Michael Jackson’s not-so-hidden gem “Chicago” debuts on the Billboard Hot 100 songs chart, among overall growth for his catalog as the late King of Pop’s biopic Michael continues to dominate at the box office.

The viral “Chicago” enters the Hot 100 (dated June 6) at No. 30, almost entirely from 10.7 million official chart-eligible streams (up 30% week over week) in the United States May 22-28, according to data tracker Luminate. (Older songs are allowed to appear on the chart if ranking in the top 50 and showing meaningful gains.)

The song has drawn 388 million streams to date, with its latest frame up from 8.3 million (May 30-dated charts), 6.9 million (May 23), 5.4 million (May 16) and 3.8 million (May 9 — reflecting the first week of tracking after Michael premiered April 24). Its May 9 chart sum was 83% higher than the week before.

“Chicago” was released on Jackson’s album Xscape in 2014, nearly five years after he died. The set produced two Hot 100 hits that year: “Love Never Felt So Good,” with Justin Timberlake (No. 9 peak) and “Slave to the Rhythm” (No. 45).

Timbaland and JRoc produced “Chicago,” which Cory Rooney wrote.

The track becomes Jackson’s 52nd Hot 100 hit as a soloist, dating to his initial entry, “Got To Be There,” in 1971. It’s his first since Drake’s “Don’t Matter to Me,” featuring Jackson, debuted at its No. 9 peak in July 2018, becoming Jackson’s 30th top 10, 13 of which hit No. 1.

Plus, the Jackson 5/Jacksons, with Jackson as a member, tallied 11 Hot 100 top 10s, including four No. 1s, in 1969-84.

Jackson becomes the first artist to have debuted new entries on the Hot 100 in each decade since the 1970s. His totals by decade: ‘70s — 11; ‘80s — 20; ‘90s — 12; 2000s — four; ‘10s — four; and ‘20s — one.

When Jackson’s “Thriller,” originally a No. 4 Hot 100 hit in 1984, rode Halloween gains to No. 10 on the Nov. 15, 2025-dated chart, he became the first artist ever to rank in the top 10 in six distinct decades.

Jackson’s iconic music has surged amid Michael’s run, but “Chicago” stands out as not having been a major hit upon its original release — and it’s not featured in the film. On the May 23-dated Hot 100, a personal-best six songs of his charted simultaneously, with all having bounded to the top 10 and five having reached No. 1 in their original release schedules in the ‘70s-‘80s: “Billie Jean,” “Human Nature,” “Beat It,” “Don’t Stop ‘Til You Get Enough,” “Dirty Diana” and “Rock With You.”

On the latest Hot 100, “Chicago” is Jackson’s second-highest-charting song, after “Billie Jean” at No. 19. Below “Chicago” are “Human Nature” (No. 31) and “Don’t Stop ‘Til You Get Enough” (No. 43).

Social media has helped “Chicago” take its place among Jackson’s Hot 100 history, including usage on TikTok.

In a 2014 track-by-track Billboard review of Xscape, Joe Levy praised “Chicago” as “a dark funk tale of an affair with a married woman, with trap snares and washes of keyboard drama. Out front, Jackson’s tenor voice lays out the promise of a love (‘This woman had to be an angel from heaven sent just for me’), while his backing vocal screams of the consequences (‘She tried to lead a double life, loving me while she was still your wife’). At the 3:20 mark, the drums drop out and the vocals and finger snaps take over.

“Timbaland sometimes felt he was hearing Jackson’s spirit speak to him in the studio,” Levy added. “This is one of those moments.”

Following a synch in Fox’s Doc, Sienna Spiro’s “Die on This Hill” takes the No. 1 spot on Billboard’s Top TV Songs chart, powered by Tunefind (a Songtradr company), for April 2026.

Rankings for the Top TV Songs chart are based on song and show data provided by Tunefind and ranked using a formula blending that data with sales and streaming information tracked by Luminate during the corresponding period of April 2026.

“Die on This Hill” was heard in the April 14 episode of Doc, which was the finale of the series’ second season (a third is on the way). The track earned 34.8 million chart-eligible streams and sold 2,000 downloads in the United States in April 2026, according to Luminate.

Spiro’s first song to reach the weekly Billboard Hot 100 (she now boasts three entries), “Die on This Hill” debuted at No. 100 in January and has reached a peak so far of No. 19 in February. It appears at No. 70 on the most recent survey.

The April 2026 Top TV Songs chart features representation from seven shows in all, with Marshals the month’s most-represented series. It’s a strong start on the tally for CBS’ Yellowstone spinoff, which premiered on March 1.

Riley Green’s “Worst Way” leads the trio of Marshals tunes at No. 4 (8.4 million streams, 5,000 downloads), followed by Hozier’s “Work Song” (No. 5; 10.8 million streams, 1,000 downloads) and Adam Sanders’ “His to Mine” (No. 10; 444,000 streams, 2,000 downloads).

See the full chart, also featuring music from High Potential, Shrinking, Your Friends & Neighbors, The Boys and Beef, below.

Rank, Song, Artist, Show (Network)
1. “Die on This Hill,” Sienna Spiro, Doc (FOX)
2. “APT.,” ROSE & Bruno Mars, High Potential (ABC)
3. “I Remember Everything,” Zach Bryan feat. Kacey Musgraves, Shrinking (Apple TV+)
4. “My Way,” Riley Green, Marshals (CBS)
5. “Work Song,” Hozier, Marshals (CBS)
6. “Ain’t No Rest for the Wicked,” Cage the Elephant, Your Friends & Neighbors (Apple TV+)
7. “Never Tear Us Apart,” INXS, The Boys (Prime Video)
8. “Clarity,” Zedd feat. Foxes, Beef (Netflix)
9. “Tubthumping,” Chumbawamba, The Boys (Prime Video)
10. “His to Mine,” Adam Sanders, Marshals (CBS)

If you wondered about Drake‘s ability post-2024 to still make the kind of history on the Billboard charts that he seemed to make routinely in the 15 years prior to that … well, wonder no longer.

On this week’s Billboard 200 (dated May 30), Drake debuts in the top three spots with his three simultaneously released new LPs — Iceman, Habibti and Maid of Honour, respectively — becoming the first artist to ever occupy Nos. 1-3 on the chart at the same time. Meanwhile, Iceman‘s “Janice STFU” opens at No. 1 on the Billboard Hot 100 — the highest of his 42 entries, and 40 debuts, also Hot 100 records — breaking Drake out of a tie with Michael Jackson for most career No. 1s on the chart by a solo male with his 14.

Which of these records do we deem to be the most historically significant? And does this mean that Drake is officially as big again as he was before the drama of two years ago? Billboard staffers discuss these questions and more below.

1. Drake sets all kinds of history on the Billboard charts this week — including most entries by any act in one week (42) and most No. 1 hits total (14) for a male solo artist on the Hot 100, and most simultaneous top spots (three) held on the Billboard 200. Which of the records he sets this week do you think is the most historically significant?  

Kyle Denis: I’d probably go with breaking the “most entries in one week” record; it’s a real testament to how intense his popularity is in the streaming era. Breaking Michael Jackson’s record for most Hot 100 No. 1 hits by a male soloist certainly sounds cool, but when you compare Drizzy’s No. 1s to the King of Pop’s, the difference in quality is so stark it’s laughable.  

Angel Diaz: The Billboard 200 record is the most impressive to me. It’s not every day that one of music’s top artists decides to drop three separate albums at once. That one is going to be hard to beat, unless someone like Taylor Swift or Beyoncé feels competitive enough to release four albums at the same time.  

Lyndsey Havens: Well, I’d argue that occupying the top three spots on the Billboard 200 holds the most weight, largely because it’s the kind of moment we’ll be able to point to as “when things changed.” Now that Drake has done it — regardless of why … — it becomes a conversation of who does it next? Who can do this? Who would and why? It created not only a new marker of success but a new conversation, too.

Michael Saponara: I’d have to go with having the most No. 1 hits of any male soloists. It’s the toughest to accomplish, in my opinion, and saw him pass a legend in the King of Pop, albeit very different eras of music. I may also be impacted by seeing Michael over the holiday weekend. But it also points to an enduring legacy and more than a decade at the hitmaking summit, which we haven’t seen from a rapper before. The avalanche of entries for a week feels a tad hollow, since when A-listers put numbers on the boards, most seem to fall off within a couple of weeks. Still, what a comeback for Drake. 

Andrew Unterberger: Something about securing the top three on the Billboard 200 feels momentous — maybe because, when compared to having 42 Hot 100 entries simultaneously, having the top three feels like something that could have actually been achieved in earlier chart decades, even though there were plenty of logical contextual reasons why it hasn’t been. It just shows you how few artists on Drake’s level would’ve even considered a comeback approach like this, and makes it all the more impressive that he actually pulled it off.

2. Iceman is by far the best-performing of Drake’s three new sets, launching with 463,000 equivalent album units in the U.S., according to Luminate (to 114,000 and 104,000 for Habibti and Maid of Honour, respectively), while also accounting for Drake’s 16 best-performing songs on the Hot 100 this week, including 12 of the overall top 13. Are you surprised that Iceman lands this far ahead of its sibling sets, or is it about what you expected? 

Kyle Denis: This is exactly what I expected. Not only was Iceman the only album title the public was aware of leading up to the triple album drop, but it was also the kind of album people have been asking Drake to make. I’m not surprised the album where he’s actually rapping — and addressing the past two years — blew Maid of Honour and Habibti out of the water. We just got 20 R&B songs from Drake last year. 

Angel Diaz: I’m not surprised because that was the album everyone was waiting on. I am surprised that the other two are as close as they are, though, because the online consensus is that Maid of Honour is the second best of the three; at least on my timeline anyway. 

Lyndsey Havens: It’s exactly what I expected, and shows the continued power of marketing and rollout — in 2026. Iceman got the full treatment, including social media-primed gimmicks like melting ice bricks to reveal release date and even a projection that made Toronto’s CN Tower appear to be covered in ice. It’s the album fans were expecting and awaiting — and given the rollout, could be argued as the most “intentional” set of the three. Plus, Iceman largely seems to be the album that fans listened to first — and as for whether or not that made them tune in for two more rounds? The numbers speak best to that.

Michael Saponara: Not at all. This has been the album people have been expecting and the one he’s done the legwork teasing for over a year. It’s also the mission statement, which finds him addressing more personal topics and responding to those in the industry who have crossed him since the Kendrick Lamar battle. I really enjoyed the album and believe it has the most quality depth of any project from him in a decade, and it’s Drake barring up with a rap-heavy project, which his core fans should embrace. 

Andrew Unterberger: I’m not surprised that it lands ahead, but the extent of it is pretty eye-opening to me. It shows you how successful Drake was with his Iceman-specific promo in the months (years?) leading up to the album that despite being released at the same time as two totally separate albums — at least one of which, Maid of Honour, was arguably much more accessible — it was so clearly the set that his fans immediately zeroed in on.

3. “Janice STFU” is the best-performing song across the three sets in its first week. Do you see it growing and enduring as the breakout hit from this Drake mega-era, or do you think other songs on the albums will ultimately pass it?  

Kyle Denis: I think “Janice STFU” will endure as the true breakout hit, but I wouldn’t be too shocked to see “Shabang” and “Ran to Atlanta” follow suit. If anything sticks around from the other two albums, I’m betting on “Hoe Phase” (from Maid of Honour) and either “Classic” or “Fortworth” (from Habibti). 

Angel Diaz: I think it being a spin on a Lykke Li track helps open it up to a different audience, and it’s also very catchy. I’ve often found myself singing “beep, beep, baby” randomly and folks are using it in their Instagram Reels and TikToks. I’m curious to see how long it lasts on top of the Hot 100.  

Lyndsey Havens: I think other songs certainly could pass it. And this is a bit of a copout answer, but I think the challenge of releasing three albums at once (around 2.5 hours of listening) is that the breakout hit could still be hiding somewhere. While it’s a quicker process, sometimes, for an artist and their team to intentionally nudge just one song to the front, in this case there’s still a bit of a race going on. Drake dropped 18 new music videos last week, four of which surpassed 10 million views (“Janice STFU” leads with 13 million as of now — but “Whisper My Name” isn’t far behind). All of this is to say, I wouldn’t count any song out just yet.

Michael Saponara: I’ve been trying to find the one song that would jump out and “Janice STFU” seems to be what fans have gravitated towards. I’m not surprised as I’ve found myself singing along to the addicting chorus, which interpolates Lykke Li’s “I Follow Rivers.” I think it’s going to stick around for a while. We’ll see what catches on at radio as I’ve heard “Shabang” and “Ran to Atlanta” while driving around this past week. 

Andrew Unterberger: Yeah, “Janice” feels like the song. It’s fun, it’s meme-y, it’s not as catchy as “Nokia” but it’s much less of a drag than “Slime You Out” or “Way 2 Sexy.” It’s one of those songs that isn’t necessarily an undeniable smash, but once it burrows its way into the culture, it stays there.

4. A week and a half in, which of the three sets do you remain most interested in? 

Kyle Denis: Iceman, without a question. But I’m also learning I’m much fonder of Maid of Honour than the average listener. 

Angel Diaz: Rap Twitter won’t stop talking about Iceman, but for me I think I’m leaning towards Maid of Honour, especially as the weather gets warmer. That’s when we’ll really see if any of these three projects have any legs. In the meantime, I’ve made a playlist combing the best from Maid and the best from Habibti to make a nice-sounding album. 

Lyndsey Havens: I’ve been loving the social media chatter over how to describe each album. I’m more into pop girlie Drake, and I think Maid of Honour delivers that side of him most, certainly through the more uptempo and bouncy production at least. 

Michael Saponara: Iceman, for sure, for a lot of the reasons I listed in my answer to question No. 2. It’s his most rap-heavy project since IYRTITL and there’s plenty of depth to the album, which is a problem I’ve had with Drake albums in the past being too top-heavy and reliant on a few hits. If I may make the comparison, Iceman has been the main course at dinner, while I’ve mixed in Habibti and Maid of Honour as a side of mashed potatoes and a palette cleanser for dessert. 

Andrew Unterberger: Honestly, Habibti might be the one I end up returning to the most. The album-closing run on that, where Drake actually seems to shed his bravado and sound legitimately lost and insecure and actually kinda frightened — that’s the only Drake across these three albums that I don’t think I’ve ever heard before. Not surprising that that’s not where the hits are coming from, but I’m intrigued by it.

5. After a couple rough years for the rapper, does the historic chart performance of these sets in their opening frame establish to you that Drake is 100% back to his pre-2024 hitmaking status, or do you still need to see more from him before granting him that? 

Kyle Denis: Even at the height of the 2024 battle, I never once doubted Drake’s ability to maintain (or regain) his commercial footing. He operates at a level maybe two other pop stars do; that was never going to be undone by five or six songs. With that being said, I can’t judge much from the first week. It’s not exactly a shocker that three pseudo-surprise Drake albums flooded the charts. What’s more interesting to me is whether these songs stick around near the top of the Hot 100; Drake hasn’t had a song spend more than a single week at No. 1 since 2018. Can “Janice” end that streak? With all of this music and a relatively quiet hip-hop scene, can Drake replicate Scorpion’s three multi-week No. 1 singles? That’s what I’m keeping an eye out for.

Angel Diaz: I’m not ready to definitively answer that yet. He got some things off his chest on Iceman and provided some hits on those three projects, but there still isn’t a monster record on any of them. At least by Drake standards. Hopefully, he lets these projects breathe, though, and comes back undistracted. I think that’s when he’ll truly get back on track. 

Lyndsey Havens: ……. I think it establishes that pre-2024 Drake was a special period in time.

This historic chart performance proves fans will always be ready and waiting for more Drake (apparently, three full albums worth), and in no world was he going to flop during debut week. But I’m curious to see what the next few months look like for Drake and where these albums fall within his longterm legacy.  

Michael Saponara: To me, this marks more of the start of another peak in a new era for Drake. I’d compare it more to LeBron James in his Los Angeles Lakers era in a later stage of his career as the 6 God approaches 40. It’s not quite the same commercial heights and dominance as the mid-2010s (think Miami Heat or Cleveland Cavaliers LeBron), but it’s still Hall of Fame worthy.

Andrew Unterberger: Not 100%, but close enough. We’ll have to see what kind of numbers he puts up when the rubbernecking curiosity of what he still might have to say about 2024 isn’t around anymore. But then again, will that ever go away? Will we ever not be super-curious what Drake has to say about the s–t going on in his life — and then what everyone else is gonna say about what he says? Maybe not.

Nearly four years after Carlos Vives shared the No. 1 slot on Billboard’s Latin Airplay chart with Camilo, the singer returns to the summit with the solo hit “Te Dedico,” as the song jumps 2-1 on the ranking dated May 30. The song is the first single from Vives’ 19th studio album, El Último Disco Vol. 1, and gives the artist his 17th champ.

“My 17th No. 1… honestly, I never imagined it, and it still amazes me,” Vives tells Billboard on camera. “Even so, I used to tell myself, ‘People don’t write love songs anymore; we don’t hear those kinds of songs that make you fall in love anymore…’ he sings. “I love you all—thank you so much for the opportunity to be there. That is your heart—the heart of all of you who are back there.” (behind the screen).

“Te Dedico” marks Vives’ first champ on the overall Latin radio ranking in nearly four years, since he shared the gold medal with Camilo through “Baloncito Viejo” in June 2022. Between “Baloncito Viejo” and “Te Dedico,” Vives hit the top 10 with the No. 4-peaking “Cumbia del Corazón,” with Los Ángeles Azules.

Vives’ new achievement also becomes his first No. 1 on the list as a soloist -without any collaborators- in nearly eight years, when “Hoy Tengo Tiempo (Pinta Sensual)” topped Latin Airplay in Sept. 2018.

“Te Dedico” jumps 2-1 after earning 8.3 million audience impressions in the United States during the May 15-21 tracking week, according to Luminate; a 21% boost in impressions from the week prior. Vives expands his scope of wins on Latin Airplay, with 17th chart-toppers, maintaining the third-most mark among tropical acts since the tally launched in 1994. Here is the leaderboard:

Artist, Title Count
Romeo Santos, 24
Prince Royce, 21
Carlos Vives, 17
Marc Anthony, 16
Gloria Estefan, 13

Elsewhere, “Te Dedico” adds a second week at No. 1 on Tropical Airplay. Plus, thanks to its radio haul, it surges 40-24 on the Hot Latin Songs chart, Vives’ highest visit since the No. 6-peaking “Cumbia, Mi Encanto” in Feb. 2022.

“Te Dedico” is the opening track and first single from Vives’ El Último Disco Vol. 1, released May 1st on Sony Music Latin, which includes collabs with heavyweights Niña Pastori, Juan Luis Guerra, Sergio George and Josemi Carmona.

All charts dated May 30, 2026, will update on Billboard.com tomorrow, May 27 (a day later than usual due to the Memorial Day holiday in the United States May 25). For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram. Plus, for all chart rules and explanations, click here.

With his recent triple drop, Drake establishes a new record on Australia’s albums chart.

The Canadian hip-hop star dominates the ARIA Albums Chart as Iceman debuts at No. 1, Maid Of Honour bows at No. 5 and Habibti is new at No. 6 (all via Republic/Universal). And with that feat, he becomes the first artist to crack the top 10 with three new albums in the same frame since the ARIA Charts were first published in 1983.

That bests previous efforts by Guns N’ Roses and Bruce Springsteen, according to ARIA. GN’R landed a double in 1991 when Use Your Illusion I and Use Your Illusion II debuted at No. 1 and No. 2, respectively, in the same week, while The Boss did the same the following year, in 1992, with Human Touch (No. 3) and Lucky Town (No.6).

Drizzy now boasts 16 solo and collaborative top 10 albums including, including leaders Views (from 2016), Scorpion (2018), Dark Lane Demo Tapes (2020), Certified Lover Boy (2021) and For All The Dogs (2023).

Also making a strong start on the ARIA Albums Chart is Genesis Owusu, the beloved Aussie rock-star whose third album Redstar Wu & The Worldwide Scourge (Ourness), opens its account at No. 3. That’s a career-best effort for the Canberra-raised artist, after his multiple award-winning 2021 debut Smiling With Now Teeth peaked at No. 27, and 2023 followup Struggler went to No. 4.

Further down the ARIA Chart for Monday, May 25, the complete version of British emo artist Yungblud’s IDOLS (Interscope/Universal) pops at No. 27; rising L.A. pop-country singer Stella Lefty’s Is This Heaven? (Warner Music) is at No. 28; and homegrown rock outfit Rose Carleo Band bows at No. 34 with their debut LP 42 Days (Checked Label Services).

The Drake dump makes a major impact on the ARIA Singles Chart, too. All told, 15 Drake singles enter the ARIA Top 50 this week, including five in the top 10: “National Treasures” at No. 4, “Janice STFU” at No. 5, “Whisper My Name” at No. 6, “Make Them Cry” at No. 9 and “Dust” at No. 10.

Drake is closing in on 100 career top 50 hits in these parts. Including collaborations, he boasts 98 appearances on the chart, including No. 1s with “One Dance” featuring Wizkid and Kyla from 2016, and “God’s Plan,” “Nice For What” and “In My Feelings” in 2018.

At the top of the leaderboard is Ella Langley’s “Choosin’ Texas” (Sony Music), which enters a second week at No. 1.