Romeo Santos and Prince Royce dart to No. 1 on Billboard’s Latin Airplay chart as “Dardos” rises 3-1 on the May 9-dated ranking. Santos extends his record for the most No. 1s among tropical acts, with 24 wins; Royce celebrates his 20th chart-topper.

“Dardos” becomes the Greatest Gainer of the week after a 37% surge in audience impressions, to 9.2 million, earned in the United States in the week ending April 30, according to Luminate. The track swaps spots with Maluma and Kany García’s “1+1,” which slips 1-3 with a 30% drop to 6.5 million impressions.

This marks Santos and Royce’s second chart-topping collaboration, following their three-week No. 1 run with “Lokita Por Mí” from Dec. 2025 to March 2026. Both hits stem from their joint album Better Late Than Never, which bowed at No. 2 on Top Latin Albums and led the Top Tropical Albums chart for two weeks in late 2025.

As “Dardos” hits No. 1 on the overall Latin Airplay chart, Santos extends his record for the most No. 1s among tropical acts since the list launched in 1994, now with 24 champs. Prince Royce picks up his 20th chart-topper.

On Tropical Airplay, where the track ascends 2-1, Royce collects his 28th No. 1, trailing only Victor Manuelle (29 No. 1s) and Marc Anthony (39). Santos, meanwhile, achieves his 21st ruler.

Elsewhere on the Latin charts, La Arrolladora Banda El Limón de René Camacho achieves its 22nd No. 1 on the Regional Mexican Airplay chart with “¿Dónde Estabas Tú?” The achievement places them in a tie with Banda MS for the second-highest number of rulers in the nearly 32-year history of the chart, trailing only Calibre 50, which holds the record with 29 No. 1s.

“¿Dónde Estabas Tú?” surged to the top with 7 million audience impressions, a 10% increase during the tracking week. The track follows the group’s previous two-week chart leader alongside Juanes, “Una Noche Contigo.”

Ye (formerly Kanye West) testified in federal court on Wednesday (May 5) that he followed the right steps to clear a sample for his chart-topping 2021 album Donda and is “very generous” with giving credit to collaborators.

The rapper took the stand in an ongoing Los Angeles trial over early versions of his songs “Hurricane” and “Moon,” which both charted in the top 20 of the Billboard Hot 100 when they were released on Donda in 2021. “Hurricane,” which featured The Weeknd and Lil Baby, also went on to win a Grammy Award for best melodic rap performance.

Four music producers — DJ Khalil (Khalil Abdul-Rahman), Sam Barsh, Dan Seeff and Josh Mease — are alleging that Ye included uncleared samples of their instrumental track “MSD PT2” in demos played of both songs at a Donda pre-release listening party in Atlanta’s Mercedes-Benz Stadium in July 2021.

Ye maintains that the lawsuit is baseless because his team did make an earnest effort to clear the samples, but that the four producers intentionally dragged their feet and refused to approve industry-standard splits. The rapper reiterated this position during his courtroom testimony on Wednesday.

“We went through the normal process to get it taken care of,” said Ye, clad in a grey suit, about his team’s attempt to license “MSD PT2.”

Ye testified that he’s a highly collaborative artist, saying “I pride myself on giving people what they deserve” in terms of credit and royalties. But he said creators sometimes try to extract undue money from him, and this trial is one such example.  

“I feel like a lot of people try to take advantage of me,” Ye told the jury. “As I sit in this courtroom today, I just think people are trying to make more than they otherwise would because it’s me.”

The lawsuit is one among more than a dozen copyright cases Ye has faced throughout his career for allegedly using unlicensed samples and interpolations in his music. It’s the first time he’s taken one of these lawsuits to trial; in the past, he’s settled many of them.

Ye’s testimony, which lasted just over an hour, also touched on his successful music career and collection of accolades. “Music is everything,” he testified. “It surrounds me at all times, and I’m constantly creating new ideas for it.”

The rapper remained calm and expressionless for most of his time on the stand. He did crack one joke, though. When his attorney asked whether he won a Grammy for “Brothers in Paris,” Ye responded, “What’s the real name?” and joined in on a chorus of laughter from the courtroom gallery.

The case dates back to 2024, when the four “MSD PT2” producers sued Ye through a business entity called Artist Revenue Advocates LLC. Initially, they were seeking royalties from the commercially successful final versions of both “Hurricane” and “Moon,” alleging that both tracks interpolated “MSD PT2” in place of the original samples included in the demos.

However, a judge dismissed the bulk of the lawsuit in February after determining that Artist Revenue Advocates owns only the “MSD PT2” master recording rights, not the composition rights. This means that while the company can sue over a sample, it does not have any standing to bring claims over an interpolation.

The judge therefore allowed a narrow trial to go forward only on the early Donda demos, but not the far more lucrative final versions. Damages-wise, the plaintiffs are now seeking a slice of the money Ye made his Atlanta listening party — encompassing ticket sales, merch and a $750,000 livestreaming deal with Apple Music.  

Ye tried to undercut these potential damages during his testimony on Wednesday, telling jurors that his fans would have spent money on this listening party regardless of whether “Hurricane” and “Moon” were featured.

“People came to hear whatever I was going to play that was new,” Ye testified. “Often people buy merch before they even hear the music.”

In 2024, six-time Grammy winner Amy Grant was clearing out and organizing a room in her Nashville home after her daughter Corrina had made an observation.

“She just said, ‘Where’s your creative space?’” Grant recalls. The room, filled with paintings she’d made, art supplies, Grant’s collection of 45s and an old turntable, became her new creative oasis. “My daughter nicknamed the space ‘craftopia,’” Grant says.

Following the release of her self-titled debut in 1977, Grant become one of the leading artists who popularized Contemporary Christian music in the 1980s and 1990s, with such albums as Age to Age and Heart in Motion reaching broader audiences. She earned crossover hits like the Billboard Hot 100 chart-topper “Baby Baby” and has collected over two dozen GMA Dove Awards.

But by 2024, it had been over a decade since her last album of original music, 2013’s How Mercy Looks From Here. Grant had been touring, but also spent the past few years weathering serious health issues, including undergoing open-heart surgery in 2020 and healing from a bicycle accident in 2022 that resulted in a traumatic brain injury. 

In that new creative space, Grant sat down and began writing lyrics that became the title track and emotional fulcrum for her new album The Me That Remains, which comes out Friday (May 8) on Thirty Tigers.

The song’s frank lyrics such as “Life cut me wide open when my head hit the ground/ Wasn’t my time for dying” take an honest look at Grant’s healing over the past few years, as well as her determination to make the most of every stage of life.

“The very first lyric I wrote for this record, I thought it was a poem, but at that time I was having pretty substantial short-term memory issues,” Grant says. “Lyrics were easy because it’s written down, but music is tough. So I said, ‘I don’t think I can do this by myself.’ But in a beautiful way, our limitations create our path.”

She began reaching out to writers and fellow artists, including her husband Vince Gill, in addition to Michael W. Smith, Tom Douglas, Mike Reid and Mac McAnally, the 10-time CMA musician of the year winner also known for his work as part of Jimmy Buffett’s Coral Reefer band.

By January 2025, she had returned to the studio with the intention of only recording a couple of songs. “It felt so organic and like, ‘Man, that was fun. I haven’t done that in a long time,” she says. She called upon McAnally and they agreed to work on recording songs when they could, heading into the studio here and there over the course of a few months.

“At one point he said, ‘Hey, we’ve got a record here. We have 10 songs.’ I guess it was as much of a surprise to me that it emerged the way it did, and it was without any work pressure.”

Though the album includes personal songs such as “The Me That Remains,” and mature looks at relationships on tunes like “‘Til We Get It Right,” the album also takes nuanced looks at society and the state of the world.

Grant teamed with Ruby Amanfu on “How Do We Get There From Here,” a song forged after the tragic 2023 Covenant School shooting in Nashville. Both Grant and Amanfu were part of an artist group that visited the Tennessee State Capitol in fall 2023 to talk about gun control. On their new collaboration, they wrestle with themes including accountability, communication and grief.

“A lot of artists and songwriters were invited to go and just say, ‘Is there anything we can use our platform to help shift?’” Grant says. “After being there [and] meeting with legislature on both sides, I thought ‘How does anybody get anything done?’ But I think so many times schools of thought or a change in the way someone sees something come[s] through the arts.”

After writing the first verse and chorus, she reconnected with Amanfu about their experience. “It took a year of us just trading text[s]. We were both working very hard, both traveling. Then she reached out and was like, ‘I think I’ve got the song.’ I was going into the studio that week and asked if she was in town. It was just like our orbits were so different but for a minute the planets aligned. And I’ve so enjoyed getting to know her.”

Gill joins on “Friend Like You,” Smith co-wrote “The Saint,” and Grant’s daughters Corrina and Sarah Cannon join on the album closer “The Other Side of Goodbye,” which centers on the loss of Grant’s mother, who passed away in 2011.

“The other side of goodbye can be all kinds of things, but at some point I just thought about my mom,” Grant says. “I don’t know that many people that have died that I’ve actually been in the room with — a few — but I wanted to capture the experience of being a witness to her crossing over. And that day changed the way I look at death. I was like, ‘We’ve got to reframe this.’ I said, ‘When somebody finishes their life, can we high-five them?’ And with everything in life, how you frame it has a lot to do with how you experience it.”

The Me That Remains had been finished for around six months or so when Grant and her team partnered with Thirty Tigers to release the project.

“I think we were trying to find a partner that was really interested in creating conversation. That really seems to be the focus on Thirty Tigers, just bringing together people through the arts. I’ve so enjoyed talking to [Thirty Tigers co-founder/president] David Macias and everyone has been great. It just feels a little bit kind of maverick.”

Though Grant’s new album ends a 13-year dearth of new music from the Gospel Music Hall of Famer and 2022 Kennedy Center honoree, she says she doubts it will take another 13 years before she creates new music.

“I don’t know that I’ve got a whole record right now, but I have a lot of songs I’m working on. People have sent me some beautiful songs.”

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 Devil Wears Prada 2 makes all the money and gets a bunch of soundtrack bumps, memories of Mac Miller bring listeners back to 2016 (again), and social media jokes help mint a new streaming hit.

Look Around, Everywhere You Turn Is Devil Wears Prada 2

The new sequel to the beloved 2006 fashion-world comedy The Devil Wears Prada came to theaters nationwide over the weekend (May 1), and was received with both positive reviews and booming business. The film sequel opened to $77 million in domestic returns and $233 globally, the best debut of the year outside of The Super Mario Galaxy Movie, and nearly three times the stateside opening for the original movie 20 years ago. And like that first movie — which helped make a hit out of KT Tunstall’s “Suddenly I See” and also featured songs by big names like U2, Alanis Morissette and (of course) Madonna — the movie’s soundtrack is off to a robust start.

The big single from the movie this time comes from pop and fashion icon Lady Gaga, who makes a cameo in the movie and also offers three original songs to its soundtrack, including the previously released Doechii collab “Runway.” The sashaying single amassed nearly 2.2 million official on-demand U.S. streams over the release weekend (May 1-3), according to Luminate, a gain of 189% from the 756,000 it posted over the previous weekend. Meanwhile, Dua Lipa’s movie-opening Radical Optimism cut “End of an Era” was up 207% over the same period to 138,000 streams, and Madonna’s timeless “Vogue” was up 30% to 493,000.

And of course, since memories of the original movie were also burning bright over the weekend, “Suddenly I See” saw a.decent-sized bump as well, rising from 282,000 to 357,000 streams over the same period, a gain of 27%. – ANDREW UNTERBERGER

Mac Miller & Ty Dolla $ign Is the Latest 2016 Track to See Streaming Surge in 2026 

Mac Miller & Ty Dolla $ign’s “Cinderella” is in the top 10 of Hot Rap Songs for the first time, over ten years post-release — and it’s largely thanks to TikTok.

Since fall 2025, young listeners have gravitated towards the 2016 Divine Feminine fan-favorite, primarily highlighting Miller’s doe-eyed lyrics and Ty’s sweet hook. With the official “Cinderella” TikTok sound boasting over 2.2 million clips, users have started to employ the phrase, “I was/am so Cinderella by Mac Miller about him/her/them,” to express how deeply in love they are. With other users connecting the song to Miller’s close friend and former partner, pop superstar Ariana Grande, “Cinderella” has touched nearly every corner of TikTok.

Recently, “Cinderella” has quickened its streaming ascent, jumping 146% over the past four weeks. A month ago (March 26-April 2), “Cinderella” earned 2.43 million official on-demand U.S. streams, with that number vaulting to nearly 6 million streams during the week of (April 24-30).

Upon release, The Divine Feminine reached No. 2 on the Billboard 200, but all its singles missed the Hot 100 — that could very well change should “Cinderella” continue to rise across metrics. – KYLE DENIS

Facetious X & TikTok Trends Set Off Karlee Girl’s “Right Back” on Streaming 

Dream Academy and Building the Band alumna Karlee Girl just rode social media jokes to a burgeoning streaming hit. She first shared “Right Back” in February, but by the top of April, several viral X posts satirically praised the song, helping it gain traction and eventually land in the hands of listeners who truly embraced the upbeat track. On April 19, Doechii shared a TikTok post of her singing along to “Right Back,” and by April 22, Karlee posted a TikTok singing an acoustic version of the song to celebrate reaching the million-stream milestone. By April 27, Sophia and Yoonchae of KATSEYE shared a TikTok of themselves dancing to Karlee’s breakout hit. Not just an X hit, “Right Back” also plays in over 169,000 TikTok posts.

During the week of April 3-9, “Right Back” collected just 39,000 official on-demand U.S. streams, with that number jumping 370% to over 185,000 streams the following week (April 10-16), once the song started making the rounds on X. By the week of April 17-23, which accounts for Doechii’s clip, “Right Back” jumped a further 302% to over 747,000 official on-demand streams. Finally, during the week of April 24-30, which includes the KATSEYE dance-along TikTok, “Right Back” leapt another 53% to a whopping 1.14 million official streams. Over the past four months, “Right Back” has exploded over 2,795% in streaming activity.

Dream Academy has already gifted the world KATSEYE and ADÉLA, and it looks like Karlee Girl is next up. — K.D.

A Migos return might be on the horizon. The Migos’ Instagram account was revived on Tuesday (May 5) and made its first post in over two years, featuring a few photos of Quavo and Offset in the studio.

The post — which boasts over 335,000 likes — has only added fuel to the speculation that the Migos are back. Additional photos from Sunday’s (May 3) studio session found Offset in the booth, signaling new music could be on the way.

Speculation began last week when Quavo took to his Instagram Story, where he teased a posthumous TakeOff album, a sequel to his joint album with his late nephew and a possible Migos tribute album on the way.

“Warriors Never fold. Jobs Not Finished. TAKEOFF ALBUM. UNC N PHEW 2. LAST ????? ALBUM. REAL MIGO BLOOD RUN IN MY VEINS!!! AINT NO NEW CHAPTER JUST THE NEXT ONE,” Huncho wrote.

Offset echoed Quavo’s statement and added to the Migos’ comeback speculation. “On dat,” he wrote.

TakeOff (born Kirshnik Khari Ball) was shot and killed following a party at 810 Billiards & Bowling in Houston on Nov. 1, 2022.

Quavo and Offset have been distant in recent years before reuniting over the weekend, which sent fans into a frenzy about a possible reunion.

Their last collaboration came on the Migos’ 2021 Culture III album, which was supposed to be the fourth and final LP from the Atlanta trio prior to TakeOff’s passing. The album debuted at No. 2 on the Billboard 200 with 130,000 total album units earned, according to Luminate.

On Wednesday (May 6), the full list of honorees for TME Chart’s 30 UNDER 30 “Top 30 Young Singers” was officially unveiled. As an initiative dedicated to spotlighting emerging young talent in the Chinese music scene, this year’s program features a comprehensive upgrade to its recognition system.

Based on annual performance data from the TME Uni Chart and TME Wave Chart, the selection process combined objective metrics with public voting across categorized groups, ultimately recognizing 30 young artists distinguished by their contemporary appeal and strong industry potential.

Lars Huang, Yu Zi and Zhicheng Mu ranked No. 1 in the Core Group, Pioneer Group and Rising Star Group, respectively, earning recognition as representative young singer of their respective age categories.

Categorized by birth year, the honorees are divided into three groups: the Core Group (born 1996-1999), the Pioneer Group (born 2000-2005), and the Rising Star Group (born after 2006). This tiered structure highlights young singers at different stages of development, while the open public voting mechanism enables audience preferences and listener voices to play a meaningful role in the selection process.

Since its launch, TME Chart’s “30 UNDER 30” has grown into a highly influential benchmark for emerging talent in the Chinese music industry. Guided by the principles of professionalism, fairness, and diversity, the initiative encourages young artists to stay true to their creative vision, push artistic boundaries, and express the spirit of youth through innovation — while delivering positive impact through high-quality music.