Kendrick Lamar swept the charts this week following his Super Bowl halftime show. The chart this week covered the period from February 7 to 13, and the big game took place on Sunday, February 9. Lamar’s most recent album, GNX, jumped from number four all the way back up to number one on the Billboard 200. The album hasn’t fallen below the top five even once since debuting at the top 12 weeks ago. Anticipation for the Super Bowl halftime show also caused interest in the rapper’s earlier albums to surge. Lamar’s 2017 album DAMN. jumped from number 29 to nine, while his 2012 release good kid, m.A.A.d city climbed from 27 to 10. The last time either album saw the top 10 was March 2018 and November 2012, respectively.

Lamar became the first rapper to have three albums simultaneously in the top 10. More broadly speaking, he’s the first artist in any genre to achieve the feat since Taylor Swift placed five of her albums in the top 10 in December 2023. The last time a male artist did the same was when Prince had five albums in the top 10 back in May 2016, shortly after his death. The last living male artist to pull it off was Herb Alpert, who placed three albums in the top 10 in 1966.

GNX made it to number one on the back of 236,000 album equivalent units, marking its best performance since it first debuted last December 7 with 319,000 units. The album was streamed 160 million times last week, equating to 117,000 units. Streaming alone saw an 86% increase over the previous week, pushing the album from number four to the very top of the Top Streaming Albums chart. Physical album sales stood at 116,000 copies, a staggering 100-fold increase from the previous week, sending it back to the Top Album Sales chart, again to number one. Vinyl contributed significantly as well, with 87,000 records sold. The surge in album sales is attributed to the February 7 release of GNX in physical format ahead of the Super Bowl. Previously, the album had only been available via streaming and digital formats.

SZA, who performed at the halftime show as well, saw a strong week for sales of her album SOS, moving 109,000 units and rising from number three to two. LANA, the deluxe version of SOS, was rereleased on February 9 with four additional tracks, just before the Super Bowl. The two halftime show performers made history by securing both numbers one and two on the Billboard 200 right after the Super Bowl. The two of them performed “luther” from GNX and “All The Stars” from the 2018 Black Panther soundtrack together in what felt like a preview of their upcoming joint tour set to begin in April. Last week’s number one, Hurry Up Tomorrow by The Weeknd, slipped to number three, with 101,000 units.

Kendrick Lamar’s single “Not Like Us” returned to number one on the Hot 100, a massive jump considering it was number 15 the previous week. The song was also streamed more than 2.5 times as often week over week, and digital sales quintupled, pushing it to number one on the associated charts as well from numbers nine and 10, respectively.

“Not Like Us” first debuted at number one in May last year, reclaimed the top spot on July 4 when its music video was released, and is now back at the top for a third time. The 29-week gap between its second and third number-one stints is the third-longest such gap in history. With the only others being the very unusual case of Chubby Checker back in the 1960s and Mariah Carey’s annual Christmas resurgence, this is an exceptional record. For context, the fourth-longest gap is just nine weeks, shared between “vampire” by Olivia Rodrigo and “Wrecking Ball” by Miley Cyrus.

“Not Like Us” also reclaimed number one on the Hot R&B/Hip-Hop Songs chart, which uses the same criteria as the Hot 100, for an accumulated total of 22 weeks at the top and breaking SZA’s record of 21 weeks with “Kill Bill.” On the Global 200, the song soared from number 20 to, you guessed it, number one.

Meanwhile, the top 10 of the Hot 100 saw two new entries. The Chappell Roan song “Pink Pony Club” climbed from number 18 to number nine after her amazing performance at the Grammys and emotional acceptance speech for Best New Artist. “30 For 30” by SZA, too, rose from 22 to 10 following the Super Bowl.

Kendrick Lamar’s Super Bowl halftime show attracted more viewers than the NFL game itself, which was potentially going to be a “three-peat” victory this year. Fox, who broadcasted the game, announced a record-breaking 126 million viewers. Apple Music and Roc Nation, the halftime show’s sponsors, reported that over 133 million people watched the performance, putting Lamar’s show on par with Michael Jackson’s legendary 1993 halftime performance, a defining moment in the event’s history.

Kendrick Lamar lit up the stage with the likes of Samuel L. Jackson, SZA, Serena Williams, and Mustard, performing tracks predominantly from his chart-topping album GNX, including the Hot 100 number-one hit “squabble up,” as well as “peekaboo,” “luther,” and “tv off.” The set reached its climax with an electrifying performance of “Not Like Us,” which fans had previously speculated over how it would be featured, if at all. Lamar didn’t even need to raise his voice—the roar of tens of thousands of fans in the stadium, and likely millions more watching worldwide, echoed in unison as they belted out the iconic “A minor” part.

As a result, Lamar dominated this week’s charts, sweeping the Billboard 200, Hot 100, Global 200, and Artist 100 simultaneously. Four of the top five songs on the Hot 100 and three of the top 10 albums on the Billboard 200 belonged to him. It’s no surprise a halftime show boosts an artist’s streaming performance—the massive scale of the gig itself is already a huge opportunity, earning artists the kind of paycheck they typically won’t make performing anywhere else—but an impact of this magnitude across the charts isn’t something you see happen every year. What was even more remarkable was Lamar’s bold decision to center his performance around his most recent material instead of retreating to the safety of expected hits, proving he’s the hottest artist working today.

It all rendered any attempt to neatly explain the rationale behind his choice to perform “Not Like Us,” and any chance of his feud with Drake ending, moot. Even songs and albums that weren’t featured during the halftime show returned to the charts, proving that Lamar’s authentic performance renewed listeners’ passion for his music. “Not Like Us” likely drew even non-football fans to their TVs, which just goes to show that there can be a positive side to beef in the world of hip hop, too.

100. It currently holds number 12 on Streaming Songs, 11 on Digital Song Sales, and four on Radio Songs, too. The track has climbed steadily week by week, breaking airplay records as it goes. ROSÉ’s album rosie is number 31 in its 10th week on the Billboard 200—the highest-ever charting position for a K-pop album in its 10th week. It’s also number 34 on Top Streaming Albums, while ROSÉ is number 31 on the Artist 100.

“Who” by Jimin is at number 40 in its 29th week on the Hot 100. BTS’s “Dynamite” holds the longest Hot 100 run for a K-pop song at 32 weeks, with “Gangnam Style” by PSY holding the record for a K-pop solo artist at 31 weeks. “Who” is number 28 on the Streaming Songs chart as well. The BTS member’s album MUSE is at number 132 in its 30th week on the Billboard 200, marking the longest-ever Billboard 200 run for a K-pop solo album. Jimin himself is number 83 on the Artist 100.

LISA, Doja Cat, and RAYE’s “Born Again” debuts at number 68 on the Hot 100, marking LISA’s fifth Hot 100 hit and her highest debut to date. She now holds the record for the most Hot 100 entries by a K-pop female soloist. The BLACKPINK member is number 13 among Emerging Artists.

HOP by Stray Kids is at number 129 in its ninth week on the Billboard 200 and at number nine on Top Album Sales, while the group is number 42 on the Artist 100.

Other albums on the top sales chart include TWICE’s 14th mini album, STRATEGY, at number 32 and ENHYPEN’s ROMANCE: UNTOLD at number 29.

ATEEZ returns to the Artist 100 at number 85, while ILLIT is number 29 on Emerging Artists.

Finally, here’s an overview of K-pop on the Global 200: