Taylor Swift’s album The Tortured Poets Department climbed back up from number eight last week to reclaim the top of the chart, securing its 16th week at number one. TTPD debuted at number one on the May 4 chart and held the position for 12 consecutive weeks. It last revisited number one, for a 15th time, on the chart dated August 24. The album’s return to the top spot after a roughly four-month break is attributed to the physical release of its Anthology version. Let’s first revisit the complex history of the album. The original version of TTPD was first released on April 19, with 16 tracks. TTPD: The Anthology, which added 15 additional tracks, followed two hours later. While the standard version was released in over 30 physical and digital variants, the Anthology version was initially only available digitally. Then, on November 29, it was finally made available in one vinyl and one CD version. This latest release introduced four bonus tracks, though all had been previously released elsewhere.

Weekly sales of TTPD reached 405,000 units, marking the fourth-highest sales week of the year to date, with physical copies accounting for 368,000 units. With sales surging to over 40 times those of the previous week, the album jumped from number 17 to number one on the Top Album Sales chart. To break that down even further, vinyl accounted for 191,000 copies, while CDs represented 177,000 copies. Meanwhile, it was streamed 48.2 million times, equating to roughly 37,000 units.

TTPD’s 16 weeks at number one marks the third highest for an album by a woman artist in history. Ahead of Swift are Adele with 21, which spent 24 weeks at number one in 2011, and Whitney Houston for The Bodyguard soundtrack, which spent 20 weeks at number one in 1992. Swift has also now been number one on the Billboard 200 a total of 85 times—the most of any solo artist ever. The next closest solo artist is Elvis Presley, who went to number one on the chart 67 times. Swift also has a total of 14 number-one albums, tying her with Jay-Z for the most by a solo artist.

Let’s take a closer look at the top few entries on the chart. Kendrick Lamar’s album GNX, which debuted in spectacular fashion last week, held quite steady at number two with 165,000 units, while Wicked: The Soundtrack continued to do well at number three with 108,000 units. One of the albums debuting this week was The Party Never Ends by Juice WRLD, which entered at number four with 86,000 units. Party is the rapper’s third posthumous album following his death in December 2019. His 2020 album Legends Never Die held number one for two weeks, while 2021’s Fighting Demons reached number two. Meanwhile, with the holiday season approaching, Michael Bublé’s Christmas album returned to the top 10. Initially peaking at number one for five weeks during the 2011 holiday season, it has graced the top 10 every year since. This week, it came in at number seven with 56,000 units sold.

The holiday music season has officially begun. Mariah Carey’s smash hit “All I Want for Christmas Is You” soared from number 10 last week all the way to the top of the chart, marking its 15th week at number one. The song has become a symbol of the era of streaming dominance, where playback numbers are one of the bellwethers of chart performance. It was already a modern classic right after being released in 1994, but it wasn’t enough to make much of a mark on the chart. But then the song entered the top 10 for the first time in 2017, gradually climbed into the top five during the 2018 holiday season, and has reached number one every single year since.

Carey has now had 19 number-one hits, second only to the Beatles’ 20, plus an astonishing total of 94 weeks at the top of the chart. The next closest are quite a distance away: Rihanna with 60 weeks, the Beatles with 59 weeks, and Drake with 56 weeks. At 15 weeks, “All I Want for Christmas Is You” is tied with Harry Styles’ song “As It Was” for the sixth most of all time. While it may not claim the gold medal this year, the continued dominance of Carey’s Christmas hit suggests it could rack up more records going forward. With 38.2 million streams, the track topped this week’s Streaming Songs chart—a position it’s claimed 19 weeks over time, tying with Morgan Wallen’s single “Last Night” for the second-strongest showing in history. “Old Town Road” by Lil Nas X, which holds the all-time record of 20 weeks at number one on the Hot 100, is just within reach for Carey.

Half of this week’s top-10 tracks are Christmas songs, including all of the top three. At number two was Brenda Lee’s “Rockin’ Around the Christmas Tree,” which sat at number one for three weeks last year, disrupting Carey’s holiday reign. In third place this week was the perennial Wham! hit “Last Christmas.” Although originally released in 1984, it didn’t chart at the time as it wasn’t officially released as a single, instead first entering the Hot 100 at number 50 in January 2017—a side effect of the digital era, where any song can chart regardless of its status as a single. It then peaked at number four last year, making this year a personal best for the song. The classic “Jingle Bell Rock” by Bobby Helms was at number five, while the Burl Ives song “A Holly Jolly Christmas” came in at number 10.

Tracks off Kendrick Lamar’s album GNX took a dip after reigning over last week’s chart, with “tv off” at number four, “luther” at number six, and “squabble up” at number seven. Shaboozey’s single “A Bar Song (Tipsy)” fell from number six to number eight but continued its unprecedented 19-week streak on the Radio Songs chart, tying it with Miley Cyrus’ “Flower” and Goo Goo Dolls’ “Iris” for the second-most weeks at number one in the chart’s history. Only “Blinding Lights” by the Weeknd, with its jaw-dropping 26 weeks, stands above. Additionally, the 25 weeks “Bar Song” has spent atop Hot Country Songs makes it the fourth-longest run in the history of that particular chart.

At the same time that her album TTPD returned to the top of the chart, Taylor Swift wrapped up her historic Eras Tour, performing her final show on December 8 in Vancouver, Canada. In 149 concerts spread over 21 months, she drew in 10 million attendees, with ticket sales surpassing $2 billion. These are the first official figures confirming the true scale of the tour. Swift’s team didn’t disclose anything related to revenue while the tour was still ongoing, leaving analysts to speculate on numbers based on venue capacity and ticket prices. Though not yet reported through concert revenue-tracking outlets like Billboard’s Boxscore, when it is, the Eras Tour will far surpass Elton John’s Farewell Yellow Brick Road tour ($940 million) and Coldplay’s Music of the Spheres World Tour ($1 billion). If compared against global box office records, it would just edge out Avengers: Infinity War for sixth place.

This doesn’t even take into account additional profits from merchandise sold at the concerts, the concert film released in theaters and on Disney+, or the tour book, which sold over 800,000 copies in just two days. With added boosts to travel, accommodation, and retail in surrounding areas, the economic impact is estimated to be even more staggering. In essence, it was more than just a tour—it was a historic cultural event, setting records that may last generations if not forever.

Even before her Eras Tour, Swift was already one of the most successful artists of all time. Since embarking on her first tour in 2007, she’s estimated to have made a total of $3 billion in ticket sales. The Eras Tour, however, has elevated the singer from superstar to generational icon. Overwhelming demand on Ticketmaster made it difficult to buy tickets, prompting its parent company, Live Nation, to face antitrust hearings and a Justice Department lawsuit. Meanwhile, Swift’s romance with NFL star Travis Kelce, which the two struck up in the middle of the tour, meant even the top sports league in the world was now clued into the market power of Swifties. The concert film Taylor Swift: The Eras Tour, released in October 2023, grossed $260 million globally, placing it among the top 30 movies last year. Fans meticulously documented every little change to the set list, surprise songs, guest appearances, outfits, and stage design across all 149 concerts.

Swift is nominated for six different awards at the upcoming Grammys in February. TTPD is up for Album of the Year, while “Fortnight” is nominated for both Record and Song of the Year. She’s the only artist in history to have won Album of the Year four times, and if she wins again, not only will she be the first to win five times, but also the first to win the award in consecutive years since Stevie Wonder did in 1974 and 1975. What can we expect from the next era of Taylor Swift?

ROSÉ and Bruno Mars’ duet “APT.” holds strong at number one on the Global 200 for a seventh week. The single is number 20 on the Streaming Songs chart, number three on Digital Song Sales, and number 26 for airplay. ROSÉ’s track “number one girl” lands at number 47 on the Global 200 and number 22 on the Bubbling Under Hot 100 chart. The BLACKPINK member is also number 59 on the Artist 100.

V and Park Hyo Shin’s duet “Winter Ahead” debuts at number 99 on the Hot 100, number one on Digital Song Sales, and number 33 on the Global 200. V returns to the Artist 100 at number 88, while Park Hyo Shin debuts at number four on the Emerging Artists chart.

Jimin’s album MUSE is now at number 114 on the Billboard 200. The song “Who” sits at number 47 on the Hot 100 and number 35 on Streaming Songs, and returns to the Digital Song Sales chart at number 13. It’s also number 30 on the Global 200, while Jimin himself is number 70 on the Artist 100.

ATEEZ’s EP GOLDEN HOUR: Part 2 is number 62 on the Billboard 200 and number eight on Top Album Sales. The group is number 57 on the Artist 100.

ENHYPEN’s album ROMANCE: UNTOLD is number 63 on the Billboard 200 and number nine on Top Album Sales, while the idols are number 67 on the Artist 100.

The TOMORROW X TOGETHER EP The Star Chapter: SANCTUARY is number 103 on the Billboard 200 and number 15 for album sales. TOMORROW X TOGETHER ranks at number 82 on the Artist 100.

Stray Kids’ latest EP, ATE, is back on the Billboard 200, now at number 157. Their EP is also number 29 on Top Album Sales.

Jin’s EP Happy is number 160 on the Billboard 200 and number 37 on Top Album Sales. The single “Running Wild” is number 52 on the Global 200.

SEVENTEEN’s 12th mini album, SPILL THE FEELS, is number 32 on Top Album Sales.

On the Heatseekers Albums chart, KATSEYE’s SIS (Soft Is Strong) EP is number six, and DRIP, BABYMONSTER’s first studio album, returns to the chart at number 25.

Over on the Emerging Artists chart, ILLIT is number 13, KATSEYE is 28, BOYNEXTDOOR is 46, and NCT DREAM is 48. LISA also makes the list, returning this week at number 40.

Finally, here’s a full breakdown of how K-pop artists are doing on the Global 200: