The longest continual run at No.1 for this decade occurs this week as "Stay" does just that, stays for an eleventh straight week atop the ARIA Singles Chart for Kid Laroi and Justin Bieber.
"Stay" holding for an eleventh week makes it the most consecutive weeks at the top for this decade, surpassing the eleven broken weeks from "Blinding Lights" for The Weeknd (10+1 weeks) and "Mood" for 24KGOLDN (4+5+2 weeks), plus the song is also now the second longest running No.1 song by an Australian Artist, trailing behind the 24 weeks achieved by Tones and I with "Dance Monkey" in 2019 and early 2020. Justin Bieber and Kid Laroi both claim the top two spots on the listing for 'Accumulated Weeks at No.1: 2020 Singles', with Justin now racking up 13 weeks and Kid Laroi 12 weeks.
The track "Stay" is also at No.1 this week in Norway (10th week), Canada (8th week), Sweden, The U.S.A. (both fifth week, returning to the top in the U.S. after two weeks off the top spot), Denmark, Finland, The Netherlands (all four weeks) and again atop the World Chart (6th week). The song loses its No.1 berth in New Zealand after ten weeks (#2 there), with it also at No.2 in Austria and Germany, No.3 in France (3rd week at that peak) and Switzerland, down to No.10 in both Portugal and Ireland and leaves the UK Top 10 this week, dipping down one spot to No.11.
Another new chart feat that this weeks No.1 song helps to achieve is that Justin Bieber has now amassed 42 weeks at No.1 in Australia from his eight chart-topping singles (lead & guest vocals), pushing him to 14th on the list for 'Accumulated Weeks at No.1: Singles (1940 to 2021)' to just surpass ABBA's 42 weeks from six No.1's, while Kid Laroi also moves up that listing, now at equal 73rd alongside Paul McCartney and Racey (12 weeks from 2 #1's). "Stay" is also now the equal tenth longest running No.1 of all time, tying with the two aforementioned 2020 tracks, plus "God's Plan" for Drake (2018), "Wannabe" by The Spice Girls (1996) Bryan Adams' "(Everything I Do) I Do it for You" (1991) and "Mull of Kintyre" by Wings (1978). If the song holds for another week, it will help give each decade of this century a 12 week running No.1 song, but we'll have to wait and see if that happens.
Ed Sheerann's "Bad Habits" remains at No.2 again this week, and for a song which has been in the Top 4 since the first week of July, it's hard to believe that the song still has NO sales certification, with this week now being it's tenth non-consecutive week in this chart position, plus his new entry from last week "Shivers" is down one spot to No.6, while holding for a second week at No.1 in both England and Ireland. Following at No.3 is another stable track, Elton John and Dua Lipa's Pnau remix of "Cold Heart", a third week at that peak, while in the UK this week the song climbs to No.2, his highest charted since August 2003's remix of "Are You Ready for Love" hit No.1 there.
Rapper and singer Lil' Nas X sees his debut album "Montero" enter at No.1 this week, with the album generating three Top 10 entries this week for the American, with his most recent single "Industry Baby" climbing two spots this week to land at a new peak of No.4, along with achieving ▲Platinum in sales too, while it lands it's first week at No.1 in New Zealand (as too does his LP). Nas X also debuts at No.7 with the fourth issued track from the album "That's What I Want", becoming his fourth Top 10 entry in Australia, while his album's title track "Montero (Call Me By Your Name)" rebounds ten places this week to land at No.9 and 13th week within the Top 10.
Last week the Glass Animals track "Heat Waves" rebounded from No.10 to No.4, thanks in part to their 'Dreamland' album being reissued with seven remixes of the song, which this week is back down one spot to No.5 and landing a 34th week within the ARIA Top 10 Singles, still the third longest of all time in Australian Chart history, with the second longest tally within this weeks Top 10 going to "Good 4 U" by Olivia Rodrigo and 18 weeks, the song stable at No.8, with the fifth and final non-Top-10-mover being "Beggin" for Måneskin at No.10.
UP: TOP 20: Doja Cat again has three songs within the Top 20 this week, two dropping and one stable in "Kiss Me More" at No.14, which is newly 3x▲Platinum in sales, followed by a one place rise to No.15 for Dua Lipa's "Levitating", while last week's new entry for The Anxiety and "Meet Me at Our Spot" jumps up ten places to land at a new peak of No.17. TOP 30: no climbers here. TOP 40: Tom Grennan's "Little Bit of Love" is back up a spot to No.31 and now ▲Platinum in sales, with other Top 40 rises coming from "Love Tonight" by SHouse (HP-34, 40 to No.37) and thanks to it's TikTok viral status, last weeks returned track for Sam Smith and "Like I Can" rises two places to No.40.. TOP 50: Two songs from the lower fifty chart region leap into the Top 50 this week, firstly is UK rapper Central Cee with his track "Obsessed with You", which jumps up fifteen spots to land at a new peak of No.41 after debuting within the Top 100 at No.56 last week, while eight week-old T100 entry "Fancy Like" for American country-pop singer Walker Hayes jumps up eighteen spots this week to land at a new chart height of No.50, his first Top 50 placing here in Australia.
DOWN: TOP 20: The two Top 10 dropouts this week are Drake tracks, "Fair Trade" (HP-3, WI10-2) down three spots to No.12 and "Girls Want Girls" (HP-2, WI10-2) falling six to No.13, while he also falls five places to No.18 with "Way 2 Sexy". Doja Cat dips one spot to No.16 with "Need to Know" and is down two spots to No.19 with her four week old entry "Woman", which is newly Gold (●) in sales. TOP 30: Kanye West falls ten places to No.22 with "Hurricane'', his highest placed of two Top 50 entries this week, while Drake is down to four Top 50 tracks, with his next dropping entry being "Knife Talk'' (18 to No.26). Kid Laroi's "Without You" with Miley Cyrus is down one place to No.24 and newly certified as 5x▲Platinum, followed by a three place drop to No.25 for "2055" by Sleepy Hallow, and a five place slide to No.30 for Clinton Kane with "I Guess I'm in Love''. TOP 40: Ed Sheeran's "Visiting Hours'' drops eight spots to No.32, with the fourth and final Top 50 entry for Doja Cat this week being a three place drop for "Get into it (Yuh)", with the only other three place drop within the Top 40 occurring for Justin Bieber's "Peaches" to No.38. TOP 50: Olivia Rodrigo is down into the Top 50 with "Traitor" (37 to No.42) and "Driver's License" (41 to No.45), with "Dreams" for Fleetwood Mac dipping four spots to No.43, and last week's Top 50 entries for Bella Taylor Smith with "Higher" (#31) and Drake's "Champagne Poetry" (#29) both departing from this weeks top fifty songs.
FURTHER NEW ENTRIES: * #7 - That's What I Want by Lil' Nas X (Columbia)
* #23 - Love Nwantiti (Ah Ah Ah) - CKay (Warner South Africa) is the first entry for the Nigerian singer songwriter born Chukwuka Ekweani who is now based in Lagos since 2014, with this song going viral around the world since mid-year, and now Australia is taking up the track, which has so far reached No.2 in The Netherlands, No.3 in Norway and Top 10 in Ireland, England (both #9 TW), Sweden (#7), and Switzerland (#6). I think the song has an interpolation of "Just the Two of Us" by Grover Washington Jr. and Bill Withers (1980), but that could just be my ear picking things up, what do you think (I hear it in the start of the song as the loop).
* #28 - Wildest Dreams (Taylor's Version) - Taylor Swift (Republic) was originally featured on her 2014 album "1989" (TW-25) and was issued this past fortnight after trending on TikTok, so she re-issued her 'Taylor's Version' of the song. While she is also set to re-issue another of her studio albums on November 19th, 2021 in the redone "Red" album, originally released in 2012. Last edited:
The first studio album for American rapper and singer Lil' Nas X titled "Montero" debuts at No.1 on the ARIA Albums Chart this week.
"Montero" becomes the 926th No.1 Album in Australia (1965 to 2021), the 776th for ARIA (1983 to 2021), the 26th chart-topping album for 2021, the 562nd to debut at No.1 and the 51st for the record label Columbia, and their second for this year after Kid Laroi topped the chart for a week on February the 8th, plus the album debuts at the top in New Zealand (where he also gains the No.1 singles spot with "Industry Baby"), and Ireland, while it was 500 sales shy of the top spot in England, landing at No.2 behind a rebounding Drake to their top spot.
This is also the fifth overall rap/hip-hop album to hit No.1 this year, and the third in a row after Drake (2 weeks from September 13th) and Kanye West (1 week on September 6th), with the other two being the aforementioned Kid Laroi in February and Illy on January 25th. It's now the first time that the word 'Montero' has appeared in a No.1 album title, matching the No.1 position his album's lead single achieved on April 26th and May 3rd, with that song jumping back to up No.9 this week, while he has two further Top 10 entries in the albums third release "Industry Baby" (TW-4) and fourth new single "That's What I Want" (debut TW-7), while the album also saw "Sun Goes Down" reached No.82 on May 31st.
This new No.1 album becomes the 326th by an American Artist to hit No.1 in Australia (solo male or female, duo or group), and the seventh for 2021, while Lil' Nas X is the 161st American Act to make it to the top of the Aussie Album Charts. For Solo Male Artists (local or overseas) his album is the 265th to hit the top here (9th for 2021), and for America Solo Male performers he is now the 53rd to achieve a No.1 album locally.
Local sister duo Vika and Linda (Bull) see their seventh studio album titled "The Wait" enter at No.2 this week, giving the pair their third Top 2 album in the past two years, as they hit No.1 on June 22nd, 2020 with their collection "Akilotoa (Anthology 1994-2006)" and then No.2 on September 21st, 2020 with their covers album "Sunday (The Gospel According to Iso)", while overall this is their sixth albums chart entry and their fourth Top 10 album in Australia, as their self-titled debut set made it to No.7 upon entry in June of 1994.
Drake departs the top spot with "Certified Lover Boy" after two weeks, while the set remains for a second week in both America and Canada and regains the UK top spot for a second time this week. This is followed by three single place dropping albums in "SOUR" for Olivia Rodrigo, "Planet Her" for Doja Cat and "Donda" by Kanye West to No.4, No.5 and No.6 respectively, while holding at No.7 is the Kid Laroi sets for "F**k Love", logging it's 40th week in the Top 10 and achieving ▲Platinum, seven months after it scored Gold in sales (Feb. 8th, it's #1 week).
The third and final Top 10 debut this week is the first studio album for Canadian heavy metal act Spiritbox with "Eternal Blue" coming in at No.8, lead by husband and wife Courtney LaPlante (vocals) and Mike Stringer (guitarist), with the act having issued two previous EP's in 2017 and 2019. Rounding out the Top 10 this week are Billie Eilish with "Happier Than Ever", down one spot to No.9, and on hold at No.10 is "Future Nostalgia" for Dua Lipa, scoring the longest running Top 10 gong again this week at 47 weeks within the ten.
UP: TOP 20: Justin Bieber jumps back up five spots to land at No.11 with his "Justice" set, followed by The Weeknd's collection in "The Highlights" moving back up three places to No.12. After returning to the chart last week at No.23, the self-titled 1991 first No.1 set for Metallica is this week up six chart-rungs to No.17, and with Elton John lodged within the Top 3 on the singles chart with "Cold Heart" alongside Dua Lipa, his "Diamonds" collection is back up this week to No.18. TOP 30: Both Luke Combs albums rise back up within the Top 30, second set "What You See..." is up three to No.21 and his first "This One's for You" moves back up to No.29. Fleetwood Mac's "Rumours" and Maroon 5's "Singles Collection" both rebound four spots to No.22 and No.23 respectively, while a new 'Taylor's version' song in "Wildest Dreams" (from '1989' originally) enters at No.28 this week, she has two of her three rising albums land within the Top 30 in "folklore" (30 to No.24) and "1989" (34 to No.25). After hitting it's lowest chart position last week, this week the Billie Eilish set "When We All Fall Asleep..." is back up one place to No.28. TOP 40: The Cold Chisel 'Best of - All for You' collection rebounds twenty-one spots to land back at No.36, while last week's new entry for Gurrumul and "The Gurrumul Story" rises three spots this week to hit a new peak of No.37, followed by an eight place rebound to No.38 for the self-titled Dua Lipa set. TOP 50: Ed Sheeran's last album "No.6 Collaborations Project" is back up four places to No.41, while the Arctic Monkeys' "AM" album jumps back up nineteen places this week to land at No.46, with the third and final Top 50 returning album being "evermore" for Taylor Swift, back up twenty-three places to No.50.
DOWN: TOP 20: The first of three Top 10 dropouts is the Iron Maiden set "Senjutsu" (HP-3, WI10-2), which slid nine places this week to No.15 and is the only major falling album within this chart region. TOP 30: After two weeks back within the Top 20 thanks to his mentorship on The Voice, Guy Sebastian drops down this week nine places to No.26 with "T.R.U.T.H.", followed by a seven place slide to No.27 for the latest Lorde set "Solar Power". TOP 40: The second and final Top 10 dropout to land within the Top 50 this week is last weeks No.2 entry for Amyl & The Sniffers with "Comfort to Me" (HP-2, WI10-2), which tumbles down thirty-seven places to land at No.39. TOP 50: The self-titled Harry Styles album is back down five places to No.44, followed by the latest Halsey set "If I Can't Have Love, I Want Power", which falls seventeen places to No.45. Last week entries to fall hard this week include new entries for Kasey Musgrave (#9), Steps (#11), Pist Idiots (#12) The Black Sorrows (#14), Baby Keem (#21) Drapht (#22) and the recent No.2 set for Bliss N' Eso and "The Sun" (#25).
FURTHER NEW ENTRIES: * #1 (LP#1) - Montero by Lil' Nas X (Columbia)
* #2 (LP#7) - The Wait by Vika & Linda (Bloodlines)
* #8 (LP#1) - Eternal Blue by Spiritbox (Pale Chord/Rise Records)
* #13 (LP#7) - Studios 301 Sessions by Lachy Doley (All the Stops) is the second solo album for Adelaide born Lachlan Doley, while he also issued five studio and two live sets as the Lachy Doley Group, of which their fourth album "Lovelight" reached No.40 in late January of 2017, while Lochy's last studio album "Double Figures" made it to No.76 in October of 2020, with this new set not only his third albums chart entry but now his highest charted.
* #16 (LP#3) - Sticker - The 3rd Album by NCT 127 (SM Entertainment) is the third Korean language album for the South Korea nine piece boy band formed in 2016, with this new album becoming their sixth No.1 in their homeland this past week.
* #20 (Boot#14) - Springtime in New York: The Bootleg Series Vol.16 (1980-1985) by Bob Dylan (Columbia) is the fourteenth in Bob's 'Bootleg' series (first issued was titled 'Volumes 1 to 3') and the eleventh to land within the Top 50 in Australia, with his Vol.15 from November of 2019 landing one place lower than this week's entry, coming in at No.21, while this new set equals the 'Bootleg' series' highest previous charted edition, September 2013's 'Vol.10', which debuted and peaked at No.20 too.
* #30 (LP#4) - As Long As it's Not us by Lachland Bryan & The Wildes (Social Family) is the fourth studio album for the Melbourne alt-country act, their second chart entry and this new set is their first new material since September 2015's "The Mountain", while back in April of this year the group debuted and peaked at No.38 with their first live album and chart entry "Nearest Misses".
* #34 (LP#2) - White Heat by Natalie Henry (Beverly Hillbilly Records/MGM) is the second album and first chart entry for the Newcastle artist, with the country singer's first release being 2019's "Apple and Pride", while this new set is issued via Catherine Britt's record label, plus Natalie is her first signed act.
New Certifications: Singles; Industry Baby by Lil' Nas X feat. Jack Harlow ▲ Kiss Me More by Doja Cat feat. SZA ▲3 Woman by Doja Cat ● Without You by Kid Laroi feat. Miley Cyrus ▲5 Little Bit of Love by Tom Grennan ▲
Album; F**k Love / F**k Love 2: Savage / F**k Love 3: Over You by Kid Laroi ▲
Extra single: Rapsutin - Majestic x Boney M ▲
*ARIA Chart info is based on sales for the week from the 17th to the 23rd of September, 2021.
Warner and UMA are so bad with certs. I actually emailed them to make the observation that there’d been no change with Dua Lipa (among others) certs for ages. They never even responded - rude! Haha - but oddly enough Dua’s (and others’) certs were suddenly updated two weeks later. I like to think I was responsible for it LOL. Maybe I should email them again? 🤣🤣🤣
Thanks tina and I.E., I sometimes put those statements like "still not certified" into my chartifacts because I know that they get sent out to most of the record companies, and if they see that I notice that they're not doing their job, it usually gets updated in the following weeks.
Let's see if it works this time around, unless Warner are gonna update Ed's stuff prior to his new release in November, 'cos No.6 Project is still Gold after over two years of charting!!
Hey Tina I'm gonna reply to your post from the other thread in this one (just to keep the threads in order)
I don't especially have a lot of info on hand, just historical charts and my own observations from obsessively watching iTunes charts back in the day and now Spotify charts. I think you're somewhat on the money about the secrecy. I actually remember the first time I saw actual figures around 2009 and I was shocked at how low they were. Like you build up this image of all-conquering smash hits but really only about 10,000 people bought the single then in our country of over 20,000,000. But as well as that, once you publicise these numbers it gets a lot easier to exploit them. The UK still get odd charity/novelty singles go to #1 because it's not too hard to rally around the needed number of people to buy into it, and they also have publicised mid-week data that shows 'hey, this thing is working!' to keep up the momentum. Or lately in the US, BTS fans have cracked the Hot 100 data so precisely (in part because it's so scrutinised online) that they know exactly how many copies they need to sell to hold the #1 spot beyond a sensible timeframe of weeks. If people knew how little it took to get to #1 in Australia (or just on the chart), we'd see the chart invaded in similar ways.
My issue with the single/non-single distinction is that it always feels arbitrary to me. It only took me about a year of being really into music to realise that rather than waiting for a single release to realise I've owned a undiscovered gem on an album (I remember doing this with MCR & The Killers in 2006), I could just actually listen to the whole album myself and work out which songs I liked myself. I guess I can see the appeal in drawing stuff out like this but I feel like streaming in the chart has opened up the reality of how people actually consume music. Often when songs are hits long after album release nowadays it feels super label forced. "Watermelon Sugar" or "Perfect" might be exceptions because they were literally sitting on the chart while not being a single just waiting for the push, but as was mentioned before, "Levitating" has been so aggressively pushed as a hit for the last 12 months that nothing about it feels 'organic'.
A funny thing about self-selecting of tracks, or user generated playlists is that they might represent an ideal of the chart theoretically, but in reality they'd likely drag the chart to an even bigger halt as new music just cannot break through. After all, though Spotify's own Hot Hits or Today's Top Hits playlists might hang onto some songs for a little too long, they *do* cycle songs out eventually. I think a lot of people make their own playlists as a sort of personal library, like some of us still have on iTunes: they never remove songs! And the moment that someone stops listening to new music is the moment that they become one of the anchors to the chart. Songs like "Blinding Lights" stay on the chart so long because there are people for whom that's their newest song. Maybe they'll eventually listen to "STAY" or "good 4 u", but for now they're content with their 'fave tracks' last updated Jan 2020 playlist.
Certification balance is actually a really curious topic. I actually struggle to think of what era of the chart is most unbalanced because as we traverse the 2010s, digital sales get really high and then get supplanted by streams. These streaming numbers don't match digital heights for the top of the chart (One Direction's "Live While We're Young" probably sold more in its debut at #2 than "STAY" has sold in the last 4 weeks combined), but they come with the promise of long term pay off (for instance the example with "Uptown Funk" I had before). Like, I couldn't possibly say that certifications are ridiculous now when Adele's "Hello" which spent only 13 weeks in the top 10 sold more in its first year of shelf life than Glass Animals' "Heat Waves", which has spent 9 months and counting in the top 10. I actually think streaming certifications are a great equaliser because these vintage singles can still rack them up (provided they're updated). "Mr. Brightside" is now 12xPlatinum but I'm not sure it even did enough to go gold when it was initially a charting hit, and I'm sure "Dreams" could post a similarly impressive figure (though maybe no one can possibly do the maths to work out what it should be :p)
The charts being a demographic melting pot is a nice ideal but the problem is that it's all deemed by popularity, so with a lot of people aging out of music who stop listening to it, and more importantly kids having more time to stream music, we get what we have. That being said, streaming services are having a slowly aging audience which is seeing more and more old singles crack the chart. Nonetheless though I find streaming to be a great equaliser on the chart because I think it represents the population much more than sales ever did. Apart from people on chart websites like this, I've literally never met another person who pays for music. I only really do it because I hardly spend money on anything but it's kind of a weird luxury (no disrespect to collectors and whatnot), especially as someone who grew up in a semi-regional town. Which of course circles back to the first paragraph: of course sales numbers are so low, because most music fans never purchase CD singles or digital tracks. Conversely though, Olivia Rodrigo was having her biggest hits get over 3 million streams in a single week, which even when you account for repeat listens, feels like a more appropriate number to take as a democratic representation of popular music. Last edited: