USA
Billboard Report (excerpt)
Drake's 'Iceman' remains a third week at no.1
Tuesday, June 9, 2026
by Keith Caulfield & Gary Trust, Los Angeles

Drake's Iceman spends a third week at No. 1 on the Billboard 200 albums chart (dated June 13), earning 171,000 equivalent album units in the (down United States in the week ending June

424%), according to Luminate. Of Drake’s 15 No. 1 albums, Iceman is now one of five to spend at least three weeks at No. 1, and his first with three weeks at No. 1 since Certified Lover Boy spent five weeks in the lead in 2021. The Drake album with the most weeks at No. 1 is Views, with 13 weeks in 2016. Of Iceman’s 171,000 equivalent album units earned in the latest tracking week, SEA units comprise 170,000 (down 24%, equaling 174.42 million on-demand official streams of the set’s tracks; it spends a third week at No. 1 on Top Streaming Albums), album sales comprise nearly 1,000 (down 50%) and TEA units comprise the remainder (down 29%). A trio of former No. 1s follow Iceman, as... Ella Langley’s Dandelion is a non-mover at No. 2 (93,000 equivalent album units earned, up 1%), Morgan Wallen’s I’m the Problem rises 4-3 (83,000, up 4%) and Noah Kahan’s The Great Divide falls 3-4 (78,000, down 7%). Paul McCartney’s The Boys of Dungeon

Lane debuts at No. 5 on the Billboard 200, with 63,000 equivalent album units earned. Of that sum, album sales comprise 59,500 (it debuts at No. 1 on Top Album Sales), SEA units comprise nearly 3,500 (equaling 3.33 million on-demand official streams of the set’s tracks) and TEA units comprise the remainder. First-week sales were bolstered by the album’s availability across 18 physical variants, including more than 10 vinyl editions. The Boys of Dungeon Lane marks the 22nd top 10 for McCartney, inclusive of his solo top 10s and his albums with Wings. The new set was led by the single “Days We Left Behind,” which peaked at No. 22 on the Adult Contemporary airplay chart in April. Michael Jackson’s former No. 1 Thriller is next on the Billboard 200, falling one spot to No. 6 with 61,000 equivalent album units (down 5%), while Michael Jackson’s greatest hits collection Number Ones slips 6-7 (56,000, down 7%). Morgan Wallen’s former leader One Thing at a Time climbs 11-8 with 42,000 (up 3%). Pop group Aespa notches its third top 10 as Lemonade arrives at No. 9 with 41,000 equivalent album units earned. Of that sum, album sales comprise 34,500 (it debuts at No. 2 on Top Album Sales), SEA units comprise 6,500 (equaling 6.73 million on-demand official streams of the set’s tracks) and TEA units comprise the remainder. First-week sales of the album were aided by its availability across more than 20 CD variants, including signed editions, with many containing collectible items such as photocards, stickers and posters, with some items randomized. Closing out the top 10 of the latest Billboard 200 is Drake’s Habibti, which falls 7-10 with nearly 41,000 equivalent album units (down 24%). Ariana Grande’s “Hate That I Made You Love Me” bounds in at No. 1 on the Billboard Hot 100, becoming the pop superstar’s milestone 10th career leader on the chart. She ties for the 10th-most No. 1s over the survey’s history. The song previews Grande’s eighth studio album, Petal, due July 31. “Hate That I Made You Love Me,” on Republic Records, totaled 23.6 million official streams, 18.9 million radio airplay audience impressions and 70,000 sold in the U.S. from its May 29 release through June 4; its official video premiered June 1. The single debuts at No. 3 on the Streaming Songs chart; No. 25 on Radio Songs; and No. 1 on Digital Song Sales, with 55,000 of its overall sales from downloads. The song was available for digital purchase via seven options: its original version and its “Ari lyric draft from bed,” “bad news montage,” “live from rehearsal,” “melody pass,” a cappella and instrumental mixes. Its physical versions up for purchase encompassed “dandelion white” and “fluffy tail gray” cassettes and 7” vinyls and a cappella and instrumental CDs. Plus, its original and “bunny hop montage” versions were posted to streaming services. In addition to being Grande’s 10th Hot 100 No. 1, “Hate That I Made You Love Me” is her 24th top 10. She last added to her total in December 2024 with “Santa Tell Me”; her 2014 carol hit a No. 5 best this past holiday season. Ella Langley’s “Choosin’ Texas” holds at No. 2 on the Hot 100 following 10 weeks at No. 1, beginning in February. Plus, Langley’s “Be Her” dips 3-4 on the Hot 100 after reaching No. 2, and her “I Can’t Love You Anymore,” with Morgan Wallen, jumps 13-9 after it debuted at its No. 7 high. Drake claims two songs in the Hot 100’s top 10: “Janice STFU” falls to No. 3 after spending its first two weeks on the chart at No. 1, and “Shabang” slides to No. 8 after logging its first two weeks at No. 4. “Janice STFU” adds a third week at No. 1 on Streaming Songs (26.7 million, down 15%). Olivia Dean also charts two songs in the Hot 100’s top 10: “Man I Need” (10-6, after peaking at No. 2) and “So Easy (To Fall in Love)” (steady at No. 7, after reaching No. 5). Bruno Mars’ “I Just Might” pushes 8-5 on the Hot 100 after three weeks at No. 1 between January and March. It tops Radio Songs for a 16th week (70.5 million, up 2%). Rounding out the Hot 100’s top 10, Tame Impala and Jennie’s “Dracula” returns to its No. 10 high, from No. 14.

Record Of The Month
'Fever Dream' by Alex Warren is his new smash and the first sign of a new album?

United Kingdom
Music Week Report (excerpt)
'Rein Me In' remains at no.2
Monday, June 15, 2026
by Alan Jones, London
 
Tay story: Taylor Swift swoops to score the seventh No.1 single of her career, and second of the year with I Knew It, I Knew You. Taken from the upcoming Toy Story 5 soundtrack, the track racks up first week consumption of 52,434 units (5,084 CDs, 4,372 digital downloads and 42,978 sales-equivalent

streams), and follows earlier Swift chart-toppers Look What You Made Me Do (2017), Anti-Hero (2022), Is It Over Now? (Taylor’s Version) (2023), Fortnight (feat. Post Malone, 2024), The Fate Of Ophelia (2025) and Opalite, No.1 just 17 weeks ago. A return to her roots, it is her first No.1 with a song which could be described as country, and the first in the genre by any artist since February 2024, when Texas Hold ‘Em topped the chart for Beyoncé. Swift co-wrote all of her No.1s, five of them with producer Jack Antonoff, including IKIIKY. It is the sixth of her No.1s to debut at the summit – only Opalite didn’t. Discounting the Post Malone collaboration, that means she has had five solo songs debut at No.1, equalling the record for a female artist set by Madonna in 2006 and equalled last week by Ariana Grande, whose Hate That I Made You Love Me now slips 1-3 (36,301 sales). All of Swift’s No.1s except the first have occurred in the 2020s, putting her equal with Ed

Sheeran as the artist with most No.1s so far this decade. Number two for the second week in a row, and fourth time in total on consumption of 42,116 units, Rein Me In glides into triple platinum territory (1,823,708 sales) for Sam Fender & Olivia Dean. Its consumption was down 7.33% week-on-week to its lowest level for 17 weeks, and if its streaming performance is both negative and worse than the market next week it will finally pass into ACR, which would definitely stop it from adding to the 13 weeks it has spent at No.1 and likely bring down the curtain on its Top 10 residency. For the record, it has now spent a total of 34 weeks in the Top 10 and 51 consecutive weeks in the Top 40. There is food for thought in the fact that although no song has spent longer at No.1 or in the Top 40 in the 2020s, 180 songs have achieved consumption of 1.8m units in the survey period ahead of it, thanks to the accumulative nature of streaming points over a longer period of time, with records like The Night We Met, a 2015 song that peaked at No.75 in 2023 for Los Angeles indie group Lord Huron; No Role Modelz, an uncharted J Cole track; and The Neighbourhood’s Sweater Weather – No.49 in 2014 but uncharted since – above it in the rankings. The rest of this week’s Top 10: The Cure (3-4, 31,040 sales) by Olivia Rodrigo, Billie Jean (5-5, 30,374 sales), Janice STFU (4-6, 27,048 sales) by Drake, Dracula (6-7, 25,551 sales) by Tame Impala, Beat It (9-8, 24,733 sales) by Michael Jackson, Midnight Sun (8-9, 24,391 sales) by Zara Larsson and Go (7-10, 24,018 sales) by The Chemical Brothers. Overall singles consumption is down 0.40% week-on-week to 31,531,973 units, 1.79% above same week 2025 sales of 30,976,584 units. Paid-for sales are down 1.17% week-on-week at 278,165, 3.52% below same week 2025 sales of 288,317. Eleven weeks after the title track peaked at No.72 on the singles chart, Niall Horan’s album, Dinner Party, earns the 32-year-old Irishman from Mullingar his third No.1 long-player, debuting in pole position on consumption of 28,121 units (11,549 CDs, 8,620 vinyl albums, 5,464 cassettes, 431 digital downloads and 2,057 sales-equivalent streams). Horan co-wrote all 12 songs on the 36-minute album, his fourth solo release, following Flicker (No.3, 2017), Heartbreak Weather (No.1, 2020) and The Show (No.1, 2023). It secures the biggest first week tally of Horan’s solo career, surpassing the 26,937 units achieved by The Show on debut three years ago this week. Despite its fast start, The Show has lower overall consumption than prior Horan albums, with a to-date tally of 90,148 units, compared to Heartbreak Weather’s 175,445 and Flicker’s 237,569. Rising to fame on The X Factor as a member of One Direction when just 17, Horan had four No.1 albums as part of the boy band, all of whose surviving members – following the 2024 death of Liam Payne - have already issued a new album this year, and the second – matching Styles – to have three solo No.1s. Dinner Party’s coronation follows How Did We Get Here?, No.1 in January for Louis Tomlinson on marginally higher first week consumption of 28,416 units; Kiss All the Time: Disco, Occasionally, No.1 in March for Harry Styles on first week consumption of 183,045 units (the most of any album this year); and Konnakol, No.4 in April for Zayn (Malik) on first week consumption of 12,475 units. Styles’ album is No.2 for the year (312,523 sales), Tomlinson’s is No.125 (40,811 sales) and Malik’s is No.438 (17,048 sales). Together since 2019, Birmingham indie/rock quartet Overpass have been generating rave reviews for some time, so it is no surprise to find their full-length debut album, Elsewhere Always making a significant first impression on the chart. Debuting at No.5 (10,060 sales), it’s an incendiary 10-song introduction to the band – singer and guitarist Max (Newbold (23), bassist India, Armstrong (23), guitarist Elliot Rawlings (23) and drummer Jake Bishop (24) - all of whom co-wrote every song on the album. Veteran actor Jeff Goldblum’s late blossoming career as a jazz/MOR pianist fronting the fictitious Mildred Snitzer Orchestra continues to flower, with fourth set, Night Blooms debuting at No.9 (7,486 sales) to become the 73-year-old's highest charting set. His first album, The Capitol Studios Sessions, peaked at No.26 in 2018; his second, I Shouldn’t Be Telling You This, reached No.20 in 2019, and his third, Still Blooming, reached No.10 last year. As well as new collaborations with Melody Gardot, Charlie Puth, Cynthia Erivo and Dodie, Night Blooms includes ‘late night session’ versions of some tracks from Still Blooming, and consists entirely of covers. None of Goldblum’s albums have made the Top 200 in his native America, though the first three, and probably Night Blooms too, have made the top five of the jazz album chart there. Just 13 when she and Ben Moody formed the band in 1994 in Arkansas, Amy Lee is still the lead vocalist, lead songwriter and keyboards player for Evanescence, whose sixth studio album, Sanctuary, debuts at No.10 (7,334 sales), becoming their fifth Top 10 album. The rest of the Top 10: The Essential (2-2, 24,279 sales) by Michael Jackson, Iceman (4-3, 10,964 sales) by Drake, The Art Of Loving (5-4, 10,206 sales) by Olivia Dean, Thriller (6-6, 8,687 sales) by Michael Jackson, The Great Divide (7-7, 8,074 sales) by Noah Kahan and 50 Years: Don’t Stop (9-8, 7,591 sales) by Fleetwood Mac. Overall album sales are down 1.52% week-on-week to 2,507,678 units, 0.99% below same week 2025 sales of 2,532,715. Physical product accounts for 291,042 sales, 11.61% of the total.