Taylor Swift has done it again. As The Life of a Showgirl debuted at No. 1 on the Billboard 200, Swift filled the entire top 10 on the Billboard Hot 100 for the second time in her career.
No other music star has matched that feat twice, and it came with 10 tracks from the album becoming instant smashes in America. The week turned into a full-scale chart takeover, with each slot in the Hot 100's top tier occupied by Swift songs while the album itself opened atop the Billboard 200.
The latest movement in the story came on radio. “Elizabeth Taylor,” the third single from The Life of a Showgirl, climbed from No. 11 to No. 10 on the Adult Pop Airplay chart, giving Swift her 35th appearance between Nos. 1 and 10 there. That puts her ahead of Maroon 5, which has 28 top 10s on the chart, and Pink, with 20. Swift and Maroon 5 are tied with 15 champions, while Pink has 10.
The song's radio reach keeps widening even as its chart life on some lists cools. “Elizabeth Taylor” fell from No. 45 to No. 51 on the Billboard Hot 100 in the same reporting period, but it held at its all-time high of No. 13 on the Adult Contemporary chart and No. 17 on the Pop Airplay chart. On Radio Songs, it rose one spot to No. 25 and marked a month on the chart.
The album's other tracks are still working their way through the airwaves. “The Fate of Ophelia” remained at No. 9 on Adult Pop Airplay, while “Opalite” held at No. 8. On Adult Contemporary, “The Fate of Ophelia” sat at No. 2 and “Opalite” climbed one spot to No. 8. On Radio Songs, the pair held at Nos. 7 and 8. Swift also became the first artist to score three top 10s at the same time on Adult Pop Airplay, a marker that shows how deeply The Life of a Showgirl has cut across formats.
That is the real measure of the moment. The album did not just arrive with a splash; it produced a wave that is still moving through pop radio, adult radio and the charts that track both. Swift now leads all artists in top 10 appearances on Adult Pop Airplay, and the numbers say the run is not a fluke. It is the latest proof that when Swift releases an album, the whole system bends around it.