Robert has been soundtracking my life for as long as I can remember. He has written some of my favorite songs of all time. His music moves me & inspires me to a degree that is hard to put into words. I’ve also been lucky enough to spend time with him over the last year & experience first hand his generosity & graciousness.”

Though this marks Smith’s first Hot 100 entry as a solo artist, he has twice reached Billboard’s charts outside of The Cure. In 2004, Junior Jack’s “Da Hype,” featuring Smith, spent a week at No. 1 on the currently inactive Dance Club Songs chart, while Crystal Castles’ “Not in Love,” featuring Smith, hit No. 24 on Alternative Airplay in 2011.

Olivia Rodrigo returns with another blockbuster week on Billboard’s charts (dated June 27) thanks to the arrival of her third studio album, You Seem Pretty Sad for a Girl So in Love.

Released June 12 via Geffen/Interscope Capitol Records, the set launches at No. 1 on the Billboard 200 with 485,000 equivalent album units earned in the United States in its opening week, according to Luminate. Not only is that Rodrigo’s biggest week ever by that metric, but it also marks the second-largest opening week of 2026, trailing only BTS’ ARIRANG, which debuted with 641,000 units in April. Rodrigo’s opening sum was fueled by 273,000 album sales and 218.41 million on-demand official streams of the set’s songs, both the largest figures of 2026 among women.

Those totals power Rodrigo from No. 14 to No. 1 on the Billboard Artist 100, where she logs a ninth week on top.

On the Billboard Hot 100, all 13 songs from You Seem Pretty Sad for a Girl So in Love land in the top 30, including 11 debuts. Here’s a breakdown (with all entries debuts except where noted).

Rank, Title:
No. 3, “Stupid Song”
No. 4, “Drop Dead” (up from No. 13; debuted and spent one week at No. 1)
No. 6, “The Cure” (up from No. 17; debuted and peaked at No. 5)
No. 9, “Honeybee”
No. 12, “Maggots for Brains”
No. 15, “My Way”
No. 16, “Begged”
No. 17, “What’s Wrong With Me,” with Robert Smith
No. 19, “u + me = <3”
No. 20, “Expectations”
No. 21, “Less”
No. 25, “Purple”
No. 27, “Cigarette Smoke”

With 11 debuts this week, Rodrigo ups her career total to 43 Hot 100 entries. Of those, 10 have reached the top 10 and 37 have hit the top 40. Notably, every song from the standard editions of her three studio albums — Sour, Guts and You Seem Pretty Sad for a Girl So in Love — has reached the Hot 100’s top 40. Already the only artist to place every title from two initial albums in the top 40, she expands upon her record.

Rodrigo also charts four songs in the Hot 100’s top 10 simultaneously for the first time. Her previous best was three, achieved following the release of Sour in 2021, when “Good 4 U,” “Déjà Vu” and “Traitor” ranked at Nos. 2, 3 and 9, respectively.

Plus, Rodrigo claims exactly half the spots of the Hot 100’s top 20 this week, a personal best. She becomes the fifth artist ever to chart at least 10 songs in the top 20 simultaneously, joining Drake, Taylor Swift, 21 Savage and Kendrick Lamar. The all-time record remains 15 concurrent top 20 hits, shared by Drake and Swift.

Olivia Rodrigo achieves her third No. 1 album on the Billboard 200 chart as her third studio release, you seem pretty sad for a girl so in love, launches atop the list dated June 27. The set bows with 485,000 equivalent album units earned in the United States in the week ending June 18, according to Luminate — marking Rodrigo’s biggest week ever by units, and the largest week of 2026 for any album by a soloist.

Rodrigo also topped the Billboard 200 with her two previous studio albums, GUTS (in 2023) and SOUR (2021).

The new album was preceded by a pair of top five-charted singles on the Billboard Hot 100: its lead-off track “drop dead” (No. 1 in May) and “the cure” (No. 5 in June).

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 June 27, 2026-dated chart will be posted in full on Billboard‘s website on June 23. For all chart news, follow @billboard and @billboardcharts on both X and Instagram.

Of you seem pretty sad for a girl so in love’s 485,000 equivalent album units earned in the latest tracking week, album sales comprise 273,000 (Rodrigo’s best sales week and the largest sales week for a woman in 2026; it debuts at No. 1 on Top Album Sales), SEA units comprise 211,000 (equaling 218.41 million on-demand official streams of the set’s tracks, the largest streaming week of 2026 by a woman; it debuts at No. 1 on Top Streaming Albums) and TEA units comprise 1,000.

The album’s first-week sales were bolstered by its availability across more than 15 physical variants (including two signed editions). Of the album’s opening-week sales, vinyl purchases comprised 164,000 — Rodrigo’s biggest week on vinyl and the largest week of 2026 by a woman.

Rodrigo will embark on The Unraveled Tour beginning on Sept. 25 in Hartford, Conn., and continuing through at least May 10, 2027, in London.

Rodrigo’s new album is the only debut in the top 10 of the latest Billboard 200. Drake’s ICEMAN cedes the No. 1 slot after spending its first four weeks atop the Billboard 200, as the set dips 1-2 in its fifth week on the list (105,000 equivalent album units earned, down 21%). Four former No. 1s follow ICEMAN, as Ella Langley’s Dandelion falls 2-3 (84,000, down 4%), Morgan Wallen’s I’m the Problem is down 3-4 (78,000, down 2%), Noah Kahan’s The Great Divide slips 4-5 (71,000, up 5%) and Michael Jackson’s Thriller is a non-mover at No. 6 (53,000, down 4%).

Jackson’s Number Ones rises a spot to No. 7 on the Billboard 200 (49,000 equivalent album units earned, down 4%), Wallen’s former leader One Thing at a Time climbs 9-8 (39,000, down 4%), Olivia Dean’s The Art of Loving is up a spot to No. 9 (35,000, down 1%) and BTS’ chart-topping ARIRANG ascends 11-10 (34,000, down less than 1%).

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.

Zara Larsson’s resurgent 2026 adds another milestone, as the Swedish pop star’s “Midnight Sun” rises three places to No. 1 on Billboard’s Pop Airplay chart (dated June 27).

Larsson lands her second leader on the list, a week after her and PinkPantheress’ “Stateside” reached the top spot. She becomes the first artist ever to post two initial No. 1s in consecutive weeks, dating to the chart’s October 1992 start.

Meanwhile, only two acts previously claimed their first two Pop Airplay No. 1s back-to-back overall. In December 2003, OutKast’s “Hey Ya!” began a nine-week command, which ended when the duo’s “The Way You Move,” featuring Sleepy Brown, took over the following February for three weeks. In June 2014, Iggy Azalea’s “Fancy,” featuring Charli xcx, hit No. 1 for three weeks. Directly after, Ariana Grande’s “Problem,” featuring Azalea, led for two weeks that July.

(Beyond acts’ first two Pop Airplay No. 1s, Mariah Carey, Halsey, Grande and Doja Cat have also replaced themselves atop the chart with consecutive leaders; unlike Larsson, none notched two new No. 1s in a span of two weeks.)

Meanwhile, Larsson charts four titles on Pop Airplay for a seventh week — she’s the only act to achieve the feat this year. Alongside “Midnight Sun” and “Stateside,” which dips to No. 2, Tyla’s “She Did It Again,” featuring Larsson, climbs 29-27 for a new best and 2016’s “Lush Life” holds at its No. 28 high.

“Midnight Sun” is the title track from Larsson’s fifth studio set, which peaked in the top five on Top Dance Albums and the top 40 of the Billboard 200 in May.

“For the first time in a long time, I’m on the Billboard charts. I’m reaching so many new heights 10 years into my career, which is exciting and a testament to never giving up,” Larsson, Billboard’s 2026 Women in Music Breakthrough award winner, recently mused. “This change really came with the creation of Midnight Sun. Sometimes I think of my career like this car I’ve been sitting in. I’ve known where we’ve been heading, but I’ve been in the back seat. With this album, I was like, ‘Guys, I feel like I should drive.’ ”

All charts dated June 27 will update on Billboard.com Tuesday, June 23.

Olivia Rodrigo has earned her career-best opening week as You Seem Pretty Sad For a Girl So in Love soars to No. 1 on the U.K.’s Official Albums Chart (June 19).

You Seem Pretty Sad For a Girl So in Love flies straight to No. 1 to give the 23-year-old her third consecutive No. 1 album following Sour (2021) and Guts (2023). This week’s 103,000 chart units doubles Sour’s 51,000 units and Guts’ 60,000 units in their respective opening weeks. It is also the U.K.’s biggest opening week for an international album release in 2026.

Speaking on her accomplishments to the Official Charts Company, Rodrigo said: “Thank you so much for this Number 1 album award! It means so much to me. I wrote so many of these songs in the U.K., so it makes it extra special. Thank you all for listening, I appreciate it so much. I can’t wait to put this on my mantle!” 

Michael Jackson’s The Essential collection holds its position at No. 2, while Harry Styles’ Kiss All The Time. Disco, Occasionally is up nine places on last week to No. 12. Styles kicked off his 12-night residency run at London’s Wembley Stadium on Friday (June 12) and performed at Meltdown Festival on Tuesday (June 16) with a set of covers and deep cuts. 2022’s Harry’s House (30) and 2019 LP Fine Line (34) also see bumps on the charts as a result.

Olivia Dean’s The Art of Loving holds its position at No. 4 while Embrace’s Avalanche closes at No. 5, their highest position since 2018’s Love Is A Basic Need. Sonny Fodera scores a maiden top 20 placement with Can We Do It All Again? At No. 20 and Zac Byran’s With Heaven on Top  re-enters the top 40 (No. 40) following the U.K. leg of his stadium tour.

Taylor Swift’s “I Knew It, I Knew You” has earned 2026’s biggest sales week in the U.K. as it enjoys a second week at the summit (June 19).

The song debuted at No. 1 in its opening week last Friday (June 12) to give Swift her seventh chart-topper on the Official Singles Chart. Now following the release of limited-edition CD and vinyl editions, the song has surpassed that debut to 71,000 chart units and is now the biggest sales week of 2026, overtaking overtakes Harry Styles’ “Aperture” which scored 70,000 back in January.

The Official Charts Company reports that the song is the biggest week in pure sales (excluding streams) since November 2023 when the Beatles released their final song “Now and Then.”

As she earns a career-best opening week on the Albums Chart, Olivia Rodrigo occupies three of the top five positions on the U.K.’s Official Singles Charts with You Seem Pretty Sad For a Girl So in Love highlights. “Stupid Song” debuts at No. 2, while “The Cure” and “Drop Dead” place at No. 3 and No. 5, respectively. The latter hit No. 1 earlier this year to give Rodrigo her fourth U.K. chart-topper.

Sam Fender and Olivia Dean’s “Rein Me In” is down two places to No. 4, having previously enjoyed a 13-week stay at the summit this year. 

As the FIFA World Cup kicks off, Shakira and Burna Boy’s “Dai Dai” breaks the top 40 for the first time (No. 28) and the former’s 2010 track “Waka Waka (This Time for Africa)” also sees a boost (No. 35).

Following the start of his 12-night run at London’s Wembley Stadium, Harry Styles sees Kiss All The Time. Disco, Occasionally tracks “American Girls” (No. 12) and “Aperture” (No. 25) enjoy lifts.