Charts analysis: Linkin Park score fourth No.1 album with comeback record From Zero

Their career paused, some thought permanently, after the devastating death by suicide of lead singer Chester Bennington in 2017, Linkin Park reconvened earlier this year with new vocalist Emily Armstrong fronting their eighth studio album, From Zero, which now earns them their fourth No.1, debuting atop the chart on first week consumption of 37,826 units (12,622 CDs, 10,054 vinyl albums, 472 cassettes, 4,474 digital downloads and 10,204 sales-equivalent streams). On the album, which is the 17th different title to be No.1 in as many weeks, 38-year-old Armstrong and new drummer Colin Brittain (37) join rhythm guitarist/vocalist Mike Shinoda (47), lead guitarist Brad Delson (46), bass guitarist Dave Farrell (47) and DJ Joe Hahn (47), all of whom have been with the band since before their debut album, Hybrid Theory, was released in 2000. Although Hybrid Theory sold just 238 copies on its first week on release, taking a further 10 weeks to chart, it ultimately peaked at No.4 a year to the week from its release, and yielded four Top 30 singles. It is set to become the first album by the band to secure two million sales in the next few days – improving 74-71 (2,241 sales) this week, it raises its cumulative sales to 1,999,287 units, and is the 64th most-consumed album of the 21st century. Linkin Park’s chart-topping second album, 2003’s Meteora, and 2007’s Minutes To Midnight, secured the band’s highest first week sales of 93,886 and 94,501, respectively, and have to-date sales of 1,038,643 and 775,454. Their third No.1, Living Things, opened atop the chart on sales of 41,526 in 2012. Linkin Park are the 27th group to have four (or more) No.1 albums in the 21st century but only the seventh American group, joining The Killers (eight No.1s in total), Foo Fighters (six), Kings Of Leon (six), Green Day (five), Red Hot Chili Peppers (5) and REM (four). London female R&B trio Flo have been releasing singles and EPs since 2022, but their first full length album is Access All Areas, which debuts this week at No.3 (9,501 sales). Flo’s only Top 75 single, Fly Girl, featured Missy Elliott and reached No.38 in 2023 and has to-date consumption of 116,684 units. Their 2022 track, Cardboard Box, reached No.76 early the following year, and is their most-consumed song with a to-date tally of 208,065 units. The last time a British R&B girl group was so high in the chart was in 2001, when Mis-Teeq’s debut, Lickin’ On Both Sides also reached No.3. For completist fans, acquiring all of the physical formats of From Zero is a costly exercise, with four CD, 11 vinyl and one cassette variants – but spare a thought for fans of K-Pop octet Ateez, whose new EP/mini-album, the six-song, sixteen-minute release Golden Hour Part 2, debuts at No.4 (8,618 sales), becoming their fourth album chart entry – all of them reaching the Top 10. It is available in 19 CD variants and one vinyl, all of which count towards its introductory chart tally – but the £2.99 digital version of the album and, therefore, streaming thereof, are deemed ineligible for price reasons. The album would be No.4 regardless. In America, where K-Pop is more popular and chart regulations more accommodating, Golden Hour Part 2 looks like becoming Ateez’s first No.1 with Linkin Park destined for No.2. Two other K-Pop acts will enter inside the Top 10 stateside too, with both missing out here – BTS member Jin’s Happy and Enhyphen’s Romance: Untold – Daydream. The rest of the Top 10: Short ‘n’ Sweet (2-2, 13,222 sales) by Sabrina Carpenter, The Rise And Fall Of A Midwest Princess (5-5, 7,492 sales) by Chappell Roan, +--=÷× Tour Collection (6-6, 7,409 sales) by Ed Sheeran, The Highlights (9-7, 6,944 sales) by The Weeknd, Diamonds (8-8, 6,751 sales) by Elton John, Brat (11-9, 6,676 sales) by Charli XCX and The Secret Of Us (10-10, 6,552 sales) by Gracie Abrams. All five previous collaborations between Michael Ball & Alfie Boe remained in the Top 10 on their second week but their latest, Together At Home, breaks that streak by slumping 1-27 (3,873 sales). Also evicted from the Top 10: Chromakopia (7-12, 6,024 sales) by Tyler, The Creator, Songs Of A Lost World (3-18, 4,971 sales) by The Cure and, falling out of the Top 200 (401 sales), last week’s No.4, Earth To Grace by Massive Wagons. With 12 songs – 11 of which he co-wrote – and a playing time of just 30 minutes, fifth album Shawn is the briefest yet by Canadian singer Shawn Mendes, and also the lowest-charting, debuting at No.22 (4,638 sales). Happy birthday to you: Both No.2 albums absent from the chart since the year they were first released, a 40th anniversary zoetrope vinyl edition of Iron Maiden’s fifth album, Powerslave, and an expanded (and late) 50th anniversary edition of Beatles guitarist George Harrison’s second regular solo album, Living In The Material World. pop up again this week. Powerslave re-emerges at No.33 (3,534 sales) and Living In The Material World at No.46 (2,971 sales). Twenty years ago this week saw the release of late UK-born American rapper MF Doom’s most celebrated album, Mm. Food. Uncharted at the time, it reached No.182 nearly four years ago, shortly after his death, but breaches the Top 75 for the first time this week, after being re-released in several variants, debuting at No.64 (2,380 sales). Michael Bublé’s Christmas – No.1 on first release in 2011 – is back in the Top 75 for its 14th annual Yule journey, advancing 95-31 (3,556 sales). Now That’s What I Call Music! 119 debuts atop the compilation chart on sales of 9,759 copies (8,950 CDs, 809 digital downloads). That’s 2.49% below the 10,008 units that earned its immediate predecessor, Now! 118, a No.1 debut in July and 0.51% above the 9,709 sales its 2023 equivalent, Now! 116, recorded on debut at No.1 last November. Overall album sales are up 2.78% week-on-week at 2,557,958 units, 3.23% above same week 2023 sales of 2,477,954. Physical product accounts for 377,516 sales, 14.76% of the total.

Digital Discourse: Sammy Andrews on what the industry can learn from Snoop Dogg

Deviate Digital CEO Sammy Andrews guides you through the ever-changing tech world... I cover so many subjects here every month, from AI to future tech and marketing, but if there was one column I never thought I’d write, it’s this one… Over the summer, like many, I enjoyed the coverage of the Olympics and, aside from the pride in our national team, I took great enjoyment watching a master at play: Snoop Dogg, the unspoken winner. I’m talking about him here today because I genuinely think the music business would do well to lean into his approach, especially his use of social media, to build his currency and reach. Plus, he has a unique success story when you really dig down into it. When you think of Snoop Dogg, the image that likely comes to mind is that of a laid-back rapper with a smooth flow. But beneath the surface of his West Coast rap persona lies a shrewd businessman who has managed to become one of the most successful marketers in the entertainment industry. He’s cleverly used social media and strategic brand partnerships to build an empire that spans far beyond his music. But how did he become such a marketing genius? Snoop first gained attention in the early 1990s as Dr Dre’s protégé, contributing to the success of The Chronic and later releasing his debut album, Doggystyle, which cemented his status as a rap legend. However, Snoop’s early career wasn’t without controversy. He was associated with gangsta rap, a genre that was often criticised by the mainstream media for its portrayal of violence and drug culture. He was also acquitted of murder charges in a high-profile trial in 1996. Few would have predicted that Snoop Dogg would one day become a beloved mainstream figure taking centre stage at the Olympics, let alone a widely sought-after corporate partner. But Snoop has done exactly that by transforming his image and adapting to new opportunities over the years. His ability to reinvent himself has been key to his enduring success, making him a cultural icon with a diverse range of interests and ventures. Throughout his career, Snoop has taken on a variety of roles: rapper, actor, a writer of children’s music, TV host and entrepreneur. And his evolution isn’t just limited to his music... These days, you’re just as likely to see him cooking with Martha Stewart as you are to see him performing on stage. This shift has connected him with audiences that may not have been drawn to his music but enjoy his charisma and sense of humour. Snoop’s marketing genius is perhaps most evident in his savvy use of social media. With more than 150 million followers across platforms like Instagram, TikTok, X and Facebook, he’s built an online presence that entertains his fans. His online strategy is a lesson in how to build a personal brand that blends humour and authenticity to keep his followers invested in his journey. What sets Snoop apart from other artists and celebrities on social media is his ability to balance promotion with personality. While many stars use their platforms mainly to advertise products or their own work, Snoop offers a very clearly orchestrated mix. His feeds are filled with entertaining reposts, memes, self-deprecating humour, throwback photos, personal updates, culturally relevant videos and, of course, promotions for his business ventures. This mix makes his promotional posts feel more like friendly recommendations than overt advertisements, keeping his audience engaged without feeling like they’re being sold to – something most artists fail to achieve without expert help. Snoop’s team understands the unspoken 80/20 rule in social media: 80% should give and 20% should take. There should be a Post-It note saying that on the desk of any social media manager. Where many labels and managers are starting scene fan pages for this kind of content, Snoop is mainlining it and building a huge, diverse community, which in turn opens him up to equally diverse brand opportunities. His authentic and unfiltered voice also helps him stand out in a crowded space. Whether he’s commenting on current events or sharing a funny meme, Snoop’s posts feel genuine, and that resonates with his followers. In a world where people are increasingly sceptical of traditional advertising, his authenticity is a huge advantage. He frequently engages with fans, responds to comments and participates in viral challenges, making him feel more accessible and grounded than many other artists and celebrities. Despite a controversial past that might have once made him an unlikely candidate for corporate partnerships, Snoop has now managed to attract some of the biggest brand deals in the world. He’s become an ambassador for a range of companies, from food and drinks to technology and financial services, taking in everything from the Paris Olympics, Klarna, Corona, Solo Stove (a global smash marketing campaign that sadly didn’t translate to sales but did reach all corners of the world), 19 Crimes, Funko, Atlas, Skechers, Futurola and many more. These ventures showcase his ability to capitalise on his personal brand and diversify his portfolio, ensuring his relevance in and revenue from multiple industries. Snoop Dogg’s journey from rapper to marketing powerhouse is a testament to his adaptability and business acumen. He’s managed to leverage his authenticity to build a brand that goes beyond his music, and his willingness to take risks in new areas have made him a marketing dream for brands. As Snoop Dogg continues to expand his empire, it’s clear that his reign as one of the entertainment industry’s most enduring icons is far from over and those in the music business would do well to study his approach, both on and offline.

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