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MashApp, a music remixing app featuring hit songs from Doja Cat, Ed Sheeran, Britney Spears and more, launched in the Apple app store Tuesday (Feb. 18). At launch, the AI-powered app has already worked out licenses for select tracks from Universal Music Group (UMG) and Warner Music Group’s (WMG’s) publishing and recorded music catalogs, Sony Music’s recorded music catalog, and Kobalt’s publishing catalog.
The app, founded by former Spotify executive Ian Henderson, features a TikTok-like vertical feed for users to share the remixes they make with the app. Among the tools it offers to users, MashApp boasts the ability to combine and mix multiple songs into each other and to speed up, slow down or separate out a song into its individual stems (the individual instrument tracks in a master recording).
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News of MashApp’s launch arrives just days after Bloomberg reported that Spotify is planning to launch a superfan streaming tier that includes extra features, like high-fidelity audio and in-app remixing tools.
MashApp, however, is the latest standalone app to use cutting edge technology, like AI, to allow users to morph and manipulate their favorite songs. Last year, Hook, another AI remix app, announced its licensing deal with Downtown. Other companies, like Lifescore, Reactional Music and Minibeats, have also played with the idea of allowing users more control over the music they listen to in recent years. With these tools, fans can turn static recordings into dynamic works that evolve over time based on a listener’s situation, whether that’s having the music respond to actions in a video game in real time or while driving a car. Even Ye (formerly Kanye West) played with this concept during the rollout of his album Donda 2, which was only available via a hardware device, called a Stem Player, that let listeners control the mix of the album.
MashApp is available for free or via a paid subscription for ad-free listening and additional features. Though mashups and remixes of hit songs are popular soundtracks for short-form content on TikTok and Instagram Reels, MashApp creations must be enjoyed within the app and are only available for personal use.
“MashApp’s mission is to bring the joy of playing with music creation to non-musicians, to let people play with their favorite music, as they have long done through DJing, mix tapes, mashups, and karaoke,” explained MashApp CEO/founder Henderson in a statement. “We want this new creative play to be a great experience for fans, but also for artists. This requires close partnerships with record labels and music publishers, and we’re excited that our partners have embraced our vision.”
Mark Piibe, executive vp of global business development & digital strategy at Sony Music, added: “We are pleased to be working with MashApp to help fans go deeper in how they engage with their favorite music through a new personalization and creation experience that appropriately values the work of our artists. This partnership furthers Sony Music’s ongoing commitment to supporting innovation in the marketplace by collaborating with developers of quality products that see opportunity in solutions that respect the rights of professional creators.”
“UMG always seeks to support innovation in the digital music ecosystem. MashApp introduces another evolution of the streaming experience for users by combining the creativity of DJ apps, with the accessibility that streaming offers,” said Nadir Contractor, senior vp of digital strategy & business development at UMG. “Within MashApp, users can unlock their own creative expression to curate, play and enjoy in real-time musical mashups from their favorite artists and songs, while respecting and supporting artist rights.”
“Our commitment to championing the rights of our artists and songwriters is at the core of everything we do,” said John Rees, senior vp of strategy & business development at WMG. “This partnership with MashApp builds on this mission–delivering a licensed, innovative platform that not only offers fans an exciting way to engage with music but also safeguards the work of the artists and songwriters who make it all possible.”
Lastly, Bob Bruderman, chief digital officer at Kobalt Music, added, “Kobalt has been a strong supporter of new companies that allow fans to express their creativity and engage with music they love. It was immediately clear that MashApp had a unique vision that opened a new experience for music fans on a well-executed platform, simultaneously respecting copyright. We look forward to a long partnership with MashApp.”
With the NBA All-Star tournament, SNL 50 and a potentially pivotal new joint album from Drake and Partynextdoor all coinciding on the same weekend, hip-hop continued its months-long chokehold on the apex of pop culture. Oh, and it was also Valentine’s Day Weekend, which gave us additional love-minded projects from Flau’jae, Jacquees & DeJ Loaf and Marvin Sapp.
Amid a shift in format, NBA All-Star Weekend featured performances from major names across hip-hop and R&B, including introductory performances from Grammy-winning Cali natives Raphael Saadiq (Feb. 15) and H.E.R. (Feb. 16). DJ Cassidy turned the halftime show into a special Bay Area edition of his “Pass the Mic Live!” series featuring appearances by E-40, Saweetie, Too $hort and En Vogue. Of course, All-Star Weekend couldn’t let such a major sports-meets-music moment pass without tapping Gelo, the biggest breakout hip-hop star of 2025 so far, to make his live TV debut with a performance of his Billboard Hot 100 hit “Tweaker” (No. 29). Other hip-hop and R&B performers over the weekend included LaRussell, Goapele, PJ Morton, 2 Chainz and Flo Rida.
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In 1981, the Funky Four Plus One became not just the first rap group to ever perform on SNL, but the first rap group to perform on American television. 44 years later, the iconic sketch comedy program enlisted several stars across hip-hop and R&B to help celebrate its 50th anniversary, including Lil Wayne, The Roots, Bad Bunny, Post Malone, T-Pain, Ms. Lauryn Hill, Wyclef Jean and Snoop Dogg.
And then there was Drake. And Partynextdoor. On Valentine’s Day (Feb. 14), the dynamic OVO duo braved the aftermath of Kendrick Lamar‘s victory-lapping Super Bowl LIX halftime show performances and launched their new R&B-focused joint album $ome $exy $ongs 4 U. With “Gimme A Hug” and “Nokia” gaining traction, the new record may have given The Boy a path to redemption.
With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from Kwn & Kehlani’s sexy new remix to AJ Tracey & Jorja Smith’s viral new collab. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: A$AP Twelvyy feat. Lord Sko, “Nina Sky”
Just two days after A$AP Rocky scolded him mid-testimony for nearly revealing the meaning behind AWGE, A$AP Twelvyy dropped his fourth studio album, I Did More With Less (V1). Skewing closer to traditional hip-hop than the ethereal, Houston-indebted soundscapes that Rocky favors, I Did More With Less is yet another formidable showing from one of A$AP Mob’s most underrated members. On standout cut “Nina Sky,” Twelvyy joins forces with fellow NYC native Lord Sko for a braggadocious, shit-talking lyrical exercise that ends in an ode to the Puerto Rican duo who inspired the song’s title; “Both b–ches look alike, call ’em Nina Sky,” Twelvyy spits at the end of his final verse. With their laid-back flows complementing the spacious groove of Wrex Mason’s production, “Nina Sky” is a home run. Let’s keep Twelvyy off the stand and in the booth! — KYLE DENIS
AJ Tracey feat. Jorja Smith, “Crush”
A snippet that lived up to the hype: After a week of build-up, AJ Tracey and Jorja Smith’s Brandy-sampling “Crush” arrived to rave reviews from fans. The twitchy R&G bop finds J-Money even tapping into her rap bag a bit while Tracey lays out his plan to make the good girls go bad. The London rhymer goes a step far vividly describing his plan to watch anime and “take a bite out of her a–cheek.” Netflix and chill just got one-upped. — MICHAEL SAPONARA
Jaylon Ashaun & S!MONE, “5 Minutes”
Jaylon Ashaun and S!MONE reunite for another soulful collaboration with “5 Minutes”, a smooth and intimate track that explores the yearning for just a little more time with someone you love. The song beautifully captures the tension between love and responsibilities, as the couple holds onto their last few moments together, wishing they could pause time. With its heartfelt lyrics and captivating delivery, “5 Minutes” — S!MONE’s first release since her 2024 debut album — should resonate with anyone who’s ever struggled to say goodbye, even if only for a short while. — CHRISTOPHER CLAXTON
Cash Cobain feat. Bay Swag & Rob49, “Trippin on a Yacht”
There’s often interesting lore behind Cash Cobain songs. For “Tippin on a Yacht”, the New York rapper and producer previewed the song during a session with streamer PlaqueBoyMax back in January, and has had fans in his social media comments and replies asking for it ever since. Featuring a New Orleans bounce sample, Cash is joined by Bay Swag and the Nola’s own Rob49 on a song that makes you wish you were in the middle of the ocean, surrounded by baddies. — ANGEL DIAZ
Saint Lamaar, “Buss at You”
“Said, Dracos, ouuu/ Keltecs, too/ 7.62/ I can’t wait to buss at you,” croons Saint Lamaar, a rising R&B star from Columbus, Ohio. When you click play on “Buss at You,” you might be surprised to hear the opening notes of Tamia’s “Can’t Get Enough.” You might be even more surprised to realize that the production from Tamia’s original remains largely unchanged as Lamaar launches into an ode not to a lover, but to his gun. “I be keeping my cool/ Never know when I’m gonna have to shoot/ So I’m watching everything/ And bro watching everything/ And I know we feel the same way,” he croons in this hilarious and infectious song. Lamaar’s voice is surprisingly soulful, and his youthful timbre and slight rasp add interesting textures to the nostalgia baked into Tamia’s 2006 hit. — K.D.
OhGeesy & Saweetie, “Cuttin Up”
It’s a West Coast party as Los Angeles meets The Bay. This might be OhGeesy’s album, but Saweetie steals the show with her sharp assist. “It never rain in California, I’ma make it rain today, throw them ones, hoe,” Saweetie raps on an earworm of a chorus. “Cuttin Up” should make every strip club DJ’s rotation to close out February. — M.S.
Ayra Starr, “All the Love”
Afrobeats princess Ayra Starr delivers a heartfelt and uplifting anthem with “All the Love,” a song about genuine love, loyalty and emotional support in a world where fake love is all too common. She reassures her someone special that her love is real and unwavering, promising to be their safe space when others may not have their best interests at heart. Singing, “But one thing is certain, I’ll be that person/ Wey go be your shoulder, buddy, bestie, anything,” Ayra emphasizes the depth of her commitment — offering not just romance, but true companionship and emotional security. The song contrasts authentic love with the superficiality often found in relationships, urging the listener to let their guard down and accept something pure. With its warm melodies and soul-stirring lyrics, “All the Love” serves as both a love letter and a reminder that real love still exists. — C.C.
kwn & Kehlani, “Worst Behavior”
Chances are you probably saw a clip of Kwn and Kehlani’s scene-stealing 30-second makeout session before you actually heard their new song — but it’s still well worth your time to do the latter. Kwn dropped the original version of her steamy, sensual “Worst Behavior” last fall, and now Kehlani — fresh off three 2025 Grammy nominations — has added her touch to the track. “I’ma turn into a slip and slide, I’ll make sure you’re satisfied/ Meet the record every night/ ‘Cause you do me so good thinking of keeping it/ Say my s–t tastes so good, you tryna sleep in,” she coos, expertly ratcheting up the chemistry and tension between her and Kwn as Sasha Keable’s background vocals add yet another layer of seduction. — K.D.
Toosii, “168 Hours”
There are 168 hours in a week and Toosii is just trying to make the best of every minute. The bouncy production boasts a solemn flair that Rod Wave would’ve snatched up for his next album with ease. The 25-year-old rapper-singer holds his own while pouring out his heart about his dedication to making a certain relationship work no matter the obstacles. Job well done, although we could’ve done without the poop stains bar in the second verse – you got your point across, Toosii. — M.S.
Halle, “Back and Forth”
“Back and Forth” is a sultry, emotionally charged song about love, passion, and emotional conflict in a relationship. Halle explores the push-and-pull dynamic of a relationship where love, frustration, and desire all blend. She expresses her need for love that doesn’t hurt, yet she’s drawn to the emotional highs and lows that come with intense passion. “Sometimes I like when you get angry/ Something about it just reminds me that you care,” she admits, revealing her attraction to the passionate side of conflict, even if it’s not the healthiest. “Back and Forth” captures the complex emotions of a relationship that swings between love and frustration. Halle’s smooth vocals and vulnerable lyrics reflect the struggle of wanting stability while craving passion — even if it’s a bit toxic. — C.C.
Lady Gaga proved to be a master magician earlier this month with the release of her new single “Abracadabra,” and for her next trick, she’s making her global audience reappear. On Tuesday (Feb. 18), Gaga officially surpassed Ariana Grande’s record as the female artist with the most monthly listeners in the history of Spotify. At […]
Lil Wayne made a surprise appearance at the SNL50: The Anniversary Special celebrations on Sunday night (Feb. 16) where he performed a greatest hits medley from his decorated Tha Carter series. From “Mrs. Officer” to the Billboard Hot 100 No. 1 hit “Lollipop” and closing out with “A Milli,” Weezy jumped around his discography with […]
Not long after Lil Tecca released his fifth album Plan A last September, he visited a boisterous livestreamer named Tylil, who has more than 300,000 followers on Twitch. “We wanted to portray Tecca’s personality, which is sometimes a little too shielded,” says Giuseppe Zappala, who manages the rapper. “And streamers have been recognized at the top of the hierarchy in the digital landscape.”
Livestreaming was once dominated by gamers, which limited the ways that artists could engage with the Twitch ecosystem. But the landscape has diversified over time. When Tecca met up with Tylil, the two played paintball together; later, the streamer gave the 22-year-old rapper a driving lesson, even though Tecca didn’t have a driver’s license. (“Do not press on the gas hard… I know you play a lot of car games; this is a real car.”) Everything was captured on camera in real time, and the resulting “relatable” videos, Zappala says, remind viewers “that Tecca is a down-to-earth, funny person.”
A lot of people watch streamers like Tylil, Kai Cenat, PlaqueBoyMax, Duke and IShowSpeed when they’re live. Still, relying only on a live audience limits their reach. “Core fans will watch hours of streams,” says Rafael Rocha, CEO of the marketing agency NuWave Digital. “Everybody else will consume that content mainly in short-form video.”
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Music marketers are increasingly focused on facilitating that second wave of engagement, which they do by snipping out the highlights of livestreams — either relying on their own teams of editors; “clippers” who congregate on Discord; or AI programs — and then promoting those bite-sized videos across TikTok, Instagram, X and more.
“Twitch is, in many ways, the new live TV,” says Alec Henderson, head of digital at APG. “And the clips from the livestreams are just like TV reruns. Those highly engaged, entertaining moments can live online forever.”
Henderson saw the value of livestreams when he brought the rapper Lil Baby on to Cenat’s stream back in the fall of 2022: “It ended up one of the most fruitful parts of our rollout,” he says. Last year, livestreamers led to boosts for APG acts like BabyChiefDoit and Flawed Mangoes. A recent press release promoting DDG‘s new single “The Method” credits the rapper’s appearance on PlaqueBoyMax’s livestream with jump-starting the track: “Immediately, clips of the recording went viral across socials and garnered over 1 million views on TikTok alone.”
The clipping practice has been popular in the Twitch streaming community for some time, according to Parker Ulry, who runs the digital marketing agency Perfect Circle. “The podcast community is super on it now, and music is falling in line.”
“Ideally, someone discovers your Twitch stream or podcast interview through a 30-second clip and then goes back and consumes the whole piece,” Ulry continues. “Then they become a fan of you and start streaming your music.”
Artists have several options when they want to reach the livestreaming audience, according to Alex Falck, head of commercial at the digital marketing company Creed Media. They can get streamers to play their music and react to it on camera; let them use their music for highlight compilations; actually go on the livestream to hang out; and even produce music with the streamer. (This is how PlaqueBoyMax has built his following; Henderson predicts that “it’s just a matter of time before a hit record comes out of one of those streams.”)
Once the stream is underway, the captivating moments need to be isolated and extracted. “If you’re on a three-hour stream, that’s a content goldmine — 20, 30, 50 posts,” Ulry says.
Some digital marketers do the clipping in-house. But many find armies of capable clippers on the messaging platform Discord. “A lot of these niche underground communities are naturally congregating on Discord already,” says Vanessa Sheldon, a digital marketer at Forever Music Group who works on a lot of clipping campaigns. “Discord allows developers to build things into these servers and communities, so we created our own server, got a lot of those kids in there, and then built the tool kit for them to participate in these campaigns and get paid out.”
Clippers she works with are compensated based on the performance of their videos. Usually, the rate is between 30 cents and 50 cents per thousand views, though it can go as high as 70 cents in some cases. This means that the roughly 2,000 members of the Discord community she assembled are incentivized to make their clips as eye-catching as possible. “The more viral your video is,” Sheldon says, “the more you get paid.”
Marketers can also use AI-powered tools to create the clips for them. “OpusClip will spit out a bunch of content for you automatically with edited subtitles,” Falck explains. The results may be haphazard, but they are delivered quickly. “AI is still somewhat new, so it doesn’t necessarily get the same level of attention or amazing editing as if you use your in-house team,” Falck continues. “It’s more of a volume game, pushing out 100 assets per stream, just seeing what takes off.”
Once the clips are in hand, “Start pumping them onto TikTok, Instagram, even YouTube Shorts, these algorithmically powered platforms,” Ulry says. One natural ally in this effort is fan pages, which are dedicated to posting nonstop about a particular artist or group of artists. (These accounts can be created by the artist or their team, or run by enthusiastic civilians with lots of time on their hands.) Another is what Falck calls “community pages” — accounts dedicated to a specific genre of music, for example. They all help create what Zappala describes as “an explosion of content that’s circulating the internet” in the wake of the livestream, raising awareness and hopefully hooking potential fans.
One manager recently asked Mayor Cohen, a digital marketer, if he could organize a “tour” of five to 10 livestreamers for an artist. “That’s kind of the business: Get artists on the stream, then repurpose content,” Cohen says. “Not that many people will watch a four-hour stream. But they will go on TikTok or Instagram and watch the best clips.”
“If the clip is reactive,” Ulry adds, “it’ll find an audience.”
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Saddle up: Beyoncé is headed back on tour!
Grab your boots, Levi’s jeans and your most western-style hat and get ready to rodeo with Queen Bey. She announced the highly anticipated Cowboy Carter & The Rodeo Chitlin’ Circuit tour just hours after making history at the 67th annual Grammy Awards by winning her first album of the year award.
Through an Instagram post, Bey revealed the first nine tour stops, including Los Angeles, Chicago, New York, London, Paris, Houston, Atlanta, Washington, D.C., and Las Vegas. The show kicks off April 28 at SoFi Stadium in Inglewood, California.
Tickets went live on February 14 and are already selling fast. However, Ticketmaster and other resale sites like StubHub, Vivid Seats, Seat Geek and Gametime are offering plenty of opportunities to secure the perfect seat at a venue near you.
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Beyoncé announced the addition of five new stadium dates, bringing the total number of nights at London’s Tottenham Hotspur Stadium to six, with third nights now booked in Chicago at Soldier Field, Paris at Stade de France and Atlanta at Mercedes Benz Stadium. Last week, two more shows were added: a fifth night at SoFi Stadium in Inglewood, California, and East Rutherford, New Jersey’s MetLife Stadium. As more dates get announced, we’ll update this page with new details, ticket prices and more.
Fans have already witnessed a small taste of the Cowboy Carter tour during her “Beyoncé Bowl” performance at the Houston Texans-Baltimore Ravens game this past Christmas. “It’s only right that we do ‘Texas Hold ’Em’ for the first time in Texas, on Christmas,” she said during the show. The quick 13-minute performance was everything fans wanted and more. From an all-white western aesthetic, to Beyoncé arriving on a white horse, to a marching band and several special guests including Post Malone, this impressive quick glimpse has already secured the Cowboy Carter tour as a must-see spectacle this year.
To secure tickets to Beyoncé’s Cowboy Carter tour, see below.
How to Get Tickets to Beyoncé’s ‘Cowboy Carter’ Tour Online
Beyoncé’s Cowboy Carter & The Rodeo Chitlin’ Circuit tour will kick off April 28 at SoFi Stadium in Inglewood, California. Tickets have already gone on sale. While they’re selling fast, fans can still secure tickets through Ticketmaster and other resale sites including StubHub, Vivid Seats, Seat Geek and Gametime.
StubHub is offering tickets for as low as $108. Each purchase comes with the FanProtect Guarantee, which will keep your purchases protected. You can also use the interactive venue map to choose tickets based on price and seating section.
Another option is Vivid Seats, which has tickets for this tour for as low as $104. You can also save $20 off orders of $200+ when you use the code BB2024 at checkout. Each ticket purchase will be protected through the site’s Buyer Guarantee, which you can learn more about here.
SeatGeek currently has tickets starting at $80 and you can utilize the site’s deal rating scale to determine how good of a deal you’re getting. SeatGeek uses a 1-10 rating system, with 1 being the worst deal and 10 being the best deal you can get. You can also save $10 off your ticket purchases of $250+ (offer valid on first purchases only) when you use the code BILLBOARD10.
For affordable tickets, Gametime is offering ticket options for as low as $83. Purchasers will receive the Gametime Guarantee, which includes event cancellation protection, a low-price guarantee and one-time ticket delivery. Bonus offer: Get $20 off orders of $150+ when you use the code SAVE20 at checkout.
Check out the 2025 Cowboy Carter Tour dates below.
April 28 – Los Angeles, CA @ SoFi Stadium
May 1 – Los Angeles, CA @ SoFi Stadium
May 4 – Los Angeles, CA @ SoFi Stadium
May 7 – Los Angeles, CA @ SoFi Stadium
May 15 – Chicago, IL @ Soldier Field
May 17 – Chicago, IL @ Soldier Field
May 22 – East Rutherford, NJ @ MetLife Stadium
May 24 – East Rutherford, NJ @ MetLife Stadium
May 25 – East Rutherford, NJ @ MetLife Stadium
May 28 – East Rutherford, NJ @ MetLife Stadium
June 5 – London, UK @ Tottenham Hotspur Stadium
June 7 – London, UK @ Tottenham Hotspur Stadium
June 10 – London, UK @ Tottenham Hotspur Stadium
June 12 – London, UK @ Tottenham Hotspur Stadium
June 19 – Paris, France @ Stade de France
June 21 – Paris, France @ Stade de France
June 28 – Houston, TX @ NRG Stadium
June 29 – Houston, TX @ NRG Stadium
July 4 – Washington, D.C. @ Northwest Stadium
July 7 – Washington, D.C. @ Northwest Stadium
July 10 – Atlanta, GA @ Mercedes Benz Stadium
July 11 – Atlanta, GA @ Mercedes Benz Stadium
With WorldPride returning to America for the first time since 2019, organizers are ready to give their audience even more reasons to celebrate in 2025 courtesy of their A-list headliners. On Tuesday (Feb. 18), WorldPride announced that Jennifer Lopez and Troye Sivan would serve as the official headliners for the Washington, D.C.-bound festival. Taking place […]
With RuPaul’s Drag Race bringing back their Rate-a-Queen system for season 17, Billboard decided to rate each of the new queens every week based on their performance. Below, we take a look at the iconic Snatch Game to see which queens nailed their celebrity impressions. Spoilers ahead for episode 7.
Even in a time when chaos reigns, some things are constants: the sky is blue; the grass is green; and the queens on RuPaul’s Drag Race will have to perform in the Snatch Game.
On Friday’s episode (aired Feb. 14) of Drag Race, the iconic challenge finally arrived as the 11 remaining queens were asked to deliver their best celebrity impersonations in the Match Game riff. Some queens — namely Suzie Toot — were confident in their abilities to deliver on the task at hand. Others rightly feared the expectations of the show’s longest-standing challenge.
Before we go any further, let’s make one thing clear — of all the Drag Race challenges, Snatch Game is famously the hardest. Not only do you need to create a semi-accurate recreation of a beloved star, but you also need to stay in that character for an extended period of time, with no script, making RuPaul laugh while there is no audience there to let you know how you’re doing. As Jinkx Monsoon, a two-time Snatch Game winner, told Billboard after season 14’s disastrous iteration of the challenge: “It’s one of situations where two things can be true at once – yes, Snatch Game happens every season, but also it’s either in your skill set or it’s not, and I don’t think it should really be held against queens for whom this is not their thing.”
With that being said … this was not a successful Snatch Game. While a few queens managed to get their laughs here (more on them later), most of the contestants were either forgettable or catastrophically bad. The two worst performers of the bunch, Crystal Envy and Lana Ja’Rae, wound up in the bottom — but with a lot of these performances, any number of the other girls could have easily wound up in their shoes.
Yet when it came time for a lip sync to Selena Gomez’s “Hands to Myself,” both Crystal and Lana turned it back on, delivering one of the most high-octane face-offs of the season. Ultimately, the judges decided to give Lana another shot in the competition, sending former frontrunner Crystal Envy home.
Below, Billboard takes a look back at episode 7 and ranks where our remaining contestants lie based on this episode and the season as a whole:
ELIMINATED: Crystal Envy
Image Credit: Courtesy of MTV
Kendrick Lamar’s “Not Like Us” resurges to No. 1, from No. 20, on the Billboard Global 200 chart (dated Feb. 22), fueled by his performance of the song during the Super Bowl LIX halftime show Feb. 9. He also boasts five of the chart’s top 10.
Meanwhile, Lady Gaga and Bruno Mars’ “Die With a Smile” rebounds for a ninth week atop the Billboard Global Excl. U.S. chart.
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.
“Not Like Us” drew 113.2 million streams (up 176%) and sold 39,000 (up 424%) worldwide Feb. 7-13. The seething diss track – which on Feb. 2 won the Grammy Awards for record and song of the year, among its five victories – adds a third week atop the Global 200. It debuted at No. 1 on the May 18, 2024, chart and became a pop-culture fixture, spending the next eight weeks in the top 15. It was further boosted by Lamar’s Juneteenth The Pop Out: Ken & Friends concert – in which he performed the song five times. It rebounded for a second week at No. 1 on the July 20 chart, following the July 4 premiere of its official video. The song’s 30-week break between No. 1 from July to this week marks the longest excluding holiday fare in the chart’s history.
Lamar also soars back to the Global 200’s top 10 with “Luther,” with SZA (12-4, as it returns to its best rank); “TV Off,” featuring Lefty Gunplay (27-8, after hitting No. 5); and 2018’s “All the Stars,” with SZA (74-10 for its first week in the tier, becoming Lamar’s 12th top 10 and SZA’s eighth). All four songs were also part of his halftime performance.
Lady Gaga and Bruno Mars’ “Die With a Smile” dips to No. 2 after nine weeks at No. 1 on the Global 200 starting last September and ROSÉ and Mars’ “APT.” backtracks 2-3 following 12 weeks on top beginning in October.
Plus, Gaga’s “Abracadabra,” unveiled (through a MasterCard commercial) during the Grammy Awards Feb. 2, bounds 10-5 in its second week on the Global 200 led by 78.4 million streams worldwide in its first full tracking week (Feb. 7-13); it drew 47.7 million from its release through Feb. 6.
“Die With a Smile” rebounds 2-1 for its ninth week atop Global Excl. U.S., with 107.7 million streams (up 3%) and 5,000 sold (down 8%) outside the U.S. Feb. 7-13.
“APT.” descends to No. 2 after a record 15 weeks at No. 1 on Global Excl. U.S. beginning in November.
“Not Like Us” leaps 27-3 on Global Excl. U.S., surpassing its prior No. 5 best; “Abracadabra” vanishes from No. 9 and reappears at No. 4 in its second week on the chart; and Billie Eilish’s “Birds of a Feather” falls 4-5, after three weeks on top last August. Plus, “Luther” leaps 19-7, after reaching No. 6.
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Feb. 22, 2025) will update on Billboard.com tomorrow, Feb. 19, a day later than usual due to the Presidents’ Day holiday in the United States Feb. 17. 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.
That’s so true that something is going on between Gracie Abrams, Selena Gomez and Benny Blanco. Gomez and Blanco have been continuing the roll-out of their upcoming album, I Said I Love You First, and the couple took to Instagram this week to tease what seems to be a collaboration with Abrams. It all started […]