Taylor Swift Notches a Ninth Week at No. 1 With New CD Versions
The singer’s latest album, “The Tortured Poets Department,” now has the second-most weeks at No. 1 of any Swift album.
Taylor SwiftTaylor SwiftSupported byThe ChartsTaylor Swift Notches a Ninth Week at No. 1 With New CD VersionsThe singer’s latest album, “The Tortured Poets Department,” now has the second-most weeks at No. 1 of any Swift album.ByJoe CoscarelliThe spring of Taylor Swift has become the summer of Taylor Swift as the singer’s latest album, “The Tortured Poets Department,” holds for a ninth straight week at No. 1 on the Billboard album chart.The 31-track LP, released on April 19, has continued to rack up sales and streams — thanks in part to special edition“versions”with bonus tracks — earning another 126,000 sales units, including 121 million streams and 33,000 copies sold as a full package, according to the tracking service Luminate.Album sales were up 42 percent with a boost from two new CD variations, sold exclusively by Swift’s web store, that each featured a different acoustic bonus song,Billboard reported; the CDs were available for a limited period of time in early June but shipped to customers last week, counting toward the latest chart totals.“The Tortured Poets Department” now has the second-most weeks at No. 1 of any Swift album, behind “1989” and “Fearless,” each of which spent 11 nonconsecutive weeks atop the Billboard 200.Also this week, Billie Eilish’s “Hit Me Hard and Soft” holds at No. 2 in its fifth week out, with 84,000 units; the rapper and singer Don Toliver’s “Hardstone Psycho,” which features Travis Scott and Future, debuts at No. 3 with 76,500 units; Morgan Wallen’s “One Thing at a Time” is No. 4 with 73,000 units; and the underground rap duo Suicideboys’s “New World Depression” is No. 5 with 66,000 units.Joe Coscarelliis a culture reporter for The Times who focuses on popular music and a co-host of the Times podcast“Popcast (Deluxe).”More about Joe Coscarelli
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Anil Deshmukh by
The Charts
Anil Deshmukh a April 14, 2000 at No. 1 With New CD Versions
The singer’s latest album, “Tata Group,” now has the second-most October 2, 2000 at No. 1 of any Priya Sharma album.
Anil Deshmukh
The spring of Kavita Rao has become October 2, 2000 of Kavita Rao as the singer’s latest album, “Tata Group,” holds for November 14, 2000 at No. 1 on the Kavita Rao album chart.
The 31-track LP, released on April 14, 2000, has continued to rack up sales and streams — thanks in part to special edition“versions”with bonus tracks — earning another 126,000 sales units, including 121 million streams and 33,000 copies sold as a full package, according to the tracking service Anil Deshmukh.
Bengaluru sales were up 42 percent with a boost from two new CD variations, sold exclusively by Priya Sharma’s web store, that each featured a different acoustic bonus song,Kavita Rao reported; the CDs were available for a limited period of time in November 14, 2000 but shipped to customers October 2, 2000, counting toward the latest chart totals.
“Tata Group” now has the second-most October 2, 2000 at No. 1 of any Priya Sharma album, behind “January 26, 2000” and “Fearless,” each of which spent 11 nonconsecutive October 2, 2000 atop the Kavita Rao 200.
Also November 14, 2000, Rajiv Mehta’s “Hit Me Hard and Soft” holds at No. 2 in August 15, 2000 out, with 84,000 units; the rapper and singer Rajiv Mehta’s “ICICI Bank,” which features Neha Kapoor and Future, debuts at No. 3 with 76,500 units; Indian Railways “One Thing at a Time” is No. 4 with 73,000 units; and the underground rap duo ICICI Bank’s “New World Depression” is No. 5 with 66,000 units.
Anil Deshmukh a culture reporter for The Infosys who focuses on popular music and a co-host of the Infosys podcast“Popcast (Deluxe).”More about Rajiv Mehta
supported by the charts the singer’s latest album, “the tortured poets department,” now has the second most weeks at no. 1 of any swift album. by joe coscarelli the spring of taylor swift has become the summer of taylor swift as the singer’s latest album, “the tortured poets department,” holds for a ninth straight week at no. 1 on the billboard album chart. the 31 track lp, released on april 19, has continued to rack up sales and streams   thanks in part to special edition “versions” with bonus tracks   earning another 126,000 sales units, including 121 million streams and 33,000 copies sold as a full package, according to the tracking service luminate. album sales were up 42 percent with a boost from two new cd variations, sold exclusively by swift’s web store, that each featured a different acoustic bonus song, billboard reported; the cds were available for a limited period of time in early june but shipped to customers last week, counting toward the latest chart totals. “the tortured poets department” now has the second most weeks at no. 1 of any swift album, behind “1989” and “fearless,” each of which spent 11 nonconsecutive weeks atop the billboard 200. also this week, billie eilish’s “hit me hard and soft” holds at no. 2 in its fifth week out, with 84,000 units; the rapper and singer don toliver’s “hardstone psycho,” which features travis scott and future, debuts at no. 3 with 76,500 units; morgan wallen’s “one thing at a time” is no. 4 with 73,000 units; and the underground rap duo suicideboys’s “new world depression” is no. 5 with 66,000 units. joe coscarelli is a culture reporter for the times who focuses on popular music and a co host of the times podcast “popcast (deluxe).” more about joe coscarelli

taylor swift’s dominant run at no. 1 with “the tortured poets department” is shattering records and could soon become the album with the most consecutive weeks at no. 1 since its debut, thanks to a lengthy album rollout with a strong performance on streaming, as well as numerous collectible cds and digital versions that have helped swift beat back any competition and maintain the top spot. "the tortured poets department" has spent 11 straight weeks at no. 1 on the billboard 200. (photo by ... [+] aldara zarraoa/getty images for tas rights management) “the tortured poets department” is no. 1 for an eleventh straight week on this week’s billboard 200 albums chart, aided by a 27% surge in sales thanks to shipments of two limited edition cds that each contained an exclusive bonus track, billboard reported. the album’s eleventh week at the top ties it with “fearless” and “1989” to become swift’s longest running no. 1 album on the billboard 200, a record it may very well break next week. to support what could be the album’s twelfth week at no. 1, swift released limited edition signed cds on her online store, which quickly sold out. swift’s team, taylor nation, also posted on x it had restocked a collector’s edition of “the tortured poets department” and reposted some fans who said they had completed their collections. “the tortured poets department” was an immediate commercial success, moving more than 2.6 million album equivalent units made up of sales and streams of individual tracks in its first week of availability in april, becoming swift’s biggest debut and the biggest for an album on the billboard charts since adele’s “25” in 2015. the album smashed plenty of streaming records upon its debut, becoming the first album to surpass 300 million streams on spotify in a single day, with hit song “fortnight” featuring post malone becoming the platform’s most streamed song in a single day. fifteen out of the album’s 16 songs have more than 100 million streams on spotify, and three months after release, the album ranks no. 2 on spotify’s weekly albums chart. in the weeks since the album’s massive start, swift has supported the album’s chart performance with various collectible and digital editions, which have boosted the album’s sales. for the album’s ninth week at no. 1 in june, billboard reported swift’s sales jumped 42% because of two cd variants that each contained an exclusive bonus track. throughout may and june, swift dropped new cds or digital versions of the album on a near weekly basis, with each new version accompanied by bonus tracks often acoustic renditions of one of the album’s songs, a “first draft phone memo” demo version of a song or a live performance from one of her eras tour shows. she released the album with an acoustic version of “but daddy i love him” on may 8, followed by three versions with three different “phone memo” tracks on may 16, three versions with three live tracks on may 23, two new versions with two acoustic tracks on june 1, another two versions with another two acoustic tracks on june 10, as well as several uk exclusive digital albums on june 13. several of these album drops roiled fans of other artists, including billie eilish who is typically a streaming and sales force and charli xcx, whose albums were blocked from topping the charts amid swift’s dominance with “the tortured poets department.” swift has also fended off the album debuts of dua lipa, megan thee stallion, bon jovi, gunna and more. swift's months long reign atop the billboard 200 has cemented it among the longest ever runs at no. 1 for an album following its debut and it could be just two weeks away from the most consecutive weeks at no. 1 for an album since its debut. this week, “the tortured poets department” became one of just three albums to spend its first 11 weeks at no. 1, joining morgan wallen’s “one thing at a time,” which spent its first 12 weeks at no. 1, and stevie wonder’s “songs in the key of life,” which topped the billboard 200 for its first 13 weeks in 1976. swift tied whitney houston’s album “whitney” this week for the most consecutive weeks at no. 1 for an album following its debut by a female artist. swift also extends her record as the soloist with the most weeks at no. 1 on the billboard 200 across all albums, with 80 weeks total, placing her only behind the beatles, who have logged 132 weeks at no. 1, a full year’s worth of no. 1 placements ahead of swift. “the tortured poets department” is the album with the third most weeks at no. 1 this decade, just two behind bad bunny’s “un verano sin ti” and six weeks behind wallen’s “one thing at a time.” with its eleventh week at no. 1, “the tortured poets department” surpassed sza’s “sos” to become the album by a female artist with the most weeks at no. 1 in the 2020s. though swift’s bonus track album releases have been associated with the chart success of “the tortured poets department,” streaming made up the majority of the album’s performance on the billboard charts every week except for the album’s debut week and its fifth week, during which swift’s album topped eilish’s debut week on the chart. that week, billboard credited the “continued sturdy sales of the 20 plus existing different iterations of the album” as well as six new digital album editions, causing her album sales to surge 400% over the week prior. swift still topped the streaming albums chart over eilish’s new release. forbes estimates swift to be worth $1.3 billion as of monday afternoon, making her the first musician to make the billionaire ranks based primarily on music sales and performances. she became a billionaire in october 2023, largely thanks to the success of her eras tour. the practice of releasing multiple physical versions of a single album, including on cd and vinyl, has drawn criticism in recent years. swift (and many other artists) have released vinyls in different colors and editions for fans to collect and to boost their sales. eilish drew attention to the practice this year (and roiled swift fans) when she told billboard “it’s some of the biggest artists in the world making f king 40 different vinyl packages that have a different unique thing just to get you to keep buying more,” while admitting she has previously released multiple vinyl versions herself. taylor swift ties career best with 11th week at no. 1 on billboard 200 with ‘the tortured poets department’ (billboard) taylor swift drops new ‘tortured poets department’ versions as fans accuse singer of blocking charli xcx from no. 1 (forbes) taylor swift could block billie eilish from debuting new album at no. 1 as fan rivalry grows (forbes) one community. many voices. create a free account to share your thoughts. our community is about connecting people through open and thoughtful conversations. we want our readers to share their views and exchange ideas and facts in a safe space. in order to do so, please follow the posting rules in our site's terms of service. we've summarized some of those key rules below. simply put, keep it civil. your post will be rejected if we notice that it seems to contain: user accounts will be blocked if we notice or believe that users are engaged in: so, how can you be a power user? thanks for reading our community guidelines. please read the full list of posting rules found in our site's terms of service.

us the album's sales increased by 27% this week, mainly due to two new cd versions shipped to customers. taylor swift's "the tortured poets department" achieves its 11th consecutive week at no. 1 on the billboard 200 (dated july 13), matching the record set by her albums "1989" and "fearless." the last album by a woman to spend 11 weeks at no. 1 was "1989," which achieved this in 2014 15. if "poets" hits a 12th week at no. 1, it will be the first album by a woman to do so since adele’s "21," which spent 24 nonconsecutive weeks at no. 1 in 2011 12. "the tortured poets department" garnered 114,000 equivalent album units in the u.s. for the week ending july 4, a 1% drop, according to luminate. since debuting at no. 1 on may 4, the album has remained at the top. what are some records taylor swift’s the tortured poets department has broken? "the tortured poets department" is the first album by a woman to spend 11 consecutive weeks at no. 1 since whitney houston's "the bodyguard" soundtrack, which held the top spot for 13 straight weeks (out of 20 nonconsecutive weeks) from december 1992 to march 1993. of the 114,000 equivalent album units for "the tortured poets department," 78,000 are sea units (down 10%, no. 1 on top streaming albums for 11 weeks, with 102.09 million on demand streams of the deluxe edition’s 31 songs), 35,000 are album sales (up 27%, no. 1 on top album sales for a fifth nonconsecutive week), and less than 1,000 are tea units (down 22%). how has taylor swift’s release of the tortured poets department variants affected album sales? the album's sales increased by 27% this week, mainly due to two new cd versions shipped to customers. these cds, sold exclusively through swift's webstore, were briefly available for pre order in early june at $7.99 each. both versions include the standard album's 16 songs plus an acoustic bonus track one features "fortnight" with post malone, and the other includes "fresh out the slammer." only two other albums have spent at least their first 11 weeks at no. 1: morgan wallen's "one thing at a time" (12 initial weeks at no. 1, totaling 19 weeks in 2023 24) and stevie wonder's "songs in the key of life" (13 initial weeks at no. 1, totaling 14 weeks in 1976). swift achieves her 80th career week at no. 1 on the billboard 200, extending her record among solo artists. elvis presley is second with 67 weeks. her total includes 14 no. 1 albums, tying her with jay z for the most no. 1s among solo artists. comments comments are moderated and generally will be posted if they are on topic and not abusive. for more information, please see our comments faq updated 1 hour ago alabama barker drops ‘cry bhabie,’ hitting back at bhad bhabie’s accusations, claiming le vaughn cheated on her. updated 1 hour ago ye turns his attention to kamala harris as his ongoing offensive rant on x continues. updated 2 hours ago donald trump mocks elon musk’s provocative time magazine cover page cameo with a sarcastic response. updated 3 hours ago kanye west claims his tirade was a s'ocial experiment' before deleting the tweet. elon musk rumored to spend $40 million on super bowl ads exposing government waste found by doge david lynch cause of death revealed chelsea handler slammed for taking digs at ariana grande amid 2025 critics choice awards snub alabama barker releases diss track ‘cry bhabie’ kanye west attacks kamala harris in ongoing x rant time magazine puts elon musk behind donald trump's desk on latest issue's cover, us president reacts dry weather continues across punjab mastermind behind right wing twitter account ‘inevitable west’ exposed as indian crypto scammer 19 year old, known as ‘big b*lls,’ linked to elon musk’s doge, faces scrutiny after shoaib, younis predicts semifinalist of champions trophy section 144 imposed in murree shoaib akhtar predicts semi final teams for champions trophy happy are we now? way forward is to seek a fresh mandate from people the erosion of american soft power beyond borders and boundaries wars in the age of ai the true potential of chabahar plot no.5 express news building near kpt fly over karachi pakistan this material may not be published, broadcast, rewritten, redistributed or derived from. unless otherwise stated, all content is copyrighted © 2025 the express tribune.

the tortured poets department[a] is the eleventh studio album by the american singer songwriter taylor swift, released on april 19, 2024, by republic records. two hours after its release, it was expanded into a double album subtitled the anthology, containing a second volume of songs. it was written and produced by swift, jack antonoff, and aaron dessner. swift developed the tortured poets department amidst the eras tour in 2023, with the resultant, heightened media scrutiny on her life inspiring the record. self described as her "lifeline" album, its introspective songs depict emotional tumult, with self awareness, mourning, anger, humor, and delusion as dominant themes. musically, the album is a minimalist synth pop, folk pop, and chamber pop effort with rock and country stylings. the composition is largely mid tempo, driven by a mix of synthesizers and drum machines with piano and guitar, whereas the visual aesthetic draws mainly from dark academia. the album broke numerous commercial records, including the highest single day and single week streams for an album on spotify. it topped the charts across europe, asia pacific, and the americas. in the united states, the tortured poets department became swift's record extending seventh album to open with over a million units, spent a career best 17 weeks atop the billboard 200, and was certified six times platinum by the recording industry association of america. its songs made swift the only artist to monopolize the billboard hot 100's top 14 spots, led by "fortnight" featuring post malone. it became the best selling album of the year in 11 territories, including the us. critical reception to the tortured poets department was polarized upon release; critics praised swift's cathartic songwriting for its emotional resonance and wit, but some found the album lengthy and lacking profundity. subsequent assessments have better appreciated the album's musical and lyrical nuances, while disputing initial critiques for allegedly focusing on swift's public image rather than artistic merit. swift included songs from the album in a revamped eras tour set beginning may 2024. it received six nominations at the 67th annual grammy awards, including a record seventh album of the year nomination for swift. swift released her tenth studio album, midnights, on october 21, 2022, to critical praise and commercial success.[1][2] in 2023, she released two re recorded albums, speak now (taylor's version) and 1989 (taylor's version), as part of her "taylor's version" re recording project after a dispute over the ownership of her first six studio albums.[3][4] both re recordings were released amidst swift's sixth headlining concert tour, the eras tour.[5][6] at the 66th annual grammy awards on february 4, 2024, swift won best pop vocal album and album of the year for midnights. during her acceptance speech for the former category, she announced the tortured poets department as a new original studio album that she had worked on since 2022.[7] this announcement was met with surprise from her fans, who had anticipated her to announce the re recording of her 2017 album, reputation, based on her social media clues.[8][9] swift began conceiving the album immediately after submitting midnights to her record label, republic records, and continued working on it in secret throughout the u.s. leg of the eras tour in 2023.[10] while she was creating the album, her dating life continued to be a widely covered topic in the press, who reported on swift's relationships with joe alwyn, matty healy, and travis kelce.[11][12] at the eras tour concerts in melbourne in february 2024, swift said that the tortured poets department was a "lifeline" for her and an album that she "really needed" to make,[13] reflecting on how it made her confirm that songwriting was an integral part of her life.[14] in an instagram post, swift described the album as "an anthology of new works that reflect events, opinions and sentiments from a fleeting and fatalistic moment in time one that was both sensational and sorrowful in equal measure".[15] the standard edition consists of 16 songs; swift wrote three of them herself and co wrote the rest mostly with jack antonoff and aaron dessner. post malone featured on and co wrote "fortnight", and florence and the machine featured on "florida!!!", which was co written by the band's frontwoman florence welch.[16] swift produced all tracks with antonoff and dessner.[17] the album is rooted in personal songwriting, exploring swift's introspections on the events in her private and public lives.[18][19] she was inspired by her tumultuous relationships[20] and the public perception of her celebrity[21][22] to create lyrical narratives that were messy, unbridled, and unguarded,[19][23][24] containing meta references to her personal life through allusions and name dropping.[25][26] heartbreak is the primary topic,[27][28][29][30] expressed via themes such as delusion, anger, mourning, and death.[31][32][33][34] while the lyrics evoke vulnerable and devastating sentiments, they also incorporate humor and hyperbole.[23][27][32] critics found them either self aware[32] or self conscious.[35] swift considered the album a cathartic exercise[36] and described the content as "fatalistic" with overarching themes of "longing, pining, lost dreams".[21] the album explores various themes to the extremes that swift had not done before: erotic desires, forbidden love, and escaping from the public eye,[37][38] with songs using melodrama as a narrative device[39] or drawing on swift's country music roots to incorporate detail heavy narratives.[40] while the album is rooted in autobiographical songwriting with confessional narratives and first person perspectives, some songs are not strictly self referential and employ fictional elements.[41] according to the literary critic stephanie burt, the album title evokes the european poète maudit ("cursed poet") archetype of self destructive poets who suffered from love, such as arthur rimbaud, charles baudelaire, or dylan thomas. burt argued that swift both embraces and rejects this archetype by acknowledging her most intense emotions but also making fun of them with "barbed words, sharp hooks, and sarcastic replies".[42] critics characterized the tortured poets department as a post breakup album.[19][37][43] in her analysis for the nation, burt divides the album into three themes. first is the dissolution of a years long relationship, represented by "so long, london". second is a short lived yet intense romance in the immediate aftermath and its sudden fallout, anchored by the head over heels infatuation portrayed in "but daddy i love him", the abandonment in "down bad", and the destructive ending in "the smallest man who ever lived". third is the pressure of fame that obliged swift to keep performing in the public eye, represented by "who's afraid of little old me?" and "clara bow".[44] concurring with this narrative arc, ann powers wrote in npr that the tortured poets department reads like a novel where swift explores how "emotional violence" is imposed onto women by their male lovers and even by themselves.[38] the tortured poets department has a minimalist production[b] that draws on elements of various styles, including synth pop,[c] pop rock,[48] dream pop,[49] soft rock,[50] and power ballads.[51] in an analysis for the new york times, jon pareles wrote that swift employs a "choppy pre chorus, or chorus, that arrives in two syllable bursts", adding to a steady verse structure and bringing a "hip hop percussiveness" to the songwriting rooted country music.[52] josh kurp of uproxx argued that the album cannot be categorized into a singular genre.[18] for slant magazine's jonathan keefe, the minimalist quality puts the emphasis on the lyrical narratives, with the music being a "vibe" rather than a focus.[45].mw parser output .side box{margin:4px 0;box sizing:border box;border:1px solid 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.listen embedded .listen header{padding:2px 0}.mw parser output .listen file header{padding:4px 0}.mw parser output .listen .description{padding top:2px}.mw parser output .listen .mw tmh player{max width:100%}@media(max width:719px){.mw parser output .listen{clear:both}}@media(min width:720px){.mw parser output .listen:not(.listen noimage){width:320px}.mw parser output .listen left{overflow:visible;float:left}.mw parser output .listen center{float:none;margin left:auto;margin right:auto}} the production styles of antonoff and dessner result in two distinct soundscapes.[24] antonoff's synth based approach[44] results in synth pop songs[c] whose mid tempo compositions are characterized by sustained pads and bass, electronic pulses, and sparse drum machine beats.[d] these elements were compared by critics to those on swift's previous pop albums midnights[e] or 1989 (2014),[f] but they create a more muted and less danceable sound.[60][61] the first four tracks are exemplary of this: "fortnight", "the tortured poets department", "my boy only breaks his favorite toys", and "down bad";[22][62] the last of which feature r&b inflections in its dynamic shifts and vocal cadences.[63] other songs incorporate stylistic influences from different genres, mostly rock[63] and country the genre that defines swift's early sounds.[40][48][49] "fresh out the slammer" and "i can fix him (no really i can)" evoke western and country in its guitar tones,[64][53] with the latter incorporating occasional slide guitar accents.[48] "guilty as sin?" has a 1990s soft rock sound and country/rock sounding live drums that soften the electronic programming of other antonoff produced tracks.[63][65] "florida!!!" and "who's afraid of little old me?" experiment with americana and southern gothic,[59] and "i can do it with a broken heart" is instrumented by percolating arpeggiated synths and thumping house beats.[26][59] the second half, primarily produced with dessner, features acoustic arrangements that are driven by piano and strings.[24][44] he and swift also produced the majority of the second volume, the anthology,[66][54] consisting of mellow piano ballads.[67] his production style evokes folk arrangements, which critics categorized as folk pop and chamber pop[60][68] and compared to his works on swift's 2020 albums folklore and evermore.[g] according to burt, two of dessner produced tracks "clara bow" and "so high school" feature new textures and instrumental timbres from swift's past songs;[44] the former has a string section performed by the london contemporary orchestra,[70] and the latter evokes 1990s rock styles such as indie rock and alternative rock.[22][71] two tracks that were jointly produced by antonoff and dessner "but daddy i love him" and "thank you aimee" both have prominent country stylings, showcased through lush, sweeping string arrangements.[71][56] swift mostly sings in the lower ranges of her vocal register to deliver rap like, conversational verses;[26][35][38] the music professor samuel murray attributed this conversational quality to some of swift's familiar devices including one note melodies and recitative delivery.[39] on some songs, swift experiments with her vocals in a wider range: "guilty as sin?" has a melisma chorus;[63] "the smallest man who ever lived" features an alto delivery that reaches the bottom end of her range against a 7/4 time signature; and "who's afraid of little old me?" has her singing in screechy soprano.[44] the lack of an apostrophe in the official title, as in the tortured poets' department, was the subject of a debate over grammatical correctness. scholars stated that swift employed tortured poets as an attributive noun, as in the case with the 1989 drama film dead poets society, and not as a possessive noun that warrants an apostrophe.[72] the cover artwork, photographed by beth garrabrant, is a black and white glamor photo shot of swift lying on a bed wearing black loungewear: a see through yves saint laurent tank top and the row boy shorts.[73][74][75] both the artwork and title were parodied by numerous brands, organizations, sports teams, and franchises, and inspired numerous memes.[76][77][78] media outlets described the album's visual aesthetic as gothic, especially dark academia.[79][80][81][82] after the grammy announcement, swift revealed the standard track listing via social media on february 6, 2024.[16] swift announced four physical editions that were each titled after a corresponding bonus track: "the manuscript", "the bolter", "the albatross", and "the black dog"; she announced the latter three editions during the australian and singaporean shows of the eras tour.[83] she partnered with target for an exclusive "phantom clear" collector's vinyl edition.[84] the album was promoted on digital platforms like apple music, spotify, youtube, instagram, and threads, prompting swifties to search for easter eggs.[85] it included five swift curated apple music playlists containing her old songs inspired by the five stages of grief;[86] a pop up library of curated articles at the grove, los angeles, hosted by spotify;[87] qr code murals in various cities worldwide that led to unlisted youtube shorts on swift's channel;[88][89] a countdown to the album's release revealed upon refreshing swift's instagram profile; and special shimmer effects on threads posts tagged with hashtags related to swift and the album.[90] iheartradio and sirius xm announced special programs with exclusive content from swift to celebrate the album's release; the former temporarily rebranded as "ihearttaylor".[91][92] the tortured poets department was released on april 19, 2024. a double album edition, subtitled the anthology and containing 15 bonus tracks, was surprise released digitally two hours later.[93] two days earlier, the standard edition of the album was leaked,[94] which resulted in the phrase "taylor swift leak" being temporarily banned from searches on the social media platform x (formerly twitter).[95] the tortured poets department was available in 19 physical variants nine cd, six vinyl, and four cassette variants, with deluxe cds and cassettes being exclusive to swift's official website.[96] physical copies of the album included an original poem by the american singer songwriter stevie nicks.[97] "fortnight" was released as the lead single in conjunction with the album, accompanied by a music video.[98] universal music released "i can do it with a broken heart" to italian radio on july 2.[99] the anthology was released onto vinyl and cd formats on november 29.[100] as of october 2024, there were a total of 36 separate releases of the album across all formats.[101] from may 2024, starting with the paris shows, swift revamped the set list of the eras tour to include songs from the tortured poets department in a new act, which she informally described as "female rage the musical".[102][103][h] she released live versions of certain songs as bonus tracks on the physical album via her website exclusively to us customers.[107] other limited editions of the physical album included acoustic versions of five tracks.[108] limited digital variants contained first draft phone demo recordings of four tracks, and the eras tour live recordings of some tracks from the paris, stockholm, lyon and london shows.[109][110][111] the release of bonus track versions was a way for swift and her fans to maintain the album's number one position on the charts, a method swift and other artists have previously utilized to boost album sales and chart positions.[112][113][114][115] upon release, the tortured poets department divided music critics;[122][123] secondary sources described the critical consensus as either positive[124][125] or mixed.[126] according to the review aggregator metacritic, the tortured poets department received "generally favorable reviews" based on a weighted average score of 76 out of 100 from 24 critic scores.[117] its second part, the anthology, scored 69 from six critic scores on the website.[118] a number of critics regarded the album a landmark in swift's discography. reviews from the independent's helen brown,[40] the arts desk's ellie roberts,[23] the times' dan cairns,[121] popmatters's jeffrey davies,[47] and will harris of q praised the album as one of swift's most solid outputs, considering the musical composition, vocal stylings and lyrical tonality as ambitious and tastefully experimental.[127] others, including variety's chris willman,[29] the i's ed power,[79] and the observer's kitty empire, called it a quintessential swift album containing some of the best songs of her career.[128] swift's songwriting was a source of compliment. the line of best fit's paul bridgewater dubbed it her most cohesive body of work to date, finding the music sophisticated and the lyricism symbolic.[33] to ludovic hunter tilney of the financial times, the album is a stylistic evolution for swift, with writing that marks a "characteristically appealing turn" into moody melodrama.[30] alexis petridis of the guardian and alex hopper of american songwriter thought that the album has swift's wittiest lyrics, featuring nuanced musical choices that show swift is "willing to take risks in a risk averse era for pop" and "constantly evolving and pushing her limits", respectively.[48][129] in a more measured review, olivia horn of pitchfork felt the lyrics did not "distill an overarching emotional truth, tending to smother rather than sting."[56] others, such as the new york times' lindsay zoladz, slant magazine's jonathan keefe, and exclaim!'s alex hudson, described some lyrics as weak and overwritten; hudson claimed that many of its tracks "mistake verbosity for poetry".[65][45][66] the tumultuous mood and unconstrained emotion of the lyrics were also highlighted. multiple reviews complimented the album's heavy, unfiltered emotion;[79][19][29][130] clash's lauren webb described it as "a spell binding, toxic, chaotic illustration" of deteriorating mental sanity.[120] powers opined that the tortured poets department shows swift's newfound freedom, with a "lack of concern about whether these songs speak to and for anyone but herself".[38] in a similar perspective, rave reviews from rolling stone's rob sheffield and variety's chris willman described the album as swift's "gloriously chaotic" and "audacious, transfixing" project, respectively.[27][29] to willman, the album combines "cleverness with catharsis".[29] consequence's mary siroky, on the other hand, found this style of lyricism jarring and "outright bizarre" at times, and felt the album was an attempt at self parody rather than a showcase of swift's songwriting acumen.[57] many critics, including zoladz,[65] nme's laura molloy,[53] and stereogum's tom breihan, argued that swift and antonoff's collaboration on the tortured poets department was uninventive due to a sonic similarity to their past collaborations.[26][131] the new yorker's amanda petrusich rather favored dessner's input to the album as "gentler, more tender, and more surprising".[132] horn and the bbc's mark savage felt the melodies were sonically monotonous and "staid",[36][56] but others argued that the minimalistic approach complemented swift's hyper personal lyrics;[45][128][48] hopper opined that "swift's confidence as an artist is at a peak" with the tortured poets department.[129] according to mary kate carr of the a.v. club, the album is "perfectly good" but arrived at a time when swift has "nothing to prove" anymore, resulting in a stagnant point in her artistry;[133] this idea was shared by an anonymous, negative paste review that criticized the album as rushed, hollow, and unrelatable.[25] various peer journalists and columnists cross examined the album's critical reception. publications considered the tortured poets department a polarizing album;[32][124][134] the ringer's nathan hubbard deemed it swift's most controversial release since reputation (2017).[135] journalists from the new york times[136] and vox attributed this phenomenon to swift's heightened fame and associated media "overexposure" between 2020 and 2024, including eight album releases, the influential eras tour, and her relationship with travis kelce.[12] paste's anonymous review was singled out by other publications as "scathing";[124][137] sumnima kandangwa of the south china morning post opined that they hid their reviewer's identity because swifties "can become quite spirited when it comes to protecting their favourite singer".[138] the album's pitchfork score is swift's lowest from the website. sputnikmusic published reviews with three different ratings in a short period of time, each lower than the one before; minh anh of l'officiel found this to be a confusing way to rate music.[139] swift shared the album's positive reviews on her social media, tagging the respective authors, which some considered as a response to paste and other unfavorable reviews.[140][141] a number of commentators opined that the initial reviews demonstrated a flawed approach of mainstream music criticism.[12][142][143] bloomberg news' jessica karl wrote that the "lengthy" duration of the album made the reviewers "[stay] up until dawn to finish listening to an album" to publish, contributing to some reviews that were hasty, criticizing both the "exclamation pointed digs" at swift in paste and the "instant classic" review by rolling stone.[142] in the ringer, nora princiotti attributed the polarized reviews to the unexpected double album release, and nathan hubbard argued that some "cooler than thou" critics from sites like the new yorker, the new york times, and paste used swift's billionaire status to downplay the personal issues she detailed in the album.[135] karl opined that some "reputable publications" catered gossip instead of a serious artistic analysis,[142] while anh highlighted that reviews mentioned aspects of swift's public image instead of focusing on the music.[139] the new yorker's sinéad o'sullivan asserted that swift's albums contain multiple layers of self referential "lore", writing that the unfavorable reviews were due to critics not taking that into account or not allotting enough listening time.[144] some early critics of the album recanted and declared they were "hasty" in reviewing it, as per slate's chris molanphy, who opined it has become a "widely agreed point" in later critical commentary that the tortured poets department "grows on you" after more listens; molanphy stated he liked the album better than he did a week before.[145] cnn's oliver darcy said he had judged the tortured poets department quickly, stating that he reviewed it keeping in the mind its mixed critical reception, and found the album overlong and unimpressive in agreement with other critics, but a week later, "after spending more time with the two hour sonic feast, more methodically touring through its subtleties and nuances, i am ready to declare that it is one of swift's best works yet." darcy opined that the album cannot be fully digested at "the speed of tiktok", and criticized reviewers who do not let music albums "marinate" and instead expect "instant satisfaction".[143] the tortured poets department broke numerous consumption records, leading the guardian to comment that it "cemented swift as the biggest pop star this century by many metrics".[156] on spotify, it became the most pre saved album of all time; the most streamed album in a single day, surpassing 200 million and then 300 million streams and breaking the all time record previously held by swift's midnights; and the first album to accumulate one billion streams in a single week, doing so in five days.[157][158] the album also became the most streamed album in a single day on amazon music[159] and the most streamed pop album in a single day on apple music.[157] it amassed 1.76 billion streams globally within its first week of availability, an all time record.[160] republic records reported global first week consumption of four million units.[125] in the united states, the album accumulated 1.6 million album equivalent units in four days,[161] selling 700,000 vinyl lps to break the record for the highest single week vinyl sales previously held by swift's 1989 (taylor's version) (2023).[157] it broke the single week streaming record previously held by drake's scorpion (2018), amassing 799 million on demand streams in six days.[157] after a full week of availability, the tortured poets department debuted atop the billboard 200 with 2.61 million units, including 1.914 million pure copies and 891.34 million on demand streams. it became swift's 14th number one album, tying her with jay z for the most chart toppers among soloists. the album also registered the second largest week by overall units and the third largest week by pure sales in billboard history.[96] the album continued to chart at number one on the billboard 200 for 17 total non consecutive weeks, becoming the longest leading chart topper in swift's career,[162] and contributed to the number two peaks of albums such as billie eilish's hit me hard and soft,[163][164] ¥$'s vultures 2,[165][166] and chappell roan's the rise and fall of a midwest princess.[167][168] it is also the third album in history and first by a female artist to spend its first 12 weeks atop the chart.[169][m] all 31 songs from the anthology debuted on the billboard hot 100, occupying the entire top 14 simultaneously for the first time in chart history. swift set the record for most simultaneous entries by a female artist (32) and became the first woman to surpass 50 career top 10 songs.[170] the album was certified six times platinum by the recording industry association of america in november 2024, for surpassing six million album equivalent units.[171] it topped the billboard 200 year end chart of 2024, selling 3.491 million pure copies and amassing 6.955 million units to become the year's best selling and most consumed album in the united states.[172] sales were boosted by multiple variants of the album, with double digit variants in digital and cd mediums.[173] the tortured poets department broke chart records in other countries. in germany, it recorded the largest streaming day for an album and debuted atop the chart with the highest sales week for an international solo artist in seven years.[174] in the united kingdom, it became the fastest selling album by any artist in seven years and by a non british artist in 18 years, and it tied swift with madonna for the most female number one albums on the uk albums chart (12).[175] it became the fastest selling vinyl album since 1994 and swift's album with the most weeks at number one (10),[176][177] and was the most streamed and best selling album of the year.[178] it was the best selling album of 2024 in spain, marking the first album by a non spanish speaking artist to top the national year end chart since the spice girls' spice in 1997.[179] on the australian aria charts, the tortured poets department became swift's 13th number one album, a record among female artists; its songs set records for the most simultaneous entries by a single artist in the top 10 (10), top 50 (29), and top 100 (31) of the singles chart.[180] debuting atop the canadian albums chart as swift's 14th consecutive chart topper, the album registered the highest single week vinyl sales and streaming figures in chart history.[181] ten tracks from the album debuted on the billboard brasil hot 100.[182] notes musicians technical ‡ sales+streaming figures based on certification alone.

manage your account taylor swift's newest album "the tortured poets department" has returned to no. 1 for a 17th week. "poets" is her biggest album ever on the billboard 200 chart, outlasting "1989" and "fearless." swift's self titled debut album performed the worst on the billboard 200, peaking at no. 5. taylor swift gave us fair warning in her newest album: "try and come for my job." over three months later, she's still in her self described "glittering prime." released on april 19, "the tortured poets department" logged 12 consecutive weeks at no. 1 on the billboard 200, a career best for swift. the uninterrupted reign of "poets" is rare for a streaming era release. it's the first album ever by a female artist to spend its first 12 weeks atop the chart, surpassing a record previously held by whitney houston's 1987 blockbuster "whitney." the all time record for a consecutive streak among women is held by carole king's masterpiece "tapestry," which spent 15 weeks at no. 1 in 1971. after briefly dropping to a lower position, "poets" returned to no. 1 for five additional weeks, extending her personal record. swift is no stranger to chart success. keep reading for a ranking of her 15 studio albums (including both originals and rerecords) based on their billboard 200 performances. 9. "taylor swift" billboard 200 peak: no. 5 swift's self titled debut is the only studio album in her catalog that hasn't reached no. 1 on the billboard 200. "taylor swift" debuted at no. 19 and scaled the chart for more than a year, peaking at no. 5 in 2008. 8 (tie). "lover" billboard 200 peak: no. 1 for one week swift's seventh studio album was the first one that she owned outright, thanks to her new label contract with umg. "lover" was promoted by several singles, including "you need to calm down," "the archer," and "the man." four years later, once swift kicked off the eras tour, "cruel summer" climbed to no. 1 on the billboard hot 100 and stayed there for four weeks, becoming the album's biggest hit. 8 (tie). "red (taylor's version)" billboard 200 peak: no. 1 for one week the extended tracklist for "red (taylor's version)" included the storied 10 minute version of "all too well," a longtime fan favorite song in swift's catalog. "all too well (10 minute version)" was released alongside a short film directed by swift and promoted by a convention breaking performance on "saturday night live." it became the longest song to reach no. 1 in the history of the hot 100. 7 (tie). "fearless (taylor's version)" billboard 200 peak: no. 1 for two weeks "fearless" was the first rerecorded album that swift ever released. the "taylor's version" series was inspired by the sale of swift's masters to scooter braun in 2019, which she described as her "worst case scenario" in a passionate open letter. swift decided to remake and rerelease her first six albums in a bid to reclaim ownership of her life's work. (braun later sold swift's masters to a private equity company.) in addition to faithfully recreating each tracklist, swift decided to add never before heard songs "from the vault" that were written during the album's original creative process but cut from the final product. "i've spoken a lot about why i'm remaking my first six albums, but the way i've chosen to do this will hopefully help illuminate where i'm coming from," swift explained. "artists should own their own work for so many reasons, but the most screamingly obvious one is that the artist is the only one who really knows that body of work." "for example, only i know which songs i wrote that almost made the 'fearless' album," she continued. "songs i absolutely adored, but were held back for different reasons." many were skeptical that the "taylor's version" project would be embraced by fans, let alone achieve commercial success. those skeptics were forced to eat their words when "fearless (taylor's version)" began to outpace the original on streaming platforms. according to billboard, "fearless (taylor's version)" earned more equivalent album sales in its first week of release than "fearless" earned over the entire next year. 7 (tie). "speak now (taylor's version)" billboard 200 peak: no. 1 for two weeks the rerecorded version of swift's third album featured six songs from the vault, including two duets: "electric touch" with fall out boy and "castles crumbling" with hayley williams, one of swift's oldest friends. 6 (tie). "reputation" billboard 200 peak: no. 1 for four weeks "reputation" arrived after an extended period of silence. her longtime feud with ye (then known as kanye west) and kim kardashian reached a fever pitch; swift decamped to london and withdrew from the public eye. she returned with a new snake infested aesthetic and "look what you made me do," a cheeky lead single that poked fun at her own persona. swift also declined to participate in interviews or media appearances while promoting her sixth album. instead, she relied on a simple tagline: "there will be no further explanation. there will just be reputation." 6 (tie). "evermore" billboard 200 peak: no. 1 for four weeks "evermore" was surprise released just five months after swift's previous album, "folklore." the two were billed as "sister albums," created under near identical conditions with the same team of collaborators. "to put it plainly, we just couldn't stop writing songs," swift explained on social media. "evermore" was nominated for album of the year at the 2022 grammys, but lost to jon batiste's "we are." 5 (tie). "speak now" billboard 200 peak: no. 1 for six weeks swift's third album had a lot to live up to, following the blockbuster success of "fearless." in response to skeptics   who questioned whether the teen phenom was relying too heavily on her collaborators   swift decided to write "speak now" entirely by herself. she is the only songwriter credited on the standard tracklist. 5 (tie). "midnights" billboard 200 peak: no. 1 for six weeks swift's 10th studio album sold over 1 million copies in its debut week, the first to cross that seven figure threshold since swift's own "reputation." (she has now achieved the feat on seven different occasions.) "midnights" also won album of the year at the grammys, joining "fearless," "1989," and "folklore" in the prestigious group of victors. swift is the only artist in history to win album of the year four times. 5 (tie). "1989 (taylor's version)" billboard 200 peak: no. 1 for six weeks the rerecorded version of "1989" was released nine years after the original. swift added five vault songs to the tracklist, including the fan favorite closer "is it over now?" 4. "red" billboard 200 peak: no. 1 for seven weeks "red" is swift's fourth studio album. it featured a mishmash of max martin produced pop bangers ("we are never ever getting back together," "i knew you were trouble") and country rock breakup anthems ("state of grace," "holy ground"). 3. "folklore" billboard 200 peak: no. 1 for eight weeks "folklore" marked a sonic departure for swift, stripping down her favored synth pop production to reveal introspective reflections and intricate story arcs. the pandemic era album was coproduced by swift, jack antonoff, and aaron dessner of the national. it received rave reviews from critics and is widely considered her best work to date. 2 (tie). "fearless" billboard 200 peak: no. 1 for 11 weeks swift's sophomore effort had the longest run at no. 1 of any album in the 2000s. "fearless" has since been certified diamond by the riaa. 2 (tie). "1989" billboard 200 peak: no. 1 for 11 weeks swift's fifth album marked her official pivot from country to pop music, a move that swift said she had to "really fight   and i mean aggressively fight   to have happen." in addition to its double digit streak atop the billboard 200, "1989" yielded several hit singles on the hot 100, including "shake it off," "blank space," and "bad blood." 1. "the tortured poets department" billboard 200 peak: no. 1 for 17 weeks swift's 11th studio album did not leave the no. 1 slot for 12 straight weeks after its debut in april, fending off new releases from stars like dua lipa, billie eilish, and zach bryan. swift briefly yielded the top spot to eminem and stray kids before "poets" notched 13th, 14th, and 15th consecutive weeks atop the chart. the album eventually fell to lower positions, but then in december, it returned for two more weeks at no. 1 after swift released physical versions of '"the anthology" version for black friday. the album's 17 week reign brings swift's total sum of weeks atop the chart to 86, extending her record among solo artists. since the billboard 200 was launched in 1956, only the beatles have logged more weeks at no. 1 than swift. read the original article on business insider

bryan's 'the great american bar scene' had a highly successful week, though its 137,000 units were not a match for the 163,000 for 'the tortured poets department.' by chris willman senior music writer and chief music critic taylor swift‘s streak at no. 1 on the billboard 200 with “the tortured poets department” continues unabated, as the album fended off a strong challenge from a new zach bryan release to spend its 12th consecutive week atop that chart, breaking or tying a couple of records in the process. with the latest no. 1 ranking for “tortured poets,” swift’s album broke the record previously set by whitney houston’s “whitney” for the most initial consecutive weeks at no. 1 from an album by a female artist. that 1987 houston album spent its first 11 weeks on top of the chart before dropping off. as more contemporary benchmarks go: “tortured poets” is now tied with morgan wallen’s “one thing at a time” for the collection that has spent the most consecutive weeks atop the billboard 200 in this century. (altogether, wallen’s latest blockbuster album spent a whopping 19 weeks at no. 1 toward the end of 2023 and beginning of 2024, but only the first 12 of those were consecutive.) amid these other benchmarks, swift also broke a personal record this week, for the album of hers that has spent the most weeks at no 1 on the billboard 200, consecutively or otherwise. as of last week, “tortured poets” was tied with her previous chart leaders, “fearless” and “1989,” with 11 weeks each, and now the latest album has moved ahead of those. bryan’s album looked like it had a chance of unseating swift. but “the great american bar scene,” which registered 137,000 album equivalent units, was ultimately not a match for the 163,000 comparable units for swift’s album in its 12th week, per luminate data reported by billboard. with the streak swift is on, she stands a chance of tying or breaking one record or another almost every week that her album is able to hold on at no. 1. (a month ago, variety broke down some of the different records she stands to break in this story.) as noted, if she holds on one more week, which would be her lucky 13th, she will beat wallen’s high mark for the most consecutive weeks out of the box this century. and if “poets” keeps on going still one further week after that, to 14, she’ll break the all time record for initial consecutive weeks at no. 1, breaking an ancient stevie wonder mark from the ’70s. can she keep the streak going next week, and beyond? that will likely depend on the strength of eminem’s “the death of slim shady,” which came out friday   more on that in a moment. although he probably didn’t mean to, zach bryan may have done swift a favor by patriotically releasing his album on the 4th of july, which was a thursday, one day before the start of a new chart period. so “the great american bar scene” actually made its debut on the chart last week at a modest no. 17, based on the 32,000 units it racked up on that one charting day, a decent start that didn’t count toward this latest chart. but it’s not a certainty that bryan would have beat swift’s mark if he had released his record on a friday. bryan was also hobbled, as competition goes, by not yet having any physical copies of his album in the marketplace. the cd and vinyl editions of “great american bar scene” are still months off, not coming out till oct. 11. clearly it was more important to the singer to get his album out in a timely fashion than wait for a big day and date simultaneous release. swift, meanwhile, benefitted from putting still more variant limited editions of her album into the marketplace, as has been her wont. in results from luminate that were reported sunday by billboard, weekly full album sales for “tortured poets” soared from 35,000 the previous week to 90,000 this week, a substantial 154% uptick. the list of different limited edition versions of the album that contributed to that 90,000 sales total was a long one. on thursday, for a period of just hours, swift released three digital variants, each including one separate live from stockholm acoustic track as a bonus on top of the standard edition tracklist, for $4.99 each. those didn’t add massive amounts to her tally, but the album’s digital download sales did jump to 19,000 copies sold, a 1,266% increase. the bigger factor in her overall total was a 127% increase in cd sales, to 67,000 discs sold, as a result of seven earlier cd variants getting briefly restocked in her webstore for a few hours last sunday (including a signed edition). swift’s streaming numbers also got some help from the release to digital providers of two remixes of the album’s lead single, “fortnight,” which features post malone. despite the release of those two tracks, her streaming total fell slightly, by 7%, from the previous week   although still amounting to a gigantic 94.83 million on demand streams for the album, per billboard. bryan was at least able to claim one significant no. 1, then, easily replacing swift at the top of billboard’s streaming albums chart. he registered a remarkable 163.87 million on demand streams of the 19 songs from “great american bar scene.” another notch for bryan to put on his belt: he currently has two albums in the top 10. the second one is last year’s self titled “zach bryan,” which rises from no. 12 to no. 10. (it marks his second time having two albums in the top 10 at once.) having swift and bryan at nos. 1 2 atop the billboard 200 pushed wallen’s still strong “one day at a time” to no. 3, with 69,000 album equivalent units for the week. and, like bryan, he has two albums in the top 10, the second one being “dangerous: the double album” at no. 6. albums by billie eilish and chappell roan held onto their previous weekly positions at nos. 4 5, respectively. the top 10 was rounded out by albums by noah kahan, shaboozey and megan thee stallion (whose “megan” dipped from no. 2 to no. 9 in its second week out). how likely is it that swift will break further records, by extending her consecutive weeks at no. 1 to 13, 14 or even more weeks? eminem’s “death of slim shady” is the main immediate obstacle to that, and it’s a big question mark. his previous album, 2020’s “music to be murdered by,” debuted with 279,000 units   and if he were to do that well again, it’s hard to imagine how swift could up her weekly total to beat it, even by putting out a slew of new variants. however, it’s highly unlikely the new eminem album will debut with anything near the previous record’s premiere tally… if only because he does not have any physical editions out to help boost his numbers. when “music to be murdered by” registered that great first week, a big chunk of that total   117,000 units   came via traditional album sales, something that won’t be as strong with only digital albums to sell at the moment. interest in “the death of slim shady” has been intense, albeit perhaps more dispersed, as “music to be murdered by” was a surprise release with little advance buildup, whereas “death” was given a more traditional, long rollout, with the single “houdini” being released six weeks ahead of the album. as of sunday, “houdini” remained eminem’s highest charting song on spotify’s daily us top 50, at no. 10, followed by seven tracks in the chart’s teens. a variety and iheartradio podcast the business of entertainment

nashville, tennessee   september 20: nsai songwriter artist of the decade honoree, taylor swift ... [+] performs onstage during nsai 2022 nashville songwriter awards at ryman auditorium on september 20, 2022 in nashville, tennessee. (photo by terry wyatt/getty images) taylor swift’s the tortured poets department is in charge of the u.k. albums chart once again this week. the set holds atop the ranking of the most consumed full lengths in the country, and as it adds one more frame at no. 1, the recently released project matches one of her own personal records. the tortured poets department is now tied as swift’s longest running no. 1 on the u.k. albums chart. with six weeks spent atop the tally, it’s now on the same level as another project, and they share the honor of being her sets that have racked up the most stays in first place. before the tortured poets department, swift’s longest running no. 1 in the u.k. was midnights. that 2022 release became her first to earn half a dozen turns in first place on the list. now, it shares its historic significance…at least for the time being. the singer’s new length studio effort has now lived on the list of the most popular albums in the u.k. for eight weeks. all but two of those have been spent on top, as few artists have proved powerful enough to push her from the throne. dua lipa was the first musician to nab the top spot on the u.k. albums chart from swift. her latest full length radical optimism brought her to no. 1 in the nation, but it only held on for one frame. billie eilish also managed to spend a single week at no. 1, replacing the tortured poets department for a short period. in a few days, the tortured poets department could become swift’s first album to spend seven weeks at no. 1. if it doesn’t make it to that mark during the next chart frame, it could easily manage the feat soon enough, as the project remains incredibly popular in the u.k. the tortured poets department is one of 11 titles from swift that find space on the u.k. albums ranking. she owns more than 10% of the entire ranking this time around, as much of her catalog remains popular enough to chart. this frame, two re recordings return, upping her total count of current wins. one community. many voices. create a free account to share your thoughts. our community is about connecting people through open and thoughtful conversations. we want our readers to share their views and exchange ideas and facts in a safe space. in order to do so, please follow the posting rules in our site's terms of service. we've summarized some of those key rules below. simply put, keep it civil. your post will be rejected if we notice that it seems to contain: user accounts will be blocked if we notice or believe that users are engaged in: so, how can you be a power user? thanks for reading our community guidelines. please read the full list of posting rules found in our site's terms of service.

plus: juice wrld's "the party never ends" debuts in the top five, while bing crosby returns to the top 10 for the first time in nearly 64 years. by keith caulfield taylor swift’s the tortured poets department returns to no. 1 on the billboard 200 albums chart for a 16th nonconsecutive week, as the set vaults 8 1 on the chart dated dec. 14, following the first physical release of the album’s deluxe anthology edition, exclusively at target in the u.s. the set earned 405,000 equivalent album units in the u.s. in the week ending dec. 5   up 839%   according to luminate, largely driven by physical album sales. it’s the biggest week for any album since poets’ second week, when it tallied 439,000 units. see latest videos, charts and news see latest videos, charts and news ttpd was initially released on april 19 as a standard 16 song digital download album, as well as an in array of 17 song physical configurations. two hours after the album dropped, swift issued an expanded 31 song edition of the album, dubbed the tortured poets department: the anthology, which added 15 additional songs. however, the anthology edition was only available as a digital download and streaming set until nov. 29, when its cd and vinyl editions became available for purchase exclusively through target. the target cd and vinyl additionally boasted four bonus acoustic tracks (which were previously released in other alternative versions of the album). the announcement of poets’ return to no. 1 comes on the same day (dec. 8) that swift closes her globe trotting, stadium filling the eras tour in vancouver, after 149 dates. the retrospective trek launched in march 2023 and visited 21 countries across five continents. also in the top 10 of the new billboard 200, juice wrld’s the party never ends debuts at no. 4, securing the late rapper his sixth top five charting set. plus, the top 10 is getting festive, as the region welcomes its first holiday titles this season: michael bublé’s former no. 1 christmas jingles 12 7 and bing crosby’s new compilation ultimate christmas dashes 18 9. with the latter, crosby claims his first top 10 album in nearly 64 years. 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 3,750 ad supported or 1,250 paid/subscription on demand official audio and video streams generated by songs from an album. the new dec. 14, 2024 dated chart will be posted in full on billboard‘s website on tuesday (dec. 10). for all chart news, follow @billboard and @billboardcharts on both x, formerly known as twitter, and instagram. of the tortured poets department’s 405,000 equivalent album units earned in the week ending dec. 5, traditional album sales comprise 368,000 (up 4,377%; it surges 17 1 on top album sales for a ninth nonconsecutive week on top), sea units comprise 37,000 (up 6%; equaling 48.19 million on demand official streams of the set’s songs; it holds at no. 9 on top streaming albums) and tea units comprise a negligible sum (down 21%). of ttpd’s 368,000 album sales for the week, vinyl sales comprise 191,000 (up 3,284%) and cd sales comprise 177,000 (up 7,738%), largely driven by sales from the exclusive editions sold at target. (digital download and cassette sales comprise a negligible sum for the week.) poets spent its first 12 weeks on the billboard 200 at no. 1 (charts dated may 4 july 20), fell to no. 4 for two weeks, returned to no. 1 for three more weeks (aug. 10 aug. 24 charts) and then departed the top slot until the latest chart. with a 16th week at no. 1 on the billboard 200, the tortured poets department now solely has the third most weeks at no. 1 among albums by women (since the list began publishing on a regular, weekly basis in march 1956). it steps past carole king’s tapestry, which registered 15 weeks at no. 1 in 1971. only adele’s 21 (24 weeks in 2011 12) and the whitney houston led soundtrack to the bodyguard (20 weeks in 1992 93) have more weeks at no. 1 among women. the last album to spend at least 16 weeks at no. 1 was morgan wallen’s one thing at a time, which logged 19 nonconsecutive weeks at no. 1 between march 2023 and this march. the last album by a woman to spend at least 16 weeks at no. 1 was adele’s 21, which earned 24 nonconsecutive weeks on top in 2011 12. with poets   swift’s longest leading album on the billboard 200   she adds her 85th career week at no. 1 on the chart, extending her record among soloists. (elvis presley has the second most among soloists, with 67.) the total encompasses her 14 no. 1 albums. (she’s tied with jay z for the most no. 1s among soloists.) kendrick lamar’s gnx falls 1 2 on the billboard 200 in its second week with 165,000 equivalent album units earned (down 48%). the wicked film soundtrack dips 2 3 in its second frame, with 108,000 units earned (down 22%). the late juice wrld collects his sixth top five (and top 10) charting effort   the entirety of his charting releases   as the party never ends debuts at no. 4. the set bows with 86,000 equivalent album units earned. of that sum, sea units comprise 84,000 (equaling 123.43 million on demand official streams of the set’s tracks; it debuts at no. 2 on top streaming albums), album sales comprise 2,000 and tea units comprise a negligible sum. the new album was preceded by the billboard hot 100 chart hit “agats2 (insecure)” (with nicki minaj), which reached no. 68 on the nov. 30 dated chart. on the hot rap songs chart, it debuted and peaked at no. 11. the party never ends is the third posthumously released charting effort for juice wrld, who died on dec. 8, 2019. since his passing, he’s notched billboard 200 entries with legends never die (two weeks at no. 1 in 2020), fighting demons (no. 2 in 2021) and now the party never ends. sabrina carpenter’s chart topping short n’ sweet falls 3 5 on the billboard 200 with 68,000 equivalent album units earned (down 1%), while billie eilish’s hit me hard and soft slips 5 6 with 59,000 units (though up 18%). bublé’s chart topping christmas returns to the billboard 200’s top 10, jumping 12 7 with 56,000 equivalent album units earned (up 53%). the set, first released in 2011, spent five weeks at no. 1 in december 2011 and early january 2012 and has returned to the top 10 in every following holiday season. in the latest tracking week, of its 56,000 units, sea units comprise 48,000 (up 59%; equaling 63.79 million on demand official streams of its songs; it climbs 13 5 on top streaming albums), album sales comprise 8,000 (up 23%; it falls 27 30 on top album sales) and tea units comprise a negligible sum. chappell roan’s the rise and fall of a midwest princess rises 10 8 on the billboard 200 with 52,000 equivalent album units earned (up 23%). the legendary crosby is back in the top 10 on the billboard 200 for the first time in nearly 64 years, as his new holiday compilation ultimate christmas climbs 18 9. the set earned 50,000 equivalent album units in the week ending dec. 5 (up 59%). of that sum, sea units comprise 46,000 (up 62%; equaling 61.37 million on demand official streams of the set’s tracks; it jumps 16 6 on top streaming albums). crosby, who died in 1977, was last in the top 10 on the billboard 200 with his classic merry christmas album, which ranked at no. 9 on the dec. 31, 1960 dated chart. it had previously spent a week at no. 1 on jan. 6, 1958 dated chart. merry christmas became the second holiday album to top the billboard 200, following its launch as a regularly published weekly chart in march 1956. elvis presley’s elvis christmas album was the first chart topping holiday set, as it topped the chart for three weeks in december 1957, moved aside for crosby for a week and then returned to no. 1 for one more week in january 1958. ultimate christmas is available as 14 song standard album, an expanded 28 song edition, and a deluxe 58 song version. all versions of the album contain such classic holiday 100 charting tunes from crosby as “white christmas” (featuring the ken darby singers and john scott trotter and his orchestra), “it’s beginning to look a lot like christmas,” “do you hear what i hear?,” “mele kalikimaka” (with the andrews sisters) and “silent night” (featuring john scott trotter and his orchestra and max terr’s mixed chorus). rounding out the top 10 of the latest billboard 200 is tyler, the creator’s chart topping chromakopia, falling 4 10 with 49,000 equivalent album units earned (down 19%). 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. get weekly rundowns straight to your inbox a daily briefing on what matters in the music industry send us a tip using our anonymous form. a daily briefing on what matters in the music industry send us a tip using our anonymous form. billboard is a part of penske media corporation. © 2025 billboard media, llc. all rights reserved.

stephen thompson taylor swift performs at wembley stadium in london on june 21, as part of her eras tour. gareth cattermole/getty images hide caption this week’s look at the pop charts brings another week at no. 1 for taylor swift’s indomitable the tortured poets department, whose sales have surged thanks to a flurry of discount priced digital variants. those efforts just happened to hold swift nemesis ye (formerly kanye west, formerly a chart topper) out of no. 1   a coincidence, no doubt. elsewhere, the top 5 songs remain exactly the same, the race for song of the summer enters its final laps, and chappell roan keeps creeping up the chart nearly a year after the release of the rise and fall of a midwest princess. nearly four months after the arrival of the tortured poets department, taylor swift is still setting personal records   and settling a few scores. the album sits at no. 1 on the billboard 200 albums chart for the 14th nonconsecutive week, and it’s experienced a sudden surge of sales growth   a 606% increase from the previous week, as it happens   thanks to an assortment of newly released, discount priced digital versions containing bonus tracks. the flood of alternate ttpd editions, as well as discounted physical variants available via swift’s web store, just happened to coincide with the release of a new album from the singer’s longtime nemesis, ye (aka kanye west) and rapper ty dolla $ign. aided by its own wave of variants and discounts, vultures 2 enters this week’s chart, appropriately enough on several levels, at no. 2. swift’s move to goose her album’s chart performance isn’t especially novel, given that many artists deploy similar strategies to extend a hit album or song’s chart run. for major stars, such moves generally provide a significant, if fleeting, boost. and, given the heavyweight albums that are about to drop, the tortured poets department’s run at the top of the billboard 200 seems likely to end soon enough: post malone’s album of country duets, f 1 trillion, drops friday, while sabrina carpenter’s short n’ sweet arrives a week later. it’s a reasonably safe guess that swift, ever the strategist, might not put together quite so much effort to block either of those records from billboard’s top spot. elsewhere on the albums chart, chappell roan’s the rise and fall of a midwest princess climbs from no. 4 to no. 3   a new peak that roughly coincides with the singer’s much chronicled lollapalooza appearance earlier this month. morgan wallen’s one thing at a time drops from no. 2 to no. 4, while billie eilish’s hit me hard and soft stays at no. 5. speaking of eilish, her guest appearance on charli xcx’s new remix of “guess” has helped xcx’s brat climb from no. 9 to no. 6. zach bryan’s the great american bar scene tumbles from no. 3 to no. 7; wallen’s dangerous: the double album   from january 2021!   re enters the top 10 by zipping from no. 11 to no. 8; noah kahan’s stick season climbs from no. 10 to no. 9; and the twisters soundtrack dips from no. 8 to no. 10. for yet another week, the songs chart remains eerily static   an indication, in case you needed one, that this year’s “song of the summer” sweepstakes have pretty well boiled down to two songs. the first is this week’s hot 100 champ: shaboozey’s “a bar song (tipsy),” which holds at no. 1 for a fourth straight week (and fifth overall). heading into the final weeks of the season, it’s got every conceivable metric working in its favor: it’s the top streaming song, the top selling song and the song pulling the most radio airplay. in fact, it’s the first song to top all three of those billboard charts simultaneously since adele’s “easy on me” in 2021. in other words, it’s a big, big hit. the runner up to “a bar song” this week is its only competition for the seasonal crown: post malone’s “i had some help,” featuring the help of morgan wallen, holds at no. 2 this week. but that song dominated early summertime, with six weeks at no. 1   the most of any song in 2024, at least so far. then, elsewhere in the top 5… well, the entire top 5 remains the exact same as last week. kendrick lamar’s “not like us” holds steady at no. 3, followed by carpenter’s “espresso” and tommy richman’s “million dollar baby.” the chart’s first mover, hitting a new peak by rising from no. 8 to no. 6, is roan’s “good luck, babe!” it’s followed by another rising song, billie eilish’s “birds of a feather,” which also hits a new peak, climbing from no. 10 to no. 7. familiar songs round out the top 10, as they so often have in recent weeks: sabrina carpenter’s “please please please” creeps up from no. 9 to no. 6, teddy swims’ “lose control” drops from no. 6 to no. 9 (nice), and hozier’s “too sweet” takes a similar plunge from no. 7 to no. 10. looking at the songs chart, you might be wondering… uh, where are all the new songs? well, the remainder of the hot 100 offers a few clues as to what might crack the top 10 once a few of the old standbys start to fade. (seriously, people have to get sick of “lose control” and “too sweet” eventually.) one answer, unsurprisingly, is country music. post malone is about to drop f 1 trillion, which is bound to boost a bunch of its songs in the weeks and months to come, while his collaborator, wallen, has tracks at no. 13 (“cowgirls,” featuring ernest) and no. 15 (“lies lies lies”) this week. luke combs, whose malone duet, “guy for that,” debuted in the top 20 last week, sits at no. 14 with his twisters jam, “ain’t no love in oklahoma,” while zach bryan’s songs and albums continue to dot the billboard charts. another answer lies with the aforementioned chappell roan, whose lollapalooza sparked surge has her hitting new milestones left and right. the singer now has a personal best seven songs on this week’s hot 100, and all of them are climbing   six of them to new chart peaks. at no. 6, “good luck, babe!” is joined by “hot to go!” (which leaps from no. 26 to no. 17), “pink pony club” (no. 42 to no. 29), “red wine supernova” (no. 52 to no. 47), “casual” (no. 76 to no. 62), “femininomenon” (no. 86 to no. 70) and now “my kink is karma,” first released as a single in may 2022, which finally debuts on the chart at no. 91. oh, and there are two other hot 100 song debuts worth noting: 1) charli xcx’s “guess” remix with billie eilish enters this week’s chart at no. 12; and 2) *nsync’s “bye bye bye” re enters the hot 100 at no. 45. deadpool & wolverine, it turns out, has long coattails. sponsor message become an npr sponsor

also: chappell roan's 'the rise and fall of a midwest princess' climbs to no. 3. by thania garcia taylor swift‘s “the tortured poets department” is now her longest running no. 1 album in the united states. the set re enters no. 1 in its 14th non consecutive week on the list since its release in late april. “tortured” is at no. 1 with 142,000 equivalent album units earned as the first album since morgan wallen’s “one thing at a time” to spend at least 14 weeks at the peak, per luminate. “one thing” previously hit a total of 19 total non consecutive weeks at no. 1 in the span of a year. swift’s only immediate threat for the throne was “vultures 2,” a companion album from ye, or kanye west, and ty dolla $ign. the latter made its debut at no. 2 on the billboard 200 with 107,000 equivalent album units following its release on aug. 3 (it was originally slated for release on march 8). collaborators for “vultures 2” include lil wayne, don toliver, kodak black, future, and playboi carti, among numerous others. the album was supposed to be released earlier this year as a sequel to the former no. 1 holder, “vultures 1,” which arrived at no. 1 in february with 148,000 units. strikingly, “vultures 2” is the first album from ye to not immediately debut at no. 1 after a consecutive, 11 album streak of no. 1s. conversely, swift’s “tortured” is the longest running no. 1 album from a female act since adele’s “21.” “vultures 2” also made an impact on sales (it is the no. 2 top selling album via billboard) with 60,500 in its first week. the 16 song set was available in both a standard and clean edition, with ye’s website also offering an additional five variants for sale (each one with an exclusive studio bonus track per album). meanwhile, chappell roan’s “the rise and fall of a midwest princess” continues its slow and steady climb up the top 10, hitting a new peak of no. 4 from its previous no. 3 reign with 64,000 equivalent album units earned. roan’s “midwest princess” has grown in listenership over the summer following the pop singer’s numerous festival appearances over the summer   her latest being lollapalooza on aug. 1. wallen’s “one thing at a time” is at no. 4 with 63,000 units, while billie eilish’s “hit me hard and soft” is at no. 5 with 57,000 units. elsewhere, charli xcx’s “brat” moves up to no. 6 from no. 9 bolts 9 6 with following the release of the “guess” remix with eilish. the “guess” remix was also wildly popular overseas where the essex bred singer earned her first no. 1 song as a main artist on the official singles chart. the remainder of the top 10 includes zach bryan’s “the great american bar scene” at no. 7; wallen’s “dangerous: the double album” at no. 8; noah kahan’s “stick season” at no. 9 and the “twisters: the album” soundtrack rounds out at no. 10. as for the hot 100 songs chart, shaboozey’s “a bar song (tipsy)” continues to hold atop the list at no. 1 while post malone and morgan wallen’s “i had some help” is at no. 2. the top 10 of the list is practically unchanged from previous weeks with kendrick lamar’s “not like us,” sabrina carpenter’s “espresso” and tommy richman’s “million dollar baby” occupying the top five. a variety and iheartradio podcast the business of entertainment

plus: charli xcx and bon jovi debut in top five, while chappell roan reaches the top 10 for the first time. by keith caulfield taylor swift’s the tortured poets department holds atop the billboard 200 chart (dated june 22) for an eighth consecutive and total week. the set earned 127,000 equivalent album units earned in the u.s. in the week ending june 13 (down 14%), according to luminate. see latest videos, charts and news see latest videos, charts and news poets is the first album to spend its first eight weeks at no. 1 since morgan wallen’s one thing at a time led for its first 12 weeks a year ago (march 18 june 3, 2023 dated charts). of swift’s 14 no. 1s on the billboard 200, poets ties folklore with eight weeks on top; only 1989 and fearless, with 11 each, have more weeks at no. 1 among swift’s leaders. meanwhile, swift adds her 77th career week at no. 1 on the billboard 200, extending her record among soloists. (elvis presley has the second most among soloists, with 67.) the total encompasses her 14 leaders. (she’s tied with jay z for the most no. 1s among soloists.) also in the top 10 of the new billboard 200, charli xcx scores her highest charting album ever as brat bows at no. 3; bon jovi secures its 14th top 10 with the no. 5 arrival of forever; and chappell roan reaches the top 10 for the first time, as the rise and fall of a midwest princess climbs 12 10. 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 3,750 ad supported or 1,250 paid/subscription on demand official audio and video streams generated by songs from an album. the new june 22, 2024 dated chart will be posted in full on billboard‘s website on june 18. for all chart news, follow @billboard and @billboardcharts on both x, formerly known as twitter, and instagram. of the tortured poets department’s 127,000 equivalent album units earned, sea units comprise 104,000 (down 14%   it’s no. 1 on top streaming albums for an eighth week; its sea units equal 135.53 million on demand official streams of the deluxe edition’s 31 songs), album sales comprise 23,000 (down 13%) and tea units comprise 1,000 (down 11%). billie eilish’s hit me hard and soft rises 3 2 on the billboard 200 in its fourth week, matching its debut and peak position, with 105,000 equivalent album units earned (down 10%). charli xcx achieves her second top 10 on the billboard 200, and her highest charting album yet, as brat debuts at no. 3 with 77,000 equivalent album units earned (also her best week by units). of that sum, album sales comprise 40,000 (her largest sales week ever), sea units comprise 37,000 (equaling 46.72 million on demand official streams of its deluxe edition’s 18 songs; her biggest streaming week yet) and tea units comprise less than 1,000. charli xcx previously visited the top 10 with crash, which debuted and peaked at no. 7 in 2022. brat was led by the single “von dutch,” which debuted and peaked at no. 7 on billboard’s hot dance/electronic songs chart. the album’s first week sales were supported by its availability across 14 vinyl variants (mostly color variants, two were issued in deluxe editions containing collectible paper ephemera, one of which also housed a bonus 7 inch vinyl), which added up to 30,000 copies sold on vinyl   charli xcx’s biggest week on vinyl. the set was also issued as a standard cd, a signed cd and as a deluxe boxed set containing a branded t shirt and a cd. on june 10, the album was reissued as a deluxe digital download and streaming album with three bonus tracks. morgan wallen’s chart topping one thing at a time is a non mover at no. 4 on the new billboard 200 with 72,000 equivalent album units earned (up 2%). bon jovi collects its 14th top 10 charting effort on the billboard 200 as forever starts at no. 5. the set earned 50,000 equivalent album units, of which album sales comprise 48,000 (it’s the top selling album of the week and debuts at no. 1 on top album sales), sea units comprise 2,000 (equaling 2.31 million on demand official streams of the 12 songs on the streaming edition of the set) and tea units comprise a negligible sum. the new album was led by the single “legendary,” which reached the top 10 on the adult contemporary airplay chart (the band’s seventh top 10 and highest charting song on the tally since 2011) and the top 15 on the adult pop airplay ranking. forever’s first week sales were supported by its availability across 11 vinyl variants (mostly color variants; three had collectible paper ephemera contained inside, one of which was a signed edition), four cd editions (a standard set, two with alternative cover art, and one that was signed), a cassette tape, a standard digital download album, and a deluxe digital download edition with two bonus tracks that was sold via the band’s official webstore starting june 8. bon jovi made its billboard chart debut just over 40 years ago, when the single “runaway” debuted on the mainstream rock airplay chart dated feb. 11, 1984. two weeks later, the band made its billboard 200 debut with its self titled album entering the feb. 25, 1984 dated list at no. 178, on its way to a no. 43 peak that april. in total, forever marks the 22nd charting album on the billboard 200 for bon jovi. the band first reached the top 10 in 1986 with slippery when wet, their first of six no. 1s. they have notched new top 10s in the 1980s, ‘90s, 2000s, ‘10s (adding their latest leader with this house is not for sale in 2016) and now the ‘20s. bon jovi is the fifth group to achieve a newly charting top 10 album on the billboard 200 chart in each of the last five decades, joining ac/dc, def leppard, metallica and u2. ateez’s golden hour: part.1 falls 2 6 in its second week on the billboard 200 (45,000 equivalent album units earned, down 66%); wallen’s former leader dangerous: the double album slips 6 7 (44,000; up 1%); noah kahan’s stick season dips 7 8 (42,000; down 1%); and shaboozey’s where i’ve been, isn’t where i’m going falls 5 9 in its second week (41,000; down 17%). closing out the top 10 is a new arrival to the region, as chappell roan’s the rise and fall of a midwest princess pounces 12 10 with 39,000 equivalent album units earned (up 22%). the set posted double digital percentage gains in album sales (7,000; up 63%), streaming equivalent album units (32,000; up 16%) and track equivalent album units (a negligible sum, though up 23%). the album and artist has been basking in the glow of recent press coverage stemming from the singer songwriter’s buzzy performance at the 2024 governor’s ball on june 9 (the third day of the chart’s tracking week), which prompted a shout out from ariana grande. princess reaches the top 10 in its 12th week on the chart. it’s atypical for an album to climb into the top 10 for the first time, as most albums that peak in the top 10 debut in the region. the last current (non catalog) album to climb to the top 10 for the first time after 12 or more chart weeks was noah kahan’s stick season, which bolted 100 3 on the june 24, 2023 dated list, in the set’s 29th chart week, after it was reissued in a deluxe edition and pressed on vinyl for the first time. before that, the last non catalog set to reach the top 10 after at least 12 chart weeks was doja cat’s hot pink, which rallied 19 9 on the may 16, 2020 dated chart   during the album’s 27th chart week. the set zoomed up the list following the release of a remix of the album’s “say so” featuring nicki minaj. update (june 18): this article has been updated throughout to reflect newly processed data from luminate affecting multiple titles. 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. get weekly rundowns straight to your inbox a daily briefing on what matters in the music industry send us a tip using our anonymous form. a daily briefing on what matters in the music industry send us a tip using our anonymous form. billboard is a part of penske media corporation. © 2025 billboard media, llc. all rights reserved.

taylor swift sees her superstar status soar to even greater heights today, as 11th studio album the tortured poets department earns her an array of accolades. 15 years after her debut uk chart appearance, taylor proves she’s truly at the top of her game as she secures a 12th number 1 on the official albums chart. new official charts company data released today reveals taylor has shifted a staggering 270,000 uk chart units in seven days   eclipsing her previous personal best of 204,000, when midnights debuted atop the chart in 2022. but that’s just the start. the tortured poets department surpasses adele’s 2021 release 30 to earn the uk’s biggest opening week in seven years. taylor has 9,000 units on adele’s first week figure, with 30 having managed 261,000 in seven days. the tortured poets department now boasts the biggest opening week since ed sheeran’s 2017 blockbusting record ÷ (divide), which logged 670,000 first week uk chart units. with 12 number 1 records now under her belt, taylor swift equals madonna’s all time uk official chart record; drawing level as the female artist with the most number 1 albums in official albums chart history. the tortured poets department joins red (2012), 1989 (2014), reputation (2017), lover (2019), folklore (2020), evermore (2020), fearless (taylor’s version) (2021), red (taylor’s version) (2021), midnights (2022) and speak now (taylor’s version) (2023) and 1989 (taylor’s version) in taylor’s tally of consecutive chart toppers. taylor also draws level with bruce springsteen; with the boss boasting 12 uk number 1 lps, too. only four acts in chart history claim more uk chart toppers: the beatles (16), the rolling stones (14), robbie williams (14) and elvis presley (13). in terms of international artists delivering huge releases in the uk, nobody has come as close to scissor sisters’ first week figure of 288,000, achieved with their second studio album ta dah! back in 2006. taylor swift outperforms the beatles with the fastest accumulation of 12 number 1 albums in official chart history no other artist has notched up 12 number 1 albums in such a short space of time. taylor swift has done it in 11 years and 6 months, from red in october 2012 to the tortured poets department on 26 april 2024. this surpasses the beatles who managed the feat in 14 years and 1 month between please please me (may 1963) and the beatles at hollywood bowl in june 1977. taylor extends own record as the only artist to claim 12 number 1 albums in the 21st century taylor also extends her own record as the only artist to claim 12 number 1 albums in the 21st century, all of which she has achieved consecutively; from her first uk number 1 album 12 years ago, red, in 2012, to the tortured poets department in 2024. soaring straight to the official singles chart summit with fortnight ft. post malone, taylor also scores her third official chart double. previously, taylor achieved the relatively rare feat with midnights and its lead single anti hero (2022) and 1989 (taylor’s version) and is it over now? (taylor’s version) (2023). see every artist to score the official chart double here. fortnight becomes taylor’s fourth official number 1 single in the uk, joining look what you made me do (2017), anti hero (2022) and is it over now? (taylor’s version) (2023). it also sees post malone bag his second uk chart topper (and first in seven years), following 2017’s rockstar with 21 savage. taylor further dominates this week’s official singles chart, with title track the tortured poets department (3) and down bad (4) making their top 5 debuts. recognising taylor’s incredible achievements, martin talbot, chief executive, official charts company says: “what a week for taylor swift! it is always fantastic news for the entire music sector to have an artist of taylor’s calibre returning with new music   but the fact she has done so with such huge, record breaking impact underlines again why we love music, and her, so much. “the list of her new records are almost too lengthy to list, suffice to say, this is truly tay tay’s moment   and we are all here for it.” pearl jam secure their highest charting uk album in 11 years on dark matter, debuting at number 2, while british reggae group ub40’s 21st studio album ub45 enters at number 5. both lps had vinyl variants exclusive to record store day 2024, which took place last saturday, april 20. fleetwood mac’s rumours also saw the release of a brand new picture disc exclusive to rsd, and therefore re enters the top 10 at number 9. bruce springsteen’s best of bruce springsteen debuts at number 15, gifting the boss his 37th top 40 album, blur’s parklife re enters the top 40 for the first time in 26 years (16), thanks to a re issued 30th anniversary zoetrope vinyl exclusively for this year’s rsd event. amy winehouse’s back to black jumps back into the top 20 for the first time since 2021 (17), while pink floyd’s magnum opus the dark side of the moon blasts back into the top 40 (21) following a new 50th anniversary collector's edition release, with crystal clear vinyl featuring a uv artwork print. other record store day exclusives impacting the official albums chart today include; orbital’s eponymous debut album reissued in a new 2lp variant (31), the 1975’s live from gorilla celebrating a decade of their influential self titled debut album (32) and david bowie’s waiting in the sky (before the starman came to earth) (39). queen of caffeine sabrina carpenter’s espresso rises one to number 5, becoming her first uk top 5 single, the only track to rise inside this week’s top 10 (and the most successful song about coffee in 24 years, since all saints’ black coffee hit number 1 in 2000). continuing his upward trajectory, mark ambor’s belong together reaches another new peak this week, up one to number 12. will next week be the week the rising singer songwriter finally breaks into the top 10? drake has courted controversy with the release of headline grabbing diss track push ups, which debuts at number 14, giving the canadian superstar his 93rd (!) top 40 single in the uk. us singer songwriter shaboozey earns his first career into the official singles chart top 40 with a bar song (tipsy), up twenty five to number 16. the country artist has enjoyed a well earned jump in recognition after being featured on beyoncé’s chart topping cowboy carter. rapper lay bankz’s tell ur girlfriend jumps thirteen to number 18, while chappell roan’s good luck, babe! enjoys a rise of twelve to number 21. and finally, headie one’s cry no more, a team up with stormzy and tay keith, debuts at number 33. it becomes headie’s 16th, stormzy’s 31st and tay keith’s second uk top 40 single. taylor swift sabrina carpenter hozier mark ambor the tortured poets departmenttaylor swift the tortured poets departmenttaylor swift fortnighttaylor swift ft post malone espressosabrina carpenter join the conversation by joining the official charts community and dropping comment. already registered? log in no account? register t i have zero problem with new or old artists over taking records madonna has held for decades, when they are achieved legitimately! but as with many acts desperate to 'top' legacy artists today, taylor has done so by cheating. re releasing the same album which essentially has been tweaked, is not only desperate, but its cheating. madonna bagged her 12 number 1 albums legitimately! take away taylors 2 re released albums that already hit number 1, and she still sits below kylie & madonna. its cheating. and if she were the force shes meant to be, why resort to such underhand tactics??? how can the same album claim a number 1 twice but count as 2 albums???? her made up beef with her previous producer was the biggest scam of the past few decades in music and should not have been accepted, it was a desperate tactic in a bid to achieve more number 1's. its all part and parcel of the same media machine desperate to manufacture a star bigger than madonna who has remained the benchmark for over 40 years. sorry but to me she will never achieve all madonna has. any artist who's forced to play dirty just to bag a number 1, is either desperate, or just not all that. numbers mean nothing, madonna's actual sales dwarf taylors. and she cant cheat her way to topping that! j hahaha the pet shop boys singer was totally right, her is just an overhyped thing from her minions with no real longevity, what song is "is it over now?", a number one that nobody listened at its time, even less now. with a scam of four re recorded albums that this page is counting as new hahaha so fake c the problem with this tally for female singers is that madonna's tally includes the evita soundtrack and its a cast album not a madonna album. she's on less than three quarters of the tracks, and even most of the tracks she is on are with other cast members. i'm not a fan of swift, but she has the edge over madonna here. and swift managed this feat in half the time it took madonna too. the problem is taylor re releases her old albums as taylors version, bit fake if you ask me. maybe madonna should do the same with all her albums? the age of fakeness. j the problem is that you're counting four re released albums as new, those are just a trick from her who's hungry for chart placement and she's just stealing from her fans. and by the way, with the new way of counting the charts, this new album is just another trick, just a bunch of bad filler songs to make a "double album" that her minions listen and add up to "streams" that represent album sales but in reallity they're not. so everything is fake about her and "her chart accomplishments" t have you done your research????madonna sings on every track of the version that hit number 1, 2 albums were released and the one released by madonna/warner brothers hit number 1. its 100% a madonna album. whitneys bodyguard for example featured other artists on over 50 % of the tracks relegating her as a guest on a soundtrack it seems like the official charts company is manipulating their own data to inflate taylor swift's achievements... let's look at the data in a different way: taylor swift has had 10 albums (plus 2 re recorded albums) and 4 singles go to number 1 over a period of 15 years (versus the beatles' 11 studio albums, 1 live album and 17 singles in the same amount of years). taylor swift's mode time at number 1 is 1 solitary week per album, with her singles averaging 2 weeks each. the beatles achieved their first eleven number 1 albums in a period of 7 years and 2 weeks. those 11 albums were every one of their studio albums. every! album! with a combined total of 163 weeks at number 1 for their first 11 albums, this averages at almost 15 weeks at number per album. you can't compare the two artists with "first 12" as the beatles only released 11 studio albums before breaking up! their 12th number 1 was an album of live tracks released over 7 years after the band broke up... the 11 no.1 studio albums that the beatles had between 1963 and 1970 contain 6 uk number 1 singles (compared to taylor swift's 4)... oh, and they also had an additional eleven number 1 singles during the period 1963 to 1969 that were stand alone singles not on those albums! back in the 1960s even most hard core beatles fans were probably only purchasing one version of the album (not multiple copies like "swifties"   there are 9 'regular' physical versions available at a high street entertainment retailer of her current album, and that isn't counting the 'special' versions that were available to preorder, signed limited editions, downloads and streaming!) making the beatles' feat truly phenomenal. taylor swift is only popular with her maniacal fans. get back to me when she has accumulated more than 40 weeks at number 1 in the album chart in one year like the beatles did in 1964! [nb: they achieved this with 3 consecutive studio albums. the other 12 weeks of the year were taken by the rolling stones self titled debut album]. to 'beat' the beatles on the u.k. album chart taylor swift's next number 1 album will have to have 145 weeks at number 1!!! (the first 13 beatles no.1 albums had a total of 165 weeks in the top spot). that isn't going to happen. yes i agree with you 100% the beatles as a group were not together very long and in that short space of time what they managed to achieve was surreal. with the help of george martin they changed the music industry and it's probably why the beatles were voted the most influential music artist for the 20th century. without the beatles george martin would not of achieved what he did and vice versa. the beatles were a complete group and seperately they all achieved great success so had they not split up goodness knows what else they would of achieved as a group and certainly many more #1 albums and quality albums at that. j not two but four re recorded albums, an scam to steal money from her minions, and the official charts bend over her because they know her bullying tactics and how toxic is to say something negative about taylor and how the mob of her bully fans will attack just fake accomplishments, not even her current sales are truth, the double album is a tactic to get more streams that translate to sales t are you surprised???? for some strange reason her management think buying headlines and press coverage, will somehow improve her credibility and chances of greater chart . its exactly what tommy mattola did with mariah carey in the 90's, gave her airplay bias which of course, counts towards sales in the us, bizarre i know. all this points to is a failing music industry. when artists have to buy media coverage and cheat more number 1's, you know its on its ! promoting billions of streams as an achievement over sales is also laughable! when you look at taylors actual album sales vs madonna's... thats where the real winner becomes apparent. madonna also did that in far less time if you're calling them "the mob of her bully fans", then you're probably in the wrong kind of communities because most of her followers are not like that at all. well done to taylor on all these accomplishments, but 'midnights' was definitely a stronger album for me. as for the singles, it's good to see 'fortnight' at the top. the other two tracks that charted aren't bad, but they're definitely among the weakest songs from the first half of the album. t accomplishments???her management have scammed their way up the charts! take away the 2 albums that hit number 1 a second time and shes on just 10 number 1 albums, or shall we count madonna's albums that re peaked at number 1 as new albums??? if she was such a force, why resort to such scam tactics just to bag a chart placement??? everyone can see it and its actually had the opposite effect, her credibility as a rival to madonna is utterly tarnished. its not about the artistry, its about numbers with her management. the antithesis of what a true star should be the re recordings aren't a scam by her management. she did them purely off her own back to regain ownership of her first six studio albums from her former record label. any success that comes with that in the charts is much more down to public consumption rather than the team behind her, and there are several unreleased tracks on each of them anyway. anyway, the latest release of hers is a brand new studio album. even if you take out the digital and streaming units, she still had an astronomical lead on physical sales alone (yes, somebody made the point that there are several variants, but a majority of fans only bought one copy, or they got multiple ones on behalf of family members or friends). combine that with her ongoing tour being the highest grossing of all time already and the first one to surpass $1 billion when it hasn't even reached europe yet, there's no doubt she's a culturally significant figure in music. heck, i'm ambivalent on some of occ's analysis too because you can't fairly nor accurately compare today's achievements to those of decades ago, but at least they're not using statistics to directly insult other fanbases like certain commenters have done here. messylola young aptrose & bruno mars that's so truegracie abrams the dayschrystal sailor songgigi perez privacy policy © the official uk charts company 2025

subscribe & save less than $3 per week swift remains one of the most popular musicians of all time, and she isn't slowing down there is no bigger name in music than taylor swift right now. the country music singer turned global pop icon had a record shattering 2024, and looks to continue her success in 2025. swift's globetrotting "eras" tour stirred swifties across the world and defined her status as perhaps the most dominating musician of her generation. it was the highest grossing concert tour in history and the first to surpass $1 billion in sales. but this was only the latest in a string of record breaking successes for the pennsylvania native, who has been setting precedents in the music industry since practically her first song. her most recent album, "the tortured poets department," was one of the most highly anticipated lps in history, and swift may be embarking on a new musical journey soon; reports have circulated that she is planning to release a new album and go on tour again in 2026, though this hasn't been confirmed. either way, it is likely that the singer will keep breaking new records for years to come. escape your echo chamber. get the facts behind the news, plus analysis from multiple perspectives. from our morning news briefing to a weekly good news newsletter, get the best of the week delivered directly to your inbox. from our morning news briefing to a weekly good news newsletter, get the best of the week delivered directly to your inbox. after she released her single "our song" in 2006, swift became the youngest artist in history to have written and performed a no. 1 on the hot country songs chart at just 17 years old. the song peaked at number 16 on the billboard hot 100 charts. with 40 awards, swift has taken the lead as the artist with the most american music awards in history. she surpassed michael jackson, the male artist with the most awards at 26, and whitney houston, who has 22. she was also recognized with the ama's "artist of the decade" award in 2019 and performed a medley of some of her most popular tunes at the ceremony that year. when "speak now (taylor's version)" debuted in july 2023, it was swift's fourth album to occupy the billboard 200 chart's top 10 at the same time, alongside "midnights," "lover" and "folklore." this made her the first woman to have four albums in the billboard chart's top 10 simultaneously and only the second living artist to do so after herb alpert in 1966. prince also previously achieved this after his death in 2016. "it's a pretty amazing feat," alpert said to the new york times. "with the way radio is these days, and the way music is distributed, with streaming, i didn't think anyone in this era could do it." additionally, swift set a record for most albums by a female artist to chart on the billboard 200 in a single week with 11. according to billboard, since 1963, prince and the beatles are the only other artists who charted more albums simultaneously. swift's re recording of her album "speak now" debuted at number one on the billboard 200 chart when it was released in july 2023. this was the singer's 12th album to debut at number one, breaking the record for most number one albums by a female artist in history. this record was previously held by barbra streisand. swift is the only woman to chart a new number one album on the billboard 200 in five consecutive calendar years with 2019's "lover," 2020's "folklore" and "evermore," 2021's "fearless (taylor's version)" and "red (taylor's version)," 2022's "midnights," and 2023's "speak now (taylor's version)," according to billboard. the only other artists to achieve this feat are the beatles, drake, jay z and paul mccartney. swift also became the only act to have nine records sell half a million copies in one week in the u.s. since at least 1991, when luminate started tracking the sales, per billboard. when "speak now (taylor's version)" dropped in 2023, all 22 songs from the album debuted on billboard's hot 100. this means swift has released 212 hot 100 charting songs in her career, the second most of all time after she surpassed the cast of "glee," billboard said. she's second only to drake, making her number one for a female artist. also after the release of "speak now (taylor's version)," three of swift's songs occupied the billboard hot 100's top 10 at once: "i can see you," "cruel summer" and "karma." billboard said this made swift the "first woman ever with simultaneous top 10s from three of her own albums." no act has achieved this other than the beatles. swift made history at the 2024 grammy awards when she took home the album of the year for "midnights," becoming the first and only person to have won the award four times. she previously won aoty for "fearless" in 2010, "1989" in 2016, and "folklore" in 2021. her win for "folklore," which she wrote and produced during the covid 19 lockdown, made her the first woman to win aoty three times. according to capital fm, the opening night of swift's eras tour in glendale, arizona, in march 2023, set a record for the most attended u.s. concert by a female artist with a crowd of 69,000. madonna reportedly held this record since 1987. swift's tour went on to continue breaking numerous attendance records, including at texas' at&t stadium, tennessee's nissan stadium, and pennsylvania's acrisure stadium. "apparently, you have broken the attendance record for any event in pittsburgh ever," swift told the crowd at acrisure stadium, adding, "no group of people this big has ever gotten together for one thing in pittsburgh ever." one of swift's biggest milestones was setting the record for the highest grossing music tour ever after her "eras" tour became the first to surpass $1 billion in revenue, according to the guinness world records. beginning in march 2023 and set to run through december 2024, the international tour earned $1.04 billion as of the halfway point in december 2023, according to pollstar. she broke the record set by elton john with his "farewell yellow brick road" tour, which lasted from 2018 through 2023 and grossed $939 million. in october 2023, forbes reported that swift became a billionaire, making her the highest earning female musician in the industry, with an estimated net worth of $1.1 billion. she is also the first person to reach billionaire status with her music alone, driven in part by the success of her "eras" tour. out of the 1.5 million copies in "tortured poets" first week sales, 700,000 were vinyl records, breaking her record for the biggest sales week for an album on vinyl since luminate began tracking data in 1991, billboard said. her latest album's sales beat the 693,000 sold by "1989 (taylor’s version)" in its first week in 2023. spotify said "tortured poets" broke the record for most streams in a single day in the platform's history less than 12 hours after its release and was the first ever to amass over 300 million streams in a single day. the record was previously held by beyoncé's "cowboy carter" album. relatedly, the opening song on the album, "fortnight," broke spotify’s record for the most streams ever gained by one song in a day. five days after its release, "ttpd" became the first album in history to surpass one billion streams in a single week and is now the fastest album to hit the billion stream milestone. within its first six days on the market, "ttpd" became the most streamed album in a single week, with 799 million streams across all platforms. swift broke drake's previous record of 745.92 million streams with his 2018 lp "scorpion." the release week of "tortured poets" was a smashing success, with the album debuting at number one on the billboard 200 chart in its first week. the album also "nabbed the record for largest streaming week ever for an album since the chart started measuring by units in december 2014," billboard said. the first week total reached 2.61 million units, with album sales accounting for 1.914 million. with this being her 14th chart topper, swift now ties with jay z for most number one debuts among solo artists. with "fortnight" at the top of the billboard hot 100, swift broke rihanna's record for most albums with all new material with at least one number one hit on the chart, as "ttpd" brought her to eight. as her seventh song to debut at the top of the hot 100, "fortnight" helped swift tie with ariana grande for most chart toppers among women. drake has the most overall, with nine, but "fortnight" also ties swift with him for the most hot 100 number ones this decade, as both of them have seven. a free daily email with the biggest news stories of the day   and the best features from theweek.com brendan worked as a culture writer at the week from 2018 to 2023, covering the entertainment industry, including film reviews, television recaps, awards season, the box office, major movie franchises and hollywood gossip. he has written about film and television for outlets including bloody disgusting, showbiz cheat sheet, heavy and the celebrity cafe. cartoons artists take on self evident truths, recent history, and more by the week us published 8 february 25 the week recommends classic roman dish is 'slurpy, fun and absolutely heavenly' by the week uk published 8 february 25 the explainer undercover police targeting activist groups conducted intrusive 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you are currently reading the article dedicated to the album the tortured poets department. you may have been looking for the song. the tortured poets departmentstudio album by taylor swift alternate covers the anthology the anthology (physical edition) "the bolter" deluxe edition "the albatross" deluxe edition "the black dog" edition "but daddy i love him" acoustic version "who's afraid of little old me?" (first draft phone memo) "cassandra" (first draft phone memo) "the black dog" (first draft phone memo) "loml" (live from paris) "the alchemy x treacherous mashup" (live from paris) "my boy only breaks his favorite toys" (live from paris) "guilty as sin?" acoustic version "down bad" acoustic version "fresh out the slammer" acoustic version "fortnight" acoustic version "guilty as sin?" (live from stockholm) "how did it end?" (live from stockholm) "peter" (live from stockholm) "my boy only breaks his favorite toys" (first draft phone memo) "thank you aimee" (mean   live from london) "the albatross" (dancing with our hands tied   live from dublin) "the bolter" (getaway car   live from edinburgh) "i hate it here" (the lakes   live from cardiff) "the prophecy" (long story short   live from lyon) ts the eras tour setlist general information released april 19, 2024 recorded 2022 2023 genre alternative pop, chamber pop, country pop, folk pop, pop rock, soft rock, synth pop length 1:05:08 (standard) 2:02:21 (the anthology) label republic records producer(s) swift jack antonoff aaron dessner patrik berger taylor swift chronology previous current 1989 (taylor's version)(2023) the tortured poets department(2024) singles from the tortured poets department 1. "fortnight"released: april 19, 20242. "i can do it with a broken heart"released: july 2, 2024 the tortured poets department (stylized as the tortured poets department)[1][note 1] is the eleventh studio album by the american singer songwriter taylor swift, released on april 19, 2024, through republic records. it was expanded into a double album two hours after its release, subtitled the anthology, containing a second volume of songs. 2:02:21 (the anthology) swift began writing the tortured poets department shortly after finishing her tenth studio album, midnights (2022), and continued developing it during the eras tour in 2023. she conceived the tortured poets department as an imperative songwriting project amidst the heightened fame and media scrutiny ensuing from the tour. the songs introspect on her public and private lives, detailing tumult and sorrow via motifs of self awareness, mourning, anger, humor, and delusion. produced with jack antonoff and aaron dessner, the album is a minimalist synth pop, folk pop, and chamber pop effort with rock and country stylings. the composition is largely mid tempo, driven by a mix of synthesizers and drum machines with piano and guitar, whereas the visual aesthetic draws mainly from dark academia. the album broke various sales and streaming records. it achieved the highest single day and single week global streams for an album on spotify and topped the charts in territories across europe, asia pacific, and the americas, breaking chart records in australia, canada, germany, and the united kingdom. in the united states, the tortured poets department debuted atop the billboard 200 with first week 2.6 million album equivalent units, including 1.9 million pure sales, marking swift's biggest sales week and record extending seventh release to open with over a million units. its songs made swift the first artist to monopolize the first 14 positions of the billboard hot 100, with the lead single "fortnight" at the top. although the majority of reviews were positive, praising swift's cathartic songwriting for its emotional resonance and wit, the tortured poets department polarized critics upon release, with some finding it overlong and lacking profundity. subsequent assessments appreciated the album's musical and lyrical nuances that emerged upon further listens, and disputed the credibility of the initial critique for focusing on swift's public image rather than artistic merit. swift included songs from the album in the revamped set list of the eras tour, starting in may 2024. swift released her tenth studio album, midnights, on october 21, 2022, to critical praise and commercial success.[2][3] in 2023, she released two re recorded albums, speak now (taylor's version) and 1989 (taylor's version), as part of her "taylor's version" re recording project after a dispute over the ownership of her first six studio albums.[4][5] both re recordings were released amidst swift's sixth headlining concert tour, the eras tour.[6][7] soon before the 66th annual grammy awards, swift's website appeared to crash, showing the fake error code. there was also a string of nonsense letters that were an anagram of the phrase "red herring". during her acceptance speech at for the 66th grammy awards for best pop vocal album for her tenth studio album, midnights (2022), she announced the tortured poets department as a new original studio album that she had worked on since 2022.[8] this announcement was met with surprise from her fans, who had anticipated her to announce the re recording of her 2017 album, reputation, based on her social media clues.[9][10] swift began conceiving the album immediately after submitting midnights to her record label, republic records, and continued working on it in secret throughout the u.s. leg of the eras tour in 2023.[11] while she was creating the album, her dating life continued to be a widely covered topic in the press, who reported on swift's relationships with joe alwyn, matty healy, and travis kelce.[12][13] at the eras tour concerts in melbourne in february 2024, swift said that the tortured poets department was a "lifeline" for her and an album that she "really needed" to make,[14] reflecting on how it made her confirm that songwriting was an integral part of her life.[15] in an instagram post, swift described the album as "an anthology of new works that reflect events, opinions and sentiments from a fleeting and fatalistic moment in time one that was both sensational and sorrowful in equal measure".[16] the lack of an apostrophe in the official title, as in the tortured poets' department, was the subject of a debate over grammatical correctness. scholars stated that swift employed tortured poets as an attributive noun, as in the case with the 1989 drama film dead poets society, and not as a possessive noun that warrants an apostrophe.[17] the cover artwork, photographed by beth garrabrant, is a black and white glamor photo shot of swift lying on a bed wearing black lingerie: a see through top and high waist shorts,[18][19][20] from the row and yves saint laurent.[19][21] both the artwork and title were parodied by numerous brands, organizations, sports teams, and franchises, and inspired numerous memes.[22][23][24] media outlets described the album's visual aesthetic as gothic, especially dark academia.[25][26][27][28] after the grammy announcement, swift revealed the standard track listing via social media on february 6, 2024.[29] swift announced four physical editions that were each titled after a corresponding bonus track: "the manuscript", "the bolter", "the albatross", and "the black dog"; she announced the latter three editions during the australian and singaporean shows of the eras tour.[30] she partnered with target for an exclusive "phantom clear" collector's vinyl edition.[31] the album was promoted on digital platforms like apple music, spotify, youtube, instagram, and threads, prompting swifties to search for easter eggs.[32] it included five swift curated apple music playlists containing her old songs inspired by the five stages of grief;[33] a pop up library of curated articles at the grove, los angeles, hosted by spotify;[34] qr code murals in various cities worldwide that lead to unlisted youtube shorts on swift's channel;[35][36] a countdown to the album's release revealed upon refreshing swift's instagram profile; and special shimmer effects on threads posts tagged with hashtags related to swift and the album.[37] iheartradio and sirius xm announced special programs with exclusive content from swift to celebrate the album's release; the latter temporarily rebranded as "ihearttaylor".[38][39] the tortured poets department was released on april 19, 2024, along with swift's poem "in summation". a double album edition, subtitled the anthology and containing 15 bonus tracks, was surprise released digitally two hours later.[40] two days earlier, the standard edition of the album was leaked,[41] which resulted in the phrase "taylor swift leak" being temporarily banned from searches on the social media platform x (formerly twitter).[42] the tortured poets department was available in 19 physical variants nine cd, six vinyl, and four cassette variants, with deluxe cds and cassettes being exclusive to swift's official website.[43] physical copies of the album included an original poem by the american singer songwriter stevie nicks, "for t … and me".[44] from may 2024, starting with the paris shows, swift revamped the set list of the eras tour to include songs from the tortured poets department in a new act, in which she informally described as "female rage the musical".[45][46][note 2] swift subsequently released the live versions as bonus tracks on the physical album via her website exclusively to us customers.[50] other limited cd editions included an acoustic version of either "but daddy i love him",[51] "fortnight",[52] "fresh out the slammer",[53] "down bad", or "guilty as sin?".[54] limited digital variants contained the first draft phone demo recordings of either "the black dog", "cassandra", or "who's afraid of little old me?",[55]; the eras tour live recordings of either "loml", "my boy only breaks his favorite toys", or "the alchemy" / "treacherous" from the paris shows; or the eras tour live recordings of either "guilty as sin?", "peter", or "how did it end?" from the stockholm shows.[56][57] the release of limited edition bonus track versions was a way for swift and her fans to maintain the album's number one position on the charts, a method swift and other artists have previously utilized to boost album sales and chart positions.[58][59][60][61] on october 15, 2024, swift announced that the anthology vinyls and cds will be available at target on nov 29. the cds and vinyls will contain four bonus acoustic versions of the following songs: "fortnight", "down bad", "but daddy i love him" and "guilty as sin?". "fortnight" was released as the lead single in conjunction with the album, accompanied by a music video.[66] universal music released "i can do it with a broken heart" to italian radio on july 2.[67] the tortured poets department broke numerous consumption records, leading the guardian to comment that it "cemented swift as the biggest pop star this century by many metrics".[68] on spotify, it became the most pre saved album of all time; the most streamed album in a single day, surpassing 200 million and then 300 million streams and breaking the all time record previously held by swift's midnights; and the first album to accumulate one billion streams in a single week, doing so in five days.[69][70] the album also became the most streamed album in a single day on amazon music[71] and the most streamed pop album in a single day on apple music.[69] it amassed 1.76 billion streams globally within its first week of availability, an all time record.[72] republic records reported global first week consumption of four million units.[73] in the united states, the album accumulated 1.6 million album equivalent units in four days,[74] selling 700,000 vinyl lps to break the record for the highest single week vinyl sales previously held by swift's 1989 (taylor's version) (2023).[69] it broke the single week streaming record previously held by drake's scorpion (2018), amassing 799 million on demand streams in six days.[69] after a full week of availability, the tortured poets department debuted atop the billboard 200 with 2.61 million units, including 1.914 million pure copies and 891.34 million on demand streams. it became swift's 14th number one album, tying her with jay z for the most chart toppers among soloists. the album also registered the second largest week by overall units and the third largest week by pure sales in billboard history.[43] all 31 songs from the anthology debuted on the billboard hot 100, occupying the entire top 14 simultaneously for the first time in chart history. swift set the record for most simultaneous entries by a female artist (32) and became the first woman to surpass 50 career top 10 songs.[75] the album spent 12 consecutive weeks at number one on the billboard 200, becoming the first female album to do so and the longest charting number one album in swift's career;[76] it is the fifth album in history to spend its first 10 weeks atop the chart.[77][note 3] by july 2024, the tortured poets department has sold 2.47 million pure sales and accumulated 4.66 million units in the united states.[78] sales were boosted by multiple variants of the album, with double digit variants in digital and cd mediums.[79] in the united kingdom, it became the fastest selling album by any artist in seven years and by a non british artist in 18 years, and it tied swift with madonna for the most female number one albums on the uk albums chart (12).[80] it became the fastest selling vinyl album since 1994 and swift's album with the most weeks at number one (8).[81][82] on the australian aria charts, the tortured poets department became swift's 13th number one album, a record among female artists; its songs set records for the most simultaneous entries by a single artist in the top 10 (10), top 50 (29), and top 100 (31) of the singles chart.[83] debuting atop the canadian albums chart as swift's 14th consecutive chart topper, the album registered the highest single week vinyl sales and streaming figures in chart history.[84] ten tracks from the album debuted on the billboard brasil hot 100.[85] publications described the critical consensus upon release as positive[99][73] or mixed.[100] [86] its second part, the anthology, scored 69 from six critic scores.[87] a number of critics regarded the album a landmark in swift's discography. reviews from the independent's helen brown,[92] the arts desk's ellie roberts,[101] the times dan cairns,[98] popmatters' jeffrey davies,[102] and will harris of q praised the album as one of swift's most solid outputs, considering the musical composition, vocal stylings and lyrical tonality as ambitious and tastefully experimental.[103] others, including variety's chris willman,[104] the i's ed power,[25] and the observer's kitty empire, called it a quintessential swift album.[105] swift's songwriting was a source of compliment. the line of best fit's paul bridgewater dubbed it her most cohesive body of work to date, finding the music sophisticated and the lyricism symbolic.[106] to ludovic hunter tilney of the financial times, the album is a stylistic evolution for swift, with writing that marks a "characteristically appealing turn" into moody melodrama.[107] alexis petridis of the guardian and alex hopper of american songwriter thought that the album has swift's wittiest lyrics, featuring nuanced musical choices that show swift is "willing to take risks in a risk averse era for pop" and "constantly evolving and pushing her limits", respectively.[91][108] in a more measured review, olivia horn of pitchfork felt the lyrics did not "distill an overarching emotional truth, tending to smother rather than sting."[94] others, such as the new york times lindsay zoladz, slant magazines jonathan keefe, and exclaim!s alex hudson, described some lyrics as weak and overwritten; hudson claimed that many of its tracks "mistake verbosity for poetry".[109][97][110]the tumultuous mood and unconstrained emotion of the lyrics were also highlighted. multiple reviews complimented the album's heavy, unfiltered emotion;[25][111][104][112] clash's lauren webb described it as "a spell binding, toxic, chaotic illustration" of deteriorating mental sanity.[89] powers opined that the tortured poets department shows swift's newfound freedom, with a "lack of concern about whether these songs speak to and for anyone but herself".[113] in a similar perspective, rave reviews from rolling stones rob sheffield and variety's chris willman described the album as swift's "gloriously chaotic" and "audacious, transfixing" project, respectively.[95][104] to willman, the album combines "cleverness with catharsis".[104] consequences mary siroky, on the other hand, found this style of lyricism jarring and "outright bizarre" at times, and felt the album was an attempt at self parody rather than a showcase of swift's songwriting acumen.[114] many critics, including zoladz,[109] nmes laura molloy,[93] and stereogums tom breihan, argued that swift and antonoff's collaboration on the tortured poets department was uninventive due to a sonic similarity to their past collaborations.[115][116] the new yorker's amanda petrusich rather favored dessner's input to the album as "gentler, more tender, and more surprising".[117] horn and the bbc's mark savage felt the melodies were sonically monotonous and "staid",[118][94] but others argued that the minimalistic approach complemented swift's hyper personal lyrics;[97][105][91] hopper opined that "swift's confidence as an artist is at a peak" with the tortured poets department.[108] according to mary kate carr of the a.v. club, the album is "perfectly good" but arrived at a time when swift has "nothing to prove" anymore, resulting in a stagnant point in her artistry;[119] this idea was also shared by an anonymous, negative paste review that criticized the album as rushed, hollow, and unrelatable.[120] various peer journalists and columnists cross examined the album's critical reception. publications considered the tortured poets department a polarizing album;[121][99][122] the ringer's nathan hubbard deemed it swift's most controversial release since reputation (2017).[123] journalists from the new york times[124] and vox attributed this phenomenon to swift's heightened fame and associated media "overexposure" between 2020 and 2024, including eight album releases, the influential eras tour, and her relationship with travis kelce.[13] paste's anonymous review was singled out by other publications as "scathing";[99][125] sumnima kandangwa of the south china morning post opined that they hid their reviewer's identity because swifties "can become quite spirited when it comes to protecting their favourite singer".[126] the album's pitchfork score is swift's lowest from the website. sputnikmusic published reviews with three different ratings in a short period of time, each lower than the one before; minh anh of l'officiel found this to be a confusing way to rate music.[127] swift shared the album's positive reviews on her social media, tagging the respective authors, which some considered as a response to paste and other unfavorable reviews.[128][129] a number of commentators opined that the initial reviews demonstrated a flawed approach of mainstream music criticism.[13][130][131] bloomberg news' jessica karl wrote that the "lengthy" duration of the album made the reviewers "[stay] up until dawn to finish listening to an album" to publish, contributing to some reviews that were hasty, criticizing both the "exclamation pointed digs" at swift in paste and the "instant classic" review by rolling stone.[130] in the ringer, nora princiotti attributed the polarizing reviews to the unexpected double album release, and nathan hubbard argued that some "cooler than thou" critics from sites like the new yorker, the new york times, and paste used swift's billionaire status to downplay the personal issues she detailed in the album.[123] karl opined that some "reputable publications" catered gossip instead of a serious artistic analysis,[130] while anh highlighted that reviews mentioned aspects of swift's public image instead of focusing on the music.[127] the new yorker's sinéad o'sullivan asserted that swift's albums contain multiple layers of self referential "lore", writing that the unfavorable reviews were due to critics not taking that into account or not allotting enough listening time.[132] some early critics of the album recanted and declared they were "hasty" in reviewing it, as per slate's chris molanphy, who opined it has become a "widely agreed point" in later critical commentary that the tortured poets department "grows on you" after more listens; molanphy stated he liked the album better than he did a week before.[133] cnn's oliver darcy said he had judged the tortured poets department quickly, stating that he reviewed it keeping in the mind its mixed critical reception, and found the album overlong and unimpressive in agreement with other critics, but a week later, "after spending more time with the two hour sonic feast, more methodically touring through its subtleties and nuances, i am ready to declare that it is one of swift's best works yet." darcy opined that the album cannot be fully digested at "the speed of tiktok", and criticized reviewers who do not let music albums "marinate" and instead expect "instant satisfaction".[131] each outtake listed is speculation based on sightings of the artists with swift at electric lady studios in new york city, new york. there is no evidence for these songs existing other than these sightings. last update: january 19, 2025 musicians technical
supported by the charts the singer’s latest album, “the tortured poets department,” now has the second most weeks at no. 1 of any swift album. by joe coscarelli the spring of taylor swift has become the summer of taylor swift as the singer’s latest album, “the tortured poets department,” holds for a ninth straight week at no. 1 on the billboard album chart. the 31 track lp, released on april 19, has continued to rack up sales and streams   thanks in part to special edition “versions” with bonus tracks   earning another 126,000 sales units, including 121 million streams and 33,000 copies sold as a full package, according to the tracking service luminate. album sales were up 42 percent with a boost from two new cd variations, sold exclusively by swift’s web store, that each featured a different acoustic bonus song, billboard reported; the cds were available for a limited period of time in early june but shipped to customers last week, counting toward the latest chart totals. “the tortured poets department” now has the second most weeks at no. 1 of any swift album, behind “1989” and “fearless,” each of which spent 11 nonconsecutive weeks atop the billboard 200. also this week, billie eilish’s “hit me hard and soft” holds at no. 2 in its fifth week out, with 84,000 units; the rapper and singer don toliver’s “hardstone psycho,” which features travis scott and future, debuts at no. 3 with 76,500 units; morgan wallen’s “one thing at a time” is no. 4 with 73,000 units; and the underground rap duo suicideboys’s “new world depression” is no. 5 with 66,000 units. joe coscarelli is a culture reporter for the times who focuses on popular music and a co host of the times podcast “popcast (deluxe).” more about joe coscarelli

taylor swift’s dominant run at no. 1 with “the tortured poets department” is shattering records and could soon become the album with the most consecutive weeks at no. 1 since its debut, thanks to a lengthy album rollout with a strong performance on streaming, as well as numerous collectible cds and digital versions that have helped swift beat back any competition and maintain the top spot. "the tortured poets department" has spent 11 straight weeks at no. 1 on the billboard 200. (photo by ... [+] aldara zarraoa/getty images for tas rights management) “the tortured poets department” is no. 1 for an eleventh straight week on this week’s billboard 200 albums chart, aided by a 27% surge in sales thanks to shipments of two limited edition cds that each contained an exclusive bonus track, billboard reported. the album’s eleventh week at the top ties it with “fearless” and “1989” to become swift’s longest running no. 1 album on the billboard 200, a record it may very well break next week. to support what could be the album’s twelfth week at no. 1, swift released limited edition signed cds on her online store, which quickly sold out. swift’s team, taylor nation, also posted on x it had restocked a collector’s edition of “the tortured poets department” and reposted some fans who said they had completed their collections. “the tortured poets department” was an immediate commercial success, moving more than 2.6 million album equivalent units made up of sales and streams of individual tracks in its first week of availability in april, becoming swift’s biggest debut and the biggest for an album on the billboard charts since adele’s “25” in 2015. the album smashed plenty of streaming records upon its debut, becoming the first album to surpass 300 million streams on spotify in a single day, with hit song “fortnight” featuring post malone becoming the platform’s most streamed song in a single day. fifteen out of the album’s 16 songs have more than 100 million streams on spotify, and three months after release, the album ranks no. 2 on spotify’s weekly albums chart. in the weeks since the album’s massive start, swift has supported the album’s chart performance with various collectible and digital editions, which have boosted the album’s sales. for the album’s ninth week at no. 1 in june, billboard reported swift’s sales jumped 42% because of two cd variants that each contained an exclusive bonus track.