Stray Kids Score Their Biggest Sales Week as ‘This & That’ Debuts Atop Albums Chart

Stray Kids have obliterated their previous commercial benchmarks with the release of “This & That,” which has stormed to the top of the Billboard 200. This marks their ninth career number-one album, a feat that solidifies their dominance in the modern music landscape. The project amassed a staggering 369,000 equivalent album units in its debut week, with an overwhelming 357,000 of those stemming from physical sales—a testament to the fervent dedication of their fanbase, STAY, who have consistently shown up in record-breaking numbers.

This milestone is more than just another accolade; it’s a seismic shift in the history of chart performance. The eight-member act, formed under JYP Entertainment in 2018 following their eponymous reality show, now stands alone as the group with the most number-one albums in the 21st century. Even more striking, they’ve matched the Rolling Stones—a legendary outfit whose six-decade run and classics like “Paint It Black” have defined rock’s staying power—for the second-most chart-toppers among bands ever, trailing only the Beatles’ 19. Industry observers note that such a comparison would have been inconceivable just a decade ago, but it highlights how streaming platforms and hyper-loyal fandoms have fundamentally altered what success looks like. For context, the Stones’ chart dominance was built over generations, whereas Stray Kids have achieved this in under a decade, underscoring the accelerated pace of the digital era. Additionally, “This & That” secured the sixth-largest overall sales week of 2026 thus far, while its traditional album sales ranked second-best for the year, behind only BTS’ “Arirang,” which debuted with 532,000 units in March—a clear signal that K-pop’s elite acts continue to defy the industry-wide slump in physical CD purchases.

The group’s ascent has been nothing short of meteoric. Their first Billboard 200 triumph came with “Oddinary” in 2022, and by 2024, they had etched their name in the record books as the first act to debut their first six entries at number one, a streak culminating with “Hop.” Their consistency is remarkable, and it hasn’t escaped the attention of chart experts. “Stray Kids have cultivated a fanbase that purchases albums with the fervor of 1990s collectors,” remarks Clara Jensen, a senior analyst at Chart Pulse. “In a streaming-dominated environment, their capacity to turn digital buzz into tangible sales is unmatched for a group of their generation.” This approach—releasing multiple album variants, exclusive photocards, and hosting fan-sign events—has turned every drop into a major cultural moment, rather than a simple music release. It’s a playbook that other acts are now scrambling to emulate, though few have replicated its success.

Beyond the summit, the top 10 showcases a mix of established stars and fresh faces. Ariana Grande’s “Petal” slips to number two in its second week, still moving a respectable 82,000 equivalent units, while Olivia Rodrigo’s “You Seem Pretty Sad for a Girl So in Love” holds firm at three. Ella Langley’s “Dandelion” stays put at four, and Morgan Wallen’s “I’m the Problem” drops two spots to five. Noah Kahan’s “The Great Divide” claims sixth, followed by Pooh Shiesty’s debut at seven with “All Eyes on Shiest”—a significant entry for the Memphis rapper, whose gritty, street-level narratives have built a loyal following since he burst onto the scene in the early 2020s, despite legal setbacks that could have derailed lesser artists.

Karol G’s “No Me Arrepiento de Sentir Tanto” lands at eight, reinforcing her position as a global pop force from Colombia, while Drake’s “Iceman” slides from sixth to ninth. Closing out the top ten is Role Model’s “Chuck Timely & the Hourglass,” debuting with 38,500 equivalent units—a promising start for the indie-pop act, whose introspective lyrics and hazy production have earned him a devoted niche following. This week’s chart, blending K-pop juggernauts, country introspection, and hip-hop grit, paints a vivid portrait of a music industry where genre lines are blurring, and where fan enthusiasm—not radio rotation—often decides who reigns supreme. As streaming continues to fragment audiences, the ability to mobilize a dedicated base may well be the defining factor for future chart-toppers.