Drake’s ICEMAN remained No. 1 on the Billboard 200 for a fourth week dated June 20, 2026, earning 133,000 equivalent album units in the tracking week that ended June 11, 2026.
Streaming dominated the total: 132,000 of the album’s 133,000 units were streaming-equivalent album (SEA) units, the equivalent of 135.82 million on-demand official streams of the set’s tracks; album sales were nearly 500 units and the remainder came from track-equivalent album (TEA) units. ICEMAN also spent a fourth week atop the Top Streaming Albums chart.
The latest weekly total was down 22% from the prior week, a decline that underlines how dependent ICEMAN’s run has been on high-volume streaming. Still, the album’s four-week start at No. 1 is the first such opening since Taylor Swift’s The Life of a Showgirl, which spent its first seven weeks at the summit.
ICEMAN’s streak is also notable within R&B and hip-hop: before Drake, the last album in that broad field to open with four straight weeks at No. 1 was Travis Scott’s Utopia. Among Drake’s own catalog, only three of his 15 No. 1 albums have logged more weeks at the top — Views, which totaled 13 weeks at No. 1 in 2016, and both Scorpion (five weeks in 2018) and Certified Lover Boy (five weeks in 2021).
The rest of the top 10 was a mix of held positions and new arrivals. Ella Langley’s Dandelion held at No. 2 with 87,000 equivalent album units, while Morgan Wallen’s I’m the Problem held at No. 3 with 79,000. Noah Kahan’s The Great Divide stayed at No. 4 with a little more than 67,000 units. Two debuts landed inside the top 10: Malcolm Todd’s Do That Again entered at No. 5 with 67,000 equivalent album units, marking his first top-10 album, and Niall Horan’s Dinner Party debuted at No. 7.
The numbers frame a narrow but instructive market dynamic: ICEMAN’s lead is large in raw units but extremely concentrated in streaming. A fall of 22% in weekly activity left enough margin to retain No. 1 against challengers that are posting mid-five-figure totals. For readers following how streaming reshapes chart stays, FilmoGaz’s coverage of related streaming-era rollouts and critiques offers context, including features on streaming-driven releases and recent Drake reviews.
The friction is plain: ICEMAN stayed at the top even as its weekly consumption slipped. That disconnect — a significant percentage decline without an immediate loss of position — is the reason the current chart matters beyond a headline: it shows both the scale of Drake’s streaming engine and the narrower cushion streaming-heavy releases carry once weekly plays ease.
The chart provides no forecast. The June 20, 2026–dated Billboard 200 reflects activity through June 11; the next tracking week will determine whether ICEMAN can fend off challengers once more or begin to descend. Given how dependent this run has been on SEA units, the album’s immediate future rests squarely on whether streaming volumes hold or rebound in the coming tracking week.
