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UPDATE (May 29): “Rein Me In” by Sam Fender and Olivia Dean holds at No. 1 on the Official Singles Chart in the U.K. on the chart that was published on Friday (May 29). This is the 13th nonconsecutive week atop the U.K. chart for “Rein Me In.” The song dropped off the Billboard Hot 100 dated May 30, after a nine-week run in which it peaked at No. 64.

“Rein Me In” is one of just two singles to log 13 or more weeks at No. 1 in the U.K. without reaching the top 10 (or even the top 40) on the Hot 100 (which originated in 1958). The other: Wet Wet Wet’s “Love Is All Around,” which led the U.K. chart for 15 weeks in 1994, but stalled at No. 41 on the Hot 100.

PREVIOUSLY (April 23): Music fans in the United States and the United Kingdom often agree on big hits. Six songs have logged 10 or more weeks at No. 1 on both the Billboard Hot 100, the flagship chart for success in the U.S., and the Official Singles Chart in the U.K. Whitney Houston’s “I Will Always Love You” from The Bodyguard (1992-93) became the first song to reach double digits in weeks at No. 1 on both sides of the Atlantic. Alex Warren’s “Ordinary” (2025) marked the most recent.

In between those two megahits, four other singles achieved the feat: Drake‘s “One Dance,” featuring WizKid & Kyla (2016), Ed Sheeran’s “Shape of You” (2017), Luis Fonsi & Daddy Yankee‘s “Despacito,” featuring Justin Bieber (2017) and Harry Styles’ “As It Was” (2022).

But music fans in our two countries don’t always agree. “Rein Me In” by Sam Fender and Olivia Dean is currently in its eighth week at No. 1 on the Official Singles Chart in the U.K., but it hasn’t broken through in nearly the same way on the Hot 100. This week, it drops from its No. 64 high point to No. 73. Part of the problem is that two other Dean hits simply refuse to yield: “Man I Need” (which holds at its No. 2 peak) and “So Easy (to Fall in Love)” (which keeps at its No. 6 high). Both are catchier and closer to the core sound in pop music right now. And while Fender is an established star in the U.K., with four top 10 hits, this is his first Hot 100 hit.

“Rein Me In” is the ninth song since 1958 (when the Hot 100 originated) to log eight or more weeks at No. 1 on the Official Singles Chart in the U.K. but fall short of the top 10 on the Hot 100.

Here’s a complete list of those songs, in chronological order:

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Drake’s blockbuster Iceman release has broken multiple Billboard Canadian chart records.

After dropping three albums earlier this month — Iceman, Maid of Honour and Habibti — the Toronto-born rapper is reaching new chart heights in his home country.

The same week that he beat Michael Jackson’s record for most No. 1s in the U.S.

Drake’s “Janice STFU” is his 14th No. 1 song on the Billboard Canadian Hot 100 dated May 30.

That marks Drake’s 14th chart-topping song since the chart’s inception in 2007, and it breaks a tie with Justin Bieber and Taylor Swift for the most No. 1 songs in Canadian Hot 100 history.

Drizzy scores all top nine spots on the Canadian Hot 100 this week.

That’s a major feat, occupying 9 out of the top 10 simultaneously, though it doesn’t quite pass Taylor Swift. She holds the record for the most entries in the top 10 simultaneously, with 10 on Nov. 5, 2022, and Oct. 18, 2025.

Drake did break another of Swift’s records, though, charting 17 songs in the top 20 simultaneously of this week’s Canadian Hot 100. Previously, Swift held that record, with 15 tracks.

Drake has had 51 tracks in the top five and 84 tracks that have hit the top 10 —both extending his personal records.

Drake has 42 out of 100 of the total chart spots on this week’s Canadian Hot 100. That’s another record, surpassing the 37 tracks that Morgan Wallen stacked on the May 31, 2025, chart, powered by his chart-topping release I’m the Problem.

40 of Drake’s songs make their debut on the chart this week, and two re-enter, setting a new record for the most charting hits in a single week.

Find all of Drake’s Canadian chart records here.

Music ‘Streaming Tax’ Update Is ‘Forthcoming’ as CRTC Triples TV Streaming CanCon Contributions to 15%

The Canadian Radio-television and Telecommunications Commission (CRTC) has increased its base contributions for major audiovisual streaming services like Netflix, Amazon Prime Video and Apple TV.

The federal broadcast regulator has revealed that platforms earning more than $25 million in revenue will be required to pay 15% of their income to Canadian content funds. It’s a 10% increase from the 5% base contribution requirement proposed in 2024.

“The total contributions are expected to stabilize the funding at more than $2 billion in support of Canadian and Indigenous content, such as French-language content and news,” the federal broadcast regulator’s statement reads. “These measures will help ensure that Canadian stories continue to be told and made available to audiences across the country.”

The CRTC made the decisions as part of its implementation of the Online Streaming Act, in an effort to boost Canadian and Indigenous content discoverability.

To ensure the CRTC’s requests are met, online streaming platforms will be required to take steps to make diverse content available and visible. Details of those requirements have yet to be publicly revealed.

So, what does this mean for music streaming?

A spokesperson for the CRTC tells Billboard Canada, “a decision on the Consultation on Canadian content for audio services is forthcoming, and any changes affecting music streaming services would be set out in a public decision following that process.”

As it stands, CRTC regulations state that at least 35% of music played on commercial radio stations must be localized content — a.k.a. CanCon. This standard doesn’t extend to music streaming services, with many independent Canadian groups pushing for this change with the 5% base contributions. Currently, rollout is paused.

National Music Centre Names Steve Kane as Chair of NMC Board of Directors

Canada’s National Music Centre (NMC) has promoted Steve Kane to chair of the organization’s board of directors.

Previously, he served as a board member for the Calgary-based music organization, rounding out over 30 years championing Canada’s music scene and working at some of today’s biggest Canadian record labels.

Kane, former longtime president of Warner Music Canada and a member of the Canadian Music and Broadcast Industry Hall of Fame, succeeds Rob Braide, who is retiring from the Board after 13 years. Braide helped to open and launch NMC, which is celebrating its 10th anniversary this year. In celebration, the organization has kicked off a year-long lineup of exhibits, events and programs.

As he enters this expanded role at NMC, he shares that he’s excited to “amplify the power of music in Canada, both nationally and internationally.”

“I’m thrilled and honoured to be taking on this expanded role on the Board of the National Music Centre. Our songs and stories are central to our identity as Canadians from coast to coast to coast,” he tells Billboard Canada. “At NMC, we don’t just preserve the past. We are helping create the future of Canadian music with educational programs, artist development initiatives, world-class recording studios, and unique live events that incorporate NMC’s historic collection of musical instruments.”

In the late ’90s, Kane kicked off his music industry career as senior vice president of Polygram Records and Universal/Island/Def Jam Canada. While he stayed at the latter label for four years, his longest stint was as president of Warner Music Canada for 20 years, starting in 2001. In 2021, he was succeeded by Kristen Burke at the Canadian major label, who remained in the role until 2025, when Eric Wong was tapped for the position.

Throughout Kane’s decades-spanning career, he has served on various music boards, including Canadian Country Music Association (CCMA), Canadian Academy of Recording Arts and Sciences (CARAS) and Unison.

Kane will be joined by current board member Jennifer Buchanan, who is stepping into the role of vice-chair.

Read more here.

La banda de rock que Flea aprendió a respetar con los años

Los Red Hot Chili Peppers se formaron en Los Ángeles a principios de los 80 con una identidad muy clara y una única premisa: distanciarse todo lo posible del hair metal, el género que por aquel entonces dominaba el Sunset Strip. «Estábamos definitivamente en contra del hair metal», reconoció Flea en una entrevista con Classic […]