Tyler, The Creator, performing in the course of the Coachella Competition in Indio, California, on April 13, 2024, introduced his eighth album, Chromakopia, just a bit greater than per week earlier than releasing it on Monday, October 28.
Valerie Macon/Getty Photos
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Valerie Macon/Getty Photos
Some long-awaited volatility sweeps over the pop charts this week: Tyler, The Creator’s new album, Chromakopia, debuts at No. 1 on this week’s Billboard 200, though it got here out on a Monday and solely loved a four-day window of eligibility. The rapper’s success additionally shakes up the Sizzling 100 singles chart — which makes room for all 14 of the album’s songs, together with two within the prime 10. In the meantime, Shaboozey’s “A Bar Music (Tipsy)” returns to No. 1 after per week away for a brand new whole of 16 nonconsecutive weeks atop the chart, which ties a file for this decade.
TOP ALBUMS
Final week, the rapper Yeat stormed the Billboard 200, notching his first-ever No. 1 album with the debut of Lyfestyle. This week, he plunges again all the way down to earth, because the album slides all the best way to No. 70. Taking his place on this week’s chart is the debut of a file that reveals hints of getting extra endurance: Tyler, The Creator’s Chromakopia.
Chromakopia had an oddly timed launch: The rapper didn’t announce its title or drop date till Oct. 17, and it got here out a mere 11 days later, and on a Monday. Albums usually drop on Fridays, and Billboard’s seven-day window of chart eligibility is about as much as replicate that truth, which suggests Chromakopia had solely 4 days (none of them on the weekend) to compete with everybody else’s seven. It was an act of supreme confidence from an artist who has all the time preferred to invert his viewers’s expectations. And it was a check of power — one he greater than handed — in a market the place artists usually make aggressive strategic strikes (a number of vinyl variants, discounted pricing) to maximise their first-week numbers.
The album did blockbuster enterprise: In the event you took simply its gross sales numbers or simply its streaming numbers, both would have counted sufficient to raise the file to No. 1. And, on condition that streaming is what tends to feed chart longevity nowadays — and that Tyler’s songs have been streamed sufficient to propel two of them into this week’s prime 10 — he seems to be to be in for an honest run. (The audacious, electrical, incessantly experimental file has gotten terrific evaluations, which might’t harm.)
Tyler, The Creator isn’t the one artist to submit a formidable Billboard 200 debut this week. Fueled largely by gross sales — together with the now-standard variant editions and on-line reductions — Halsey’s The Nice Impersonator enters this week’s chart at No. 2, whereas nation singer Kelsea Ballerini bows at No. 4 with Patterns.
Elsewhere within the prime 10, Eminem takes a steep climb from No. 44 to No. 6, because of the discharge of The Demise of Slim Shady (Coup de Grâce) on vinyl. That makes 4 recent entries within the prime 10, every of which displaces a latest debut — by Yeat, Jelly Roll, SEVENTEEN and BigXthaPlug — and sends a couple of standbys slipping down the chart, if solely somewhat bit: Sabrina Carpenter’s Brief n’ Candy is the week’s prime holdover from final week, sliding from No. 2 to No. 3, whereas Rod Wave’s Final Lap dips from No. 4 to No. 5.
Rounding out the highest 10, Gracie Abrams’ The Secret of Us climbs from No. 8 to No. 7 as followers proceed to stream its new deluxe version — and as she continues to open for Taylor Swift on the Eras Tour. Morgan Wallen’s One Factor at a Time drops from No. 6 to No. 8, Billie Eilish’s Hit Me Arduous and Comfortable holds at No. 9 and GloRilla’s Superb slides from No. 7 to No. 10.
TOP SONGS
Final week may need been the second when Shaboozey’s “A Bar Music (Tipsy)” tied the longest run at No. 1 this decade, set final yr when Morgan Wallen’s “Final Evening” sat on the prime spot for a formidable 16 weeks. Wallen had different concepts, nevertheless, as his new tune “Love Anyone” debuted at No. 1, leaving Shaboozey on the surface wanting in for the primary time in months.
This week, Shaboozey will get his sixteenth week in any case, as “A Bar Music” returns to No. 1 and “Love Anyone” slides to No. 8. It’s a outstanding milestone for “A Bar Music,” which is now tied with three songs — “Final Evening,” “Despacito” (by Luis Fonsi and Daddy Yankee with Justin Bieber) and “One Candy Day” (by Mariah Carey & Boyz II Males) — for the second-longest run at No. 1 within the historical past of the Sizzling 100, which dates again to 1958. As famous a pair weeks in the past, its days at No. 1 are numbered, as the vacation season guarantees to ship “All I Need for Christmas Is You” and different requirements storming to the highest of the charts. However the all-time file of 19 weeks — set by Lil Nas X’s “Outdated City Street,” that includes Billy Ray Cyrus — is a minimum of again within the realm of risk.
Shaboozey had some critical competitors this week, too: Woman Gaga and Bruno Mars made a run for No. 1 once they launched three alternate variations of their hit “Die With a Smile” — two instrumentals and one subtitled “Stay in Las Vegas” — and supplied every of the 4 variations of the tune for a reduced 69 cents on the iTunes Retailer. However their bid for No. 1 fell quick, because the tune climbed from No. 4 to a brand new peak at No. 2. (In the meantime, Gaga’s new single, “Illness,” debuts at No. 27.)
The opposite large strikes within the prime 10 got here as a reverberation from Tyler, The Creator’s blockbuster chart debut with Chromakopia. With all 14 of its songs touchdown comfortably within the Sizzling 100, two of them — “St. Chroma (feat. Daniel Caesar)” and “Noid” — enter this week’s prime 10, as the previous debuts at No. 7 and the latter climbs from No. 43 to No. 10.
Rounding out this week’s prime 10, Billie Eilish’s “Birds of a Feather” holds at No. 3, Sabrina Carpenter’s “Espresso” climbs from No. 5 to No. 4 (“Style” additionally holds at No. 9), Submit Malone and Morgan Wallen’s “I Had Some Assist” rises from No. 6 to No. 5 and Teddy Swims’ “Lose Management” ticks up from No. 7 to No. 6 — within the course of extending his run within the prime 10 to 42 weeks, the third-longest run within the prime 10 ever posted. (The Child LAROI and Justin Bieber’s “Keep” charted within the prime 10 for 44 weeks in 2021-22, whereas The Weeknd’s “Blinding Lights” had a 57-week run in 2020-21.)
WORTH NOTING
As famous above, we’re simply weeks away from a surge of vacation requirements overwhelming the Billboard charts. Assume “All I Need for Christmas Is You,” “Rockin’ Across the Christmas Tree” and their cheerful ilk, all storming the highest 10 concurrently. This week, nevertheless, there’s a special type of vacation surge.
The charts that simply dropped replicate a window of eligibility that spanned the ultimate week of October, and when you’re in search of affirmation of which tracks have develop into Halloween streaming requirements, it’s proper there: Michael Jackson’s “Thriller” re-enters the Sizzling 100 at No. 20, Ray Parker Jr.’s “Ghostbusters” is shut behind it at No. 28, Bobby “Boris” Pickett and the Crypt-Kickers’ “Monster Mash” staggers in at No. 30, The Residents of Halloween’s “This Is Halloween” pops up at No. 38 and Rockwell’s paranoid basic “Anyone’s Watching Me” resurfaces at No. 50.
The Billboard 200 albums chart displays an identical Halloween boomlet, because the soundtrack to Tim Burton’s The Nightmare Earlier than Christmas soars from No. 123 to No. 28, Jackson’s Thriller climbs from No. 71 to No. 29, Pickett’s The Authentic Monster Mash (in case you favor “Monster Mash” in album kind) re-enters at No. 110, Andrew Gold’s Halloween Howls: Enjoyable & Scary Music (little doubt a favourite of those that prefer to stream spooky music for trick-or-treaters) reveals up at No. 112, Ray Parker Jr.’s Biggest Hits (sure, folks, the person has had different hits) is at No. 135 and Michael Jackson’s Scream lands at No. 172.
Subsequent week? Search for all of ’em besides Thriller (the album, not the tune) and perhaps The Nightmare Earlier than Christmas to drop off the charts and re-enter the crypts from whence they got here.
