Ariana Grande is the queen of the ARIA Albums Chart, as Petal (via Republic/Universal) blossoms with a No. 1 start.

Petal becomes Grande’s sixth leader on Australia’s all-genres national survey, following My Everything (in 2014), Dangerous Woman (2016), Sweetener (2018), Thank U, Next (2019) and Eternal Sunshine (2024). She and Cynthia Erivo also topped the tally last year with the soundtrack to Wicked: For Good.

The best-seller on vinyl during the latest cycle, Petal deposits 12 tracks in top 50 of the national singles chart, including top in the top 10.

Grande leads an all-female podium, ahead of Olivia Rodrigo’s you seem pretty sad for a girl so in love (up 3-2 via Geffen/Universal) and Olivia Dean’s The Art of Loving (up 5-3 via Universal).

Also new on the chart, published late Friday, Aug. 7, is Dice’s I Thought The Altitude Would Make it Worth The View (Virgin Music Group/Inertia). It starts at No. 13, for the Perth, Australia band’s career best chart position, besting the No. 27 peak for their 2024 debut Midnight Zoo. Altitude is the top ranked of three homegrown albums on the latest chart.

One of those titles is PNAU’s AHHCade (etcetc), which opens at No. 33. Led by Nick Littlemore and Peter Mayes, PNAU has collected three ARIA Awards and crashed the ARIA Chart with 2007’s PNAU (No. 31), 2011’s Soft Universe (No. 13), 2012’s Good Morning To The Night with Elton John (No. 40) and 2017’s Changa (No. 11).

English singer Erin LeCount, who is currently on tour in Australia, sees her third EP, Pareidolia (Atlantic/Warner), begin its chart odyssey at No. 29, while Bozeman, Montana duo Buffalo Traffic Jam (Pictures of You at No. 31 via Arista/Sony) and Las Vegas, NV heavy rockers Five Finger Death Punch (Legacy at No. 46 via Better Noise/MGM) impact the ARIA top 50.

Over on the ARIA Singles Chart, Ella Langley completes a ninth non-consecutive week at No. 1 with “Choosin’ Texas” (via Sony Music). It’s another all-female top 3, as Ariana Grande’s “hate that i made you love me” lifts 6-2, a new peak with the release of Petal, and Olivia Dean’s blockbuster “Man I Need” dips 2-3.

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: Spider-Man: Brand New Day songs new and old experience huge gains, while ADÉLA takes another step towards stardom, U.S. listeners mourn a couple sadly passed European artists and more.

‘Brand New’ Streaming Gains for Tame Impala, Steve Lacy Songs in New ‘Spider-Man’ Movie

It was a blockbuster opening beyond all other blockbuster opening for Spider-Man: Brand New Day over the weekend. The fourth film about the superhero as part of the extended Marvel Cinematic Universe, led by the now-married real-life couple Tom Holland and Zendaya, debuted to over $360 million in domestic box office returns in its first weekend, topping 2019’s Avengers: Endgame for the biggest opening weekend in U.S. history. 

Unsurprisingly for such a widely watched movie — with a fairly diverse soundtrack of classic hits and underground staples, with a couple modern favorites mixed in — the streaming gains for its most prominently featured songs have been similarly robust. Each of the older songs featured in the film (from iconic artists as far-flung as Chaka Khan and Brian Eno) have seen increased streams, with the biggest catalog beneficiary undoubtedly being TV on the Radio’s “Wolf Like Me,” featured in the film’s opening montage. The ‘00s indie standard-bearer racked up over 550,000 official on-demand U.S. streams during the film’s first four days of release (July 31-Aug. 3), according to Luminate — a 353% gain over its total from the prior Friday-to-Monday period. 

But the biggest winners overall from the soundtrack are likely its two most contemporary hitmakers: Steve Lacy and Tame Impala. Lacy’s “Oh Yeah?,” which debuted on his parent album of the same name two weeks earlier featured over the film’s end credits, rose 181% to nearly 2.5 million streams over the same four-day period. Meanwhile, Tame’s “Loser,” from the artist born Kevin Parker’s polarizing 2025 album Deadbeat, skyrocketed a jaw-dropping 838% to over 2.6 million streams in the movie’s first four days. 

As Brand New Home keeps on raking in the millions, expect the soundtrack cuts to continue to make their presence felt — and possibly make a visit to the Hot 100, the first for “Loser” since it debuted at No. 91 in November, and the first of any kind for “Oh Yeah?” – ANDREW UNTERBERGER 

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ADÉLA Levels Up With Fast-Rising New Single “Ain’t in L.A.” 

Dream Academy alum and rising pop star ADÉLA has been steadily building buzz over the past year with a string of pithy, punchy singles and acclaimed live shows. Now, she’s eyeing her first proper streaming hit with her newly released “Ain’t in L.A.,” single which dropped on July 23. 

According to Luminate, “Ain’t in L.A.” earned over 1.74 million official on-demand U.S. streams during the four-day period of July 24-27. A week later (July 31-Aug. 3), that number leapt 34.7% to over 2.35 million official on-demand U.S. streams. Over on TikTok, the song’s official sound plays in over 280,000 posts, while its official music video has collected over three million views in just under two weeks. “Ain’t in L.A.” also features in over 12,000 Instagram Reels. 

The song’s hefty debut was buoyed by both ADÉLA’s overall momentum and her steady, months-long teasing of the soaring synth-pop track. During her opening stint on Demi Lovato’s arena-headlining It’s Not That Deep Tour, ADÉLA performed several new tracks, including “Ain’t in L.A.” — and over the weekend (Aug. 2) the song was a standout moment in her Lollapalooza debut. 

With the song’s barre choreography frequently going viral and the overlooked-but-mighty cohort of “small town baddies” continuing to rally around the song’s rejection of Los Angeles exceptionalism (ambition lives everywhere!), expect “Ain’t in L.A.” to continue scaling the charts. — KYLE DENIS 

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Streaming Audiences Mourn Glen Hansard and Kavinsky

Two very different cult-favorite European artists died very unexpectedly last week, with news of both deaths emerging early on Wednesday (July 29). Glen Hansard, the Irish singer-songwriter who first came to national prominence as leader of The Frames at the turn of the century before earning global notice with his starring role in 2006’s musical drama Once, died in a motorcycle crash at age 56. And Kavinsky, the French house DJ/producer known to international audiences for his work on the soundtrack to the 2011 thriller Drive and his performance at the 2024 Summer Olympics in Paris, was found dead at his home at 50, with his exact cause of death still pending. 

Both artists experienced a posthumous boom in streams immediately following their passing. Hansard’s solo catalog racked up over 4.1 million official on-demand streams in the five days after his death (July 29-Aug. 2), a 2,221% gain over the 177,000 streams he amassed in the same five-day period a week before. (“Falling Slowly,” Hansard’s signature Oscar-winning hit alongside co-star and partner Marketá Irglová, was the biggest beneficiary, gaining 1,025% to 713,000 streams.) And The Frames also saw a major boost, totaling 570,000 streams over the five-day period after just 14,000 a week before, a gain of 3,903%. 

And Kavinsky also saw an enormous rise in streams over the same period, with his catalogue rising 348% to nearly 3 million streams for the five-day span. The biggest chunk of that of course belonged to “Nightcall” — the nocturnal Drive anthem that the DJ/producer played at the Olympics, and which Billboard named the No. 6 Greatest Dance Song of the 2010s in 2019 — which was up 256% to 1.4 million streams. – AU

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Dolly Babe Turns Viral TikTok Sound Into Streaming Hit With “Pink Blush” 

After flipping Beyoncé’s classic “Diva” into a viral TikTok sound last summer, Dallas rapper Dolly Babe has landed herself a legitimate streaming hit with “Pink Blush.” Trading on her bubbly, tongue-in-cheek delivery, onomatopoeia-laden bars and Danielwsp’s crisp production, “Pink Blush” has quickly grown into TikTok’s favorite audio of late. 

The most recent trend tied to the song finds a group of friends or colleagues — normally all men — seductively lip-syncing Dolly Babe’s cunnilingus-exalting post-chorus as a camera pans around the circle. Whether you’re a multi-generational content creator family, an HVAC crew or a group of mechanics, “Pink Blush” is for everybody! 

During the week of July 17-23, “Pink Blush” earned 57,000 official on-demand U.S. streams. By the following week (July 24-30), that figure exploded by a massive 1,166% to over 731,000 official on-demand U.S. streams. More recently, during the four-day period of July 31-Aug. 3, “Pink” collected just under 790,000 official streams, up 188% from the 273,000 streams it logged the week prior (July 24-27). On TikTok, “Pink Blush” plays in over 839,000 posts, while a From the Block live performance video of the song has earned over 187,000 views in just eight days. “Pink Blush” also features in over 10,000 Instagram Reels. 

With celebrities from Chlöe Bailey to Shenseea showing love to the song, it looks like “Pink Blush” is just getting started. — KD  

Michelle Branch extends her history on Billboard’s charts to more than 25 years, as her new version of “The Game of Love,” her early 2000s smash, debuts on Adult Pop Airplay.

The update, with fellow veteran hitmakers New Radicals, enters the Aug. 8-dated list at No. 33, thanks to play on outlets including KBIG Los Angeles, WBMX Boston and Music Choice, according to Mediabase, which provides airplay data for Billboard’s radio rankings via data tracker Luminate.

The original version — by Santana featuring Branch — dominated Adult Pop Airplay for 13 weeks in 2002-03. Gregg Alexander, the longtime frontman of New Radicals, and Rick Nowels cowrote the song.

The reimagination introduces Branch’s EP Everywhere and Back Again, due Nov. 6. Her first collection on BMG features other new interpretations of her hits.

Branch boasts five top 10s among 10 Adult Pop Airplay entries, going back to her breakthrough, “Everywhere,” which hit No. 9 in 2001; it brought her Billboard chart debut when it arrived on the list dated June 30 that year. She returned to the top 10 with “All You Wanted” (No. 4, 2002), “The Game of Love,” “Are You Happy Now?” (No. 3, 2003) and a second Santana collaboration, “I’m Feeling You” (No. 6, 2005). She makes her first appearance this week since 2011, when “Loud Music” reached the top 20.

The original “The Game of Love” became Branch’s highest-charting hit on the Billboard Hot 100, climbing to No. 5. It also won the Grammy for best pop collaboration with vocals in 2003.

“‘The Game of Love’ has been such a special song in my life, made possible by one of my personal musical heroes, Gregg Alexander,” Branch shared in a statement upon the new version’s release July 15. “Being able to sing this together with him is really a full circle moment and captures the original spirit of the demo.”

Branch’s chart accomplishments also encompass her run as half of The Wreckers. In 2006, the pair, which she formed with Jessica Harp, hit No. 1 on Hot Country Songs with “Leave the Pieces.”

New Radicals likewise stretch their notable Billboard chart history, which began in 1998 with their signature hit, “You Get What You Give” (whose “one, two … one, two, three, ow!” intro is mirrored in that of the new “The Game of Love”). The single, which Alexander and Nowels also cowrote, rose to the Hot 100’s top 40 and led Adult Alternative Airplay for six weeks in 1999.

Branch is set to begin her Everywhere and Back Again Tour, which kicks off Sept. 27 and runs through Nov. 13. (Included is a Nov. 7 date at The Muse in Nantucket, Mass.)

All charts dated Aug. 8 will update Tuesday, Aug. 4, on Billboard.com.

Charli XCX comes in hot on the ARIA Albums Chart, as Music, Fashion, Film debuts at No. 1.

It’s Charli’s fourth appearance in the top 10, a tally that includes No. 1s for Crash in 2022 and the remix release of BRAT in 2024.

With that fast start, the British singer and producer blocks Amy Shark from a fourth consecutive ARIA No. 1 with soft pop, new at No. 2. Shark led the all-genres albums chart with Love Monster in 2018, Cry Forever in 2021 and Sunday Sadness in 2024.

Olivia Rodrigo completes the podium with you seem pretty sad for a girl so in love, down 2-3.

Icelandic singer and songwriter Laufey kicks off her seven-date Australian tour Friday night, July 31 in Melbourne, a trek that powers-up her album A Matter Of Time: The Final Hour. The album spikes 39-6 on the ARIA Albums Chart, several places adrift from its No. 2 peak.

Also new to the ARIA Chart, published late Friday, July 31, is the Strokes’ Reality Awaits. It’s new at No. 10, for the New York indie rockers’ sixth top 10 appearance, a run that includes a 2011 leader with Angles. 

Close behind is Gentleman, the debut studio album from Australian singer and songwriter Budjerah. Gentleman is new at No. 14.

South African singer Tyla opens her account at No. 28 with A*Pop, her sophomore album. That’s by some distance a new career high, besting the No. 48 peak position for 2024’s Tyla.

Canadian country music superstar Shania Twain enjoys another top 40 appearance with Little Miss Twain, her seventh studio album. It’s new at No. 30. Twain has bagged three ARIA Chart leaders during her glittering career. According to ARIA, 1999’s Come On Over logged 20 weeks at No. 1, while 2002’s Up! and 2017’s Now both checked in for a week at the chart summit. 
 
Meanwhile, Sydney rocker Body Type starts No. 42 with Tally. It’s their third album and first to crack the ARIA Top 50.

Over on the ARIA Singles Chart, Ella Langley enters an eighth non-consecutive week at No. 1 with “Choosin’ Texas.” It’s another all-female top three, with Olivia Dean’s “Man I Need” holding at No.  2 and the British singer’s collaboration with  Sam Fender, “Rein Me In,” unchanged at No. 3.  

The top new release belongs to international girl group Katseye, whose “Animal” debuts at No. 8. Co-written with Ed Sheeran, it’s the act’s fourth top 50 hit here after 2025’s “Gabriela” (No. 27), 2026’s “Pinky Up” (No. 19) and “Iconic By Mistake” (No. 39) with Le Sserafim and Illit. The members of Katseye visited Australia in May for a series of showcases and fan events. “Animal” is the only fresh cut new top ARIA Top 50.

The latest offering from Disney’s fruitful fantasy franchise Descendants casts a spell on the charts, as the Descendants: Wicked Wonderland soundtrack debuts on multiple rankings (dated Aug. 1). The film, which premiered on Disney Channel July 16 and hit the Disney+ streaming service a day later, is the sequel to Descendants: The Rise of Red (2024) and the fifth film in the Descendants series.

The new musical fantasy comedy movie stars Kylie Cantrall and Malia Baker, and was directed by Kimmy Gatewood. Also on board in the cast and on the soundtrack: Billboard chart-toppers Brandy and Rita Ora, who play Cinderella and the Queen of Hearts, respectively, in the film.

On the Kid Albums chart, Wicked Wonderland debuts at No. 1 and is the fifth leader from the Descendants world.

Kid Albums ranks the week’s most popular kid albums in the United States, by equivalent album units, according to Luminate. The latest chart reflects the tracking week ending July 23.

Meanwhile, on the Soundtracks chart the new album starts at No. 2, following four No. 1 debuts for the series.

On the Billboard 200, the new album enters at No. 88, marking the fifth from the Descendants-verse series to start in the top half of the chart. The first three soundtracks (in 2015, 2017 and 2019) all debuted in the top 10, with the first bowing at No. 1. Also notable, Descendants: Wicked Wonderland is just the third TV soundtrack to debut on the Billboard 200 in 2026, following Heated Rivalry and Stranger Things 5.

Lastly, on the Independent Albums chart, the new project bows at No. 13.

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: Magnus Ferrell scores a breakout hit, Latto and Doja Cat get some added momentum from a much-discussed music video — and yes, one more World Cup-related song.

Major Podcast Looks Help Boost Magnus Ferrell’s Breakthrough Single ‘Asleep Talking‘

It seems that a new successor to the lineage of Robin Thicke/Justin Timberlake-esque blue-eyed soul has emerged — and he happens to be the son of Emmy-winning comedy icon Will Ferrell. 

Magnus Ferrell released “Asleep Talking” — a soulful midtempo number that recalls the laid-back groove of jazz-infused classics like Bobby Caldwell’s “What You Won’t Do for Love” — in the spring (April 24), but a recent wave of social media love via key podcast mentions have helped the track gain new momentum this summer. On July 1, the senior Ferrell stopped by Michelle Obama and Craig Robinson’s IMO podcast, where he proudly played a snippet of his son’s buzzy track.

By July 23, “Asleep Talking” earned a favorable mention from The Morning Shift Show, which boasts over 1.6 million followers on TikTok alone. In the interim, Magnus Ferrell has been cranking out social media content promoting the song — including clips of him reacting to NBC News picking up the connection between him and his father — while launching his Blue Note Los Angeles residency on July 21. 

According to Luminate, “Asleep” earned just 67,000 official on-demand U.S. streams during the period of July 18-21. Over the next four days (July 22-25), “Asleep” vaulted a whopping 892% to over 670,000 official on-demand streams.  

With its No. 24 debut on the Aug. 1-dated Digital Song Sales chart, “Asleep” helps Magnus officially join his father as a Billboard-charting artist. Back in 2020, “Husavik,” Will Ferrell’s song from his Netflix comedy Eurovision Song Contest: The Story of Fire Saga, peaked at No. 16 on the same ranking. — KYLE DENIS

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Glamorous Music Video Lifts Latto & Doja Cat’s ‘Okayyy’ 

Last week (July 21), Latto and Doja Cat dropped their sexy “Okayyy” music video — and it’s already having an impact on the song’s streaming success. 

Taken from Latto’s new Big Mama LP, “Okayyy” earned over 823,000 official on-demand U.S. streams in the five-day period preceding the music video (July 16-20), according to Lumiante. In the five-day period following the video’s release (July 21-25), that number leapt 308% to over 3.36 million streams. On YouTube, the “Okayyy” music video has surpassed 4.7 million views in just over a week, and the official TikTok sound plays in over 237,000 posts. Drawing praise for their complementary fashion and glam — and sound critique for how the video’s almost-exclusive use of dark-skinned black men as mute background props plays into colorist tropes — the “Okayyy” video has been virtually inescapable across social media. 

Latto hasn’t landed a Billboard Hot 100 entry from Big Mama since last summer’s “Somebody” (No. 94), but “Okayyy” could change that should the song maintain its post-music video momentum. Notably, on Oct. 1, Latto will join Doja’s Tour Ma Vie World Tour as the special guest for the trek’s North American leg. — K.D. 

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Don Miguel’s 2020 Banger Takes Off Again After Yamal World Cup Celebration

“Yamal is the official owner of this song,” reads one comment on the YouTube page for Don Miguel’s “Y Qué Fue?” That may be going a little far — the Dominican dembow artist’s 2020 single had already racked up hundreds of millions of plays on both YouTube and Spotify before Spain took home the gold trophy at the 2026 FIFA World Cup. But the song has certainly gone to a new level in the past week and a half, following the country’s 21-year-old superstar using the song as the soundtrack to his introduction at the team’s championship celebration at the Plaza de Cibeles last Monday (July 20).

“Y Qué Fue?” (in English: “And what happened?”) went newly viral after Lamine Yamal’s entrance to the hard-hitting dance song, complete with a little dance shuffle that helped it catch on social media. (Don Miguelo also shared video of the intro on Instagram.) Consequently, the song has exploded on streaming, racking up nearly 1.9 million official on-demand U.S. streams for the tracking week ending July 23, according to Luminate — a 159% gain over the prior week. It even debuted on both the Global 200 (No. 148) and the Hot Latin Songs chart (No. 15) dated Aug. 1, six years after its initial release.

Will the streaming bumps from this World Cup ever stop? Not if the winning country has anything to say about it. — ANDREW UNTERBERGER

Following its debut on Billboard’s Regional Mexican Airplay chart through “De la A a la Z ,” with Los Ángeles Azules, in June, Argentine cumbia group Ke Personajes earns its first No. 1, as the song jumps 3-1 on the ranking dated Aug. 1.

“We received the news with immense joy,” Emanuel Noir, lead singer for Ke Personajes, shares with Billboard. “From day one, we dreamed of taking our cumbia to every corner of the world, and this achievement confirms that this path is bearing fruit. It is the reward for effort, dedication and work done with heart. Without a doubt, this is a moment that fills us with pride and happiness.”

A mix of Argentine and regional Mexican cumbia, “De la A a la Z” lands at the summit on Regional Mexican Airplay after a 23% gain in audience impressions, to 6.9 million, earned in the United States on the tracking week ending July 23, according to Luminate. The song, released May 13 on Virgin Music Latin, marked Ke Personajes’ first visit to the tally upon its debut in June.

“We are happy that this collaboration with Ke Personajes, one of the duets we have enjoyed the most, has reached No. 1 on Billboard’s Regional Mexican chart, also marking our eighth No. 1 on this chart,” Los Ángeles Azules tells Billboard. “Congratulations to our brothers in Ke Personajes, and what an honor to share this great achievement with them.”

Los Ángeles Azules expands their legacy, as the song becomes their 29th career chart entry and their eighth No. 1. It follows February’s “Si Sabes Contar,” which also paired the group with Argentine acts Luck Ra and Yami Safdie.

“The fact that such an iconic band, a worldwide reference in cumbia, thought of Ke Personajes to share a song was something that surprised us and thrilled us greatly,” Ke Personajes adds. “At that time, we were working to make our music cross borders, and this opportunity came as confirmation that we were on the right path. For us, it was something incredible—unthinkable, almost unreal.”

Beyond its Regional Mexican Airplay coronation, “De la A a la Z” is gaining momentum across Billboard’s Latin rankings: just shy of No. 1, it vaults 7-2 on the overall Latin Airplay chart, marking Los Ángeles Azules’ strongest showing since 2024’s “Perdonarte, ¿Para Qué?” with Emilia. The track also climbs 25-16 on Hot Regional Mexican Songs and charges 44-22 on Hot Latin Songs, which combines streaming, radio airplay and sales. For Ke Personajes, it marks a first appearance on all three charts.

Ke Personajes added that working with Los Ángeles Azules “was a true privilege. We shared ideas, learned from their experience, and found a very natural musical connection. The result was a very special song that represents the best of both projects and opened doors for more people around the world to discover the music of Ke Personajes.”

After matching one of the oldest records in U.K chart history, Sam Fender and Olivia Dean‘s “Rein Me In” is now in a tight battle with Shakira and Burna Boy’s 2026 FIFA World Cup anthem “Dai Dai” to claim the crown. 

The pair’s soaring collaboration, which last week equalled Frankie Laine’s 18-week reign atop the Official U.K. Singles Chart with 1953’s “I Believe,” is aiming for a record-breaking 19th week at No. 1 this week (chart dated July 31). If it holds on, “Rein Me In” will become the longest-running No. 1 single in history.

According to the Official Charts Company, however, Shakira and Burna Boy’s “Dai Dai” has surged into the lead (midweek chart dated July 26), putting the World Cup anthem on course for its first week at No. 1. The track was performed by the duo in the tournament final’s half-time show, and now stands as a competitor to “Rein Me In” and its potential record holder status with only 600 units between the two songs.

“Rein Me In” first arrived in February 2025 as part of Fender’s Mercury Prize-winning People Watching album, before Dean joined forces with the North Shields artist for a remix released in June that year. From there, the track embarked on a record-setting 35-week climb to the summit. “Rein Me In” marks Fender’s first U.K. No. 1 single and Dean’s second (“Man I Need”).

Since then, it has won the publicly-voted song of the year prize at the 2026 BRIT Awards and become the longest-running U.K. No. 1 of the 21st century (previously Drake’s “Hotline Bling,” 15 weeks) and the longest by a British act (Wet Wet Wet’s “Love Is All Around”, 15 weeks).

Elsewhere on the chart, Ella Langley’s “Choosin’ Texas” – the current Billboard Hot 100 No. 1 – is on course to reach a new peak at No. 3. Anotr and 54 Ultra’s “Talk To You” follows at No. 4, while HUGEL’s “Movin’ To The Sun” is standing at No. 5.

KATSEYE are chasing the week’s highest new entry with “Gnarly” (No. 13), which would become the K-pop group’s highest-charting single to date. Charli xcx’s “Camera,” lifted from her recent Music, Fashion, Film is eyeing a top 20 debut at No. 18.

As Bruno Mars wraps up his Wembley Stadium residency as part of The Romantic Tour, with his final London show taking place Tuesday (July 28), his 2024 Lady Gaga collab “Die With A Smile” rises to No. 23. Solo hit “I Just Might,” released earlier this year, is also on the rise, moving up to No. 39.