State Champ Radio Chart Beat
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Trending on Billboard TWICE scores its eighth top 10 on Billboard’s Top Album Sales chart (dated Oct. 25) as TEN: The Story Goes On debuts at No. 2 with 23,000 copies sold in the United States in the tracking week ending Oct. 16, according to Luminate. The group’s last eight chart entries have all debuted […]
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For the third month in a row, KPop Demon Hunters controls Billboard’s Top Movie Songs chart, powered by Tunefind (a Songtradr company), with music from the Netflix juggernaut ruling the top seven of the 10-position September 2025 tally.
Rankings for the Top Movie Songs chart are based on song and film data provided by Tunefind and ranked using a formula blending that data with sales and streaming information tracked by Luminate during the corresponding period of September 2025. The ranking generally includes newly released films from the preceding three months, with exceptions given to movies whose music is still experiencing a high volume of public interest.
That last part is key here: While KPop Demon Hunters was originally released on June 20, a date that might normally make it ineligible for the September 2025 Top Movie Songs chart, the film’s continued stranglehold on pop culture is difficult to ignore. In fact, its top dog, HUNTR/X’s “Golden,” reigned on the weekly Billboard Hot 100 for the entirety of September, a reign that began in August and continued into October; it ranks at No. 3 on the latest survey.
So it’ll be unsurprising that “Golden” is No. 1 on September 2025’s Top Movie Songs list, too. That month, the song accumulated 160.2 million official on-demand U.S. streams and sold 36,000 downloads, according to Luminate. While other songs from the soundtrack racked up sizable metrics, no other broke 100 million streams or even more than 15,000 downloads in that span.
It’s the third month at No. 1 for “Golden,” which initially debuted atop the July 2025 tally alongside other songs from the movie. Saja Boys’ “Soda Pop” remains at No. 2 for a second month (it was No. 4 on the July list) as the top “Golden” competitor, earning 92.7 million streams and 14,000 downloads.
The sum-of-its-parts soundtrack even ruled the Billboard 200 for the first time in September, rising to No. 1 on the Sept. 20 ranking after six weeks in a row at No. 2. It’s since crowned the Oct. 11 chart, too.
All of which is to say: Don’t expect the KPop Demon Hunters dominance to wane on Top Movie Songs anytime soon.
After holding down the top seven, the remainder of the September 2025 tally features music from Gabby’s Dollhouse, Weapons and The Wrong Paris. The former leads at No. 8 thanks to its synch of ROSE and Bruno Mars’ “APT.” (29.9 million streams, 5,000 downloads), a No. 3 hit on the Hot 100 in February.
See the full top 10 below.
Rank, Song, Artist, Movie
“Golden,” HUNTR/X, KPop Demon Hunters
“Soda Pop,” Saja Boys, KPop Demon Hunters
“How It’s Done,” HUNTR/X, KPop Demon Hunters
Your Idol,” Saja Boys, KPop Demon Hunters
“What It Sounds Like,” HUNTR/X, KPop Demon Hunters
“Takedown,” HUNTR/X, KPop Demon Hunters
“Free,” EJAE & Andrew Choi, KPop Demon Hunters
“APT.,” ROSE & Bruno Mars, Gabby’s Dollhouse
“Beware of Darkness,” George Harrison, Weapons
“Getaway,” Harper Grace, The Wrong Paris
Earlier this month, Chappell Roan wrapped a brief run of concerts in the United States, paired with a few European dates in August. The Visions of Damsels & Dangerous Other Things Tour complemented Roan’s ongoing sweep of dominant festival performances over the last year and a half, cementing her as one of her generation’s fastest-growing live acts. She finished her recent tour, her only headline shows for 2025, playing to crowds of 30,000 and more, marking an eye-openingly fast rise to the biggest venues in the world.
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According to figures reported to Billboard Boxscore, Roan’s 11 headline shows in 2025 grossed $28.3 million and sold 276,000 tickets. They split between three overseas and eight in the United States. Some of the shows were in arenas and amphitheaters: Zurich’s Hallenstadion (12,539 tickets) and New York’s Forest Hills Stadium, which despite its name, is significantly smaller than a typical football or baseball stadium (53,458 tickets, spread across four shows). The others escalated her reach in Edinburgh, Kansas City, and Los Angeles.
Two nights at Royal Highland Centre in Edinburgh, Scotland drew 60,000 fans, averaging 30,000 per show. Two dates at Kansas City’s Liberty Memorial Park sold 69,600 tickets, averaging 34,800. The final two concerts, at Brookside Park at The Rose Bowl in Pasadena, Calif., moved 80,000 tickets, eclipsing 40,000 each night.
These venues are flat parks that recreate the sprawling crowd shots of Roan’s famed festival performances, more so than a typical football stadium with its enclosed stadium-style seating. But the number of tickets sold is comparable to any baseball stadium in the United States and far exceeds – roughly doubles – the capacity of an arena show.
These stadium-sized Boxscore figures elevate Roan even beyond the startling heights of her 2024. Her North American headline shows from last year broke into three legs. She averaged 2,083 tickets per show while performing one-offs during her opening stint on Olivia Rodrigo’s GUTS World Tour (Feb. – April). In May and June, following the release of breakout hit “Good Luck, Babe!,” she paced 3,581 tickets. By October, she was up to 10,179. One year later, Roan sold 25,389 tickets per show, ranging from 13,365 in New York to 40,010 in Los Angeles.
All of that growth, and all of these fans, with just one album under her belt. Selling out stadiums is a career-capping accomplishment for any artist, but almost an unfathomable one just two years removed from the release of one’s debut LP. The umbrella of stadium acts has grown wider in the years since returning from the COVID-19 blackout, but Roan’s supercharged ascent is still quite notable.
Zach Bryan first elevated to stadiums in 2024, almost exactly two years after he cracked the Billboard 200 with American Heartbreak. But his discography expanded by the time he played Oakland’s RingCentral Coliseum, with two more top 10 albums and four other charting titles. Fellow country chart-topper Morgan Wallen played one such show in 2021, three years and two albums deep.
Global stadium schedules have also welcomed younger artists who don’t primarily perform in English, specifically Latin and Korean acts. Still, all of them had meatier discographies than Roan’s to fill out their stadium setlists: Bad Bunny released three albums in three years before his stadium debut. Karol G and SEVENTEEN each had four albums in seven years. TWICE had six entries on the Billboard 200, all between 2020-23, before reporting a stadium show. By the time Fred again.. announced similarly eye-popping stadium shows, he had a few albums to his name.
Closer to Roan stylistically, Lady Gaga hit Mexico City’s Foro Sol (now called Estadio GNP Seguros) in May 2011, ending The Monster Ball in stadiums a year and a half after beginning it in theaters. Still, she had two top 10 albums and was weeks away from releasing her third. The year before, Taylor Swift also capped her debut headline tour at a stadium, but she was supporting her sophomore set Fearless, which won the Grammy for album of the year months prior.
Perhaps Peso Pluma comes closest to mirroring Roan’s timeline to stadiums. He played Monterrey, Mexico’s Estadio Mobil Super in November 2023, about 15 months after his first Billboard chart appearance. Even so, Genesis, his breakthrough album from 2023, was his third. J-Hope, JIN, and SUGA each hit at least one stadium on their first tours, but their history as part of BTS surely added depth to their respective ticket-buying bases.
Clearly, Roan has built a large, dedicated fan base from just one album. After first debuting on the Billboard 200 and Billboard Hot 100 in April 2024, she jumped from clubs to theaters to festivals, and then to solo headline stadium-sized engagements, all in the span of less than 18 months. Her recent tour was brief but mighty, leaving little to the imagination as to her potential box office success whenever her next shows are announced, whichever venues she decides to play.
Billboard‘s Live Music Summit will be held in Los Angeles on Nov. 3. For tickets and more information, click here.
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First July, then August, now September: The Summer I Turned Pretty is yet again a dominant force on Billboard’s Top TV Songs chart, powered by Tunefind (a Songtradr company), occupying the September 2025 tally’s top eight and nine of its top 10, led by music from Taylor Swift.
Rankings for the Top TV Songs chart are based on song and show data provided by Tunefind and ranked using a formula blending that data with sales and streaming information tracked by Luminate during the corresponding period of September 2025.
After a three-season run on Amazon Prime Video, The Summer I Turned Pretty concluded with three final episodes on Sept. 3, 7 and 17 (with a full-length film to follow as a continuation of the finale — look out, Top Movie Songs chart).
Four of the songs on the September 2025 chart are courtesy of Swift, including the No. 1. “Dress,” from 2017’s Reputation, bows atop the survey after its feature in the series finale. That’s on the strength of 10.3 million official on-demand U.S. streams and 3,000 downloads in September 2025, according to Luminate.
Of the four, two were heard in the finale, while the other two were in the penultimate episode. “Out of the Woods (Taylor’s Version),” also from the finale, ranks at No. 4 (4.1 million streams, 1,000 downloads), followed by “I Can Do It With a Broken Heart” and “The 1” from the next-to-last episode at Nos. 7 and 10, respectively.
But The Summer I Turned Pretty wasn’t just a vehicle for Swift’s catalog. Noah Kahan’s Gracie Abrams-featuring version of “Everywhere, Everything” ranks at No. 2 after its turn in the finale (10.7 million streams, 1,000 downloads), while Harry Styles’ “Sign of the Times” is No. 3 (10.4 million streams, 2,000 downloads) after an appearance in the penultimate episode.
One song, meanwhile, is from the Sept. 3 edition: Franz Ferdinand’s “Take Me Out,” at No. 8 (12.6 million streams, 1,000 downloads).
The lone non-The Summer I Turned Pretty entry is courtesy of Gen V, which premiered its second season on Sept. 17. The fellow Amazon Prime Video series’ position is No. 9 via Frankie Valli’s “Can’t Take My Eyes Off You” (10.9 million streams, 1,000 downloads).
See the full top 10 below.
Rank, Song, Artist, Show (Network)1. “Dress,” Taylor Swift, The Summer I Turned Pretty (Amazon Prime Video)2. “Everywhere, Everything,” Noah Kahan with Gracie Abrams, The Summer I Turned Pretty (Amazon Prime Video)3. “Sign of the Times,” Harry Styles, The Summer I Turned Pretty (Amazon Prime Video)4. “Out of the Woods (Taylor’s Version),” Taylor Swift, The Summer I Turned Pretty (Amazon Prime Video)5. “Scott Street,” Phoebe Bridgers, The Summer I Turned Pretty (Amazon Prime Video)6. “I Can Do It With a Broken Heart,” Taylor Swift, The Summer I Turned Pretty (Amazon Prime Video)7. “I Only Have Eyes for You,” The Flamingos, The Summer I Turned Pretty (Amazon Prime Video)8. “Take Me Out,” Franz Ferdinand, The Summer I Turned Pretty (Amazon Prime Video)9. “Can’t Take My Eyes Off You,” Frankie Valli, Gen V (Amazon Prime Video)10. “The 1,” Taylor Swift, The Summer I Turned Pretty (Amazon Prime Video)
In celebration of the late R&B legend D’Angelo, Billboard takes a look at some of his biggest hits and career highlights. The visionary performer, who died in October 2025 at age 51 of cancer, was an innovative singer, songwriter and producer who shaped the 1990’s neo-soul movement alongside contemporaries including Erykah Badu, Lauryn Hill and Maxwell.D’Angelo, born Michael Archer, charted eight titles as an artist on the Billboard Hot 100 chart, three albums on the Billboard 200, and numerous entries on R&B/hip-hop tallies. His highest-charting Hot 100 hit, “Lady,” stands as his lone top 10, having hit No. 10 on March 30, 1996. It was also nominated for a Grammy Award in 1997 for best male R&B vocal performance. The single is from his also Grammy-nominated debut album, Brown Sugar, which reached No. 22 on the Billboard 200, as well as No. 4 on Top R&B/Hip-Hop Albums.
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Brown Sugar additionally yielded Hot 100 hits in the title track (No. 27, August 1995), “Cruisin’ ” (No. 53, December 1995), and “Me and Those Dreamin’ Eyes of Mine” (No. 74, December 1996).
After a four-year break, D’Angelo returned with his sophomore album, Voodoo, which debuted at No. 1 on the Feb. 12, 2000-dated Billboard 200, where it reigned for two weeks. The LP ruled Top R&B/Hip-Hop Albums for four weeks. Its biggest single, “Untitled (How Does It Feel),” hit No. 25 on the Hot 100 and dominated the R&B/Hip-Hop Airplay chart for six weeks (his sole leader on the list). Both the album and single won Grammy Awards in 2001, for best R&B album and best male R&B vocal performance, respectively.
Known for his lengthy sabbaticals, D’Angelo’s next LP did not arrive until December 2014. Black Messiah debuted at No. 1 on Top R&B Albums and No. 5 on the Billboard 200. The record also earned him two Grammy wins, for best R&B album and best R&B song, for the single “Really Love,” which peaked at No. 4 on Adult R&B Songs in May 2015.
D’Angelo’s Biggest Billboard Hot 100 Hits
1. “Lady” (No. 10 peak on March 30, 1996)2. “Brown Sugar” (No. 27, Aug. 19, 1995)3. “Untitled (How Does It Feel)” (No. 25, Feb. 19, 2000)4. “Cruisin’ ” (No. 53, Dec. 2, 1995)5. “Me and Those Dreamin’ Eyes of Mine” (No. 74, Oct. 12, 1996)
D’Angelo’s Biggest Billboard Hot 100 hits chart is based on actual performance on the weekly Billboard Hot 100, through the Oct. 25, 2025, ranking. Songs are ranked based on an inverse point system, with weeks at No. 1 earning the greatest value and weeks at No. 100 earning the least. Due to changes in chart methodology over the years, eras are weighted to account for different chart turnover rates over various periods.
Trending on Billboard Jason Aldean’s first career retrospective, 30 Number One Hits, debuts at No. 4 on Billboard’s Top Country Albums chart (dated Oct. 25). It also starts at No. 21 on the all-genre Billboard 200 with 22,000 equivalent album units in the United States in the week ending Oct. 16, according to Luminate. The […]
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The Contenders is a midweek column that looks at artists aiming for the top of the Billboard charts, and the strategies behind their efforts. This week, for the upcoming Billboard Hot 100 dated Nov. 1, we look at some new blood that might freshen up the chart’s top 10 in the coming weeks.
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Olivia Dean, “Man I Need” (Capitol/Polydor/Republic): If there’s one rising pop star actually making a noteworthy impact in this period of total Taylor Swift dominance, it’s Olivia Dean. The U.K. throwback singer-songwriter has been gradually entrancing bigger audiences on both sides of the pond for all of 2025, and it’s resulted in her new album The Art of Loving not only debuting atop the U.K. Official Albums Chart and in the top 10 of the Billboard 200 — but climbing one spot on the latter chart in each of the two weeks since its bow, as multiple songs from it continue to grow on streaming.
The biggest of those breakout songs is easily the jubilant advance single “Man I Need,” which first crossed over to the Hot 100 in August. “Man” bounded its way up to No. 12 on the chart earlier this October, before getting buried (like the rest of the chart) under Swift’s The Life of a Showgirl avalanche, falling to No. 20. This week, it begins its rebound, climbing back to No. 17.
It should have even more room to grow soon. Not only will some of the Showgirl songs start to slip out of the top 15, but there are additional openings in the chart’s top tier now thanks to recent Billboard rule changes allowing for songs to go recurrent on the Hot 100 quicker than they used to — with such long-running chart smashes as Teddy Swims’ “Lose Control,” Lady Gaga and Bruno Mars’ “Die With a Smile” and Benson Boone’s “Beautiful Things” falling off the chart this week as a result.
With those hits out of the way, and Swift’s songs losing momentum in their third week of release, it could be a clear path for “Man I Need” to become Dean’s first Hot 100 top 10 hit in the next week or two. Also helping: Radio has begun to embrace the song, as it debuts at No. 40 on Radio Songs this week, and rose 30% in airplay audience over the first four days of the current tracking week (Oct. 17-20), compared to the previous period, according to Luminate.
Leon Thomas, “Mutt” (EZMNY/Motown/Interscope Capitol): “Mutt” has been sniffing around the top 10 of the Hot 100 for months now, peaking as high as No. 11 on the chart before also falling prey to the swarm of Swift debuts. Thomas‘ breakout hit is steady at No. 18 this week, and may be due for a rebound in the weeks to come with space likely opening up above it.
And despite a radio presence that has already been gaining momentum for most of 2025 — the single was technically a summer 2024 release — the song is still growing this late into the year. It reaches a new No. 3 peak on Radio Songs this week, with 59.2 million in all-format radio audience, and climbs 9-7 on Pop Airplay. If it just stays the course for another week or two, “Mutt” may finally have its day inside the top 10.
Kelahni, “Folded” (Atlantic): A long-overdue pop win for acclaimed R&B singer-songwriter Kehlani came this summer with her viral “Folded,” which gradually slithered its way into the Hot 100’s top 20. It’s receded to No. 21 since peaking at No. 18, but radio is really starting to try it on — the song rises to No. 13 on Radio Songs this week, while it holds in the top five on R&B/Hip-Hop Airplay and even bubbles under Pop Airplay — and its streaming remains very strong.
Tame Impala, “Dracula” (Columbia): For the last decade, we’d only be talking about Kevin Parker’s Hot 100 presence in the context of his writing and production work for pop A-listers like Lady Gaga, Travis Scott and Dua Lipa. That changes this month with the breakout of his outfit Tame Impala’s dancefloor-ready single “Dracula,” which debuted at No. 55 on the Hot 100 two weeks ago and sits at No. 59 this week.
The song should make a particular surge on next week’s Hot 100, thanks to the debut of “Dracula” parent album Deadbeat — the added streams and momentum from which have even vaulted the song into the top 10 on Spotify’s still Showgirl-littered Daily Top Songs USA chart. From there, it might just be a question of how much radio joins the party — and early signs are encouraging on that front, as the song is up 28% in all-format reach over the first four days of the current tracking week.
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Welcome to Billboard Pro’s Trending Up newsletter, where we take a closer look at the songs, artists, curiosities and trends that have caught the music industry’s attention. Some have come out of nowhere, others have taken months to catch on, and all of them could become ubiquitous in the blink of a TikTok clip.
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This week: Ace Frehley’s death sends fans to his solo and KISS catalogs, Karol G’s sexy soundtrack becomes a new viral hit and an unkillable ’90s karaoke staple still has it goin’ on.
Spaceman Rides Again: KISS, Solo Ace Frehley Catalogs Way Up in Streams & Sales
The rock world was shaken by the sad news last Thursday (Oct. 16) that Ace Frehley, lead guitarist and occasional singer for rock legends KISS, had died at age 74 — following a brain bleed, which came as a result of a fall in his home studio, and led to him being put on (and ultimately taken off) life support. The Rock and Roll Hall of Famer, also known as “The Spaceman” or “Space Ace,” was considered one of the greatest guitarists of his generation, and one of the great six-string showmen of all time.
Following his death, there was an outpouring of grief and love for Frehley, and a surge of renewed streaming interest. In the three days after Frehley’s passing (Oct. 17-19), the KISS back catalog racked up nearly 6.8 official on-demand U.S. streams — a gain of 187% from the three-day period before it (Oct. 13-15), according to Luminate — while also selling nearly 4,500 digital songs, a 1,664% rise from the previous period.
Unsurprisingly, the biggest of those song gains came courtesy of the 1978 Billboard Hot 100 No. 13 hit “New York Groove.” (Though credited on the chart to Frehley solo, the song is credited to the full KISS in Luminate — as its self-titled parent album was technically a band release, with all four of the group’s members famously releasing solo efforts under the KISS umbrella on the same day.) “Groove” amassed 318,000 streams and sold over 700 copies over that period, gains of 530% and 4,217%, respectively.
And while apart from “Groove,” Frehley never had a tremendously prolific solo chart profile, fans also headed back to his solo stuff after his passing. The guitar great’s solo catalog collected 586,000 streams and nearly 800 songs sold over that period, gains of 2,940% and 5,140%, respectively. — ANDREW UNTERBERGER
Karol G’s Steamy ‘Victoria’s Secret Fashion Show’ Performance Boosts ‘Ivonny Bonita’
Karol G got her wings at the 2025 Victoria’s Secret Fashion Show, and so did “Ivonny Bonita,” a song from her Tropicoqueta album.
The Latin superstar performed the opening track from her latest LP, released in June, at the Oct. 15 show, and her sultry performance quickly gained traction across social media. The song had already been a popular sound on TikTok amongst the edit community, but the VSFS performance kicked its streaming increases into high gear. Across the first four days of last tracking week (Oct. 10-13), preceding the fashion show, “Ivonny Bonita” earned over 366,000 official on-demand U.S. streams, according to Luminate. Across the first four days of this tracking week (Oct. 17-20) following the fashion show, the track jumped over 204% in streaming activity to 1.11 million official streams. The official YouTube upload of Karol’s performance has earned over 1.1 million hits in four days.
Notably, Karol G is also the leading female nominee at the 2025 Billboard Latin Music Awards (10), which will air live via Telemundo on Oct. 23 at 8 p.m. ET from Miami, Fla., coinciding with Latin Music Week. — KYLE DENIS
4 Non Blondes: 33 Years and Still Going ‘Up’
As anyone who’s spent enough time around a jukebox or karaoke machine knows, there are few ’90s hits more undying than 4 Non Blondes‘ 1992 alt-rock power ballad “What’s Up?” The song, a No. 14 Hot 100 hit in 1993, has delighted and tormented pop and rock fans in nearly equal measure for over 30 years now — and in 2025, the song seems to somehow have just as much cultural currency as ever.
In September, “What’s Up?” was heavily interpolated by guest singer Lizzo for the hook and quasi-bridge to Cardi B’s Am I the Drama? song “What’s Goin On” — the title, of course, that people have been incorrectly (albeit understandably) calling the original for the entire time it’s been popular. Then, in recent weeks, the song has exploded on TikTok as part of a mashup with Nicki Minaj’s “Beez in the Trap,” going so viral that SNL cast member Marcello Hernandez and recent host and musical guest Sabrina Carpenter even filmed a short promotional video to it before last Saturday’s episode.
All this has resulted in the song — which already regularly pulls over two million official on-demand U.S. streams a week — rising even further in recent weeks. Last tracking week (Oct. 10-16), it garnered 2.6 million streams, a gain of 11% from the week before. And this tracking week, it’s gotten off to an even hotter start, racking up 901,000 streams across its first two days (Oct. 17-18), up 20% from the same period last week. – AU
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Kenshi Yonezu’s “IRIS OUT” tops the Billboard Japan Hot 100 for the fifth consecutive week, on the chart released Oct. 22.
The Chainsaw Man – The Movie: Reze Arc theme continues to dominate streaming, video views, and karaoke this week, while hitting No. 3 for downloads, No. 7 for radio airplay, and No. 14 for physical sales. Points have declined in most categories except radio, which gained 159% from the previous week. Yonezu’s longest consecutive run at No. 1 to date was five weeks with “Lemon” in January 2019 (seven weeks at No. 1 in total). If “IRIS OUT” tops the overall chart again next week, it will mark his longest consecutive No. 1 streak yet.
Debuting at No. 2 is FRUITS ZIPPER’s “Hacha Mecha Wacha Life!” The lead track from the girl group’s fourth single “Hacha Mecha Wacha Life! / JAM” sold 381,464 copies in its first week, marking the group’s highest-ever first-week sales and earning them the No. 1 spot in physical sales. The track also placed at No. 43 for downloads, No. 38 for streaming, and No. 16 for video. FRUITS ZIPPER’s previous peak on the Japan Hot 100 was No. 1 with “Kawaiitte Magic,” making this their second entry in the top 10.
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At No. 3 is Yonezu’s “1991,” the theme song for the live-action movie 5 Centimeters per Second. The track moved 20,002 downloads in its first week, putting it at No. 1 for the metric, while also hitting No. 3 for streaming, No. 6 for video, and No. 9 for radio. Following at No. 4 is Yonezu and Hikaru Utada’s collaborative hit “JANE DOE.” This week, three songs by the J-pop hitmaker are charting in the top 5, and he also sweeps the top 3 spots on the streaming list.
At No. 5 is GNJB’s “Paranoid Rendezvous.” The seven-member boy band’s first single since signing with Universal Music launched with 234,269 copies — their highest yet — to hit No. 2 for sales, No. 28 for streaming, and No. 54 for radio.
In other chart news, RADWIMPS’ “World End Girlfriend,” from the band’s first album in four years called Anew, climbs 85-53 in its second week on the tally. Streaming for the track gained 171% and radio 111% week-over-week. Meanwhile, Fujii Kaze’s “I Need U Back” jumps 80-67 after the accompanying visuals premiered on Oct. 9.
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from Oct. 12 to 18, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
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Daddy Yankee, who now goes by DY, is back and all smiles as he climbs to the top of Billboard‘s Latin Airplay chart with “Sonríele,” as the song soars from No. 7 to No. 1 on the chart dated October 25. This milestone marks his official return following a brief hiatus, now fueled by a spiritual transformation.
“‘Sonríele’ is a song that came from a very real place, of faith and hope,” DY tells Billboard. “The mission of this song is to become medicine for those who listen to it. Seeing it reach No. 1 fills me with gratitude to God, to my audience, and to the entire team that believed in this message. Thank you for continuing to connect with my music, even in this new stage of my life.”
“Sonríele,” released July 10 as the first single of DY’s ninth studio album, Lamento en Baile, flies to No. 1 on the overall Latin Airplay chart after a 46% boost in audience impressions, to 9.1 million, earned on the Oct. 10-16 tracking week, according to Luminate.
The song becomes DY’s 29th ruler on Latin Airplay and first since 2023. The singer-songwriter previously ruled through “Ulala,” with Myke Towers in 2023. In between, he notched two top 10s, “Panties y Brasieres” with Rauw Alejandro (No. 8, 2023) and “Bonita” (No. 5, 2024).
“Sonríele” marks DY’s first solo chart-topper since “Remix” in 2022. Overall, this adds to his total of nine unaccompanied No. 1 hits, a streak that began with the 15-week reign of “Rompe” in 2005. Plus, with the new win, Yankee ties Bad Bunny with 29 rulers, the fourth-most following J Balvin (39), Ozuna (36) and Enrique Iglesias (32).
Beyond its Latin Airplay coronation, “Sonríele” remains strong atop the Tropical Airplay chart for a fourth week. Further, DY secures his first top 10 on the Hot Latin Rhythm Songs chart where the song rallies 24-8.
