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Billboard’s Dance Moves roundup serves as a guide to the biggest movers and shakers across Billboard’s many dance charts — new No. 1s, new top 10s, first-timers and more.
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This week (on charts dated June 14, 2025), Tate McRae, D.O.D., Sammy Virji and others achieve new feats. Check out key movers below.
Tate McRae
Tate McRae is back at No. 1 on Billboard’s Hot Dance/Pop Songs chart with her new song, “Just Keep Watching.” She released the track May 30 via Apple/Atlantic from F1 the Album, the soundtrack to the film F1, starring Brad Pitt. The set arrives June 27, the same day that the movie premieres in North American theaters.
The song opens with 11.4 million official U.S. streams, 1.3 million radio audience impressions and 1,000 downloads sold in its opening week (May 30-June 5), according to Luminate. It also debuts at No. 33 on the Billboard Hot 100 — the highest launch on the chart this week.
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McRae has been one of the top-performing artists on the Hot Dance/Pop Songs chart dating to its launch in January. She led the inaugural list dated Jan. 18 with “It’s Ok I’m Ok” (which spent four weeks on top) and returned with two-week leader “Revolving Door” in March. The only other artist to top the chart since its start is Lady Gaga, whose “Abracadabra” has ruled for 15 weeks.
D.O.D.
The British DJ and producer tops a Billboard chart for the first time this week thanks to his song “Wrap Yourself Around Me,” featuring NORTH. The track, released in February on Armada Music, rises 3-1 on Dance/Mix Show Airplay with an 18% gain in plays among 24/7 dance reporters and pop stations’ mix show hours.
D.O.D. charted two other songs on Billboard’s charts before this week: “So Much in Love” reached No. 8 on Dance/Mix Show Airplay in August 2023 and “Somedays,” with Sonny Fodera and Jazzy, also hit No. 8 on the chart in November 2024 (as well as No. 15 on Hot Dance/Electronic Songs this April).
As for NORTH, the song grants the singer her first No. 1 with her initial chart entry.
Sammy Virji & Issey Cross
The acts each earn their first Billboard radio chart hit this week with their collaboration, “Nostalgia.” Released April 25 on Polydor/Capitol/ICLG, the song debuts at No. 40 on Dance/Mix Show Airplay (up 12%).
Both artists are up-and-coming on Billboard’s charts. Virji had logged one chart hit before this week: “Summertime Blues,” with Chris Lake and Nathan Nicholson, reached No. 48 on Hot Dance/Electronic Songs in May 2024. Issey Cross claims her first chart appearance.
Daft Punk
The legendary DJ duo’s 2013 album Random Access Memories spends a 500th week on the Top Dance Albums chart, at No. 20. The LP is just the fourth album to reach the 500-week milestone in the chart’s 24-year history, after Lady Gaga’s The Fame (586 weeks), David Guetta’s Nothing But the Beat (542) and Gorillaz’s Demon Days (539).
Leon Thomas’ breakout hit “Mutt” conquers another radio ranking as it climbs to No. 1 on Billboard’s Rhythmic Airplay chart (dated June 14). The single steps from the runner-up spot to become the most-played song on United States panel-contributing rhythmic radio stations in the tracking week of May 30-June 5, according to Luminate. For its […]
It’s been a week and a half of celebration for Swifties, following Taylor Swift‘s May 30 announcement of her triumph in buying the masters of her early catalog — six full-length albums and various assorted other releases — back from private equity firm Shamrock Holdings.
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The news that Swift’s back catalog was now entirely hers also came with her revelation that while the superstar singer-songwriter had already finished all of her expected Taylor’s Version re-recording of her 2006 self-titled debut album, the final of her first six albums to be re-recorded — 2017’s Reputation — was still less than a quarter complete. Though the long-anticipated Taylor’s Version of that fan favorite does not appear to be coming anytime soon, all news is good news when it comes to Swift’s streaming fortunes — and indeed, her entire catalog got a boost from the recent headlines, led by Reputation bounding from No. 78 to No. 5 on the Billboard 200 albums chart.
How surprising is that Reputation jump? And what could be the next event to send Swift’s catalog screaming back up the charts? Billboard staffers answer these questions and more below.
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1. Taylor Swift’s Reputation rebounds from No. 78 to 5 on this week’s Hot 100, following her announcement that she had reacquired her masters. On a scale from 1-10, how surprised are you by this chart surge for the album?
Hannah Dailey: I would say 4. It’s not surprising at all to me that Reputation is the album fans immediately flocked to after the acquisition announcement, given how much anticipation there had been for Rep TV over the past few years. But I am a little surprised that it climbed as far as it did, because a 73-spot leap is insane.
Josh Glicksman: At best, a passing “Huh, how about that?” level of surprise, which equates to a 2 or maybe a low 3. Sweeping gains for Taylor Swift at any point, for any reason, should not really floor anyone who has been keeping tabs on the Billboard charts for the past two decades, particularly in the streaming era. Combine her massive announcement with the ever-growing anticipation of Reputation’s rerelease — and the comfort among her fan base to now resume listening to the original album — and a Billboard 200 that is relatively stagnant, and the runway was wide open for this sort of thing.
Jason Lipshutz: A 2. Taylor Swift buying back her masters was enormous news in the pop world, activating a fan base at a rare moment of (relative) downtime for the superstar. Her entire catalog received a streaming surge, but naturally, Reputation received the biggest bump, after years of Swifties waiting for Reputation (Taylor’s Version); that day may never come now, but with Swift regaining ownership of her fiercely beloved 2017 album, the streaming party was on, and Reputation enjoyed a predictably huge rise back into the top 10 of the Billboard 200.
Danielle Pascual: Honestly, 1. Since her first re-recorded album, Fearless (Taylor’s Version), dropped in April 2021, Reputation (Taylor’s Version) seems to have always been what fans have been the most excited for. I vividly remember that before Midnights was announced at the 2022 MTV VMAs, theories flooded Twitter/X about “clowning for rep tv.” And that was two albums (and two Taylor’s Versions) ago! It is one of her most iconic eras, and now that she owns it, it makes total sense to me that her fiercest supporters — who’ve boycotted those first six albums since Taylor posted that original letter in 2019 — have flocked back to it.
Andrew Unterberger: 1. A friend asked on Friday for my prediction of where it would re-chart and I answered “top five,” so.
2. Most of the rest of Swift’s albums catalog also gains this week, with four of her albums even re-entering the Billboard 200. Are any of the movers in her catalog this week unexpected to you for how big (or how small) their gains were?
Hannah Dailey: I guess I’m a little surprised that albums like Midnights (up 75-50) and Folklore (up 69-52) shot up as much as they did, since they’re kind of unrelated to the acquisition news. But I’m definitely surprised that both Speak Nows reentered the chart (No. 170 for the original and No. 185 for the Taylor’s Version), while Fearless and Fearless (Taylor’s Version) did not. If I was going to pick between the two, I would’ve predicted more love for Fearless – though as a Speak Now diehard, I’m happy to see it.
Josh Glicksman: I’m slightly surprised at both the original and rerelease of Speak Now not making a larger splash in their reentries on the Billboard 200, but perhaps that’s rooted in my own internal bias towards the album. Additionally, it’s not shocking that fans are still gravitating toward her more recent album releases — particularly given that her chart movement this week is largely driven by streaming activity — but I would’ve expected some of the original versions of her reacquired catalog to overtake their respective rereleases. (The Taylor’s Version of 1989 still outranks the original, No. 61 to No. 73; Red (Taylor’s Version) is No. 147 while the original is not on the chart.)
Jason Lipshutz: I’m a little surprised by the rises of some of the re-recorded albums, like 1989 (Taylor’s Version) moving up 19 spots to No. 61 and Speak Now (Taylor’s Version) re-entering the chart. The news of the recordings purchase was focused on her six original albums, not the Taylor’s Version full-lengths that she began putting out in 2021… but such is the demand for all things Taylor, where, in a scenario in which those original albums get re-embraced by fans, the re-records still get an uptick in listens, too.
Danielle Pascual: I’m shocked that neither Fearless nor Fearless (Taylor’s Version) are on this week’s chart. The former was the album that won Swift her first album of the year Grammy and kickstarted her rise to megastar status, and the latter marked the beginning of Taylor’s re-recording journey. It contains some of her most popular songs — including her first-ever Hot 100 top 5 hits, “Love Story” and “You Belong With Me” — so I at least expected it to enter the chart in some way. On the other hand, I definitely saw a big chart moment for the original 1989 coming (it re-enters at No. 73). I wouldn’t be the first to admit that the OG “Style” is better than the “Taylor’s Version,” although, 1989 (Taylor’s Version) does contain some excellent From the Vault tracks!
Andrew Unterberger: While my “top five” prediction proved right on for Reputation, my “just outside the top 10” prediction for the self-titled album…. not so much. Taylor Swift did re-enter the Billboard 200, but only at No. 64, which is obviously much lower than I expected. I suppose I overestimated the sentimentality around Swift’s debut — and since we actually still may get that Taylor’s Version at some point, maybe fans are still waiting for that moment to dive back in anyway.
3. While Swift admitted she had not yet gotten through much of the Reputation re-recording at the time of her announcement, she also said the re-recording of her self-titled debut had already been completed. Do you think we’ll see the full release of that Taylor’s Version – and if so, about when?
Hannah Dailey: I get the sense that she’s ready to close the door on all things Taylor’s Version and Eras, especially now that she owns all her work. But since she’s already spent all that time and effort re-recording Debut, there’s no reason not to release it, especially knowing how much fans want it. I bet we’ll get it soon, probably by the end of the year – maybe in October to honor the month it originally dropped.
Josh Glicksman: Yes, but I wouldn’t expect it any time soon unless she needs a push in momentum for some reason, which is rarely, if ever, the case with her. I wouldn’t be surprised to see Taylor’s Version of her self-titled album appear in fragments — rerecorded fan favorites that are webstore exclusives and packaged to new releases or vault tracks that arrive just in time to be considered for awards season. At some point, I think it’ll arrive in full, but it might come in drips first.
Jason Lipshutz: “I really love how it sounds now,” Swift wrote about Taylor Swift (Taylor’s Version) when she announced that she had bought back her masters. If that’s the case, there’s no way it’s never seeing the light of day. Next year for the 20th anniversary would make sense, but if we don’t receive a new studio album in 2025, the already-finished re-recorded debut album would be a lovely consolation prize this year.
Danielle Pascual: I am pretty certain we will see Taylor Swift (Taylor’s Version) sometime next year though, as it would be the perfect way to celebrate her debut album’s 20th anniversary.
Andrew Unterberger: October 24, 2026 — or whenever the closest Friday to that anniversary date is. Mark your calendars now.
4. Swiftie fandom is as such that it feels like almost any major development in Swift’s career (or life) leads to major gains in her catalog. What do you think the next such occasion will be for her that may have a similar bearing on her chart movement?
Hannah Dailey: An obvious answer would be that she announces a new album, but I do reckon we’re probably getting close to TS12. Beyond that, it could be anything. Maybe Travis Kelce will propose, and her love-song canon — from most of Lover to “So High School” and “The Alchemy” on Tortured Poets – will get a major boost.
Josh Glicksman: It’s easy to speculate that a long-anticipated, highly-speculated question from a certain NFL tight end could cause such a gain, but the more likely answer to me here is that’ll it come more naturally when she’s gearing up for another album release, be it of fully new material or one of the remaining Taylor’s Versions. But how fun would it be if we got a new single from Swift out of the blue to celebrate her reacquisition of the catalog? All I’m saying is: The song of the summer season is upon us; it’s not too late, Taylor!
Jason Lipshutz: Maybe a major change in her personal life that would cause a huge spike for “Love Story,” with Swifties posting the lyrics “Go pick out a white dress/ It’s a love story, baby, just say ‘Yes’” into infinity? The world is waiting for Swift and Travis Kelce to make an engagement announcement; who knows if it will happen, or happen anytime soon, but if and when it does, I fully expect every romance-related Swift song to explode on streaming services.
Danielle Pascual: It’s hard to imagine any other moment would kickstart gains as major as this. The back-and-forth of Taylor’s masters has been top of mind for both her and her fans since the drama began six years ago, and now that chapter is finally closed. That being said, if she wanted to continue this momentum for her original albums, I think it would be smart to re-release vinyl editions of the originals, whether as some sort of collector’s set or individually. The Record Store Day editions of albums like 1989 and Red are highly sought after for vinyl-collecting Swifties (they go for upwards of thousands on the resale market), and I’m sure the fans would flock to any sort of special re-issues, therefore triggering new gains on the Billboard 200.
Andrew Unterberger: I’ll swipe a prediction from our Charts team’s Trevor Anderson and say that the next big Taylor bump will come when she’s announced as the headliner for a certain February 2026 gig at Levi’s Stadium in California.
5. Since we’re unlikely to get it at this point anyway, what would have been your ultimate dream get for a From the Vault Reputation (Taylor’s Version) track?
Hannah Dailey: Having Charli xcx on a Vault song would’ve been legendary. Charli opened for Taylor on the Reputation Tour, so it would’ve been such a cool full-circle moment to see them reunite for something Reputation-related almost a decade later, especially now that Charli has had so much success with Brat. Charli also could’ve elevated the electro-pop feel Taylor experimented with a lot on the original Rep, and it would’ve been an epic way for both women to put those “Sympathy Is a Knife” feud rumors to bed.
Josh Glicksman: If her latest few singles are any indication, Reneé Rapp feels like she would’ve met the Reputation moment and run with it — so I would’ve loved to get her as an FTV guest collaborator.
Jason Lipshutz: The mash-up between “New Year’s Day,” “Long Live” and “The Architect” is still echoing in my head after seeing it performed at Swift’s final stop on her Eras Tour. I was hoping against hope that we’d get it (or another “New Year’s Day” mash-up) with Reputation (Taylor’s Version), but then again, it’s not so bad that that performance belongs to that singular moment forever.
Danielle Pascual: My number one pick for a collaborator on a From the Vault track is definitely Beyoncé. There were a lot of rumors surrounding a team-up after the two showed up at each other’s concert film premieres at the end of 2023, and it would be awesome to see that come into fruition for a brand new Reputation era track. Beyond that — this is a huge reach, but my dream is for Taylor to re-release Reputation in full as a collab album. I’d want all 15 of the album’s original tracks to have a different feature with only female artists. I can see Doechii doing Kendrick Lamar’s part on “Bad Blood,” Sabrina Carpenter on “Call It What You Want” and Halsey on “Don’t Blame Me.” Also, how full-circle would it be to see Olivia Rodrigo on “New Year’s Day”?! Never say never…
Andrew Unterberger: Many fans might answer this question hoping for a full solo version of “End Game,” without the Future and Ed Sheeran feature appearances. I say go the other way with it: Let’s get a full-on…. well, I don’t think we could ever credibly say “posse cut” about a Taylor Swift-led song, but an extended remix with even more pop star guest verses, anyway. Maybe her Reputation Tour openers Camilla Cabello and/or Charli XCX could’ve added 16 bars? Perhaps they could’ve passed the mic to Florence Welch, a future Tortured Poets supporting player and an obvious influence on some Reputation cuts? And then for the final guest: Would a tell-’em-how-you-feel verse from Justin Timberlake, then undergoing some reputational concerns of his own, have been a great idea or a catastrophic one? Dunno, but I’d certainly be interested to find out the answer.
Josi Cuen and Jorge Medina have achieved their first No. 1 as soloists with their maiden collab “En Tiempo y Forma (Juntos),” which climbs two spots to the top of Billboard’s Regional Mexican Airplay chart (dated June 14).
The song drew 7.5 million audience impressions in the United States May 30-June 5, according to Luminate. That’s a 21% gain compared to the week before. The song earns the chart’s Greatest Gainer honor, given to the track with the largest audience growth among titles at the format.
Cuen and Medina are former members of La Arrolladora Banda El Limón, which boasts 19 Regional Mexican Airplay No. 1s among 39 top 10s in a history on the chart that dates to 2001. Cuen departed the group in 2021, after Medina left in 2017.
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“En Tiempo y Forma (Juntos)” was released in December 2024 on Avivar Music. Thanks to the song’s coronation, the label likewise celebrates its first No. 1 on a Billboard chart.
Cuen previously reached a No. 24 Regional Mexican Airplay high as a soloist through “Prefiero Estar Muerto,” with Luis Ángel “El Flaco,” in 2023. Medina posted two prior top 10s, both in 2018, among seven entries.
Elsewhere, Cuen and Medina clock their highest-charting placement on the overall Latin Airplay tally, where “En Tiempo y Forma (Juntos)” bounds 7-2, with nearly all its airplay from regional Mexican stations.
The singers’ first No. 1 on a Billboard chart arrives hot on the heels of their first-ever joint tour, JUNTOS 2025, which launched October 2024 in Mexico. The U.S. leg of the tour kicks off June 12 in San Jose, Calif., and wraps Sept. 13 in Las Vegas.
All charts (dated June 14, 2025) will update on Billboard.com tomorrow, June 10. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
As the pioneering frontman of the legendary group Sly & the Family Stone, Sly Stone, who died Monday (June 9) at age 82, blazed a trail that merged funk and R&B with tastes of rock and soul for an influential catalog that surged to mainstream success in the late 1960s and early ’70s.
Like contemporaries Jimi Hendrix, Parliament and Isaac Hayes, Sly & the Family Stone were pivotal players in the late ’60s psychedelic soul scene, which blended classic R&B and soul elements with guitar-driven rock and jazz into a new sonic fusion.
The group made its Billboard chart debut on Jan. 27, 1968, with “Dance to the Music,” which arrived at No. 48 on Best Selling R&B Singles (today’s Hot R&B/Hip-Hop Songs chart) and peaked at No. 9 that April. The single also became the group’s first Billboard Hot 100 entry that February and rose even higher there, to No. 8, showing the group’s wide crossover appeal from the jump.
“Dance to the Music” was the first of 16 Hot 100 hits for Sly & The Family Stone, in 1968-75, a collection that includes three No. 1s: “Everyday People” in 1969, the dual-sided “Thank You Falettinme Be Mice Elf Agin”/“Everybody Is a Star” in 1970 and “Family Affair” in 1971. In addition to the band’s output, Stone landed two solo hits: “I Get High on You,” which reached No. 52 in 1975 and a featured spot on Jesse Johnson’s “Crazay,” a No. 53 hit in 1986. The group’s commercial highs were also reflected by strong album sales: It scored three top 10s on the Billboard 200 in 1970-73, including the No. 1 There’s a Riot Goin On.
Thanks to the group’s impact, Sly & The Family Stone were inducted into the Rock & Roll Hall of Fame in 1993; the year before, Arrested Development’s “People Everyday,” which interpolates “Everyday People,” notched three weeks at No. 1 on Hot Rap Songs and hit No. 8 on the Hot 100. In recent years, the group’s influence reached a new generation through appearances in two documentaries produced by Questlove: the multi-artist Summer of Soul, which won an Academy Award for best documentary feature in 2022 and this year’s Sly Lives! (aka the Burden of Black Genius).
To recognize Sly Stone’s impact and contributions to the American music canon, here’s a review of Sly & the Family Stone’s 10 biggest hits on the Billboard Hot 100.
Sly & the Family Stone’s Biggest Billboard Hot 100 Hits ranking is based on weekly performance on the Hot 100 from its Aug. 4, 1958, start through June 7, 2025. Songs are ranked based on an inverse point system, with weeks at No. 1 earning the greatest value and weeks at lower spots earning the least. Due to changes in chart methodology over the years, eras are weighted differently to account for chart turnover rates during various periods.
“Stand!”
Taylor Swift had lots to celebrate on May 30, when the megastar announced that she had officially acquired the masters of her first six albums from private equity firm Shamrock Capital, along with videos, concert films, art and other unreleased content. The firm had acquired the catalog in late 2020 from Scooter Braun’s Ithaca Holdings, after Braun had bought Swift’s old label Big Machine Records the year before.
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The purchase marked the end of a six-year kerfuffle that resulted in Swift’s Taylor’s Version project, where she re-recorded four of her first six albums that she recorded for Big Machine. After announcing her big purchase — which Billboard estimated cost about what Shamrock initially paid in late 2020, around $360 million — Swifties were quick to buy and stream her music, resulting in a big Billboard chart week.
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Let’s break down the impact of Swift’s announcement, by the numbers (on the latest charts dated June 14 — reflecting activity May 30-June 5, the first full week after the news of the deal).
54,000
Swift’s albums catalog sold a combined 54,000 copies in the U.S. in the tracking week, up 235% from the week before, according to Luminate. This includes each of her albums, re-recordings and all. That 54,000 is the most among all artists this week.
The biggest seller in her catalog was her sixth studio LP and final Big Machine project, 2017’s Reputation, which sold 15,000 copies alone (up 1,183% week-over-week). The album is one of two (along with her 2006 debut, Taylor Swift) that the singer hasn’t re-recorded and released yet. In the letter on her website, she wrote, “Full transparency: I haven’t even re-recorded a quarter of it.” She left fans hopeful though, adding, “There will be a time (if you’re into the idea) for the unreleased Vault tracks from that album to hatch.” The gains for reputation help the album rank at No. 4 on the Top Album Sales chart and No. 10 on Top Streaming Albums, and surge 78-5 on the Billboard 200 (marking its highest placement since January 2018).
The second-biggest seller was Taylor Swift, which she wrote she has finished re-recording but didn’t announce a release date yet. That album sold 8,000 copies (up 955%) and ranks at No. 6 on the Top Album Sales chart. The set also re-enters the Billboard 200 at No. 64, marking its highest rank since 2010.
222 million
Swift’s catalog raked in a combined 222 million official U.S. streams in the week following her announcement, up 32% from the week prior.
“Cruel Summer” was her most-streamed song of the week, tallying 5.4 million U.S. streams (up 6%). Her next four-highest-streamed songs are from Reputation: “…Ready for It” (3.8 million; up 70%), “Delicate” (3.8 million; up 76%), “Look What You Made Me Do” (3.6 million; up 70%) and “Don’t Blame Me” (3.4 million; up 84%).
Those 222 million streams in the U.S. are the second-most among all artists this week, following Morgan Wallen. The country star, who just dropped his latest album, I’m the Problem on May 16, raked in 379 million streams.
11
Swift charts 11 albums on the latest Billboard 200, tying her career weekly best. Here’s a look, with re-entries noted:
No. 5, ReputationNo. 18, The Tortured Poets DepartmentNo. 30, LoverNo. 50, MidnightsNo. 52, FolkloreNo. 61, 1989 (Taylor’s Version)No. 64, Taylor Swift (re-entry)No. 73, 1989 (re-entry)No. 147, Red (Taylor’s Version)No. 170, Speak Now (re-entry)No. 185, Speak Now (Taylor’s Version) (re-entry)
This is the 31st total week that Swift has charted 11 albums simultaneously. The only artists to chart more in a single week — since the list was combined from its previously separate mono and stereo album charts into one all-encompassing ranking in August 1963 — are Prince (who charted 19 albums after he died in 2016, plus 13 the week after that) and the Beatles (14 albums simultaneously for a week in 2010 and 13 during a week in 2014).
Alex Warren’s “Ordinary” remains the biggest song in the world, as it scores a sixth week at No. 1 on the Billboard Global 200 and a fourth week atop Billboard Global Excl. U.S.
Meanwhile, two songs are new to the Global 200’s top 10: MOLIY, Silent Addy, Skillibeng and Shenseea’s “Shake It to the Max (Fly)” bounds 12-6 and Tate McRae’s “Just Keep Watching,” from the forthcoming film F1, races onto the chart at No. 8.
The Billboard Global 200 and Global Excl. U.S. charts, which began in September 2020, rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Global 200 is inclusive of worldwide data and the Global Excl. U.S. chart comprises data from territories excluding the United States.
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Chart ranks are based on a weighted formula incorporating official-only streams on both subscription and ad-supported tiers of audio and video music services, as well as download sales, the latter of which reflect purchases from full-service digital music retailers from around the world, with sales from direct-to-consumer (D2C) sites excluded from the charts’ calculations.
“Ordinary” leads the Global 200 with 70.2 million streams (essentially even week-over-week) and 12,000 sold (down 10%) worldwide May 30-June 5.
The rest of the Global 200’s top five is likewise static, with Lady Gaga and Bruno Mars’ “Die With a Smile” at No. 2, after 18 weeks at No. 1 starting last September (second only to the 19 weeks at No. 1 for Mariah Carey’s “All I Want for Christmas Is You” since the chart began); ROSÉ and Bruno Mars’ “APT.” at No. 3, after 12 weeks at No. 1 starting in November; Billie Eilish’s “Birds of a Feather” at No. 4, following three weeks at No. 1 last August; and Benson Boone’s “Beautiful Things” at No, 5 after seven weeks on top starting in February 2024.
MOLIY, Silent Addy, Skillibeng and Shenseea’s “Shake It to the Max (Fly)” surges 12-6 on the Global 200 with 44.1 million streams (up 15%) and 3,000 sold (up 42%) worldwide. The first top 10 on the chart for each artist leads the Billboard U.S. Afrobeats Songs chart for a fifth week.
Tate McRae’s “Just Keep Watching” speeds onto the Global 200 at No. 8 with 33.8 million streams and 2,000 sold following its May 30 release. Her third top 10 is from the Brad Pitt-starring film F1, premiering internationally June 25 and in North American theaters June 27, the same date as its soundtrack. (The song marks McRae’s latest vehicle-related … vehicle; her “Sports Car” revved to the chart’s top 20 in February.)
“Ordinary” commands Global Excl. U.S. with 50.6 million streams (down 1%) and 5,000 sold (down 5%) outside the U.S.
“Die With a Smile” is steady at No. 2 after 17 weeks atop Global Excl. U.S. starting last September. Only “APT.,” which holds at No. 3, has led longer: 19 weeks, beginning in November. “Birds of a Feather” ascends 5-4, following three weeks at No. 1 last August, and “Shake It to the Max (Fly)” shimmies 10-5, a week after it became each act’s first top 10 on the ranking.
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated June 14, 2025) will update on Billboard.com tomorrow, June 10. For both charts, the top 100 titles are available to all readers on Billboard.com, while the complete 200-title rankings are visible on Billboard Pro, Billboard’s subscription-based service. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
There are few things more daunting for a rising star than following a breakthrough hit that just won’t stop breaking through. Such is the case for Benson Boone, whose 2024 smash “Beautiful Things” reached No. 2 on the Billboard Hot 100, ended as the No. 1 song on the year-end Global 200, and, 70 weeks into its Hot 100 run, is still in the chart’s top 10.
But Evan Blair, the song’s co-writer and producer — and a regular collaborator of Boone’s, along with co-writer Jack LaFrantz — says that when the “Beautiful Things” dream team reassembled in the studio, they couldn’t feel the specter of their previous smash hanging over them.
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“I’ve been in situations in the past where [following such a big hit] has sunk us, and we haven’t been able to get out of the shadow,” Blair says. “But for whatever reason, [when we got back together], I don’t think we one time even talked about it.”
It also helps, of course, when you come up with new songs like “Mystical Magical.” Crafted toward the end of the recording sessions for Boone’s upcoming new album American Heart, the sparkling “Mystical Magical” finds Boone leaning into his increasingly fantastical stage persona, with a falsetto-laden chorus, lyrics about “moonbeam ice cream” and chirping synths reminiscent enough of Olivia Newton-John’s “Physical” that that song’s scribes were also given writing credits along with Boone, Blair and LaFrantz. (“Damn, it does sound like that,” recalls a laughing Blair of the group’s reaction when the similarity was first pointed out to them.)
The early response to the group’s new effort has been very positive. Despite the refusal of “Beautiful Things” to recede from the Hot 100’s top 10 — and despite the positive momentum behind his prior single “Sorry I’m Here for Someone Else,” which has climbed into the chart’s top 30 — “Mystical Magical” became Boone’s fourth song to crack the top 40, and is still hanging around at No. 42, seemingly waiting its turn to officially become Boone’s single of the moment, as he backflips from one high-profile cultural moment to the next.
“I think that is a testament to Benson as an artist — he’s existing in culture in such a way that culture is interacting with him,” Blair says of the way his star collaborator has been able to move on from his breakout hit, even as his breakout hit has refused to move on from him.
Below, Blair talks about his work catching “lightning in a bottle” as Boone’s collaborator, why he never feels like he has to tell Benson no, and what fans might be able to expect from the rest of American Heart, out June 20.
Your relationship with Benson goes back further than “Mystical Magical.” How did you two come into each other’s orbit?
Benson is with Warner Records, and I’ve done a lot of stuff with them in the past. His A&R Jeff Sosnow has been a big part of my music career — and the first person to ever really give me a shot years ago — and he thought Benson and I would get along really well. He was right: The first session we ever did was “Beautiful Things.”
What was it about the two of you that clicked?
The main thing that drives it is that both of us put a priority on being friends as well as being musical partners. I can definitely take making music very seriously, and Benson…
Less so?
Well, Benson can too. But I think there’s something about the two of us — and then the three of us, with Jack [LaFrantz] — there’s an environment of like, “Let’s also have some fun.” Benson is such a musical super force that he’s almost like this lightning in a bottle that I have to try to catch every day in the session. He’ll sit at the piano, or him and I will start creating something that seems to come from nowhere. He’s one of those artists where you don’t know where he’s getting these ideas. It’s like he’s got some sort of channel that [only he’s] getting. It’s my job every day to try to capture it and make it into something that sounds good and can be recorded.
“Beautiful Things” [is] a great example — with time signature changes and very bizarre arrangements. I get to let him just kind of go wild, and it really tests musical ability and years of production experience to be able to not mess with that, but also to put it in a container and somehow harness it. And for me, it’s the most fun challenge, because he’s just straight inspiration. And I get to play with it.
You said that you guys recorded “Beautiful Things” on the first day that you worked together. Have you been working together regularly since then?
It’s been pretty consistent since then. I knew from the first time we worked together — and Jack also being a part of that — that there was something really special here. The creation part of it felt very easy, which is not a feeling that comes very frequently. There was just something about the chemistry between the three of us where it seemed pretty clear that we were only at the beginning of something.
“Beautiful Things” was done at the tail end of his last album, and then there was a break where he went on tour. We were continuing to work together a little bit after that, but he wasn’t really around for a lot of writing until later when we started on this album. We worked together a lot for the last year.
In what part of the process did “Mystical Magical” come into it?
Towards the end, actually. [At] the beginning of the process, we got a good chunk of the best work. There was so much inspiration, and Benson had such a clear idea of what he wanted to do. And then “Mystical Magical” was kind of the last one that we put in the pile. I don’t remember ever saying, like, “Oh, this has to be a single.” We try not to say that kind of thing — but we all knew it was really great.
We were in Utah at June Audio [Recording Studios], and at that time, we were supposed to be finishing songs. All of the powers that be were calling me before the session, and they’re like, “You guys got to buckle down and finish these songs.” And I was like, “Don’t worry. We’ll do it.”
Just the way that the three of us work together — we’re almost always going to try to start something new, even if we are supposed to be doing something else. We’ve had so much luck together that it would be almost stupid not to try. What if the next “Beautiful Things” happens? It feels possible every time we’re together.
I don’t know that it was always apparent that Benson had this kind of flair to him. It seems like, as he’s kind of coming into his own as a performer, the music is starting to match that a little bit better. Could you tell that he had this more fantastical side to him?
Not in such a hyper-specific way where I could be like, “I feel like you’re going to be a little bit more jumpsuit-y on the next album.” But there’s something so alive in him that is very apparent when you meet him, that it doesn’t at all feel surprising when you’re like, “Oh, he wants to do that? He’ll be great at it.”
When [other] artists come to me and they’re like, “I’m going to do this,” you can kind of be like, “I see what you want to do, but maybe we could go somewhere else.” With Benson, he’s so easily able to accomplish things that it felt very natural to me. Even as far down to his piano playing — a lot of the best songs on this album came from him sitting down at the piano, and he would play these little riffs that were like, “Did you just make that? I could have sworn it was, like, a Hall & Oates classic piano [riff].”
What was the first part that poured out of him that ended up becoming “Mystical Magical”?
On that Utah trip, I think we had four days in a row at the studio. The first three, candidly speaking, were not that fruitful. We weren’t finding the answer to some of these songs, and we were having a lot of fun as friends, but we weren’t really getting done what we needed to get done. On the fourth day, perhaps through a bit of frustration, we just said, “You know what? F–k it. Let’s just have some fun and get back to what we do best.” It ended up being the very beginning of “Mystical Magical.”
It started out very differently from how it ended up, but the bass line in it was something I was playing — and it almost felt like a My Morning Jacket song or something. That bass line is now what is in the verse of the song, and it’s a midtempo, funky sort of thing.
We couldn’t really get out of the verse into a chorus that that excited us for a long time, and then Jack and Benson said, “Let’s just try the piano.” Benson starts playing it with these staccato eighth notes high up on the piano. They looked at me, I looked at them, and I said, “When you’re right, you’re right, boys.” We record that plucky piano, and it just made sense all of a sudden. We got Benson in the booth to start singing it, and as he went on, this performance got more whimsical — and I answered that in the production.
A day that started in frustration ended in being one of the best music making days we’ve ever had together. It felt like when that chorus moment happened, it was just unfolding in front of our eyes.
Who came up with “moonbeam ice cream” lyric?
I can’t recall exactly, but I’m going to say Jack. Jack is often coming up with these very bizarre things that you’re like, “Is that a thing? Because if it’s not, it should be.” That happened a number of times on this album.
When you heard that, were you guys just like, “Yes, absolutely, let’s go with that”?
Absolutely. We all had that moment where we’re like, “Does it make sense? Does it matter?” And you know, to us, it made sense. But I’m also big on letting people decide on their own what it means.
Is it difficult to make headway with a new song when your older song is still percolating the way “Beautiful Things” is?
It can be, but with Benson, no. With Grammys performances and Coachella, he’s carving a lane so effectively that it doesn’t feel like that at all. I tell this to people all the time: [They say,] “Oh, congratulations on ‘Beautiful Things.’ ” And I’m like, “You can have an amazing song that’s going to be a hit — but do you have the artist that can carry it?” Benson carried it and then threw it into the stratosphere like a Hail Mary. Having Benson behind the songs every time feels like you’re doing something new and meaningful. So we’re kind of immune to that so far because of the artist we have.
I know you say you can’t really talk that much about the rest of American Heart, but do you feel like it comes from the same place as “Mystical Magical”? Or is it a little bit more of a swerve than people realize?
I wouldn’t say it’s a swerve. “Mystical Magical” is the most mystical and magical song on the album. It is definitely the most of that thing; it’s as far as we go in that direction. My two favorite songs on the album are still yet to come, which is super exciting. But I think in terms of a sonic palette, there’s still a lot of synths, there’s still bold choices. I think people who like the first two [singles] will only love the forthcoming ones even more. There’s some that are a little more emotional, for sure. I’m just super-pumped for people to hear them.
A version of this story appears in the May 31, 2025, issue of Billboard.
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Silvestre Dangond and Emilia’s “Vestido Rojo” slides into an 8-1 climb, to rule Billboard’s Latin Airplay chart dated June 14. The coronation on the overall Latin radio tally follows a 39% surge in audience impressions in the United States, which translates to 8.3 million, during the May 29-June 5 tracking week, according to Luminate. It’s the third No. 1 for Dangond and second for Emilia.
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“Vestido Rojo” was released Feb. 6 on Sony Music Latin. It lands at the summit in its eighth week on the chart, and after three weeks in the top 10. Three Univision radio stations become the single’s main supporters. San Jose, Calif’s KVVF-FM registered the biggest gain in the period, with Phoenix’s KQMR-FM and Houston’s KAMA-FM landing in second and third place, respectively.
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Thanks to the 8.3 million radio haul, “Vestido Rojo” marks Dangond’s return to the top of the ranking in over six years. He last secured a No. 1 through another female team-up: “Justicia,” with Natti Natasha, ruled for one week in November 2018. Among other placements, his first No. 1, “Cásate Conmigo,” with Nicky Jam, reached No. 1 that same year, in February 2018.
For Emilia, before ‘Vestido Rojo” unlocked the penthouse, the Argentinian singer earned her first chart-topper on Latin Airplay with “Perdonarte Para Qué?” with Los Ángeles Azules, in July 2024. The song earned the family group its first coronation after nine top 10s.
“Vestido Rojo” also dresses up the top spot on Tropical Airplay, where Emilia achieves her first No. 1 through her first chart appearance on the list. Dangond, meanwhile, secures his third chart-topper onnTropical Airplay, likewise, his first since 2018, when “Cásate Conmigo,” with Nicky Jam, monopolized the top slot for eight consecutive weeks.
Beyond its Latin Airplay and Tropical Airplay coronations, “Vestido Rojo” rises to a new peak on the multi-metric Hot Tropical Songs chart, climbing 9-4.
All charts (dated June 14, 2025) will update on Billboard.com tomorrow, June 10. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
