Olivia Rodrigo has earned her career-best opening week as You Seem Pretty Sad For a Girl So in Love soars to No. 1 on the U.K.’s Official Albums Chart (June 19).

You Seem Pretty Sad For a Girl So in Love flies straight to No. 1 to give the 23-year-old her third consecutive No. 1 album following Sour (2021) and Guts (2023). This week’s 103,000 chart units doubles Sour’s 51,000 units and Guts’ 60,000 units in their respective opening weeks. It is also the U.K.’s biggest opening week for an international album release in 2026.

Speaking on her accomplishments to the Official Charts Company, Rodrigo said: “Thank you so much for this Number 1 album award! It means so much to me. I wrote so many of these songs in the U.K., so it makes it extra special. Thank you all for listening, I appreciate it so much. I can’t wait to put this on my mantle!” 

Michael Jackson’s The Essential collection holds its position at No. 2, while Harry Styles’ Kiss All The Time. Disco, Occasionally is up nine places on last week to No. 12. Styles kicked off his 12-night residency run at London’s Wembley Stadium on Friday (June 12) and performed at Meltdown Festival on Tuesday (June 16) with a set of covers and deep cuts. 2022’s Harry’s House (30) and 2019 LP Fine Line (34) also see bumps on the charts as a result.

Olivia Dean’s The Art of Loving holds its position at No. 4 while Embrace’s Avalanche closes at No. 5, their highest position since 2018’s Love Is A Basic Need. Sonny Fodera scores a maiden top 20 placement with Can We Do It All Again? At No. 20 and Zac Byran’s With Heaven on Top  re-enters the top 40 (No. 40) following the U.K. leg of his stadium tour.

Taylor Swift’s “I Knew It, I Knew You” has earned 2026’s biggest sales week in the U.K. as it enjoys a second week at the summit (June 19).

The song debuted at No. 1 in its opening week last Friday (June 12) to give Swift her seventh chart-topper on the Official Singles Chart. Now following the release of limited-edition CD and vinyl editions, the song has surpassed that debut to 71,000 chart units and is now the biggest sales week of 2026, overtaking overtakes Harry Styles’ “Aperture” which scored 70,000 back in January.

The Official Charts Company reports that the song is the biggest week in pure sales (excluding streams) since November 2023 when the Beatles released their final song “Now and Then.”

As she earns a career-best opening week on the Albums Chart, Olivia Rodrigo occupies three of the top five positions on the U.K.’s Official Singles Charts with You Seem Pretty Sad For a Girl So in Love highlights. “Stupid Song” debuts at No. 2, while “The Cure” and “Drop Dead” place at No. 3 and No. 5, respectively. The latter hit No. 1 earlier this year to give Rodrigo her fourth U.K. chart-topper.

Sam Fender and Olivia Dean’s “Rein Me In” is down two places to No. 4, having previously enjoyed a 13-week stay at the summit this year. 

As the FIFA World Cup kicks off, Shakira and Burna Boy’s “Dai Dai” breaks the top 40 for the first time (No. 28) and the former’s 2010 track “Waka Waka (This Time for Africa)” also sees a boost (No. 35).

Following the start of his 12-night run at London’s Wembley Stadium, Harry Styles sees Kiss All The Time. Disco, Occasionally tracks “American Girls” (No. 12) and “Aperture” (No. 25) enjoy lifts.

There’s nothing to be sad about for Olivia Rodrigo, as You Seem Pretty Sad For A Girl So In Love (via Geffen/Universal) opens its account at No. 1 on the ARIA Chart, and “Stupid Song” starts atop the national singles tally.

With that chart double, Rodrigo boasts a perfect three-from-three on the albums chart. The U.S. pop phenomenon’s debut album Sour logged eight weeks at No. 1 in 2021, and her sophomore collection Guts led the tally for two weeks in 2023. Rodrigo just missed out with her 2025 release Live From Glastonbury (A BBC Recording), which peaked at No. 11.

All 13 tracks from the new collection impact the top 30, led by “Stupid Song.” It’s her third ARIA No. 1 single in fewer than two months, following “Drop Dead” in April and “The Cure” earlier in June. Further down the list is “What’s Wrong With Me,” Rodrigo’s duet with the Cure’s Robert Smith (her father’s favorite band), new at No. 12. That’s Smith’s first appearance in the ARIA Top 50 since the Rock Hall-inducted goth-rock band’s “The 13th” peaked at No. 31 in 1996. Olivia, like her dad, is a huge fan of Smith, inviting him on stage during her set at Glastonbury Festival 2025, a surprise moment captured on that live BBC recording.

Rodrigo almost completes a podium sweep on the ARIA Singles Chart, as “The Cure” bounces 6-2 and “Drop Dead” comes alive 15-4. The only release standing in the way of Rodrigo owning the top three is Ella Langley’s former leader “Choosin’ Texas” (Sony), which dips 2-3. Taylor Swift’s song from Toy Story 5, “I Knew It, I Knew You” (Republic/Universal), tumbles from the top; it’s down 1-11.  

Meanwhile, Keith Urban bags a 10^th top 10 album with yacht rock set Flow State (Capitol/EMI), new at No. 5 on the ARIA Albums Chart. Flow State is the Australia-raised country star’s first covers album and includes collaborations with John Mayer, Little Big Town and Michael McDonald.

Close behind is five-time ARIA Award winner Josh Pyke with Kingdom Within (JPY/ADA), his eighth studio album. It’s new at No. 6 for Pyke’s seventh top 10 result.

Perth, Western Australia act South Summit enjoy a No. 10 bow on the albums chart with independently-released Run It Back, their second studio album. That effort eclipses the No. 25 best for their first album, 2024’s The Bliss.

Also crashing the latest frame, published Friday, June 19, is Ruel’s Kicking My Feet & Screaming (Virgin/Inertia), at No. 25; Dami Im’s jazz-inspired independent EP Stormy Weather at No. 36; Bebe Rexha’s Dirty Blonde (Empire/Inertia) at No. 37; Angine De Poitrine’s Volume 1 (RKT) at No. 40; Spacey Jane’s Exit Wounds (AWAL) at No. 43; Sonny Fodera’s Can We Do It All Again? (SOTK/ADA) at No. 49; and Leon Thomas’ Mutt (MO/UMA) at No. 50.

It’s taken 19 years, but Cuisillos secure its second No. 1 on a national, United States-based Billboard chart, as the group returns to the top of Regional Mexican Airplay with “Aunque Me Duela.” The song surges three spots to lead the June 20-dated list.

The group from Cuisillos, Jalisco, Mexico, previously hit No. 1 on the chart with “Mil Heridas” for two weeks in June 2007.

“Aunque Me Duela,” released April 24 on Apach/Cuisillos, reaches the Regional Mexican Airplay summit with Greatest Gainer honors, awarded weekly to the song with the largest increase in audience at the format. The song earned 6.2 million impressions, up 30% week over week, in the June 5-11 tracking week, according to Luminate.

In between Cuisillos’ two chart-toppers, the group reached a No. 3 Regional Mexican Airplay peak with “Vive y Déjame Vivir” in 2008. Formed in 1987 and known for Native American-inspired stage outfits honoring the group members’ heritage, Cuisillos has logged four top 10s among 26 career entries on the chart. “Cartas Marcadas” became its first top 10, rising to No. 9 in December 2001. The band first drew Billboard chart ink when “No Se Lo Digas a Ella” entered Regional Mexican Airplay in March 2000.

“Aunque Me Duela” also climbs 11-4 on the Latin Airplay chart, which reflects airplay on more than 150 Latin-formatted radio stations across the U.S. It’s the group’s second top 10 on the survey.

Fueled by that radio momentum, Cuisillos also earns its first appearance on the streaming, airplay and sales-based Hot Regional Mexican Songs chart, where “Aunque Me Duela” debuts at No. 22.

Welcome to Billboard Pro’s Trending Up newsletter, where we take a closer look at the songs, artists, curiosities and trends that have caught the music industry’s attention. Some have come out of nowhere, others have taken months to catch on, and all of them could become ubiquitous in the blink of a TikTok clip. 
 
This week: The New York Knicks’ first championship victory in 53 years (and the first World Cup kickoff in four years) sends sports fans to stream their favorite related anthems, while streaming audiences celebrate the late Oliver Tree and an *NSYNC classic gets a viral choreography boost.

Go New York Go: Knicks Championship Sends Streams Skyrocketing for Local Classics

The New York Knicks’ first NBA championship in 53 years sparked citywide celebrations that turned into big gains for multiple New York-related songs over the weekend.

Leading the way in volume: Jay-Z and Alicia Keys’ “Empire State of Mind” accumulated 1.4 million on-demand chart-eligible streams in the United States on June 13 (the day of the game-five win) and 14 (the day after, also including any late-night streaming as the game ended shortly before midnight), a 30% boost from 1.1 million the prior two days (June 11-12), according to preliminary reports from Luminate.

Other major leaps included gains for Frank Sinatra’s “Theme From New York, New York” (672,000 June 13-14, up 62% from 415,000 June 11-12), Ja Rule’s “New York” featuring Fat Joe and Jadakiss (515,000, up 68% from 308,000), Billy Joel’s “New York State of Mind” (190,000, up 71% from 111,000), Cam’ron’s Jay-Z- and Juelz Santana-featuring “Welcome to New York City” (98,000 up 62% from 60,000) and Jesse Itzler’s “Go Ny Go” (56,000, up 70% from 33,000).

Worth noting as well: comparing each song’s June 14 streams to its listens on April 18, the day the 2026 NBA playoffs began. “Empire State of Mind” pulled 374,000 streams that day, giving the song a 128% to its 852,000 on June 14 alone. The other five tracks experienced similar gains during that span, as low as 126% and as high as a five-digit-percentage-point increase of 18,465%. – KEVIN RUTHERFORD

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Oliver Tree’s Catalog Skyrockets in Streams After Singer-Songwriter’s Death

The shocking news came out over the weekend (June 14) that alt-pop hitmaker Oliver Tree was one of six dead in a mid-air crash between two helicopters above the Recreio dos Bandeirantes neighborhood of Rio de Janeiro. The singer-songwriter-producer, born Oliver Tree Nickell, had been traveling through South America as part of his World’s First World Tour — which had kicked off on May 30 in Mexico and was supposed to take Tree through 70 total performances spanning all seven continents. 

The music world was stunned by Tree’s tragic passing, with many artists expressing their grief over social media — including ex-girlfriend and fellow alt-pop star Melanie Martinez, who called him “a true artist in every way.” Tree’s fans were also understandably overtaken by the loss, taking to streaming services to mourn the 32-year-old’s passing. 

The day of his June 14 death, Tree amassed 5.5 million official on-demand U.S. streams, according to Luminate — a number which jumped another 135%, to 12.8 million streams, the following day. Between the two days, he accumulated nearly 18.3 million streams, a staggering 1,744% spike from the equivalent two-day period a week before (June 7-8). The leading tracks were his pair of Billboard Hot 100 hits, 2021’s “Life Goes On” (up 1,919% to 3.2 million streams) and 2022’s “Miss You” with Robin Schulz (up 1,756% to 2.3 million), as well as his 2018 breakout single “Alien Boy” (up 1,963% to 1.7 million). – ANDREW UNTERBERGER

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World Cup Anthems Soar Following Tournament Kickoff

Unless you’re in New York or Carolina still basking in the Knicks’ or Hurricanes’ respective NBA and NHL championship victories, you’re probably somewhere currently experiencing some degree of World Cup fever. The global FIFA tournament kicked off on Thursday (June 11), with games taking place across Canada, Mexico and the United States for both the past week and the next month-plus to come. 

Before that, though, a number of artists performed as part of the tournament’s official countdown concerts, taking place across World Cup sites on Wednesday (June 10). Many of the artists involved played World Cup-affiliated songs, with the songs experiencing major gains as a result. 

Shakira & Burna Boy’s “Dai Dai,” the official song of the tournament, saw some of the biggest hikes after the duo closed the Mexico opening ceremonies with the anthem, racking up over 3.3 million official on-demand U.S. streams over the three days following the concert (June 11-13) — a 74% spike from the equivalent period the week before (June 4-6), according to Luminate. Lisa, Anitta and Rema also saw a 43% gain (to 365,000 streams) for their song “Goals” over the same period, following their joint performance at the U.S. opening ceremonies. 

Meanwhile, a handful of older World Cup songs were not performed at the event, but are still earning streaming spikes due to being undying tournament anthems. A pair of 2010 classics, Shakira’s “Waka Waka (This Time for Africa)” and K’naan’s “Wavin’ Flag,” both experienced big jumps, with the former up 101% to 2.2 million streams and the latter up 124% to 630,000 over the same timespan. And Pitbull and Jennifer Lopez just can’t stop trending up this past month, with their 2014 collab “We Are One (Ola Ola)” rising 251% to 1.1 million streams.

And despite not being an official World Cup song — or really having anything to do with futból at all — Katy Perry’s 143 deep cut “Wonder” saw some of the greatest gains of the weekend. After Perry performed alongside 10-year-old Norwegian singer Tius Luka to close the U.S. opening ceremonies, the song climbed a whopping 4,009% over the same period, from just 4,000 streams to over 169,000 streams. – AU

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The Brotherhood Dance Crew Revives *NSYNC’s “I Want You Back” With Viral Choreography 

The Brotherhood dance crew strikes again! 

Led by choreographer Scott Forsyth and hailing from Canada, the frequently viral dance team score another TikTok dance trend with moves lifted from its first-place-winning performance at the International Dance League’s 2026 Vancouver Series (May 23). 

The crew delivered a pitch-perfect, boy band-inspired set built around *NSYNC’s “I Want You Back,” and the infectious choreography has spurred users to revisit the 1997 hit song on streaming. According to Luminate, “I Want You Back” earned 379,000 official on-demand U.S. streams during the week of The Brotherhood’s IDL victory (May 22-28). Once clips from their set began to make the rounds on TikTok the following week (May 29-June 4), that figure jumped 44% to over 546,000 official streams. A week later (June 5-11), “Want” leapt a further 25%, collecting over 687,000 official streams, good for a two-week increase of 81%. 

While The Brotherhood’s official TikTok account houses a clip of the winning performance with just under one million views, Forsyth (@/scott4syth) boasts two rehearsal “Want You Back” clips with over 1.2 million views each. The official “I Want You Back” TikTok sound now plays in nearly 50,000 clips, with a large portion of them finding everyday users attempting the choreography.  Notably, The Brotherhood helped Lecrae & 1K Phew’s “Move” land in this column thanks to their 2025 IDL Vancouver performance. 

With the official *NSYNC TikTok account proclaiming, “You guys win” in the comment section of The Brotherhoood’s post, expect the “I Want You Back” momentum to continue building across socials. — KYLE DENIS 

Morat scores big this week, earning its second No. 1 on Billboard’s Latin Airplay chart as its update of Los Bukis’ 1986 classic “Tu Cárcel” surges from No. 10 to the top of the June 20-dated ranking. The new version also hits No. 1 on both the Latin Pop Airplay chart and the multimetric Hot Latin Pop Songs survey.

The act from Bogotá, Colombia, previously led Latin Airplay with “Me Toca a Mí,” with Camilo, for a week last August.

“We’re incredibly grateful to celebrate our second No. 1 with ‘Tu Cárcel,’” Morat shared with Billboard. “It’s a song that has been part of our lives for as long as we can remember.”

“It was a great honor to have produced this version,” Argentinian producer Nico Cotton tells Billboard. “It’s an undeniable classic, and the challenge was to live up to the original song. I love that it reflects so much of Morat’s sound. The truth is, when there’s a great song and a great band, my job becomes much easier!”

Morat’s “Tu Cárcel,” on Universal Music Spain/Interscope/Interscope Capitol, owes its Latin Airplay coronation to 7.6 million audience impressions in the week ending June 11, according to Luminate.

“It’s an incredible surprise,” Cotton adds. “When I make music, I never think, ‘This has to be a No. 1,’ but when it happens, it’s something to celebrate and enjoy. In this case, it makes me very happy to see such an incredible classic rediscovered through Morat, and to have been able to contribute my little grain of sand from the production side.”

Before Morat revived “Tu Cárcel,” the Marco Antonio Solís-led Los Bukis took the original to No. 3 on Hot Latin Songs in 1987. (Formed in 1973, the grupero band has notched 17 career top 10s on the tally, in 1987-96, following the list’s 1986 start.)

The song has also found renewed chart life through other versions over the years. Los Enanitos Verdes took their soft-rock rendition to No. 22 on Latin Pop Airplay in 2004, while Los Tigres del Norte’s regional Mexican take, featuring Solís, reached No. 30 on Regional Mexican Airplay in 2016. “Tu Cárcel” has also been covered by Hermanos Espinoza, Alta Consigna and Yahritza y Su Esencia in regional Mexican styles.

Morat’s “Tu Cárcel” is on the soundtrack to the Disney+ and Hulu original series Dear Killer Nannies: Criado Por Sicarios — based on the late drug kingpin/politician Pablo Escobar’s upbringing — produced by multi-award winner Julio Reyes Copello; the set was released via his Arthouse label in partnership with Universal Music Latino/UMG.

“I’m deeply glad I suggested to my friends Morat to record this song and make such a spectacular version alongside the great producer Nico Cotton,” Reyes Copello tells Billboard. “The production, direction and musical language are all a tremendous success. I’m thrilled that it has reached beyond the series and, above all, that new generations won’t miss out on hearing [it]; and with work as disciplined and consistent as Morat’s, it’s a luxury.”

“It’s very special to see ‘Tu Cárcel’ continue finding new audiences beyond radio and live shows,” Morat added. “We grew up as huge Disney fans, so having our music featured in a Disney+ and Hulu project is incredibly meaningful. We love seeing our songs become part of different stories, and it’s exciting to know this classic can keep reaching people in new ways.”

Meanwhile, “Tu Cárcel” is the latest Spanish-language charting song from a Disney film or series — and the first to crown Latin Airplay. Notably, Encanto produced Sebastian Yatra’s “Dos Oruguitas” and Carlos Vives’ “Colombia, Mi Encanto,” which reached Nos. 2 and 6, respectively, on Hot Latin Songs in 2022.

Morat added that “Tu Cárcel” is also the first single from its album Ya Es Mañana Parte 2, which is “currently in the works. The project is inspired by celebrating and reinterpreting the legacy of Spanish-language pop-rock, so seeing this song connect with a new generation in such a meaningful way makes this achievement even more special.”

Who doesn’t love a long Weeknd? The international superstar’s After Hours Til Dawn Tour has become one of the biggest global treks ever, appearing in the top 10 of Billboard’s annual top tours chart for three of the last four years. But after reaching new heights last year, 2026 will be its biggest yet, generating another $440 million in ticket sales with more than 3 million fans in attendance.

Last year, The Weeknd set R&B records as the After Hours Til Dawn Tour became the highest-grossing and best-selling tour in the genre’s history, knocking Beyoncé and Bruno Mars off their long-held perches. But with this year’s brief stint in Latin America, more than 40 shows across Europe and a final run of 17 dates in Asia, it transcends genre altogether to become the highest-grossing tour in Boxscore history by a solo male artist.

According to figures reported to Billboard Boxscore, The Weeknd’s world tour has grossed $735.8 million and sold 5.8 million tickets since launching in 2022, current through his May 1 performance in São Paulo, Brazil. According to the tour’s promoter Live Nation and The Weeknd’s agency CAA, the remaining 59 shows push the trek’s total take well beyond $1 billion, joining tours by Coldplay and Taylor Swift in the exclusive 10-figure club.

The Weeknd kicked off the 2026 UK/Europe leg of the tour last night (June 11) at Manchester’s Etihad Stadium. He plays there again tonight before embarking on multi-night runs in Copenhagen, Madrid, Milan, Paris, Stockholm and more, including five shows at London’s Wembley Stadium in August. It’s the tour’s second trip to the continent, after 30 shows that collectively grossed $158.1 million and sold 1.6 million tickets in 2023. This summer’s run could approach double those earnings.

The tour’s final leg will mark The Weeknd’s first shows in Asia since a brief dedicated run in 2018. This time, he’ll play more than two times the number of shows, and, to match the tour’s other 159 dates around the world, elevate from arenas to stadiums.

As part of The Weeknd’s 2026 tour, he is partnering with Global Citizen and the United Nations World Food Programme, donating €1 from each ticket sold at all shows across Europe and £1 across shows in the United Kingdom to the FIFA Global Citizen Education Fund and XO Humanitarian Fund, respectively.

The After Hours Til Dawn Tour has evolved since its 2022 kick-off, then in support of After Hours and Dawn FM, the first two albums of a promised trilogy. In the immediate wake of record-breaking Billboard Hot 100 No. 1 singles like “Blinding Lights” and “Save Your Tears,” he placed two songs on the chart’s 2023 year-end roundup with “Creepin,” with Metro Boomin and 21 Savage, and “Die For You,” alongside Ariana Grande. He rounded out the trilogy with 2025’s Wake Up Tomorrow as his fifth No. 1 album on the Billboard 200, expanding the tour’s setlist to the scope of his entire career.

Australia’s love story with Taylor Swift continues, as “I Knew It, I Knew You” (via Republic/Universal) opens at No. 1 on the ARIA Chart, an effort that places her in the frame with rock music royalty.

The single, which appears in the new Toy Story 5 film, is her 14^th leader, a feat that sees her tie things up with the King, Elvis Presley, with the second most chart-toppers in Australia, ARIA reports. She has some way to go to challenge The Beatles, who top the list with 26, although all of the Fab Four and Elvis’ No. 1 hit singles came before the launch of the official ARIA Charts in 1983.

With that impressive start for “I Knew It, I Knew You,” Swift has now logged 35 weeks at No 1 on Australia’s singles chart.

There’s a Cinderella chart story for the late Mac Miller, as the decade-old “Cinderella” (Warner Music) featuring Ty Dolla $ign opens at No. 23, while Alyssa Grace bags a top 40 appearance with the independent release “Bloodstream,” new at No. 39.

Meanwhile, multiple ARIA Award winner G Flip grabs a new peak position with “Bed On Fire” (AWAL), up 33-28. It’s one of three homegrown titles on the chart, a list that includes Tame Impala’s “Dracula” (Columbia/Sony), which dips 7-8, and The Kid Laroi’s “Girls,” which reenters at No. 46.

Niall Horan’s Dinner Party (Capitol/Universal) turns into a feast on the ARIA Albums Chart, as the Irish pop singer’s third studio album opens at No. 1. That’s the second solo leader for Horan, after 2023’s The Show, while 2017’s Flicker and 2020’s Heartbreak Weather narrowly missed out, both peaking at No. 2. As a member of One Direction, Horan had four leaders: Up All Night (in 2011), Take Me Home (2012), Midnight Memories (2013) and Four (2014).

Australian audiences will get another chance to see Horan up close, when he visits the country for a four-date arena tour next February, produced by TEG and announced earlier in the week.

Also new to the ARIA Chart, published Friday, June 12, is Evanescence with Sanctuary (Columbia/Sony), their sixth studio album. It’s new at No. 2. The U.S. alternative rock outfit is on a healthy streak of top 10 appearances, with Fallen (No. 1 in 2003), The Open Door (No. 1 in 2006), Evanescence (No. 5 in 2011), Synthesis (No. 6 in 2017) and The Bitter Truth (No. 3 in 2021) all impacting the top tier.

Like Horan, Evanescence has just announced a tour of Australia in the early stages of 2027 (produced by Live Nation).

Completing an all-new top three is Malcolm Todd’s Do That Again (Columbia/Sony), arriving at No. 3, for his first ARIA Albums Chart entry. The U.S. singer and songwriter also appears at No. 10 on the national singles chart with 2024’s “Earrings,” unchanged at No. 10.

Fresh off their induction into the ARIA Hall of Fame on Thursday evening (June 11), Vika & Linda have the week’s best-selling homegrown release with Where Do You Come From? (Mushroom Music), the sister act’s ninth studio album. It’s new at No. 11, for their fifth top 10 appearance, a tally that includes a No. 1 with 2020’s career retrospective Akilotoa (Anthology 1994-2006).

“We thought this week couldn’t get any better. It’s ended with a bang,” the Bull sisters comment in a statement. “We’re blown away by the response to our new album ‘Where Do You Come From?’, thank you to everyone who got it to No. 1. We feel very lucky to have a wonderful team who have worked incredibly hard.”

Further down the list, Newcastle, New South Wales indie rock band Rum Jungle swings into the chart at No. 19 with the indepedently-released Marginalia, the followup to their top 10 release from 2025, Recency Bias.

Also, Freye Skye (Stardust at No. 21 via Hollywood Records/UMA), Pink Floyd (8-Tracks at No. 22 via Legacy/Sony), The Pretty Littles (Mulga Wire at No. 36 via CMI) and Vince Staples (Cry Baby at No. 37 via Universal) parachute into the top 40.

Paul McCartney’s latest studio album, The Boys of Dungeon Lane, debuts in the top five on six Billboard charts (dated June 13), including a No. 1 arrival on Top Album Sales, Vinyl Albums and Indie Store Album Sales. The set also launches at No. 2 on Top Rock Albums, No. 2 on Top Rock & Alternative Albums and No. 5 on the overall Billboard 200.

The Boys of Dungeon Lane marks the 22nd top 10 for McCartney on the Billboard 200, inclusive of his solo top 10s and his albums with Wings. The Beatles, of which McCartney is a member, has 32 top 10s. The Fab Four scored its first top 10 on Feb. 8, 1964 with Meet the Beatles!

McCartney landed his first solo Billboard 200 top 10 more than 56 years ago, with his McCartney album on the May 16, 1970-dated chart. A living soloist last logged a longer top 10 span on the Oct. 16, 2021-dated survey, when Tony Bennett’s Love for Sale, with Lady Gaga, debuted at No. 8. It gave the then-95-year-old Bennett a 59-year top 10 stretch, dating to I Left My Heart in San Francisco in October 1962.

The Boys of Dungeon Lane earned 63,000 equivalent album units in the United States in its debut frame (week ending June 4), according to Luminate. The album’s sales (59,500) were bolstered by its availability across 18 physical variants, including more than 10 vinyl editions. Vinyl purchases accounted for 32,000 of the album’s opening-week sales.

All Billboard charts dated June 13 will be posted in full on Billboard‘s website on June 9.

McCartney earned his first solo Billboard 200 top 10 a little over 56 years ago, when McCartney rose 14-3 on the May 16, 1970-dated chart; it peaked at No. 1 a week later (May 23, 1970).

Breaking down McCartney’s 22 top 10s by decade: 10 in the 1970s, two in the 1980s, one in the ‘90s, four in the 2000s, three in the ‘10s and two in the 2020s.

McCartney is among a handful of acts with at least 20 top 10-charting albums on the Billboard 200, from March 24, 1956, when the list began publishing on a regular, weekly basis, through the new, June 13, 2026-dated chart.

Here’s an updated leaderboard of acts with at least 20 top 10s on the Billboard 200:

Most Billboard 200 Top 10s:
38, The Rolling Stones
34, Barbra Streisand
33, Frank Sinatra
32, The Beatles
27, Elvis Presley
23, Bob Dylan
23, Madonna
22, Elton John
22, Bruce Springsteen
22, Paul McCartney/Wings
21, George Strait
20, Drake
20, Prince

Notably, the Kidz Bop Kids music brand has collected 24 top 10s, in 2005-16, with its series of kid-friendly covers of hit singles. The franchise’s early albums were performed mostly by anonymous studio singers, although later releases focused on branding named talent.