Dolly Parton built an unparalleled career in country music, charting more than 100 hits on Billboard’s Hot Country Songs ranking and earning 25 No. 1s — the most among women all-time. But Parton, who died Tuesday in Nashville at age 80, also ventured into other genres, even finding success on Billboard’s dance charts.
Parton’s first foray into dance music came in 1978, when she released the disco-influenced country album Heartbreaker. The set reached No. 5 on the Top Country Albums chart (though it long predated the 2001 launch of Billboard’s Top Dance Albums chart).
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Heartbreaker generated Parton’s first dance hit in the double-sided single “Baby I’m Burnin’”/“I Wanna Fall in Love,” which peaked at No. 15 in early 1979 on the (now-inactive) Dance Club Songs chart.
Parton returned to Dance Club Songs in 1981 with another paired entry, “9 to 5”/“House of the Rising Sun.” The former served as the famed theme to the film of the same name, in which Parton co-starred, while the latter was her take on the traditional folk ballad.,
She made three more appearances on Dance Club Songs: with “Potential New Boyfriend” in 1983, bolstered by a nearly six-minute extended dance mix; her 1997 cover of Cat Stevens’ “Peace Train,” which received several dance remixes, including one featuring Ladysmith Black Mambazo; and, following a two-decade-plus absence, “Faith,” with Galantis and featuring Mr. Probz, in 2020.
“Faith,” a dance reworking of John Hiatt’s 1987 song “Have a Little Faith in Me,” gave Parton a No. 1 on a dance chart at last, as it topped Dance Airplay in 2019. It also reached No. 10 on Hot Dance/Electronic Songs.
When Parton announced “Faith” at the Grand Ole Opry in Nashville in 2019, she noted that she was prioritizing the release of positive, uplifting music. “This world is just so dark and ugly and awful … so I’m going to make it my business to try to do songs that are more uplifting, not all Christian-based songs, but songs about better things,” she said. “Do better, and have a little more love, a little more light and don’t be so dark and dirty.”
During her lifetime, Parton topped five of Billboard’s currently published radio charts: Adult Contemporary, Country Airplay, Christian Airplay, Christian AC Airplay and Dance Airplay.
Parton’s genre-spanning exploration continued through her most recent studio album, Rockstar, in 2023. The set, her 49th studio release, earned the icon her first No. 1 on a Billboard rock chart when it spent a week atop the Top Rock Albums list. It also became her highest-charted entry on the Billboard 200 when it debuted and peaked at No. 3. The collection includes covers of rock classics and collaborations with many of the genre’s biggest names, including Lynyrd Skynyrd on “Free Bird,” Joan Jett on “I Hate Myself for Loving You” and Paul McCartney and Ringo Starr on “Let It Be.”
KATSEYE lands its first No. 1 album on the Billboard 200 as WILD debuts atop the list (dated Aug. 29). The set earned 170,000 equivalent album units in the United States in the week ending Aug. 20, according to Luminate. WILD marks the group’s second top 10-charted effort, following the No. 4-peaking Beautiful Chaos in 2025.
WILD is the fourth No. 1 album by an all-woman group this decade. It follows TWICE’s With YOU-th (2025), NewJeans’ 2nd EP ‘Get Up’ (2023) and BLACKPINK’s Born Pink (2022). Before Born Pink, the last No. 1 album by an all-woman group was Danity Kane’s Welcome to the Dollhouse in 2008.
WILD also lands KATSEYE its biggest week by equivalent album units earned, and by pure album sales (145,000). Further, WILD tallies the largest week by units for an all-woman group since the Billboard 200 began ranking by units in December 2015. WILD additionally has the largest pure album sales week for an all-woman group in more than three years, since TWICE’s Ready To Be: 12th Mini Album debuted with 146,000 (March 25, 2023).
Also in the top 10 of the latest Billboard 200, Phoebe Bridgers gets her first top 10 as Lost Weekend bows at No. 2 with both her biggest week ever by units and by pure album sales.
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 2,500 ad-supported or 1,000 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Aug. 29, 2026-dated chart will be posted in full on Billboard‘s website on Aug. 25. For all chart news, follow @billboard and @billboardcharts on both X and Instagram.
Of WILD’s 170,000 first-week equivalent album units, album sales comprise 145,000 (it debuts at No. 1 on the Top Album Sales chart), SEA units comprise 24,500 (equaling 26.95 million on-demand official streams of the set’s songs; it debuts at No. 19 on Top Streaming Albums) and TEA units comprise about 500.
WILD’s album sales were largely driven by its availability across more than 30 CD and vinyl variants (all containing collectible items such as photocards, with some items randomized, including signed editions; some editions also contain bonus tracks).
WILD was preceded by a pair of Billboard Hot 100-charting cuts: “Pinky Up” (No. 28 peak in April) and “Animal” (No. 24 on the Aug. 8 chart).
Phoebe Bridgers collects her first top 10-charted set as Lost Weekend debuts at No. 2 with 118,000 equivalent album units earned — the singer-songwriter’s best week ever by units. Of that sum, traditional album sales comprise 77,000 (her largest sales week; it debuts at No. 2 on Top Album Sales), SEA units comprise 41,000 (equaling 41.6 million on-demand official streams of the set’s songs, it debuts at No. 7 on Top Streaming Albums) and TEA units comprise a negligible sum. First-week album sales were bolstered by the set’s availability across 16 physical editions (CD, vinyl and cassette).
Lost Weekend is Bridgers’ first solo studio album since 2020’s Punisher. In the years since, she formed the supergroup Boygenius with Julien Baker and Lucy Dacus. The trio released The Record in 2023, which reached No. 4 on the Billboard 200.
The Nos. 3-9 titles on the latest Billboard 200 are all former No. 1s. Stray Kids’ THIS & THAT falls 1-3 in its second week, earning 82,000 equivalent album units (down 78%). Olivia Rodrigo’s you seem pretty sad for a girl so in love dips 3-4 (70,000, down 3%); Ella Langley’s Dandelion descends 4-5 (nearly 70,000, down 1%); Morgan Wallen’s I’m the Problem shifts down 5-6 (67,000, down 5%); Noah Kahan’s The Great Divide falls 6-7 (56,000, up less than 1%); Ariana Grande’s Petal slides 2-8 (51,000, down 38%); and Drake’s ICEMAN is a non-mover at No. 9 (43,000, down 5%).
Plus, Olivia Dean’s The Art of Loving returns to the top 10, up one slot to No. 10 with 41,000 units (up 11%).
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.
Phoebe Bridgers tops a Billboard airplay chart for the first time as a solo artist, ruling the Aug. 29-dated Adult Alternative Airplay survey with “Lost Boys.”
The song rises 2-1 in its eighth week on the ranking, following the Aug. 14 release of parent album Lost Weekend.
Bridgers first reached Adult Alternative Airplay in 2017 with “Motion Sickness,” which rose to No. 26 in early 2018. Prior to “Lost Boys,” she logged her best peak with “Sidelines,” which hit No. 12 in 2022.
Bridgers does, however, have previous No. 1 success on Adult Alternative Airplay. Boygenius, her group with Julien Baker and Lucy Dacus, led for seven weeks in 2023 with “Not Strong Enough”; follow-up “Cool About It” reached No. 2.
“Lost Boys” makes Bridgers the second act to hit No. 1 on Adult Alternative Airplay for the first time in 2026, following Chris Stapleton, whose duet with Mumford & Sons, “Here,” led for two weeks in July. She’s the first first-timer to do so without any other acts since St. Paul & the Broken Bones reigned with “Sushi and Coca-Cola” in October.
Concurrently, “Lost Boys” lifts 23-22 on Alternative Airplay; her previous best, “Kyoto,” peaked at No. 25 in 2021 (boygenius’ “Not Strong Enough” hit No. 11). On the all-rock-format, audience-based Rock & Alternative Airplay chart, “Lost Boys” climbs 21-17 with 2.2 million audience impressions, up 13%, in the week ending Aug. 20, according to Luminate.
“Lost Boys” is the lead single from Lost Weekend, Bridgers’ third studio album, which is set to impact the latest Billboard album charts. All lists dated Aug. 29 will update on Billboard.com on Tuesday, Aug. 25, with the top 10 of the Billboard 200 to be revealed Sunday, Aug. 23.
Phoebe Bridgers finds herself at No. 1 on the ARIA Albums Chart with Lost Weekend, her first leader in Australia, while KATSEYE roars to the summit on the national singles chart with “Animal.”
Lost Weekend opens atop the latest chart, published Friday, Aug. 21, besting the No. 12 peak position for the U.S. singer, songwriter and guitarist’s sophomore album from 2020, Punisher, and the No. 3 for 2023’s The Record, her recording with indie rock “supergroup” Boygenius.
Also new to the ARIA Chart is Peking Duk’s Paradise, at No. 6. Paradise is the first studio album from the ARIA Award-winning Canberra EDM duo, formed by childhood mates Adam Hyde and Reuben Styles. That entry beats the No. 12 peak for the Duk’s Reprisal EP from 2018.
British act Jungle shines on the new all-genres chart with Sunshine, new at No. 9, for a new career high. Jungle has now collected three top 20 entries, including 2014’s Jungle (No. 20) and 2021’s Loving In Stereo (No. 10).
Brisbane, Queensland singer and songwriter Kate Miller-Heidke returns to the chart with The Kiss And The Abyss, her sixth studio album. It’s new at No. 11. Miller-Heidke competed for Australia in the 2019 Eurovision Song Contest with “Zero Gravity” and is currently a coach and judge on The Voice Australia.
Goth-rocker Marilyn Manson sees his new album, One Assassination Under God – Chapter 2, open its account at No. 13. It’s Marilyn Manson’s 13th studio album, 10 of which have reached the top 20, with two going all the way to No. 1 (Mechanical Animals in 1998 and We Are Chaos in 2020).
Grinspoon frontman Phil Jamieson bows on the ARIA Chart with his second solo album, 10Charlie, new at No. 18. As part of the ARIA Award winning rock act band, he has nine top 10 appearances on the tally. Jamieson was recently in the news for having to cancel his PJ Air solo tour of his native Australia after an onstage mishap which resulted in a fracture to his spine.
Meanwhile, Melbourne’s Grace Cummings scores a No. 23 debut with Bloodhorse!, for her first appearance on the ARIA Chart.
Prolific Aussie prog-rock band King Gizzard & The Lizard Wizard makes a top 40 splash with Alien Metal. It’s new at No. 26. According to ARIA, King Gizz, as they’ve affectionately known here, has notched more than 25 top 50 entries across studio and live albums and EPs.
In a busy cycle for new album releases, Sydney punk rock band The Hard-Ons’ collaboration with U.S. punk rock singer Jerry A (Hards-Ons/Jerry A at No. 35), Irish pop-rock act The Script (The User’s Guide to Being Human at No. 42) and Australian indie folk and roots duo Sunday Lemonade (The Forest To The Sea at No. 43) make an impression.
Over on the ARIA Singles Chart, KATSEYE snag their first No. 1 as “Animal” leaps 13-1. Co-written by Ed Sheeran, KATSEYE performed the track last week on The Tonight Show Starring Jimmy Fallon, ahead of the release of their third EP Wild. Until now, the girl group’s best performing track was “Pinky Up,” which topped out at No. 19 earlier in 2026, and was performed live to fans in these parts on a whirlwind promo trip to Australia in May.
Finally, Tame Impala bags a second top 10 this year as “Loser” improves 11-7, thanks to its placement in the hit MCU film Spider-Man: Brand New Day. Tame Impala’s “Dracula” peaked at No. 4 and sits at No. 17 this week. Both tracks are lifted from Deadbeat, the fifth studio album from Kevin Parker’s psychedelic pop project, which peaked at No. 2 on the ARIA Chart.
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.
This week: Karol G may be on her way to a slow-building breakout hit from her latest semi-surprise album, while Belly Gang Kushington’s mainstream crossover continues and fans mourn the late Hayden Panettiere.
Karol G Has a Growing Hit Collab From Her New Album — And It’s Not One of the Superstar Team-Ups
Following the Aug. 7 release of No Me Arrepiento de Sentir Tanto, her sixth full-length studio album, Karol G scored her fifth No. 1 on Billboard’s Top Latin Albums chart.
The deeply personal and sentimental project sits at the opposite end of the mood and emotional spectrum from her 2025 release, Tropicoqueta. The album’s standout collaborations with Bruno Mars and Drake both entered the charts. “Ahí,” featuring Drake, debuted at No. 1 on the Hot Latin Songs chart, dethroning Bad Bunny’s “DtMF” after a record 72 weeks at the top. “Still,” her collaboration with Bruno Mars, also scored the set’s highest debut on the Billboard Hot 100, entering at No. 41.
It’s not the Colombian star’s collaboration with either of those household-name artists, however, that’s really taken off from the album on social media. That would be “BbY WOW,” with Spanish artists Judeline and Risowsky, which has emerged as a fan favorite. The track propelled both Spanish newcomers into the top 10 with their first Billboard-charting entry, opening at No. 5 with 4.5 million U.S. streams. And “BbY WOW” has been rising in streams since its release, totaling over 2.4 million official on-demand U.S. streams over the first three days of this tracking week (Aug. 14-16) — a gain of 28% over the 1.9 million streams the song received its opening weekend.
While the album’s moody and sorrowful tone — centered on heartbreak — is evident, “BbY WOW” stands out as one of the most danceable songs on the 14-track project. The song, which describes someone’s surprise at how much they like something, features an interpolation of the Coolie Dance Riddim, which has also been used as the soundtrack for backstage content and in hit songs such as Pitbull’s “Pull Up (The Culo Remix)” and Nina Sky’s “Move Ya Body.” – CATA BALZANO
Belly Gang Kushington Adds Another Hit to His Collection, Thanks to 21 Savage & Hilarious TikTok Trend
After being named Billboard’s Hip-Hop Up-And-Comer for the Month for March and earning breakthrough hits with “Friend Do” (with YK Niece) and “Tell Me Now” (with Dess Dior), ATL rapper Belly Gang Kushington is eyeing another potential smash.
According to Luminate, his 21 Savage-assisted “WTF Goin” has jumped 37% in official on-demand U.S. streams over the past seven weeks. The biggest gains have come over the past two weeks thanks to a pair of viral TikTok trends.
On July 31, user @/notkaitlynntttt shared a video of her and her girlfriends twerking in a line, and that clip has since garnered over 1.7 million views and nearly 260,000 likes. In the first week following that video and its subsequent virality (July 31-Aug. 6), “WTF Goin” collected 1.495 million streams, up 25% from the week prior.
By Aug. 9, user @/he2hollywooddd shared a “male version” of the trend, trading the twerking for tripping out and hip thrusts. That clip has racked up over 617,000 views and 82,000 likes. During the week of Aug. 7-13, “WTF Goin” streams spiked a whopping 88% to over 2.8 million official on-demand streams. The official “WTF Goin” TikTok sound currently plays in over 653,000 clips.
With Belly Gang’s momentum continuing to build and the imminent football season promising a touchdown “celly” dance or two, “WTF Goin” certainly has room to grow as we enter the fall. — KYLE DENIS
‘Nashville’ Cast Streams Explode Following Hayden Panettiere’s Shocking Death at 36
Hayden Panettiere’s death this Sunday (Aug. 16) shook the entertainment world when it was revealed earlier this week, with an outpouring of grief from fans and peers over the 36-year-old’s far-too-early death. Most of the memories shared were of Panettiere as an actress, for her celebrated roles in sequels to Scream and Bring It On or as cheerleader Claire Bennet at the center of NBC’s late-’00s sci-fi sensation Heroes. But in one of her signature performances — as fictional rising country star Juliette Barnes in the ABC (later CMT) musical drama Nashville — she also did a fair amount of singing.
So for many of those mourning the late star, it was a logical time to head to some of that show’s soundtracks of in-universe Barnes smashes like “Love Like Mine” and “Telescope.” Consequently, the collective streams for Nashville Cast (which all the soundtrack songs were collectively credited to) totaled 178,000 official on-demand U.S. streams on the day following her death (Aug. 17) — a gain of 367% from the previous Monday, according to Luminate.
And while Panettiere’s recording catalog outside of Nashville was not extensive, she did have a couple songs that appeared in movies that also received significant streaming bumps over the same time period — like “I Fly” from Ice Princess (up over 4,000% to 7,000 streams) — as well as a cover of “Cruella de Vil” from 101 Dalmatians, recorded for 2007’s Disneymania 5 compilation (up nearly 1,900% to over 2,000 streams). – ANDREW UNTERBERGER
Viral A Cappella Clip & Romantic TikTok Trend Boost Streams for Cody Johnson Deep Cut ‘Take Me Back (Leave Me There)’
Earlier this summer (June 26), country star Cody Johnson unleashed his tenth studio album, Banks of the Trinity. The LP’s fourth track, “Take Me Back (Leave Me There),” isn’t an official radio single, but a viral a cappella performance video and romantic TikTok trend have given it a major streaming boost.
Over the past five weeks, “Take Me Back” vaulted 150% in streaming activity. Back on June 4, about a month after he first released the song as a promotional pre-release single, Johnson shared an a cappella rehearsal video, which earned over 2.2 million views and 381,000 likes. By July 31, the official Warner Records Nashville TikTok account shared another a cappella clip, with this one being filmed against a gorgeous sunset. That post earned over half a million views, making it the third-most viewed TikTok on the Warner Records Nashville account. The following week (July 31-Aug. 6), “Take Me Back” garnered 2.89 million official on-demand U.S. streams, up 13% from the week prior, according to Luminate.
A larger TikTok trend built around romantic couples reflecting on their longevity has also picked up steam over the past two months, with some clips hitting the one-million view mark. Furthermore, about two weeks ago (Aug. 2), Boyz II Men — who joined Johnson for a surprise performance of “On Bended Knee” during his Stagecoach set this spring — shared an a cappella rendition of the sweet ballad to their official TikTok account, collecting 24,000 views. During the week of Aug. 7-13, “Take Me Back” jumped another 24% to over 3.59 million streams.
With Banks of Trinity holding strong on the Billboard 200 (it ranks at No. 150 on the Aug. 22-dated chart), CoJo just might have another hit on his hands. – KD
Throughout her career, Karol G has typically taken a couple of years between her albums. So, when she announced her sixth studio set would arrive just over one year after her last album, 2025’s Tropicoqueta, it was a bit of a surprise. Especially considering she announced the new album just one week before its Aug. 7 release.
No Me Arrepiento de Sentir Tanto debuts at No. 8 on the all-genre Billboard 200 — her fourth top 10 debut. The album opens with 50,000 equivalent album units earned in the United States in the tracking week of Aug. 7-13, according to Luminate. Meanwhile, the set debuts at No. 1 on Top Latin Albums, her fifth straight debut at the chart’s summit.
Album standouts include the Drake collaboration, “Ahí,” which debuts atop Hot Latin Songs, and the Bruno Mars-assisted “Still,” which earns this album its highest-charting Hot 100 entry, as it enters at No. 41.
Both the album and “Ahí” dethrone Bad Bunny on Top Latin Albums (ending his 77-nonconsecutive-week reign) and on Hot Latin Songs (ending his 72-nonconsecutive-week-reign).
So, how do those No Me Arrepiento de Sentir Tanto stats compare with our expectations? And will the album’s “Ahí” become a lasting chart hit? Billboard staffers discuss these questions and more below.
1. Karol G’s No Me Arrepiento de Sentir Tanto enters the Billboard 200 at No. 8 with 50,000 first-week units. Is that performance better, worse, or about what you expected from it?
Cata Balzano: I’m not surprised it didn’t debut in the top five, given how the announcement unfolded. It felt organic and aligned with the growing trend of artists using the opportunity to address thousands of fans and reveal that new music is on the way, often keeping the next project under wraps.
There were only nine days between the announcement on July 29 and the album’s release on Aug. 7. Given how sentimental, personal and introspective the album is, that may have been part of the strategy: releasing it when it felt right, rather than waiting until enough promotion had been done to ensure everyone knew about it and tuned in.
Even so, it still debuted in the top 10 — a testament to Carolina’s status as one of the biggest Latin superstars of the moment. At this point, Carolina does what Carolina wants.
Lyndsey Havens: A bit below! I think of Karol as such a hitmaker, and I thought given the momentum of a headlining Coachella set into her last album Tropicoqueta (which only dropped last summer) into a stadium tour would have warranted a bigger debut week – especially when you consider that she only announced this album a week before its release. But, such a brief rollout runway can equally present opportunities and challenges, and it seems that it was perhaps more of a challenge this time around. That said, she still secured a top 10 debut despite any challenges, which is still cause for celebration.
Isabela Raygoza: Personally, it landed slightly below my expectations — and that’s not to say it’s a bad album! I just think audiences were more accustomed to Karol G’s celebratory, high-energy Latin-driven sound. Opening in the Top 10 of the Billboard 200 with 50,000 units is still a solid result and speaks to the strength of her fan base. But compared with the massive success of Mañana Será Bonito (No. 1) and Tropicoqueta (No. 3), it feels a bit like a soft landing than the blockbuster opening we might have expected.
Sigal Ratner-Arias: Slightly worse. Given the track record of Karol’s last albums and her current stadium tour, I was expecting another top 5 — especially with collaborators as big as Drake and Bruno Mars.
Jessica Roiz: Following her past three albums, Mañana Será Bonito (2023) which debuted No. 1, and both Mañana Será Bonito (Bichota Season) (2023) and Tropicoqueta (2025) at No. 3, I expected No Me Arrepiento de Sentir Tanto to debut in the Top 5 at least. However, a Top 10 debut is not too shabby — and it’s still a remarkable achievement for a primarily all-Spanish-language album.
2. Her last two full-length albums (2025’s Tropicoqueta and 2023’s Mañana Será Bonito) debuted at Nos. 3 and 1, respectively. What do you think is the biggest reason for the shift in this album’s first-week performance?
Cata Balzano: I believe it came down to the marketing. Both Tropicoqueta and Mañana Será Bonito appeared to have larger marketing and promotional campaigns, with months of support across various platforms, including her social media accounts. By contrast, this album arrived on the heels of a major promotional campaign for the Viajando Por El Mundo Tropicoqueta Tour, which became the top marketing priority from the moment La Bichota announced it.
I also believe Tropicoqueta and No Me Arrepiento de Sentir Tanto evoke two completely opposite moods. I’m not sure listeners were ready to move from such a high-energy salsa, merengue and tropical vibe to a low-key, moody “sad girl summer.” That may have also contributed to the shift we saw.
Lyndsey Havens: I always love when an album comes at you fast — and a one-week rollout is surely speedy. But, I think it’s also really difficult to properly set up a project in that amount of time — especially when the artist is amidst a massive tour and perhaps limited in the kind of promotional appearances they can do that would otherwise accompany an album rollout. But I think we also have to take into account the overall inspiration and theme of this album, which boasts a title that translates to “I don’t regret feeling so much.” It is indeed an album of big feels, and as such the tempo is a bit slower and softer than what we’ve come to know from La Bichota. So I think while this album didn’t have as high a debut as her previous two, I’d bet that it may have accomplished more for her emotionally – and that seems to have been the point.
Isabela Raygoza: I think the biggest factor was the rollout strategy. Karol G built anticipation for both Mañana Será Bonito and Tropicoqueta with well-timed teases that aligned with each album’s cultural moment. By contrast, No Me Arrepiento de Sentir Tanto arrived as a sharper left turn: a personal heartbreak record released amid the celebratory, tropical spectacle of her Viajando Por El Mundo Tropitour, complete with fruit-inspired visuals and colorful feathered costumes and headpieces. This latest album is more of a headphone listen than a stadium soundtrack.
Sigal Ratner-Arias: I think the timing for this album wasn’t 100% right. Although I did enjoy it quite a bit, with a much more mellow tone than her previous works No Me Arrepiento doesn’t really feel like a summer album.
Jessica Roiz: She announced this album one week in advance, and truthfully, I feel like nobody was expecting it. She also announced it first to about 50,000 people at a stadium show in Canada, as opposed to making a wider announcement on her social media, where she amasses millions of fans from all over the world.
Meanwhile, for both Mañana Será Bonito and Tropicoqueta, she had an entire promo plan that began at least a month before their releases, creating that expectation and an actual countdown. Also, fans were really eager to find out what she would sing about in both albums: the former spotlighted her healing process following a very public breakup from Puerto Rican rapper Anuel AA, and the latter was created during the time she dated Colombian singer Feid. NMADST shows a now healed, single, and confident Karol embracing her emotions and living in the present.
3. Album track “Ahí,” which features Drake, debuts atop the Hot Latin Songs chart, dethroning Bad Bunny’s “DtMF” after a record 72 weeks at No. 1. Why do you think this is the song to bump him?
Cata Balzano: Not only do we have Drake — who made Billboard chart history this year by becoming the first artist to simultaneously claim the top three spots on the Billboard 200 with a synchronized triple-album release, proving he’s still got it — but he’s also singing in Spanish and putting his own spin on the song by weaving his “New Bestie” verse into the track. It’s the perfect blend of Karol’s romantic reggaetón and Drake’s flirtatious Champagne Papi charisma. For those who understand the lyrics, the song is also deeply relatable: having a love interest while being emotionally unavailable and asking that person to hang in there as you move through the stages of healing after a breakup is the perfect theme for an album that explores heartbreak so profoundly.
Lyndsey Havens: Of course, we have to account for Drake’s clout here. At the very least, I think seeing his name on the tracklist warranted some curiosity listens — especially once word spread he was singing in Spanish, too. But it’s also a genuinely catchy song with a great beat that contrasts some slower moments like the two songs that immediately follow: “Still” and “Final feliz.” I’m pleasantly surprised by this collab, and just as surprised that it was the one to bump Bad Bunny — kudos to you, Karol.
Isabela Raygoza: Drake’s fan base is a huge part of it, but the song also had the novelty of being their first official collaboration with Karol G. “Ahí” is easy to replay, with a flirtatious back-and-forth that makes it earwormy than just another album cut. After 72 weeks of “DtMF” at No. 1, listeners were probably ready for a fresh song with that kind of star power and crossover appeal.
Sigal Ratner-Arias: I attribute this, in large part, to the Drake factor. Drake not only has a huge following in his native tongue, but also among Hispanics. Over the years, he’s been catering to them too with strategic collaborations, including with Bad Bunny (“Mía”, “Gently”), Romeo Santos (“Odio”) and Chino Pacas & Fuerza Regida (“Modo Capone”), among others. Furthermore, it is one of the most upbeat songs on the album, and both artists’ voices complement each other really well.
Jessica Roiz: I mean, it’s Drake…singing in Spanish. Though it’s not his first rodeo singing in Spanish (he previously did so with Bad Bunny on “Mía”), I think his massive star power will always speak volumes…in any language, in any chart.
4. “Still” features the album’s other major collaboration, with Bruno Mars. The song scores the highest Hot 100 debut from the set, entering at No. 41. Does it seem like a growing hit, or will it fade following its debut?
Cata Balzano: I understand why it had its highest Hot 100 debut, because another major global artist is featured on it, but I don’t consider it will become a growing hit. The song, which has Bruno’s DNA in the rhythms and style, shows Karol’s versatility and abiloty to adapt to another artist’s blueprint style, but it doesn’t feel like a hit song that I’d want to have on repeat in my playlist. At least not right now — maybe in the winter, when cozy seasonal blues kick in, I’ll change my mind.
Lyndsey Havens: Bruno Mars has a magic sauce when it comes to collaborations, including more downtempo tracks like this one – look no further than his duet with Lady Gaga, “Die With a Smile,” for proof. While “Still” isn’t an obvious hit to me, especially if I’m comparing it to something a bit more uptempo like “Ahí,” I can totally see it being a slow grower. And I think with time, the lyrics (especially the chorus, on which she sings “’cause I’d still love you/ Even with a broken heart”) will hit even harder. All this song needs is one epic live performance to push it up the chart. Fortunately, they are both pros when it comes to delivering just that.
Isabela Raygoza: I could see “Still” growing, especially with Bruno Mars’ mesmerizing voice and the song’s nostalgic, ’80s-inspired power-ballad sheen. The emotional hook — “I still love you even with a broken heart” — is immediate, and Karol has previously said the song expressed exactly what she was feeling. That said, her English delivery may feel less natural to some English-language-dominant listeners, which could limit its crossover potential; Bruno’s sections are the undeniable standout.
Sigal Ratner-Arias: It’s hard to say. Although this is not Karol’s first song primarily in English — in 2021 she recorded the more upbeat hit “Don’t Be Shy” with Tiësto — I think this song would have worked more on her favor in Spanish. Vocally, I also feel like Bruno Mars really stands out here. But Karol does show a new side of her and new colors of her voice which are sweet to the ear.
Jessica Roiz: I’m not sure how I feel about “Still” quite yet. I was expecting something completely different in terms of rhythm, perhaps a sly funk blended with a provocative reggaetón, but the ‘80s power ballad approach really took me off guard. It gave me “Wedding Singer” vibes at first. The lyrics, I love, the harmonies, I love, and at the end of the day, they are singing about a very relatable topic; however, I’m not sure what its future holds. Instead, I see Kaorl’s “BbY WOW” with Judeline and Rusowksy becoming a growing hit — it’s currently the fan favorite on social media. A bop.
5. Karol joins artists including Taylor Swift and Ariana Grande who have recently released albums amidst a tour. Why or why don’t you think more artists may attempt this as well?
Cata Balzano: It’s such an effective way to deliver the news directly to the target audience. The people attending the tour are the ones spending money and signing up for presale waiting lists to hear the music live, and they’re likely to be the same fans streaming the album and buying its various physical editions, including vinyl. So it makes sense that artists would want to do something special for their fans and give them the news first.
Lyndsey Havens: While fun for fans – especially if the artist incorporates new songs into the set list — I imagine that it’s incredibly difficult for the artist to pull off. At the least, it requires extra time and attention that already seems limited while on a major tour — and at the most, it requires the artist to fluctuate mentalities between more lived in material and music that likely feels much more raw. Depending on the artist, I’d guess that it benefits the tour, by way of generating new buzz, more than the album itself… But of course, artists who are guaranteed a No. 1 debut like Taylor and Ariana can reap the benefits on both ends. I’m really fascinated, and even proud, that Karol went there as well, and do think it could prove to an even wider pool of artists that it can be done.
Isabela Raygoza: I think more artists may try it because touring gives them a built-in audience and a direct way to introduce new music. But it’s also a risky move: the album has to fit the tour’s existing energy, and fans may need time to connect with it. In Karol’s case, releasing a more intimate project during such a colorful, joyous tour makes the contrast especially interesting.
Sigal Ratner-Arias: It may be a good strategy to introduce new songs to the mix while you have your audience’s attention, and people who’ve already seen the show may try to see it again if there’s a real big hit added to the setlist. But most artists may not have the time, the energy or the bandwidth to record and tour the globe simultaneously, so I don’t expect this to be a trend that many will be able to or interested in following.
Jessica Roiz: It’s definitely a trend and I don’t doubt it’s a great strategy, but personally, I don’t think I’ve seen this happening much in the Latin music space. I feel that many artists would rather keep a traditional touring format, such as Romeo Santos and Prince Royce who are touring to promote their joint album and not truly surprising fans with more new music. I’m still curious as to why Karol took this approach for this new album, as opposed to announcing at the end of her trek, but hey, at least she’s spicing up the set list!
Tame Impala and Steve Lacy both enjoy chart splashes in Australia this week, thanks to everyone’s favorite webslinger, Spider-Man.
Kevin Parker’s Tame Impala bags a new peak on the ARIA Singles Chart with “Loser” (via Columbia/Sony), re-entering at No. 11, well up on its No. 95 best from 2025.
“Loser,” the first song lifted from Tame Impala’s fifth album, Deadbeat, gets a superheroic lift from its appearance in Spider-Man: Brand New Day. Meanwhile, Deadbeat track “Dracula” dips 16-18 on the latest chart, published Friday, Aug. 14.
Thanks to the latest adventures of Peter Parker, Steve Lacy’s third album, Oh Yeah? (Sony Music) rises 34-17, and its title track opens at No. 25 on the ARIA Singles Chart, for the top new release. “Oh Yeah” is also synced to the new Spidey film, which this week becomes the fastest to hit $700 million at the U.S. box office. Internationally, Spider-Man: Brand New Day adds $1.108 billion to leapfrog Spider-Man: No Way Home ($1.106 billion) as Sony Pictures’ biggest film ever overseas, according to The Hollywood Reporter.
At the summit of the latest ARIA Singles Chart is Ella Langley’s “Choosin’ Texas” (Sony), which enters a 10th week at No 1. Another U.S. country artist is making her presence felt on the singles frame, Stella Lefty, whose “Boston” (Atlantic/Warner) enters the top 10 for the very first time, rallying 11-8.
Over on the ARIA Albums Chart, Olivia Rodrigo’s You Seem Pretty Sad For A Girl So In Love (Geffen/Universal) reclaims top spot for a fifth non-consecutive week.
The top debutant is Stray Kids with their EP This & That (Republic/Inertia), new at No. 3. The K-pop act, which features Australian duo Felix and Bangchan, now boast nine appearances in the top 20, including three No. 2s with 5-Star (in 2023), Rock-Star (2023) and Ate (2024).
California artist Role Model (real name: Tucker Pillsbury) bags a career best appearance on the ARIA Chart with Chuck Timely & The Hourglass (Interscope/Universal), his third release. It’s new at No. 4.
Close behind, homegrown country artist Casey Barnes achieves his own career-best and first top 10 spot with MADE FOR THIS (CMI). It’s new at No. 6 on the all-genres chart.
Also impacting the tally for the first time are releases from German electronic-rock band Electric Callboy (Tanzneid at No. 11 via Century Media/Sony), Melbourne duo Bachelor Girl (No. 34 with a reimagined version Waiting For The Day via Xelon), Cold Chisel songwriter Don Walker (Love Songs at No. 41 via MGM), and Western Australia-born indie singer Rowena Wise (Bad Things Feel Good at No. 44 via Remote Control).
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.
This week: The seemingly imminent return of Tate McRae gets fans buzzing again, while Tove Lo and Justin Timberlake both see decade-old hits return to the pop forefront thanks to viral trends.
Tate McRae Gets Fans Buzzing With Golden Lollapalooza Moment & Teased Return
Following a breathlessly packed 2025 run, Tate McRae was relatively quiet for the first half of 2026, without any new releases or live dates (outside of an appearance at Billboard‘s Women in Music event in April. But in August, she seems deadset on making up for dormant time. She appeared at a pair of festivals on back-to-back nights to start the month — Osheaga on Aug. 1 and Lollpalooza on Aug. 2 — including a much-buzzed-about moment to close the latter set where she quickly dipped herself in gold body paint. And she also began teasing new visualson her Instagram account, leading fans to believe that a new era is imminent.
As a result of all the increased attention surrounding McRae — after a long period of dormancy, relatively speaking — many fans returned to her discography on DSPs. For the five days after her two festival dates (Aug. 3-7), her complete catalog totaled over 38.3 million official on-demand U.S. streams, up nearly six million and 18% from just under 32.6 million streams she racked up across the same five-day period the prior week (July 27-30), according to Luminate. Her well-earned break appears to have been well-timed in once again whetting the pop world’s appetite, and it wouldn’t be surprising to see her take advantage of it with a big new release in the year’s final months. — ANDREW UNTERBERGER
TikTok Remix & Dance Trend Boost 22Jay’s “Talking Bodiez” — And Tove Lo’s 2015 Original
It’s been over a decade since Tove Lo hit No. 12 on the Billboard Hot 100 with “Talking Body,” and now its streams have resurged following a viral TikTok remix and accompanying dance trend.
On July 17, TikTok user @/kjtheproducer4 premiered an ebullient trap remix of “Talking Body” with the caption, “I’ll remix anything.” Almost instantly, TikTok fell in love with the remix, helping the video reach over 7.4 million views in under a month. The accompanying sound now plays in over 201,000 posts, while Tove Lo’s “Talking Body” TikTok sound has surged to over 1.9 million views. By July 30, TikTok user @/realz4y combined a few Dallas-sourced “bend” moves for a dance challenge that also went viral. His Aug. 8 post of the choreography currently boasts over 5.8 million views and 700,000 likes.
According to Luminate, “Bodiez” earned a negligible amount of official on-demand U.S. streams during the week of July 31-Aug. 2, with that number exploding by 10,439% to over 16,400 official on-demand U.S. streams two weeks later (Aug. 7-10). As for Tove Lo’s original, “Talking Body” logged 1.9 million official on-demand U.S. streams during the week of July 24-30, with that number jumping nearly 40% to over 2.65 million official streams the following week (July 31-Aug. 6).
With Tove Lo giving KJ the Producer her co-sign — underneath the TikTok post of his remix, she wrote, “Turned my banger into a different banger” — there’s no telling just how far this remix can go. — KYLE DENIS
Jay-Z 30 Celebrations & Dance Trend Lift Justin Timberlake’s ‘Suit & Tie’
13 years later, the people are still swooning over “Suit & Tie.”
Justin Timberlake and Jay-Z‘s 2013 collaboration is experiencing a streaming revival thanks to a new TikTok dance trend — as well as younger audience’s general rediscovery of the Brooklyn MC thanks to his stadium-headlining Jay-Z 30 celebrations.
On July 31, TikTok user @/vicmixes1 shared a mashup of “Suit & Tie” and Trey Songz’s “All We Do,” focusing on Jay-Z’s verse and JT’s “oooh ahhh” ad-libs. That post currently boasts over 620,000 views, and by Aug. 5, user @/realz4y — yes, the same high school football player who created the “Talking Bodiez” dance trend — used the sound for yet another dance challenge. That post has since hit over 325,000 views, inspiring hundreds of other users to put their own spin on the dance.
Earlier in the month (July 10) — the same day as the first JAŸ 30 show at Yankee stadium — user @/zodyorr shared a two-person dance challenge set to the original version of “Suit & Tie,” which collected over one million views. The official “Suit & Tie” TikTok sound currently plays in over 1.9 million TikTok posts and 63,000 Instagram Reels.
“Suit & Tie” earned over 915,000 official on-demand U.S. streams during the week of June 19-25. Six weeks alter (July 31-Aug. 6), plays for “Suit” have surged 103% to over 1.8 million official on-demand U.S. streams, according to Luminate. Already a Hot 100 top 10 hit (No. 3), maybe this revival can bring “Suit & Tie” back to Billboard’s all-genre Streaming Songs chart. – KD
Fleetwood Mac’s Greatest Hits, first released in 1988, reaches the top 10 on Billboard’s 35-year-old Top Album Sales chart for the first time, following its expanded reissue.
The set re-enters the Aug. 15-dated chart at No. 10, besting its previous high of No. 13 (set in 2016), after the album was bolstered with seven additional hits and issued digitally and on multiple physical formats.
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Greatest Hits also soars 69-13 on the overall Billboard 200, surpassing its peak of No. 14, set in 1989. The collection also sees a new peak of No. 5 on the Vinyl Albums chart (a reentry, besting its peak of No. 7, first reached in 2019), vaults 18-4 on Top Rock & Alternative Albums, rises 14-3 on Top Rock Albums (matching its peak, reached in March) and reenters the Indie Store Album Sales chart at No. 6.
The standard version of Greatest Hits remains a 16-song edition, and the new deluxe edition adds seven further hits. The deluxe set was released via digital download services and streamers on June 10, and physical formats followed on July 31. The deluxe package bowed across six double-vinyl variants and a two-CD offering.
In the tracking week ending Aug. 6, Greatest Hits sold nearly 6,000 copies in the United States, according to Luminate — a gain of 286% as compared to its sales in the previous week.
On Top Album Sales, as Greatest Hits re-enters at No. 10, Ariana Grande captures her eighth No. 1 with the debut of petal. Plus, Shaboozey gets his highest-charting set as his new studio effort The Outlaw Cheri Lee & Other Western Tales bows at No. 4. (Check out the entire Aug. 15-dated Top Album Sales chart.)
Davido lands 12 songs from his Oriadé album on the Billboard U.S. Afrobeats Songs chart, collecting his 12th top 10 in the process. The tracks flood the chart dated Aug. 15, pushing the Nigerian-American superstar to 56 career entries since the chart launched in April 2022.
“B4 B4,” a collaboration with Mayorkun and FOLA, leads Davido’s new appearances with its No. 6 entrance. The song traces its start almost entirely to 626,000 chart-eligible, official streams in the United States for the July 31-Aug. 6 tracking week, according to Luminate. For Mayorkun, “B4 B4” marks his first top 10 in four appearances on U.S. Afrobeats Songs; FOLA adds an eighth to his ledger, of 25 total entries.
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As mentioned, Davido claims a 12th top 10 with “B4 B4.” Here’s a recap of his collection:
Song Title, Artist (if other than Davido), Peak Position, Peak Date
“Stand Strong,” feat. Sunday Service Choir; No. 9, May 28, 2022
“Over Dem,” No. 10, April 15, 2023
“Unavailable,” feat. Musa Keys, No. 3, Aug. 26, 2023
“Awuke,” with YG Marley; No. 9, Nov. 16, 2024
“Funds,” feat. ODUMODUBLVCK & Chike; No. 5, Dec. 21, 2024
“Be There Still,” No. 7, March 29, 2025
“Titanium,” feat. Chris Brown; No. 6, May 3, 2025
“Offa Me,” feat. Victoria Monét; No. 5, May 3, 2025
“With You,” feat. Omah Lay; No. 5, May 17, 2025
“I Know Who I Be,” with JAZZWRLD & GL_Ceejay; No. 6, July 11, 2026
“Gimme Dat Thing,” with No11; Aug. 1, 2026
“B4 B%,” with Mayorkun & FOLA; No. 6 (to date), Aug. 15, 2026
Oriadé, released on July 31 through DaVido/RCA Records, registered 5,000 equivalent album units for the tracking week. It debuts at No. 8 on the World Albums chart, giving the performer his sixth consecutive top 10 visit. He first entered the ranking with the EP Son of Mercy, which peaked at No. 4 in 2016, and followed with A Good Time (No. 6, 2019); A Better Time (No. 4, 2020); Timeless (No. 2, 2023) and 5ive (No. 2, 2025).
To review Oriadé’s impact, here’s a review of its placements on U.S. Afrobeats Songs. All are debuts, except “I Know Who I Be,” which peaked at No. 6 and climbs 14-13 this week, while “Gimme Dat Ting,” a No. 7 hit, slips 17-18.
No. 6, “B4 B4,” with Mayorkun & FOLA
No. 11, “Tell Everybody,” feat. Leon Thomas
No. 13, “I Know Who I Be,” with JAZZWRLD & GL_Ceejay
No. 15, “Already Falling”
No. 17, “Amazing Grace,” feat. Black Sherif
No. 18, “Gimme Dat Ting,” with NO11
No. 19, “On the Road”
No. 22, “Constantly”
No. 23, “Julie”
No. 24, “Yaya,” featuring Aya Nakamura
No. 28, “Guide”
No. 35, “Zanzibar”