Morgan Wallen’s One Thing at a Time clocks a 14th nonconsecutive and total week atop the Billboard 200 albums chart (dated July 1), marking the most weeks at No. 1 for any album since Adele’s 21 logged 24 nonconsecutive weeks in charge in 2011-12.

One Thing at a Time earned 110,000 equivalent album units in the U.S. in the week ending June 22 (down 1%), according to Luminate. One Thing at a Time is now Republic Records’ album with the most weeks at No. 1 ever on the Billboard 200, surpassing the 13 weeks of Drake’s Views in 2016. One Thing at a Time was released via Big Loud/Mercury/Republic, while Views was issued via Young Money/Cash Money/Republic.

One Thing at a Time debuted at No. 1 on the Billboard 200 chart dated March 18 and spent it first 12 weeks at No. 1. It then stepped aside for two weeks, and then returned to the top for the last two consecutive frames (June 24 and July 1-dated charts).

Also in the top 10 of the new Billboard 200 albums chart, ATEEZ scores its highest-charting set yet as The World EP.2: Outlaw bows at No. 2, Gunna lands his fifth top 10-charting effort as A Gift & A Curse debuts at No. 3 and Queens of the Stone Age log their fourth top 10 as In Times New Roman… launches at No. 9.

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 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new July 1, 2023-dated chart will be posted in full on Billboard‘s website on June 27. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of One Thing at a Time’s 110,000 equivalent album units earned in the week ending June 22, SEA units comprise 103,500 (down 1%, equaling 139.04 million on-demand official streams of the set’s 36 songs), album sales comprise 4,500 (down less than 1%) and TEA units comprise 2,000 (down 2%).

One Thing at a Time has earned in excess of 100,000 equivalent album units in all 16 of its chart weeks. The set ties Bad Bunny’s 2022 album Un Verano Sin Ti for the most weeks north of 100,000 since the Billboard 200 began ranking titles by equivalent album units in December of 2014.

ATEEZ scores its highest-charting album on the Billboard 200 as The World EP.2: Outlaw bows at No. 2 with 105,500 equivalent album units earned — the Korean pop act’s best week by units. Album sales comprise nearly all of that sum — 101,000, which marks the group’s biggest sales week (and the top-selling album of the week). SEA units comprise 4,5000 — equaling 6.32 million on-demand official streams of the set’s six songs, while TEA units comprise a minimal sum.

The World EP.2: Outlaw is the third top 10-charting effort for the eight-member group, which previously hit the top 10 with Spin Off: From the Witness (No. 7 in January) and The World EP.1: Movement (No. 3 in 2022).

Like many K-pop releases, the CD edition of The World EP.2: Outlaw was issued in collectible CD packages (21 total, including exclusive editions for Barnes & Noble, Target and Walmart, as well as some signed editions), each containing a standard set of branded merchandise items and randomized branded elements (action cards, partner cards, photo cards). Of the album’s sales, 97.5% were on the CD format, with the remainder generated by digital download album purchases. The set was not released on any other retail format (cassette, vinyl, etc.).

The World EP.2: Outlaw is the 10th album to sell at least 100,000 copies in a single week in 2023. Of those 10, seven of them are K-pop titles, with sales largely driven by collectible CD variants.

Gunna earns his fifth top 10-charting set on the Billboard 200 as A Gift & A Curse debuts at No. 3. The title launches with 85,000 equivalent album units earned. Of that sum, SEA units comprise 84,000 (equaling 112.65 million on-demand official streams of the set’s 15 songs) while album sales comprise 1,000 and TEA units comprise a negligible sum.

A trio of former No. 1s is next on the Billboard 200 as Taylor Swift’s Midnights is a non-mover at No. 4 (60,000; down 13%); SZA’s SOS rises 8-5 (48,000; down 3%); and Morgan Wallen’s Dangerous: The Double Album climbs 9-6 (46,000; up 1%). Metro Boomin’s Spider-Man: Across the Spider-Verse soundtrack dips 5-7 (42,000; down 22%) and Lil Durk’s Almost Healed falls 7-8 (41,000; down 17%).

Queens of the Stone Age land their fourth top 10-charting effort on the Billboard 200 as In Times New Roman… debuts at No. 9 with 40,000 equivalent album units earned. Of that sum, album sales comprise 36,000, SEA units comprise 4,000 (equaling 5.68 million on-demand official streams of the set’s 10 songs) and TEA units comprise a negligible sum. Sales of the album were bolstered by its availability across seven vinyl variants, and combined, the set sold nearly 21,000 vinyl copies.

Rounding out the new Billboard 200’s top 10 is Swift’s chart-topping Lover, which is steady at No. 10 with 40,000 (up 6%).

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.

Luke Combs sends his 18th consecutive career-opening single to the top 10 on Billboard’s Country Airplay chart as “Love You Anyway” rises from No. 11 to No. 10 on the list dated July 1.

In the tracking week ending June 22, the song — which Combs co-authored with Ray Fulcher and Dan Isbell — increased by 12% to 17.4 million impressions, according to Luminate.

Plus, Combs’ cover of Tracy Chapman’s 1988 classic “Fast Car” (which she penned solo) motors 5-2 (31.1 million, up 18%). The remake has also crossed over, as it places at Nos. 11, 12 and 22 on the Adult Contemporary, Adult Pop Airplay and Pop Airplay charts, respectively.

Combs doubles up in the Country Airplay top 10 for the first time since Oct. 30, 2021, when his “Cold as You” ranked at No. 5 while he was featured on Jameson Rodgers’ “Cold Beer Calling My Name” at No. 7.

‘Last Night’ Still Leads

Morgan Wallen’s “Last Night” dominates Country Airplay for an eighth week (32.9 million, down less than 1%). He now boasts the longest-leading hit in the chart’s 33-year history – “You Proof” (10 weeks, 2022) – and, with “Last Night,” ties for the second-longest command. Alan Jackson and Jimmy Buffett’s “It’s Five O’Clock Somewhere” started its eight-week domination in August 2003, after Lonestar’s “Amazed” led for eight frames beginning in August 1999.

Also being supported by pop and adult radio, “Last Night” ranks at No. 8 on Adult Pop Airplay and Pop Airplay and No. 17 on Adult Contemporary.

Metallica’s “72 Seasons” becomes the band’s second song from its album of the same name to crown Billboard’s Mainstream Rock Airplay chart, rising to No. 1 on the July 1-dated tally.

“72 Seasons” becomes Metallica’s 12th career No. 1 on Mainstream Rock Airplay.

The group moves into a three-way tie with Foo Fighters and Godsmack for the fifth-most leaders in the chart’s 42-year history. Shinedown leads all acts with 18 toppers.

Most No. 1s, Mainstream Rock Airplay:

Metallica first led Mainstream Rock Airplay with eight-week No. 1 “Until It Sleeps” in 1996. Prior to “72 Seasons,” it most recently reigned with first 72 Seasons single “Lux Æterna” for 11 weeks beginning in December 2022.

Concurrently, “72 Seasons” lifts 5-4 on the all-rock-format, audience-based Rock & Alternative Airplay survey with 4.1 million audience impressions, up 3%, June 16-22, according to Luminate.

On the most recently published June 24-dated multimetric Hot Hard Rock Songs tally, “72 Seasons” placed at No. 11, following a No. 2 peak in April upon the album’s chart debut. In addition to its radio airplay, the song earned 397,000 official U.S. streams in the June 9-15 tracking week.

72 Seasons, Metallica’s 11th studio set, debuted at No. 1 on the Top Hard Rock Albums chart dated April 29, and appeared at No. 19 on the most recent list. It has earned 266,000 equivalent album units to date.

The Teskey Brothers know the way to the chart summit.

The Aussie blues-rock act bows at No. 1 on the ARIA Chart with The Winding Way (Liberation/Universal), their third studio album.

It’s the second leader for the group, led by Josh and Sam Teskey, following their 2020 album Live At The Forum. Their most recent studio album, 2019’s Run Home Slow, hit No. 2 on the ARIA Chart and went on to nab a hattrick of ARIA Awards, including best group.

“In the words of Michael Gudinski, ‘number one son!,'” Josh Teskey quips, paraphrasing the late, great Mushroom Group chairman, who was a fan and supporter of the Teskeys. “We’re feeling so honored and thankful to all you folks back home for the support, we love yas!”

The Teskeys now head to Glastonbury Festival, where they play the Other Stage this Sunday (June 25), with the chart crown in their back pocket.

Woke up in UK to news of a number one album in Australia! We’re feeling so honoured and thankful to all you folks back home for the support, we love yas! pic.twitter.com/fO1Idp7K14

— theteskeybrothers (@teskeybrothers) June 23, 2023

They’re the third homegrown act to lead the ARIA Albums Chart this year after Cub Sport and Peach PRC. “It’s really exciting to see the diversity of albums making it to No. in Australia,” comments ARIA CEO Annabelle Herd, “but three Aussie No. 1s this year simply isn’t enough! Australia: get listening, get playlisting and get sharing your favorite local artists. It’s time to get more of our brilliant home-grown talent on the charts.”

The bros, who hail from Warrandyte, Victoria, a short drive from Melbourne, hold off rock heavyweight Queens of the Stone Age, whose eight studio album In Times New Roman (Matador/Inertia), starts at No. 2.

QOTSA has good chart form. Led by Josh Homme, the band hit No. 1 on the national survey in 2013 with Like Clockwork and in 2017 with Villains.

Completing an all new top three on the albums chart is Australian country artist Travis Collins’ Any Less Anymore (ABC/ADA), new at No. 3.

The Teskeys aren’t the only Australian siblings making an impact on the ARIA Charts, published Friday, June 23. Dannii Minogue returns to the albums tally with Neon Nights (ADA/MGM), her fourth studio collection which celebrates its 20th anniversary with a 33-track expanded edition. The set returns at No. 17, besting its No. 25 peak from 2003. That’s a career high for Minogue, whose debut Love And Kisses hit No. 24 back in 1990.

Meanwhile, older sister Kylie Minogue continues to climb on the ARIA Singles Chart with her hypnotic number “Padam Padam” (Liberation). It’s up 29-12, for Kylie’s first appearance in the top 20 since 2012, when “Timebomb” blew up at No. 12.

The top three is unchanged, as “Sprinter” (Virgin Music/Universal) by Dave and Central Cee leads for third week, ahead of Morgan Wallen’s “Last Night” (Republic/Universal) and Luke Combs’ “Fast Car” (Columbia/Sony), respectively.

YOASOBI‘s “Idol” continues to blaze the trail as it adds another week to its record-breaking run atop the Billboard Japan Hot 100 chart, released June 22.

Scoring its 10th consecutive week at No. 1, the points for “Idol” in streaming, video views, karaoke and radio airplay began increasing again this week after showing a slight downtrend. Dominating those four metrics for the fourth week in a row, total points for the Oshi no Ko opener increased by 1.7 percent to 21,616, which is more than the total from two weeks ago.

Meanwhile, SixTONES’ “Kokkara” debuts at No. 2 on the Japan Hot 100 after hitting No. 1 for physical sales (497,843 copies) and radio. The theme of the drama series Daga, Jonetsu wa aru starring member Shintaro Morimoto and King & Prince’s Kaito Takahashi also performed well in video (No. 3) but couldn’t overtake “Idol” as it continues its domination over the Japan song chart.

BTS’s “Take Two,” which debuted at No. 6 on the Japan Hot 100 last week, slips to No. 8 this week. The track performed favorably, coming in at No. 7 for downloads, No. 8 for streaming, No. 4 for video and No. 7 for radio, but saw a significant decrease in downloads from 30,821 to 6,151 units this week.

The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.

See the full Billboard Japan Hot 100 chart, tallying the week from June 12 to 18, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.

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: Gunna changes the conversation with a new viral hit, Lana Del Rey brings fans back to “Radio” days, a new viral hit revives the rapper who first had the internet going nuts and more.

Gunna’s New Album Is More ‘Gift’ Than ‘Curse’ With Viral ‘Fukumean’ 

Last Friday (June 16), all eyes were on Gunna as the Grammy-nominated rapper returned with his first full-length project since his release from jail. Titled A Gift & A Curse, the album finds Gunna addressing his tumultuous past year, including his decision to plead guilty to a single racketeering charge after being included in a 56-count RICO indictment alongside fellow rapper Young Thug.  

Like “Pushin P” from Gunna’s last album, “Fukumean” has emerged as an early fan-favorite and potential defining hit from A Gift & A Curse. According to Luminate, “Fukumean” collected 10.3 million official on-demand U.S. streams during the period of June 16-20. From Sunday, June 18 to Monday, June 19, “Fukumean” experienced a 20.4% increase in streams, and the following day that tally increased further to 2.2 million streams on June 20 — the song’s biggest streaming day yet.  

From the irresistible “QP, QP-ski” ad-lib to the earworm that is the looped “eyuh” vocal in the production, “Fukumean” has garnered praise from fans and music listeners across social media. The official “Fukumean” sound has been used in over 17,000 videos on TikTok in just six days of availability, with the most popular caption being some variation of “me still listening to Gunna even though he snitched.” Widespread misunderstandings of what an Alford Plea is aside, “Fukumean” is undoubtedly the song to watch from A Gift & A Curse. — KYLE DENIS 

---

Lana Del Rey’s ‘Radio’ Edit Takes Over TikTok 

Three months after issuing her ambitious studio album Did You Know That There’s a Tunnel Under Ocean Blvd, Lana Del Rey has already watched two songs older than that album go viral on TikTok and gain in streams. First there was “Say Yes to Heaven,” a dreamy outtake from her Ultraviolence era that leaked online and became such a fan favorite that Del Rey released an official version in May, resulting in “Heaven” reaching No. 54 on the Hot 100. Now, “Radio,” the pillowy anthem that was an album cut on Del Rey’s 2012 major label debut Born To Die, has taken off on TikTok and nearly doubled in weekly streams over the past month — although this time, Del Rey’s new album is partially responsible. 

In addition to selecting the original “Radio” to soundtrack clips — like Hailey Bieber did a few days ago to show off her stunning gown — TikTok users have adopted a mash-up of the track with the Ocean Blvd song “Taco Truck x VB” (which is itself a mash-up of sorts, re-contextualizing her 2019 song “Venice Bitch”). Dozens of TikTok clips feature the “Taco Truck” line “I know, I know, I know, that you hate me” leading directly into the “Radio” hook “Now my life is sweet like cinnamon,” often to crystallize a luxury-lifestyle flex (think a lavish wedding reception, rendered in slow-motion).   

In any context, “Radio” is running hot: the song earned 1.71 million U.S. on-demand streams during the week ending June 15, up from 864,000 streams from three weeks prior, according to Luminate. Although “Heaven” is still earning more weekly streams, the rise of “Radio” demonstrates Del Rey’s continued power with Gen Z listeners: in the same way that Taylor Swift fans keep getting non-current songs to go viral and re-chart, Del Rey has a sprawling fan base ready and willing to champion decade-old deep cuts. – JASON LIPSHUTZ 

---

“Dang” Good Streaming Growth for That Mexican OT Viral Jam 

The early TikTok tease still has power. 24-year-old Bay City, Texas rapper That Mexican OT posted a snippet of the then-unreleased “Johnny Dang,” which also features Houston stalwart Paul Wall along with DRODi, on the app May 9th. Commenters were quick to respond with urgent requests — “Someone just give me the song name;” “I need it” — and rave reviews: “Anyone else’s mini obsession rn?” 

In the week following the track’s official release through Cinematic Music Group on May 26th, it earned more than 2.5 million official on-demand U.S. streams, according to Luminate. The three rappers toss rollicking, rat-a-tat lines back and forth over a somber synthesizer loop, paying tribute to the Texas jeweler Johnny Dang. “Got me feeling like a baby that’s fiending, so where my bottle at?” That Mexican OT jokes. “I’m just rhymin’ words, I don’t even know how to rap.” Rhymin’ words is more than enough: On-demand streams have nearly doubled since the track’s release, rising to more than 4.5 million, good for a No. 44 debut on the Hot R&B/Hip-Hop Songs chart. — ELIAS LEIGHT 

---

Jey One’s “Onana” Makes Major Gains  

Even though the season technically started yesterday (June 21), the hunt for an indisputable song of the summer has already commenced. Jey One, a rising Dominican singer and rapper, is the latest artist to enter the ring.  

With its thumping dembow riddim and the endlessly catchy “Uh, na-na-na” hook, Jey One’s “Onana” has been making steady streaming gains thanks to its virality on TikTok. According to Luminate, “Onana” has had three consecutive weeks of double-digit streaming gains. The song earned 226,000 official on-demand U.S. streams during the week of May 19-25, and that tally increased by 36.5% for a total of 309,000 streams during the week of May 26 – June 1. The following week, streams rose by 19.2% for a total of 368,00 0 official on-demand U.S. streams, and for the week of June 9-15, “Onana” streams rose by a further 25.6%, bringing its tally to 463,000 official on-demand U.S. streams for the period.  

On TikTok, the official “Onana” sound boasts over 200,000 videos. Although there does not appear to be a consistent trend for videos using the song, some users have taken to mimicking Jey One’s dances with his baby daughter using everything from their own children to their pet cats. Currently, “Onana” ranks within the top 25 of Apple Music’s New York City chart (which is updated daily); the track also ranks at No. 7 on the platform’s Top Reggae Songs chart. – KD 

---

Q&A: Kimmy Summers, Artist Partnerships Lead at Spotify, on What’s Trending Up in Her World 

Frequency is Spotify’s content brand for amplifying Black artists and creators. How would you describe its day-to-day operations and goals? 

No two days are the same as our team is very malleable with their job functions. From providing marketing support, advising on artists to include in campaigns, to tapping partners on how we can better invest in and build equity within the community – we’re never not thinking about how to further the narrative of Black artistry. 

On a daily basis, we’re collaborating on how we can highlight Black artists and creators on platform. We’re not only speaking to Black audiences, but to the company’s global audience via our social handle @OurFrequency, and strategizing on how we show up as a brand in a meaningful and authentic way. Our goal is to continue to find unique ways we can increase Spotify’s investment and visibility of Black talent through Frequency.  

How has Frequency showcased Black voices during Black Music Month? 

I’d be remiss if I didn’t point out that Frequency was created specifically to highlight Black creativity all year round— not just on a holiday or designated month. From brand campaigns to targeted partnerships, we generally focus on spreading content, investment and editorial support on our hub on an ongoing basis vs funneling it into certain timeframes.  

For Black Music Month, we wanted to redefine what Black artistry looks and sounds like to the average listener. We were really proud to feature and celebrate three Black, alternative-rock artists, collaborating with Meet Me @ The Altar, Zulu, and Jean Dawson to reimagine one of their original songs and a cover of another artist’s single in partnership with Spotify Singles, a program that has driven over 7 billion streams since its 2017 launch. This special edition of Singles was promoted on and off platform via several marketing initiatives, including exclusive BTS social content, a billboard in L.A., and on-platform support driving to the content. 

Why was it important to spotlight Black artists outside of hip-hop and R&B in those programs? 

It’s important to show that Black artistry is not a monolith and it’s not just represented by a singular genre. I think this industry has been hyper-focused on defining artists by one genre and putting them into a box which limits creativity and expression. That’s why I work closely with Carl Chery [Spotify’s Head of Urban Music] and other members of the artist partnerships team to identify a diverse group of artists. Across every genre, there’s an array of talented Black creatives whose contributions deserve to be celebrated. 

Fill in the blank: to emphasize user interest and engagement even (and especially) when social activism is not front-page news, music platforms must _________. 

Continue to invest in all Black creators and amplify their voices. Music platforms have to remember that they are a vehicle and have the responsibility and power to not only amplify the voices of artists and creators, but empower them as well. – JL 

---

Season’s Gainings: Father Streams Best 

While we looked at Mother’s Day bumps in Trending Up last month, it’s Dad’s turn now, as several classic paternally themed songs saw big gains this Sunday (June 18). Cat Stevens’ “Father and Son” — which we also just covered in TU thanks to its Ted Lasso finale synch – was a predictable big riser, up 50% to 185,000 daily official on-demand U.S. streams on Sunday (according to Luminate), helped by its placement atop Spotify’s official Father’s Day playlist. Harry Chapin’s “Cat’s in the Cradle,” another ‘70s father-son classic, was also up 28% in daily streams to 163,000. And a pair of Father’s Day jams from Daddy’s Girl Beyoncé Knowles also saw major gains: 2003’s “Daddy” was up a whopping 398% to 38,000 streams, while 2016’s “Daddy Lessons” rose 45% to 46,000. — ANDREW UNTERBERGER 

Sam Smith and Madonna soar onto Billboard’s multi-metric Hot Dance/Electronic Songs chart (dated June 24) with “Vulgar,” at No. 11. The track earned 1.8 million official streams and sold 3,000 downloads in the U.S. in the week ending June 15, according to Luminate.

“Vulgar,” released near the beginning of Pride month on June 9, is Smith’s fifth chart showing. They have four top 10s, including one that reached the summit, Disclosure’s “Latch,” on which they’re featured (four weeks at No. 1, 2014). Smith’s other top 10s are “Omen” (Disclosure featuring Smith; No. 5, 2015), “Promises” (with Calvin Harris; No. 4, 2018) and “I Feel Love” (No. 8; 2019).

“Vulgar” is Madonna’s seventh entry on the chart, which began in January 2013. Among those, she has three top 10s: “Living for Love” (No. 9, 2015), “B**** I’m Madonna” (featuring Nicki Minaj; No. 5, 2015) and “Frozen” (Madonna vs. Sickick; No. 10, 2022).

Concurrently, “Vulgar” bows at No. 1 on the Dance/Electronic Digital Song Sales chart (which premiered in 2010), giving Smith their third leader and Madonna her first. Smith previously headed up the list with “Latch” (2014) and “I Feel Love” (2019).

Meanwhile, “Vulgar” starts on the all-genre Digital Song Sales chart (No. 16).

Additionally on Hot Dance/Electronic Songs, Kylie Minogue climbs to a new career high with “Padam Padam” (11-7). Her first top 10, as it reached No. 10 two weeks earlier, among 15 charted titles, picked up 2.1 million streams (up 25%) and sold 3,000 downloads (up 104%, good for the chart’s top Sales Gainer honor). The increases follow the June 9 release of the song’s extended mix and June 11 surprise performance at Summertime Ball at Wembley Stadium in the UK.

The song by Minogue, who also headlined iHeartMedia’s KTUphoria at New York’s Jones Beach Theater June 17, performing “Padam,” as well as fan favorites, additionally pushes 3-2 on Dance/Electronic Digital Song Sales and enters Dance/Electronic Streaming Songs (No. 21).

Further on Hot Dance/Electronic Songs, DJ/producer Fisher earns his eighth chart hit, while singer/DJ Aatig collects her second, with “Take It Off” (No. 17). It’s the top rank yet for both acts. “Take” took in 1.4 million streams and sold 1,000 downloads, the latter figure also allowing for a No. 5 start on Dance/Electronic Digital Song Sales.

Shifting to the Dance/Mix Show Airplay chart, Rita Ora adds her second No. 1 and featured act Fatboy Slim scores his first with “Praising You” (4-1). The track, a reimagination of the latter’s 1999 classic “Praise You,” drew core-dance airplay on Music Choice’s Dance/EDM channel, KMVQ-HD2 San Francisco and KNHC (C89.5) Seattle, among other stations. (The Dance/Mix Show Airplay chart measures radio airplay on a select group of full-time dance stations, along with plays during mix shows on around 60 top 40-formatted reporters.)

The Contenders is a midweek column that looks at artists aiming for the top of the Billboard charts, and the strategies behind their efforts. This week (for the upcoming charts dated July 1), a star rapper looks to continue his hot streak, while hard rock veterans and K-poppers also put the top spot in their sights.   

Gunna, A Gift and a Curse (YSL/300): Though Gunna has been under attack on social media since last December for his supposed “snitching” in accepting an Alford plea — a formal admission of guilt while also maintaining innocence — for his part in the YSL RICO trial, it appears that he remains a prolific performer on streaming. (He denied any cooperation with the prosecution.) His new album A Gift and a Curse has littered the Spotify and Apple Music real-time charts since its release last Friday (June 16), with the shout-along “fukumean” already seeming like a breakout hit from the set.  

The rapper born Sergio Giavanni Kitchens has been a regular visitor to the top spot of the Billboard 200 since his late-’10s rise to stardom. And he’s already been there twice this decade – with his Wunna (2020) and DS4Ever (2022) albums — and a third unofficial time as a co-lead on the YSL showcase compilation Slime Language 2 (2021). DS4Ever, Gunna’s most recent set, was also his most popular, moving 150,000 first-week units and topping even The Weeknd’s new Dawn FM to claim the top spot.  

To unseat Morgan Wallen – who returns to No. 1 for a 13th frame with his One Thing at a Time blockbuster this chart week – he’ll need to do it almost entirely with streaming (with help from digital sales), as the album is not yet for sale in any physical format. Wallen posted 115,000 units in its most recent week, so if Gunna can approach his DS4ever debut performance with his new set, he should have a pretty good shot of becoming the latest act to interrupt the country star’s months-long reign.  

Ateez, The World Ep.2: Outlaw (KQ/RCA/Legacy): It’s going to be a classic case of sales vs. streams in next week’s competition for top debut on the Billboard 200. Eight-piece Korean boy band Ateez has yet to establish a big stateside presence on streaming services, but like many popular K-pop acts, the act sells physical copies by the truckload – which has already helped their Spin Off: From the Witness set hit No. 7 earlier this year, and their The World Ep.1: Movement EP get all the way to No. 3 on the Billboard 200 last August.  

The sequel to that latter EP, The World Ep. 2: Outlaw is also expected to make a pretty big chart splash next week, again thanks to robust physical sales. To maximize that opportunity, the octet has released 21 different collectible CD editions of Outlaw, including some signed variants, all containing branded merchandise and randomized items (action cards, partner cards, photo cards) — as well as a Target-exclusive edition. 

Queens of the Stone Age, In Times New Roman… (Matador): Queens of the Stone Age albums are becoming increasingly infrequent – it’s been six years since the band’s Villains – but the veteran hard rock band has historically been a strong performer on the Billboard 200, and it even topped the chart two albums ago with 2013’s …Like Clockwork. This month’s In Times New Roman… will be helped by a series of different-colored vinyl variants, though thus far the album lacks a hit single to match Villains’ top 10-charting Rock Airplay hit “The Way You Used to Do.”  

In the Mix

J. Cole, Born Sinner (ByStorm/Columbia/Dreamville/Roc Nation): As fans eagerly await a new album from Cole — and as he sticks around the top five on the Billboard Hot 100 with his appearance on Lil Durk’s smash “All My Life” — fans also have new goodies to tide them over with the vinyl reissue of his 2013 chart-topper Born Sinner. The LP is available in a trio of color variants, including a translucent red exclusive to Target.  

Asake, Work of Art (YNBL/Empire): Asake’s debut album Mr. Money With the Vibe was one of the most-acclaimed and best-received Afrobeats albums of 2022, reaching the top half of the Billboard 200. The Nigerian singer/songwriter looks to do even better than that set’s No. 66 bow with this month’s Work of Art, which has already scored a pair of top 10 hits on the Billboard U.S. Afrobeats Songs chart with advance tracks “Amapiano” (with Olamide) and “2:30.”  

Nearly three years after it first appeared on Billboard’s Hot Rock & Alternative Songs chart, Taylor Swift’s “August” is back on the June 24-dated survey.

“August” experienced a boost in streams and sales amid the June 9-15 tracking week with it in the trailer for season two of Amazon Prime Video’s The Summer I Turned Pretty.

Released June 8, the trailer helped push “August” to 3.9 million official U.S. streams June 9-15, according to Luminate. That’s a 24% gain over the previous week (June 2-8), which saw the song accumulate 3.1 million streams.

The latest stream count sends the song back onto Hot Rock & Alternative Songs at No. 17. (Older songs are eligible to rank on Hot Rock & Alternative Songs if in the chart’s top half and with a meaningful reason for re-entry.)

It’s the highest “August” has placed on Hot Rock & Alternative Songs since the Sept. 26, 2020, tally, when it also appeared at No. 17. The song debuted and peaked at No. 5 on the Aug. 8, 2020, list.

Additionally, “August” returns at No. 10 on Hot Alternative Songs.

Its stream count is also enough for “August” to re-enter Alternative Streaming Songs at No. 18. The song last made the ranking dated Aug. 13, 2022, at No. 21 due to a surge in streams around the start of August. It debuted and peaked at No. 4 on Aug. 8, 2020.

“August” is a cut from Folklore, Swift’s eighth studio album and first largely within the alternative genre. The album debuted at No. 1 on the Billboard 200 dated Aug. 8, 2020, ruled for eight weeks and to date it has earned 4.5 million equivalent album units.

The second season of The Summer I Turned Pretty premieres July 14 on Amazon’s Prime Video.