Sabrina Carpenter’s album Short n’ Sweet debuted at number one and has now been holding strong for three weeks running. It’s the second album of 2024 to spend its first three weeks on the chart right at the top, along with Taylor Swift’s The Tortured Poets Department. Sweet racked up 117,000 units this week, representing a 25% drop since the previous chart. More specifically, the album was streamed 134.8 million times, or 101,000 equivalent units. Carpenter’s album also sold 15,000 copies.

Albums two through six remain unmoved from last week’s chart: Post Malone’s F-1 Trillion (72,000 units), Chappell Roan’s The Rise and Fall of a Midwest Princess (57,000), Morgan Wallen’s One Thing at a Time (52,000), Swift’s TTPD (51,000), and Billie Eilish’s HIT ME HARD AND SOFT (47,000). All these albums saw their sales decrease anywhere from 3% to 16% this week. Numbers seven to nine did change, but sales figures overall declined, suggesting things are growing sluggish on the chart. The highest newcomer of the bunch is Pink Floyd member David Gilmour’s first album in nine years, Luck and Strange, which debuted at number 10. With 30,000 copies sold, it snagged number one on the Top Album Sales chart.

Shaboozey’s single “A Bar Song (Tipsy)” is now number one for a 10th week, making it one of only 45 number-one songs—or just 4% of all number ones ever—to have held the distinction for at least 10 weeks total. So far in the 2020s, two other songs— “Easy on Me” by Adele and “Butter” by BTS—have matched Shaboozey’s run, while four more spent even longer at the top: Roddy Ricch’s “The Box” (11 weeks), Mariah Carey’s “All I Want for Christmas Is You” (12), Harry Styles’ “As It Was” (15), and Morgan Wallen’s “Last Night” (16).

As with last week, Post Malone and Morgan Wallen’s duet “I Had Some Help” is number two, as well as fourth in streaming, 11th in sales, and second in airplay.

Sabrina Carpenter, who spent the last two weeks breaking records on the Hot 100, still has three of her singles in the top 10: Number three is “Espresso,” number six is “Taste,” and number eight is “Please Please Please.” Carpenter’s the only artist to have had three or more songs in the top 10 for three weeks this year. For comparison, Taylor Swift only made it to two weeks. The song “Taste” is number one in streaming, with 27 million plays. Despite “Bar Song” having more streams—a solid 29 million—it’s actually number two due to how paid and free streams are given different weight, with “Taste” having a higher proportion of paid streams and “Bar Song” having more free, ad-supported streams. Consequently, the top three songs on the Hot 100 this week are in the same order for radio airplay. The challenger looking to shake things up right now is Chappell Roan’s single “Good Luck, Babe!” Currently at number seven, it’s eighth in streaming, 13th in sales, and seventh in airplay—figures for all of which are on the rise. Most notably, “Good Luck” saw a 9% increase in spins on the radio, sending it to number one on the Pop Airplay chart. With a number of the tracks in the top 10 tumbling from their peaks, “Good Luck, Babe!” has the potential to surpass its own previous high of number six and reach for the top.

Lady Gaga and Bruno Mars’ duet “Die With A Smile” climbed from number six to four this week. It’s also been number one for three straight weeks on the Global 200 and the Global Excl. US chart. While good streaming figures have propped “With A Smile” up on the global charts, it still lags behind considerably where airplay is concerned. Billie Eilish’s “BIRDS OF A FEATHER” returned to its previous peak of number five. Perhaps its standing on the airwaves, currently at number eight, will improve in the weeks to come?

Addison Rae’s single “Diet Pepsi” debuted at number 86 on the Hot 100 this week and at number 145 on the Global 200. The song’s been streamed more than three million times each week since it was released on August 9, and after a spike over the weekend three weeks later, all eyes were waiting to see whether it would chart. Now on the Hot 100, it’s looking at five million streams.

Addison Rae is the latest case of a TikTok influencer widening their scope to include a successful career in music. Her 89 million followers make her the fifth-most-followed person on TikTok. Dixie D’Amelio, Huddy, and Bella Poarch have all found varying degrees of success following the same path. Huddy has produced notable entries in line with the pop punk/emo revival, while Poarch released her EP Dolls to critical acclaim with the single “Build a Bitch” climbing to number 56 on the Hot 100. Rae debuted with the single “Obsessed” in 2021, but she had to settle for a place on the Bubbling Under Hot 100 chart. Her return to glory in the music scene began after her collaborations with Charli xcx. Rae’s debut EP AR last year featured Charli xcx on the track “2 die 4,” and earlier this year, Rae featured in turn on a remix of Charli’s song “Von dutch”—the first remix to come from her album BRAT, released in March, and therefore also the start of the long journey into “brat summer” and the remix album Brat and it’s completely different but also still brat.

Rae has since signed with Columbia Records and released “Diet Pepsi,” her first single under a major label. The song has a nostalgic vibe not unsimilar to a Lana Del Rey track and a radio-friendly chorus, and has been receiving generally positive reviews. Having gone viral on TikTok, garnered a healthy number of streams, and made it onto the charts, it looks like Addison Rae’s efforts to be a TikTok-superstar-turned-hit-singer have put her on a smooth path to ongoing success. No doubt her burgeoning acting career over the past few years and increased public exposure beyond TikTok will have worked in her favor, too. She’s also taken a commendable approach, evoking the drink Diet Pepsi to cautiously symbolize how she, too, might not be the average listener’s first choice, but she’s a runaway success on TikTok. In any case, watching Rae work her way towards her debut studio album is nothing short of compelling.

Jimin’s album MUSE sits at number 102 on the Billboard 200, while the BTS member is number 54 on the Artist 100. “Who” remains in the top 30 in several places: number 26 on Streaming songs, 23 on Digital Song Sales (after a time away), and 30 on the Hot 100. The single is also number 12 on the Global 200 and number 8 on the Global Excl. US chart.

The Megan Thee Stallion single “Neva Play” featuring RM debuts at number one on Digital Song Sales, making it the BTS member’s second number one on the chart after “Wild Flower” in 2022. “Neva Play” also debuts at number 17 on the Global 200 and number 13 on the Global Excl. US chart—his highest to date on both. Meanwhile, RM returns to the Artist 100, now at number 79.

TZUYU’s first mini album, abouTZU, debuts at number 19 on the Billboard 200 and hits number two for album sales with 24,000 copies for the week. The idol debuted at number 15 on the Artist 100, her first time on the chart as a solo artist.

LE SSERAFIM’s EP CRAZY is at number 54 on the Billboard 200 and number eight on Top Album Sales, with the title track at number 88 on the Hot 100 and the group sitting at number 28 on the Artist 100.

The mini album ATE by Stray Kids is number 98 on the Billboard 200 and takes number nine on Top Album Sales. The Kids themselves are listed at number 40 on the Artist 100.

ENHYPEN’s album ROMANCE: UNTOLD is right at number 200 on the Billboard 200 and currently number 12 for album sales, while the boy group is number 61 on the Artist 100 chart.

HOUSE OF TRICKY: WATCH OUT, the fourth mini album from xikers, debuts at number 10 on the Top Album Sales chart. The group returns to both the Artist 100 and Emerging Artists charts at number 47 and at number one, respectively.

KATSEYE’s debut EP SIS (Soft Is Strong) is now number 22 for album sales and sits at number six on the Heatseekers Albums chart. Their single “Touch” debuted at number 159 on the Global 200 as well as number 22 on Bubbling Under Hot 100. The group itself is currently number 93 on the Artist 100 and number five on Emerging Artists.

Elsewhere on the Emerging Artists chart, Red Velvet sits at number 36 and RIIZE at 39. The Emerging Artists chart is calculated the same way as the Artist 100 chart, but it only includes artists who have never ranked in the top 25 of either the Hot 100 or the Billboard 200.

On top of RM’s and KATSEYE’s debuts on the Global 200, there’s plenty more K-pop on the chart: