A little more than 12 years after its release, Justin Bieber’s Journals album debuts on the Billboard 200 chart (dated April 25). It’s one of seven albums (including five re-entries) from the entertainer on the chart – the most he’s ever had on the chart at once.

The flurry in activity comes after his headlining turn during the first weekend of the 2026 Coachella Valley Music and Arts Festival (on Saturday, April 11), which was also livestreamed on YouTube. He also headlined the following Saturday (April 18), which was livestreamed too.

Journals debuts at No. 111 with nearly 13,000 equivalent album units earned in the United States in the week ending April 16, according to Luminate (that’s a gain of 192% as compared to the previous week).

Journals was originally released exclusively for purchase only in the iTunes Store on Dec. 23, 2013. However, sales from the iTunes Store were not reported to Luminate (then-named Nielsen SoundScan), and in turn, the title did not debut on the Billboard 200. The album eventually became widely available to all digital download and streaming services (and eventually iTunes began reporting the album’s weekly sales), and on CD and vinyl, but this week marks the first week the album had enough activity to chart in a single week.

Meanwhile, Bieber’s most recent album, SWAG, zooms 55-7 with 43,000 equivalent album units earned (up 160%), while five more titles re-enter: Purpose (No. 32 with 22,000 units; up 173%), Believe (No. 34 with 21,000, up 241%), My World 2.0 (No. 38 with 20,000, up 268%), Justice (No. 110 with 13,000, up 100%) and My World (No. 147 with 12,000, up 563%).

With seven albums on the Billboard 200 at the same time, that marks the most titles Bieber has placed on the tally concurrently. The most he’s ever had on the chart at once is four, last achieved in January 2012.

The May 1-dated Billboard 200 will reflect any additional gains gleaned by Bieber’s catalog from the second weekend of Coachella, as that chart’s tracking week runs from April 17-23.

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 April 25, 2026-dated chart will be posted in full on Billboard‘s website on April 21.

Ella Langley is getting her flowers on Billboard’s charts (dated April 25), thanks to the debut of her album Dandelion.

Released April 10 via SAWGOD/Columbia Records, the singer-songwriter’s new album launches at No. 1 on the Billboard 200 with 169,000 equivalent album units earned in the United States in its opening week (April 10-16), according to Luminate. Langley earns her first leader on the chart, as it arrives with the top weekly total for an album by a woman this year and the biggest one-week sum among country albums by women since Beyoncé’s Cowboy Carter in 2024.

Langley concurrently jump two spots to No. 1 on the Billboard Artist 100 chart, where she also leads for the first time. She becomes just the fourth woman to top the chart in its 12-year history on the heels of a country album, following Carrie Underwood, who spent a week at No. 1 in September 2018, Taylor Swift (multiple weeks on top via re-recordings of country projects Red and Fearless) and Megan Moroney, who ruled for the first time last month.

Langley also places 15 songs from Dandelion on the Billboard Hot 100, led by seven-week No. 1 “Choosin’ Texas.” Here’s a recap of her entries on the chart (all debuts except where noted).

Rank, Title:
No. 1, “Choosin’ Texas” (No. 1 for seventh week)
No. 4, “Be Her” (up from No. 8; new high)
No. 20, “Bottom of Your Boots”
No. 21, “Loving Life Again” (up from No. 38; new high)
No. 27, “Dandelion” (up from No. 46; new high)
No. 53, “Broken”
No. 54, “We Know Us”
No. 55, “You & Me Time”
No. 62, “Low Lights”
No. 63, “Speaking Terms”
No. 71, “Butterfly Season,” with Miranda Lambert
No. 75, “Somethin’ Simple”
No. 76, “Last Call for Us”
No. 80, “I Gotta Quit”
No. 83, “It Wasn’t God Who Made Honky Tonk Angels”

As Langley simultaneously rules the Artist 100, Hot 100 and Billboard 200, she becomes just the sixth woman to lead all three charts in the same week (dating to the Artist 100’s 2014 launch), joining Swift, Adele, Beyoncé, Ariana Grande and Olivia Rodrigo. The only other artists to lead all three in the same week this year are Swift (on the Jan. 10-dated chart) and Bruno Mars (March 14).

Langley also becomes just the 11th woman to top the Billboard 200 this century with a country album. Here’s a chronological rundown of every such set by a woman or all-woman act (based on titles that have hit Billboard’s Top Country Albums chart).

Title, Artist, Peak Date:
Home, The Chicks, Sept. 14, 2002
Cry, Faith Hill, Nov. 2, 2002
Up!, Shania Twain, Dec. 7, 2002
Fireflies, Faith Hill, Aug. 20, 2005
All Jacked Up, Gretchen Wilson, Oct. 15, 2005
Taking the Long Way, The Chicks, June 10, 2006
Reba Duets, Reba McEntire, Oct. 6, 2007
Carnival Ride, Carrie Underwood, Nov. 10, 2007
Fearless, Taylor Swift, Nov. 29, 2008
Keep on Loving You, Reba, Sept. 5, 2009
Play On, Carrie Underwood, Nov. 21, 2009
Speak Now, Taylor Swift, Nov. 13, 2010
Blown Away, Carrie Underwood, May 19, 2012
Red, Taylor Swift, Nov. 10, 2012
Platinum, Miranda Lambert, June 21, 2014
Now, Shania Twain, Oct. 21, 2017
Cry Pretty, Carrie Underwood, Sept. 29, 2018
Fearless (Taylor’s Version), Taylor Swift, April 24, 2021
Red (Taylor’s Version), Taylor Swift, Nov. 27, 2021
Speak Now (Taylor’s Version), Taylor Swift, July 22, 2023
Cowboy Carter, Beyoncé, April 13, 2024
Cloud 9, Megan Moroney, March 7, 2026
Dandelion, Ella Langley, April 25, 2026

The Artist 100 measures acts’ activity across key metrics of music consumption: album sales, track sales, radio airplay and streaming. Using a methodology comprising those metrics, the chart provides a weekly multi-dimensional ranking of artist popularity.

Ella Langley achieves her first No. 1 on the Billboard 200 albums chart as her sophomore studio set Dandelion debuts atop the list dated April 25. The effort launches with 169,000 equivalent album units earned in the United States in the week ending April 16, according to Luminate. That marks the largest week for a country album by a woman in two years, and the biggest week of 2026 for any woman.

Dandelion was preceded by the smash crossover hit “Choosin’ Texas,” which has spent 20 weeks at No. 1 on Hot Country Songs, six weeks atop the all-genre Billboard Hot 100 and three weeks at No. 1 on Country Airplay.

With Dandelion’s No. 1 Billboard 200 debut following the No. 1 bow of Megan Moroney’s Cloud 9 on the March 7-dated chart, there have been two No. 1 country albums by two different solo women in a calendar year for the first time in more than a decade. It last happened in 2012, when Taylor Swift’s Red and Carrie Underwood’s Blown Away both reigned. (Honorable mention to 2021, which saw two country No. 1s, but by the same artist, with Swift’s Fearless [Taylor’s Version] and Red [Taylor’s Version].)

Also notable, Dandelion and Cloud 9 are both the first No. 1s for Langley and Moroney. The chart last saw a pair of first No. 1s that were country albums by solo women in the same year nearly 20 years ago. In 2007, Reba McEntire and Carrie Underwood both got their first No. 1s, with Reba Duets and Carnival Ride, respectively.

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 April 25, 2026-dated chart will be posted in full on Billboard‘s website on April 21. For all chart news, follow @billboard and @billboardcharts on both X and Instagram.

Of Dandelion’s 169,000 equivalent album units earned in the latest tracking week, SEA units comprise 128,000 (equaling 130.46 million on-demand official streams of the set’s tracks, Langley’s best streaming week; it debuts at No. 1 on Top Streaming Albums), album sales comprise 39,000 (her best sales week; it debuts at No. 1 on Top Album Sales) and TEA units comprise the remaining sum.

Dandelion claims the largest week for a country album by a woman in two years, and the biggest week of 2026 for any woman. The set also scores the largest streaming week for an album by a woman in 2026, and the biggest streaming week for a country album by a woman in two years. Among country albums by women, Beyoncé’s Cowboy Carter tallied the last larger week by units (407,000 in its debut week; April 13, 2024, chart) and streams (136.08 million in its second week; April 20, 2024, chart).

Country albums are defined as those that are eligible for, or have charted on, Billboard’s Top Country Albums chart.

Dandelion is Langley’s first top 10 on the Billboard 200, and her second chart entry, following her Hungover debut. That set arrived on the chart in August 2024 but didn’t hit the top 40 until this January and peaked at No. 20 a week ago (April 18 chart), in its 80th week on the list.

Dandelion was issued as a standard album at streaming services and at retail as a digital download, CD and vinyl (in two variants, one signed).

Morgan Wallen’s former No. 1 I’m the Problem holds at No. 2 on the latest Billboard 200, with 83,000 equivalent album units earned (up 4%). In turn, country albums are Nos. 1 and 2 for the second time in 2026, following the Jan. 24-dated list, when Zach Bryan’s With Heaven on Top debuted at No. 1 and I’m the Problem fell 1-2. Before that, it last happened on the Feb. 17, 2024-dated chart, when Toby Keith’s 35 Biggest Hits re-entered the chart at No. 1 following his death and Wallen’s One Thing at a Time fell to No. 2.

Back on the latest Billboard 200, BTS’ ARIRANG slips 1-3 in its fourth week on the list, earning 78,000 equivalent album units (down 37%). The set spent it first three weeks atop the chart. Don Toliver’s chart-topping OCTANE is a non-mover at No. 4 (48,000, down 15%), Olivia Dean’s The Art of Loving is steady at No. 5 (nearly 48,000, down 5%), and Bad Bunny’s former leader DeBÍ TiRAR MáS FOToS rises 7-6 (44,000, down 3%).

Justin Bieber’s SWAG zooms 55-7 following his headlining performance during the first weekend of the Coachella Valley Music and Arts Festival. The set surges with 43,000 equivalent album units earned, a gain of 160% compared to the previous week. The increase was largely owed to streaming activity, as SWAG’s songs generated 42,000 SEA units (up 158%), equaling 41.48 million on-demand official streams of the set’s songs — across both its SWAG and deluxe SWAG II reissue that contained additional songs. (All versions of the album are combined for tracking and charting.)

Bieber headlined the second night of both weekends of the festival, taking the stage on April 11 and 18, which was also livestreamed on Coachella’s YouTube channel.

Luke Combs’ The Way I Am falls 6-8 on the Billboard 200 with 42,000 equivalent album units earned (down 9%) and Wallen’s One Thing at a Time rises 9-8 with 40,000 units (up 5%).

Sabrina Carpenter’s former No. 1 Man’s Best Friend jumps back into the top 10, climbing 18-10, following her headlining turn at Coachella. She reigned over the first night of both weekends, on April 10 and 17. Man’s Best Friend flies up the list with 40,000 equivalent album units earned, up 44%. Like SWAG, Man’s Best Friend mostly gained from streaming increases — it earned 34,000 SEA units (up 60%), equaling 34.39 million on-demand official streams of the album’s songs. Carpenter’s set was also streamed live on Coachella’s YouTube channel.

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.

Nearly every person who’s succeeded in country music did so after leaving their hometown for an unknown future. Most who take the risk find it doesn’t work out, but some get lucky.

Chris Stapleton addressed the strength it takes to make a major change in “Starting Over,” appropriately rhyming the title with “four-leaf clover” in the chorus. He found his own good fortune when the single rose to No. 1 on Billboard’s Hot Country Songs chart dated April 17, 2021, 32 weeks after its Sept. 5, 2020, debut.

Stapleton wrote “Starting Over” with Mike Henderson, a former bandmate in the bluegrass group The SteelDrivers, over a folkie chord structure, portraying a couple making changes and taking chances.

Co-produced by Stapleton and Dave Cobb (Brandi Carlile, A Thousand Horses), the song was released as the lead single and title track for Stapleton’s Mercury Nashville album released on Nov. 13, 2020. He performed the track two days prior to the album’s release on the 54th annual Country Music Association Awards. Days later (Nov. 19), “Starting Over” emerged as the supporting music for a Ram Trucks commercial. Subsequently, the 14-track project debuted at the summit on the Top Country Albums list dated Nov. 28.

At the 55th annual CMA Awards on Nov. 10, 2021, “Starting Over” took single and song of the year, while Stapleton won male vocalist and the LP won top album honors.

Henderson died unexpectedly in his sleep in September 2023.

“Starting Over” was certified six-times platinum by the RIAA on Oct. 30, 2025.

It’s another chart double for Olivia Dean in Australia, where several artists enjoy a bump from Coachella.

Dean’s The Art Of Loving (via Universal) enters a twelfth non-consecutive week at No. 1 on the ARIA Albums Chart, ahead of Laufey’s A Matter of Time (AWAL), which flies 43-2 following the release of an extended version, dubbed The Final Hour.

Closing out the podium on the latest frame, published Friday, April 17, is BTS’ former leader ARIRANG (Virgin Music Group/Geffen), down 2-3.

The top new arrival belongs to U.S. country artist Ella Langley, whose Dandelion (Columbia/Sony) flowers at No. 4. That’s a serious improvement on her 2024 album Hungover, which peaked at No. 26 and this week dips 26-30. Langley lands a top 40 hit with album cut “Be Her,” new at No. 33 on the singles tally.

Perth punk band Sly Withers has the top new release by a homegrown act with To Be Honest, new at No. 11. The independently-released To Be Honest is the rockers’ fourth studio album and third to crash the ARIA Chart after Gardens (from 2021) and Overgrown (2022) both reached No. 10.

Making her first appearance on the chart is English singer-songwriter Holly Humberstone, with her sophomore album Cruel World (Universal). It’s new at No. 18.

Sabrina Carpenter and Justin Bieber are both on the bounce after their weekend 1 Coachella headline performances. Carpenter’s Man’s Best Friend improves 13-5 and Short N’ Sweet gains 11-7 (both via Island/Universal), while Bieber’s Swag (Def Jam/Universal) vaults 54-12. The Canadian pop star’s low-key concert in the California desert gave a burst of chart energy to his former No. 1 “Daisies,” up 36-10, while “Yukon” lifts 81-23.

Over on the ARIA Singles Chart, Olivia Dean replaces herself at the top of the leaderboard, again, as her duet with Sam Fender, “Rein Me In” (Dew Process/Universal), climbs 2-1 for a second non-consecutive week in charge. Dean’s “Man In Need” dips 1-2, and “So Easy (To Fall In Love)” holds at No. 6.

Katseye also performed at Coachella and they’re on the way to Australia for a promotional visit. With all that activity, the international girl group is thrust into the ARIA Chart at No. 19 with “Pinky Up” (Interscope/Universal), the top debut of the week. It’s Katseye’s second top 50 appearance after “Gabriela” reached No. 27 earlier this year.

Finally, American singer, songwriter and musician Malcolm Todd bags an ARIA Top 40 with the funky “Earrings” (Columbia/Sony), new at No. 34.

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: Justin Bieber’s post-Coachella streams continue skyward, while more modest gains await his two fellow Indio headliners, and a Village People song gets virally recontextualized (again).

Bieberchella Not Over Yet: Justin’s Streams Still Going Up Several Days After Headlining Set

Billboard reported on Tuesday that Justin Bieber enjoyed the biggest streaming day of his 2026 on Sunday (Apr. 12) — following his much-buzzed-about headlining set at Coachella, where he mostly performed songs off his Swag album, outside of a mid-set run of playing his old songs on YouTube and singing over them. He amassed 24.6 million streams that day, his highest total since July 18, 2025. 

Well, the 12th’s run as The Bieb’s biggest day of the year lasted all the way to the 13th. On that Sunday, Bieber’s official on-demand U.S. streams increased to just over 29 million — a gain of around 20%, according to early data provided by Luminate. And then sure enough, the 13th handed the title to the 14th, as his catalog racked up 30.9 million that Monday, a 7% gain. (All in all, his streams are up 314% from Apr. 5, when he notched under 7.5 million total daily streams, with that number increasing every day since.) 

Bieber’s Swag songs are obvious beneficiaries from the bump, since that’s the album he drew the majority of his set from. His two big hit singles from the LP, “Daisies” and “Yukon,” have both seen their streams double in the three days following his Coachella appearance (Apr. 12-14) from the equivalent period the week before (Apr. 5-7), with the former up 138% to 4.6 million streams and the latter up 109% to 4.3 million. (The full Swag album has amassed a combined 21.6 million streams over that period, a 208% gain from the week before.) 

But his back catalog is seeing some massive gains as well. “Baby,” his 2010 national breakthrough alongside Ludacris, is up 220% to 3.7 million streams over that same period, while “Confident,” his fan-favorite 2013 collab with Chance the Rapper, has spiked 270% to 3.2 million. And the biggest bump of all was reserved for his Believe-era 2012 Nicki Minaj teamup “Beauty and a Beat,” which has racked up a jaw-dropping 5.1 million streams over that time period — a 390% gain — while even entering the top five on both the Spotify Daily Top Songs USA chart and Apple Music’s real-time songs listing. 

All in all, the bump Bieber is seeing off his Coachella headlining set is more akin to the gains usually seen by recent halftime headliners at the Super Bowl — and not even all of them have seen spikes like this. It should have a fascinating impact on the rest of Bieber’s 2026, and may very well result in him being a major presence on the Billboard charts next week. – ANDREW UNTERBERGER

---

Don’t Forget About the Other Coachella Headliners: Sabrina Carpenter & Karol G Also See Catalog Gains

While Justin Bieber dominated the headlines and the streaming charts following his much-anticipated, internet-captivating Coachella comeback performance, he was of course just one of three headliners the festival greeted last weekend. The other two, Sabrina Carpenter and Karol G, have not posted streaming gains as unprecedented as Bieb’s, but have also seen their catalogs trend up as a result of their performances. 

Carpenter, who headlined on Friday — as she predicted she would back when she performed at the fest in 2024, as she closed her “Nonsense” performance with “Coachella, see you back here when I headline” — totaled nearly 50 million streams over the four day period following her set (Apr. 11-14), according to early data provided by Luminate, up 40% from the same period the week before. Her Man’s Best Friend album (including new single “House Tour,” which she kicked off her set with) was responsible for 23.1 million of those streams, up 58% from the prior week. 

Meanwhile, Karol G, who closed out the weekend as the Sunday night headliner, totaled nearly 15.9 million streams across the two days following her set (Apr. 13-14), up 51% from her catalog streams the same period the prior week. Of those nearly 16 million streams, 5.1 million were for songs from her 2025 album Tropicoqueta, which her set pulled from heavily — a gain of 67% from the previous week.

And outside of the headliners, some other buzzy acts saw modest streaming gains: KATSEYE, whose Friday set on the Sahara stage was nearly as hyped (and as packed) as Carpenter’s Coachella Stage performance, posted 21.6 million streams in the four days following its performance, up 74% from the previous period. (Much of that was also due to the Thursday debut of new single “Pinky Up”; not counting that song, its catalog was up 17% to 15 million.) And Slayyyter, the rising dance-pop artist whose Worst Girl in America album recently became her first Billboard No. 1 after debuting atop Dance Albums, racked up 5.7 million streams in the four days following her Friday performance, a 15% gain from the week before. – AU

---

How Much Did Streams Increase for Alicia Keys’ ‘Try Sleeping with a Broken Heart’ After ‘The Drama’ Synch? 

The Drama, A24’s subversive, Kristoffer Borgli-helmed romantic black comedy starring Zendaya and Robert Pattinson, has emerged as one of the buzziest films of the year — and its soundtrack is benefitting from all the chatter. 

Amongst a soundtrack primarily comprised of ‘50s and ‘70s folk tunes, Alicia Keys’ 2009 fan favorite “Try Sleeping with a Broken Heart” immediately struck a chord with audiences during the film’s wedding portrait shoot scene. Naturally, the scene both introduced the song to those unfamiliar and triggered key memories for those who grow up with it, leading to impressive streaming gains. According to early data provided by Luminate, “Try Sleeping” collected 201,000 official on-demand U.S. streams during the five-day period including The Drama’s theatrical debut (April 3-7). A week later (April 10-14), that figure jumped 36% to just under 275,000 official streams. 

Notably, “Try Sleeping” was already posting small increases over the past two and a half months. The biggest trigger happened to be Keys, who shared a sweet clip of she and Karol G belting out an impromptu duet of the song during the Latin pop sensation’s Con Cora Land Benefit Gala on March 22. A few weeks before that clip hit social media (Feb. 13-19), “Try Sleeping” logged 171,000 official on-demand U.S. weekly streams. A few weeks after the video made the rounds (April 3-9), the song leapt 80% to over 310,000 official weekly streams. 

Some might argue that “Un-Thinkable” slightly overshadowed “Try Sleeping” back in 2009-2010, but now the latter can enjoy its day in the sun all by itself. — KYLE DENIS 

---

Why Is Village People’s ‘In the Navy’ Trending Again? 

Village People is popping off on streaming — and it’s not because of their classic “YMCA” anthem. “In the Navy,” their other 1979 Hot 100 top five hit (No. 3), is back in rotation thanks to the coalescing of two TikTok meme challenges. 

On Feb. 24, TikTok user @/brenton_kerr posted a TikTok animatedly dancing to “In the Navy,” and his eccentric style earned the clip nearly 11 million views and over 1.5 million likes. Two other trends were brewing at the same time. First, more users were posting about the proliferation of propaganda on American TikTok in the wake of the Iran War; second, a push-up-centric fitness challenge set to Timbaland and Fatman Scoop’s “Drop” was steadily growing. Eventually, these trends folded into each other, resulting in a push up challenge set to the chorus of “In the Navy,” with users jokingly pointing out how prepared (or not) they are should they be drafted into the war. While some users picked up on the song’s sexual innuendo, that wasn’t the case for everyone. 

The week before user @/brenton_kerr’s post (Feb. 13-19), “In the Navy” pulled just 52,000 official on-demand U.S. streams. Over the past two months, that figure exploded an eye-popping 1,668% to over 927,000 official on-demand U.S. streams last week (April 3-9), according to Luminate. On TikTok, the official “In the Navy” sound plays in nearly 2,000 posts; an unofficial sound can be heard in another 32,000 clips, and  the unofficial sound playing in @/Brenton_kerr’s post appears in 18,000 additional TikToks. The official sound also plays in nearly 9,000 Instagram Reels. Village People also got in on the fun, sharing several throwback posts featuring the track over the past few weeks.

No matter the generation, Village People always seem to find themselves in the center of discourse that combines politics and music. — KD

Shaboozey’s “Good News” reigns as the top song featured in a TV show in March 2026, ruling Billboard’s Top TV Songs chart, powered by Tunefind (a Songtradr company), following a synch in CBS’ Fire Country.

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 March 2026.

“Good News,” released in 2024 as a follow-up to Shaboozey’s breakthrough hit “A Bar Song (Tipsy),” appears in the 12th episode of season four of Fire Country that aired on March 13. The CBS series will wrap its fourth season this spring and was renewed for a fifth earlier this year.

In March 2026, “Good News” earned 22.2 million official streams in the United States and sold 2,000 downloads, according to Luminate. It became Shaboozey’s second top 20 on the Billboard Hot 100 when it peaked at No. 12 in 2025 amid a rise to No. 1 for two weeks on the Country Airplay chart.

“Good News” tops March 2026’s Top TV Songs over Lynyrd Skynyrd’s classic “Simple Man,” which bows at No. 2 after an appearance in the second episode of the new CBS series CIA. The show premiered in February, with its sophomore episode coming on March 2.

“Simple Man,” featured on Lynyrd Skynyrd’s 1973 debut LP (Pronounced ‘Lĕh-‘nérd ‘Skin-‘nérd), racked up 23.7 million streams and 2,000 downloads in March 2026.

The series with the largest representation on Top TV Songs in March 2026 is High Potential, ABC’s Kaitlin Olson-starring series currently in its second season. The show boasts three appearances on the latest ranking, paced by Queen and David Bowie’s “Under Pressure,” from the March 31 episode, at No. 3 (15 million streams, 1,000 downloads).

See the full ranking, also featuring music from 9-1-1, Love Story, Marshals, Shrinking and Ghosts, below.

Rank, Song, Artist, Show (Network)
1. “Good News,” Shaboozey, Fire Country (CBS)
2. “Simple Man,” Lynyrd Skynyrd, CIA (CBS)
3. “Under Pressure,” Queen & David Bowie, High Potential (ABC)
4. “Rescue,” Lauren Daigle, 9-1-1 (ABC)
5. “No Ordinary Love,” Sade, Love Story (FX)
6. “Haunted,” Luke Grimes, Marshals (CBS)
7. “Therefore I Am,” Billie Eilish, High Potential (ABC)
8. “The Roads,” Jonah Kagen, Shrinking (Apple TV+)
9. “Doing My Best,” Hazlett, High Potential (ABC)
10. “Sally MacLennane,” The Pogues, Ghosts (CBS)

BTS’ “SWIM” tops the Billboard Global 200 and the Billboard Global Excl. U.S. for a third week each. Two weeks ago, the song debuted as the South Korean superstars’ record-extending eighth No. 1 on each chart.

“SWIM” leads the Global 200 with 83.3 million streams (down 21%) and 44,000 downloads sold (down 61%) worldwide April 3-9, according to Luminate.

Dominic Fike’s “Babydoll” rises 3-2 for a new Global 200 best and Tame Impala and JENNIE’s “Dracula” sinks its fangs into the No. 3 spot, also up one place for a new high.

Olivia Dean’s “Man I Need” pushes 6-4 on the Global 200, after hitting No. 2, and PinkPantheress’ “Stateside,” with Zara Larsson, holds at No. 5 after it led for a week in March.

Elsewhere in the Global 200’s top 10, “Choosin’ Texas” gives Ella Langley her first entry in the region, jumping 18-8 with 31.2 million streams and 11,000 sold worldwide (up 15% in each metric). As the hit crowns the U.S.-based Hot Country Songs chart for a 20th week, it becomes the 13th song since the Global 200 began in September 2020 to have led Hot Country Songs and reached the Global 200’s top 10 (a feat that just 3% of all Global 200 top 10s have achieved). Here’s the list, which now includes two titles that shout out Texas:

“SWIM” tops Global Excl. U.S. with 72.2 million streams (down 21%) and 20,000 sold (down 56%) outside the U.S.

“Dracula” surges 4-2 for a new Global Excl. U.S. highpoint, “Babydoll” keeps at its No. 3 best and two more BTS songs round out the top five: “Body to Body,” down to No. 5 from its No. 2 peak, and “2.0,” up 8-5 for a new best rank.

The Billboard Global 200 and Global Excl. U.S. charts rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Global 200 is inclusive of worldwide data and the Global Excl. U.S. chart comprises data from territories excluding the United States.

Chart ranks are based on a weighted formula incorporating official-only streams on both subscription and ad-supported tiers of audio and video music services, as well as download sales, the latter of which reflect purchases from full-service digital music retailers from around the world, with sales from direct-to-consumer (D2C) sites excluded from the charts’ calculations.

The latest charts, dated April 18, 2026, will update on Billboard.com Tuesday, April 14. For both tallies, the top 100 titles are available to all readers on Billboard.com, while the complete 200-title rankings are visible on Billboard Pro, Billboard’s subscription-based service. For all chart news, you can follow @billboard and @billboardcharts on both X and Instagram.

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.

Eden Muñoz captures the crown on Billboard’s Regional Mexican Airplay chart with his latest single “Mi Yo De Antes” leading the April 11-dated ranking. The song rises 4-1 after a 20% surge to 7.6 million audience impressions on United States panel-contributing regional Mexican stations during the March 27-April 2 tracking week, according to Luminate.

“I am very happy that this is my 10th No. 1 on Billboard,” Muñoz tells Billboard. “These past four years as a soloist have been quite dynamic. The No. 1s are like a big hug to the entire team that is giving their all to ensure the message of these songs reaches, as much as possible, those who need it most. Thank you, Billboard, and thanks to the whole team.”

“Mi Yo De Antes,” released Feb. 5 via EMC/Sony Music Mexico/Sony Music Latin, has enjoyed a steady ascent since its February debut at No. 29. After three weeks in the top 10, the track reached the summit of the chart in its seventh week.

“The song represents me completely today, especially in phrases from the song like feeling that you can’t handle everything, or that sometimes you don’t even know what you want, feeling lost,” Muñoz adds. “I realize that it’s not just me going through this stage, but many people who have connected with this song and have found it to be a catharsis.”

With the move, Muñoz hits a milestone, securing his 10th No. 1 on Regional Mexican Airplay, dating to the 2022 chart-topping “Chale!” Plus, he breaks his previous tie with El Fantasma and joins an elite group of solo artists who have earned 10 or more No. 1s since the chart’s launch in 1994. Here is how the leaderboard stands:

Artist, No. 1s

Christian Nodal, 17
Alejandro Fernández, 14
Gerardo Ortiz, 14
Carin León, 12
Eden Muñoz, 10
El Fantasma, 9
Julion Álvarez y Su Norteño Banda, 9
Marco Antonio Solis, 8
Vicente Fernández, 7
Alfredo Olivas, 6
Xavi, 6

“Mi Yo De Antes” also climbs 8-3 on the overall Latin Airplay chart and becomes just the third soloist track to break into the top three in 2026, after Gerardo Ortiz with “Échame El Grito” (No. 3 in January) and Danny Ocean’s “Corazón” (No. 1 in February).

“Mi Yo De Antes” is the first single from Muñoz’s forthcoming album 8847 slated for an August release.
Says Muñoz, “8847 is an important number for me. This album will include tracks that directly tie into this introspection. There’s the song ‘Osadía’ with the maestro Cristian Castro, and collaborations with Fonseca and Yuridia.”

Flea makes his solo Billboard chart debut, as his first solo album, Honora, arrives on six album charts (dated April 11). The jazz project, from the longtime Red Hot Chili Peppers‘ bassist, launches in the top 10 on Billboard‘s Jazz Albums (at No. 2), Contemporary Jazz Albums (No. 2) and Indie Store Album Sales (No. 3) charts. It also takes a bow on Vinyl Albums (No. 12), Top Album Sales (No. 16) and the overall Billboard 200 (No. 198).

Honora is the highest debut of 2026 thus far on either Jazz Albums or Contemporary Jazz Albums.

Flea plays bass and trumpet throughout the Honora album, which features guest vocal turns from Nick Cave (on a cover of the Jimmy Webb-penned “Wichita Lineman”) and Radiohead’s Thom Yorke (on the new original tune “Traffic Lights”)

Honora has been an album decades in the making, according to a press release from Nonesuch  Records, which released the project. Flea grew up listening to jazz music from the likes of Dizzy Gillespie and Miles Davis, before eventually picking up the bass and joining the Red Hot Chili Peppers as a teenager. “When I was a kid,” he recently told NPR, “I wanted to be a jazz trumpet player. I wanted to be Dizzy Gillespie.” Flash forward to 2022, and Flea (who played the trumpet as a child) began practicing the trumpet daily for the next two years, leading to the album’s recording in early 2025.

Flea will bring Honora on the road beginning on May 7 in Chicago, with tour dates lined up through July 11 in Rotterdam, Netherlands.