State Champ Radio Music
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Giovanny Ayala captures his first No. 1 on a Billboard chart through “No Estaba Hablando En Serio” which flies to the top of the Regional Mexican Airplay chart (dated Nov. 1).
“No Estaba Hablando En Serio” soars from No. 9 to No. 1 after a 35% increase in audience impressions in the United States, to 6.4 million, during the tracking week of Nov. 17-23, according to Luminate. Released on June 26 under Colmena/Azteca, the song claims the top spot in its 16th week, following a four-week stint in the top 10.
Ayala’s latest single not only marks his first chart-topper, but also his first charting entry with Azteca Music Group’s COLMENA Music. Before the move, the singer achieved six Regional Mexican Airplay entries with the Gerencia360 label, including the No. 7-peaking “Quien Se Apunta,” with Luis R. Conriquez, in 2022.
Meanwhile, COLMENA secures its first No. 1 of 2025 and its second overall. The label previously reached the top spot with Los Ángeles de Charly’s “El Tonto” in 2024.
“No Estaba Hablando En Serio” also makes strides on the overall Latin Airplay chart, where it flies 20-4, after earning strong support from stations KSND (Portland, OR), KLNO (Dallas), and WOJO (Chicago) during the tracking period.
Bad Bunny’s 30th Win: Continuing his dominance on the overall Latin Airplay chart, Bad Bunny collects his 30th No. 1 with “Nuevayol.” The song climbs from No. 5 to No. 1 with the weekly Greatest Gainer honors, recognizing the track with the largest audience increase.
“Nuevayol” registered 7.8 million audience impressions during the tracking week, up 30% from the week prior. Its sends DY’s “Sonríele” to No. 10, after the latter falls by a 37%, to 5.7 million.
“Nuevayol” marks the fifth track from Benito’s album Debí Tirar Más Fotos to claim the No. 1 spot on the Latin Airplay chart. It follows previous chart-topping hits “El Clúb,” “Baile Inolvidable,” and “EOO,” which each dominated for two weeks in February, March, and August, respectively. Plus, “DTMF” delivered a one-week reign in May.
With a total of 30 No. 1s on Latin Airplay, Bad Bunny continues to climb the rankings among the artists with the most chart-topping hits since the list debuted in 1994. Here’s a look at the current leaderboard:
39, J Balvin36, Ozuna32, Enrique Iglesias30, Bad Bunny29, Daddy Yankee25, Maluma24, Shakira
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A$AP Rocky spoke about working with Denzel Washington and Spike Lee on Highest 2 Lowest and said there’s a reason why he doesn’t drop music that often.
In a new interview with Perfect Magazine, Rocky explained how working with Washington and Lee on Highest 2 Lowest was a “dream come true.”
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“Their dynamic alone is just historical,” Rocky said. “So I’m honored to be an honorary member of their legacy.”
Rocky also explained how he helped Lee develop his Yung Felon character, adding that at first Rocky felt, “There were a few things the character needed to become more real.”
“[Spike Lee] let me develop my character full-throttle,” Rocky said. “They put me in the right environment that was familiar with a little nostalgia, and it allowed me to take the character to different places, and borrow stories from the people I was around growing up, and their circumstances. I appreciate that he [Lee] was receptive to all my changes for my personal character.”
Rocky also spoke briefly about Don’t Be Dumb and his music career as a whole, saying he’s not so eager to drop new music because he wants to make sure it all feels right for his legacy.
“It’s about who did it the best,” Rocky said. “Everything I do is based off building legacy. That’s why I’m not so eager to just drop, drop, drop. I don’t do things to just try and stay relevant, or keep my name in the conversation. I try to do natural things, creative, ambitious things that really satisfy me.”
The comments come as Rocky continues to tease his fourth studio album Don’t Be Dumb. In an interview with GQ back in February, he said it’s been so long, fans are likely tired of hearing about the album.
“I’m in the mixing and mastering realm of it,” he told the outlet. “But I think quite frankly, people are tired of hearing about updates about the album. They’re just ready to get this sh–, you know what I’m saying? I don’t think anybody wants to hear where I’m at with it, how far is it along and all that. They just want to hear some sh– just to see where I’m at, and I promise I got some new sh– in store. I’m challenging myself. It’s like anything, I approach it with a different tactic, degree, or finesse.”
Trending on Billboard Earlier this month Fred again.. kicked off his buzzy 10 shows in 10 weeks in 10 cities run, a peripatetic endeavor happening as part of the release of his USB002 project. The English producer is releasing one song from USB002 in tandem with each week’s show, with UBS002 itself being an an […]
Trending on Billboard Since it dropped last year, “Birds of a Feather” has taken flight as one of Billie Eilish‘s most successful songs to date. But in a new interview, the pop star revealed that she almost scrapped it entirely, fearing it was too “stupid” to release. While speaking to the Wall Street Journal for […]
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Fat Joe says he got depressed once he reached age 40 because he worried his hit-making days might be over.
On the latest episode of Joe and Jada on Tuesday (Oct. 28), Joe opened up about aging in a career that values partying and young people, and said it was hard for him to reimagine his career.
“I’ve been rapping, I’ve been in the game since I’m 19,” Joe explained. “So, when I’m about to turn 40, all I know is standing on couches and popping bottles. But that 40 hit you like a different, like… I was depressed.”
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He added that people had been telling him they’d “never [seen] a rapper hit one out the park after 40,” meaning it was hard to make a hit record once you hit middle age.
“So my man Dre [from] Cool & Dre came over on my birthday. I was straight depressed and he was like, ‘Yo, Joe, you know Tina Turner ain’t have her first hit till she was 47.’ So he start breaking all this down. Made me feel a lot better,” Joe said. “‘Cause I was scared of what the future was for what we’re doing…So what we’re doing is we’re selling this brand. We’re selling this and this and that. And then, for a guy like me, it felt like, Oh, they know I’m old now.”
Jada then joined in the conversation and said he’d actually planned on retiring from rap at age 30. “I remember saying, I don’t want to rap at 30,” Jada recalled. “When 30 came, that was out of the f—king question. Then when forty came, I’m like, ‘Yo, got to live a little.’ I felt like I had a lot of more work to do.”
A lot of rappers — including Lil Wayne and Raekwon — have had plenty of success in their 40s and beyond. However, André 3000 admitted in 2023 that his age was a big factor when it came to him hanging up the microphone.
“I’m 48 years old. And not to say that age is a thing that dictates what you rap about, but in a way it does,” André told GQ. “And things that happen in my life, like, what are you talking about? ‘I got to go get a colonoscopy.’ What are you rapping about? ‘My eyesight is going bad.’ You can find cool ways to say it, but….”
Check out the full episode of Joe and Jada below.
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Steve Martin extends his prolific creative legacy with his and frequent collaborator Alison Brown’s new album, Safe, Sensible and Sane. The project debuts at No. 1 on Billboard’s Top Bluegrass Albums chart (dated Nov. 1) with 2,000 equivalent album units earned in the United States Oct. 17–23, according to Luminate.
The set, on Compass Records, marks Martin’s seventh leader on the list in as many visits, five of which have opened at No. 1. Featuring collaborations with Jackson Browne, Vince Gill and Jason Mraz, among others, the album is Brown’s second to top the chart.
Once viewed as a sideline to his film and comedy career, Martin’s music has instead become a defining pillar. Since his 2009 debut, The Crow: New Songs for the Five-String Banjo — itself a 31-week No. 1 — the creative polymath has logged 84 weeks at the summit of Bluegrass Albums, the most among male soloists. Four of those leaders reached the top 10 on Americana/Folk Albums, while five have made appearances on the all-genre Billboard 200.
But chart success is nothing new for Martin. Long before his banjo ever hit the charts, his comedy albums were already fixtures, helping define a golden era of recorded stand-up. Between 1977 and 1981, he placed four comedy albums on the Billboard 200, including two top 10s, highlighted by A Wild and Crazy Guy, which reached No. 2 in 1978. Selections from those albums, “King Tut,” “Grandmother’s Song” and “Cruel Shoes,” even cracked the Billboard Hot 100, with “King Tut” dancing to No. 17.
Martin’s momentum only grew when the stage gave way to the screen. At the height of the home-video rental boom, he logged 22 top 10s, including five No. 1s, between 1984 and 2009 on Billboard’s since-discontinued Video Rentals chart. Among those titles: enduring favorites such as Roxanne, Planes, Trains and Automobiles, Dirty Rotten Scoundrels and Father of the Bride, movies that helped cement his reputation as one of entertainment’s most versatile storytellers.
After all these years, Martin seems to be enjoying the spotlight as much as ever. He’s still out on the road on a comedy tour with Martin Short — his co-star, along with Selena Gomez, among others, on Hulu’s Only Murders in the Building (which he co-created) — and recently co-hosted the 2025 IBMA Awards in Chattanooga, Tenn., with Brown.
Safe, Sensible and Sane adds another win to a career built on timing, curiosity and the kind of joy that keeps audiences coming back, no matter the stage.
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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: Kehlani eyes a big chart move thanks to a new pack of remixes, a surreal viral trend helps put a rising singer-songwriter on the streaming map, basketball’s greatest soundtrack makes a comeback and more.
Star-Studded ‘Folded’ Remix Pack Lifts Kehlani’s Current Hit
On this week’s Billboard Hot 100 (dated Nov. 1), Kehlani’s “Folded” ranks at No. 14, marking the highest peak of her career on the all-genre singles chart. Next week, thanks to her new Folded Homage EP, the Grammy-nominated R&B singer’s ascendant hit could slide into the top 10.
Featuring Brandy, Toni Braxton, Jojo, Mario, Tank and Ne-Yo, the Folded Homage EP finds six ‘90s and ‘00s R&B heavyweights reimagining Kehlani’s hit, which recently topped Rhythmic Airplay. According to early data provided by Luminate, “Folded” earned 5.9 million official on-demand U.S. streams from Oct. 17-20. In the equivalent four-day period of the tracking week following the remix EP’s release (Oct. 24-27), that number leapt 20% to over 7.2 million official streams. Notably, the new set of remixes also spurred a boost in digital sales for “Folded.” Two weekends ago, the track sold just over 900 digital downloads, and that number jumped nearly 60% to nearly 1,500 digital downloads following the release of the remix EP.
A frontrunner for best R&B song and performance at next year’s Grammys, “Folded” continues to impress as its run unfolds. – KYLE DENIS
Lucky ‘Group 7’ for Viral New Sophia James Trend
To promote her new single “So Unfair” while simultaneously testing which content the TikTok algorithm favors, Sophia James devised a simple plan: post seven videos sorting viewers into different groups, based on which one they saw first. As it turned out, the ever-mysterious algorithm loves the number 7, with videos 1-6 getting a handful of viewers apiece, whereas the seventh one was shown to millions.
With seemingly everyone and their mother pledging allegiance to Group 7 – including NFL teams like the Kansas City Chiefs and New England Patriots, fast-food chains Wendy’s and Jimmy John’s, and other brands such as Fenty Beauty, Oreo and Hellman’s Mayonnaise — James’ artist profile got a major boost. From the tracking week ending Oct. 16 to the following week ending Oct. 23, the singer-songwriter’s catalog experienced a 265.9% increase, jumping from around 44,000 official on-demand U.S. streams to nearly 162,000 according to Luminate.
The growth on “So Unfair” itself was even more astonishing, with the track’s stream count jumping up 1,013% from just under on-demand U.S. streams to 97,576 in that same time frame. That’s an increase of about 13,939 groups of 7. – HANNAH DAILEY
4 Non Blondes TikTok Trend Boosts Nicki Minaj’s “Beez in the Trap”
Between a recent interpolation courtesy of Cardi B and Lizzo’s “What’s Goin On” and still-trending mashup with Nicki Minaj and 2 Chainz’s “Beez in the Trap,” 4 Non Blondes’ undying “What’s Up?” has experienced a huge resurgence on streaming. Now, Nicki’s track is getting in on the fun.
For the period of Oct. 17-20, “Beez” logged over 608,000 official on-demand U.S. streams and sold over 160 digital downloads. For the equivalent four-day period the following week (Oct. 24-27), “Beez” spiked 55% to over 943,000 official on-demand U.S. streams, according to early data provided by Luminate. Of course, “Beez in the Trap” is one of the most memorable singles from 2012’s Pink Friday: Roman Reloaded. The 2 Chainz-assisted joint reached No. 48 on the Hot 100.
The 4 Non Blondes/Minaj mashup trend dates back to an Aug. 11 post by user @dj.auxlord. TikTok users quickly latched onto the mashup’s bizarre dichotomy and used the accompanying sound, which now soundtracks over 726,000 creates, to showcase everything from Halloween costumes to seemingly oppositional vibes. Most clips using the remix feature two friends standing back-to-back with one person singing the “What’s Up” hook while the other raps Nicki’s “Beez” hook.
Already parodied by Sabrina Carpenter and Marcello Hernandez for SNL, recent celebrities who have joined the trend include PinkPantheress, Ice Spice, Quen Blackwell, Jimmy Fallon, Malala Yousafzai, Khloé Kardashian, Kylie Jenner, Jennifer Lopez and 4 Non Blondes’ own Linda Perry. — KD
Long Live ‘Roundball Rock’: Basketball Classic Revived With ‘NBA on NBC’ Return
For the first time since 2002, the NBA returned to NBC last week. With NBCUniversal regaining NBA rights in 2024, starting with this current 2025-26 season, games aired both on the television broadcast network and on the Peacock streaming platform — giving longtime hoopheads a rush of nostalgia for the league’s ‘90s halcyon days airing on the channel. And of course, a large percentage of those good feelings were reserved for the iconic musical theme to the channel’s coverage: “Roundball Rock.”
The rousing instrumental, composed by new-age musician and longtime Entertainment Tonight co-host John Tesh, has long been beloved by basketball fans of all stripes — and was even sampled in the ‘00s on songs by star rappers Nelly and Joe Budden. With the return of both the league and its onetime home network, Tesh’s “Roundball Rock” saw an unsurprising surge on DSPs last week, racking up 37,000 official on-demand U.S. streams — a 417% gain from the prior week, according to Luminate. – ANDREW UNTERBERGER
Trending on Billboard Three-time Grammy winner Tim McGraw recently told an audience that he contemplated leaving his music career behind due to health issues, according to a video shared by Fox News. Explore See latest videos, charts and news During a concert in Highland, California on Saturday (Oct. 25), McGraw candidly discussed the health issues […]
Trending on Billboard Earlier today (Oct. 29), Billboard published the September Boxscore report, with Chris Brown repeating as the biggest touring act of the month. But while the biggest stars of rock, hip-hop and more packed stadiums, comedians were road warrior-ing their way to sold-out theaters and arenas. Here, we’re looking at the five biggest […]
Following the Oct. 18 death of longtime bassist Sam Rivers, Limp Bizkit’s catalog surged, as reflected on Billboard’s Nov. 1-dated charts, paced by its 1999 classic “Break Stuff,” which hits No. 1 on the Hot Hard Rock Songs survey.
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Over Oct. 18-24, “Break Stuff” earned 3.7 million official U.S. streams, a boost of 6%, according to Luminate. It’s part of a wider catalog-inclusive gain for the band’s music, which jumped 17% in official on-demand U.S. streams in that span.
Perennial streaming favorite “Break Stuff” was the most streamed song in the band’s catalog in the week following Rivers’ passing. From Limp Bizkit’s 1999 Billboard 200 No. 1 Significant Other, it reached No. 14 on the Alternative Airplay chart in April 2000.
The track also enters Hot Rock & Alternative Songs at No. 18. (Older songs are eligible to enter multimetric charts if ranking the top half and with a meaningful reason for their resurgences.)
“Break Stuff” is additionally No. 13 on Hard Rock Streaming Songs.
Below “Break Stuff,” Limp Bizkit’s “Rollin’” drew with 2.5 million streams Oct. 18-24, up 12%, while “My Way” earned 1.9 million, a boost of 15%. Both songs are from the group’s 2000 album Chocolate Starfish and the Hot Dog Flavored Water, also a No. 1 on the Billboard 200. The set returns to Top Hard Rock Albums at No. 22 with 6,000 equivalent album units earned, up 10%.
Meanwhile, the band’s current single, “Making Love to Morgan Wallen,” lifts 12-11 on Hot Hard Rock Songs, following its No. 1 debut in September. It also holds at its No. 20 best on Mainstream Rock Airplay and rises 29-25 on Alternative Airplay.
Rivers died Oct. 18 at age 48 following reported cardiac arrest. “Sam Rivers wasn’t just our bass player — he was pure magic,” the group shared in a statement following his death. “The pulse beneath every song, the calm in the chaos, the soul in the sound. From the first note we ever played together, Sam brought a light and a rhythm that could never be replaced. His talent was effortless, his presence unforgettable, his heart enormous.”
