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Teddy Goes Straight To No. 1 With 'No. 6'

Ed Sheeran’s No.

Teddy Goes Straight To No. 1 With 'No. 6'

By External Source

Ed Sheeran’s No. 6 Collaborations Project debuts at number one on the Billboard Canadian Albums chart with 30,000 total consumption units and scores a clean sweep in picking up the highest album sales, audio-on-demand streams and digital song totals for the week. This is Teddy’s third consecutive chart-topper, following 2014’s X, and 2017’s Divide, which spent nine weeks at No. 1. Divide moves 17-15 with a 5% consumption gain.


Billie Eilish’s When We All Fall Asleep, Where Do We Go? edges 3-2 with a 17% consumption increase, switching positions with Lil Nas X’s 7, which falls to No. 3. His “Old Town Road” once again tops both the Streaming and Digital Songs charts.

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Only two other new releases debut in the top 50 this week. American singer (Jillian Rose), Banks’ III, comes in at 7, her highest-charting album to date. It surpasses the No. 8 peak of her first charted album, 2014’s Goddess, and tops the No. 12 position of her last album, 2016’s The Altar.

The soundtrack for the remake of the movie The Lion King debuts at 29.

-- All data courtesy of SoundScan with colour commentary provided by Nielsen Canada director Paul Tuch.

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Ebonnie Rowe at Honey Jam's 30th anniversary mixer at The Mod Club in Toronto on June 30, 2025.
FrameFiveMedia

Ebonnie Rowe at Honey Jam's 30th anniversary mixer at The Mod Club in Toronto on June 30, 2025.

Features

Honey Jam Celebrates 30th Anniversary

Fresh from being named to the Order of Canada, founder Ebonnie Rowe talks about the past, present and future of Canada’s first artist development program for female musicians. Honey Jam will celebrate with a special concert at Massey Hall in Toronto on July 30, 2025.

Ebonnie Rowe doesn’t turn down a challenge.

The founder of Honey Jam, Canada’s first artist development program for female musicians, has always faced the unknown head-on. When she founded Honey Jam in 1995, she was new to the music industry and facing an uphill battle in a landscape that was uninterested – at best – in supporting emerging female artists.

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