Taylor Swift Nabs 14th Number One on the Billboard Hot 100 With ‘Opalite’

Rolling Stone

by Maya Georgi

February 23, 2026

AI-Generated Deep Dive Summary

Taylor Swift has achieved yet another milestone in her illustrious career with “Opalite” reaching Number One on the Billboard Hot 100, marking her 14th chart-topping song. This accomplishment ties her with Rihanna for third place on the list of artists with the most Number One hits, behind only The Beatles and Mariah Carey. Swift’s success is further highlighted by the fact that “Opalite” is the second single from her album *The Life of a Showgirl* to reach the top spot, following the record-breaking run of her lead single, “The Fate of Ophelia,” which spent 10 weeks at Number One. “Opalite” debuted at Number Two but quickly climbed to the top, showcasing Swift’s continued chart dominance. The song has now secured its place in Billboard history, making it a defining moment for what is considered her most polarizing album to date. This achievement also underscores Swift’s position as the leading artist of the 2020s with nine Number One hits during the decade. The track’s success can be attributed to its strong performance across multiple metrics: it streamed 11.4 million times and sold over 168,000 units in the U.S., a significant increase from previous weeks. Notably, Swift opted for an unconventional release strategy by premiering the music video exclusively on Spotify and Apple Music rather than YouTube, aligning with recent changes in Billboard’s chart methodology that prioritize audio streams over traditional video views. This move reflects Swift’s evolving approach to promotion and her ability to adapt to shifting industry dynamics. Despite the album’s divisive reception, “Opalite” has proven to be a cultural touchstone, further solidifying Swift’s legacy as one of music’s most influential artists. Her ability to consistently produce hits while experimenting with new formats demonstrates why she remains a dominant force in pop culture today.

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Originally published on Rolling Stone on 2/23/2026