Taylor Swift Makes Chart History As She Refuses To Give Up The No. 1 Spot

For the third week in a row, Taylor Swift claims both the No. 1 album and song in America. She made history less than a month ago when The Life of a Showgirl debuted atop the Billboard 200 with the largest opening sum of all time. The full-length, one of the most highly anticipated releases ever, opened with just over four million equivalent units.

At the same time, Swift occupied the highest 12 spaces on the Hot 100 with all of the songs featured on her latest project. The biggest of the bunch, “The Fate of Ophelia,” earned the singer-songwriter another chart-topper on the ranking of the most consumed tunes in the U.S.

Since then, no one has made a real play to supplant her on either roster. As Swift conquers the two most competitive Billboard charts simultaneously once more, she makes history with her unbroken streak.

The Life of a Showgirl and “The Fate of Ophelia” Make History Together

Billboard notes that this frame marks a first in chart history. The Life of a Showgirl and “The Fate of Ophelia” help Swift become the first musician to debut at No. 1 on the two tallies and hold there for three consecutive frames. The superstar has come close to managing this achievement before, but she beats her own record this time around.

The Tortured Poets Department Set the Stage

Swift’s two most recent albums of original material before The Life of a Showgirl — The Tortured Poets Department and Midnights — and their lead singles commanded the Billboard 200 and Hot 100 at the same time for the first two weeks they were out in the world.

In 2024, The Tortured Poets Department spent 12 frames running the show before finally stepping aside, only to return to the summit on the Billboard 200 multiple times. The album’s lead smash “Fortnight,” a collaboration with Post Malone, only managed its first two stays on the throne before Kendrick Lamar’s “Not Like Us” pushed past it and hit No. 1.

“Anti-Hero” and Midnights Ruled Together

Two years prior, Swift managed essentially the same feat with Midnights — only the song was more successful. In that instance, Midnights spent its first two stints on the Billboard 200 at No. 1, while “Anti-Hero” became Swift’s longest-running champions. “Anti-Hero” reached the top spot at the same time as its parent album, but the cut went on to command the list for half a dozen frames in a row and a total of eight weeks at No. 1, while Midnights stepped aside earlier than usual.

1989 Cemented Taylor Swift’s Pop Dominance

A decade ago, when Swift pivoted to pure pop with 1989, the set opened with almost 1.3 million units and refused to move for three consecutive frames. For the first two, “Shake It Off” also topped the Hot 100 — and then Swift replaced herself when “Blank Space” ruled for the rest of the year.

That feat is different from the one she manages this frame for several reasons. First, “Shake It Off” had already debuted at No. 1 on the Hot 100 in September, and it returned to the highest rung when 1989 arrived. Also, “Blank Space” took over for “Shake It Off,” meaning Swift didn’t see one tune rule for the first three frames that 1989 sat at No. 1 on the Billboard 200, but rather a pair of different, but nearly equally huge, cuts.

Tame Impala Ends Taylor Swift’s Vinyl Reign

Three frames into its time on the Billboard charts, The Life of a Showgirl is still in charge of all but one ranking this period. Swift steps back from the summit on the Vinyl Albums tally, making room for Deadbeat by Tame Impala to open at No. 1. The Life of a Showgirl continues unmoved on the Billboard 200, Top Album Sales, and Top Streaming Albums charts.

“The Fate of Ophelia” Leads Multiple Billboard Rankings

Meanwhile, “The Fate of Ophelia” leads the Hot 100, Streaming Songs, and Digital Song Sales charts. The cut does step back from running the show on both of Billboard’s global lists, but only by one spot. At the same time, the catchy release improves its standing on all three pop radio rankings, hitting new peaks on two of them and holding at its all-time best showing on both the general Radio Songs chart and the Adult Contemporary tally.