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Global Chart Report
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'Señorita' reigns a 13th week at no.1
Thursday, October 17, 2019
by Fred Chuchel, Dresden

 

Over decades we had a stable top five of the biggest music markets, led by the United States and followed by Japan, United Kingdom, Germany, and France. But this year could change something, because South Korea is on the way to overtake France. Since the massive success of Psy's 'Gangnam Style' seven years ago, South Korea's music market has gradually developed into a modern and internationally successful place. For the 10th time this year an album from South Korea tops the Global Album Chart: the first EP by the super group SuperM jumps to the summit with 176,000 equivalent sales, 168,000 of it from - oh no - not from the band's native country, but from the United States (according to Billboard / Nielsen Soundscan). SuperM includes seven members from three boy groups: Taemin from Shinee, Baekhyun and Kai from Exo, and Taeyong, Mark, Ten and Lucas from NCT 127. Also new on this week's Global Top 10 are 'Over It', the debut

album by American singer Summer Walker, at no.3 with 157,000 sales and 'Dear My Dear', the second EP by South Korean singer Chen, at no.4 with 128,000 sales. And now, as every week, additional stats from outside the current Global Top 10 in alphabetic order, the first figure means last week's sales, the second figure the total sales: '1989' by Taylor Swift 8,000 / 11,164,000, '21' by Adele 9,000 / 29,760,000, '25' by Adele 8,000 / 22,154,000, the 'A Star Is Born' soundtrack 31,000 / 5,157,000, 'American Teen' by Khalid 15,000 / 3,417,000, 'Astroworld' by Travis Scott 39,000 / 3,851,000, 'Beerbongs & Bentleys' by Post Malone 34,000 / 5,863,000, the 'Bohemian Rhapsody' soundtrack 21,000 / 3,842,000, 'Care Package' by Drake 10,000 / 330,000, 'Championships' Meek Mill 13,000 / 1,590,000, 'Cuz I Love You' by Lizzo 40,000 / 934,000, 'Damn.' by Kendrick Lamar 12,000 / 5,542,000, 'Death Race For Love' by Juice WRLD 15,000 / 1,100,000, 'Divide' by Ed Sheeran 29,000 / 15,223,000, 'Divinely Uninspired To A Hellish Extent' by Lewis Capaldi 45,000 / 1,005,000, 'Evolve' by Imagine Dragons 13,000 / 4,818,000, 'Father Of Asahd' by DJ Khaled 9,000 / 662,000, 'Free Spirit' by Khalid 28,000 / 1,565,000, 'Goodbye & Good Riddance' by Juice WRLD 17,000 / 2,293,000, 'Happiness Begins' by Jonas Brothers 20,000 / 1,044,000, 'Hurts 2B Human' by Pink 8,000 / 918,000, 'In The Lonely Hour' by Sam Smith 9,000 / 8,230,000, 'Indigo' by Chris Brown 47,000 / 784,000, 'Invasion Of Privacy' by Cardi B 14,000 / 3,099,000, 'Kamikaze' by Eminem 9,000 / 2,815,000, 'Love Yourself 轉 Answer' by BTS (Bangtan Boys) 5,000 / 2,660,000, 'Madame X' by Madonna 3,000 / 478,000, 'Map Of The Soul: Persona' by BTS (Bangtan Boys) 11,000 / 4,099,000, 'Norman Fucking Rockwell!!' by Lana Del Rey 39,000 / 480,000, 'Origins' by Imagine Dragons 10,000 / 1,564,000, 'Pray For The Wicked' by Panic! At The Disco 9,000 / 1,595,000, 'Question Mark' by XXXTentacion 23,000 / 3,858,000, 'Rammstein' by Rammstein 13,000 / 1,103,000, 'Reputation' by Taylor Swift 7,000 / 5,036,000, 'Scorpion' by Drake 26,000 / 5,828,000, 'Seven' by Lil Nas X 33,000 / 801,000, 'Shawn Mendes' by Shawn Mendes 29,000 / 2,370,000, 'So Much Fun' by Young Thug 41,000 / 588,000, the 'Spider Man: Into The Spider-Verse' soundtrack 6,000 / 1,302,000, 'Staying At Tamara's' by George Ezra 5,000 / 1,581,000, 'Stoney' by Post Malone 23,000 / 5,000,000, 'Sweetener' by Ariana Grande 12,000 / 2,637,000, 'Thank U, Next' by Ariana Grande 28,000 / 3,024,000, 'The Greatest Showman' soundtrack 23,000 / 7,269,000, 'The Lion King: The Gift' by Beyoncé 6,000 / 225,000, 'Trench' by Twenty One Pilots 6,000 / 1,369,000, 'Views' by Drake 11,000 / 5,128,000, 'We Are Not Your Kind' by Slipknot 16,000 / 520,000, 'We Love You Tecca' by Lil Tecca 45,000 / 372,000, 'Western Stars' by Bruce Springsteen 8,000 / 672,000, and 'X' by Ed Sheeran 11,000 / 11,978,000. 'Señorita' by Shawn Mendes & Camila Cabello remains atop the Global Track Chart for an impressive 13th week and gets another 358,000 points, an 8% decrease compared to the previous week. With a total of 6,958,000 points the Spanish-influenced smash climbs to no.4 on the year-to-date chart, behind 'I Don't Care' by Ed Sheeran & Justin Bieber with 7,528,000 points, 'Bad Guy' by Billie Eilish with 8,524,000 points and of course 'Old Town Road' by Lil Nas X feat. Billy Ray Cyrus with 11,153,000 points. Back to this week's hitlist, the gap between no.1 and no.2 has narrowed considerably. Last week 'Dance Monkey' by Tones And I was 117,000 points behind 'Señorita', this week only 40,000 points. Well, the crazy tune by the 19 year-old Australian singer / songwriter could be the new global number one next week. Highest debut of the week comes from American rapper Travis Scott. His new smash 'Highest In The Room' shoots at no.3 globally with 297,000 points. The song was first used in Scott's then girlfriend (now ex-girlfriend) Kylie Jenner's 'Kybrows' commercial in April, before Scott debuted the song during his set at the Rolling Loud festival in Miami in May 2019. 'Highest In The Room' was official released on October 4. Outside the Top 40 waiting among other 'Hot Girl Bummer' by Blackbear at no.42, 'Post Malone' by Sam Feldt at no.44, 'No Me Conoce' by Jhay Cortez at no.49, and 'Adicto' by Tainy at no.52 for their first appearance on the big list.


GLOBAL NO.1 - 30 YEARS AGO... Madonna's "Cherish" was the third single from the album Like A Prayer. The song was built around the themes of love and relationships, with William Shakespears's Romeo & Juliet being one of the major inspirations. The track also included a line from the 1966 hit "Cherish" by the Association. Musically constructed as a doo-wop-style pop song, it's regarded as a light-hearted track by critics and includes instruments such as a drum machine, percussions, keyboards and a saxophone. Lyrically, it speaks of Madonna's devotion to her lover, and her promise to be always by his side. The black-and-white music video for the song was directed by photographer Herb Ritts at the Paradise Cove Beach in Malibu, California. In the video, Madonna plays herself, while three co-actors dressed as mermen swim in and out of the sea. "Cherish" reached only the no.1 spot in Canada, in the United States it peaked at no.2 and in United Kingdom at no.3.


USA
Billboard Report
(excerpt)
Travis Scott's 'Highest In The Room' debuts at no.1
Tuesday, October 15, 2019
by Keith Caulfield & Gary Trust, Los Angeles


K-pop supergroup SuperM debuts at No. 1 on the Billboard 200 albums chart, as the act’s first effort, SuperM: The 1st Mini Album, enters atop the tally. The set, which was released via

SM/Capitol Records on Oct. 4, launches with 168,000 equivalent album units earned in the U.S. in the week ending Oct. 10, according to Nielsen Music. Of that sum, 164,000 were in album sales. SuperM’s existence was announced on Aug. 7, and the act comprises seven members from established pop acts that have had some success already on Billboard’s various charts: one from SHINee, and two each from EXO, NCT 127 and WayV. None of those groups have claimed a top 10 effort on the all-genre Billboard 200, though. (The highest charting album from any of the non-SuperM acts is NCT 127’s NCT #127 We Are Superhuman: The 4th Mini Album, which debuted and peaked at No. 11 earlier this year.) SuperM’s handsome start was encouraged mightily by an array of permutations in which to purchase the album, which was likely very appealing to the group’s fans, since K-pop fans are often passionate about buying collectible physical packages

of an album. The 1st Mini Album had more than 60 merchandise/album bundles available to purchase through their official web stores, a concert ticket/album sale redemption offer with their upcoming arena tour and eight different CD variants of the album (seven with a different cover for each member, along with a group edition). The act also staged a week-long pop-up shop in Los Angeles during street week, where fans could buy the CD (as well as oodles of individual merch items). At No. 2 on the new Billboard 200, Summer Walker’s debut studio effort, Over It, launches with 134,000 equivalent album units earned — the biggest week for an R&B album by a female artist in over three years. The last R&B album by a woman to notch a bigger week was Beyoncé with Lemonade, which tallied 202,000 units in its third week on the list (May 28, 2016; at No. 2) after previously bowing at No. 1. Over It’s starting sum of 134,000 units was largely powered by streaming activity, as the set garnered 14,000 album sales, 1,000 TEA units and 119,000 SEA units. The latter figure translates to a big 154.7 million on-demand audio streams for the album’s songs — marking the largest streaming week ever for an R&B album by a woman in terms of on-demand audio streams (surpassing the debut week of Beyoncé’s Lemonade, with 115.2 million). It also scores the second-largest streaming week for an R&B album among all acts (trailing only the debut week of The Weeknd’s Starboy, with 175.2 million). Previous to the debut of Over It, Walker earned four top 25-charting hits on the Hot R&B Songs chart, including the top five hit “Playing Games.” A quintet of former No. 1s are next on Billboard 200: Post Malone’s Hollywood’s Bleeding slips 2-3 (108,000 units; down 13%), DaBaby’s Kirk falls 1-4 in its second week (75,000 units; down 49%), Taylor Swift’s Lover is steady at No. 5 (51,000 units; down 11%), Chris Brown’s Indigo bolts 13-6 (39,000 units; up 24% after the album was reissued with bonus tracks) Billie Eilish’s When We All Fall Asleep, Where Do We Go? is a non-mover at No. 7 (38,000 units; down 4%). Kevin Gates’ I’m Him falls 4-8 in its second week, tallying just over 36,000 equivalent album units (down 52%). Brantley Gilbert earns his fourth top 10 effort, as Fire & Brimstone debuts at No. 9 with 36,000 equivalent album units earned. Of that sum, 28,000 were in album sales. He previously visited the top 10 with The Devil Don’t Sleep (No. 2 in 2017), Just As I Am (No. 2, 2014) and Halfway to Heaven (No. 4, 2011). Rounding out the new top 10 is Young Thug’s So Much Fun, at No. 10. The former No. 1 dips 8-10 in its eighth week on the list, with 35,000 units (down 10%). Travis Scott blasts in atop the Billboard Hot 100 as "Highest in the Room," true to its title, launches at No. 1. The rapper earns his second leader and first to debut in the top spot. "Highest," released on Cactus Jack / Grand Hustle / Epic Records on Oct. 4 (after it was initially teased in a Kylie Jenner Kybrow cosmetics ad in April), and the 1,090th leader in the Hot 100's 61-year history, starts at No. 1 the Streaming Songs chart with 59 million U.S. streams in the week ending Oct. 10, according to Nielsen Music. Available digitally and, in its first week, in a variety of physical formats (CD, cassette and vinyl; consumers also received a digital version when ordering the physical copies), the track bows at No. 2 on Digital Song Sales with 51,000 sold in the week ending Oct. 10. It ranks below the Radio Songs survey with 6.9 million audience impressions in the week ending Oct. 13. Scott adds his second Hot 100 No. 1, after "Sicko Mode" led the Dec. 8, 2018-dated chart. That track debuted at No. 4 and remained in the top 10 continuously before leading at last in its 17th week. "Highest" is the 35th single to start atop the Hot 100 and the first since Jonas Brothers' "Sucker" in March. Epic enjoys its third No. 1 arrival, after DJ Khaled's "I'm the One," featuring Bieber, Quavo, Chance the Rapper and Lil Wayne (released on both Def Jam and Epic), in 2017 and Michael Jackson's "You Are Not Alone," the first song to debut at No. 1, in 1995. Lizzo's "Truth Hurts" drops to No. 2 on the Hot 100 after six weeks at No. 1. Still, it rules Radio Songs for a fourth frame (120.4 million, down 1%). It descends to No. 3 on Digital Song Sales (28,000, down 8%), after five weeks at No. 1, and 6-12 on Streaming Songs (25.8 million, down 7%). Shawn Mendes and Camila Cabello's "Señorita" slips 2-3 on the Hot 100, after commanding the Aug. 31-dated chart. Dan + Shay and Justin Bieber's "10,000 Hours" roars onto the Hot 100 at No. 4, as it opens atop Digital Song Sales at No. 1 with 53,000 sold in the week ending Oct. 10, following its Oct. 4 premiere. Dan + Shay notch their first No. 1 on the sales chart, while Bieber banks his 10th, tying Drake and Eminem for the most among males. Among all acts, Taylor Swift leads with 18 Digital Song Sales No. 1s, followed by Rihanna (14) and Katy Perry (11). "Hours" also enters Streaming Songs at No. 3 with 33.3 million U.S. streams, while nearing Radio Songs with 19.6 million in all-format audience. Being promoted to country and pop radio, the track ranks at No. 25 in its second week on the Country Airplay chart, while debuting at No. 26 on Adult Pop Songs and No. 29 on Pop Songs. Dan + Shay post their highest Hot 100 rank, after the pair reached a previous No. 21 high with "Tequila" in July 2018. Bieber adds his 16th Hot 100 top 10 and first since "I Don't Care" (with Ed Sheeran), which debuted and peaked at No. 2 in May. Lewis Capaldi's "Someone You Loved" dips to No. 5 on the Hot 100 from its No. 3 high; Post Malone's "Circles" rises 8-6, after reaching No. 4; and Chris Brown's "No Guidance," featuring Drake, falls to No. 7 from its No. 5 peak, while leading Hot R&B Songs for a seventh week. Rounding out the Hot 100's top 10, Lil Tecca's "Ran$om" tumbles to No. 8 from its No. 4 peak; Billie Eilish's "Bad Guy," which ruled the Aug. 24 Hot 100, drops 6-9; and Lil Nas X's "Panini" backtracks 8-10 after hitting No. 5.


Song Of The Month
'10,000 Hours', with guest vocals by Justin Bieber, is the first sign of the upcoming new studio album by Dan & Shay, an American country music duo composed of vocalists and songwriters Dan Smyers and Shay Mooney.


United Kingdom
Music Week Report
(excerpt)
Tones And I is still number one
Monday, October 14, 2019
by Alan Jones, London

 
Increasing consumption for the 12th week in a row, Tones And I’s Dance Monkey lengthens its lead at the top of the singles chart. In its second week at the summit, the track – the introductory hit for 19-year-old Toni Watson – achieves consumption of 70,713 units, a steep 40.11% increase week-on-week. That’s a 12-week high for

a No.1 single, compared to the 48-week low we saw in the previous frame. Dance Monkey continues atop the chart in many other territories, not least in her native Australia, where it is No.1 for the 10th week in a row, equalling the all-time record for a song by a female solo artist set by Whitney Houston’s I Will Always Love You in 1993, and equalled in 2010 by Scots singer Sandi Thom’s I Wish I Was A Punk Rocker (With Flowers In My Hair). The most obvious and highest-charting song to concern itself with altered states since Afroman’s Because I Got High topped the chart in 2001, rapper Travis Scott’s Highest In The Room dashes to a No.2 debut on consumption of 48,805 units. Highest In The Room achieves two other highs, being both the highest new entry to the chart and the highest-charting of Travis Scott’s 19 hits to date, while furnishing only his third Top 10 hit. While his debut album Without Fear races to the top of the album chart, Dermot

Kennedy’s first hit single, Outnumbered, climbs for the 14th week in a row, and has finally breached the Top 10, advancing 14-8 (32,078 sales). Impacted by the arrival of Travis Scott’s new single, Kosovan DJ Regard’s first hit, Ride It, increases consumption for the 10th week in a row but dips 2-3 (48,422 sales). Circles climbs 6-5 (35,731 sales) to match the peak it scaled four weeks ago for Post Malone. The rest of the Top 10: Ladbroke Grove (3-4, 35,882 sales) by AJ Tracey, Higher Love (5-6, 34,780 sales) by Kygo & Whitney Houston, Sorry (7-7, 32,205 sales) by Joel Corry, 3 Nights (8-9, 30,075 sales) by Dominic Fike and Strike A Pose (9-10, 28,729 sales) by Young T & Bugsey feat. Aitch. Overall singles sales are down 0.17% week-on-week at 18,951,585, 19.64% above same week 2018 sales of 15,840,203. Paid-for sales are down 2.33% week-on-week at 589,331 – 29.48% below same week 2018 sales of 835,710. They are below same week, previous year sales for the 323rd week in a row. It’s a banner week for Irish singer/songwriter Dermot Kennedy, who simultaneously secures his first Top 10 single with Outnumbered, and a No.1 album with his debut full length set, Without Fear. The 27-year-old Dubliner wrote or co-wrote every song on Without Fear, which opens atop the chart on consumption of 20,061 units (including 4,379 from sales-equivalent streams) – the lowest tally for a No.1 album for 13 weeks – and relegates The Beatles’ classic Abbey Road to No.2 (12,695 sales). It is the eighth change of leadership at the album apex in as many weeks. Kennedy is the first Irish act to have a No.1 album since Dublin trio The Script topped with Freedom Child in September 2017, and the first solo Irish male to top the list since Ronan Keating in 2004 with the compilation 10 Years Of Hits. Six months after her maiden chart single – Drake collaboration Girls Need Love – stalled at No.41, promising Atlanta R&B singer/songwriter Summer Walker’s introductory long player, Over It, makes an impressive No.7 debut (8,338 sales). Walker had a hand in writing all 18 songs on the album, which simultaneously spins-off her second, third and fourth singles chart entries (see singles analysis). Scots veterans Simple Minds extend their album chart career to more than 40 years with concert collection Live In The City Of Angels – recorded mostly in Los Angeles, as its title suggests – debuting at No.9 (7,055 sales). It is the 22nd Top 75 album and 11th Top 10 album for the group, whose most recent studio set, Walk Between Worlds, reached No.4 last year. However, it is only the second of their seven official live releases to engage chart compilers, following their very first, 1987’s Live In The City Of Light, which went all the way to No.1. A little more than 16 years since their debut album, Permission To Land, completed its four-week run at No.1, The Darkness’ latest studio album, Easter Is Cancelled, opens at No.10 (6,586 sales). It is their fourth Top 10 album, and their seventh Top 75 album. All six of their studio sets has made the Top 12, while their most recent chart excursion was Live At Hammersmith, which reached No.47 last year. The rest of the Top 10: No.6 Collaborations Project (6-3, 12,232 sales), Hollywood’s Bleeding 5-4, 11,927 sales) by Post Malone, Divinely Uninspired To A Hellish Extent (3-5, 11,530 sales) by Lewis Capaldi, PTSD (4-6, 9,457 sales) by D-Block Europe and Why Me? Why Not (2-8, 7,879 sales) by Liam Gallagher. Overall album sales are down 2.34% week-on-week at 1,717,965, 2.57% above same week 2018 sales of 1,674,873. Sales-equivalent streams accounted for a record 1,220,580 sales, and a highest-ever 71.05% of the total. Sales of paid-for albums are down 7.07% week-on-week at 500,410, 27.32% below same week 2018 sales of 688,541.

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