Singer-songwriter Lauren Daigle returns to No. 1 on Billboard’s Top Christian Albums chart (dated Sept. 16) with her self-titled set, now available as a deluxe version that adds 13 tracks to the original 10-song album.

Lauren Daigle arrived atop the survey on the list dated May 27 with 25,000 equivalent album units, becoming her fourth leader. After the deluxe edition was released Sept. 8, the set (with both versions combined into one chart listing) rebounds 5-1 for its second week on top. It earned 13,000 equivalent album units (up 388%), with 8,000 in album sales, Sept. 8-14, according to Luminate. On the all-genre Billboard 200, it re-enters at No. 79, after it opened at its No. 21 high in May.

The full LP, which pairs Daigle with producer Mike Elizondo for the first time, is her first through Atlantic Records, with which her longtime label, Centricity, formed a partnership in January 2022.

“It took every ounce of me not to explode the secret of a second half,” Daigle tells Billboard.  “I’ve treasured and stored up this record in my heart for quite some time. I had the privilege of creating with Mike Elizondo and a host of incredibly talented writers who made these songs come to life. Since May, the team has helped pave a way for this music to be heard and I am deeply grateful that people listened. I always say that moments like this take a village. Hats off to all.  Keep sharing the love and the music … it’s what makes this music world go around!”

Daigle had last released new music with Look Up Child, which opened at the Top Christian Albums apex in September 2018 and proceeded to ring up a record 102 frames at No. 1. It was bolstered by the crossover smash “You Say,” which dominated the streaming-, airplay- and sales-based Hot Christian Songs chart for an also unprecedented 132 weeks starting in July 2018.

The first single from Daigle’s eponymous LP, “Thank God I Do,” rules Hot Christian Songs survey for a 19th week, having become her sixth leader in May. It tallied 6.1 million in all-format airplay, 2.2 million streams and 1,000 downloads sold during the tracking week. It also leads Christian Digital Song Sales for a 23rd week. It topped Christian Airplay for a week in July, giving the Lafayette, La., native her fifth chart-topper (and reached the top 15 on both Adult Contemporary and Adult Pop Airplay).

The LP’s sophomore single, “These Are the Days,” pushes 24-23 for a new high on Christian Airplay (987,000, up 38%). On Hot Christian Songs, it hops 43-29, after hitting No. 21 in May.

The sophomore slump has officially been avoided for Olivia Rodrigo. This week, her second album Guts debuts atop the Billboard 200, while also charting all 12 of its tracks in the top 40 of the Billboard Hot 100 — including a return to the No. 1 spot for a second week for its lead single, “Vampire.”

As for questions of how Guts‘ first week would compare to that of her smash debut album Sour, the answer is: a little bit better. Guts debuts with 302,000 units to the 295,000 of Sour, while also charting one more Hot 100 entry — though that’s mostly because the album contains 12 tracks to Sour‘s 11.

Is this the kind of performance we expected from Rodrigo’s Sour follow-up? And where might her career be headed from here? Billboard staffers discuss these questions and more below.

1. Olivia Rodrigo’s Guts debuts atop the Billboard 200 with 302,000 units moved — a smidge higher than the 295,000 posted by her debut album Sour in its first week. On a scale from 1-10, if you’re Olivia Rodrigo, how happy are you with that number?

Katie Atkinson: A 10. Sour was such a blockbuster introduction, so to not only meet, but surpass that initial splash has to be a huge relief. Now Olivia is not just riding the momentum or the good will of the beloved songs from her debut album; she’s released a collection of newly beloved songs whose full potential remains to be seen.

Kyle Denis: A strong 8.5. Not only did Olivia surpass Sour’s first-week numbers, she also did it while leaning further into a sound that did not dominate her debut album. It was always going to be impossible to flawlessly recreate the exact conditions of a storm as perfect as Sour, but she pulled better numbers without having to do that.

Jason Lipshutz: An 8. Maybe Olivia Rodrigo and her team were hoping for an even larger debut number for one of the most anticipated pop albums of the year, but the reality is that Sour included bigger pre-release hits than Guts, with “Drivers License” and “good 4 u” — and Rodrigo’s sophomore album still scored a larger sales number. That feat speaks to the general excitement around Rodrigo, crystallized by the way that Guts dominated the pop culture discourse upon its release; she’s a superstar, and this 300k+ debut is another solid level up.

Danielle Pascual: A 9. What Olivia achieved with Sour was unheard of. Not only did it debut at No. 1 on the Billboard 200, it was also the biggest album of 2021 and remains the longest-running debut album on the chart this century. The fact that she didn’t have an eight-week Hot 100 chart-topping lead single (“Drivers License”) this time around, but still outpaced Sour‘s first-week, is a true testament to her popstar prowess.

Andrew Unterberger: An 8. To match and even slightly exceed Sour is no small feat, given how hard it has proven (especially in recent years) for pop stars with more-or-less fully formed debut albums to maintain that performance for LP2. But given the anticipation for Guts and just how much emphasis Rodrigo puts on her album releases — to the point where she was essentially gone from popular music for most of the two years in between the two sets — I also wouldn’t be surprised if Team Rodrigo was at least somewhat hoping to land a first-week number more in line with the very biggest releases of the year.

2. After hanging around the top 10 for most of the 10 weeks it had been on the chart, “Vampire” rebounds to No. 1 this week, while “Bad Idea Right?” zooms back from No. 26 to a new peak of No. 7 in its fifth week. Have those first two Guts songs have mostly underperformed, overperformed, or about matched your commercial expectations so far?

Katie Atkinson: I would say matched. The album’s lead single being a chart-topper makes a lot of sense, given all the curiosity around what her sophomore album would sound like. And “bad idea right?” still has room to grow, especially at pop radio, so I could see it surpassing its new No. 7 peak. If you look at the Sour twofer of eight-week No. 1 “drivers license” followed by the No. 3-peaking “Déjà Vu,” it’s a similar trajectory. And then there was “good 4 u”…

Kyle Denis: I think they’ve both just about matched my commercial expectations so far. “Vampire” has performed quite consistently – especially considering its pseudo-rock opera sound is pretty far removed from the country, Afrobeats and hip-hop that have been mainstays in the Hot 100’s upper regions this year. “Bad Idea Right” reaching a new peak is also impressive, for me, because the Guts singles had a more truncated pre-album release period than the Sour singles did. Sure, neither song really recaptured the heights of “Drivers License” and “Good 4 U,” but Olivia could’ve very well ended up flat on her face if she focused on recreating those successes to a tee.  

Jason Lipshutz: Overperformed! “Vampire” is a singular pop-radio experience these days — sprawling and theatrical in approach compared to the clipped, ultra-catchy songs in power rotation around it — while “Bad Idea Right?” slides into the “good 4 u” lane but rocks harder and shrugs off pop appeal more vociferously. The fact that both singles have logged multiple frames in the top 10, and that one of them has spent a pair of weeks at No. 1, while being notably out of step with modern pop trends illustrates Rodrigo’s current power as an A-list artist, capable of bending popular music towards her interests.

Danielle Pascual: Overperformed. From the moment Olivia announced Guts, I knew it’d be nearly impossible to match the success of “Drivers’ License” for her sophomore album’s lead single. When you go on a two-year break between your debut and sophomore albums, you risk the chance of fans falling off, forgetting about you or moving on to the next big thing. However, the fact that “Vampire” returned to No. 1 upon Guts’ big Billboard 200 debut shows that her dedicated army of Livies aren’t going anywhere. Also, not many artists can say they rose nearly 20 spots in a single week — and as “Bad Idea Right?” continues to gain traction on TikTok, I don’t think it’s reached its peak just yet.  

Andrew Unterberger: Matched. Both songs came in a little softer than their accompanying Sour-era singles, but both were also slightly tougher sells commercially — the fact that “Vampire” has still racked up two weeks at No. 1 and “Idea” has now reached a No. 7 peak is pretty impressive, considering.

3. “Get Him Back!” is the highest-debuting of the set’s new tracks, bowing at No. 11 — assisted by top Spotify New Music Friday placement, an eye-catching music video and a big look at the MTV Video Music Awards last Tuesday. Does it seem to you like it will be a lasting hit off the album? If not, is there another song on the album you think could be ticketed for (or worthy of) such success?

Katie Atkinson: I 100% peg this as the “good 4 u” of Guts – and I’m betting that No. 11 is just the beginning. First of all, can we talk about the title turn-of-phrase? It’s one of those cute little wordplay moments that you hear in a song and can’t believe it isn’t already a cliché. Flipping “get him back” to mean reunite AND exact revenge is so brilliantly bratty. For me, this is the lasting hit.

Kyle Denis: Yes. I think, right now, all signs point to “Get Him Back!” becoming not just a lasting hit, but potentially the biggest hit of the entire Guts era. That chorus is undeniable, and the bratty spoken verses are simply irresistible. Outside of “Get Him Back!” I think “Making the Bed” and “The Grudge” could do a little something. It’ll be interesting to see whether the rest of this album’s singles bank on the ballads or the more overt pop-rock bangers. 

Jason Lipshutz: It depends on the concurrent runs of the Rodrigo songs around it: If “Vampire” and “Bad Idea Right?” continue rolling in the top 10 of the Hot 100, and commanding the attention of radio blocks and streaming playlists, then “Get Him Back!” — which already received a splashy music video and big awards look — will be crowded out of the spotlight. I hope that’s not the case, however, because “Get Him Back!” is the best song on Guts, and would be a truly exciting mainstream hit. Let’s hope there’s enough room in our cultural appetite for its dazzling wordplay and exploding-heart breakdown.

Danielle Pascual: I will definitely be surprised if “Get Him Back!” doesn’t hit the Hot 100 top 10 next week. With the similar Y2K pop-punk feel to it that “Bad Idea Right?” has, “Get Him Back!” is undoubtedly getting a bigger push — and not just by the label. A fan-made TikTok dance for the song is going viral, as is a trend of people recreating its iPhone-made music video. Chatter surrounding the song only seems to be growing, and I’d place my bets on it becoming the biggest hit on Guts.

Andrew Unterberger: It does definitely seem like the best pick for a Guts breakout hit, but I’m a little worried about its performance so far. Despite getting a top placement on Spotify’s New Music Friday playlist and both a flashy music video and an eye-catching VMAs introductory performance last Tuesday, the song still missed a top 10 debut this week, and its streaming numbers in the days since haven’t really been trending in the right direction. Maybe it just needs a little time to take off online, but that hasn’t been the case with Rodrigo so far — both “License” and “Good” had already caught like wildfire by the end of their debut weeks — and if the stellar video and VMAs performance couldn’t further stoke those flames, I’m not sure what will. Certainly rooting for it though.

4. Guts leans even further into the alt-rock inclinations that Rodrigo had flashed on a few Sour songs — while she has given high-profile shoutouts to ’90s alternative acts like Rage Against the Machine in recent interviews, and even invited The Breeders to open some of her upcoming Guts World Tour arena dates. Do you think the success of Guts will lead to a greater prominence of guitar rock and/or ’90s influences in the mainstream, or does it mostly just work for Olivia Rodrigo because she’s Olivia Rodrigo?

Katie Atkinson: As much as I’d like this is all to lead to a riot-grrrrl-aissance, I think it just works particularly well for Olivia Rodrigo. She’s got the Empire Records fashion and the Alanis-nodding music video and, yes, even The Breeders on tour with her. It’s a little reminiscent of Bruno Mars cherry-picking the best of various genres and decades and finding a way to make the classics current. It’s savvy but it’s not the only reason fans are connecting to her music; it’s just part of the overall appeal.

Kyle Denis: I hope it does! You can never have too many different kinds of music making their presence known in the zeitgeist. I think Olivia obviously carries a level of fame that will give her a higher ceiling of commercial success, but I hesitate to say that the guitar rock is working for her just because she’s her. From Billie Eilish’s “Happier Than Ever” and Demi Lovato’s new Revamped album to Jelly Roll’s “Need a Favor” and Zach Bryan new self-titled album, I think we’re see a rise in guitar rock’s mainstream prominence across the board, which makes me think a larger renaissance could be on the horizon.

Jason Lipshutz: Probably a little bit of both, although I do think that we may be in for a upswing of louder guitars in pop music — thanks to Rodrigo, but also considering rock nods from pop superstars like Billie Eilish and Harry Styles, crossover country hits from Morgan Wallen and Luke Combs, and the fact that genre-splitting singer-songwriters like Noah Kahan and Zach Bryan are establishing themselves as radio presences. Rodrigo may be more well-versed in (often quite excellent) punk, alternative and hard rock, but the success of her sound can also be folded into a greater six-string trend that I’d bet hasn’t yet peaked.

Danielle Pascual: The trend has potential to go mainstream, and labels will undoubtedly try to replicate Olivia’s success with their emerging artists. However, I don’t think any push will generate near the same numbers she has pulled, especially only a couple years into her musical career. All-girl rock bands have been around forever, and most are lucky to see success on the charts these days. Even artists in her genre that have been in the game (like Avril Lavigne), haven’t seen near the same numbers Olivia has pulled with their new releases. For the current moment, Olivia is the reigning princess of pop-punk, and no one seems to be overthrowing her any time soon.  

Andrew Unterberger: I doubt we’ll get a bunch of soundalikes littering the Hot 100, but the more important thing is Rodrigo re-normalizing guitar rock within popular music — a trend that’s been ongoing for basically the entire decade so far, and which she certainly already helped along the way with “Good 4 U” and a couple other Sour album cuts. In the mid-to-late 2010s, it was becoming a rarity to hear six-strings anywhere on top 40 radio or on New Music Friday; now, they’re all over the place again. Doesn’t mean next year’s VMAs are gonna look like the 1995 awards, but if there were a handful of very disparate guitar-based performances featured throughout, it would hardly be shocking.

5. When Rodrigo broke out in 2021, the Taylor Swift comparisons were obvious and plentiful — not just because of the similarities they shared as prodigious young singer-songwriters, but because Rodrigo seemed to be one of the only new 2020s artists with the commercial ceiling to potentially one day match Swift in popularity. Do you think the early returns for Guts show Rodrigo still having that kind of momentum?

Katie Atkinson: The growth album-over-album can only mean positive things for Olivia and her future. And while I think the comparisons were apt when she first broke out, given the diaristic songwriting and starting as a teen, I feel like Guts shows that she isn’t following an exact Swiftian playbook. I don’t think even Taylor could have predicted how her own career would transpire, and I’m looking forward to seeing the unique way Olivia’s unfolds as well.

Kyle Denis: I’ll say yes. She’s already established a dedicated base — as evidenced by the historic streaming numbers of “Drivers License” – and she has very clearly only expanded that base and deepened her connection with them based on the first-week numbers for Guts. Given the fact that she’s already borrowed a few familiar bits of Swift’s M.O. – including various limited-edition vinyls and Easter eggs galore – she clearly knows how to keep that momentum going, and her upcoming tour will do the same, especially on a global scale. I’m not saying O3 will open with a million copies in its first week like Swift’s Speak Now did, but I do think that Olivia is already on a better track than most of her peers. 

Jason Lipshutz: No — and not because Rodrigo, who just released one of the strongest full-lengths of the year, is doing anything wrong, but because Swift is in an entirely different stratosphere than any other artist working today when it comes to modern popularity. Maybe Rodrigo gets there someday, considering her seemingly endless talent and her still-bulletproof catalog, but as she herself would likely admit, it’ll take a long, long time.

Danielle Pascual: A cautious yes. Debuting every song from your sophomore album in the Hot 100 top 40 is not a common feat. She also added 18 additional shows to her 2024 tour’s lineup, so demand is clearly there. However, I would’ve immediately answered “yes” if asked the same thing about Billie Eilish following the original success of “Bad Guy” — yet her follow-up album Happier Than Ever didn’t seem to have the same lasting impact that When We All Fall Asleep, Where Do We Go? had. In this day of TikTok as new artists go viral every day, making a decades-long impression is easier said than done. And though Guts‘ pace is great so far, will people regard it as one of the greatest pop projects of our time? Hard to say for sure, but I personally hope so.

Andrew Unterberger: Not necessarily, but the potential is still there. When comparing their two career timelines, Swift has the (somewhat ironic) advantage of having a very flawed debut — an album that boasted some excellent singles and certainly did well, but had enough room for improvement both artistically and commercially to allow for the great leap forward of Fearless. Such a jump was near-impossible for Rodrigo here, but she’s showing her commercial growth in other ways: namely, an arena world tour that includes four dates each at MSG, the Forum and the O2 Center. The sky’s still the limit for Rodrigo, but considering Swift is barely even tethered to this planet anymore, she’ll have to continue leveling up pretty consistently — and perhaps more importantly, she’ll have to really want to keep doing so — to reach near Swift’s heights.

CRAVITY reaches No. 1 on Billboard’s Hot Trending Songs chart, powered by X, for the first time, as “Ready or Not” tops the Sept. 23-dated list.

Billboard’s Hot Trending charts, powered by X (formerly known as Twitter), track global music-related trends and conversations in real-time across X, viewable over either the last 24 hours or past seven days. A weekly, 20-position version of the chart, covering activity from Friday through Thursday of each week, posts alongside Billboard’s other weekly charts on Billboard.com each Tuesday, with the latest tracking period running Sept. 8-14.

“Ready or Not” was released alongside the rest of CRAVITY’s six-song EP SUN SEEKER on Sept. 11. The song’s music video, however, was teased on the StarshipTV YouTube account beginning Sept. 8.

SUN SEEKER is the K-pop group’s second EP in 2023, following Master: Piece, which premiered in March.

Multiple songs by MohBad follow, led by “Peace” at No. 2, following the Nigerian singer and rapper’s Sept. 12 death. The songs “Feel Good” and “Ask About Me” also appear in the top 10 at Nos. 5 and 8, respectively. A cause of death has not yet been released.

“Big Difference,” a track from Nicki Minaj’s upcoming album Pink Friday 2 that was premiered during the MTV Video Music Awards on Sept. 12, bows at No. 3, and Shakira’s 2002 hit “Objection (Tango)” (No. 55 on the Billboard Hot 100 that September) starts at No. 4 after it was featured in a medley of tunes she performed at the VMAs when she received the Video Vanguard Award.

Keep visiting Billboard.com for the constantly evolving Hot Trending Songs rankings, and check in each Tuesday for the latest weekly chart.

V re-enters the latest Billboard Artist 100 chart (dated Sept. 23) at No. 3, reaching the top 10 for the first time thanks to his new solo EP Layover.

The set debuts at No. 2 on the Billboard 200 with 100,000 equivalent album units earned in its opening week (Sept. 8-14), according to Luminate. It marks his first solo entry on the chart.

With his No. 3 return to the Artist 100 (after he hit a prior No. 30 best, in August), V becomes the seventh and final member of BTS to reach the ranking’s top 10 in a solo capacity. Here’s a recap of each member’s highpoint on the chart, listed chronologically of when each peaked in the top 10.

Artist, Peak Position, Peak Date:
Jin, No. 10, Nov. 12, 2022
RM, No. 6, Dec. 31, 2022
Jimin, No. 1, April 8, 2023
Agust D/Suga, No. 3, May 6, 2023
Jung Kook, No. 5, July 29, 2023
J-Hope, No. 6, Sept. 2, 2023
V, No. 3, Sept. 23, 2023

As a group, BTS has spent 21 weeks at No. 1 on the Artist 100, the most among groups and the fourth-most overall (dating to the chart’s 2014 start), after Taylor Swift (79), Drake (37) and The Weeknd (28).

V is also the fifth member of BTS to score a solo top 10 on the Billboard 200, after RM, Agust D/Suga, Jimin and J-Hope. Here’s a recap of every solo project by a BTS member to reach the top 10, sorted chronologically:

Artist, Title, Peak Position, Peak Date:
RM, Indigo, No. 3, Dec. 31, 2022
Agust D, D-Day, No. 2, May 6, 2023
Jimin, Face (EP), No. 2, April 8, 2023
J-Hope, Jack in the Box, No. 6, Sept. 2, 2023
V, Layover (EP), No. 2, Sept. 23, 2023

BTS has tallied seven top 10s as a group on the Billboard 200, including six No. 1s: Love Yourself: Tear, Love Yourself: Answer (both in 2018), Map of the Soul: Persona (2019), Map of the Soul: 7, Be (both in 2020) and Proof (2022).

Olivia Rodrigo jumps from No. 10 to No. 1 on the Billboard Artist 100 chart (dated Sept. 23), returning as the top musical act in the U.S. for a seventh total week, and for the first time since 2021, thanks to her new sophomore album, Guts.

The set launches at No. 1 on the Billboard 200 with 302,000 equivalent album units earned in its opening week, according to Luminate, while its lead single “Vampire” returns to No. 1 on the Billboard Hot 100 for a second week on top.

This marks the first time that Rodrigo has tripled up at No. 1 on Billboard’s three premier charts. She’s the 16th artist to achieve the feat (dating to the Artist 100’s 2014 inception). Drake has scored the most such success, with 16 weeks ruling all three rankings concurrently, followed by Taylor Swift (15).

Most Weeks Ruling the Artist 100, Hot 100 & Billboard 200 Charts Simultaneously:
(As of charts dated Sept. 23, 2023)

All 12 songs from Guts land in the top 40 of the latest Hot 100, led by “Vampire” and “Bad Idea Right?” (No. 7). Rodrigo makes history as the first artist to chart all songs from two career-opening albums in the ranking’s top 40, as all 11 tracks from 2021’s Sour likewise reached the region.

Also on the Artist 100, V re-enters at No. 3, reaching the top 10 for the first time as a solo act. The BTS member returns on the strength of his new solo EP Layover, which debuts at No. 2 on the Billboard 200 with 100,000 units.

V is the seventh and final member of BTS to reach the Artist 100’s top 10 in a solo capacity, after Jimin (No. 1 peak), Agust D (aka Suga; No. 3), Jung Kook (No. 5), J-Hope, RM (both No. 6) and Jin (No. 10).

The Artist 100 measures artist activity across key metrics of music consumption, blending album and track sales, radio airplay and streaming to provide a weekly multi-dimensional ranking of artist popularity.

Move over Olivia Rodrigo, Busted wants its chart crown.

The British pop punk act leads the midweek U.K. chart with Greatest Hits 2.0, a 20th anniversary collection of the trio’s works which includes a “Guest Features Edition,” with cuts reworked by the likes of Jonas Brothers, All Time Low, Simple Plan, Dashboard Confessional, Hanson and You Me At Six.

With Greatest Hits 2.0, Busted, comprising Charlie Simpson, Matt Willis and James Bourne, should nab a fourth U.K. top 10 appearance, a list that includes three No. 2 peaks (Busted from 2002, A Present for Everyone from 2003 and Half Way There from 2019). The band has landed four U.K. No. 1 singles, but, until now, never topped the albums survey.

Rodrigo’s Guts powered to No. 1 last Friday, Sept. 15 with the year’s healthiest first-week numbers, for her second leader. Guts dips to No. 2 on the chart blast.

Mitski is on track for a career-best chart spot with The Land is Inhospitable and So Are We, the American singer and songwriter’s seventh studio album. It’s set to drop in at No. 3, for what would be Mitski’s second top 10 appearance, after 2022’s Laurel Hell peaked at No. 6.

Meanwhile, Slipknot frontman Corey Taylor could bag his first solo U.K. top 10 with CMF2, new at No. 4 on the chart blast. It’s the followup to 2020’s CMFT, which reached No. 11. As a member of Slipknot, Taylor has three No. 1 albums: 2001’s Iowa, 2019’s We Are Not Your Kind and 2022’s The End So Far.

Jared Leto’s Thirty Seconds to Mars is flying to a third U.K. top 10 with It’s the End of the World, the U.S. alternative rock band’s sixth studio release. It’s new at No. 5 on the Official Chart Update, and could equal or better 2013’s Love, Lust, Faith and Dreams (No. 5 peak) and 2018’s America (No. 4).

Rock And Roll Hall of Fame-inducted group the Pretenders should scoop a seventh U.K. top 10 album with Relentless, new at No. 7 on the chart blast. If it stays on target, it’ll give Chrissie Hynde and Co. their highest-charting album since 1994’s Last of the Independents, which peaked at No. 8.

Also eyeing a top 10 berth is Ash, the Northern Irish independent band whose eighth studio album Race the Night is set to start at No. 8. Race The Night could become the rockers’ sixth U.K. top 10 collection and highest-charting LP since 2004’s Meltdown went to No. 5.

Steve Hackett’s Foxtrot at Fifty + Hackett Highlights: Live in Brighton could become the guitar hero’s best U.K. chart appearance in more than 40 years. It’s on course for a top 10 debut, at No. 10, for what would be Hackett’s first top tier solo effort since 1980’s Defector peaked at No. 9.

Also impacting the midweek U.K. top 40 are LPs by Madison Beer (Silence Between Songs at No. 12), Demi Lovato (Revamped at No. 20), Sleepy Hallow (Boy Meets World at No. 29), The Bites (Squeeze at No. 30) and Sugababes (The Lost Tapes at No. 39).

All will be revealed when the Official U.K. Albums Chart is published late Friday, Sept. 22.

These songs are two good. Over the Billboard Hot 100’s history, which dates to 1958, more than 500 songs have peaked in the No. 2 spot. Despite never having reigned as the biggest hit of any single week, their legacies endure.

Through Sept. 21, you can listen to revered runner-up Hot 100 hits on SiriusXM’s Billboard #2 Countdown Channel, an exclusive limited-run channel on the SiriusXM App (channel 14). (The feature began Sept. 7.)

The Hot 100’s No. 2-peaking songs range from the first – Perez Prado and His Orchestra’s “Patricia,” which reached the rank on the inaugural survey (dated Aug. 4, 1958) – through hits from 2023 by Drake and 21 Savage (“Search & Rescue”), Lil Durk featuring J. Cole (“All My Life”) and Taylor Swift featuring Ice Spice (“Karma”).

Among other songs that put the “best” in second-best are multiple No. 2 Hot 100 hits each by The Beatles, Justin Bieber, Creedence Clearwater Revival, Michael Jackson, Elton John, Dua Lipa, Madonna, Elvis Presley, Prince and Stevie Wonder.

Here’s a rundown of the countdown’s top 10 – with the top 100 now part of Billboard’s Greatest of All Time charts menu:

The Billboard #2 Countdown Channel marks the latest partnership between SiriusXM and Billboard. Previously, the Billboard Top 500 R&B Countdown highlighted hits for Black Music Month, the Billboard Women of Pop 1000 Countdown honored Women’s History Month, the Cupid Countdown made Valentine’s Day even sweeter, the Billboard Top 112 Songs of Christmas Countdown dashed through the sounds of the season and the Billboard Top 500 Summer Hits recapped the biggest summer songs in the Hot 100’s history.

Additionally, SiriusXM’s Big 40 Countdown, on ’80s on 8, and the Back in the Day Replay, on ’90s on 9, are based on historical weekly Hot 100 charts, while the Prime 30, on Prime Country, time-travels back through Billboard‘s Hot Country Songs chart.

(The Billboard #2 Countdown Channel recap is based on actual performance on the weekly Hot 100 chart. Songs are ranked based on an inverse point system, with weeks at No. 2 earning the greatest value and weeks at No. 100 earning the least. To ensure equitable representation of the biggest hits from each era, certain time frames were weighted to account for the difference between turnover rates from those years.)

Doja Cat’s “Paint the Town Red” spends a second week at No. 1 on the Billboard Global 200 chart (dated Sept. 16), while BTS member Jung Kook’s “Seven,” featuring Latto, adds a ninth week atop the Billboard Global Excl. U.S. chart, encompassing its entire run on the ranking so far.

Elsewhere, BTS’ V launches at No. 3 on Global Excl. U.S. and No. 4 on the Global 200 with “Slow Dancing,” while Olivia Rodrigo logs four songs in the Global 200’s top 10 and two in the Global Excl. U.S. top 10, sparked by the arrival her new album, Guts.

The Billboard Global 200 and Billboard Global Excl. U.S. charts, which began in September 2020, rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Global 200 is inclusive of worldwide data and the Global Excl. U.S. chart comprises data from territories excluding the United States.

Chart ranks are based on a weighted formula incorporating official-only streams on both subscription and ad-supported tiers of audio and video music services, as well as download sales, the latter of which reflect purchases from full-service digital music retailers from around the world, with sales from direct-to-consumer (D2C) sites excluded from the charts’ calculations.

Second Coat of ‘Paint’ Atop Global 200

Doja Cat’s “Paint the Town Red” adds a second week at No. 1 on the Billboard Global 200, with 88.7 million streams (up 6%) and 11,000 sold (down 5%) worldwide Sept. 8-14.

Jung Kook’s “Seven,” featuring Latto, holds at No. 2 on the Global 200, after spending its first seven weeks on the chart at No. 1.

Olivia Rodrigo claims four songs in the Global 200’s top 10: “Vampire” (10-3, after it debuted atop the chart and led for two weeks in July); “Bad Idea Right?” (32-5, surpassing its prior No. 7 best); “Get Him Back!” (No. 7 debut); and “All-American Bitch” (No. 9 debut). The songs drew 55.4 million, 46.2 million, 44.1 million and 38.1 million streams worldwide, respectively.

Rodrigo ups her total to eight career Global 200 top 10s, with her four latest from her new album Guts, which premieres at No. 1 on the U.S.-based Billboard 200.

V’s “Slow Dancing” waltzes onto the Global 200 at No. 4 with 57.1 million streams and 54,000 sold worldwide in its first week. It’s his first solo top 10, after he hit a previous No. 12 best with “Love Me Again” in August.

V becomes the fifth member of BTS to hit the Global 200 top 10 solo. Here’s a recap, ranked by peak position, of BTS members’ eight top 10s (including one No. 1) on the chart outside the act, with BTS as a group having tallied 11 top 10s (including seven No. 1s):

Nine Weeks for ‘Seven’ at No. 1 on Global Excl. U.S.

Jung Kook’s “Seven,” featuring Latto, tops the Billboard Global Excl. U.S. chart for a ninth week, with, fittingly for its title, 77.7 million streams (down 7%), as well as 2,000 sold (down 41%) outside the U.S. Sept. 8-14.

Doja Cat’s “Paint the Town Red” notches a third week at its No. 2 Global Excl. U.S. high.

V’s “Slow Dancing” enters Global Excl. U.S. at No. 3 with 52.1 million streams and 35,000 sold outside the U.S.

As V achieves his second Global Excl. U.S. top 10 solo, here’s a rundown, ranked by peak position, of BTS members’ 12 top 10s (including one No. 1) on the survey outside the group – a total that one-ups BTS’ 11 top 10s (including seven No. 1s):

Myke Towers’ “LaLa” dips 3-4 after it led Global Excl. U.S. for a week in July, while Olivia Rodrigo’s “Vampire” flies 12-5, following a week at No. 1 in July, and her “Bad Idea Right?” vaults 47-9, besting its prior No. 17 high and becoming her fifth top 10 on the chart. “Vampire” drew 33.4 million streams and “Bad Idea Right?” attracted 24.6 million outside the U.S.

The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Sept. 23, 2023) will update on Billboard.com tomorrow (Sept. 19). For both charts, the top 100 titles are available to all readers on Billboard.com, while the complete 200-title rankings are visible on Billboard Pro, Billboard’s subscription-based service. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

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.

Olivia Rodrigo has a massive week on Billboard’s charts.

After releasing her sophomore album Guts Sept. 8, the LP soars in at No. 1 on the Billboard 200 (dated Sept. 23), while all 12 songs from the set chart in the Billboard Hot 100’s top 40, led by lead single “Vampire” at No. 1.

As all 11 tracks from Rodrigo’s 2021 debut set Sour hit the Hot 100’s top 40 that year, she becomes the first artist to chart all songs from two career-opening albums in the Hot 100’s top 40.

“Vampire” rebounds for a second week atop the Hot 100, after debuting at the summit 10 weeks earlier, with 55.8 million radio airplay audience impressions, 22.8 million U.S. streams (up 82%) and 4,000 downloads sold (up 89%) in the Sept. 8-14 tracking week, according to Luminate. In July, the song arrived as Rodrigo’s third No. 1 (all No. 1 debuts), following “Drivers License” and “Good 4 U” in 2021.

Rodrigo places one additional song in the Hot 100’s top 10, as second Guts single “Bad Idea Right?” vaults 26-7, reaching a new peak.

Here’s a recap of Rodrigo’s 12 titles on the latest Hot 100 (all of which are debuts except where noted):

Olivia Rodrigo on the Sept. 23-dated Hot 100:
No. 1, “Vampire” (up 9-1; second week at No. 1)
No. 7, “Bad Idea Right?” (up 26-7; new high)
No. 11, “Get Him Back!”
No. 13, “All-American Bitch”
No. 16, “The Grudge”
No. 19, “Making the Bed”
No. 20, “Logical”
No. 23, “Lacy”
No. 24, “Ballad of a Homeschooled Girl”
No. 25, “Love Is Embarrassing”
No. 30, “Pretty Isn’t Pretty”
No. 39, “Teenage Dream”

Rodrigo is just the third female artist to place 12 songs in the Hot 100’s top 40 simultaneously, after Taylor Swift and SZA. Swift tallied a personal-best 18 songs in the top 40 on Nov. 5, 2022, when her album Midnights debuted atop the Billboard 200. SZA logged 12 songs in the top 40 on Dec. 24, 2022, concurrent with the arrival of her LP SOS. Drake holds the overall record for the most concurrent top 40 entries, 21, on both the July 14, 2018, and Sept. 18, 2021 charts, concurrent with the arrivals of his albums Scorpion and Certified Lover Boy, respectively.

Rodrigo charted all 11 songs from Sour in the Hot 100’s top 40 the week that the album launched atop the Billboard 200 (June 5, 2021). Of her 24 career songs to chart on the Hot 100, all have reached the top 40 except for her first entry, “All I Want.” The song, from High School Musical: The Musical: The Series, peaked at No. 90 in 2020.