There’s nothing bigger on the ARIA Chart this week than Ella Langley’s “Choosin’ Texas” (via Sony Music), which ascends to the summit some six months after its release.

“Choosin’ Texas” is finally at the top of the leaderboard, rising 3-1 after 19 weeks on the chart. And in doing so, the U.S. singer and songwriter unseats Olivia Dean’s five-times platinum certified “Man I Need” (Universal) after 21 non-consecutive weeks at No. 1. “Man I Need” dips 1-2, while Dean’s collaboration with Sam Fender, “Rein Me In,” slips 2-3.

The slow-burning “Choosin’ Texas” becomes the first song by a female country singer to top the ARIA Singles Chart since Taylor Swift’s “All Too Well (Taylor’s Version)” got there five years ago, in 2021.

Meanwhile, Tame Impala’s “Dracula” (Columbia/Sony) improves 5-4 peak, a career peak position for Kevin Parker’s psychedelic pop outfit. Thanks to a remix featuring Jennie from BLACKPINK, and a viral dance on TikTok, “Dracula” recently entered the top 10 on the Billboard Hot 100 (at No. 10), and climbed to No. 2 on the Official U.K. Singles Chart.

“Dracula” is the only homegrown cut in the ARIA Top 50, published late Friday, May 15. No new releases appear on the frame.

Over on the ARIA Albums Chart, Noah Kahan’s The Great Divide (via Universal) enters a third consecutive week at No. 1, while Olivia Dean’s sophomore set The Art of Loving holds at No. 2.

The top new release belongs to Brisbane indie band The Jungle Giants, with Experiencing Feelings Of Joy (Orchard), their third studio album. Experiencing Feelings Of Joy is new at No. 3, and the follow up to Love Signs, which went to No. 1 in 2021.

It’s one of four new Australian releases to debut in the top 50 on the latest tally. Those new arrivals include Katherine’s Halloran’s independently-released Nobody’s Baby (at No. 26), contemporary jazz singer Simone Waddell’s Unforgettable (at No. 43 via Ambition/MGM), and Brisbane indie rockers Beddy Rays with their EP Sunday Slowdown (at No.  50 via Beddy Rays/ADA).

Several American artists make their presences felt on the chart, including Chris Brown (Brown at No. 16 via RCA/Sony), Josh Groban (Cinematic at No. 24 via Reprise/Warner), Neil Diamond (Wild at Heart at No. 29 via Capitol/Universal), Audrey Hobert (Who’s The Clown at No. 36 via Sony), and Social Distortion (Born To Kill at No. 46 Epitaph/RKT), while quirky New Zealand artist Aldous Harding rides her Train on the Island (Flying Nun/Orchard) album to No. 41.

DaBaby scores his first No. 1 on Billboard’s Hot Rap Songs chart in nearly six years as “Pop Dat Thang” tops the list dated May 16. The single rises from No. 2 with a gain in all three chart-contributing metrics and a boost from a high-profile remix with GloRilla, Yung Miami and YKNIECE.

“Pop Dat Thang,” released on SouthCoast/Interscope/Interscope Capitol, dethrones Don Toliver’s “E85” from the summit. The former champ, which led for 11 consecutive weeks, slides to No. 2.

With his new leader, DaBaby achieves his second Hot Rap Songs No. 1, after “Rockstar,” featuring Roddy Ricch, dominated for nine weeks in June – August 2020.

For its coronation week on the multi-metric Hot Rap Songs chart, “Pop Dat Thang” registered 8 million official streams, 20.1 million in radio airplay audience impressions and a negligible amount of track sales in the United States for the tracking week of May 1-7, according to Luminate. The tallies in each count were improvements over the last week, of 24%, 7%, and 19%, respectively. Streaming gains, particularly, trace to a boost from the first week impact of a high-profile remix that added featured verses from GloRilla, Yung Miami and YKNIECE. (While they aided the song’s stats, the new acts were added to the track’s billing as the original version contributed the majority of activity.)

In addition to its chart-topping move on Hot Rap Songs, “Pop Dat Thang” also crowns Rap Airplay for the first time, up from No. 2. DaBaby secures his fifth No. 1 on the radio ranking; he previously ruled with “Suge” (15 weeks in 2019); “BOP” (one week, 2020); “Rockstar” (10 weeks, 2020) and via he and Lil Baby’s features on Pop Smoke’s “For the Night” (eight weeks, 2021).

Elsewhere, “Pot Dat Thang” rises 6-5 on the Hot R&B/Hip-Hop Songs chart and drives 43-26 on the all-genre Billboard Hot 100. In the radio sphere, it advances 7-3 on Rhythmic Airplay and holds in third place on Mainstream R&B/Hip-Hop Airplay for a third straight week. Thanks to the radio backing, the single lifts 30-29 on the all-genre Radio Songs chart.

“Pop Dat Thang” is from DaBaby’s Be More Grateful album, released in January. The set debuted at No. 6 on Top Rap Albums, becoming the rapper’s fifth top 10 project on the chart.

Welcome to Billboard Pro’s Trending Up newsletter, where we take a closer look at the songs, artists, curiosities and trends that have caught the music industry’s attention. Some have come out of nowhere, others have taken months to catch on, and all of them could become ubiquitous in the blink of a TikTok clip. 
 
This week: Three weeks into the Michael biopic and its subject’s catalog is still growing, while even his missing-in-film-action sister is feeling the benefits, and a couple very different acts see new gains for 2010s hits.

Jackson Rewrites Personal Weekly Streaming Record

For the third consecutive week, Michael Jackson obliterates his personal-best weekly streaming count as impact from Michael biopic continues to spell massive streaming returns and more chart placements for many of his best-known songs.

For the May 1-7 tracking week, Jackson’s solo catalog registered 181.6 million official on-demand song streams in the United States, according to Luminate. The new seven-day sum is a 32% increase from what was his previous best, last week’s haul of 137.6 million, itself a 146% improvement over a then-high of 55.9 million clicks in a week.

“Billie Jean” repeated its standing atop the songs’ pack, with 14.8 million official on-demand streams, up 31.7% from last week (11.3 million). That streaming swell translates to the Billboard Hot 100, where the seven-week former champ rockets 38-17. Fellow Thriller singles “Beat It” and “Human Nature” finished second and third in Jackson’s catalog, respectively, 11.4 million plays and 10.8 million clicks.

Early signs indicate Jackson gliding to another nine-digit streaming sum next week. According to initial reports submitted to Luminate, the King of Pop’s solo catalog has already crossed 86 million official on-demand streams from May 8-10 alone. Should it maintain its pace in the high 20 million-plus range per day, it’s possible that Jackson’s catalog could once again set a new personal benchmark, and while a longer shot, make a play for a 200 million+ week.

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Janet’s Up a Decent Amount in Streams, Too

Much has been made of the absence of Janet Jackson from the Michael biopic, with the baby of the Jackson family — a pop legend in her own right, of course — not only not portrayed in the movie, but not mentioned at any point. (Janet “kindly declined” to be depicted in Michael, according to sister La Toya.) But despite her total lack of representation in the box office smash, Ms. Jackson has been seeing streaming gains of her own over the past couple weeks. 

The catalog bump isn’t nearly on the level of the one her older brother’s discography is currently enjoying, of course. But for the week ending May 7, Janet amassed over 9.4 million official on-demand U.S. streams — easily her best weekly total for 2026, and a 31% gain from the 6.9 million streams she totaled two weeks earlier (Apr. 17-23), according to Luminate. 

A healthy chunk of that is attributable to the increased streaming presence for “Scream,” the lone song co-credited to the two superstar Jacksons — which amassed nearly 1.2 million plays on its own in the most recent tracking week. But even removing that MJ duet from the equation, Janet’s catalog is still up a full 20% in streams from two weeks earlier, a difference of nearly 1.4 million streams.

Could a Janet biopic of her own be in the cards for the not-too-distant future? It feels like only a matter of time. — ANDREW UNTERBERGER

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Apex Sync Spurs Huge Gains for Chemical Brothers’ “Go”

Apex, a new Netflix survival thriller, is the latest hit movie for actors Charlize Theron and Taron Egerton — and it’s also reviving a 2015 track from The Chemical Brothers.

The Grammy-nominated track plays in the film’s official trailer, which arrived on March 25, setting the stage for its key sync in the full movie, which hit Netflix a month later on April 24. As viewers watched Apex and word of mouth spread, people have recreating Taron Egerton’s unnerving, villainous dance scene set to “Go,” launching a new meme challenge for the Q Tip-assisted song. On TikTok, the official “Go” sound now boasts over 68,000 clips, with most spoofing the “I thought you liked danger” line from the film. “Go” also plays in nearly 60,000 Instagram Reels, with solo runners and gym buffs gravitating towards the song.

According to Luminate, “Go” earned over 91,000 official on-demand U.S. streams the week before Apex hit Netflix (April 17-23). During the film’s debut week (April 24-30), “Go” soared over 431% to over 487,000 official streams. By the following week (May 1-7), that number jumped a further 167% to a whopping 1.3 million official on-demand U.S. streams. Over the past two weeks, “Go” has exploded by over 1,319% in streaming activity.

Notably, thanks to these gains, “Go” is now The Chemical Brothers’ highest-charting hit on Dance/Electronic Songs (No. 9). Perhaps more chart feats are in store should “Go” continue its resurgence. — KYLE DENIS

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Katy Perry’s ‘The One That Got Away’ Spins a Streaming Resurgence Out of Fictional Romance Fancams & Real-Life Testimonials

Katy Perry is a mainstay in the headlines — and this time, all the buzz is around a 15-year-old song! “The One That Got Away” was a massive hit during its initial 2011 run, peaking at No. 3 and helping extend Perry’s enormous Teenage Dream era as the sixth single from its standard edition.

Over the better part of the past 12 months, the song has experienced a relatively slow but steady surge across streaming and social media. This winter, many fans gravitated towards the song to bid farewell to their favorite fictional romances, spurred by the final season of Stranger Things, which aired last November-December. By the spring, social media users started using “The One That Got Away” in two different ways. Some used the ballad’s wistful chorus to soundtrack escapes from domestic violence or epic defenses of loved ones, while others used the song to mourn fictional romances from Euphoria, their perceived real-life friendship between Rihanna and Perry herself and Manon’s hiatus from KATSEYE. Other users have also leaned into the nostalgia of it all, remarking how the song still has an intense emotional impact on them 15 years later.

During the week of March 6-12, “Got Away” logged over 2.8 million official on-demand U.S. streams, with that number leaping nearly 40% the following month to over 3.9 million official streams (April 3-9), according to Luminate. By the week of May 1-7, “Got Away” leapt a further 56% to over 6.2 million official streams, marking a 118% surge in streaming activity for the song over the past two months.

Katy Perry has also seized the moment in several ways. She shared a “director’s cut” of the music video (narrated by Steve Nicks, no less) on April 21, used an acoustic version to soundtrack clips of her MET Gala glam sessions, and trolled her ex-boyfriend Josh Groban’s engagement announcement by playing “Got Away” over a screenshot of the news. On May 13, Perry dropped a new compilation album titled The One That Got the Plays, with “Got Away” slotted first on the tracklist.

Thanks to all of this motion, “The One That Got Away” now stands as Perry’s highest-charting entry on the Billboard Global 200 since the chart’s inception in September 2020 (No. 37). — KD

Kacey Musgraves’ new album Middle of Nowhere debuts in the top 10 across seven Billboard charts (dated May 16), including a trio of No. 1 bows. The singer-songwriter’s sixth studio release arrives on Top Album Sales (No. 1), Vinyl Albums (No. 1), Indie Store Album Sales (No. 1), Top Country Albums (No. 2), Americana/Folk Albums (No. 2), Billboard 200 (No. 3) and Top Streaming Albums (No. 10).

The project launches with 100,000 equivalent album units earned in the United States in the week ending May 7, marking Musgraves’ best week ever by units. Of that sum, vinyl purchases comprise a little more than 37,000 — her best sales week ever on vinyl.

Middle of Nowhere is Musgrave’s sixth studio album and was announced in early March. The project — which features collaborations with Gregory Alan Isakov, Miranda Lambert, Willie Nelson and Billy Strings — was led by the single “Dry Spell” (peaking at No. 15 on Hot Country Songs in March) and released on May 1. Musgraves’ Middle of Nowhere arena tour launches on Aug. 21 in Chicago and continues through the end of October.

On Top Album Sales, Middle of Nowhere is Musgraves’ third No. 1, all earned consecutively. She also topped the tally with Deeper Well (in 2024) and Star-Crossed (2021).

Musgraves leads a busy top 10 on the latest Top Album Sales ranking, where five more albums debut in the top 10: ILLIT’s MAMIHLAPINATAPAI (No. 3), The Black Keys’ PEACHES! (No. 6), Isaiah Rashad’s It’s Been Awful (No. 7), Billie Eilish’s Hit Me Hard and Soft: The Tour (Live) (No. 9) and Tori Amos’ In Times of Dragons (No. 10). Meanwhile, Noah Kahan’s The Great Divide falls to No. 2 after debuting at No. 1 a week ago, BTS’ former leader ARIRANG is steady at No. 4, and Michael Jackson’s Thriller and Number Ones both jump, climbing 7-5 and 12-8, respectively.

On the new Billboard 200 albums chart (dated May 16), Michael Jackson‘s Number Ones ascends seven spots to No. 6, becoming his 11th top 10 and his first new top 10 of the 2020s.

In turn, Jackson becomes only the fifth act with at least one new top 10 album in every decade from the 1970s onwards. He joins Paul McCartney, The Rolling Stones, Bruce Springsteen and James Taylor as the only acts with new top 10 albums in the 1970s, ’80s, ’90s, 2000s, ’10s and ’20s.

Number Ones was first released in 2003 and jumps into the top 10 on the latest chart following the continued buzz generated by the Jackson biopic Michael. The film premiered in United States movie theaters on April 24 and had grossed more than $240 million in the U.S. and Canada through May 10, making it the top-grossing music biopic of all time, surpassing Bohemian Rhapsody (not adjusted for inflation).

Number Ones joins Jackson’s former No. 1 Thriller in the top 10 of the new Billboard 200, as it rises 7-5 — its first week in the top five since May 1984. Thriller spent 37 weeks at No. 1 in 1983-84, the most weeks at No. 1 for an album by a singular artist.

Here’s a rundown of Jackson’s 11 top 10s, by decade. Jackson notched two new top 10s in the ’70s (first with Ben peaking at No. 5 in 1972 and then Off the Wall, which reached the top 10 in September 1979 and peaked at No. 3 in February 1980), two in the ‘80s (Thriller, No. 1 for 37 weeks in 1983-84 as noted above, and Bad, No. 1 for six weeks in 1987), two in the ‘90s (Dangerous, No. 1 for four weeks in 1991-92, and HIStory: Past, Present and Future Book 1, No. 1 for two weeks in 1995), two in the 2000s (Invincible, No. 1 for one week in 2001, and his first posthumous top 10, the soundtrack to Michael Jackson’s This Is It, No. 1 for one week in 2009), two in the ‘10s (Michael, No. 3 in 2011, and Xscape, No. 2 in 2014) and now one in the ‘20s with Number Ones.

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 May 16, 2026-dated chart will be posted in full on Billboard’s website on May 12. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

Noah Kahan’s The Great Divide spends a second week atop the Billboard 200 (dated May 16) following its debut a week ago. The set earned 163,000 equivalent album units in the United States in the week ending May 7 (down 58% compared to its opening of 389,000), according to Luminate.

The Great Divide is the first rock album to spend at least two weeks at No. 1 in nearly three years. Zach Bryan’s self-titled set was the last rock set with two weeks at No. 1, in September 2023. (Rock albums are defined as those that are eligible for, or have charted on, Billboard’s Top Rock Albums chart.)

Also in the top 10 of the latest Billboard 200, Kacey Musgraves collects her sixth top 10 — all of which have debuted in the top five — as Middle of Nowhere starts at No. 3. Plus, the success of the Michael Jackson biopic Michael continues to shine on the chart, as Jackson has two albums in the top 10. His former No. 1 Thriller rises 7-5 and the hits collection Number Ones jumps 13-6.

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 May 16, 2026-dated chart will be posted in full on Billboard‘s website on May 12. For all chart news, follow @billboard and @billboardcharts on both X and Instagram.

Of The Great Divide’s 163,000 equivalent album units earned in the latest tracking week, SEA units comprise 137,000 (down 35%, equaling 139.5 million on-demand official streams of the set’s tracks; it spends a second week at No. 1 on Top Streaming Albums), album sales comprise 26,000 (down 85%; it falls 1-2 on Top Album Sales) and TEA units comprise the remainder (down 66%).

Ella Langley’s former leader Dandelion holds at No. 2 on the Billboard 200 with 103,000 equivalent album units earned (down 8%).

Kacey Musgraves’ Middle of Nowhere debuts at No. 3 with 100,000 equivalent album units earned, her best week ever by units. It’s the singer-songwriter’s sixth top 10, all of which have debuted in the top five. Of the album’s starting figure, album sales comprise 64,500 (it debuts at No. 1 on Top Album Sales), SEA units comprise 35,000 (equaling 35.54 million on-demand official streams of the set’s songs, it debuts at No. 10 on Top Streaming Albums) and TEA units comprise 500.

Middle of Nowhere is Musgrave’s sixth studio album and was announced in early March. The project — which features collaborations with Gregory Alan Isakov, Miranda Lambert, Willie Nelson and Billy Strings — was led by the single “Dry Spell” (peaking at No. 15 on Hot Country Songs in March) and released on May 1. Musgraves’ Middle of Nowhere arena tour launches on Aug. 21 in Chicago and continues through the end of October.

The new album’s first-week sales were aided by its availability across 16 physical variants (including signed editions) and a deluxe download edition with two bonus tracks.

Chart-watchers take note: This is the second top 10-charted album with the exact title Middle of Nowhere. Brother trio Hanson reached No. 2 with their album of their same name in 1997.

Morgan Wallen’s former No. 1 I’m the Problem falls 3-4 on the latest Billboard 200 with 83,000 equivalent album units earned (up 3%).

Michael Jackson has a pair of albums in the top 10 as the buzz generated from the Michael biopic continues to resonate on the chart. His chart-topping Thriller climbs 7-5 (62,000 equivalent album units, up 36%) and best-of set Number Ones, released in 2003, reaches the top 10 for the first time, rising 13-6 (62,000 units, up 65%), becoming his 11th top 10.

With Number Ones’ ascent, Jackson, who died in 2009, has now claimed at least one new top 10 album in every decade from the 1970s onwards as a soloist. And, he’s only the fifth act overall to do so, joining Paul McCartney, the Rolling Stones, Bruce Springsteen and James Taylor.

Jackson found two new top 10s in the 1970s (first with Ben peaking at No. 5 in 1972 and then with Off the Wall, which reached the top 10 in September 1979 and peaked at No. 3 in February 1980); two in the ’80s (Thriller, No. 1 for 37 weeks in 1983-84; Bad, No. 1 for six weeks in 1987); two in the ’90s (Dangerous, No. 1 for four weeks in 1991-92, and HIStory: Past, Present and Future Book 1, No. 1 for two weeks in 1995); two in the 2000s (Invincible, No. 1 for one week in 2001, and his first posthumous top 10, the soundtrack to Michael Jackson’s This Is It, No. 1 for one week in 2009); two in the ’10s (Michael, No. 3 in 2011 and Xscape, No. 2 in 2014); and now one in the ’20s with Number Ones.

BTS’ chart-topping ARIRANG falls 5-7 on the latest Billboard 200 (49,000 equivalent album units earned, down 13%), Olivia Dean’s The Art of Loving is steady at No. 8 (42,000, down 3%), Wallen’s former leader One Thing at a Time is a non-mover at No. 9 (40,000, up 3%), and Bad Bunny’s former No. 1 DeBÍ TiRAR MáS FOToS climbs 12-10 (37,000, down 3%).

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.

From Ashes to New rules a Billboard radio chart for the first time, lifting a spot to No. 1 on the May 16-dated Mainstream Rock Airplay tally with “Drag Me.”

The song is the Pennsylvania rockers’ first leader, via its 13th entry on the survey. The group first reached Mainstream Rock Airplay in 2016 with “Through It All,” which peaked at No. 6, marking its first of seven top 10s. Prior to “Drag Me,” the band’s best was “Barely Breathing,” featuring Against the Current (No. 2, 2024).

Six acts have hit No. 1 on Mainstream Rock Airplay for the first time in 2026, in line with the 10 that did so in all of 2025. The two most recent leaders have been by newcomers to the top spot, as “Drag Me” displaces Dayseeker’s “Crawl Back to My Coffin” after one week.

Concurrently, “Drag Me” zooms 24-17 on the all-rock-format, audience-based Rock & Alternative Airplay chart thanks to 2.2 million radio audience impressions in the week ending May 7, a gain of 17%, according to Luminate. It’s From Ashes to New’s highest-charting entry there, surpassing the No. 20 peak of “Barely Breathing.”

“Drag Me” reached a new No. 20 best on the latest multimetric Hot Hard Rock Songs chart (dated May 9, reflecting data accumulated April 24-30). In addition to its radio airplay, it drew 344,000 chart-eligible streams in the United States.

Reflections, the parent album of “Drag Me,” was released April 17. The band’s fifth studio set has earned 19,000 equivalent album units to date.

All Billboard charts dated May 16 will update Tuesday, May 12, on Billboard.com.

It’s Olivia Dean’s year on the ARIA Chart, as the British pop singer’s smash “Man I Need” (via Universal) enters a 21st non-consecutive week at No. 1.

Dean replaces herself at the summit, as “Man I Need” improves 2-1, leap-frogging “Rein Me In,” her duet with Sam Fender which dips 2-1.

Between them, “Man I Need” and “Rein Me” have ruled the ARIA Singles chart for 24 of the past 25 weeks, a streak that was briefly snapped when Olivia Rodrigo’s “Drop Dead” (Island/Universal) ruled for one week late last month (“Drop Dead” slips 4-7).

“Man I Need” stands alone as the second-longest reigning No. 1 in ARIA Chart history, behind only Tones And I’s “Dance Monkey,” which clocked up 24 non-consecutive weeks in 2019 and 2020. That record is beginning to look shaky.

The latest ARIA Top 50 Singles Chart, published late Friday, May 8, is notable for the absence of any new titles. The same can’t be said for the national albums tally, which features no less than seven new releases, led by Melanie C’s Sweat (Virgin Music Group/Inertia) at No. 5.

Sweat is Mel C’s ninth studio album and first to crack the ARIA top 10, besting her debut solo album from 1999, Northern Star, which peaked at No. 32. As a member of the Spice Girls, she bagged four top 10 albums, including a chart-topper in 2007 with Greatest Hits.

With that debut, Mel C (aka Sporty) is the most successful of the Spice Girls as a solo artist, ARIA reports. The next best Geri Halliwell (aka Ginger), who reached No. 22 back in 1999 with Schizophonic.

Also entering the top 10 this week is Kneecap with Fenian (Heavenly/Inertia). It’s new at No. 7, for the Irish band’s first appearance on the ARIA charts.

The latest top 50 features new arrivals from American country star Kacey Musgraves (Middle Of Nowhere at No. 17 via Interscope/Universal), Australian country artist Rachael Fahim (Who You Are at No. 22 via Island/Universal), South Australian hip-hop artist trials (Hendle at No. 24 via Island/Universal), Australian Idol runner-up Harlan Goode (The Idol Collection at No. 42 via Orchard) and The Devil Wears Prada 2 soundtrack (No. 50 via Interscope/Universal).

At the top of the leaderboard is Noah Kahan’s The Great Divide (Universal), which holds onto top spot for the second consecutive cycle.

After a previous pair of runner-up results, Kehlani achieves their first No. 1 on Billboard’s Top R&B/Hip-Hop Albums chart with their self-titled album, released April 24 on Tsunami Mob/Atlantic Records. Kehlani begins with 69,000 equivalent album units earned in the United States for tracking week of April 24-30, according to Luminate.

Of Kehlani’s first-week total, streaming activity contributed 45,000 units, from 45.37 million official on-demand streams of the album’s songs. Another 24,000 units derived from traditional album sale purchases, with a negligible amount of activity from the third and final metric, track-equivalent sales. (One unit equals the following levels of consumption: one album sale, 10 individual tracks sold from an album, or 1,000 paid/subscription tier or 2,500 ad-supported tier of official on-demand audio and video streams for a song on the album.)

Before the new leader, Kehlani, who received the Impact honor at Billboard’s 2026 Women In Music celebration on April 29, managed a career high of No. 2 on two occasions: SexySweetSavage debuted and peaked the runner-up rank in February 2017, as did It Was Good Until It Wasn’t in May 2020. The new album extends their perfect streak of seven consecutive top 10-charting releases on Top R&B/Hip-Hop Albums.

Elsewhere, Kehlani opens at No. 1 on Top R&B Albums as their fourth chart-topper and starts at No. 4 on the all-genre Billboard 200.

Kehlani’s triumph mirrors the breakthrough achievements of its big single, “Folded.” Among other feats, the song became their first top 10 on the Billboard Hot 100, peaking at No. 6 in January, and first No. 1 on Hot R&B/Hip-Hop Songs, where it reigned for five weeks. The track is also approaching the No. 1 record on Mainstream R&B/Hip-Hop Airplay – at 15 weeks in charge, it’s one shy of the mark held by Future’s 2022 hit “Wait for U,” featuring Drake and Tems.

The album’s impact is best seen on the Hot R&B Songs chart, where “Folded” heads 12 titles on the 25-position ranking. With 10 making their first entry, Kehlani ascends to 60 career appearances on the 13-year old chart.

Here’s a review of Kehlani cuts on this week’s list:

No. 2, “Folded” (prev. five weeks at No. 1)
No. 11, “Shoulda Never,” feat. Usher
No. 14, “Anotha Lova,” feat. Lil Wayne
No. 15, “I Need You,” feat. Brandy
No. 17, “Oooh”
No. 18, “Out the Window” (prev. peaked at No. 7)
No. 20, “No Such Thing,” feat. Clipse
No. 21, “Pocket,” feat. Cardi B
No. 23, “Sweet Nuthins,” feat. Leon Thomas
No. 24, “Lights On,” feat. Big Sean
No. 25, “Still”