Ella Langley’s making history. First, let’s look back on where the female country artist’s journey all began: “Choosin’ Texas.” The song first entered the Hot 100 at No. 39 in the first week of last November, then climbed to No. 11 the first week of December, narrowly missing the Top 10. “Texas” was one of the few songs to fight back the wave of Christmas hits and stay within the Top 50, alongside music from Taylor Swift, HUNTR/X, and Olivia Dean. By the second week of January, it had reached a new peak of No. 5, then finally rose to No. 1 for the first time in the second week of February. It remained at No. 1 for four weeks, through the fourth week of March.

“Choosin’ Texas” didn’t stop there, spending another three-week streak at the top during the second, third, and fourth weeks of April, for a grand total of seven weeks. With that, Langley became the first female artist to spend five weeks at No. 1 since Olivia Rodrigo held the top spot for eight weeks with “drivers license” in 2021. Limiting the record to country songs, Langley’s milestone comes half a century after Debby Boone’s hit “You Light Up My Life” was No. 1 for 10 weeks way back in 1977. Including songs of all genres again, it’s a feat only eight female artists managed to pull off in the 2010s and six so far in the 2020s. For the most recent three weeks “Texas” spent at No. 1, it was No. 1 on the Streaming Songs chart, a position it held onto for eight straight weeks. It was No. 8 and No. 3 in radio and digital sales, respectively, for that first week, then No. 9 and No. 2, respectively, for the two weeks following.

Langley’s follow-up, “Be Her,” debuted at No. 18 on the Hot 100 in the fourth week of February. Over the past four weeks, the single then moved from No. 12 to 8, to 4, then to 5, becoming the singer’s second Top 10. Notably, “Be Her” reached No. 2 on the Streaming Songs chart in the third and fourth weeks of April, making Langley the only female country artist ever to have songs at both Nos. 1 and 2 in streaming simultaneously. The only other country artist to ever do it is Morgan Wallen, who managed the feat for three weeks last year. Langley’s also the eighth female artist working in any genre to do it, following Miley Cyrus, who was the first in 2014, as well as Iggy Azalea, Meghan Trainor, Ariana Grande, Taylor Swift, Olivia Rodrigo, and Sabrina Carpenter.

The two songs are also making waves on the Hot Country Songs chart, racking up a string of remarkable records along the way. First, “Choosin’ Texas” has been on a 22-week run at No. 1 on the chart since the first week of December, the eighth longest of all time and third for a female artist.

“Choosin’ Texas” has dominated both the Hot 100 and Hot Country Songs charts for seven weeks, the third-longest of any artist. At No. 1 is Shaboozey with “A Bar Song (Tipsy)” at 19 weeks, followed by Wallen with “Last Night” at 16. What makes the “Texas” run so remarkable is that the song’s pure country, not a crossover hit built for mainstream Hot 100 appeal, and that Langley broke through on the strength of her music in a genre where the market tends to work against female artists. The last time a woman pulled something similar off was when Swift topped both charts for three weeks with “We Are Never Ever Getting Back Together.”

Over the past four weeks, “Be Her” has also held on at No. 2 on Hot Country Songs. Langley is only the second woman to ever have two songs in the Top 10 on both the Hot 100 and Hot Country at the same time. Swift was the first, in October 2012, with “Never Ever” and “Red.” It’s also only the third time a female artist has swept Nos. 1 and 2 on Hot Country Songs, following Beyoncé and Swift. Langley’s the only one who’s ever kept up that 1-2 punch for two weeks, let alone four.

Ella Langley released “Dandelion” on April 10, amid the runaway success of “Choosin’ Texas” and “Be Her.” The album debuted at No. 1 on the “Billboard” 200 in the fourth week of April and stayed at the top for another week. Since 2000, only 11 women have sent a country album to No. 1, for a total of 23 albums. “Dandelion” is Langley’s first No. 1. Her previous album, 2024’s “hungover,” peaked at No. 49. Thanks to the recent popularity of “Choosin’ Texas” and the anticipation around Langley’s latest album, “hungover” climbed back up the chart right before “Dandelion” came out, all the way to No. 2.

“Dandelion” moved 169,000 units in its debut week. Of that, 130.5 million streams accounted for 128,000 units, putting the album at No. 1 on the Top Streaming Albums chart. The album sold 39,000 copies, making it the No. 1 selling album as well. Both the streaming figures and the overall units are the highest for any female artist in 2026 so far. For a country album by a woman, they’re the highest numbers since Beyoncé put out “COWBOY CARTER” two years ago. Back in the first week of March, Megan Moroney’s album “Cloud 9” also debuted at No. 1 on the charts, which is the first time that two different female soloists have topped the “Billboard” 200 with country albums in the same year since 2012, when Swift’s “Red” and Carrie Underwood’s “Blown Away” both hit No. 1.

In its second week, “Dandelion” moved 106,000 more units. She’s the first female artist since Beyoncé or Swift to log 100,000-plus units of a country album for two weeks back to back. “COWBOY CARTER” posted 407,000 and 128,000 units in its first two weeks in 2024, while “Speak Now (Taylor’s Version)” did 716,000 and 121,000 units in 2023, and “Red (Taylor’s Version)” hit 605,000, 159,000, and 102,000 units over its first three weeks in 2021. These are all from after February 2017, though, when the chart began factoring in streaming. Before that, the chart was based solely on album sales—and even then, the original version of “Red” sold more than 100,000 copies every week for 10 weeks.

All 15 tracks off “Dandelion” entered the Hot 100 the week it was released. “Choosin’ Texas” was No. 1, with new peaks for “Be Her” at No. 4, “Loving Life Again” at No. 21, and “Dandelion” at No. 27. Langley’s only the second woman to top both the “Billboard” 200 and the Hot 100 with country music. Swift was the first, with “Red (Taylor’s Version)” and “All Too Well (Taylor’s Version)” in 2021. But considering “Dandelion” isn’t a rerecording, and comes alongside her first No. 1 single as well, Langley’s accomplished a first.

“Dandelion” largely swept the top of the Hot Country Songs chart, taking four of the Top 5 and matching what Beyoncé accomplished with “COWBOY CARTER.” Interestingly, both albums had 16 tracks on the chart. The only woman who has ever topped that is Swift. As for male artists, Morgan Wallen has repeatedly pulled off feats like locking up the entire Top 10 and landing 30 or more songs on the chart, with a personal best of 36.

Langley also reached No. 1 on the Artist 100 chart for the first time that same week. She’s the fourth woman in country music to do it, after Carrie Underwood, Swift, and Megan Moroney. Langley is also only the sixth female artist to ever sweep the Artist 100, the “Billboard” 200, and the Hot 100, following Swift, Adele, Beyoncé, Ariana Grande, and Olivia Rodrigo.

Olivia Rodrigo’s back. Her new single “drop dead” debuted at No. 1 on the Hot 100 in the first week of May, becoming her fourth No. 1 song after “drivers license” in January 2021, “good 4 u” in May 2021, and “vampire” in 2023. It also debuted at No. 1 on Streaming Songs, Rodrigo’s fourth time at the top, and gave her her second No. 1 on Digital Song Sales. “drop dead” hit the ground running in airplay, immediately hitting No. 22, and also debuted at No. 1 on the Global 200 with 67.7 million streams worldwide.

Rodrigo was already the first artist to ever see the lead singles from her first two studio albums debut at No. 1. Now she’s extended that record to three with “drop dead,” the lead single for her third album, “you seem pretty sad for a girl so in love.”

Rodrigo, born in 2003, is the only artist born since the turn of the century to have multiple Hot 100 No. 1s. Six others born since the year 2000 have had just one No. 1 each, in order of taking the top: 24kGoldn, Billie Eilish, Jawsh 685, The Kid LAROI, Tate McRae, and Alex Warren.

BTS’s album “ARIRANG” debuted at No. 1 on the “Billboard” 200 in the first week of April and stayed on top for the next two weeks. Of the group’s seven No. 1 albums, it’s spent the longest time at the top, as the others held the spot for just one week each. It’s the first time since Mumford & Sons’ 2012 album “Babel” that a group has stayed at No. 1 for at least three weeks. (“Babel” was No. 1 for the three weeks following its release, then returned to the top for another two weeks after winning Album of the Year at the 2013 Grammys.) BTS was also No. 1 on the Artist 100 over that same period in April.

In its second week, “ARIRANG” moved 187,000 units. The album sold 114,000 copies, putting it at No. 1 on Top Album Sales, while the album enjoyed 68.5 million streams, equivalent to 65,000 units, placing it at No. 3 on Top Streaming Albums. In the third week, it moved another 124,000 units, with 71,000 copies sold for a third straight week at No. 1 in sales. The album logged 52.4 million streams, or 50,000 units, and was No. 4 in streaming.

“SWIM” debuted at No. 1 on both the Global 200 and Global Excl. US charts in the first week of April and held on for four straight weeks. The single was streamed 106 million times globally in the second week, 83.3 million in the third, and 73 million in the fourth.

Justin Bieber’s headliner performance at Coachella also had an impact on the charts. On Sunday, just a day after his first show on Saturday, April 11, Bieber’s entire back catalog racked up 24.6 million streams in the US—more than triple that from a week earlier. “YUKON” and “DAISIES” off his album “SWAG” were his most-streamed songs, with 1.3 million plays each. Among his older hits, his 2012 single “Beauty And A Beat” featuring Nicki Minaj led with 1.2 million streams. For the week of April 10–16, his songs were streamed 160.2 million times, compared to the previous six weeks, none of which topped 60 million.

As a result, seven Bieber albums appeared on the “Billboard” 200 in the fourth week of April, the most of his career. His previous best was four, in January 2012. “SWAG” shot up from No. 55 to No. 7, while “Purpose” came back at No. 32, “Believe” at No. 34, “My World 2.0” at No. 38, “Justice” at No. 110, and “My World” at No. 147. His 2013 compilation “Journals” entered the chart for the first time, at No. 111. (When “Journals” first came out, it was sold exclusively through the iTunes Store, so its sales weren’t counted toward the charts.) Four of Bieber’s songs hit the Hot 100, with “YUKON” surging from No. 20 to a new high of No. 13, while “DAISIES” hit No. 18, “Beauty And A Beat” returned at No. 26, and “Baby” came back at No. 47.

What’s even more striking is that Bieber’s streaming surge wasn’t limited to the US and Canada. In the same week, he placed an astonishing 17 songs on the Global 200, from as high as No. 4 (“Beauty And A Beat”) down to No. 193 (“Boyfriend”). His streaming numbers rose in all 89 countries that feed into the chart, and in 65 they doubled or more. It’s all the more proof that the global reach of Coachella’s livestreams and social media only continue to grow.

The sheer impact of his set that first weekend, full as it was of both excitement and controversy, was confirmed all over again when the numbers for his second weekend there drew even more attention. Every one of Bieber’s albums on the “Billboard” 200 climbed again for the first week of May, with “SWAG” at No. 5, “Believe” at No. 25, “Purpose” at No. 28, “My World 2.0” at No. 37, “Journals” at No. 78, “Justice” at No. 104, and “My World” at No. 117. Bieber now had six songs on the Hot 100. The previous four all entered the Top 40, with “DAISIES” at No. 8, “Beauty And A Beat” at No. 11, “YUKON” at No. 12, and “Baby” at No. 39, while “Confident” (feat. Chance the Rapper) and “SPEED DEMON” both made a comeback on the chart, at No. 43 at No. 80, respectively. He was now up to 21 songs on the Global 200, too. “Beauty And A Beat,” which was an especially big hit outside North America, went to No. 2 on the Global 200 and No. 1 on Global Excl. US.

• TOMORROW X TOGETHER’s mini album “7TH YEAR: A Moment of Stillness in the Thorns” debuted at No. 3 on the “Billboard” 200 in the first week of May, marking the group’s eighth Top 10. “7TH YEAR” moved 69,000 units, including 67,000 copies sold, which put it at No. 1 on Top Album Sales, the group’s ninth time topping the chart. The album was streamed 2.7 million times, equivalent to 2,000 units. TOMORROW X TOGETHER also returned to the Artist 100 at No. 7.
  
  
• MONSTA X’s album “Unfold” debuted at No. 41 on the “Billboard” 200 in the third week of April, their fourth time on the chart. It debuted at No. 2 on Top Album Sales, their sixth and highest time on the chart yet. MONSTA X also returned to the Artist 100 at No. 37.
• PLAVE’s single “HMPH!” (feat. SOLE) debuted at No. 172 on the Global 200 in the third week of April. The following week, their song “Born Savage” debuted at the same position. Their mini album “Caligo Pt.2” debuted at No. 145 on the “Billboard” 200 in the first week of May, the group’s first time on the chart. It was also their first time in the Top 10 on the Top Album Sales chart, where their mini album debuted at No. 7. PLAVE was also on the Artist 100, another first, at No. 75.
  
  
• Tame Impala’s remix of “Dracula” with JENNIE debuted on some charts and saw some big jumps on others starting from the second week of April. It broke into the Global 200 Top 10 in the second week of the month when it jumped from No. 16 to No. 4, then climbed all the way to No. 2 by the fourth week. With BTS’s single “SWIM” at No. 1, it was the first time that K-pop artists were at both No. 1 and No. 2 simultaneously since 2020, when BTS’s “Savage Love” remix and “Lovesick Girls” by BLACKPINK reigned supreme. “Dracula” marks Tame Impala’s first Top 10 on the chart and JENNIE’s fifth as a solo artist, tying with what BLACKPINK has achieved as a group.
  
  
• “Dracula” climbed from No. 24 to No. 18 on the Hot 100 in the second week of April, giving JENNIE her first Top 20 hit without the group, then went on to reach No. 15 in the fourth week. On Streaming Songs, the song rose from No. 18 to No. 12 in the second week of April and then up to No. 8 in the fourth week, marking JENNIE’s first Top 10 there. On Digital Song Sales, it debuted at No. 17 in the second week of April and climbed to No. 7 in the fourth. On Radio Songs, it debuted at No. 49 in the third week of April and then rose to No. 39 in the first week of May, a personal best for the BLACKPINK member. That same week, the song hit No. 1 on Hot Rock & Alternative Songs, another first for JENNIE.
  
  
• In the first week of May, the “KPop Demon Hunters” soundtrack leaped up the “Billboard” 200 from No. 16 to No. 7, and on Top Album Sales from No. 19 to No. 4, thanks to two new vinyl editions released for Record Store Day on April 18. The soundtrack has now spent 38 weeks in the Top 10 on the “Billboard” 200, the seventh OST and only the second for an animated feature ever to do so. The “Frozen” soundtrack holds the record, with 41 weeks.
  
  
• The KATSEYE single “PINKY UP” debuted at No. 28 on the Hot 100 in the fourth week of April, the group’s fourth song to reach the chart and their highest debut to date. It debuted at No. 21 on Streaming Songs, their third time on the chart and a new peak. On the Global 200, “PINKY UP” debuted at No. 22. KATSEYE also made a major leap on the Artist 100, climbing from No. 52 to No. 22.
  
  
• In the third week of April, KATSEYE’s EP “SIS (Soft Is Strong)” returned to the “Billboard” 200 at No. 168 while also surging from No. 35 to No. 16 on Top Album Sales. Their EP “BEAUTIFUL CHAOS” rose from No. 108 to No. 95 on the “Billboard” 200 and from No. 25 to No. 16 on Top Album Sales the following week.
  
  
• Stray Kids returned to the Artist 100 at No. 90 in the third week of April.
  
  
• In the fourth week of April, ENHYPEN returned to the Artist 100 at No. 97.