From Taylor Swift to Benson Boone, Why 2024’s Midyear Charts Are the Most Unusual In a Decade

In several different ways, the modern era of the U.S. recorded music business can date its origins to the year 2015. That was the year that Apple Music and TIDAL debuted in the United States; the year that streaming finally matured, taking up the baton as the dominant revenue stream among all formats in the country; and the year that, after more than a decade of decline, the business finally began to see its first shoots of growth, kicking off an upward trend that has still, 10 years later, not abated.

This week, Luminate released its annual midyear report on the U.S. business, providing a relatively convenient bookend to the first 10 years of what can reasonably be referred to as the official streaming era. The midyear charts threw up a few surprises (the enduring success of Benson Boone’s “Beautiful Things” led to it becoming the most-streamed song of 2024 so far) and some more obvious conclusions (Taylor Swift, of course, dominated the album charts with The Tortured Poets Department). 

But it also revealed several milestones and achievements that have not happened in the past 10 years of the Luminate (and, prior to it, MRC Data and Nielsen) reports. So with the caveat that it’s still just the midway mark, and release dates and other factors weigh more heavily in smaller sample sizes, here are five stats that demonstrate that the first half of 2024 has been the most unusual year of the past decade.

The Sheer Scale of Taylor’s Dominance

Swift’s Tortured Poets Department easily outstripped every other album at the midyear mark, having spent 12 of the 26 weeks of the year so far atop the Billboard 200. But at the midyear mark, its dominance could also be referred to as historic compared to the past 10 years. At 4.66 million equivalent album units, TTPD has outstripped the No. 2 album, Morgan Wallen’s One Thing At a Time, by more than double — and nearly triple — the latter’s 1.776 million, with a total that’s 2.62 times higher than Wallen’s album (which, to be fair, was released in March 2023).

That’s the first time in the past decade that the No. 1 album’s first-half total doubled, much less more than doubled, the No. 2 album. The differential between the two, 2.884 million units, is over 1.5 million more than the disparity between any other top two albums over the time period, with 2023 being the only other year the disparity topped 1 million units. (Last year, Wallen’s One Thing At a Time came in at 3.312 million units, 1.33 million more than SZA’s SOS.) The closest race of the past 10 years? That’d be in 2017 when Kendrick Lamar’s DAMN. edged out Ed Sheeran’s divide by just 23,000 units at the midway mark.

The No. 1 Song Didn’t Reach No. 1 on the Hot 100

Boone’s “Beautiful Things” was an early breakout story this year, as the singer seemed to explode out of nowhere with the biggest hit of his career so far. The song got off to a flying start, debuting at No. 15 on the Billboard Hot 100 in January — and then spent all but two weeks in the top 10 of the chart, landing at No. 1 for the most-streamed song of the year so far on Luminate’s mid-year tally.

The only quirk? “Beautiful Things” peaked at No. 2 on the Hot 100, never quite reaching No. 1. Given that, it may seem odd that it finished No. 1 in streams at the midyear point, though that can be explained by its sustained dominance in the top 10 and its early-year debut, which gave it the full six months to rack up all those streams. What is odd, however, is that it’s the only song in the past decade that landed at No. 1 at the midyear mark and also never reached the top of the Hot 100. In fact, every other year since 2015, the top song halfway through the year had spent at least five weeks in the top slot — ranging from the Encanto cast’s “We Don’t Talk About Bruno” in 2022 (five weeks) to Mark Ronson and Bruno Mars’ “Uptown Funk!” in 2015, which hit 14 weeks. (Lil Nas X’s “Old Town Road,” No. 1 at the halfway mark in 2019, ultimately spent 19 weeks at No. 1, though it was only halfway through that run at the midyear point.)

Midyear No. 1 Songs by On-Demand Streams (Weeks at No. 1)
2023: Miley Cyrus, “Flowers” (8 weeks)
2022: Encanto Cast, “We Don’t Talk About Bruno” (5 weeks)
2021: Olivia Rodrigo, “Drivers License” (8 weeks)
2020: Roddy Ricch, “The Box” (11 weeks)
2019: Lil Nas X’s “Old Town Road” (19 weeks)
2018: Drake, “God’s Plan” (11 weeks)
2017: Ed Sheeran, “Shape Of You” (12 weeks)
2016: Rihanna feat. Drake, “Work” (9 weeks)
2015: Mark Ronson feat. Bruno Mars, “Uptown Funk!” (14 weeks)

Warner Records Lands Top 3 Songs

About those top-streamed songs? Boone’s was No. 1, followed by Zach Bryan feat. Kacey Musgraves with “I Remember Everything” and Teddy Swims’ “Lose Control” at Nos. 2 and 3. All of those songs were released by Warner Records, giving the label a trifecta. No other label has had the top three songs at the midyear mark in the past decade, giving Warner sole possession of the feat in this era.

A few labels have come close, however: in 2022, Atlantic Records had the top song (“We Don’t Talk About Bruno”), the No. 4 song (Kodak Black’s “Super Gremlin”) and had one of its stars, Jack Harlow, on the No. 2 song (Lil Nas X and Harlow’s “Industry Baby”, which was released on X’s label Columbia). In 2018, Republic Records had three of the top four, with one of its artists, Drake, on the No. 3 song: Blocboy JB feat. Drake, “Look Alive.” However, “Look Alive” came out on Drake’s label OVO Sound, which was distributed by Warner at the time. In 2016, Def Jam had Nos. 2 and 3 (Desiigner’s “Panda” and Justin Bieber’s “Sorry,” respectively) and a distribution deal with Roc Nation, which put out the No. 1 song, Rihanna’s “Work” featuring Drake — though Def Jam didn’t technically release it.

Republic Records Lands Top 3 Albums

Not to be outdone, the top of the midyear albums chart also threw up a trifecta for a label: Republic Records, which released Swift and Wallen’s albums (the latter in partnership with Big Loud), as well as the No. 3 album, Noah Kahan’s Stick Season (in partnership with Mercury). Somewhat surprisingly, given Republic’s recent dominance in the market share standings as well as the overall dominance of Wallen and Swift in recent years, this is the first time Republic has taken the top three slots at the midyear mark — and, over the past decade, the only time any label has held down the top three at this point in the year.

The only time another label came close was, unsurprisingly, Republic. In 2023, the label had four of the top five albums of the year at the midway mark, but it was thwarted from claiming the top three by SZA’s SOS, which was released by Top Dawg/RCA.

Just Five Albums in the Top 10 Came Out Within the Past 12 Months

The top 10 albums chart by equivalent units served up plenty of familiar titles this year: Swift, Wallen, Kahan, SZA and Bryan, as well as albums from Beyoncé (Cowboy Carter, No. 4) and Future & Metro Boomin (We Don’t Trust You, No. 6). But incredibly, only five of the top 10 were released within the past 12 months: Swift’s TTPD, Beyoncé’s Carter and Future & Metro’s Trust, all of which came out in 2024. Bryan’s self-titled album, which finished at No. 8, was released last August, while Swift’s No. 9-ranking 1989 (Taylor’s Version), a re-recording of an album that came out in 2014, was released last October. That’s the fewest number of titles in the top 10 of any midyear consumption chart in the past 10 years to have been released within the prior 12 months (dating back to the midyear mark of the year before), with no other year going back to 2015 serving up fewer than six.

In fact, that number has been steadily dropping for a half-decade now: Since 2019, when nine of the top 10 were released within the prior 12 months, there have been nine (2020), seven (2021), seven (2022) and six (2023) in the top 10. (In 2017, all 10 fit the criteria.) The streaming era has done many things for the music business, but one thing it has done more than any other is to expose people’s listening habits rather than buying habits. And the consumption numbers of current (releases within the past 18 months) vs. catalog (releases older than 18 months) have borne out the by-now long-established trend that catalog rules consumption: This year, Luminate calculated that catalog listening accounted for 72.8% of listening share, a figure that remained the same as it was at the midway point in 2023. 

But the sheer staying power of some of these top 10 albums is what’s most impressive. Wallen’s One Thing At a Time is over a year old by now; but his 2021 album, Dangerous: The Double Album, is still at No. 7. SZA’s SOS, No. 2 at the midyear mark last year, came in at No. 5. Kahan’s Stick Season originally came out in October 2022. 1989 (Taylor’s Version) is a collection of songs that, in their original form, date back a decade. And at No. 10, Swift’s Lover is approaching its fifth anniversary in August.

Will the charts remain so static in the future? Is it a product of the maturation of the streaming age? Or is it just that these albums are simply so dominant that they elbowed out all others? It’s something to keep an eye on.