Morgan Wallen’s album “I’m The Problem” held onto No. 1 for a fourth consecutive week. It moved 209,000 units, a 15% drop from the previous week. This marks the best fourth-week performance since Taylor Swift’s 2024 album “The Tortured Poets Department,” which recorded 260,000 units. It’s also the first album since “TTPD” to debut at No. 1 and remain there for its entire first month. “TTPD” held No. 1 for 12 consecutive weeks after its release and pulled in a total of 17 weeks at the top. It also led the Top Streaming Albums chart for four weeks and hit No. 9 on Top Album Sales. Here’s a full breakdown of sales of “I’m The Problem” for the week:

With the arrival of several new heavyweight releases, the “Billboard” 200 Top 10 saw a significant shuffle for the first time in a while. At No. 2 was Lil Wayne’s latest in his “Tha Carter” series, “Tha Carter VI.” This marked Lil Wayne’s 13th Top 10 album. The album moved 108,000 units over the week, including 97 million streams equating to 73,000 units, putting it at No. 2 on the Top Streaming Albums chart.
The album sold 34,000 copies, placing it at No. 3 on Top Album Sales.

At No. 3 was ENHYPEN’s EP “DESIRE: UNLEASH,” the group’s fifth Top 10. Weekly sales reached 100,000 units, with 95,000 copies of the album sold, putting it at No. 1 on the Top Album Sales chart.
It was also streamed seven million times, or roughly 5,000 units.

Addison Rae’s debut studio album, “Addison,” landed at No. 4. The album moved 48,000 units over the week. Streams hit 33 million, translating to 25,000 units and putting it at No. 13 on the Top Streaming Albums chart. The album sold 23,000 copies to hit No. 5 on Top Album Sales.

At No. 6 was My Chemical Romance’s 2004 album “Three Cheers For Sweet Revenge,” returning to the chart and entering the Top 10 with its deluxe reissue. The album posted 44,000 units, a ninefold increase over the previous week. Album sales accounted for 37,000 of those units, a nearly 30-fold increase. Streams reached nine million, equivalent to 7,000 units. The album had previously peaked at No. 28 back in 2005. It also marked the band’s first Top 10 since 2014. The highest they’ve ever charted was at No. 2 with 2006’s “The Black Parade.”

The final new entry in the Top 10 was Turnstile’s hardcore punk album “NEVER ENOUGH,” debuting at No. 9. The band previously received acclaim for their 2021 album “GLOW ON,” which reached No. 30 and earned them three Grammy nominations, including Best Rock Performance. Their latest performed well amid high expectations, moving 38,000 units over the week.

Rounding out the Top 10 were SZA’s “SOS” at No. 5 with 44,000 units, Sabrina Carpenter’s “Short n’ Sweet” at No. 7 with 41,000 units, Morgan Wallen’s “One Thing At A Time” at No. 8 with 39,000 units, and Kendrick Lamar’s “GNX” at No. 10 with 36,000 units.

Sabrina Carpenter’s new single “Manchild” made a stunning debut at No. 1. This was her second song to top the chart, but the first to debut at No. 1. Her first No. 1, “Please Please Please,” rose to the top last June after two weeks on the chart. Carpenter is now the only woman to have had more than one song at No. 1 over the past year. Notably, both tracks were co-written with Jack Antonoff and Amy Allen, with Antonoff also acting as producer. Even the title, “Manchild,” appears to continue the theme of juvenile men first introduced in “Please Please Please.”

Looking closer at “Manchild,” the song was streamed 27 million times, placing it at No. 1 on the Streaming Songs chart. Digital downloads and physical sales reached a combined 20,000 units. Digital accounted for 6,000 of that, putting it to No. 3 on the Digital Song Sales chart. These numbers reflect where Carpenter stands today. For context, Lady Gaga and Bruno Mars’ duet “Die With A Smile” debuted last August on the back of nearly identical numbers: 27 million streams and 21,000 copies sold. The two songs also saw similar airplay in their first week. But Carpenter managed to capture those 25 million-plus streams with just a few days teasing her new song leading up to the release, instantly pushing her to No. 1. And she achieved this without any featured artists—something few can pull off today.

That said, Carpenter could benefit from a more refined strategy. Of the 20,000 copies of her single she sold, 14,000 of those were 7-inch vinyls, whose B-side features the exclusive instrumental “inside of your head when you’ve just won an argument with a man.” It’s clear this is a must-have collectible for her loyal fans who want something more than digital that they can get their hands on. The latest chart ran from Friday, June 6 to Thursday, June 12. Overwhelming streaming figures over the weekend locked in her chances of claiming No. 1. On Tuesday, a discount on the digital track helped sustain sales momentum. Finally, on the second-last day of the tracking period, she received one final boost when she announced her upcoming album, “Man’s Best Friend.” The album cover sparked a heated debate, putting all eyes on the single leading into the weekend.

Alex Warren’s single “Ordinary” slipped to No. 2 but remained strong. It maintained over 20 million streams, hitting No. 4 on the Streaming Songs chart. Airplay increased by a sharp 12% for the week, moving it to No. 3 on the Radio Songs chart and overtaking “Die With A Smile.” At this rate, Kendrick Lamar and SZA’s single “luther” could catch up within a week or two. Meanwhile, “Ordinary” sustained sales of 7,000 units, holding No. 1 on the Digital Song Sales chart for a seventh week. In short, the song continues to show good performance across every metric, suggesting it can climb even further.

Meanwhile, Mariah Carey’s first new song in ages set a record of its own. Carey last released a studio album in 2018, “Caution.” “Type Dangerous,” the lead single off her upcoming 16th album, debuted at No. 95 on the Hot 100. The song marked Carey’s 50th on the chart. She last graced the Hot 100 in December 2020 with the holiday hit “Oh Santa!” featuring Ariana Grande and Jennifer Hudson. “Type Dangerous” is Carey’s first non-Christmas Hot 100 hit since “I Don’t” charted in 2017.

TikTok exploded in popularity during the COVID-19 pandemic, propelling influencers to amass millions of followers and achieve widespread recognition. It’s only natural that these influencers would go on to leverage their fame in more traditional areas of entertainment, and it’s no surprise they’d choose music given it’s been a part of TikTok’s DNA from the beginning. These days, it’s easy to find TikTok stars like Bella Poarch, Huddy, and Dixie D’Amelio working on their music careers.

The recent ascent of Alex Warren’s hit song “Ordinary” all the way to the top of the Hot 100 proves that the stigma surrounding influencer-turned-musicians has greatly diminished over time. However, it would be premature to say these biases have disappeared entirely, and perhaps they never will. The attitude many adopt toward these artists’ musical ambitions—reflecting a skepticism toward the fleeting trends and algorithms that drive social media—stems from a deep-rooted demand for authenticity that predates the Internet era.

Addison Rae is likely to be remembered as one of the artists who overcame this hurdle. Her debut album, simply titled “Addison,” debuted at No. 4 on the “Billboard” 200, while the lead single, “Fame is a Gun,” entered the Hot 100 at No. 73. Most notably, the album has received critical acclaim across the board, cementing its place as one of the most surprising pop successes of the year. It’s particularly remarkable given that it comes after years of criticism surrounding her 2021 debut single, “Obsessed,” and ongoing debates about her musical authenticity.

How did Rae transcend mere fleeting interest brought on by Internet fame and a high-profile songwriters and producers combo? Basically, by harnessing a tightly curated creative network that reflects her tastes. For one thing, she streamlined her writing/producing team to be just herself plus Elvira and Luka Kloser for consistency. Her visual presentation, too, benefits from trusted collaborators like music video director Ethan James and stylist Kyle Luu. She also rebuilt her credibility by working with and performing alongside avant-garde artists such as Charli xcx and Arca.

Finally, Rae presented herself compellingly in interviews leading up to her album release, convincing listeners how much she’d grown and how she took the reins on shaping her debut album. To put it another way, she avoided the common pitfall of many influencer-musicians who repeatedly claim they’ve always loved music. Instead, she proved how her social media roots could serve as a resource for creating a great album. What we’re witnessing now is a new kind of pop star.

• ENHYPEN’s mini album “DESIRE: UNLEASH” debuts at No. 3 on the “Billboard” 200 and No. 1 on the Top Album Sales chart. The group returns to the Artist 100 at No. 2.
• ROSÉ and Bruno Mars’ duet “APT.” is No. 24 on the Hot 100 in its 34th week on the chart. This sets the record for the longest-charting song by a K-pop artist on the chart. The single is No. 41 on Streaming Songs, No. 24 on Radio Songs, and No. 20 on Digital Song Sales.
• KATSEYE’s single “Gnarly” returns to the Hot 100 at No. 90. The group is No. 5 on the Emerging Artists chart.
• SEVENTEEN’s album “HAPPY BURSTDAY” is No. 47 on the “Billboard” 200 and No. 6 on Top Album Sales. SEVENTEEN is No. 36 on the Artist 100.
• “HOP” by Stray Kids is No. 22 on Top Album Sales. The group holds No. 91 on the Artist 100.
• BOYNEXTDOOR’s fourth EP, “No Genre” is No. 25 on Top Album Sales, while the group is No. 6 on the Emerging Artists chart.
• LISA and Maroon 5’s collab “Priceless” sits at No. 49 on Radio Songs.
• On Top Album Sales, Jin’s EP “Echo” is No. 29, while P1Harmony’s EP “DUH!” is No. 45.
• Over on the Emerging Artists chart, ZEROBASEONE is No. 28 and MEOVV is No. 47.
• Finally, on the Global 200, the ENHYPEN song “Bad Desire (With or Without You)” debuts at No. 68, while “Gnarly” by KATSEYE reaches a new peak of No. 41 in its sixth week.

The full breakdown of K-pop on the Global 200 is as follows.