It took just one song for Colombian ARIA VEGA to make her Billboard debut — and go straight to No. 1. “Chévere,” her collaboration with Ryan Castro, rockets 6-1 on the overall Latin Airplay chart dated Sept. 19, giving VEGA her first chart-topper and Castro his second.

“I’m receiving this incredible news from Madrid, where I’m attending Fashion Week with a wonderful Colombian brand,” VEGA tells Billboard. “Soon, I’ll return to Macondo to open for Shakira during her residency at Macondo Park. I am also recording reimagined versions of my songs infused with Colombia’s coastal sounds, including drums and gaita flutes, so I couldn’t be happier!”

“Chévere,” on AWOO/Warner Latina, hits No. 1 on the overall Latin Airplay chart after a 23% gain in audience impressions, to 6.6 million, earned during the Sept. 4-10 tracking week in the United States, according to Luminate. The song removes Jay Wheeler’s “De Lejitos” after two weeks in charge — it falls to No. TK.

“I’m incredibly excited,” Castro shares with Billboard from Washington D.C, one of the stops on his SENDÉ World tour. “’Chévere’ [which translates to ‘cool’ in English] is a song I sing every night, so seeing it reach No. 1 on Latin Airplay fills me with pride. I’m very grateful to ARIA, my team, and everyone who continues to support my music.”

If we take a closer look at activity surrounding Latin Airplay in 2026, 33 songs have hit No. 1 this year, 23 have been collaborations—including 15 duets. But “Chévere” stands apart, as the only chart-topper by two Colombian artists, and just the sixth No. 1 by soloists from the same country. Other same-nation pairings include Puerto Rico’s Bad Bunny and RaiNao with “Perfumito Nuevo” and Zion and Chencho Corleone with “Caducaste”; Romeo Santos and Prince Royce, representing Dominican Republic, with “Lokita Por Mí” and “Dardos”; and Mexico’s Xavi and Carín León with “La Morrita.”

Beyond its Latin Airplay coronation, “Chévere” also hits No. 1 on Latin Rhythm Airplay, where Castro adds his second champ. Plus, it rises to new peaks on the multi-metric charts Hot Latin Songs and Hot Latin Rhythm Songs, at Nos. 21 and 12, respectively.

“I really love ARIA’s music,” shares Castro. “I sent her a DM because I truly liked what she was doing, and from there, everything came together very organically. The chemistry behind creating ‘Chévere’ felt incredibly natural.”

ADÉLA’s debut full-length studio album PRIMA premieres atop two Billboard album charts, as the set launches at No. 1 on both Top Album Sales and Vinyl Albums (dated Sept. 19). The project also bows at No. 4 on the overall Billboard 200, marking the highest entry for a full-length debut studio album this year.

PRIMA enters the Billboard 200 with 56,000 equivalent album units earned in the United States in the week ending Sept. 10, according to Luminate. Of that sum, album sales comprise 31,000, of which vinyl purchases account for 12,000. (Units comprise album sales, track equivalent albums [TEA] and streaming equivalent albums [SEA]. Each unit equals one album sale, or 10 individual tracks sold from an album, or 2,500 ad-supported or 1,000 paid/subscription on-demand official audio and video streams generated by songs from an album.)

The 22-year-old Slovakian singer/songwriter gained attention in 2023 when she participated in Dream Academy, the reality competition show that eventually launched KATSEYE. While she was one of the first contestants eliminated from the program, she would drop her debut single “Homewrecked” in 2024, and then “Superscar” soon after. In 2025, she signed to Capitol Records and released her first EP, The Provocateur. She made her Billboard Hot 100 debut in August with the PRIMA track “Ain’t in LA,” which jumps 57-30 on the chart this week, scoring the artist her first top 40-charted hit. She also debuts on the list with the album’s “Nicole Kidman” at No. 45.

ADÉLA leads a busy top 10 on the Top Album Sales chart dated Sept. 19. Ariana Grande’s former No. 1 petal pushes 31-3 after a new deluxe edition with live tracks arrived, Beyoncé’s chart-topping B’Day reenters at No. 4 after the release of its expanded anniversary reissue, MONSTA X’s The Phase bows at No. 7, and PRESIDENT’s Blood of Your Empire enters at No. 9.

Ella Langley’s Dandelion returns to No. 1 on the Billboard 200 albums chart for a third nonconsecutive week on top, as the album rises two slots on the Sept. 19-dated chart. The set earned 67,000 equivalent album units in the United States in the week ending Sept. 10, according to Luminate, down less than 1% compared to the previous week.

That 67,000-unit sum is the smallest for a No. 1 album in more than a year, since SZA’s SOS returned to No. 1 for a 13th nonconsecutive week on the May 3, 2025, chart with 52,000 units.

Dandelion debuted at No. 1 on the April 25, 2026-dated chart, spent its first two weeks atop the list and has never left the top five.

Also in the top 10 of the latest Billboard 200, ADÉLA’s debut full-length studio album, PRIMA, debuts at No. 4; Ariana Grande’s chart-topping petal pushes 15-6 after a new deluxe edition dropped; and Beyoncé’s former No. 1 B’Day re-enters the chart at No. 8 after the release of its 20th anniversary expanded reissue.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 2,500 ad-supported or 1,000 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Sept. 19, 2026-dated chart will be posted in full on Billboard‘s website on Sept. 15. For all chart news, follow @billboard and @billboardcharts on both X and Instagram.

Of Dandelion’s 67,000 equivalent album units earned in the latest tracking week, SEA units comprise 57,000 (down 4%, equaling 60.21 million on-demand official streams of the set’s tracks; it holds at No. 2 on Top Streaming Albums), album sales comprise 9,000 (up 43%, it climbs 21-11 on Top Album Sales) and TEA units comprise 1,000 (down 16%).

Two former No. 1s follow Langley. Olivia Rodrigo’s you seem pretty sad for a girl so in love lifts 4-2 (64,000 equivalent album units, down 4%) and Morgan Wallen’s I’m the Problem rises 5-3 (60,000, down less than 1%).

ADÉLA’s PRIMA premieres at No. 4 with 56,000 equivalent album units earned. Of that sum, album sales comprise 31,000 (it debuts at No. 1 on Top Album Sales), SEA units comprise 25,000 (equaling 25.94 million on-demand official streams of the set’s songs; it debuts at No. 14 on Top Streaming Albums) and TEA units comprise a negligible sum.

The 22-year-old Slovakian singer-songwriter gained attention in 2023 when she participated in Dream Academy, the reality competition show that eventually launched KATSEYE. While she was one of the first contestants eliminated from the program, she would drop her debut single “Homewrecked” in 2024, and then “Superscar” soon after. In 2025, she signed to Capitol Records and launched her first EP, The Provocateur. She made her Billboard Hot 100 debut in August with the PRIMA track “Ain’t in LA,” which has scaled to No. 57 as of the Sept. 19-dated chart.

The new album’s first-week sales were bolstered by its availability across six vinyl variants (including a signed edition), four CD variants (including two signed editions), three download editions (including two with bonus tracks) and a cassette tape.

Noah Kahan’s chart-topping The Great Divide is up a notch to No. 5 on the latest Billboard 200 (47,000 equivalent album units, down 12%).

Ariana Grande’s former leader petal pushes 15-6 with 44,000 equivalent album units earned (up 36%) following the release of a deluxe digital download edition of the set with bonus live tracks.

Rod Wave’s Don’t Look Down falls to No. 7 after debuting atop the chart a week ago. In its second week, the set earned 42,000 equivalent album units (down 57%).

Beyoncé’s B’Day returns to the Billboard 200 for the first time since 2008, as the set re-enters the chart at No. 8 following its 20th anniversary deluxe reissue. The album was originally released in 2006, debuted at No. 1 and marked the superstar’s second leader.

In the latest tracking week, B’Day earned 38,000 equivalent album units (up 385%). Of that sum, SEA units comprise 22,000 (equaling 22.49 million in on-demand official streams of the set’s songs, it debuts at No. 19 on the nearly three-year-old Top Streaming Albums chart), album sales comprise 16,000 (it reenters at No. 4 on Top Album Sales) and TEA units comprise a negligible sum.

B’Day was expanded with bonus tracks and reissued on two vinyl variants, two download editions and CD. Among the added cuts is Beyoncé’s latest Billboard Hot 100 hit, “Morning Dew (Donk),” which debuted and peaked at No. 26 in July. The track also hit No. 1 on the Adult R&B Airplay chart dated Sept. 12, marking her fourth leader on the list.

Drake’s chart-topping ICEMAN falls a rung to No. 9 on the Billboard 200 (36,000 equivalent album units, down 6%) and Olivia Dean’s The Art of Loving retreats a spot to No. 10 (34,000, down 8%).

Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.

The drinks are on Angus & Julia Stone, as Karaoke Bar (via Virgin Music) opens its account at No. 1 on the ARIA Album Chart.

Karaoke Bar is the sibling act’s third album to go all the way to the top of the national chart following Down The Way in 2010 and Angus & Julia Stone in 2014. All six of the Stones’ album have cracked the top 10.

The winners of six ARIA Awards, the Aussie pair are currently playing dates in North America on their Karaoke Bar World Tour, with homecoming shows locked in for February and March 2027.

“We’re blown away to hear that Karaoke Bar is the No. 1 album in Australia. We’ve been making music together for such a long time, and to still be able to share new songs and have people connect with them in this way feels incredibly special,” reads a statement from Angus and Julia, shared by ARIA.

“Thank you to everyone who has supported us along the way, and to everyone who has bought, streamed or listened to the record since it came out last week. We never take any of it for granted. To have this album go to No. 1 here at home means the world to us.”

It’s the third ARIA No. 1 album from a homegrown act in 2026 after releases from Karnivool and DMA’S. “It’s an absolute thrill to see two Aussie No. 1 debuts within a fortnight,” adds ARIA CEO Annabelle Herd. “Huge congratulations to Angus and Julia Stone for another landmark achievement in their near two-decade career together and as adored solo artists.”

Also new to the chart, published Friday, Sept. 11, is Slovak singer-songwriter Adela’s debut collection Prima (Capitol/EMI), at No. 6, while British masked metal act President arrives at No. 9 with their debut album Blood of Your Empire (Atlantic/Warner).

The best-selling album on wax this week belongs to Ecca Vandal, the Melbourne-based alternative rock artist whose second album Looking For People To Unfollow (Loma Vista Recordings/Universal) reenters the all-genres albums chart at No. 12, a new peak.

Aussie hard rock veterans Airbourne fly in at No. 19 with their self-titled sixth studio album (via Spinefarm/Inertia), while Amyl And The Sniffers add a fourth top 30 chart appearance with Truth Or Consequence (Live from El Coyote) (via Virgin Music/Universal), new at No. 23. Truth Or Consequence was recorded at the El Coyote Café in Los Angeles and is the first live album from the globe-trotting Australian punk-rockers, winners of seven ARIA Awards.

Over on the ARIA Singles Chart, it’s a lucky 13th week at No. 1 for Ella Langley’s “Choosin’ Texas” (Sony). According to ARIA, no other country song has spent as many weeks at the top of the leaderboard. The next best is Morgan Wallen’s “Last Night,” which reigned for eight weeks in 2023, while Billy Ray Cyrus’ “Achy Breaky Heart” led for seven weeks back in 1992.

In the United States, “Choosin’ Texas” is the biggest country hit of them all with 21 weeks (and counting) atop the Billboard Hot 100. It’s just one week away from tying the longest-running No. 1 in Hot 100 history, a record that belongs to Mariah Carey‘s “All I Want for Christmas Is You,” currently owning 22 weeks at No. 1 across multiple holiday seasons.

While plenty of other star rappers of the 2020s have fallen on slightly harder times chart-wise at mid-decade, Rod Wave just keeps on winning.

The Florida rapper’s latest album, Don’t Look Down, debuts at No. 1 on the Billboard 200 this week (dated Sept. 12), with 99,000 first-week units moved. The No. 1 marks his fourth time topping the chart in six tries this decade — with his only two albums to miss (including DLD‘s predecessor, 2024’s Last Lap) peaking instead at No. 2 — and the 16 songs the set charts on the Billboard Hot 100 this week move him into triple-digits for career entries on that listing.

How has he managed to stay such a consistent performer? And is he doing anything particularly new on the new set? Billboard staffers answer these questions and more below.

1. Rod Wave’s Don’t Look Down debuts at No. 1 on the Billboard 200 with 99,000 first-week units. Is that first-week performance better, worse or about what you expected?

Christopher Claxton: This is honestly a bit surprisingly low — it’s his lowest album sales total since 2020’s Pray 4 Love, which moved 72,000 units in its first week.That’s crazy to me because this is a really great project, and Wave continues to perfect his ability to deliver poetic lines over modern trap production. He also samples some classic records from the 2000s and 2010s, so I would’ve expected that to help drive streams and spark more conversation around the project.

Kyle Denis: This is pretty much exactly what I expected. The Don’t Look Down singles didn’t reach the same level of crossover notoriety of past hits like “Fight the Feeling” and “Street Runner,” and Rod’s studio albums normally open in the low six-figure range. All things considered, 99,000-unit start is right on target. 

Carl Lamarre: Despite nailing his fourth No. 1 album, I have a little bit of concern for Rod. You have to remember, he’s a perennial six-figure brother when debuting on the Billboard 200. So when he’s legitimately a hair short of that sacred 100k mark, it has to give you a bit of pause. He’s still very young, though — he hasn’t even sniffed his 30s yet — and he didn’t have a robust single this time around, despite the moderate success of “Piece of Your Love.” Regardless, a No. 1 is still a No. 1. Plus, he netted 16 songs on the Hot 100. That’s nothing to sneeze at.

Michael Saponara: I would say slightly lower than expected because his last two albums did at least 127,000 first-week units. With it being nearly two years since Last Lap, I figured Rod would cruise to a six-figure total with Don’t Look Down. 

Andrew Unterberger: It’s a touch low for his standards — but streaming totals have been down for the biggest artists pretty much across the board lately, and he’s never been a physical seller, so I don’t think the downtick is necessarily that meaningful.

2. Don’t Look Down marks Rod Wave’s fourth No. 1 album of the 2020s, with each of his six releases reaching the top two. What’s the biggest reason why he’s managed to stay so consistently successful without major hits or pop culture crossover moments? 

Christopher Claxton: Rod Wave is a man of the people. He gives his fans exactly what they ask for, and he’s incredibly tapped in with the youth. I actually first discovered Wave because a bunch of kids put me on to his music. And once you’re locked in with the kids, you really can’t fail. They may not always have the money to buy your music, but one thing they will do is stream and stream, and stream. On top of that, no matter how subjective it may be, good music is good music, and Rod makes just that.

He’s selling out arenas every chance he gets, with crowds going crazy the second he touches the stage. He may not have the biggest mainstream appeal, but what he does have is something arguably more valuable: real impact, a loyal audience and a movement behind him.

Kyle Denis: He knows how to cater to his base, and he’s as loyal to them as they are to him. He isn’t padding his albums with chemistry-devoid collaborations or hopping into different genres to chase a larger trend. Even when he deepens his sound — the bluesy influences of his older work have morphed into all-out indie-folk-indebted moments like the Hazlett-assisted “Keep Dancing” — he remains committed to his lyrical tentpoles of reflection, heartbreak and emotional turmoil.

Carl Lamarre: Have you been to his concerts? What might be the most befuddling part of his fan base is the sheer diversity of it. Take my little brother: He’s 15 and treats Rod like the second coming of Christ. It’s a spiritual experience when you go to a Rod Wave concert because of the connectivity and relatability of his music. While Carti proudly holds the keys as hip-hop’s edgelord, it’s Rod who’s rocking the throne for the sadboy generation. He makes it cool to be in your feelings, regardless of race.

Michael Saponara: It’s the strong connection with his fan base and his consistency. Whenever it’s album time for Rod Wave, fans know what to expect. Rod wears his heart on his sleeve, turning his pain into a cathartic release with his melodic blend of trap-soul. 

Andrew Unterberger: He’s got one of the strongest brands in hip-hop right now. You know what you’re getting from a Rod Wave album, and it never feels forced or sweaty — or lazy or phoned-in.

3. In your opinion, does Don’t Look Down offer anything particularly new or different to you from Rod Wave’s established sound and brand? 

Christopher Claxton: With minimal features and 68 minutes of music, Don’t Look Down is Rod Wave doing what he does best: giving his fans another great project. The production is solid, and he touches on everything from love to the hustle while staying true to the sound his audience has come to expect. What feels especially interesting this time around is how Rod incorporates some classic records into his own music. He flips DMX’s “How’s It Goin’ Down” on “Piece of Your Love,” reworks Ed Sheeran’s early hit “Kiss Me” on “Kiss Me Interlude” and puts his own spin on The Fray’s “You Found Me.”

I think that’s one of the most interesting parts of this album. Rod is using music people already have an emotional connection to and putting his own spin on it, helping bring back a feeling that some listeners may not have felt in years. It’s nostalgic, but it still sounds like Rod Wave.

Kyle Denis: I think the Hazlett collaborations are really cool (the saxophone on “Keep Dancing” is everything!), and his singing voice has certainly improved. I wish he wouldn’t feel so beholden to trap beats, though. The album’s best and most memorable moments are when he shifts away from standard beat choices and towards more inspired arrangements, like those booming, ‘80s-nodding drums on “Florida Boy.” 

Carl Lamarre: Not really, but I do appreciate the nods to Drake, Lil Wayne and Ed Sheeran. From the interpolation of Wayne’s “Every Girl” verse, to the numerous Drizzy shoutouts on “Take Care,” to reminding fans why Big Ed remains one of his favorite people, I enjoy Rod’s shameless admiration for his heroes. It gets me every time.

Michael Saponara: Don’t Look Down builds on Rod Wave’s brand of vulnerability as a hip-hop and R&B hybrid, but this time around the album sounds more expensive. “One More Time” pulls on the nostalgia of flipping Selena’s “Dreaming of You” classic, while Rod interpolates Lil Wayne and Young Money’s “Every Girl.” He even recalls backpack Kanye to use “Last Call” for a lift on the opening and closing tracks. 

Andrew Unterberger: The interpolations on the album are nothing new for Rod Wave, but they certainly feel more pervasive than ever before. Occasionally it can be distracting, but Rod is a soulful and musically diverse enough dude that it always still feels like him, regardless of whether he (or his guest vocalists) are interpolating Tears for Fears and The Fray or Drake and DMX. It just makes his musical world feel a little bigger, which is cool.

4. Rod Wave notches 16 entries on the Hot 100 this week, led by the re-entering “Piece of Your Love” (No. 40) and “Hustle” (No. 48). Do you see this album having any long-lasting hits on the chart, or will they all most likely fall off in the next couple weeks? 

Christopher Claxton: Rod Wave has more than 10 songs that have spent multiple weeks on the Billboard Hot 100, so it’s very likely we’ll see some of these tracks have similar staying power. I’m just not entirely certain which yet.

Kyle Denis: My gut tells me they’ll mostly fall off the chart in the coming weeks, but “Keep Dancing” truly does have potential. 

Carl Lamarre: I don’t think so, but with Rod, you never know. He has the tour kicking off this week, so maybe something could pick up. I would love for “Mainstay” to be the firestarter among the bunch.

Michael Saponara: If there’s a horse to bet on here, it’s “Piece of Your Love,” but I think many of the songs will fade off the charts in the coming weeks. 

Andrew Unterberger: I think they’ll mostly be off the Hot 100 in the next couple weeks, and that’s fine for Rod Wave. He’s never been about hit singles anyway.

5. Many of the biggest rappers of the early-decade seem to be struggling to maintain the commercial consistency that Rod Wave has seemingly kept up very naturally — is there anything in particular you think they can learn from his example? 

Christopher Claxton: Like I was saying earlier, to me, Rod’s main demographic seems to be younger listeners. Adults obviously love his music too, but it feels like he’s really playing to his strengths by connecting with fans between the ages of 13 and 30.

I think the biggest lesson artists can take from Rod is to know your audience and give them what they want while still staying true to yourself.

Kyle Denis: Pay attention to why fans originally gravitated towards you and amplify that instead of abruptly abandoning that sound/aesthetic.  

Carl Lamarre: Give the fans a reason to connect with you. This is probably the hardest time for people to live and survive. Nobody can relate to the chains and cars, but they can relate to heartbreak, loss and dream chasing. That’s why fans glommed onto Drake and Cole — especially the latter — so much in the early days. These two unicorns understand the power of connecting on the same level versus merely looking down from their steep pedestal.

Michael Saponara: Rod Wave’s a tough blueprint to follow, but artists can appreciate his consistency and building a brand that delivers without frills or straying too far away from what got him there. Much like NBA YoungBoy, Rod’s been able to sell out arena tours across North America and not have to fall prey to the social media antics and tabloid traps many rappers fall into. It’s like Rod has carved out a lane being the rare niche superstar in hip-hop. 

Andrew Unterberger: Know who you are, know who your fans are, and keep the main thing the main thing.

Alex Warren’s second full-length studio album WILDCHILD makes a chart-topping bow on a pair of Billboard charts, as the set arrives at No. 1 on Top Album Sales and Vinyl Albums (dated Sept. 12) — his first leader on both rankings. The set also enters at No. 2 on the overall Billboard 200 and at No. 9 on Indie Store Album Sales. On the Billboard 200, it marks the singer-songwriter’s second top 10 and highest-charted set, and it’s his first entry on the Indie Store Album Sales ranking.

The new album is the follow-up to Warren’s first full-length, You’ll Be Alright, Kid, which hit No. 5 on the Billboard 200, No. 7 on Top Album Sales and No. 5 on Vinyl Albums. That set contained the smash Billboard Hot 100 No. 1 hit single “Ordinary.”

WILDCHILD arrives with 75,000 equivalent album units earned in its first week (ending Sept. 3) according to Luminate — his best week ever by units. Of that sum, album sales comprise 55,000 (his best sales week). The remainder of the set’s first week sum was driven by streaming activity and track purchases.

The new album’s first-week sales were bolstered by its availability across 13 vinyl variants (two of them signed), five CD variants (two signed), three download editions (two with bonus tracks) and a cassette.

WILDCHILD was preceded by three charted songs on the Billboard Hot 100: “Passenger” (No. 100 in June), “Fine Place To Die” (No. 87 in May) and the radio-promoted single “Fever Dream” (No. 21 in March).

WILDCHILD leads a busy top 10 on the Sept. 12-dated Top Album Sales chart, where the latest releases from The Warning, Billy Strings, Sara Bareilles, Mastodon and Prince also arrive.

Billboard’s Top Album Sales chart ranks the top-selling albums of the week based only on pure album sales (physical and digital download purchases combined). The chart’s history dates to May 25, 1991, the first week Billboard began tabulating charts with electronically monitored piece count information from SoundScan, now Luminate. Pure album sales were the sole measurement utilized by the Billboard 200 albums chart through the list dated Dec. 6, 2014, after which that chart switched to a methodology that blends album sales with track equivalent album (TEA) units and streaming equivalent album (SEA) units.

Rod Wave earns his fourth No. 1 album on the Billboard 200 chart as Don’t Look Down debuts atop the list dated Sept. 12. The set earned 99,000 equivalent album units in the United States in its first week, ending Sept. 3, according to Luminate, largely driven by streaming activity. He previously led the list with Nostalgia (in 2023), Beautiful Mind (2022) and SoulFly (2021).

Also in the top 10, Alex Warren notches his second top 10 and highest-charted set yet as WILDCHILD opens at No. 2.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 2,500 ad-supported or 1,000 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Sept. 12, 2026-dated chart will be posted in full on Billboard‘s website on Sept. 9 (a day later than usual due to the Labor Day holiday in the U.S. on Sept 7). For all chart news, follow @billboard and @billboardcharts on both X and Instagram.

Of Don’t Look Down’s 99,000 first-week equivalent album units, SEA units comprise 90,000 (equaling 95.07 million on-demand official streams of the set’s songs — it debuts at No. 1 on the Top Streaming Albums chart), album sales comprise 9,000 (it debuts at No. 13 on Top Album Sales) and TEA units comprise a negligible sum.

The album was released as a 20-track standard, widely available CD and vinyl LP, alongside an expanded 24-track digital download and streaming edition. For its physical release, it was issued across six vinyl variants (including two signed editions) and two CD variants (one signed).

Don’t Look Down was preceded by a trio of top 40-charted titles on Billboard’s Hot R&B/Hip-Hop Songs chart: “Hustle” (No. 13 peak in August), “Piece of Your Love” (No. 24 in July) and “Feed the Streets” (No. 33 in February).

Don’t Look Down marks the singer-rapper’s eighth top 10-charted project on the Billboard 200, comprising the entirety of his charted titles. His first top 10 came with Ghetto Gospel in 2019, peaking at No. 10 that November.

At No. 2 on the Billboard 200, Alex Warren notches his highest-charted album as his second full-length studio album, WILDCHILD, debuts with 75,000 equivalent album units earned — his best week ever by units. Of that sum, album sales comprise 55,000 (his best sales week — it debuts at No. 1 on Top Album Sales), SEA units comprise 20,000 (equaling 20.74 million on-demand official streams of the set’s songs; it debuts at No. 25 on Top Streaming Albums) and TEA units comprise a negligible sum.

Warren previously hit the top 10 with his debut effort, You’ll Be Alright, Kid, which peaked at No. 5 in August 2025.

The new album’s first-week sales were bolstered by its availability across 13 vinyl variants (two of them signed), five CD variants (two signed), three download editions (two with bonus tracks) and a cassette.

WILDCHILD was preceded by three charted songs on the Billboard Hot 100: “Passenger” (No. 100 in June), “Fine Place To Die” (No. 87 in May) and the radio-promoted single “Fever Dream” (No. 21 in March).

Four former No. 1s follow Warren on the latest Billboard 200. Ella Langley’s Dandelion dips 2-3 (a little more than 67,000 equivalent album units earned, down 3%); Olivia Rodrigo’s you seem pretty sad for a girl so in love falls 3-4 (67,000, down less than 1%); Morgan Wallen’s I’m the Problem slips 4-5 (60,000, down 4%); and Noah Kahan’s The Great Divide rises 7-6 (53,000, down 1%).

Dolly Parton’s Ultimate Dolly Parton falls two spots to No. 7, after reentering at a new peak of No. 5 a week ago following her death on Aug. 25. In the most recent tracking week, the set earned 45,000 equivalent album units (down 23%).

Drake’s former No. 1 ICEMAN rises 9-8 with 39,000 equivalent album units (down 5%); Olivia Dean’s The Art of Loving steps 12-9 with 38,000 units (down 3%); and Karol G’s No Me Arrepiento de Sentir Tanto rebounds to the top 10, climbing 16-10 with 36,000 units (up 7%). The latter is benefitting from its track “BbY WOW,” with rusowsky and Judeline. The song surged 34-16 on the Streaming Songs chart dated Sept. 5.

Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.

Victony scores the strongest week of his young career on the Billboard U.S. Afrobeats Songs chart as the first-week activity of his STARLIFE album impacts the list.

Among the highlights, the set’s single “Slick” retains its No. 2 peak, while eight tracks debut on the ranking, which blends streaming and sales data for its calculations.

In its eighth week on the chart, “Slick” repeats as the runner-up for the third consecutive frame. The track traces its standing to 900,000 official streams in the United States for the Aug. 21-27 tracking week, according to Luminate, a 10% increase from the prior week’s total.

“Slick” gave Victony his third top 10 on U.S. Afrobeats Songs and highest showing on the list. His prior best results were No. 5 peaks for his breakthrough single, “Soweto,” with Rema and Tempoe and featuring Don Toliver, in May 2023 and “Pity This Boy,” a collaboration with ODUMODUBLVCK, in February 2025.

“I’m at a point in my life where my personality is really just shining through the music,” Victony recently told Billboard U.K. “I felt it within me to show people that this is what I’m on and I feel like this body of work completely represents where I am right now.” He added, “If I left out any song from this, it would feel incomplete.”

With the eight STARLIFE debuts, Victony brings his career count to a milestone 25 entries on U.S. Afrobeats Songs. The parent album, meanwhile, debuts at No. 20 on the World Albums chart.

A full rundown of Victony’s placements on this week’s U.S. Afrobeats Songs chart is below. All are debuts except “Slick” and “FRE$H,” with the latter having peaked at No. 14 in June.

No. 2, “Slick”
No. 21, “FRE$H”
No. 26, “2FRESH”
No. 29, “Who This,” with BNXN
No. 34, “STARLIFE,” with Blaqbonez & YKB
No. 40, “Too Lit”
No. 41, “PINO,” with Babyboy AV
No. 47, “Twin,” with FOLA
No. 48, “Armed & Dangerous,” with Young Jonn
No. 50, “FYNE”

Conway Twitty started his music career as a pop hitmaker on the all-format Billboard Hot 100 — his “It’s Only Make Believe” topped the chart in November 1958 — before he found his full voice in country, and the last of his 40 chart-topping titles in the genre came from a songwriter who made a similar format change.

North Carolina-born Sammy Johns earned national recognition when his recording of “Chevy Van” parked at No. 5 on the Hot 100 in 1975, but he followed that by writing his way into the country market. With “Desperado Love,” co-written by Michael, Johns transformed a negative life period into a win. He was about to lose his house, started drinking to numb his depression, then decided to see if there was a song in all of his misery. He felt desperation, brainstormed that into desperado and took off from there.

Twitty recorded the resulting melodic midtempo with co-producers Dee Henry, whom he would marry in 1987, and Ron Treat, and enlisted Vince Gill as a backing vocalist. Released as the first single from Twitty’s Warner Bros. album Fallin’ for You for Years, “Desperado Love” rode onto Billboard’s Hot Country Songs chart dated June 7, 1986, and stole the No. 1 ranking three months later, that Sept. 6.

In the process, Twitty set a precedent, becoming the first artist to land 40 No. 1s on Hot Country Songs. To date, he’s outpaced only by George Strait, with 44.

Meanwhile, although “Desperado Love” marked Twitty’s last Hot Country Songs No. 1, his next eight singles all reached the top 10, including three No. 2 hits in 1987: “Fallin for You for Years,” “Julia” and “I Want To Know You Before We Make Love.” He last appeared in the region in 1991 with “I Couldn’t See You Leavin’.”

Born in Mississippi as Harold Jenkins, Twitty died in June 1993 at age 59. He joined the Country Music Hall of Fame in 1999 alongside Johnny Bond and Dolly Parton.

Beyoncé celebrates her 45th birthday (Sept. 4) with news of her latest No. 1 on Billboard’s Adult R&B Airplay chart, “Morning Dew (Donk),” which leads the list dated Sept. 12.

The single ascends from No. 3 to secure its status as the most-played song on panel-contributing adult R&B radio stations in the United States for the Aug. 28-Sept. 3 tracking week, according to Luminate.

“Morning Dew,” released and promoted through Parkwood/Columbia, secures Beyoncé her fourth Adult R&B Airplay No. 1. It follows “Love on Top,” which reigned for seven weeks in 2012 and a pair of 2022 champs: “Break My Soul,” a two-week leader and “Make Me Say It Again Girl,” a collaboration with Ronald Isley and the Isley Brothers that ruled for five weeks.

Notably, “Morning Dew” captures the summit in its sixth week on the chart, passing “Make Me Say It Again Girl” for the fastest rise to No. 1 among Beyoncé’s chart-toppers. The latter required seven weeks to reach the top slot.

“Morning Dew,” a surprise release that dropped July 4, became Beyoncé’s 32nd solo career entry on Adult R&B Airplay and 10th top 10. Before its official release, the single was long the speculation of Beyhive lore. The song was reportedly originally recorded in 2013 around the singer’s Beyoncé album era; a snippet leaked in 2021 before a fuller version made its way online two years later, even sparking TikTok trends.

Upon its official release, “Morning Dew” was announced as a preview of the 20th anniversary edition of her album B’Day, which arrived today via retail and streaming services. The expanded set, comprising 31 tracks, features official releases of collaborations with Pharrell Williams, Maluma and Selena. The original B’Day, released in 2006, debuted at No. 1 on the Billboard 200 albums chart and launched Beyoncé’s biggest Billboard Hot 100 hit, the No. 1 smash “Irreplaceable,” as well as other successes in “Beautiful Liar,” with Shakira (No. 3), “Deja Vu,” feat. Jay-Z (No. 4) and “Ring the Alarm” (No. 11).

Elsewhere, “Morning Dew” climbs 8-7 on the Mainstream R&B/Hip-Hop Airplay chart and jumps 5-3 on the R&B/Hip-Hop Airplay chart, which combines audience totals from adult and mainstream R&B/hip-hop stations. On the latter, thanks to its strength at both contributor formats, the song reached 13.8 million audience impressions in the tracking week, up 18% from the prior week and secures the weekly Greatest Gainer award for the largest audience gain.