State Champ Radio Music
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As with all Billboard lists, we’ve made the Holiday 100 and checked it twice, as the ranking returns to Billboard’s charts menu. The survey ranks the top seasonal songs of all eras via the same formula used for the Billboard Hot 100, blending streaming, airplay and sales data.
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Mariah Carey‘s “All I Want for Christmas Is You” – which rises three spots to No. 8 on the Hot 100 – rules the Holiday 100 dated Nov. 29 for a 66th week of the chart’s 74 total weeks since the tally originated in 2011.
The only other Holiday 100 No. 1s to date: Justin Bieber’s “Mistletoe,” for a week in the 2011 holiday season; Pentatonix’s “Little Drummer Boy” (one, 2013) and “Mary, Did You Know?” (two, 2014); Ariana Grande’s “Santa Tell Me” (one, 2014); and Brenda Lee’s “Rockin’ Around the Christmas Tree” – which reigned for three weeks on both the Holiday 100 and Hot 100 in 2023, granting the legendary singer a gift 65 years in the making, following the song’s 1958 release.
Carey’s carol is up on the Holiday 100’s housetop with 15.7 million streams (up 14% week-over-week), 9.7 million airplay audience impressions (up 82%) and 1,000 sold (up 13%) in the United States Nov. 14-20, according to Luminate.
The song also boasts top honors on Billboard’s Greatest of All Time Holiday 100 Songs chart.
“When I wrote [it], I had absolutely no idea the impact the song would eventually have worldwide,” Carey marveled of “All I Want for Christmas Is You” in 2021. “I’m so full of gratitude that so many people enjoy it with me every year.”
Rounding out the Holiday 100’s top five are Wham!’s 1984 anthem “Last Christmas” — at a new No. 2 high; Lee’s “Rockin’ Around the Christmas Tree” (No. 3); Bobby Helms’ “Jingle Bell Rock,” from 1957 (No. 4); and Grande’s “Santa Tell Me” (No. 5).
Meanwhile, three songs reach the Holiday 100 for the first time: Gwen Stefani’s new Amazon Music original, “Shake the Snow Globe” (No. 76); Skillet’s “O Come, O Come Emmanuel,” also new this year (No. 79); and Lindsey Stirling’s “Carol of the Bells,” from 2017 (No. 82).
The entire latest Holiday 100, and all other seasonal charts — Top Holiday Albums, Holiday Streaming Songs, Holiday Airplay, Holiday Digital Song Sales, Holiday 100 Songwriters and Holiday 100 Producers — along with all additional rankings, will update on Billboard.com tomorrow, Nov. 25.
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The Coca Cola Flow Fest, the biggest reggaetón party celebrating Latin urban music, held its 2025 edition this weekend (Nov. 22 and 23) in Mexico with a powerful lineup that brought together legends of the scene and young stars, from Don Omar, Wisin y J Balvin a Young Miko, Álvaro Díaz and Myke Towers.
Nicky Jam, Lenny Tavárez, Omar Courtz, Bad Gyal, De La Ghetto, Sech, De La Rose, Yailin La Más Viral, Jowell & Randy, El Alfa, Andy Rivera, Easykid, Sayuri & Sopholov, Daaz, Katteyes, Mexican rap star Santa Fe Klan, and the queen of Mexican reggaetón Bellakath were also part of the dazzling lineup for the eighth edition of the festival, held annually at the Autódromo Hermanos Rodríguez, home of the F1 in Mexico City.
Likewise, the popular event brought regional Mexican superstar Natanael Cano with the full power of his corridos tumbados as one of the main acts, marking a precedent in the festival for a genre outside of urban music.
Great guests lit up the five stages of the festival, including Colombian icon Carlos Vives, who headlined one of the acts on the Sessions Stage and later reappeared during Wisin’s set to perform “Nota de Amor” together. Mexican star El Malilla fired up the stage alongside DJ Chaka, and on Sunday, joined his Mexican friends with J Balvin during the closing performance. The event also brought some exclusives, such as the announcement of Álvaro Díaz’s new album, OMAKASE, set for release in 2026, which the artist revealed at the end of his performance on Saturday.
In total, the Flow Fest 2025 gathered approximately 163,000 people over its two days — 79,000 on Saturday and 84,000 on Sunday — according to the promoter Ocesa. Here are the 10 best moments from the Coca Cola Flow Fest 2025, ranked all the way down to our favorite.
Cachirula & Loojan
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HUNTR/X’s “Golden,” from Netflix’s record-breaking animated movie KPop Demon Hunters, tops the Billboard Global 200 and Billboard Global Excl. U.S. charts for a 17th week each. The song became the first No. 1 on each list for the act, whose music is voiced by EJAE, Audrey Nuna and REI AMI, in July.
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Meanwhile, Mariah Carey’s “All I Want for Christmas Is You” merrily makes its way back to the Global 200’s top 10 (18-6); RAYE adds her second top 10 on the chart with “Where Is My Husband!” (13-7), which also becomes her third top 10 on Global Excl. U.S. (13-5); and Olivia Dean notches her second Global 200 top 10 with “So Easy (To Fall in Love)” (14-8).
The Billboard Global 200 and Global Excl. U.S. charts 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.
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.
“Golden” tops the Global 200 with 102.3 million streams (down 7% week-over-week) and 10,000 sold (down 14%) worldwide in the week ending Nov. 20.
The song has the third-longest command since the Global 200 began in September 2020. “All I Want for Christmas Is You” has ruled for 19 weeks since that December and Lady Gaga and Bruno Mars’ “Die With a Smile” dominated for 18 weeks starting in September 2024.
Taylor Swift’s “The Fate of Ophelia” holds at No. 2 on the Global 200, after two weeks at No. 1 in October; Dean’s “Man I Need” rises a spot to a new No. 3 best; Alex Warren’s “Ordinary” falls 3-4, following 10 weeks on top beginning in May; and Swift’s “Opalite” keeps at No. 5, after hitting No. 2.
“All I Want for Christmas Is You” sleigh-rides 18-6 on the Global 200 with 39.4 million streams (up 28%) and 3,000 sold (up 23%) worldwide.
“Where Is My Husband!” jumps 13-7 on the Global 200, led by 35.1 million streams (up 14%) globally. RAYE earns her second top 10 on the chart, after “Escapism,” featuring 070 Shake, hit No. 7 in January 2023.
Plus, “So Easy (To Fall in Love)” flies 14-8 on the Global 200 (36.1 million streams, up 15%, worldwide). Dean, thus, charts both of her career top 10s on the ranking simultaneously.
“Golden” leads Global Excl. U.S. with 80.1 million streams (down 6%) and 6,000 sold (down 8%) beyond the U.S.
“Golden” ties for the second-longest No. 1 run on Global Excl. U.S., tying “Die With a Smile.” The songs trail only ROSÉ and Bruno Mars’ “APT.,” which led for 19 weeks in 2024 into this year.
“The Fate of Ophelia” repeats at No. 2 on Global Excl. U.S. after two weeks on top in October; “Man I Need” lifts 4-3 for a new high; and “Ordinary” slides 3-4 after eight weeks at No. 1 starting in May.
“Where Is My Husband!” bounds 13-5 on Global Excl. U.S. (28.3 million streams, up 14% outside the U.S.) It’s RAYE’s third top 10 on the chart, after “Escapism” (No. 6, January 2023) and “Prada,” with casso and D-Block Europe (No. 8, October 2023).
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Nov. 29, 2025) will update on Billboard.com tomorrow, Nov. 25. 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.
It’s been 15 years since Record Store Day placed its dusty mark on the national shopper’s holiday the day after Thanksgiving we call Black Friday. And though more demure in its volume of releases than its big sibling in April, RSD Black Friday really has evolved since its genesis in 2010, especially as market interest […]
Trending on Billboard After horrendous weather delayed Tyler, The Creator‘s 11th annual Camp Flog Gnaw music festival, the two-day fest finally returned in all its glory this past weekend. Taking over Dodger Stadium Grounds for a fifth year, the weekend included performances from Childish Gambino, Doechii and of course Tyler himself. Kicking things off was […]
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A$AP Rocky’s Don’t Be Dumb album has suffered through plenty of delays, but fans once again have hope for a 2026 release date after noticing a possible message through Rocky’s wardrobe during the Harlem native’s Camp Flog Gnaw performance Sunday (Nov. 23).
The Mob frontman kicked off his set at Tyler, the Creator’s festival hanging from the side of a helicopter while using a megaphone as a mic. Once Rocky removed a flannel jacket, he donned a hoodie with a set of numbers emblazoned across the right sleeve.
“01162026” the sleeve reads in black, which many took as a hint at a Jan. 16, 2026, release date for the album.
The theory gained some legitimacy since it’s a Friday, but other fans had a more pessimistic outlook, bringing up that Jan. 16 is actually National Nothing Day, and Rocky’s possibly messing around.
“You really can’t make this up,” one person wrote on X.
Another added: “it’s not happening he just trolled all of us!”
But one fan had a bit more confidence in Rocky delivering. “if nothing happens that day (no competition) wouldn’t it be the perfect day to drop an album,” they wrote.
There have been numerous missed possible release dates and delays for Don’t Be Dumb over the years, so it remains unclear if fans should mark their calendars for Jan. 16.
However, during a conversation as part of Variety‘s Hollywood Issue, Rocky told LaKeith Stanfield, Callum Turner and Glen Powell that his album is still slated to drop in 2025.
“Danny Elfman, he just did my album with me that I’m putting out this year,” Rocky said. “He scored a bunch of the songs on my album.”
A$AP Rocky’s last album arrived in 2018 with TESTING and it’s been a long road to Don’t Be Dumb.
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Japanese heavy metal band Babymetal made history at Intuit Dome in Los Angeles on Nov. 1, performing its largest North American show to date in the group’s only arena concert of 2025. Such large-scale shows are common in the band’s home country, but American audiences were treated to a special in-the-round stage and pyrotechnics-filled production in support of the band’s fourth album, Metal Forth (released in the U.S. through Virgin Music Group).
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The setup was as impressive as the milestone itself. The fire-spewing square stage was rotated 45 degrees, creating a diamond with edges that nearly touched the arena’s four sides. That put the band — Su-metal, Moametal and Momometal, plus two guitarist, a bass player and drummer — in close proximity to its adoring fans. “We set up the stage right in the center of the venue so that the audience could see the performance from 360 degrees,” Su-metal tells Billboard’s Behind the Setlist podcast. “It turned out exactly the kind of show we’ve always wanted people outside Japan to see.”
The 15-song set spanned Babymetal’s catalog, opening with “BABYMETAL DEATH” and touching on “from me to u” and “Distortion” before “PA PA YA!!” sent the crowd into pandemonium. Intuit Dome’s halo-shaped video screen that hovers over the floor added to the sensory overload by showing images and video of studio collaborators such as Indian rapper Bloodywood, who came to life during a memorable performance of “Kon! Kon!” from Metal Forth.
A surprise came about two-thirds into the set when Babymetal was joined on stage by Spiritbox’s Courtney LaPlante, who recreated the ferocious singing on “My Queen” that makes the collaboration a highlight from Metal Forth. The song is typical of the Babymetal’s intention to go “beyond metal,” as the band has said in previous interviews, by mixing genres and filling Metal Forth with collaborations with Bloodywood, Rage Against the Machine’s Tom Morello, Electric Callboy, Spiritbox, Poppy and Slaughter to Prevail. “Our foundation is metal, of course, but we want to combine even more diverse musical styles to forge a new path only we can create,” explains Momometal.
The three-song encore featured “The One,” “Headbangeeeeerrrrr!!!!!” and “Road of Resistance.” The uplifting “The One,” from the 2016 album Metal Resistance, prompted fans in a mosh pit to lock arms, create a huge circle and sway from side to side. The song stands out in Moametal’s memory of the concert. “During ‘The One,’ cheers from the audience were so loud it felt like the ground was shaking,” she says. “My heart just exploded with joy.”
Listen to Behind the Setlist’s entire interview with Su-metal, Moametal and Momometal using the embedded Spotify player below, or go to Spotify, Apple Podcasts, Amazon Music, iHeart, Podbean or Everand.
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“There’s nowhere else I’d rather be than supporting the work of the ACLU,” Maggie Rogers told the crowd ahead of her set at the American Civil Liberties Union (ACLU)’s Creatives for Freedom benefit concert on Saturday night (Nov. 22).
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Held at Pioneer Works in New York’s Red Hook neighborhood in Brooklyn, the event brought together a stacked lineup featuring headliner Sheryl Crow alongside St. Vincent, Mark Ronson, Joy Oladokun, Taylor Meier of CAAMP, Mon Rovîa and more. It marked the ACLU’s first benefit concert of its kind, supporting the organization’s work to protect civil rights and civil liberties. The show, presented by Ben & Jerry’s, Gabriela Hearst and YOLA Mezcal, is part of a broader ACLU initiative to unite leaders across music, fashion, film, comedy and other creative industries to spotlight the critical civil liberties issues defining today’s landscape.
“We’re living through an era of unprecedented attacks on our rights, from attacks on immigrants’ rights, speech, racial justice and LGBTQ communities,” said Nahal Zamani, ACLU’s director of state campaigns, in a statement to Billboard. “All of our voices are crucial right now. What’s more, creative voices have a unique ability to inform new audiences about these urgent issues, inspire people to get involved, and drive social change — which we need now more than ever.”
Arranged and directed by Rob Moose and Cody Fitzgerald, performers took the stage for one or two songs each, often pausing to voice their support for the ACLU and urge young people to get involved.
One standout moment came courtesy of artist Dread Scott, who, before introducing Mon Rovîa, spoke about his seminal 1989 work What is the Proper Way to Display a U.S. Flag. The piece sparked political controversy at the time for inviting viewers to step on the American flag. When Scott later burned the flag on the steps of the U.S. Capital in protest of laws restricting flag desecration, he was arrested — but the Supreme Court ultimately ruled in favor of him and the other protestors, striking down federal flag-desecration laws as unconstitutional. Scott credited the ACLU for helping protect his work and artistic freedom.
“I tell people I make revolutionary art to propel history forward,” he said on stage. “I’m happy to be here supporting the ACLU. They do amazing work, and they have advised and represented me and my art on numerous occasions. They’ve saved my a– and enabled my art to continue to reach its audience.”
In another statement to Billboard, Esha Bhandari, director of the ACLU’s Speech, Privacy and Technology Project, emphasized the longstanding relationship between artists and the civil liberties movement.
“While the ACLU is working in the courts, in legislatures and on the streets, artists are helping shift narratives, broaden understanding, and move people from awareness to sustained action,” she said. “This concert is the latest event in our Creatives for Freedom campaign and we hope to continue building momentum towards change and inspiring more people to join in working for a more equitable and free future.”
Sheryl Crow opened her headlining set performing “Redemption Day,” an anti-war song she wrote in 1996 after a USO trip to Bosnia with Hillary Clinton. She shared onstage that Johnny Cash approached her after he heard the tune in 2003 and later recorded a version of it himself.
“[He] called me and said, ‘I want to know what every single line means,’ so that he could stand behind what he was singing,” Crow told the audience. “He stood against the Vietnam War, he stood up for Native American rights — which was very unpopular at the time. These are the kind of leaders and artists that we want to emulate: people who speak up and want to leave the campground nicer than they found it.”
For the finale, Crow invited the entire lineup back to the stage for a joyous singalong of her 1996 hit “If It Makes You Happy.” With Crow leading the verses, the other artists wrapped their arms around each other, swaying and singing.
“I just want you guys to know that we artists don’t take it lightly that our First Amendment is under attack,” Crow said as the night wrapped. “But these artists right here I have great hope and faith in. They lift me up, they make me want to be a better songwriter and they make me want to be a better person.”
Here’s a look at the full setlist, which was followed by a DJ set from Mark Ronson:
Joy Oladokun“I’d Miss the Birds”“If You Got a Problem”
Taylor Meier“We Will Dance Again”
Mon Rovîa“Crooked the Road”“Heavy Foot”
Andrew Wyatt“Live Free and Be Gone”
Maggie Rogers“Alaska”“Don’t Forget Me”
St. Vincent“…At the Holiday Party”“New York”
Sheryl Crow“Redemption Day”“Strong Enough”“If It Makes You Happy”
Taylor Swift’s “The Fate of Ophelia” rules the Billboard Hot 100 for a seventh week, having led in each of its weeks on the chart so far.
Of Swift’s 13 career Hot 100 No. 1s, “The Fate of Ophelia” is her third to have ruled for at least seven weeks. It trails only “Anti-Hero” (eight, beginning Nov. 5, 2022) and ties “Blank Space” (seven, Nov. 29, 2014).
Meanwhile, “The Fate of Ophelia” is the first song to spend its first seven weeks on the Hot 100 at No. 1 since BTS’ “Butter” in June-July 2021. No song has led the chart longer consecutively from its debut since Olivia Rodrigo’s “Drivers License” was No. 1 in its first eight weeks in January-March 2021.
Elsewhere in the Hot 100’s top 10, Mariah Carey’s “All I Want for Christmas Is You” returns to the region, making a three-place festive flight to No. 8. The modern classic, from 1994, has led for 18 total weeks dating to its first in 2019.
Check out the full rundown of this week’s Hot 100 top 10 below.
The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data, the lattermost metric reflecting purchases of physical singles and digital tracks from full-service digital music retailers; digital singles sales from direct-to-consumer (D2C) sites are excluded from chart calculations. All charts (dated Nov. 29, 2025) will update on Billboard.com tomorrow, Nov. 25. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram. Plus, for all chart rules and explanations, click here.
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.
‘Ophelia’ Streams, Airplay & Sales
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SEVENTEEN just brought the thunder to public radio, appearing on NPR’s beloved Tiny Desk concert series and becoming the first-ever K-pop act to perform in the iconic office space.
The boy band’s JOSHUA, MINGYU, SEUNGKWAN, VERNON and DINO looked like they were having the times of their lives tucked in together behind the famous desk, littered with mementos from past A-list guests in a video of their mini show posted Monday (Nov. 24). The group performed a handful of hits from its discography for the audience crowded inside the NPR headquarters in Washington, D.C., including “Darl+ing,” “_WORLD,” “SOS,” “Rock With You,” “CLAP” and “HOT.”
After opening number “Super,” VERNON vocalized what all of his bandmates appeared to be thinking. “We did not expect this kind of response,” he shared, looking blown away by the loud cheers they were met with. “You guys are awesome, thank you so much.”
When one fan yelled, “VERNON, you’re my bias!” he reciprocated with a sweet hand heart.
At another point in the video, the guys asked for people to call out with their favorite SEVENTEEN songs. When one person shouted out “HBD,” the five performers sang an off-the-cuff, a cappella rendition of the 2025 track.
“We’re having so much fun because of you guys,” VERNON added. “We were honestly super nervous to perform in such a setting. So thank you for making us feel so comfortable. You really boosted our confidence.”
When it came time to close out with “VERY NICE,” they encouraged everyone watching to dance, jump, and repeat “Aju nice” whenever the song called for it.
SEVENTEEN’s time behind the desk comes as the band — which is also comprised of members S.COUPS, JEONGHAN, JUN, HOSHI, WONWOO, WOOZI, THE 8 and DK — is touring in support of 2025 album Happy Burstday, which peaked at No. 2 on the Billboard 200. On Saturday (Nov. 29), the group’s performance at the Ventelin Dome Nagoya in Japan will be livestreamed in theaters worldwide to celebrate the band’s 10-year anniversary.
Watch SEVENTEEN’s full Tiny Desk performance above.
