Trending Up

Trending on Billboard

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.

Explore

See latest videos, charts and news

This week: Rumored similarities to an Oscar-nominated actor helps a U.K. rapper break out stateside, while a video game synch turns around a singer-songwriter’s prospects and a likely AI-assisted Charlie Kirk tribute goes viral.

English Rapper EsDeeKid Turns Timothée Chalamet Conspiracy Theory Into Massive Streaming Gains 

Timothée Chalamet may be hard at work on the Oscar campaign trail for his upcoming Marty Supreme film, but some fans think he’s secretly balancing a second artistic career. 

After breaking through in 2024 with the Rico Ace-assisted “Bally,” enigmatic Liverpool rapper EsDeeKid — who conceals his identity and sports a balaclava — has found a streaming breakthrough as 2025 draws to a close. On Nov. 11, user @gothauntie0 posted a TikTok positing the theory that EsDeeKid is actually Timothée Chalamet; though it’s all speculation and her evidence is purely circumstantial, the theory quickly took off across social media, spurring new listeners to familiarize themselves with his music. 

During the week of Nov. 7-13 (when the conspiracy theory first popped up), EsDeeKid’s catalog earned over 5.8 million official on-demand streams, according to Luminate. The following week (Nov. 14-20), that figure jumped 54% to over 9.005 million official streams. Over the past three weeks, the underground rapper’s catalog has exploded over 145% in streaming activity — which helped his debut album, June’s Rebel, enter the Billboard 200 for the first time at No. 131 (on the chart dated Nov. 29). 

“4 Raws” and “Phantom” are two of the set’s buzziest tracks. During the week of Nov. 14-20, the former collected over 3 million official on-demand U.S. streams (up 56% over the past three weeks), while the latter earned 2.98 million streams (up 53% over the past three weeks). On Halloween (Oct. 31), EsDeeKid dropped “Century,” which earned 1.68 million streams during Nov. 14-20, marking a two-week gain of 156%. 

Neither EsDeeKid nor Timothée Chalamet have commented on the matter — but, for now, their silence is golden. — KYLE DENIS 

Bershy’s Video Game-Featured “Radio” Turns on a Career Revival

“Two weeks ago i didn’t really think i’d make music again,” Cincinnati singer-songwriter Bershy (real name: Brea Shay) admitted in an Instagram post last week. But things have turned around for her, as her post was celebrating the recent success of her 2022 synth-pop love song “Radio” — which has been enjoying an overdue viral moment after being featured in the hit new “superhero workplace comedy” adventure video game Dispatch.

The disconcertingly catchy song is featured in an “episode six” housewarming party scene within the game, which begins with the lead character Robert cueing the song (with visible name and cover art) on his phone. Since the Nov. 5 release of the episode, the song has absolutely exploded on streaming, with the song zooming from under 2,000 streams a week to nearly 1.9 million streams for the tracking week ending Nov. 9, according to Luminate.

“Get ready, Bershy,” the official YouTube account of AdHoc Studio — the developer responsible for Dispatch — posted in the comments for the “Radio” music video. Indeed, it seems like she might have to putting those putting-the-career-on-hold plans on hold and tune in to her newfound virality. – ANDREW UNTERBERGER

Seemingly AI-Generated Charlie Kirk Tribute Song Takes Streaming by Storm 

A Charlie Kirk tribute song has quickly gone viral on TikTok — but people are laughing at the track’s seemingly AI-generated vocals more than they’re earnestly singing along. 

Titled “We Are Charlie Kirk,” the song popped up on streaming on Sept. 16, just six days after its namesake was shot and killed. Spaxelma, an apparently AI-generated act with no social media presence, is behind the track, in addition to several faith-based albums (and a Charlie Kirk Forever Alive tribute album) that date back to May 2024.

During the four-day period of Nov. 14-17, “We Are” earned 56,000 official on-demand steams. A week later (Nov. 21-24), the abrasive torch song leapt 656% to over 423,000 streams. The most popular “We Are” TikTok sound, which appeared on the platform the same day the song hit streaming with the caption “this is genuinely the worst song I’ve ever f—king heard in my life bro,” boasts over 62,000 posts. Currently, “We Are Charlie Kirk” is the only Spaxelma release to surpass one million Spotify streams. 

The longevity of Spaxelma’s breakthrough “hit” remains to be seen, but it looks like Tom MacDonald may have some competition cut out for him. — K.D. 

Trending on Billboard

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.

Explore

See latest videos, charts and news

This week: The hits keep coming for Olivia Dean after she makes her SNL debut, while Summer Walker’s latest offers a few streams to some R&B gems and a soul cult favorite gets a surprise viral hit.

Olivia Dean’s Ascension Continues, Thanks to Recent ‘SNL’ Debut 

Olivia Dean sits in the top five of both the Billboard Hot 100 and Billboard 200 this week (charts dated Nov. 22). And, if her recent streaming numbers are any indication, she’s poised to continue soaring. According to early data provided by Luminate, Dean’s catalog earned 21 million official on-demand U.S. streams in the two-day period following her SNL debut (Nov. 16-17), marking a 23% increase from the streams her catalog pulled the week prior (Nov. 9-10). Following her Saturday Night Live performances of “Man I Need” and “Let Alone the One You Love,” Dean’s catalog was also up nearly 120% in U.S. digital sales, with over 2,600 digital downloads sold during Nov. 16-17. 

“Man I Need,” which reaches a new peak of No. 4 on this week’s Hot 100, is also up 4% in streams post-SNL, earning 7.5 million official streams during Nov. 16-17. In that same time frame, “Man” sold over 1,000 U.S. digital downloads, marking an 89% jump from the 550 copies it sold during Nov. 9-10. “Let Alone” earned a much larger boost, soaring 44% to over 1.2 million official streams during Nov. 16-18, and leaping a whopping 1,465% to over 300 digital downloads sold during the same period. 

Between her SNL debut, a recently announced four-night run at Madison Square Garden and the afterglow of her first Grammy nomination, the world simply can’t get enough of Olivia Dean and The Art of Loving. — KYLE DENIS 

Streaming Audiences Say ‘Yes’ to Lift-Heavy Summer Walker Album

Singer/songwriter Summer Walker released one of the year’s most anticipated R&B albums on Friday (Nov. 14) with Finally Over It, third album in her acclaimed Over It trilogy. The 18-track, two-disc set was littered with guests — including big names like Chris Brown, Teddy Swims, 21 Savage and Doja Cat — but nearly as strewn with samples and interpolations from past R&B staples, with many of those originals seeing streaming bumps in the days following its release.

The biggest of the bunch was for “Yes,” the fan-favorite deep cut from Beyoncé’s 2003 solo debut LP Dangerously in Love. The song’s “First time I said ‘no,’ it’s like I never said ‘yes’” hook is borrowed for the intro to Walker’s obversely titled “No,” one of the set’s early streaming breakouts. According to early data provided by Luminate, “Yes” racked up 94,000 official on-demand streams over the first four days of Finally Over It‘s release (Nov. 14-17), nearly double the 48,000 it amassed in the equivalent four-day period the prior week.

Other bumps from the set were enjoyed by a decades-older R&B throwback (Roberta Flack’s 1978 Donny Hathaway duet “The Closer I Get to You,” interpolated in Walker’s “Baller,” up 12% to 89,000 streams over that period) and a 50 Cent soundtrack single (2005’s “I’ll Whip Ya Head,” lifted in “Robbed You,” up 11% to 125,000). – ANDREW UNTERBERGER

Labi Siffre’s Tender 1971 Classic Finds New Life on Streaming After Bumble Ad Sync 

A couple months ago (Sept. 8), Bumble launched a new “For the Love of Love” ad campaign, soundtracked by Labi Siffre’s “Bless the Telephone,” a tender 1971 ditty that’s found a new life on streaming in recent weeks. 

During the week of Sept. 26-Oct. 2, “Telephone” earned over 216,000 official on-demand U.S. streams. Eight weeks later (Nov. 7-13), the song now boasts over 1.77 million official weekly streams, clocking a 721% increase in activity, according to Luminate.  

In addition to the Bumble campaign, Siffre has also become something of a TikTok star. His management-run account frequently shares clips of the now-80-year-old artist reflecting on his life and career, and many users became even more enamored with him after learning about his queerness and anti-apartheid stance — as well as the artist formerly known as Kanye West sampling him for 2007’s “I Wonder.” On TikTok, the official “Telephone” sound plays in over 36,500 posts, while a clip of a young Siffre performing the song earned nearly 15 million views. — K.D. 

Trending on Billboard

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.

Explore

See latest videos, charts and news

This week: Gordon Lightfoot’s signature story song sees massive gains due to an anniversary of its titular tragedy, HAVEN. inspires odd trends and strange questions with a mysterious dance smash, Lily Allen grows buzz for her comeback album and more.

The Legend of ‘The Wreck of the Edmund Fitzgerald’ Lives On With 50th Anniversary Spike

Even among recent unlikely bringback streaming hits, few could’ve seen this one coming. “The Wreck of the Edmund Fitzgerald,” the sweeping and highly dramatic story song first captained by the late great Canadian singer-songwriter Gordon Lightfoot in 1976 — about a real-life 1975 tragedy at sea that struck the SS Edmund Fitzgerald, with all 29 on board dying — has found a second life among TikTok audiences. 

The song had gone viral in recent weeks, with videos and merch and even Chicago bar nights celebrating the song and the ship that inspired it, in commemoration of the wreck’s then-upcoming 50th anniversary (ultimately observed on Nov. 10, 2025). According to Luminate (and Billboard’s own reporting), the song had begun to rise in streams solidly in advance of that anniversary, with “Wreck” racking up 1.4 million official on-demand U.S. streams for the tracking week ending Nov. 6 — up a strong 77% from the prior week. 

And then, of course, on the actual date of the anniversary, it exploded: “The Wreck of the Edmund Fitzgerald” amassed over one million streams on Monday (Nov. 10) alone — while also selling over 1400 digital songs — up a whopping 436% and 930%, respectively, from its numbers the previous Monday (Nov. 3), according to early data provided by Luminate. It was enough to get “Wreck” onto the top 100 of the Spotify Daily Top Songs USA chart — and towards the top of the iTunes real-time chart, where it remains in the top five two days later. — ANDREW UNTERBERGER

Enigmatic Artist HAVEN. ‘Run’s Into Streaming Breakthrough 

Thanks to a viral trend likening the nondescript dance-pop of department store playlists to that of ski resorts and clubs, HAVEN. — an enigmatic artist with minimal musical footprint — has scored a streaming smash. 

“I Run” earned over 290,000 official on-demand U.S. streams during the four-day period of Oct. 31-Nov. 3. During the comparable four-day period the following week (Nov. 7-10), the viral EDM track exploded over 1,106% to 3.5 million streams, according to early data provided by Luminate. 

Though the song has quickly overtaken TikTok, opinions have been split on its quality. To date, the official “I Run” TikTok sound plays in over 25,000 posts. Last month (Oct. 21), Jorja Smith denied the narrative that the song’s vocal was sourced from an old demo of hers, leading some users to question if AI was used in the creation of “I Run.” At press time, “I Run” is unavailable on Spotify, but remains playable on Apple Music and TIDAL; the track appears to have been pulled from streaming due to possible rights issues. 

On Wednesday (Nov. 12), Andre Benz, the CEO of Broke Records, the label through which HAVEN. released “I Run,” shared an image to his Instagram Story that read “All my homies hate Sony.” Billboard has reached out to Benz, Sony Music Publishing and SoundOn for comment. — KYLE DENIS

Lily Allen Word-of-Mouths Her Way Into Top ‘End’ of Billboard 200

Veteran U.K. pop star Lily Allen hadn’t released an album since 2018’s tepidly received No Shame, which debuted at No. 168 on the Billboard 200 and No. 8 on the UK Official Albums Chart, becoming her first album to miss the top 100 and top two on the respective listings. Now, she’s back in both chart regions thanks to the slowly building embrace of her late-October-released new LP, the explosive concept album West End Girl. 

While West End Girl arrived with little fanfare, having only been announced by Allen four days prior, the minor detonation it sparked slowly grew over the course of last week, largely thanks to its subject matter: her recent separation from Stranger Things actor David Harbour, which the album details in often uncomfortable (if still quite catchy) detail. As the album captured headlines for its tabloid-y narrative, it also won over critics with its accessible melodies, biting lyrics and strong structuring, becoming a new favorite of pop fans who didn’t realize how much they’d missed Allen in her absence. 

As a result, the album grew steadily in official on-demand U.S. streams over the course of its debut week, ultimately racking up 11.5 million for the tracking week ending Oct. 30 — helping to propel it to a No. 118 debut on the Billboard 200 (and a No. 4 bow on the UK Official Albums Chart). By the next week (ending Nov. 6), that stream count was up 17% week-over-week, pushing it to No. 93 on the Billboard 200, as it also climbed to No. 2 on its home country’s chart. – AU

‘Wicked: For Good’ Anticipation & Live Special Boost Streams for Film Soundtrack & A Judy Garland Classic 

Wicked: For Good doesn’t hit theatres for another week and a half (Nov. 21), but the highly anticipated sequel to last year’s Oscar-winning, box office-topping musical epic is already boosting related songs on streaming. 

During the period of Oct. 31-Nov. 3, the 2024 Wicked motion picture soundtrack, led by Cynthia Erivo and Ariana Grande, earned 4.3 million official on-demand U.S. streams, according to early data provided by Luminate. By the comparable four-day period the next week (Nov. 7-10), the soundtrack spiked 55% to over 6.7 million official streams. Last year, the soundtrack reached No. 2 on the Billboard 200, and last week (Nov. 7), the compilation (and score soundtrack) earned three combined Grammy nominations, including best pop duo/group performance for Erivo and Grande’s rendition of “Defying Gravity.” 

The two Oscar-nominated witches also led the cast in a Nov. 7 special titled Wicked: One Wonderful Night. Featuring appearances from the principal Wicked film cast, viral fans and Broadway OGs Idina Menzel and Kristin Chenoweth, the Peacock special also churned out an accompanying live album. Billed to Grande and Erivo, the live album racked up over 4.3 million streams during the period of Nov. 7-10. 

To close the special, Erivo and Grande recreated Barbra Streisand and Judy Garland’s iconic 1963 duet of “Get Happy / Happy Day Are Here Again.” In the four-day period preceding the special (Oct. 31-Nov. 3), Garland’s version of “Get Happy” earned just over 10,000 official streams. In the four-day period after the special aired (Nov. 7-10), “Get Happy” logged 33,000 official streams, marking a 214% boost. 

The Wicked: For Good soundtrack, which features a pair of new original songs penned by three-time Oscar-winning composer Stephen Schwartz (“The Girl in the Bubble” and “No Place Like Home”), arrives on Nov. 21. — KD

Trending on Billboard

The Contenders is a midweek column that looks at artists aiming for the top of the Billboard charts, and the strategies behind their efforts. This week, for the upcoming Billboard 200 dated Nov. 15, we look at the chances of a handful of albums to reach a top 10 still dominated by Taylor Swift and KPop Demon Hunters. 

Explore

See latest videos, charts and news

Florence + The Machine, Everybody Scream (Polydor): The screaminess of the latest set from Florence Welch is less about traditional spooky scaries than the horrors of the life-threatening ectopic pregnancy Welch recently suffered, as well as the indignities of being a veteran woman artist in the music industry. Regardless, the Halloween-released set seems to be resonating for its more adult terrors, drawing some of the best reviews of the year for a major release.  

The set is not expected to stream in exceptional numbers — Florence + The Machine have never scored a real breakout hit during the streaming era, outside of collaborations — but it should sell well, as the outfit’s albums traditionally have. Helping will be a multitude of options available for purchase: six vinyl variants and four CD variants, including a signed copy in each format, as well as deluxe digital and streaming editions that include four “chamber versions” bonus tracks, featuring stripped-down arrangements of some Scream highlights.  

With its relatively minimal presence on DSPs, it’s unlikely that Everybody Scream will be able to challenge streaming behemoths like Taylor Swift and the KPop Demon Hunters soundtrack at the very top of the Billboard 200 next week. But the set does appear on pace to debut in the top 10 — which would mark Florence + The Machine’s fifth consecutive album to reach the region — and could also have a shot at the outfit’s first top five album since 2018’s High as Hope.  

Tyler, the Creator, CHROMAKOPIA (Columbia): CHROMAKOPIA of course already debuted atop the Billboard 200 last November, with career-best first-week numbers for Tyler, The Creator despite arriving with an incomplete first tracking week. But for the set’s one-year anniversary, the rapper has reissued the set as CHROMAKOPIA+, with the bonus track “Mother” — featuring mid-song interjections and wisdom from his mom Bonita Smith, and previously only available on the album’s physical release — now inserted into its tracklist on DSPs. 

In addition to the new song on streaming — which was featured near the top of Spotify’s New Music Friday and is streaming solidly, albeit not as much as an official new Tyler singler would — the “Plus” set has also been reissued for physical purchase on CD and vinyl. It’s also on sale in two boxed sets, each of which contains a branded merch item in a branded box, along with a copy of the CD.  

The original CHROMAKOPIA has still yet to leave the Billboard 200, currently ranking at No. 117 in its 53rd week on the chart. But the additional sales and streaming interest from the reissue should be enough to give it a big boost for next week, perhaps all the way back to the chart’s top 10.  

Michael Jackson, Thriller (Epic): And of course, the week after Oct. 31, you can’t discount the chart impact of actual Halloween-friendly music on the Billboard 200. As is often the case in recent years, Michael Jackson’s Thriller seems to be leading the pack on streaming — thanks to classics like its midnight-movie title track and vaguely spook-adjacent “Billie Jean” — followed by fellow holiday perennials like the Nightmare Before Christmas soundtrack and Andrew Gold’s Halloween Howls: Fun & Scary Music.  

However, the timing of the tracking week may be dissuasive towards any of these albums making too big a jump. With Halloween falling on a Friday this year — the first day of the new tracking week — the lead-up excitement for the holiday is all contained to the previous tracking week (hence Thriller already climbing 46-30 on this week’s Billboard 200), and interest in such jams usually falls off quickly and dramatically once the calendar turns to November. But perhaps with a full weekend to celebrate, interest will sustain just enough this year for Thriller to return to the top 10 — or at least the top 20.  

Trending on Billboard

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.

Explore

See latest videos, charts and news

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.

Tame Impala’s ‘Dracula’ Sinks Its Teeth Into the Halloween Season

This year, Halloween fell on a weekend, meaning the partying was perhaps even a little more widespread than usual — and the songs that provide the annual soundtrack for such festivities exploded were even more explosive on streaming. On DSPs, the top-ranking songs were the usual perennial favorites, Michael Jackson’s “Thriller,” Ray Parker Jr.’s “Ghostbusters” and Bobby “Boris” Pickett’s “Monster Mash” of course among them. But a little lower on those listings was another much-newer spooky-season favorite: “Dracula,” the current electro-pop breakout hit for psych-dance vets Tame Impala.

“Dracula” has already proven a chart sensation, debuting on the Billboard Hot 100 at No. 55 in October and hitting a new peak of No. 33 last month following the release of its parent album Deadbeat – his first-ever entry on the chart, since joined by two of its Deadbeat tracklist mates. It may hit a new peak on the Hot 100 on next week’s chart (dated Nov. 15), after the (loosely) vampire-themed and (vaguely) eerie-sounding track racked up over 1.8 million official on-demand U.S. streams on Oct. 31 — up 49% from the previous Friday, according to Luminate, a massive gain for a song already pulling daily streams in the seven digits.

Will the song endure to become a Halloween staple like those aforementioned proven classics? Time will tell, but early signs are encouraging for “Dracula” becoming a holiday immortal.

Toni Braxton Proves ‘Man Enough’ for a Streaming Boost, Thanks to Kayla Nicole and an Upcoming Movie 

A week after throwing Kehlani an assist on “Folded,” Toni Braxton is experiencing a mini-streaming revival for one of her own hits. Thanks to a spicy Halloween costume from Kayla Nicole, Travis Kelce’s ex, and a flurry of motion from the Braxton world, streams for 2000’s “He Wasn’t Man Enough” are way up. 

According to Luminate, on Oct. 31, “Man Enough” (which reached No. 2 on the Hot 100) earned 106,000 official on-demand U.S. streams. After Nicole shared her costume, which tributes the track’s sultry music video, on Halloween, the Grammy-winning song jumped 87% to over 200,000 official streams (Nov. 1). By Nov. 2, “Man Enough” leapt a further 32% to over 265,000 official streams, with the following day (Nov. 3) giving way to a 38% boost, resulting in 366,000 official streams. Over that four-day period, streams for Braxton’s smash exploded over 242%. 

To her credit, Braxton also kept her name in the headlines all by her lonesome, which only further propelled “Man Enough.” On Oct. 28, New Edition confirmed it would head out on a 2026 tour alongside Braxton and Boyz II Men, by Oct. 30, all three acts performed a medley on Good Morning America, with Braxton crooning “Man Enough.” Furthermore, the latest season of The Braxtons, a reality show following Braxton and her famous family, premiered on We TV on Oct. 10, with clips quickly going viral across social media. Also on Oct. 28, Lifetime shared the first look at He Wasn’t Man Enough, an original TV movie starring and executive produced by Braxton based on her hit song. 

During the first four days of the week preceding Halloween (Oct. 24-27), “Man Enough” logged over 313,000 official on-demand U.S. streams, with that number jumping just under 200% to over 938,000 official streams over the equivalent period the following week (Oct. 31-Nov. 3). In addition to its streaming boost, “Man Enough” also returned to the iTunes U.S. top 30. — KYLE DENIS 

Drake and the Toronto Blue Jays: Still Definitively ‘Not Like Us’

For the second straight autumn, the Los Angeles Dodgers ended the baseball season on top of the mountain. After defeating the Toronto Blue Jays in a classic seven-game World Series — with the seventh game (on Saturday, Nov. 1) going to extra innings and ending on a bases-loaded double play — the Dodgers became the first team since the New York Yankees of 25 years earlier (’99-’00) to repeat as MLB champions.

And just like it was last year, the most frequent song of celebration for Los Angelenos was Kendrick Lamar‘s forever-triumphant, forever-sneering “Not Like Us.” The Grammy-winning, Hot 100-topping classic diss track from L.A.’s most esteemed modern hip-hop representative rang out across Southern California over the weekend, pulling a combined 1.8 million official on-demand streams across the two days (Nov. 2-3) following the Dodgers’ clinching victory — up 16% from the same period the week before, according to Luminate.

And of course, helping to make the victory and its soundtrack extra sweet: The Blue Jays’ most high-profile celebrity representative at the series was of course the 6 God himself, Kendrick’s 2024 foe Drake. The FOX network even tweeted a mocked-up photo after the game of a trophy-donning Lamar speeding away from Drake on the baseball diamond, right next to the all-caps caption, “THEY NOT LIKE US.” — A.U.

Trending on Billboard

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.

Explore

See latest videos, charts and news

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

Since its 2010 debut, Tame Impala has been one of the biggest names in underground rock, garnering a cult fanbase and huge critical acclaim. But in the past decade, the Kevin Parker-led outfit has leveled up commercially to playing arenas, headlining festivals — and now even scoring crossover pop hits.

Explore

See latest videos, charts and news

Tame Impala’s fifth album Deadbeat debuts at No. 4 on the Billboard 200 this week — one off the No. 3 peak for the project’s best-charting album, 2020 predecessor The Slow Rush — while landing three songs on the Billboard Hot 100, led by the pulsing “Dracula” at No. 33. But while the commercial returns have been impressive, the critics have been less impressed, and fans seem divided on the clubbier, less-guitar-driven set.

How did Tame Impala manage such first-time Hot 100 success so deep into its career? And do we think the criticism of the set is fair? Billboard staffers discuss these questions and more below.

1. Tame Impala’s Deadbeat debuts at No. 4 on the Billboard 200 with 70,000 in first-week units. Are those numbers higher, lower or about what you would have expected for it?   

Katie Bain: Speaking less to the number itself and more to what it cut through to land this No. 4 position, I think we’ve got to consider it a pretty big win that Deadbeat was able to hold its own among new-ish albums by Taylor Swift, Sabrina Carpenter and Cardi B, along with the apparently indefatigable projects like the KPop Demon Hunters soundtrack and Morgan Wallen’s I’m the Problem. If I’m Kevin Parker, I’m feeling good right now. 

Eric Renner Brown: The No. 4 debut is about what I would have expected. Granted, Tame Impala’s last two albums – 2015’s Currents and 2020’s The Slow Rush – debuted at Nos. 4 and 3, respectively, and the band went from headlining theaters to headlining arenas and festivals in that intervening decade (not to mention receiving a Rihanna co-sign and working with Dua Lipa). But something about the phrase “Tame Impala Billboard 200 No. 1” just sounds weird. It’s tough to be too disappointed finishing behind Taylor Swift, Kpop Demon Hunters and Morgan Wallen.

Kyle Denis: This is around what I expected. Post-Currents, Tame Impala’s profile has grown significantly, so I expected Deadbeat to at least match that album’s first week. Nonetheless, the electronic bent of Deadbeat has proven relatively divisive among fans, which would account for a smaller first-week total than 2020’s The Slow Rush. 

Josh Glicksman: It’s in the ballpark of what I would have expected. It’s largely in line with what has been the norm for the psych-pop project over the past decade — Currents reached No. 4 on the Billboard 200 in 2015; The Slow Rush hit a career best No. 3 in 2020. Predictably, it’s another success on wax, becoming Tame Impala’s third consecutive full-length to debut at No. 1 the Top Vinyl Albums chart. Given that Deadbeat contains some of his most popular hits (from a commercial standpoint, at least) I could have seen that first-week total creeping a touch higher, but it’s not anything shocking to me.

Andrew Unterberger: Around what I expected. Mostly, I’m kinda stunned to look back and see that The Slow Rush had a six-digit first week, since in my memory that album had a much more tepid initial reception back in early 2020. (Perhaps it just seems that way in retrospect because the whole world shut down almost immediately afterwards.)

2. Meanwhile, the album now has three Billboard Hot 100 hits — the first three of Tame Impala’s career — led by “Dracula” at No. 33 this week. What do you think is the biggest reason behind the outfit’s newfound Hot 100 success after 15 years of recording? 

Katie Bain: I’m sure there are more reasons than this, but it’s not like Tame Impala has been totally absent over the past few years. He was a huge part of Justice’s “Neverender,” which also gave that duo some of the biggest chart successes of its career thus far. It’s plausible that that song and its ubiquity arguably created a groundswell of new and/or regenerated interest in Tame Impala, especially a dance-focused project from Tame Impala. I suspect that a lot of the Justice fans jumped on Deadbeat and helped delivered it to this level of success. 

Eric Renner Brown: These three Hot 100 hits are among the poppiest, danciest tracks that Tame Impala has ever released. But moreso, this is the culmination of Kevin Parker’s decadelong drift to the center of the pop music universe. Since The Slow Rush, Tame Impala has continued to bring its music to the masses, and the project now represents a certain flavor of in-the-know cool that attracts ravers, stoners, popheads and everyone in between. Tame Impala’s tent is a big one, and it makes sense that this broad audience connected with some of the most accessible Tame music to date. Kyle Denis: I think it’s a combination of “Dracula” being a radio-friendly three-minute song that’s in line with top 40’s recent dance inclinations, the long-tail impact of Rihanna’s 2016 “Same Ol’ Mistakes” cover (the mainstream’s guardian angel of cool gave her seal of approval to the “indie” symbol of cool) and Tame Impala’s graduation to the kind of live act that can play three arena dates in the same city on its latest tour. Tame Impala never really lost its cool factor over the past 15 years, and now it’s reaping the benefits of remaining that signifier for a generation of consumers that values aesthetics above pretty much anything else. 

Josh Glicksman: I don’t know that there’s always a cut-and-dried answer to these sorts of things. Sometimes an act just finds the right pocket of momentum on streaming services. That said, I would point to how prevalent Kevin Parker has been in working with A-listers in recent years, and particularly to his intensive behind-the-scenes efforts on Dua Lipa’s Radical Optimism. Of course, collaborating with star-studded artists is nothing new for him, but it’s totally plausible to me that the exposure he got from producing such a large chunk of that album unlocked a totally new group of fans — and one that knows how to launch hits up the charts.

Andrew Unterberger: A less-competitive streaming market in recent weeks certainly helps, but clearly Tame Impala has been majorly embraced by streaming audiences — basically, younger audiences — in a way folks probably never would’ve guessed when the band was best known for its psychedelic guitar-rock mini-epics. Kevin Parker & Co. have been close to making this leap for a long while now, and the catchy, lightly spooky “Dracula” is the right song at the right time to put them over the top.  3. Does “Dracula” seem like a long-lasting breakout hit to you, or do you think its performance will recede along with the momentum from the new album release?  

Katie Bain: “Dracula” is a groovy little butt-shaker, but I don’t think it’s the best song on the album or even the best Tame Impala song on the Hot 100 right now. For me that’s “My Old Ways,” which enters this week at No. 56 and is probably my favorite song on Deadbeat. I’ll be curious to see how the chart success of these two ultimately compare. “Dracula” has the catchier melody, but I don’t necessarily see it becoming part of the Tame Impala canon. 

Eric Renner Brown: Along with “Loser,” “Dracula” is the catchiest song on Deadbeat. It’s also the most Tame Impala song on Deadbeat – something that would be legible to a Currents-obsessed time traveler from 2015. Will those factors make for an enduring chart hit? Time will tell, though radio promotion and the just-begun Tame Impala tour will likely continue to give this song juice. So will its savvy timing: props to Parker and his team for releasing an earworm of a single named after the most famous vampire just as spooky season ramped up.

Eric Renner Brown: As someone who has been a Tame fan dating back to its 2010 debut, Innerspeaker, I feel comfortable saying that Deadbeat is the weakest entry in its catalog to date. But, in a sterling catalog that ranks with the best of the last 15 years, “weakest” shouldn’t be conflated with “bad.” Deadbeat is a fine album where Parker tries out some new things – always commendable for an artist of his prominence.

I think critics have been cold toward Deadbeat for a few reasons. For one, many rock critics have long yearned for the band to return to its days as a true psych-rock group; over the weekend, Parker posted screenshots of a review of Currents, Tame’s first true foray into dance-adjacent music that’s now widely considered a classic, that’s strikingly similar in tone to the critiques of Deadbeat. Another driver: Tame Impala is far from the first critical darling to have the music press turn against it once it cultivates a bigger audience and more widespread popularity. It’s also possible that Parker’s amalgam of psych-rock and dance music has deterred each genre’s most intense fans – it’s not psych-rock enough for the psych-rockers and it’s not dance-fluent enough for the dance purists. Kyle Denis: I think it’s a lasting hit. The song was already steadily gaining traction across socials prior to the album’s release, and between the full project’s availability and the ongoing Deadbeat Tour, “Dracula” should stick around on the Hot 100 for at least a few more weeks until the holiday songs start creeping in. 

Josh Glicksman: Really depends how you define long-lasting! I do see it sticking around on the Hot 100 at least until the usual surge of holiday hits take over the chart. It’s a fun song and one that can very easily plant firm roots at alternative radio — and I wouldn’t be surprised to see it cross over to a top 40 format, either. Do I think it’s a breakout hit in the sense that it’s ever going to be a top two or three song during his live set? Perhaps not. But commercially, I think this will have its fangs sunk into the charts for a lengthy bite of time.

Andrew Unterberger: Yeah, this song is gonna be around for a while — not “Lose Control” a while, certainly, but it’s not gonna just drop off in the next few weeks. And just wait till it gets the Halloween weekend bump in a couple chart weeks!

4. While Tame Impala has never had more of a chart presence, its mainstream popularity seems almost inversely related to its critical acclaim, which is possibly at its lowest point on this new album. Does the music feel lesser or compromised to you, or are the critics being unfair or just misunderstanding the new album?  

Katie Bain: Quite a few critics really hate this album and have offered a plethora of well-reasoned arguments as to why. I’m reticent to say that anyone is misunderstanding, and I agree that if this album was attempting to reflect a facet of the underground dance scene, the results are fairly middle-of-the-road. But I often like middle-of-the-road, and I’m not offended by this album as an electronic music effort or otherwise. Would I like to see it go harder? For sure. Maybe there will be a remix album edition. 

Kyle Denis: I think critics are being unfair and a bit grumpy. Yes, Deadbeat is a notable sonic shift from Tame Impala’s core sound, and, yes, the album is imperfect. But it’s still a mostly enjoyable listen that demands new things from Tame Impala listeners, which is something I’m never upset at an album for doing. 

Josh Glicksman: I think there’s some unfair groupthink at play here from critics: the highest highs of Deadbeat may not reach the same ceilings as his past work, but by and large, the album is really solid and plenty in line with what fans have come to love about Tame Impala. Again, working so intensively on a project like Radical Optimism may have tilted this album in a more pop-leaning direction than prior work, but I certainly don’t think Parker made any compromises here worthy of hanging his head. Rising popularity can often initiate a footrace for who can be first to snub their nose; sometimes, it’s okay if the mainstream thing is also good!

Andrew Unterberger: Album rules, calm down everyone.  5. The release schedule has been conspicuously quiet in the past three weeks, as seemingly no one has been interested in trying to make an impression in a pop landscape still so thoroughly dominated by the new Taylor Swift album. Does this Tame Impala first-week performance show to you that some artists might actually benefit from dropping new stuff at this point? Or would it have done even better without being in Showgirl’s shadow?  

Katie Bain: I mean, anything released in the same timeframe as a Swift album must innately be an exercise in managed expectations. But releasing around Life of a Showgirl is also an opportunity, given that other artists are just entirely avoiding dropping albums. Tame Impala was never going to win this matchup, but it follows logic that Deadbeat is doing as well as it is — given that, besides one giant competitor, the playing field is fairly empty. And I don’t think there’s necessarily a ton of crossover between Swift fans and Tame Impala fans, so Parker can corner his own sector of the market, as we’re seeing. 

Eric Renner Brown: Tame Impala could’ve posted a career-best No. 3 debut if Swift wasn’t in the equation. Then again, in this alternate reality, another higher-profile artist might have released the same week as Tame, taking that top slot. Generally, I don’t think an artist like Tame Impala should worry too much about this type of gamesmanship. Tame Impala is huge, but still a fraction as popular as the world’s biggest pop acts, something I’d expect Parker understands and has come to terms with. Kyle Denis: I’m not sure that there’s enough overlap between the T-Swift and Tame Impala fan bases for that to even matter. I think Deadbeat would have probably performed the same a few more weeks removed from Showgirl. I think records like Demi Lovato’s It’s Not That Deep would likely have performed a bit better outside of Showgirl’s shadow, since those two artists are fighting for a more similar sect of listeners than Swift and Tame Impala. 

Josh Glicksman: Sure, steer clear of the same release date, but otherwise, I’d say there’s no reason to be shoving new releases back weeks and months. After all, new plans could easily be derailed by an unexpected surprise release, deluxe component, etc. It loosely reminds me of the success that “drivers license” had several years ago: What was long thought to be a no-fly zone at the very start of year following the holidays became an enormous opening for Olivia Rodrigo, and one that changed the thinking behind January releases. Less competition, more opportunity!

Andrew Unterberger: Personally, I think this is a very good time for rising pop artists to get in the mix — less pressure to deliver a top debut, and plenty of opportunity to grab attention from fans who are ready to move on (or at least temporarily be distracted) from all the Taylormania. Just ask Olivia Dean.

Trending on Billboard

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.

Explore

See latest videos, charts and news

This week: Ace Frehley’s death sends fans to his solo and KISS catalogs, Karol G’s sexy soundtrack becomes a new viral hit and an unkillable ’90s karaoke staple still has it goin’ on.

Spaceman Rides Again: KISS, Solo Ace Frehley Catalogs Way Up in Streams & Sales

The rock world was shaken by the sad news last Thursday (Oct. 16) that Ace Frehley, lead guitarist and occasional singer for rock legends KISS, had died at age 74 — following a brain bleed, which came as a result of a fall in his home studio, and led to him being put on (and ultimately taken off) life support. The Rock and Roll Hall of Famer, also known as “The Spaceman” or “Space Ace,” was considered one of the greatest guitarists of his generation, and one of the great six-string showmen of all time.

Following his death, there was an outpouring of grief and love for Frehley, and a surge of renewed streaming interest. In the three days after Frehley’s passing (Oct. 17-19), the KISS back catalog racked up nearly 6.8 official on-demand U.S. streams — a gain of 187% from the three-day period before it (Oct. 13-15), according to Luminate — while also selling nearly 4,500 digital songs, a 1,664% rise from the previous period.

Unsurprisingly, the biggest of those song gains came courtesy of the 1978 Billboard Hot 100 No. 13 hit “New York Groove.” (Though credited on the chart to Frehley solo, the song is credited to the full KISS in Luminate — as its self-titled parent album was technically a band release, with all four of the group’s members famously releasing solo efforts under the KISS umbrella on the same day.) “Groove” amassed 318,000 streams and sold over 700 copies over that period, gains of 530% and 4,217%, respectively.

And while apart from “Groove,” Frehley never had a tremendously prolific solo chart profile, fans also headed back to his solo stuff after his passing. The guitar great’s solo catalog collected 586,000 streams and nearly 800 songs sold over that period, gains of 2,940% and 5,140%, respectively. — ANDREW UNTERBERGER

Karol G’s Steamy ‘Victoria’s Secret Fashion Show’ Performance Boosts ‘Ivonny Bonita’ 

Karol G got her wings at the 2025 Victoria’s Secret Fashion Show, and so did “Ivonny Bonita,” a song from her Tropicoqueta album. 

The Latin superstar performed the opening track from her latest LP, released in June, at the Oct. 15 show, and her sultry performance quickly gained traction across social media. The song had already been a popular sound on TikTok amongst the edit community, but the VSFS performance kicked its streaming increases into high gear. Across the first four days of last tracking week (Oct. 10-13), preceding the fashion show, “Ivonny Bonita” earned over 366,000 official on-demand U.S. streams, according to Luminate. Across the first four days of this tracking week (Oct. 17-20) following the fashion show, the track jumped over 204% in streaming activity to 1.11 million official streams. The official YouTube upload of Karol’s performance has earned over 1.1 million hits in four days. 

Notably, Karol G is also the leading female nominee at the 2025 Billboard Latin Music Awards (10), which will air live via Telemundo on Oct. 23 at 8 p.m. ET from Miami, Fla., coinciding with Latin Music Week. — KYLE DENIS

4 Non Blondes: 33 Years and Still Going ‘Up’

As anyone who’s spent enough time around a jukebox or karaoke machine knows, there are few ’90s hits more undying than 4 Non Blondes‘ 1992 alt-rock power ballad “What’s Up?” The song, a No. 14 Hot 100 hit in 1993, has delighted and tormented pop and rock fans in nearly equal measure for over 30 years now — and in 2025, the song seems to somehow have just as much cultural currency as ever.

In September, “What’s Up?” was heavily interpolated by guest singer Lizzo for the hook and quasi-bridge to Cardi B’s Am I the Drama? song “What’s Goin On” — the title, of course, that people have been incorrectly (albeit understandably) calling the original for the entire time it’s been popular. Then, in recent weeks, the song has exploded on TikTok as part of a mashup with Nicki Minaj’s “Beez in the Trap,” going so viral that SNL cast member Marcello Hernandez and recent host and musical guest Sabrina Carpenter even filmed a short promotional video to it before last Saturday’s episode.

All this has resulted in the song — which already regularly pulls over two million official on-demand U.S. streams a week — rising even further in recent weeks. Last tracking week (Oct. 10-16), it garnered 2.6 million streams, a gain of 11% from the week before. And this tracking week, it’s gotten off to an even hotter start, racking up 901,000 streams across its first two days (Oct. 17-18), up 20% from the same period last week. – AU

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.

Explore

See latest videos, charts and news

See latest videos, charts and news

This week: Sly & the Family Stone’s streams are way up following the passing of the group’s iconic bandleader, Coldplay sees a heartbroken deep cut go viral for its frontman’s rumored real-life heartbreak, Beyoncé gets a bump for a song she’s not even playing on tour and more.

Sly & The Family Stone’s Streams Up 563% Following Sly Stone’s Death

The legendary Sly Stone died earlier this week (June 9) at age 82, leaving behind a seismic impact on the worlds of funk, rock and soul. Though sadly brief in his run as a prominent recording artist – the original lineup of Stone’s signature outfit Sly & the Family Stone fell apart within a decade, and Stone became reclusive not long thereafter – his imprint on future generations of artists remains indelible, with a pair of undisputed classic albums (1969’s Stand! and 1971’s There’s a Riot Goin’ On) and countless classic singles. 

Trending on Billboard

Unsurprisingly, following his death, fans flocked to streaming services to revisit Sly & the Family Stone’s most beloved works. His catalog combined for 2.5 million U.S. on-demand audio streams over Tuesday and Wednesday, the two days following his death – up 563% from 385,000 streams over the same period the previous week, according to Luminate. Among the most-streamed classics across those two days: “Everyday People” (up 168% to 326,000 streams, following a Cher-and-Future-assisted bump two weeks ago), “Dance to the Music” (up 408% to 174,000) and “Thank You Falettin Me Be Mice Elf Agin” (up 378% to 169,000). – ANDREW UNTERBERGER

Coldplay’s ‘Sparks’ Receives a Streaming Boost Post-Breakup Reports

Last week, news broke that Coldplay’s Chris Martin and actress Dakota Johnson had reportedly called it quits after eight years of on-and-off dating. Although the couple has not publicly commented on the reports, Coldplay has spent the past few weeks playing stadiums as part of their years-long Music of the Spheres tour — and Martin’s performance of the heart-wrenched song “Sparks” during the shows has inspired some post-breakup gawking, and a significant streaming boost.

“And I know I was wrong/ But I won’t let you down/ Oh yeah I will, yeah I will, yes I will,” Martin sings on the track from Coldplay’s 2000 debut Parachutes, which he performs in a stripped-down version on acoustic guitar during the stadium tour. After the band performed for two nights at Las Vegas’ Allegiant Stadium last week and at Denver’s Empower Field at Mile High on Tuesday night (June 10), TikTok clips began to surface focused on Martin’s pained facial expression during the song’s chorus, with one popular clip captioned, “Homie is heartbroken.”

Whether it’s capturing true feelings or just a projection, the viral boost has translated to streaming services, where “Sparks” earned 1.5 million U.S. on-demand audio streams on June 9-10 — a 64% increase from its streaming total during the previous Monday and Tuesday, according to Luminate. We’ll see if the 25-year-old track can keep surging, although Coldplay will play a pair of stadium shows in El Paso this weekend — and many phones will once again be trained on Martin during one of the show’s more emotional moments. – JASON LIPSHUTZ

YG Eyes Comeback Hit with Shoreline Mafia-Assisted “Hollywood” 

With their fast-rising new Hollywood single, Cali rap stars YG and Shoreline Mafia (currently comprised of OhGeesy and Fenix Flexin) are looking to keep the West Coast’s Kendrick Lamar-fueled momentum going for the rest of the year. 

The new single, which dropped on May 23, appears to be another (more upbeat and danceable) taste of the forthcoming project YG teased with March’s “2004.” Featuring an assist from Shoreline Mafia and bars directed at Joey Bada$$ (“All the pretty hoes gon’ play this/ Joey Bada$$ gon’ hate this”), “Hollywood” is an easy song of the summer contender that’s quickly taken over socials. On TikTok, the official “Hollywood” sound has garnered over 10,000 posts, thanks to the music video’s viral Storm DeBarge-crafted choreography. 

According to Luminate, “Hollywood” earned 3.28 million official on-demand U.S. streams in its first full week of release (May 23-29). The following week (May 30-June 5), that figure jumped by 53.5% to just over five million official streams. On the Jun. 14-dated Bubbling Under Hot 100, “Hollywood” debuted at No. 3, a promising sign for the rest of its chart run. Should its growth continue, “Hollywood” could land YG his first Hot 100 entry as a lead artist in nearly three years. – KYLE DENIS 

Nearly a Decade Later, Beyoncé’s ‘Lemonade’ Fan Favorite Gets Its Day in the Sun 

“All Night,” the sweeping ballad that wraps up Beyoncé’s forgiveness narrative on her blockbuster 2016 Lemonade LP, has been a fan-favorite for nearly ten years. Now, thanks to a viral Cowboy Carter mash-up, it’s become something of a streaming hit. 

On April 14, TikTok user @cowboydanny posted a mashup of “All Night” and Cowboy Carter’s “Tyrant,” laying the latter’s lead vocals over the former’s instrumental and drawing a connection between the songs’ shared theme of redemption. The moving mash-up quickly went viral on TikTok amongst the Beyhive, eventually spreading to the platform at-large once the Cowboy Carter Tour kicked off two weeks later on April 28. On TikTok, @cowboydanny’s original post has collected over one million views, while the accompanying sound plays in around 35,000 posts. On YouTube, the creator’s official upload of the mashup boasts nearly 640,000 hits. For the past eight weeks, “All Night” has seen a steady, gradual resurgence on streaming as a new generation of consumers discover the Lemonade visual album for the first time. 

During the week of April 11-17, “All Night” earned just under 940,000 official on-demand U.S. streams, according to Luminate. Six weeks later (May 30-June 5), that number ballooned by 76% to over 1.65 million official streams. Even though Beyoncé does not perform “All Night” on the Cowboy Carter Tour (she does, however, perform “Tyrant”), the song is still connecting with listeners and gaining new fans nine years later. – KD