ARIA charts to boot old hits from top 40
Don't miss out on the headlines from Music. Followed categories will be added to My News.
The old hits you love by Taylor Swift, Ed Sheeran, Fleetwood Mac and more will be booted off the top 50 in the biggest shake-up of the ARIA charts in the streaming era.
In an attempt to flush more new music into the top 50 albums and singles, and the top 20 Australian Artist leaderboards, ARIA will unveil dramatically new-look charts in September.
Under the revised criteria, those four charts will only feature music released within the last two years.
So bye bye to all the Taylor Swift records except The Tortured Poets Department, Sheeran's Divide and Fleetwood Mac's 1977 classic Rumours, which has been rusted onto the top 50 for 403 weeks.
Those country hits by Luke Combs and Zach Byran which have hung around for years will also get punted from the main charts.
The Killers classic hit Mr Brightside will find a new chart home after 20 years. Picture: Tony Gough
All the greatest hits compilations that have been on the charts consistently since their release forever will disappear, including Eminem's Curtain Call (402 weeks) and Elton John's Diamonds (336 weeks).
The Australian Artist top 20 singles would look wildly different if the changes came in this week, with 13 songs given the boot including Vance Joy's unrelenting Riptide which has spent 360 weeks on the chart.
The old stuff will now migrate to new charts called ARIA On Replay.
ARIA CEO Annabelle Herd said the changes are an attempt to remove barriers to new music from Australian and international artists busting into the top 50 or the top 20 local artist charts.
Vance Joy's Riptide will finally retire from the main charts after a decade. Picture: Jonathan Ng
She said it meant the freshest tunes and records will no longer have to compete with all the music ever made which is readily available on demand via streaming.
'What are you gonna do when you're competing with all of the world's best music ever released, as people have said you're competing with the Beatles or Coldplay or whoever, and it just means that the chart stays pretty stagnant, week to week,' she said.
X
SUBSCRIBER ONLY
The Australian music industry has been struggling to reignite the appetite for homegrown music as reflected by the lack of local releases on the ARIA charts, which measure music consumption via streaming, downloads and sales of physical formats including vinyl and CD.
The 2024 end of year charts featured only five Aussie singles including Riptide and three albums with The Kid Laroi's The First Time the only new studio record.
Herd said ARIA spent a year reviewing the charts before introducing the two-year cut-off criteria; similar rules exist in France and New Zealand.
Fleetwood Mac's rusted-on Rumours album will migrate to ARIA On Replay chart. Picture:.
'We are working on getting more Australians listening to Australian music. Everybody around the world is listening to Australian music in huge numbers which is fantastic, and I'm very confident that is going to translate into more Australians listening to local music,' she said.
'I think as soon as the change is made you'll see more Australian artists in those charts.'
There is one exception for classic hits making the top 50 if they enjoy a viral moment, such as Kate Bush's Running Up That Hill returning to No.1 after it featured on a pivotal episode of Stranger Things in 2022.
Black Eyed Peas returned to the top 50 this week with their 2010 song Rock That Body which soundtracks a viral dance trend.
Trending vintage songs and albums will make the cut for 10 weeks only, if the title has not appeared in the Top 100 for at least ten years.
The Top 50 staying power of Ed Sheeran's Divide album will soon be over. Picture: Jake Nowakowski
The longest chart stayers on this week's ARIA top 50
Albums
Rumours, Fleetwood Mac (No 21) - 403 weeks
Curtain Call: The Hits, Eminem (No 30) - 402 weeks
Divide, Ed Sheeran (No 38) - 401 weeks
This One's For You, Luke Combs (No 23) - 367 weeks
Diamonds, Elton John (No 40) - 336 weeks
When We Fall Asleep…, Billie Eilish (No 36) - 306 weeks
Teenage Dream: The Complete Confection (No 16) - 289 weeks
Lover, Taylor Swift (No 45) - 281 weeks
Reputation, Taylor Swift (No 29) - 264 weeks
Folklore, Taylor Swift (No 32) - 256 weeks
Singles
Dreams, Fleetwood Mac (No 33) - 166 weeks
Mr Brightside, The Killers (No 46) - 157 weeks
Something in the Orange, Zach Bryan (No 39) - 139 weeks
Iris, Goo Goo Dolls (No 17) - 88 weeks
All The Stars, Kendrick Lamar and SZA (No 25) - 41 weeks
Pink Pony Club, Chappell Roan (No 6) - 20 weeks (originally released in 2020)
Originally published as Old hit singles and albums to disappear from ARIA top 50 under new rules
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Courier-Mail
4 hours ago
- Courier-Mail
Stand-up comedian Anisa Nandaula on on trusting your gut
Currently on the road with her debut comedy tour, the Ugandan-Australian comedian and slam poet talks navigating career changes, post-show comedowns plus her current pet peeves. You were born in Uganda and moved with your family to Rockhampton in regional Queensland at the age of seven. What do you remember of this transition – was it a culture shock? I vividly remember being so shocked at the bridges in Australia, the perfect roads and the Billabong ice-creams shaped like a heart. I was so in love with this country and thought it was incredible. I think the biggest culture shock would be that I didn't know I was going to be the only black person in my area for the next five years. Rockhampton is quite regional and, at least when I was there, there wasn't much of an African diaspora, it was just my family. It's especially difficult because when you're new to a country, you want to make friends but you're like, 'Ok, do I just get rid of my culture so I can fit in?' At the height of Covid you quit your 9-to-5 to embark on a career in stand-up. Did this feel like a risk and what gave you the courage to take the leap? I made the decision to quit poetry and that did not feel like a risk. What felt like a risk was continuing to live my life doing something that didn't exhilarate me, that didn't make my heart race. When I stood up on that stage, I felt reborn. I felt like I had a purpose and this was my calling. The risk would be not to dedicate my life to this forever because I love it. X SUBSCRIBER ONLY Comedy is known for its gruelling schedule, with late nights and the pressure to perform. What self-care practices do you prioritise when the demands can feel like a non-stop hustle? That's a really tricky question because for me comedy is my therapy, comedy is my safe space. So, comedy itself is my ritual. If I go a night without performing, my mental health starts to spiral. I love being onstage. I remember when I was doing a TV show, you're working these late hours and you're so tired, thinking 'Oh my god, how am I going to perform?' As soon as you get on stage you're like, 'Oh, I love it. This is what I was born to do.' Is there a come down post-show? Oh definitely, and I've had to develop rituals for that and the adrenaline spike. To come down and be able to sleep, I need to read a book and drink some tea otherwise I literally won't go to sleep – the adrenaline spike is too high. You've said 'a lot of stand-ups are very judgmental, irritable people' as these observations make for great comedy. What irritated you recently? Comedians are the most irritable people on earth. I don't think there's ever a moment where I'm not irritated or slightly annoyed at something. Yesterday I got an Uber home from the airport and it's like, yay, I can afford an Uber from the airport. But also, I'm trapped with this Uber driver who is sharing their political opinions for 40 minutes! And I had headphones in! We have such a unique way of talking and sense of humour, so I just felt disconnected, I felt like I didn't understand, and had trouble relating and connecting to people. Image: Emma Holland In a male-dominated space, you've forged a path to become a unique voice in comedy. What advice would you give others looking to pursue a passion? That feeling in your gut, follow that. I remember when I was doing open mics and no-one would book me, I changed my Facebook to a different name because I'm like, 'I'm going to be really famous one day and I don't want people searching me up.' This was when I was doing sh*tty open mics, but I knew where I was going to be. If you know it in your head, it's going to happen. Keep that dream in your head because it's going to be a reality. Being the only Black family in Rockhampton, did you find that challenging when at school? It was really challenging. Even just the Australian way of speaking. We have such a unique way of talking and sense of humour, so I just felt disconnected, I felt like I didn't understand, and had trouble relating and connecting to people. That was super challenging. You pursued a career as a poet and in 2016, you were crowned Queensland Poetry Slam Champion. What was it about this art form that drew you in? I loved poetry. I always loved English and used to do public speaking. I very specifically remember my teacher telling me after reading the stories I wrote, 'I could tell you're a better speaker than you are a writer.' I remember that really hurt my feelings because I loved literature. Then I saw this slam poet on YouTube and I was like, 'Ok, my teacher's telling me I'm not a good writer. But whatever this is, I can do this.' I fell in love with the performing, the being on stage, and just telling your story to people. Image: @anisa_nandaula on Instagram I fell in love with the performing, the being on stage, and just telling your story to people. Being able to speak - I don't know if that's due to being in Rockhampton or earlier in my childhood when I had trouble connecting and being honest and being myself - but onstage I knew that I could tell my truth and connect with you. It's fascinating what your teacher said to you, too. So much of stand-up is writing: there's a rhythm and a pace to a joke, and the need for perfect wording. Did that background in poetry lend itself to stand-up? You're 100 per cent correct, without a doubt. With stand-up, your job is essentially to be a writer. All you do is write. You write 90 per cent of the day, and perform 10 per cent of the time. I think because I'm so used to manuscripts and writing for eight hours a day, the art form isn't easy but the act of writing is because I'm so used to it. Can you remember that first stand-up show that you did? Yes! I was actually watching a video of it last night because I'd sent it to a friend and it was atrocious. There were three people in the audience, one of them was my best friend who was just laughing. And the other two were two men who were crazy drunk and they loved it, so I don't know what the average person would have thought. How did you approach that career transition, though? Did you have any mental tools or strategies? I'm an incredibly methodical person. When you start out in stand-up, you don't know anything. I had a mentor and he essentially set goals for me. The first goal was to write down three minutes worth of jokes. Ok, I did that. The next goal was to test it out, so we made a list of clubs and I tried to get into those open mics. Next, I tried to get into comedy clubs which took two years. That was a foundational level where I needed a mentor because I didn't know anything - I didn't know the world or who to talk to, or the etiquette. Then after that, I just had methodical goals all throughout. Even now, I write a list of goals and at the end of the year, I check what I didn't achieve and what I could do better. You found fame on TikTok as clips of your stand-up started going viral. How do you protect your mental peace on platforms where everyone has an opinion and will share it in the comments? I'm very honest with where I'm at emotionally. When I started, I wasn't honest and I'd read all these comments. You have to respond because it drives your engagement and helps it go more viral. So, I'd be responding to trolls, saying, 'I'm ok, I'm ok' and then I have a mental breakdown because the things are so horrible. Now, I'm conscious about where I'm at. If I sense that my resilience is maybe at six, then I'm not going to use Facebook and that's a decision that I've made because I'm honest that I don't have the resilience for it. I'll read TikTok because young people aren't as mean as old people though - and the same as Instagram. But it's about where my resilience is at. If it's a 10, I'll clap back. If it's not, I'll leave it. How do you balance sharing so much of yourself online and maintaining some level of privacy? It's so difficult. Before I post a video, I'm always scared. My heart is always racing, but I just keep doing it. I looked up my Instagram because it tells you how many posts you've made and it said 464. I thought, 'I've been brave 464 times, that means I can continue doing it.' It's just the practice of bravery. You've performed slam poetry at the Sydney Opera House and faced a live audience filming Channel 10's Thank God You're Here. Do you have any pre-show rituals before taking to the stage? I'm terrified. Any time I get onstage, I'm scared. I used to get really bad diarrhoea because I was just so nervous. So now my ritual is firstly I go over what I'm performing. It doesn't matter if I've said it six million times, I need to go over my routine. Then, I need to dance for ten minutes because if I get my energy up I know the show is going to go well because I'm happy. The third thing I do is something I learned from my therapist. If I want to feel confident, intelligent, smart, relaxed, I think of memories in my head and times I've felt that way, and then I touch my finger so now that's locked in. Before I get onstage, I tap into memories of feeling that way and instantly that emotion will be with me on stage. Anisa Nandaula's debut Australian comedy tour, 'You Can't Say That'. Image: Emma Holland Can you explain how that works? Whatever feeling you want to have - if you want to feel brave, you close your eyes and think about a time you felt brave. You keep that memory and attach it to something you can do physically that no-one can tell you're doing it. So, maybe you're touching your ear or rubbing your arm. When you do this thing, it's accessing this memory. Your debut Australian comedy tour is called 'You Can't Say That.' What inspired the title? What inspired the name was that every time I do a comedy show or perform, people in the audience are looking at each other and I get people going, 'You can't say that!' And I'm like, 'Well, why not?' These are the interesting conversations to have. The best conversations are when you're gossiping with your friends and looking around. That's what I find interesting. In drawing on your own experience as a Black woman growing up in Australia, your comedy draws on themes of race, identity, and social issues. Why do you think humour is effective in starting these conversations? One of the major differences between poetry and comedy is that in poetry, people can listen and you don't really know if they've understood what you're saying. But for someone to laugh at a joke, they have to understand. That understanding is what triggers the laughter. When people laugh, that's a thousand people in a room who have all understood what you've just said. You're sharing your personal experiences, things you've been through. For people to then understand, that's empathy, that's connection - all things that are happening against their will because a joke happens and no-one chooses to laugh, I'm making you laugh. Originally published as Stand-up comedian Anisa Nandaula on on trusting your gut
The Age
5 hours ago
- The Age
Hailey Bieber's latest makeup trend is ‘fairy magic'. Here's how to nail it
This story is part of the June 29 edition of Sunday Life. See all 13 stories. The weather may be drab, but that doesn't mean our make-up has to be. In fact, our latest palette choice is a light, soft, ethereal look with all the required elements – dewy blushed cheeks, peachy lids and glossy, barely there lips – inspired by delicate, pale-pink cherry blossoms. The poster girl for this look is Hailey Bieber, who embodied the strawberry make-up trend, with its focus on hues based on freshly picked summer berries, that flooded TikTok in 2023. Cherry blossom make-up is a more transparent, blushed version. Says Australian make-up expert Rae Morris, 'I've completely fallen in love with this trend – it's soft, it's romantic, but still modern. It's not about heavy make-up but blush tones that look like they've always been part of your skin. Think gentle, seamless colour across your cheeks, lids and lips. The magic is in keeping everything soft and tonal.' To craft this delightful look, you'll need a luminous foundation applied to freshly cleansed and moisturised skin. Begin your routine with a gentle exfoliating cleanser to create the smoothest skin possible – try Avène Gentle Exfoliating Gel ($42) and finish with a moisturising sunscreen like SkinCeuticals Ultra Facial Defense SPF 50+ ($68). Next, apply a dewy base that lets your skin be the hero – we like Shiseido's Synchro Skin Radiant Lifting Foundation ($70) – and top it off with Rae Morris Invisible Mattifier ($88) for a velvety finish. The centrepiece to this look is artfully applying cream blush to keep it soft and blurry. Make-up superstar Bobbi Brown, famous for her take on the power of this 'pop of colour', has this advice: 'To find your perfect natural-looking blush, choose the colour that matches your cheeks when you are flushed from exercise.' Take the blush high on the cheek bones, then run it over the bridge of the nose and lids and under the lower lash line for a subtle pink panda effect. Try Bobbi Brown 's Jones Road Beauty Miracle Balm in Happy Hour ($90), a barely there balm with a pearly glow. For more definition around your eyes, use a soft nude eyeliner drawn as close to the lash line as possible as well as the inner rim of the eye. Our choice? Tarte Fake Awake Eye Highlight in Nude ($34). When it comes to mascara, switch black for brown and apply a single coat. Our choice is Lancôme Hypnôse Volumising and Non-Clumping Mascara in brown ($71). For extra oomph, apply a luminous highlighter over your blushed cheeks and lids. We adore Fenty Beauty
The Age
5 hours ago
- The Age
Eight albums and two hip replacements: Shirley Manson shows no sign of slowing down
This story is part of the June 29 edition of Sunday Life. See all 13 stories. I am an outspoken person,' says Shirley Manson on a Zoom call from her home in Los Angeles. 'It comes naturally to me, and it's how I was brought up. I don't get easily frightened. As a result, I get it in the neck, but I don't allow it to shut me up.' It's fair to say the Scottish lead singer of rock band Garbage doesn't suffer fools gladly. You'll often find Manson on social media calling out humanitarian crises and weighing in on cancel-culture debates and world politics. She has firm views on Gaza, Ukraine, Sudan, Haiti and the Congo. 'According to the way I was parented, you need to say something when people can't stand up for themselves,' she explains. 'Sometimes I get frustrated when people don't speak out, but not everybody has a robust psyche like me.' Manson first caught our attention in 1995 when she burst onto the music scene with Garbage's hit single, Only Happy When It Rains, a song penned with founding member and drummer Butch Vig, who famously produced Nirvana's 1991 breakthrough album, Nevermind. The late Michael Gudinski toured Garbage in Australia and New Zealand while the band was still relatively unknown, following a hunch they'd make it big. And they did. Garbage's self-titled 1995 debut peaked at No.4 in the Australian charts and went on to sell four million copies worldwide. Since then, the band's seven albums have sold more than 17 million copies. Manson still gets teary when she talks about Gudinski. 'Michael saw me as a human being,' she says. 'He acknowledged my loyalty and witnessed me as the soft yielding mess that I actually am in real life. And when somebody sees you for how you really are, you are bound to them forever.' The mid-1990s was a pivotal period in music, the release of Garbage coinciding with Alanis Morissette's Jagged Little Pill, Björk's Post, Oasis's (W hat's the Story) Morning Glory? and No Doubt's Tragic Kingdom. Now 58, and with two hip replacements behind her, Manson returns with her band for their eighth studio album, Let All That We Imagine Be the Light. The release feels like a chance for Garbage to finally embrace a sunnier disposition, trading emo anthems for hope in the face of fear. It's music fuelled by a defiance that comes with age, a perspective that's matured, and a self-confidence that's finally been acknowledged. 'I had to put positive thinking into practice and imagine something bigger and better than myself.' SHIRLEY MANSON Manson knows that in 2025, her band is competing with the likes of Chappell Roan, Dua Lipa, Taylor Swift and Gracie Abrams for attention. That hasn't deterred Garbage's ambitions to keep making music for their loyal followers, just tempered the band's expectations. 'You can't have the same cultural impact you had when you were young,' says Manson. 'That is the province of youth, and how it should be.' Manson wrote most of the songs for Let All That We Imagine Be The Light in 2023 and 2024 during two bouts of post-operation rehab in the LA home she shares with husband Billy Bush, Garbage's recording engineer. She had been told she would be walking three days after surgery, but each time took three months, while a diet of painkillers led to brain fog. But rather than feel sorry for herself, the situation inspired positive thinking. 'At first, I thought it was a tragedy that I was so crippled, but it turned out to be a gift,' she says. Loading She elaborates, 'I couldn't bear weight on my legs – it was frightening. I think I was clinically depressed, and I knew that if I didn't change my thinking about my health, about the dark events happening in the world at the same time, I would die of a broken heart. So, I had to put positive thinking into practice and imagine something bigger and better than myself. I employed a positive way of thinking for the first time in 58 years and was astounded by the results.' Sisyphus, the first song she wrote for the new album, points to the recovery process. 'It's about learning how to garner all my powers to recover and walk again,' she says. 'It was good to learn new things about myself, to reacquaint myself with the idea of patience and employ it for the first time in my life.' Earlier this year, a UK tabloid criticised Manson for looking 'unrecognisable' in a new promotional photo, a huge blow for someone who's spent her entire career fighting sexism. Asked about it now, Manson hits back: 'How can anyone expect to look the same as they did in their 20s? I don't even want to try.' Another new song, Chinese Fire Horse, is an ode to that inner feminist fire, calling out those who put women down. 'A few years ago, I had two journalists in different countries, one male and one female, ask me when I was going to retire. I was 54 at the time and completely thrown back on my heels. How did they have the audacity to ask me that question? Nobody would ever ask this question of the men in my band, who are considerably older than me – Butch [Vig] will be 70 this year. 'It was then I realised the experience of an ageing woman in our culture has never really been fully investigated in pop music. Bob Dylan has never written a song about what it's like to be an ageing woman.' She acknowledges that there's now a wave of female rock stars enjoying success in their 70s and even 80s. 'Women like Deborah Harry, Patti Smith, Stevie Nicks, Chaka Khan and Chrissie Hynde are the first wave who have ever done it,' she says. 'It's thrilling, and I can't think of anything more beautiful than pointing younger women to this messaging. 'When society tells you that you're dead at 25, they're lying to you. You have agency into your 80s thanks to these women. I am sick and tired of men being told how beautifully they age and how great they are. Well, how about we start talking about how great, gallus and courageous women are, because we haven't had any doors opened for us?' Away from the spotlight, Manson often turns to her inner circle – including fellow musicians Peaches, Santigold and the Yeah Yeah Yeahs' Karen O – for support. She still travels back to Scotland to visit her 88-year-old father and laughs while observing that, where she grew up, nobody cares that she went to LA and became a rock star. Manson lost her mother to dementia in 2008. While sad, it was another experience that gave the singer a spur to re-evaluate her life. 'I kept waiting for someone to recognise that I was enough,' she says. 'It wasn't until my mother died that I realised, 'Wow, I'm on my own now. I have no Joan of Arc in front of me. It's me versus the world and I have to value myself.'' That, however, doesn't make the sting of public scrutiny any easier, and Manson continues to attract media attention based on what she wears, both on and off the stage. 'I always ask myself, 'How can I be as authentic as possible with the clothing choices I make?'' says the woman who caused a ruckus in the 90s by wearing a T-shirt with the slogan 'Don't touch my tits'. Loading 'I don't want to play dress-up and I'm uninterested in being fashionable,' she continues. 'I don't give a f--- about fashion because I don't want to look like everybody else, nor do I want my identity consumed by the mainstream. Yes, I love beautiful clothes, but I'm not consumed by them.' Keeping it simple is her approach now. 'I feel very concerned about the unbelievable waste the fashion industry is creating. I am trying to be more conscious. I am re-using pieces over and over again. 'Am I perfect? No. Do I make mistakes? Yes. But I will never wear fur. I am eating fewer animal products nowadays, and I'm sure that within a few years I'll be wearing rubber Crocs 100 per cent of the time, not 99.9 per cent.'
