State Champ Radio Music
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Trending on Billboard As if losing a gut-wrenching Game 7 weren’t bad enough for Drake and the Toronto Blue Jays, the hits kept coming during the Los Angeles Dodgers’ World Series parade on Monday. Outfielder Kiké Hernández had some fun at Drake’s expense and took a playful shot at Drizzy when addressing the Dodger Stadium […]
Trending on Billboard Kehlani celebrated a new career milestone when her R&B smash “Folded” reached No. 7 on the Billboard Hot 100 this week (chart dated Nov. 8). “First top 10 on Billboard. lucky #7 gratitude is endless,” they wrote on Instagram Monday (Nov. 3) prior to performing “Folded” on Jimmy Kimmel Live! that night. Following its […]
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Kehlani bags her first No. 1 on Billboard’s Hot R&B/Hip-Hop Songs chart as “Folded” snags the summit on the list dated Nov. 8. The single advances after five weeks in the runner-up spot and likewise captures the crown on the Hot R&B Songs list.
“Folded,” released on Atlantic Records, traces its coronation week on the multi-metric Hot R&B/Hip-Hop Songs chart to a combination of 13 million streams, 32.9 million in airplay audience and 3,000 sold in the United States for the tracking week of Oct. 24-30, according to Luminate, gains of 35%, 11% and 74%, respectively.
Streaming and sales improvements were aided by the release of the six-song “Homage Pack,” which remixed “Folded” with different R&B singers. The collection features individual remixes for the song with Brandy, Toni Braxton, JoJo, Mario, Ne-Yo and Tank, respectively. The first five versions all combine with the original “Folded” entry for charting and data purposes; the Tank edition, which recasts Kehlani’s vocals in a less-prominent way, is tracked separately. As the original “Folded” contributes most of the chart activity, no featured artists were added to the song’s billing.
Kehlani claims their first No. 1 on Hot R&B/Hip-Hop Songs with their 19th career appearance, stretching back to 2016’s “Gangsta,” which debuted at No. 20 in August 2016 and peaked at No. 13 the following month. That rank remained Kehlani’s best result until this year; in addition to the “Folded” rise, they came close to the top slot via a feature on Cardi B’s “Safe,” which peaked at No. 3 last month.
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Elsewhere, as “Folded” tops Hot R&B/Hip-Hop Songs, it repeats its rise from runner-up to top dog on the Hot R&B Songs chart, dethroning Leon Thomas’ “Mutt” on both rankings. It likewise is the Kehlani’s first No. 1 entry there; the singer-songwriter previously reached a No. 4 best via the Ty Dolla $ign-featuring “Nights Like This” in 2019 and the Tory Lanez-assisted “Can I” the next year.
In addition to its new crowns, “Folded” continues to unwrap new career milestones across other charts. This week, it becomes Kehlani’s first top 10 hit on the all-genre Billboard Hot 100, where it darts 14-7, and marks their first top 10 visit on both the Streaming Songs (28-10) and Radio Songs (11-8) charts.
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Chris Brown doubles up on Billboard’s R&B/Hip-Hop Airplay chart by occupying the top two spots of the radio ranking dated Nov. 8. The singer’s “It Depends,” featuring Bryson Tiller, rises 2-1, while former champ “Residuals” rebounds 3-2. With the pair, Brown pulls the double play for the third time in his career, and first instance since 2014.
“It Depends,” released on Brown’s CBE imprint and RCA Records, becomes Brown’s 12th No. 1 on R&B/Hip-Hop Airplay, tying Lil Wayne’s count for the third-most among all acts. Tiller, meanwhile, nabs his third champ after his two-week No. 1 “Don’t” in 2016 and via he and Rihanna’s featured spots on DJ Khaled’s “Wild Thoughts,” a five-week leader the following year.
“It Depends” ascends from the runner-up spot to rule R&B/Hip-Hop Airplay, which ranks songs by combined audience totals from panel-contributing adult R&B and mainstream R&B/hip-hop radio stations. There, the single jumped to 22.4 million audience impressions in the United States for the week of Oct. 24-30, according to Luminate, up 15% from the prior week’s total of 19.4 million. The nearly 3 million audience upsurge secures “It Depends” the Greatest Gainer award, given weekly to the song with the largest increase in audience.
Plus, Brown’s nine-week leader “Residuals,” which ruled at various times between February and August, rallies 3-2. In its 65th week on the chart, the single improved 6% to 20 million in audience for the tracking week.
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With “It Depends” and “Residuals,” Brown links a fifth occasion of appearing on the Nos. 1 and 2 songs on R&B/Hip-Hop Airplay. It’s the first time, however, he is the lead act on both tracks. He previously was on the top two titles simultaneously:
On the Nov. 25, 2006, chart with his own No. 1 “Say Goodbye,” and he and Johnta Austin’s features on the runner-up, Bow Wow’s “Shortie Like Mine.”
For three weeks of Nov. 15 – Nov. 29, 2014 charts via he, August Alsina, Future and Jeremih’s featured appearances on DJ Khaled’s No. 1 “Hold You Down” and his own No. 2, “New Flame,” featuring Usher and Rick Ross
Moreover, “It Depends” is Brown’s 12th No. 1 on R&B/Hip-Hop Airplay, tying Lil Wayne for the third-most among all artists since the chart began in April 1992. The pair trail only Drake (29) and Usher (16) on the leaderboard. As Brown makes it to a dozen leaders, here’s a review of the chart-topping collection:
“Say Goodbye,” six weeks at No. 1, beginning Oct. 14, 2006
“Deuces,” feat. Tyga and Kevin McCall; nine, Sept. 11, 2010
“Look at Me Now,” feat. Lil Wayne and Busta Rhymes; eight, April 2, 2011
“Loyal,” feat. Lil Wayne and French Montana or Too $hort or Tyga; eight, June 7, 2014
“New Flame,” feat. Usher and Rick Ross; four, Oct. 25, 2014
“Hold You Down,” DJ Khaled feat. Chris Brown, August Alsina, Future and Jeremih; five, Nov. 15, 2014
“All Eyes on You,” Meek Mill feat. Chris Brown and Nicki Minaj; one, Sept. 26, 2015
“No Guidance,” feat. Drake; 27, Aug. 24, 2019
“Go Crazy,” with Young Thug; 29, Aug. 22, 2020
“Under the Influence,” two, March 25, 2023
“Residuals,” nine, Feb. 15, 2025
“It Depends,” feat. Bryson Tiller; one (to date), Nov. 8, 2025
Elsewhere, “It Depends” lands a fifth week at No. 1 on the plays-based Mainstream R&B/Hip-Hop Airplay chart, where it improved 5% in plays for the week and repeats, at its No. 8 high, on Adult R&B Airplay (up 14% in plays). After three weeks atop the Rhythmic Airplay chart, the song surrenders the summit to Cardi B’s “Safe,” feat. Kehlani, and slides to No. 2 with a 5% decrease in plays.
Combined strength across formats is enough to advance “It Depends” 8-7 on the all-genre Radio Songs chart, where it added 10% in audience to reach 35.9 million in listenership for the tracking week.
Warner Bros. TV / Megan Thee Stallion
Hip-Hop’s drought on Billboard’s Hot 100 has come to an end thanks to Megan Thee Stallion.
Megan Thee Stallion’s ode to her man, her man, her man, her baby, “Lover Girl,” has brought Hip-Hop back on the Hot 100 chart.
The infectious new single made its debut at No. 8 for the November 8 Hot 100 chart, ending the 2-week period where no Hip-Hop singles appeared on the Top 40, the first time since February 3, 1990.
Billboard states that “Lover Girl” is the first rap song eligible for ranking on their Hot Rap Songs listing to land on the Top 40 since Kendrick Lamar’s single “Luther” featuring SZA.
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Thanks to its 8.5 million official U.S. streams, 1.5 million in radio airplay audience, and 5,000 sold in the week ending October 30, “Lover Girl” earned its No. 8 position on the chart.
The song will be the Houston rappers’ 21st top 40 entry on the Hot 100. Her last entry on the chart was on September 21, 2024, with her RM-assisted track, “Neva Play,” debuting at No. 36.
“Wannabe,” featuring GloRilla, whom she is now allegedly beefing with, hit No. 40 after peaking at No. 11.
Thee Stallion also reached the top of the charts with “Savage Remix” featuring Beyoncé and “WAP” with Cardi B in 2020, and “Hiss” in 2024.
She wasn’t alone; NBA Youngboy’s “Shot Callin” and BigXthaPlug’s “Hell at Night” also landed on the Hot 100.
Gunna’s “wgft” and Cardi B’s “Safe” featuring Kehlani are slowly picking up steam and can also land on the chart at some point.
We hope this moment keeps going; we don’t want to see any more droughts.
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When OsamaSon sent me a physical copy of his new album Psykotic back in October, he included with it a new Walkman CD player. I loaded the disc in, put the black corded earbuds into my ears, and pressed play. Within seconds, the explosive jolt of “Habits” convinced me that the Walkman was broken. I began tinkering with the headphone cord, twisting it around in the hopes that it would clean up the song’s warped, distorted crunch.
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Once Psykotic hit streaming a few weeks later, it became clear that the album’s gnarled, crackling gut punches were completely intentional. To the untrained ear, songs like “Inferno” and “In It” can be a nauseating, all-consuming nightmare. But OsamaSon takes a lot of time crafting his seismic sound. Dialing everything up to 11 is a very serious job, and the 22-year-old rapper knows the difference between what’s just noise and what’s a certified hit.
His fans do too. The album hit No. 81 on the Billboard 200, and that mutual understanding has led to an unbelievably ravenous — and at times incredibly toxic — fanbase that OsamaSon loves, but is often frustrated by. It also explains why early album copies were sent out via Walkman.
The rapper’s previous tape, Jump Out, was almost completely derailed by leakers and hackers before it dropped in January. Hundreds of songs, both old and new, continuously found their way online, and the situation became so dire that Osama’s own team allegedly released a 10-track tape called Leaks Tape to help keep fans engaged. Osama notes that even though Psykotic’s rollout was much cleaner, the leaking issue persist to this day — and that it’s not just his music being posted online anymore.
Below, Billboard chats with OsamaSon before his show at Brooklyn Paramount to talk about his new album and how he’s overcome the leakers, haters, and controversies that surround his art.
Now that Psykotic is out in the world, how are you feeling about this project versus Jump Out?
I feel way better about this project than the Jump Out project. When I dropped Jump Out, there were a lot of mixed opinions. I don’t feel like they understood it. I’m seeing more positive opinions on Psykotic. I feel like they received it a lot better.
Take me through the earliest stages of Psykotic, and how you found your sound. It seems like you really knew what you wanted the album to sound like.
Just experimenting and trying s—t that I like personally, and not trying to be too inspired by other people. It’s just me going to the studio, me recording myself, recording, and recording, and recording. I got so many songs, and people might think the songs I put out are just what I’m making right then and there. How many songs are on Psykotic? 17? Out of those 17, I had to pick from like 1,000 I made this year.
How do you narrow it down?
It depends on the feeling I’m going for. So Psykotic was supposed to be psychotic, obviously. I’m trying to go for the loud noise, super good mix, but still crazy where you’re either gonna be surprised by the lyrics or the beat. I don’t ever go off of, “Yo, this snippet is goin’ viral; I gotta drop it.” That adds into it, but if I don’t personally like it, I’m not gonna drop it.
Your sound is definitely unique to you, but at the same time, I can hear the XXXTENTACION, Lil Uzi Vert influence on your music. Do you intentionally pull from them, or is their impact more through osmosis?
Being humans in general, I feel like we do a lot of s—t unintentionally all the time without even knowing. Sometimes I be makin’ a song, and I’m like, “This is the craziest song; I don’t think I’ve ever heard anything like this.” Then I end up going back to some old, old music, and I hear Uzi say a bar that I happened to say in a new song. I didn’t do that on purpose — that happens all the time. I feel like that’s just being an artist.
You seem intent on pushing outside your creative comfort zone. How do you feel about the term “rage rap” to describe your music? Does that term ever make you feel boxed in?
Not really, ’cause they label me something new all the time. First it’s underground rap, then it’s dark plug, and now it’s rage rap. I feel like it’s always gonna change, so I don’t really try to dwell too much on that aspect of it. It’s based on your opinion. Some say I might make music for the ladies, some might say I make music for the mosh pits. I might say I make music for myself.
Tell me about how that fueled your approach to the album’s cover art. That started quite a bit of controversy online.
It’s a fire cover art, man! It’s not even nothin’ to get — like if you want me to keep it 100% with you, bro — it wasn’t nothin’ crazy. Like we wasn’t tryin’ to be on some blasphemous s—t—Man, you know what?—We were. Yeah, we were trying to disrespect all the religions! F—k ’em, f—k everybody. F–k how everybody feels. That’s what the cover is, man: F—k you. I sent this s—t to my mom and everything, and she was like, “This is perfect.”
I saw something on Reddit about how you should have instead leaned into some Osama Bin Laden terrorism vibes because of your name. It left me thinking, “That can’t possibly be a more preferred branding.”
Yeah! Like should I be a terrorist or a devil worshipper? I’d rather be a devil worshipper.
Do you feel in those moments you’re kinda taking the power back from your haters in a way?
Yeah, and at first I didn’t really realize it. I wasn’t using my power how I was supposed to, bro. I cared about what people thought, and I’m at the point where I don’t give a single f—k about what anybody thinks, because it doesn’t matter! The only opinion that matters to me is my mom’s. I don’t give a f—k about anybody else’s opinion.
Regardless, it also seems like this was your first leak-free rollout of an album.
I mean, I feel like my fans just accepted that it comes with the s—t. I feel like they accepted the leaks, the crazy s—t that happens behind my name—I don’t know. I feel like people are more used to what’s going on now. When it first started happening, I’m not gonna say I was the first to go through it, but the rate I was goin’ through it…
It was unbelievable how often your music was getting leaked out.
Yeah! Even for myself, I understand this way more. I just feel like it’s my life.
How did the leaks influence your approach to making this album and the subsequent rollout? I imagine it must have made you pretty paranoid about sharing music.
It was hard. I had to learn how to not feel some type of way about every leak. I used to just be in my feelings a lot, bro. I feel like the music I was making was super hard. And even if I didn’t put it out at that time, with [leakers] putting it out for me, it was kinda like… like, you see all the reactions to it, the feedback, and you’re just like, “I coulda dropped this on my own.” Like, I just — hm, I just gotta — It’s hard, bro. It’s my life too, so it’s like, I don’t know. I just don’t feel like I’m ever gonna get away from it.
From your perspective, what happened, and why have the leaks been so persistent?
Honestly, the attention the leakers were getting from it — with me being an up-and-coming artist and not a lot of people going through the same thing that I went through — it was kinda like that shock factor. You see [the leakers] are getting so lit, and that’s what it is, bro. These leakers are getting lit behind it. It gives them a name. They don’t have to show their face or post selfies. They just leak my music and get 2,000, 3,000 followers. For me to get 3,000 followers, I had to post like five trailers. I had to really work for it. All they gotta do is post my leak. It’s been kinda weird, man; it’s fried.
I genuinely don’t understand. I don’t think I’ll ever have a firm answer on it because it’s always different. Sometimes the leakers will be like, “Yo, f—k you and your whole family. I’m gonna leak everything.”
They’ve messaged you and said that to you?
Yeah, they leaked the address to my mom’s house! They got my mom’s house raided. Then the week after that, they’ll text me and be like, “Yo, my bad bro. I was tweakin’. I’m sorry, I really love you to death.”
That’s so crazy.
Yeah, it’s pretty weird, and I’ll never fully, genuinely understand it. I just gotta deal with it. But you kinda learn how to avoid it in certain ways—not send your music out to people, put music on hard drives, s—t like that. But you can’t 100% avoid it. Some people be like, “Yo, just don’t send your music to nobody.” You can’t not send your music to nobody! You got engineers, you got creatives that can’t f—kin’ create unless they’re hearing the music.
You want them to create on a blank canvas, somethin’ that doesn’t match the music at all? My manager has to hear the music, my producer has to hear the music. Maybe they wanna switch somethin’ up. It’s kinda impossible not to send s—t out to get worked on. If I don’t send it out, it’s never gonna drop.
It’s true, it’s not like you can wait for all these people to get in a room with you.
You feel me? Then if I do send it out, leakers somehow have been able to get their hands on this, or they hack my phone, or they just happen to hack this phone.
So is that how the idea of sending the album out with a Walkman came about?
What’s the Walkman?
The CD player!
Oh, that was [my team’s] idea. It was a cool idea. It was pretty fire.
How much did that help?
There were some songs that leaked out, but from [the CD copy], zero leaks, for sure. I think it was from me sending songs to my producer some months ago. I wasn’t even mad about it. It’s better than the f—kin’ last project. That whole s—t leaked before it came out.
I’m not gonna lie; I listened to the album on that Walkman, and I thought that my headphones were distorted or blown out. Then I realized that’s just your vibe.
Yeah, a lot of people were sayin’ that. It was probably just the mix, not gonna lie. We were mixing and mastering it till that s—t came out.
Did the leaks hinder your creative approach to making music?
Sometimes. It depends on how I feel about that song specifically. They was leakin’ bulls—t that I knew I was never going to drop, and I was like, f—k it; y’all can have it. But there have been times where we’re like planning on dropping s—t, like we shot videos, trailers, and somehow, as soon as we start working on the actual song, they leak it. Like, are they tapped into my phone? There’s been times where I’ve been having conversations on the phone, saying, “Alright, let’s shoot this video tomorrow.” I’ll wake up, and [my team] is like, “Yo, you’re never gonna believe what just happened.”
Have you met any other rappers at your age who are experiencing this?
No, I try to ask my peers all the time. I mean, I know Che went through it a little bit. There was this app called Untitled, and some leakers run the app. Whenever you log into it, they can go through every single person who’s ever made an account. It’s supposed to be a private place to upload your music, but that’s how a lot of people got hit. And just SoundCloud having horrible protection. Bro, you can hack SoundCloud with a link, and you can literally start typing in random letters to get into people’s accounts. It’s super easy. But yeah, I tried to ask my peers, but I don’t know. Some people’s music is just not wanted that bad, you know what I mean? Or some people just put out a lot of music to where their fans are satisfied. [My fans] just aren’t satisfied. I’m pretty sure they’re just anxious and wanna be the first people to know what we’re doin’ next.
Yeah, it’s not just the leakers, but your fans are unbelievably hungry for OsamaSon music. In a way, it’s flattering.
It’s flattering and frustrating, not gonna lie. It’s a lot more flattering. I used to work a 9-to-5, bro. People used to judge me. I used to check people into hotels.
Has that level of fan engagement this early on in your career been overwhelming at all?
Nah, I’m not gonna say I feel like I deserve it, but I always felt like I was meant for this life. I didn’t have plans on doing anything else. Like, it’s fire, man. This is exactly what I want, even with the leaks and stuff. When I was a kid, seeing [Playboi Carti] get leaked, or Uzi get leaked and s—t — those are the greatest of our generation. Literally the greatest, you feel me?
So that s—t was inspiring! Like, “Yo, everybody wants to hear his s—t. Like, this is crazy! When they gonna start leaking my music? That’s when I know I’m up!” Then it started happening, and I was like… did I really want that? But I kinda did, when I was a kid! The little me is looking at me right now like, “Yo, you wylin’, bro!”
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Global gaming powerhouse Honor of Kings has dropped its 10th-anniversary theme song “Atlas of Tomorrow,” now streaming across major platforms including Tencent Music Entertainment’s QQ Music, Kugou and Kuwo, alongside Apple Music, Spotify and KKBOX. The track shot to No. 1 across multiple charts upon release, cementing itself as the latest blockbuster crossover between Mandopop and globally influential game IPs.
“Atlas of Tomorrow” boasts composition and vocals by JJ Lin, brand ambassador of Honor of Kings, Mandopop heavyweight and two-time Golden Melody Awards winner for best male singer, and lyrics by Kevin Yi, hitmaker and senior music planner. JJ Lin describes the track as “dedicated to every dreamer still writing their future chapters, letting music guide you to the stories we’re meant to live.” The track shot to No. 1 on QQ Music, Kugou and other major Chinese streaming charts upon its release. As of publication, it has racked up more than 2 million saves across platforms, generated 70-plus trending topics on social media, and amassed more than 600 million views, shattering multiple records for gaming music.
Notably, the impact of “Atlas of Tomorrow” has expanded from the realms of music and gaming into an online cultural co-creation movement spanning multiple regions. Over 280 tourism boards across mainland China, from Beijing to Guizhou to Zhejiang, have spontaneously paired the track as a soundtrack with local landmarks and cityscapes for videos, triggering a viral relay across short-video platforms.
“Atlas of Tomorrow” centers on the theme of “Gathering for Journey.” The profound resonance of its melody and lyrics stems from its ability to encapsulate a decade’s worth of emotional memories and energy accumulated within Honor of Kings, a beloved national IP. Therefore, the work transcends mere melody, becoming players’ response to their youth and stories. The track’s overwhelming reception among gamers and music fans worldwide following its release reflects both the song’s exceptional craftsmanship and emotional depth, as well as the formidable cultural influence and crossover appeal that Honor of Kings commands.
Through this partnership, TME empowers the gaming IP to achieve multidimensional expression across visuals, gameplay and audio via content co-creation and integrated campaigns. The collaboration underscores music’s expanding cultural role and reach within gaming ecosystems. Moving forward, TME remains committed to deepening strategic alliances with globally influential cultural IPs, promoting music’s unique power across diverse cultural content ecosystems and helping high-quality original voices reach a wider international audience.
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Cardi B punches her ticket into the double-digit No. 1 club on Billboard’s Rhythmic Airplay chart as “Safe,” featuring Kehlani, becomes her 10th leader. The track climbs from the runner-up spot to rule the list dated Nov. 8. Thanks to its victory, “Safe” outdoes the peak of Cardi B and Kehlani’s previous collaboration, “Ring,” which achieved a No. 2 best in November 2018.
“Safe,” released on Atlantic Records, was the most-played song on panel-contributing rhythmic radio stations in the United States for the tracking week of Oct. 24-30, according to Luminate, and improved 17% in plays compared with the prior week. Due to its surge, the collaboration wins the Greatest Gainer honor, awarded weekly to the song with the largest increase in plays.
With the new champ, Cardi B adds her 10th No. 1 on Rhythmic Airplay and is the 13th artist to reach the milestone since the radio ranking’s launch in October 1992. Drake leads all acts, with 43 champs, while Rihanna, at 17, places second overall and claims the best total among women.
Here’s a recap of the Cardi’s B No. 1s on Rhythmic Airplay:
Song Title, Artist (if other than Cardi B), Weeks at No. 1, Date Reached No. 1“Bodak Yellow (Money Moves),” four, Oct. 7, 2017“No Limit,” G-Eazy feat. A$AP Rocky & Cardi B, two, Dec. 16, 2017“Finesse,” with Bruno Mars, two, Feb. 17, 2018“Be Careful,” one, July 7, 2018“I Like It,” with Bad Bunny and J Balvin, four, July 14, 2018“Please Me,” with Bruno Mars, one, April 13, 2019“WAP,” feat. Megan Thee Stallion, one, Sept. 26, 2020“Up,” three, March 20, 2021“Outside,” one, Aug. 16, 2025“Safe,” feat. Kehlani, one (to date), Nov. 8, 2025
Featured artist Kehlani captures a second Rhythmic Airplay No. 1, just a month after “Folded” topped the chart for one week. “Folded” continues to break personal milestones, becoming the singer-songwriter’s first No. 1 on the Hot R&B/Hip-Hop Songs chart and top 10 entry on the Billboard Hot 100 this week.
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Elsewhere, “Safe” wins a third term atop the Rap Airplay chart, where it improved 19% in week-over-week audience and pushes 8-6 on the R&B/Hip-Hop Airplay chart through a 22% gain to 13.5 million in audience at the format for the tracking week. Gains from various sectors help the single rise 22-21 on the Radio Songs chart, reaching 24.2 million (up 20%) across all radio formats during the latest tracking week.
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Anuel AA returns to the No. 1 spot on Billboard’s Latin Airplay chart with “Pórtate Bonito,” his first team-up with Blessd. The track flies 9-1 on the Nov. 8-dated list, Anuel’s first champ in over three years.
Released August 21 on Real Hasta La Muerte, “Pórtate Bonito” was initially announced on Anuel’s Instagram account on August 6, alongside news that Blessd would join him on his RHLM 2 tour.
The collab, produced by Ovy on The Drums, surges 9-1 in its seventh week on the chart with the Greatest Gainer weekly honors, after a 32% boost in audience impressions, to 7.6 million, logged during the Oct. 24-30 tracking week, as reported by Luminate.
The new win marks Anuel’s first No. 1 in over three years, since “Ley Seca,” with Jhayco, ruled for one week in February 2022. In sum, he’s placed 11 rulers, here’s a recap of those since “Ella Quiere Beber,” with Romeo Santos, in 2019:
Title, Artist, Peak, Weeks at No. 1“Ella Quiere Beber,” with Santos, Feb. 2, 2019, one“Secreto,” with Karol G, May 4, 2019, one“Baila Baila Baila,” with Ozuna, Daddy Yankee, J Balvin & Farruko, May 11, 2019, one“Otro Trago,” with Sech, Darell, Nicky Jam, & Ozuna, Aug. 31, 2019, one“China,” with Daddy Yankee, Karol G, Ozuna & J Balvin, Sept. 21, 2019, two“Aventura,” with Lunay & Ozuna, Nov. 9, 2019, one“Keii,” May 2, 2020, one“Fútbol & Rumba,” with Enrique Iglesias, Aug. 8, 2020, one“Location,” with Karol G & J Balvin, April 10, 2021, one“Ley Seca,” with Jhay Cortez, Feb. 5, 2022, one“Pórtate Bonito”” with Blessd, Nov. 8, 2025, one
Colombian star Blessd adds his third No. 1 on the overall Latin radio ranking. “Medallo,” with Justin Quiles and Lenny Tavarez, and “Si Sabe Ferxxo,” with Feid, each led for one week in 2022 and 2024, respectively.
Beyond its Latin Airplay coronation, “Pórtate Bonito” ascends 3-1 on the Latin Rhythm Airplay chart. Plus, it gains traction on the Hot Latin Rhythm Songs chart, where it narrowly misses the top 10 with an 18-11 leap.
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We’re just days away from the announcement of the nominations for the 68th annual Grammy Awards. The big reveal is set for Friday Nov. 7 at 11 a.m. ET/ 8 a.m. PT. In recent days, we’ve predicted the eight most likely nominees for best new artist and album of the year. Today, we turn our attention to record of the year, where we could see some history-making nominations.
HUNTR/X and ROSÉ could become the first K-pop artists to receive record of the year nods. HUNTR/X is competing with “Golden,” the globe-conquering hit from KPop Demon Hunters; ROSÉ with “APT.,” her smash collab with Bruno Mars.
Kendrick Lamar and SZA are vying to become the first occasional duet partners to receive two record of the year nominations. They were nominated seven years ago for “All the Stars” and are strong contenders this year for “Luther.”
Doechii’s “Anxiety” could become the first single that prominently samples a previous record of the year winner to be nominated in the category. Doechii’s hit samples “Somebody That I Used to Know” by Gotye featuring Kimbra, which won the prize in 2013.
Leon Thomas’ “Mutt (Live From NPR’s Tiny Desk)” and Myles Smith’ “Stargazing (Live at Eventim Apollo)” could become the first alternative versions of hits to receive record of the year nominations. (The original versions of those hits were released in the previous eligibility year and weren’t eligible.)
To be sure, all of these things are not likely to happen. Some voters may dock “Anxiety” for leaning so heavily on a very well-known hit from the recent past.
And voters tend to bypass alternative versions of songs in this category. If the studio version of “Mutt” had been eligible, it would almost certainly be nominated. Silk Sonic’s “Leave the Door Open” won in this category (as well as song of the year) in 2022, showing the love many Grammy voters have for hits that evoke the glory of 1970s R&B. But many voters probably haven’t heard the live version of “Mutt,” and they may be reluctant to vote for something for record of the year that they haven’t even heard.
(Lola Young’s “Messy” and Gigi Perez’s “Sailor Song” were also released in the previous eligibility year, yet those original studio versions are entered for record of the year.)
Billie Eilish may very well return to the finals with “Wildflower.” It would be her sixth nod in this category in the past seven years. Like Eilish’s previous single, “Birds of a Feather,” “Wildflower” was a fixture on the Hot 100 for more than a year. But “Wildflower” had a hard time emerging from the shadow of “Birds of a Feather,” which was nominated for record and song of the year and which Eilish and her brother/collaborator FINNEAS performed on the Grammys in February.
sombr is entered with “Back to Friends.” The 20-year-old is the sole writer and producer on this song, one of two concurrent hits from his debut album, I Barely Know Her. Such pros as Taylor Swift and Ryan Tedder have proclaimed that they are sombr fans.
Tyla’s “Push 2 Start” is entered for both record of the year and best African music performance, a category she in which the South African singer won two years ago with “Water.”
All eight likely album of the year nominees will get a close look in this category. Sabrina Carpenter, Lady Gaga and Lamar (with SZA) are also expected to be nominated for record of the year. The other five likely album of the year nominees may fall short in record of the year – Elton John & Brandi Carlile for “Who Believes in Angels?,” Tyler the Creator for “Sticky” (featuring GloRilla, Sexyy Red & Lil Wayne); Clipse, Pusha T, Malice for “Birds Don’t Sing” (featuring John Legend and Voices of Fire); The Weeknd for “Timeless” (featuring Playboi Carti); and Bad Bunny for either “Baile Inolvidable” or “DtMF.” (The fact that two Bunny records are entered for record of the year may mean Bunny will split his votes here. C’mon, Team Bunny, that’s Grammy 101 – Don’t Compete With Yourself.)
Other singles, not already mentioned, that are strong record of the year contenders include Gracie Abrams‘ “That’s So True,” Chappell Roan‘s “The Subway,” Alex Warren‘s “Ordinary,” Tate McRae’s “Sports Car,” Justin Bieber’s “Daisies,” Ariana Grande’s “twilight zone,” Conan Gray’s “Vodka Cranberry,” Laufey’s “Lover Girl,” Jessie Murph’s “Blue Strips,” Shaboozey’s “Good News” and Teddy Swims’ “Bad Dreams.”
Here are the eight singles most likely to be nominated for record of the year. They are listed in alphabetical order by artist, as they will appear on the official Grammy nominations list. We show you how many record of the year nominations the artist has previously received and how high this record placed on the Billboard Hot 100.
Gracie Abrams, “That’s So True”
Image Credit: Heather Hazzan
