It’s a busy week on the Top Album Sales chart (dated May 2), as six albums debut in the top 10, including the ninth leader for TOMORROW X TOGETHER. The group’s latest release, 7TH YEAR: A Moment of Stillness in the Thorns, starts atop the chart with 67,000 copies sold in the United States in the week ending April 23, according to Luminate.

Also in the top 10, five more albums debut, while Ye’s BULLY and the KPop Demon Hunters soundtrack both score big gains.

ZAYN’s new studio album KONNAKOL starts at No. 2 on Top Album Sales, selling 24,000 copies in its opening frame. It marks the third top 10 for the singer-songwriter, all of which have reached the top three. BTS’s former leader ARIRANG dips 2-3 with nearly 24,000 sold (down 25%).

The KPop Demon Hunters soundtrack surges 19-4 with 19,000 sold (up 444%) after the release of two vinyl variants of the album exclusively via independent record stores for Record Store Day (April 18). Meanwhile, Ye’s BULLY bounces 31-5 with 13,000 sold (up 412%) after physical sales of the album from his webstore shipped to customers.

Pink Floyd’s Record Store Day-exclusive live set, Live From the Los Angeles Sports Arena, April 26th, 1975, debuts at No. 6 with 13,000 sold. PLAVE’s Caligo Pt.2 debuts at No. 7 with 12,000 sold, landing the virtual boy band its first top 10. Jeff Buckley’s 2001 album Live a L’Olympia debuts at No. 8 with 10,000 sold, following its first vinyl release and CD reissue for Record Store Day. It’s the first top 10-charted title on Top Album Sales for the late Buckley, who died in 1997.

Olivia Dean’s The Art of Loving is pushed down 5-9 on Top Album Sales despite an 18% sales gain (to 8,000), while Bruno Mars’ Record Store Day-exclusive Collaborations starts at No. 10 (just over 8,000). Mars serves as the Record Store Day 2026 Ambassador, and the compilation includes such teamings as the No. 1 Billboard Hot 100 hits “Nothin’ On You” (B.o.B featuring Mars) “Uptown Funk” (Mark Ronson featuring Mars) and “Die With a Smile” (Lady Gaga and Mars).

Billboard’s Top Album Sales chart ranks the top-selling albums of the week based only on traditional album sales. The chart’s history dates back 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.

It’s a big week for Kany García who celebrates a double triumph as “1+1,” with Maluma, claims the No. 1 spot on both the Latin Airplay and Tropical Airplay charts (dated May 2). The dual victory marks García’s first No. 1 on each ranking. Maluma adds a 26th Latin Airplay chart-topper and fourth on Tropical Airplay.

“1+1” is the first single from Maluma’s seventh studio album, Loco X Volver, expected for a May 15 release via Sony Music Latin. The Colombian announced the album (on April 27) on his Instagram account as “something super important for me” and a return to his essence with a project he has worked on for two years. “I missed that dreamer boy,” he says. “I am strong, happy. This has helped me heal.”

“1+1” takes the lead on both charts after a 40% airplay surge, earning 9.3 million audience impressions in the United States during the tracking week ending April 23, according to Luminate.

The song becomes the third salsa track to reach the top spot on both charts in 2026, following Luis Fonsi and Feid’s “Cambiaré” and Marc Anthony and Nathy Peluso’s “Como En El Idilio.” While both songs ruled the overall Latin Airplay chart for a single week in April, “Como En El Idilio” dominated Tropical Airplay chart for three consecutive weeks.

García achieves double success with her Maluma partnership. She previously reached a career-best No. 15 high on the Latin Airplay chart with “Feliz” in 2009. On Tropical Airplay, “1+1” marks her fourth top 10 hit, following the No. 7-peaking “Búscame,” with Carlos Vives, in 2021.

For Maluma, “1+1” adds to his solid track record, marking his 26th Latin Airplay No. 1 –his last being “Bronceador” (one week atop in Oct. 2025). On Tropical Airplay, “1+1” extends his dominance, after securing three No. 1 entries, each reigning for one week between 2014-16.

Madonna’s “I Feel So Free,” the first song released from her forthcoming Confessions II studio album (due July 3 via Warner Records), debuts on four Billboard charts (dated May 2), including a No. 1 arrival on the Dance Digital Song Sales tally. It also takes a bow on Digital Song Sales, Hot Dance/Pop Songs and Dance/Mix Show Airplay.

The track arrived exclusively via iHeartRadio’s Pride Radio on Friday, April 17, before becoming widely available through streaming services and digital download stores, alongside an official visualizer.

In addition to its No. 1 entrance on Dance Digital Song Sales (Madonna’s second leader on the 16-year-old chart), “I Feel So Free” arrives at No. 6 on the all-genre Digital Song Sales, marking her first appearance on the ranking since 2024, when “Like a Prayer” debuted on the ranking, 35 years after its release, following its appearance in the movie Deadpool & Wolverine. “Free” becomes her 10th top 10 on Digital Song Sales, which started in 2004.

Speaking of “Like a Prayer,” DJ Josh Fawaz’s cover climbs 5-3 on Dance Digital Song Sales and debuts at No. 19 on Digital Song Sales and No. 11 on Hot Dance/Electronic Songs.

“I Feel So Free” also opens at No. 12 on Hot Dance/Pop Songs — Madonna’s first entry on the one-year-old chart, following seven appearances on Hot Dance/Electronic Songs (the latter chart is now a DJ-centered ranking).

Plus, the track debuts at No. 14 on Dance/Mix Show Airplay, Madonna’s 17th entry on the 23-year-old ranking and first since “Popular,” with The Weeknd and Playboi Carti, in 2023. It’s also her highest-charting song on the list in 14 years — since “Give Me All Your Luvin’,” featuring Nicki Minaj and M.I.A., in 2012 (No. 11 peak).

Even more impressively, only four songs have had higher debuts on Dance/Mix Show Airplay this decade: “Looking for Me” (Paul Woolford, Diplo and Kareen Lomax; No. 4 in 2020), “Don’t Forget My Love” (Diplo and Miguel; No. 12 in 2022), “Favour” (FISHER and Tones and I; No. 12 a week ago) and “You” (Regard x Troye Sivan x Tate McRae; No. 13 in 2021).

The May 2-dated charts reflect the April 17-23 tracking week, as reported by Luminate.

Dance Digital Song Sales ranks the week’s top-selling download songs in the dance genre, while Digital Song Sales is the overall weekly sales chart for all downloaded songs. Hot Dance/Pop Songs is a multimetric chart that blends streams, airplay and sales to rank the week’s most popular dance/pop tracks and the Dance/Mix Show airplay tally ranks the week’s most popular songs ranked by radio airplay detections at dance-formatted stations and mix show plays on mainstream top 40 and select rhythmic stations.

Ella Langley continues to rule the Billboard 200 albums chart (dated May 2), as Dandelion spends a second week top the list. The set earned 106,000 equivalent album units in the United States in the week ending April 23 (down 37%), according to Luminate. The album premiered atop the tally a week ago with 169,000 units.

Also in the top 10 of the latest Billboard 200, TOMORROW X TOGETHER debuts in the top three with the 7TH YEAR: A Moment of Stillness in the Thorns, while Justin Bieber’s SWAG returns to the top five and the KPop Demon Hunters soundtrack gets a Record Store Day-assisted boost back into the top 10.

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 2, 2026-dated chart will be posted in full on Billboard‘s website on April 28. For all chart news, follow @billboard and @billboardcharts on both X and Instagram.

Of Dandelion’s 106,000 equivalent album units earned in the latest tracking week, SEA units comprise 97,000 (down 24%, equaling 99.41 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 7,000 (down 81%; it falls 1-15 on Top Album Sales) and TEA units comprise 2,000 (down 33%).

Morgan Wallen’s former No. 1 I’m the Problem is a non-mover at No. 2 on the Billboard 200, with 84,000 equivalent album units earned (up 1%).

TOMORROW X TOGETHER claims its eighth top 10-charted album, as 7TH YEAR: A Moment of Stillness in the Thorns debuts at No. 3. The set starts with 69,000 equivalent album units earned. Of that sum, album sales comprise 67,000 (it debuts at No. 1 on Top Album Sales), SEA units comprise 2,000 (equaling 2.67 million on-demand official streams of the set’s songs) and TEA units comprise the remaining sum. The album’s first-week sales were bolstered by its availability across more than 20 CD variants, all containing collectible items such as photocards, stickers and posters, with some items randomized.

BTS’ chart-topping ARIRANG descends 3-4 on the Billboard 200 with 62,000 equivalent album units earned (down 21%). Justin Bieber’s SWAG rises 7-5 with 61,000 units (up 42%) as the set continues to benefit from the singer’s headlining performances at the Coachella Valley Music and Arts Festival April 11 and 18.

Olivia Dean’s The Art of Loving falls 5-6 with 46,000 equivalent album units earned (down 3%). The chart-topping KPop Demon Hunters soundtrack returns to the top 10, climbing 16-7, after two new vinyl variants of the album were released via independent record stores for Record Store Day (April 18). In the latest tracking week, the soundtrack earned 46,000 equivalent album units (up 46%), largely owed to album sales (19,000 sold, a gain of 444%).

A trio of former No. 1s rounds out the latest top 10: Don Toliver’s OCTANE falls 4-8 (42,000 equivalent album units earned, down 12%), Bad Bunny’s DeBÍ TiRAR MáS FOToS descends 6-9 (41,000, down 5%) and Wallen’s One Thing at a Time dips 9-10 (40,000, down 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.

Olivia Rodrigo’s “Drop Dead” (via Interscope/Universal) shows a lot of heart by roaring to No. 1 on the ARIA Singles Chart.

“Drop Dead” got a boost from not one, but two, music videos, and a live performance at Coachella last Saturday night (April 18), when Rodrigo was a surprise guest during Addison Rae‘s set. It’s the lead single from her forthcoming third studio album You Seem Pretty Sad for a Girl So in Love, due out June 12. With it’s lightning start, the U.S. pop star now boasts a fourth No. 1 single in Australia after “Drivers Licence” (six weeks in 2021), “Good 4 U” (five weeks in 2021) and “Vampire” was (one week in 2023).

Rodrigo ends Olivia Dean’s months-long reign with the singles “Man I Need,” which holds at No. 2 on the latest chart, published Friday, April 24, and “Reign Me In,” her collaboration with Sam Fender, which dips 1-3.

The only other debutant in the top 40 is Justin Bieber, who benefits from his headline performances on both weekends of Coachella. Bieber’s “Speed Demon” (Def Jam/Universal) is new at No. 39, while his former No. 1 “Daisies” flowers 10-4; “Beauty And a Beat” featuring Nicki Minaj returns to the list at No. 5, its peak position; and “Yukon” is on the rise, up 23-18.

She lost her singles crown, but Olivia Dean remains the queen of the ARIA Albums Chart, as The Art of Loving (Universal) enters a 13th non-consecutive week at No. 1. That’s the longest-reigning album by an English singer since Ed Sheeran’s ÷ (divide) logged 27 weeks at the top of the leaderboard in 2017-18, ARIA reports.

Meanwhile, Sydney singer and songwriter Matt Corby works some chart magic with his fourth full-length album, Tragic Magic (Island/Universal). It’s new at No. 3, for the top debut album of the latest cycle. Corby has three career ARIA Awards, and a string of top 10 appearances on the albums tally, including No. 1 in 2016 with Telluric.

Western Australia’s Spacey Jane launch at No. 30 with Live At The Hordern Pavilion (AWAL), for the ARIA Award-winning indie band’s fifth appearance in the ARIA Top 50. Also new to the chart is homegrown singer Charley with her first album The Chronicles Of A Serial Idealist (EMI), new at No. 23; Australian Idol 2026 champ Kesha Oayda with The Idol Collection (Orchard), new at No. 31; and Australian Music Prize-winning outfit Hermitude, whose eighth studio album, Eight (ELT), enters at No. 39.

Karol G’s Coachella magic sends her streaming soaring, while four songs from her first weekend setlist (on April 12) re-enter Billboard’s Hot Latin Songs chart (dated April 25).

The first Latina headliner in the history of the Coachella Valley Music & Arts Festival, Karol G’s catalog of songs generated 40.5 million chart-contributing on-demand official streams in the United States during the April 10-16 tracking week, according to Luminate. That sum translates to a 34% boost from the week prior, when her catalog logged 30.3 million (tracking week April 3-9).

Among Karol G’s first weekend spot, four songs re-enter the multi-metric Hot Latin Songs chart, which incorporates airplay, streaming activity and digital sales into its formula. Leading the resurgence is her former No. 1, “Si Antes Te Hubiera Conocido,” which re-appears at No. 6, driven largely by 3.8 million official chart-contributing streams, equating to a 26% growth.

After previously dominating for 14 consecutive weeks at No. 1, the song remains Karol’s longest reign among her nine chart-toppers. Plus, it is tied for the second-most weeks at No. 1 for a song by a female soloist, unaccompanied by another act, with Daniela Romo’s “De Mi Enamorate” (in 1986-87). In top spot is Yuri’s “Que Te Pasa,” with 16 weeks in 1988.

Among songs by women, in terms of total weeks at No. 1, including collaborative tracks, Shakira continues to rule through “La Tortura,” with Alejandro Sanz, which pulled 25 weeks atop in 2005.

Karol G’s “Latina Foreva” gains momentum with a 57% surge, logging 2.2 million streams. The boost propels the song back to No. 15, after its debut and peak at No. 3 in June 2025.

No. 14-peaking “Amargura” returns at No. 19 with 2 million streams, up 34% during the tracking period. Meanwhile, former chart-topper “Provenza,” which spent one week at No. 1 in 2022, reappears at No. 22 with 1.9 million streams, up 29%.

Back to “Si Antes Te Hubiera Conocido,” the song also makes a splash on a global level. It climbs 153-115 on the Billboard Global 200 chart. Plus, it rises 124-109 on the Global Excl. U.S. chart.

Gains for Karol G’s headlining turn during the festival’s second weekend (on April 19) will be reflected on next week’s charts (dated May 1).

Just about every week on the Billboard charts so far in 2026 has been a big week for country singer-songwriter Ella Langley. But this last one might just be her biggest yet.

On this week’s Billboard 200, dated Apr. 18, Langley debuts at No. 1 with her sophomore LP Dandelion, moving 169,000 units in the set’s first week. Meanwhile, she simultaenously tops the Billboard Hot 100 for a seventh week with her crossover smash “Choosin’ Texas,” while also hitting the top five with her follow-up hit “Be Her” (8-4 this week), and notching 15 songs total from Dandelion on the chart.

How do these returns compare to our expectations? And does this performance confirm her as a newly minted pop star? Billboard staffers answer these questions and more below.

1. Dandelion debuts atop the Billboard 200 with 169,000 first-week units. Are those numbers better, worse or about what you expected for its first-week returns?  

Kyle Denis: This is right on par, if not better than what I was expecting for Dandelion’s first week. With her sophomore album debuting comfortably in the six-figure range, Ella’s has proven she can move albums as well as singles.  

Lyndsey Havens: A bit better and a bit expected at the same time. Having been well aware that this album would be a huge win for Ella, given the performance of early singles and continued Hot 100 dominance of “Choosin’ Texas,” this first-week number feels right on target. Yet, I’m also still a bit surprised by it; despite Ella’s years of hard work and patience for this moment, it does feel like a bit of a whirlwind right now. And I imagine for those who haven’t been paying attention, this feels like a total shock. 

Melinda Newman: They are about what I thought they would, be given her growing crossover popularity. It’s the largest opening week for a woman this year and the largest opening week for a country artist, topping first week numbers this year from Megan Moroney, Zach Bryan and Luke Combs. She is really drawing from pop fans, probably almost as much as country fans at this point.

Andrew Unterberger: Pretty much exactly what I expected — a little lower or a little higher wouldn’t have shocked me either. She’s rapidly approaching the point where it’s tough to really be that surprised by any commercial achievement of hers.

Jessica Nicholson: That is about what I expected. Those are huge numbers and recognize how her song “Choosin’ Texas” has dominated the Hot 100 for seven weeks, in addition to seeing more songs from her album Dandelion proliferate the chart.

2. “Choosin’ Texas” simultaneously enjoys its seventh week atop the Hot 100, while “Be Her” becomes her second top five hit by jumping No. 8-4. Do you think the latter will eventually follow “Texas” to the chart’s top spot?  

Kyle Denis: It’s certainly possible! I wouldn’t be surprised if Ella simultaneously held the top two spots on the Hot 100 in the coming weeks. As summer draws nearer and rumored new albums from the likes of Drake and Ariana Grande potentially materialize, “Be Her” could have a difficult journey to No. 1 — but it’s not out of the question. 

Lyndsey Havens: I genuinely hope so. I love “Be Her,” from its sultry start to the catchy (and yes, TikTok-primed) hand claps. And look, the concept isn’t new — there’s a whole library of songs about a woman feeling envious of another, including Kelsea Ballerini’s latest “Emerald City” But here, Ella take’s it to the point of wanting to be her. It’s a song that fits perfectly on Dandelion and suits Ella’s voice and own storyline right now, and I do think it could climb to No. 1 with the right push.

Melinda Newman: Yes. I think there’s something about Langley that is undeniable right now. People are very curious about her and she hasn’t been overexposed. This is a sweet time for her where she can do no wrong. I don’t think it will be No. 1 for as long as “Choosin’ Texas” though. It doesn’t have the same appeal — but how incredible would it be if it replaces “Choosin’ Texas” at No. 1? 

Jessica Nicholson: That is a large jump, but Olivia Dean is also holding strong and seems destined to take the pinnacle at some point, while Ella has the powerful Morgan Wallen collab coming this week.

Andrew Unterberger: I’d say probably not — but only because it’s about to get really crowded at the top of the Hot 100, including with another song of her own devising. Getting to the top five is a huge, huge win for “Be Her” and Langley in general regardless.

3. While Langley is enjoying her wins for Dandelion and its hits, she’s already moving onto a new single, with an upcoming duet with Morgan Wallen — unveiled live over the weekend — expected to be released this Friday. Does the timing of that now-much-anticipated collaboration make sense to you, or would you have waited more than two weeks after the full album to drop such a near-guaranteed smash?  

Kyle Denis: Sure, she could have waited — but why not strike while the iron is hot? The country can’t get enough of Ella right now. She also has a successful history with male-female duets, and there’s no such song on Dandelion, meaning she’s offering the marketplace another style of song and not just a throwaway loosie. More importantly, this is about positioning. Wallen is undisputably the current King of Country, and him tapping Ella as his first female country duet partner — and second female collaborator overall, following Tate McRae last year — solidifies her crown as country’s current Queen.  

Lyndsey Havens: Either way, it seems like a guaranteed win. Morgan and now Ella have played a huge role in rewriting country music’s chart records of late, so putting them together at any time does seem like a guaranteed smash. That said, I don’t think it would have hurt to wait a bit and give Dandelion just a bit more room to live and breath on its own.

Melinda Newman: It is rare for country to have a genuine “event record” and this is it. Given that they are on tour together, but only for a handful of dates, it makes sense to release it now and get the biggest bang for the buck they can while they can do it live. It’s also unclear whose album it will be on since it’s not on Dandelion, so it creates excitement in terms of: Will it be on a deluxe edition of Dandelion, or on Wallen’s next album — or will it be a stand-alone like the Chris Stapleton/Miranda Lambert duet? 

Jessica Nicholson: Ideally, I would have waited a bit to give all the songs on the album more breathing room — but the release also closely follows Ella’s first night opening for Wallen’s current Still the Problem Tour, so the timing for that makes sense.

Andrew Unterberger: My instinct is to say she could have waited here, let Dandelion enjoy a few weeks of blockbuster success on its own merits, and then maybe a month or so down the line, hit ’em with the Wallen collab and let ’em know you’re not going anywhere anytime soon. But doing it just two weeks after the album release — and announcing it with a live duet just one week after — is such a power move I can’t really hate on it, either. This is your moment, why not do whatever you can to make it as big as possible?

4. Does the first week performance of Dandelion combined with the extended success of “Choosin’ Texas” and the album’s other singles — and now an incoming teamup with the biggest artist in country — confirm Langley as a bonafide pop star to you, or do you still need to see more from her before giving her that status?  

Kyle Denis: In the sense that country is pop right now, yes. But I’d like to see her plastered across commercials, showing with high billing on all-genre festival lineups and playing gigs like SNL before I truly regard her as a “bonafide pop star.” 

Lyndsey Havens: I lean on the more giving side with that title, but I do think she’s totally earned it.  Let’s not forget, she’s already had her long-lasting breakout moment with Riley Green on “You Look Like You Love Me.” I think there were some who thought that would be the peak, but it was always just setting Ella up for her own time to shine — and it certainly feels like that time has come. I don’t think it will pass anytime soon.

Melinda Newman: Pop star or country star? We toss star around “star” too lightly and soon we’ll be calling her a superstar. I would still call her a rising star. She’s had three No. 1s on Country Airplay and one No. 1 on the Hot 100. It’s too soon to tell if she’s a genuine pop sensation or she’s a country singer who has one massive pop hit. I need to see more from her, but her promise is undeniable and it’s really exciting to watch her rise and how far she’s going to go.

Jessica Nicholson: She’s definitely one of the fastest-rising artists out there right now. Country music has regularly dominated the all-genre charts for a few years now, and the songs on her new album are strong, so she’s definitely cemented herself as an artist who is here to stay.

Andrew Unterberger: It’s tough to call someone a pop star when they’ve never, say, played the VMAs, or appeared at a non-genre music festival, or any number of the usual moves that signify an artist traveling the path to pop stardom. But the fervor around Ella Langley is so insane right now it might just not matter. We are very possibly headed towards a Hot 100 in a couple weeks’ time in which she has three of the top five songs — something only a handful of other artists have ever done in the chart’s history. Are we really going to say that’s not a pop star?

5. Make a prediction: How many total weeks will “Choosin’ Texas” spend atop the Hot 100? 

Kyle Denis: I think 10-11 weeks, but I’d keep my eye on Olivia Dean’s “So Easy (To Fall In Love)” and my ear to the streets regarding yet-to-be-announced high-profile releases. 

Lyndsey Havens: I’m rooting for 19 weeks. That will force a tie with “Old Town Road,” and fall just a few weeks behind the reigning queen, Mariah Carey, with her eternal holiday hit. Seems like a nice place to land.

Melinda Newman: I’m going for an even 10, though, as we pointed out before, “Be Her” could knock “Choosin’ Texas” out — as could her duet with Wallen — so “Choosin’ Texas” may be a victim of her own success, which would not be a bad thing at all!

Jessica Nicholson: I would guess 9-10 total.

Andrew Unterberger: I’ll say 12 total. But more would not surprise me in the slightest.

Coachella 2026’s three headliners — Sabrina Carpenter, Justin Bieber and Karol G — all make waves on the latest Billboard 200 albums chart (dated April 25), following their star turns over the first weekend of the festival (April 10-12).

Bieber has a career-high total of seven albums on the chart — including five re-entries and a debut — led by a top 10 return for SWAG. And all seven post individual gains of at least 100% in equivalent album units earned (in the United States in the week ending April 16) as compared to the previous week, according to Luminate. Carpenter has two titles on the chart, including one in the top 10; while Karol G re-enters the list with Tropicoqueta.

Carpenter, Bieber and Karol G headlined the evenings of April 10, 11 and 12, respectively, over the first weekend of the Coachella Valley Music and Arts Festival, and their performances were also livestreamed on YouTube. The trio repeated their headlining turns the following weekend (April 17, 18 and 19), and those gains will be reflected on next week’s charts (dated May 1).

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 April 25, 2026-dated chart will be posted in full on Billboard‘s website on April 21.

Bieber’s SWAG zooms 55-7 with 43,000 equivalent album units earned in the week ending April 16, a gain of 160% compared to the previous week. The increase was largely owed to streaming activity, as SWAG’s songs generated 42,000 SEA units (up 158%), equaling 41.48 million on-demand official streams of the set’s songs — across both its SWAG and deluxe SWAG II reissue that contained additional songs. (All versions of the album are combined for tracking and charting.)

Five more Bieber sets re-enter the list: Purpose (No. 32 with 22,000 units; up 173%), Believe (No. 34 with 21,000, up 241%), My World 2.0 (No. 38 with 20,000, up 268%), Justice (No. 110 with 13,000, up 100%) and My World (No. 147 with 12,000, up 563%).

Debuting on the chart is Bieber’s 12-year-old album Journals, entering at No. 111 with nearly 13,000 units earned (up 192%). Journals was originally released exclusively for purchase only in the iTunes Store on Dec. 23, 2013. However, sales from the iTunes Store were not reported to Luminate (then-named Nielsen SoundScan), and in turn, the title did not debut on the Billboard 200. The album eventually became widely available to all digital download and streaming services (and eventually iTunes began reporting the album’s weekly sales), and on CD and vinyl, but this week marks the first week the album had enough activity to chart in a single week.

With seven albums on the Billboard 200 at the same time, that marks the most titles Bieber has placed on the tally concurrently. The most he’s ever had on the chart at once is four, last achieved in January 2012.

As for Carpenter, her former No. 1 Man’s Best Friend jumps back into the top 10, climbing 18-10, with 40,000 equivalent album units earned, up 44%. Like SWAG, Man’s Best Friend mostly gained from streaming increases — it earned 34,000 SEA units (up 60%), equaling 34.39 million on-demand official streams of the album’s songs.

Carpenter’s previous set, Short n’ Sweet, sizzles with a 24-17 jump (nearly 31,000 units, up 23%).

Rounding out the Coachella headliners is Karol G, who sees her Tropicoqueta album re-enter at No. 116 with nearly 13,000 units (up 51%).