The album’s across-the-board gains came during the same tracking week in which TMZ published a video showing Wallen using a racial slur. As previously reported, TMZ posted a video on Feb. 2 of Wallen, who was positioned to be the next global country star, yelling expletives, including the N-word. He subsequently issued an apology, while his record label, Big Loud Records, suspended his recording contract indefinitely. The news broke with two full days left in the chart’s tracking week (which ended on Feb. 4).
On Feb. 6, Billboard reported that Wallen’s airplay had collapsed to a nominal amount through Feb. 5, after multiple radio groups dropped his music. Concurrently, his songs were removed from over 30 influential playlists across Spotify, Apple Music, Amazon Music and Pandora (though his music remained available on all services). Also, though Big Loud suspended Wallen’s recording contract indefinitely, his music was not removed from any digital retailers (like iTunes), and remains available in brick-and-mortar retail stores.
With Dangerous having spent its first four weeks at No. 1, it’s the first country album to do so since January 2003.
The last album to log its first four weeks at No. 1 that also appeared on the Top Country Albums chart was Shania Twain’s Up! It spent its first five (and total) weeks at No. 1 (Dec. 7, 2002 through Jan. 4, 2003). The last album by a male artist to spend its first four weeks at No. 1 that also appeared on Top Country Albums was Garth Brooks’ Double Live in late 1998 and early 1999, which spend its first five (and total) weeks at No. 1 (Dec. 5, 1998 – Jan. 2, 1999).
The last country album to spend at least four total weeks at No. 1 was Taylor Swift’s Red, with seven nonconsecutive weeks in the lead in late 2012 and early 2013. Red spent its first three weeks at No. 1 (Nov. 10-24, 2012), then stepped away from the top slot for three weeks and then returned for four more weeks in a row (Dec. 22, 2012 – Jan. 12, 2013). The last country album by a male artist to spend at least four total weeks at No. 1 was Alan Jackson’s Drive, which notched four nonconsecutive weeks in the lead (Feb. 2-16, and March 2, 2002).
Back on the new Billboard 200, Lil Durk’s The Voice jumps 5-2, matching its peak first reached four weeks ago, following its deluxe reissue on Jan. 29 with 14 additional tracks. The set, originally released Dec. 24, earned 86,000 equivalent album units (up 167%) in the week ending Feb. 4. All versions of the album, new and old, are combined for tracking purposes.
The next eight albums on the chart are all former No. 1s. Pop Smoke’s Shoot for the Stars Aim for the Moon dips 2-3 (43,000 equivalent album units earned; down 4%), The Weeknd’s After Hours is a non-mover at No. 4 (34,000; down 1%) and Juice WRLD’s Legends Never Die rises 6-5 (just over 30,000; down 3%).
Luke Combs’ What You See Is What You Get pushes 8-6 (30,000 equivalent album units earned; down 2%), Taylor Swift’s Evermore falls 3-7 (29,500; down 15%), Lil Baby’s My Turn rises 9-8 (29,000; down 3%) and Ariana Grande’s Positions dips 7-9 (28,000; down 9%).
Closing the Billboard 200’s top tier, Megan Thee Stallion’s No. 2-peaking Good News bumps back into the top 10 (12-10) with 26,000 equivalent album units earned (down 5%).
(Note: Streams from Audiomack and Sonos Radio and Sonos Radio HD now contribute to the data that informs the Hot 100, Billboard 200, Artist 100 and Billboard Global 200 charts, as well as all other Billboard U.S. and global charts that include streaming data.)