Bruno Mars returns with new solo track, hits 42M views in week

YouTube printed its weekly music charts for January 9-15, 2026, revealing sustained dominance by Netflix’s KPop Demon Hunters soundtrack whereas new entry “I Simply May” by Bruno Mars captured rapid traction throughout a number of territories. “Golden” by HUNTR/X, EJAE, AUDREY NUNA, REI AMI and KPop Demon Hunters Solid maintained the primary place globally with 66,689,366 views in the course of the seven-day monitoring interval.

The observe’s efficiency represents its thirtieth consecutive week on the worldwide chart, demonstrating how Netflix’s animated content continues driving sustained music consumption months after the movie’s preliminary launch. This sustained efficiency contrasts sharply with typical promotional cycles, the place tracks peak throughout launch home windows then decline quickly. The KPop Demon Hunters soundtrack has maintained a number of tracks in high positions throughout world charts for the reason that movie turned one in every of Netflix’s most-watched productions in 2025.

In response to the chart information, “Golden” appeared at primary throughout a number of territories together with the USA (8,570,842 views), United Kingdom (1,770,154 views), Germany (1,335,933 views), and France (1,607,929 views). The observe held positions inside the high three throughout most Western markets whereas exhibiting extra restricted penetration in Asian territories the place regional content material preferences dominated consumption patterns.

Bruno Mars returns with first solo single in decade

Bruno Mars’ “I Simply May” debuted in the course of the January 9-15 monitoring interval, instantly capturing high 10 positions throughout seven territories whereas the official music video accrued 42,615,364 views on YouTube inside the first week. The observe accrued 24,355,457 views throughout chart metrics globally, coming into at place eight on the worldwide chart. Launched January 9, 2026, “I Simply May” represents Mars’ first solo single since his 24K Magic period, previous his upcoming album “The Romantic” scheduled for February 27, 2026.

The official music video directed by Daniel Ramos and Mars himself featured choreography by Phil Tayag and Mars, showcasing the artist’s signature efficiency type. In response to the video description, Mars handles a number of manufacturing roles together with singing, dancing, and filming path, reflecting his complete creative management. The only’s lyrical content material facilities on dance ground romance, with Mars singing about assembly somebody whose look suggests dance potential – “if she dance pretty much as good as she look proper now, I simply may make her my child.”

In the USA, “I Simply May” debuted at quantity three with 5,396,063 views, demonstrating rapid industrial traction. The observe claimed place seven within the UK with 716,790 views, place 16 in Germany with 373,940 views, and place 19 in Spain with 471,684 views. In response to the chart information, the tune confirmed stronger penetration in English-speaking markets in comparison with non-anglophone territories, following typical patterns for American pop releases. Australia positioned the observe at quantity 5 with 390,940 views, whereas France positioned it at place 25 with 590,421 views.

The discharge technique included a number of industrial touchpoints. Mars tagged six merchandise within the YouTube video description together with vinyl variants, CDs, and cassettes accessible via his official retailer. The merchandise technique included a webstore-exclusive vinyl with velvet sleeve, commonplace black vinyl, CD, and cassette codecs, all transport on the album launch date. This direct-to-consumer strategy bypasses conventional retail distribution channels, maximizing income retention for the artist and label.

YouTube feedback on the official video mirrored widespread optimistic reception. The official YouTube account posted “we’d simply watch this on repeat,” accumulating 44,000 likes. Consumer feedback highlighted Mars’ consistency, with one stating “Each time Bruno drops, the world feels somewhat extra alive once more” (56,000 likes), whereas one other famous “Bro is the definition of high quality over amount” (23,000 likes). A number of feedback referenced Mars’ ten-year absence from solo releases, with one consumer stating “After 10 years, Bruno mars has returned with one other solo mission. We’re witnessing a golden period over again” (18,000 likes).

The rapid chart affect demonstrates how established artists leverage present fan bases for sturdy debut efficiency. Mars constructed his profession since 2009 on constant hit-making, accumulating 16 Grammy Awards together with Album of the 12 months for 24K Magic, and turning into the primary artist to achieve 150 million month-to-month listeners on Spotify. His catalog consists of 35 Billboard Scorching 100 hits with 9 primary singles, promoting over 150 million data worldwide. In response to the video’s biographical part, Mars holds the highest-certified tune in RIAA historical past with 2010’s “Simply the Means You Are.”

Mars’ catalog maintained presence throughout YouTube charts in the course of the monitoring interval. “Simply the Means You Are” accrued 1,019,788 views in the USA at place 65, whereas “That is What I Like” generated 1,004,891 views at place 68. Further catalog tracks showing included “Uptown Funk” and varied Silk Sonic collaborations with Anderson .Paak. This sustained consumption of older materials alongside new releases illustrates how YouTube’s platform differs from radio codecs that prioritize present releases. The catalog efficiency demonstrates the monetary worth of sustaining energetic YouTube presences for established artists, the place viewing exercise extends years past preliminary launch dates.

The video accrued 8,900 Shorts remixes inside the first week in accordance with YouTube’s metrics, demonstrating how platform customers create by-product content material from official releases. This remix tradition creates extra promotional worth as user-generated content material extends attain past the official video’s viewers. The tune’s construction with distinct choreographed sections and quotable lyrics supplies materials for Shorts creators to construct reactions, dance covers, and remix variations that feed YouTube’s suggestion algorithms.

The discharge timing positions Mars to dominate early 2026 consumption patterns. With “The Romantic” album arriving February 27, the six-week promotional window between single and album launch follows conventional main label methods for constructing anticipation. Pre-orders opened instantly upon single launch, permitting Mars’ crew to seize buy intent throughout peak curiosity durations. The coordinated merchandise technique together with bodily codecs suggests focusing on collectors and devoted followers who keep vinyl and CD buying habits alongside streaming consumption.

Trade observers famous Mars’ return fills a void in mainstream pop-funk manufacturing. His 24K Magic World Tour ranked among the many highest-grossing excursions in historical past and inside the high ten highest-grossing of the 2010s decade. The artist’s hiatus following Silk Sonic’s 2021 launch “An Night with Silk Sonic” created pent-up demand for brand new solo materials. Current collaborations together with “Die with a Smile” with Girl Gaga and “APT.” with ROSÉ achieved large streaming numbers, with each tracks turning into among the many quickest songs to achieve one billion streams. These collaborations maintained Mars’ visibility throughout his solo album growth interval.

The musical manufacturing on “I Simply May” incorporates Mars’ attribute retro-soul influences with modern pop manufacturing. The tune’s tempo and construction optimize for each radio airplay and streaming platform playlists, whereas choreographed components present visible content material for social media circulation. Advertising and marketing campaigns can leverage Mars’ established model as a performer who delivers each audio and visible leisure, distinguishing him in an period the place many artists prioritize streaming-first releases with out corresponding efficiency content material.

Regional fragmentation intensifies throughout markets

The January 9-15 charts revealed deep fragmentation throughout the 13 territories tracked. Indian audiences concentrated viewing on Bollywood soundtracks and regional language content material, with “Shararat” by Shashwat Sachdev, Madhubanti Bagchi and Jasmine Sandlas main at 25,368,444 views. Brazilian listeners dominated consumption with funk carioca, as “Posso Até Não Te Dar Flores” by DJ Japa NK, MC MENO Okay, MC Ryan SP and MC Jacaré accrued 12,701,736 views.

Japanese viewers maintained distinct preferences for home J-pop, with “IRIS OUT” by Kenshi Yonezu commanding 13,279,151 views. French consumption centered on francophone hip-hop and rap, with “melodrama” by disiz and Theodora reaching 2,234,655 views. These regional preferences create substantial challenges for artists and labels looking for cross-border attain via YouTube’s platform.

In response to the information, profitable tracks in Western markets confirmed minimal penetration in Asian, African, and South American territories the place native content material preferences dominate consumption patterns. The fragmentation requires advertising and marketing budgets to account for territory-specific promotion reasonably than assuming world viral potential. Campaigns should develop localized methods with applicable language content material, cultural contexts, and regional influencer partnerships.

Shakira’s “Zoo” demonstrated uncommon cross-market enchantment, showing in high 10 positions throughout six territories together with Spain (656,315 views, place 13), Brazil (1,820,155 views, place 51), and South Africa (358,749 views, place 40). The observe accrued 37,163,191 views globally in the course of the monitoring interval, positioning at quantity two on the worldwide chart. Such cross-market efficiency stays distinctive reasonably than typical for many releases.

Shorts format drives remix consumption

The International Weekly Prime Shorts Songs chart for January 9-15 confirmed distinctly totally different consumption patterns in comparison with conventional music charts. “NO BATIDÃO” by ZXKAI and slxughter led the Shorts chart in its eleventh week, whereas “PASSO BEM SOLTO (Slowed)” by ATLXS held place two in its forty third week on the format-specific rating.

In response to the information, Shorts charts confirmed preferences for remixed, slowed, and modified variations of tracks reasonably than authentic recordings. Ice Spice’s “Large Man” reached place three on the Shorts chart whereas claiming place two on the International Weekly Prime Songs chart, demonstrating how tracks carry out in another way throughout format sorts. The remix tradition round Shorts creates separate monetization alternatives for artists prepared to license various variations.

Brazilian funk variations dominated the Shorts format, with “MONTAGEM REBOLA” by ATLXS and DJ FKU debuting at place 47, and “MONTAGEM COMA” by ANDROMEDA and elysian. holding place seven in its twenty fourth week. These phonk and funk variations exemplify how regional digital music kinds achieve worldwide publicity via Shorts distribution patterns. The format’s algorithm seems to favor high-energy digital remixes over conventional tune buildings.

Advertising and marketing methods should account for these format variations when planning content material distribution. Groups ought to create separate asset packages optimized for vertical video consumption, doubtlessly together with slowed variations, remixes, or phonk variations that carry out higher within the Shorts ecosystem. The info means that success on conventional music charts does not assure Shorts efficiency, requiring distinct promotional approaches.

Artist chart reveals focus patterns

The International Weekly Prime Artists chart for January 9-15 confirmed sustained dominance by Bollywood vocalists and regional language performers. Alka Yagnik maintained place one with 446,510,203 views accrued throughout all content material in the course of the monitoring interval. Udit Narayan held place two with 330,710,063 views, whereas Arijit Singh claimed place three with 311,785,281 views.

Dangerous Bunny positioned at quantity six with 208,395,318 views, representing the highest-ranked Latin artist. Fuerza Regida held place 11 with 137,849,883 views. Shakira superior to place 13 with 129,498,133 views, climbing one place from the earlier week. Bruno Mars jumped 14 positions to achieve quantity 16 with 120,048,237 views, demonstrating how new launch exercise drives artist-level viewing surges.

The KPop Demon Hunters Solid climbed one place to quantity 12 with 133,720,511 views, whereas associated performers HUNTR/X (place 30), EJAE (place 27), AUDREY NUNA (place 31), and REI AMI (place 32) all maintained high 40 positions. This focus demonstrates how soundtrack success distributes viewing exercise throughout a number of credited performers reasonably than consolidating round single artists.

Yeison Jimenez debuted on the artist chart at place 18 with 116,648,589 views, pushed by a number of new releases together with “Aventurero,” “Destino Closing,” and “Ni Tengo Ni Necesito.” The Colombian artist’s rapid chart affect reveals how coordinated multi-track releases can generate substantial viewing exercise inside single monitoring durations.

Advertising and marketing implications throughout territories

The January 9-15 YouTube music charts carry vital implications for advertising and marketing professionals, artists, labels, and platform advertisers. Regional fragmentation creates challenges for campaigns looking for cross-border attain. Advertising and marketing budgets should account for territory-specific promotion, with separate methods required for Western markets, Asian territories, Latin American areas, and African markets.

Content material methods should handle a number of chart sorts. In response to YouTube’s measurement techniques, efficiency on conventional tune charts, music video charts, Shorts charts, and artist charts all require distinct promotional approaches. Groups can not assume that success in a single chart format interprets to efficiency in others, requiring coordinated campaigns throughout format sorts.

The info demonstrates how YouTube operates independent chart systems following the December 17, 2025 announcement terminating the Billboard partnership efficient January 16, 2026. Advertising and marketing groups beforehand utilizing Billboard rankings as success metrics should now observe efficiency via YouTube-specific metrics reasonably than industry-standard benchmarks. This creates measurement problems for campaigns spanning a number of streaming platforms.

Soundtrack placements in high-viewership productions generate sustained chart efficiency extending months past preliminary launch home windows. The KPop Demon Hunters success demonstrates how cross-platform content material methods can drive music consumption. Advertising and marketing professionals should account for leisure franchise tie-ins as substantial promotional automobiles, doubtlessly exceeding conventional radio or streaming platform promotion in sustained affect.

Catalog monetization alternatives prolong years past preliminary launch dates. Artists with sturdy again catalogs can generate substantial viewing exercise from older tracks whereas concurrently launching new materials. In response to the chart patterns, YouTube consumption differs from conventional radio or algorithmic streaming platforms in sustaining energetic discovery of older content material.

Territory-by-territory YouTube Charts efficiency

International high 10 songs

1. Golden – HUNTR/X, EJAE, AUDREY NUNA, REI AMI & KPop Demon Hunters Solid – 66,689,366 views
2. Zoo – Shakira – 37,163,191 views
3. Pal Pal – Afusic & AliSoomroMusic – 31,978,025 views
4. Shararat – Shashwat Sachdev, Madhubanti Bagchi & Jasmine Sandlas – 28,898,447 views
5. Cuando No Period Cantante – El Bogueto & Yung Beef – 27,429,138 views
6. NO BATIDÃO – ZXKAI & slxughter – 26,784,627 views
7. The Destiny of Ophelia – Taylor Swift – 25,075,165 views
8. I Simply May – Bruno Mars – 24,355,457 views
9. Gehra Hua – Shashwat Sachdev, Arijit Singh, Irshad Kamil & Armaan Khan – 23,767,753 views
10. Soda Pop – Saja Boys, Andrew Choi, Neckwav, Danny Chung, KEVIN WOO, samUIL Lee & KPop Demon Hunters Solid – 23,188,719 views

United States high 10

1. Golden – HUNTR/X, EJAE, AUDREY NUNA, REI AMI & KPop Demon Hunters Solid – 8,570,842 views
2. Large Man – Ice Spice – 5,909,893 views
3. I Simply May – Bruno Mars – 5,396,063 views
4. Zoo – Shakira – 4,341,254 views
5. FDO – Pooh Shiesty – 4,183,820 views
6. Peculiar – Alex Warren – 3,864,364 views
7. Soda Pop – Saja Boys, Andrew Choi, Neckwav, Danny Chung, KEVIN WOO, samUIL Lee & KPop Demon Hunters Solid – 3,565,305 views
8. Marlboro Rojo – Fuerza Regida – 3,344,912 views
9. Your Idol – Saja Boys, Andrew Choi, Neckwav, Danny Chung, KEVIN WOO, samUIL Lee & KPop Demon Hunters Solid – 3,213,432 views
10. Finish of Starting – Djo – 3,120,193 views

The US market demonstrated numerous consumption patterns in the course of the January 9-15 monitoring interval, with the KPop Demon Hunters soundtrack sustaining three positions within the high 10. Ice Spice’s “Large Man” climbed to place two with 5,909,893 views in its sixth week, exhibiting sustained momentum for the Bronx-born rapper following her breakthrough 2023-2024 interval. Bruno Mars’ debut at place three with 5,396,063 views represented the strongest new entry throughout the territory chart, demonstrating how established artists leverage present fan bases for rapid chart affect. The highest 10 mixed viewing exceeded 45 million in the course of the seven-day interval, with the KPop Demon Hunters Solid claiming three separate tracks illustrating how soundtrack success distributes consumption throughout a number of album cuts reasonably than concentrating round a single hit.

Regional Mexican music maintained vital presence via Fuerza Regida’s “Marlboro Rojo” at place eight with 3,344,912 views in its thirty sixth week on the chart. The corridos tumbados observe demonstrated sustained consumption in markets with substantial Mexican-American populations, notably in southwestern areas together with California, Texas, Arizona, and Nevada the place Spanish-language radio stations program the style alongside English-language content material. Pooh Shiesty’s “FDO” held place 5 with 4,183,820 views, representing Memphis hip-hop’s continued affect in city markets. The variety of genres inside the high 10 mirrored YouTube’s position as a cross-format consumption platform reasonably than radio’s genre-specific programming strategy.

Past the highest 10, catalog tracks maintained substantial viewing exercise demonstrating YouTube’s distinctive monetization traits. Bruno Mars’ older materials together with “Simply the Means You Are” positioned at quantity 65 with 1,019,788 views and “That is What I Like” reached place 68 with 1,004,891 views. Fetty Wap’s “Lure Queen” returned to the chart at place 27 with 1,811,702 views regardless of releasing in 2014, illustrating YouTube’s consumption patterns the place customers actively seek for older content material unbiased of radio promotion. Advertising and marketing methods focusing on American audiences should account for regional style preferences, with corridos tumbados dominating southwestern markets, drill and lure variations controlling city consumption, and pop-country crossovers interesting to suburban demographics.

United Kingdom high 10

1. Golden – HUNTR/X, EJAE, AUDREY NUNA, REI AMI & KPop Demon Hunters Solid – 1,770,154 views
2. Raindance – Dave & Tems – 1,061,586 views
3. Peculiar – Alex Warren – 975,450 views
4. Lush Life – Zara Larsson – 949,994 views
5. The Destiny of Ophelia – Taylor Swift – 741,895 views
6. Finish of Starting – Djo – 722,532 views
7. I Simply May – Bruno Mars – 716,790 views
8. Soda Pop – Saja Boys, Andrew Choi, Neckwav, Danny Chung, KEVIN WOO, samUIL Lee & KPop Demon Hunters Solid – 653,593 views
9. Zoo – Shakira – 607,241 views
10. Large Man – Ice Spice – 603,708 views

The UK chart for January 9-15 confirmed sturdy efficiency from home UK artists alongside worldwide hits. Dave’s “Raindance” that includes Nigerian singer Tems jumped 40 positions to achieve quantity two with 1,061,586 views in its twelfth week, representing essentially the most vital positional achieve inside the high 10. The collaboration between the British rapper and Nigerian vocalist demonstrated how UK audiences keep sturdy help for homegrown expertise even when competing towards main worldwide releases. The observe’s surge advised renewed promotional exercise or viral social media moments driving discovery in the course of the monitoring interval.

Zara Larsson’s “Lush Life” held place 4 with 949,994 views regardless of releasing years prior, demonstrating the Swedish pop artist’s sustained UK fanbase. The observe maintained constant consumption throughout a number of weeks in its twenty ninth week on the chart. Alex Warren’s “Peculiar” claimed place three with 975,450 views in its forty ninth week, demonstrating extraordinary longevity for an unbiased artist launch. The observe’s sustained efficiency illustrated how UK audiences help artists via prolonged consumption durations.

Bruno Mars debuted at place seven with 716,790 views in comparison with his place three rating in the USA, suggesting comparatively weaker UK penetration regardless of Mars’ established profession success. Taylor Swift’s “The Destiny of Ophelia” held place 5 with 741,895 views, sustaining constant efficiency throughout each territories. Past the highest 10, RAYE’s “WHERE IS MY HUSBAND!” positioned at quantity 16 with 498,261 views in its seventeenth week, reflecting sustained help for British feminine artists. The UK market demonstrated desire for melodic pop and rap collaborations over regional Mexican music. Advertising and marketing campaigns focusing on Britain should account for BBC Radio 1 playlisting, UK storage and dirt influences, and powerful help for British artists throughout genres.

Spain high 10

1. La Perla – ROSALÍA & Yahritza Y Su Esencia – 1,512,933 views
2. Golden – HUNTR/X, EJAE, AUDREY NUNA, REI AMI & KPop Demon Hunters Solid – 1,281,099 views
3. Dardos – Romeo Santos & Prince Royce – 1,204,460 views
4. La Plena (W Sound 05) – W Sound, Beéle & Ovy On The Drums – 1,032,371 views
5. SUPERESTRELLA – Aitana – 966,663 views
6. LA VILLA – Ryan Castro, Kapo & Gangsta – 819,532 views
7. La Morocha – Luck Ra & BM – 816,319 views
8. LOQUITA – JC Reyes & Slayter – 747,498 views
9. Si Antes Te Hubiera Conocido – KAROL G – 741,663 views
10. Cuando No Period Cantante – El Bogueto & Yung Beef – 738,575 views

Spain’s January 9-15 chart demonstrated dominance by Latin music throughout a number of genres, with reggaeton, bachata, and concrete Latino tracks claiming 9 of the highest 10 positions. ROSALÍA’s “La Perla” that includes Yahritza Y Su Esencia led with 1,512,933 views in its tenth week, showcasing the Catalan artist’s sustained reputation following her experimental flamenco-fusion evolution. Romeo Santos and Prince Royce’s bachata collaboration “Dardos” held place three with 1,204,460 views in its seventh week, demonstrating how conventional Latin genres keep industrial viability alongside modern city sounds.

Colombian and Argentine artists captured a number of high 10 positions. Ryan Castro’s “LA VILLA” jumped 9 positions to achieve quantity six with 819,532 views in its fourth week. KAROL G’s “Si Antes Te Hubiera Conocido” maintained place 9 with 741,663 views in its 74th week. Luck Ra and BM’s “La Morocha” represented Argentine consumption affect at place seven with 816,319 views, showcasing how Spanish audiences interact with numerous Latin American regional scenes.

Home Spanish artists maintained aggressive positions. Aitana’s “SUPERESTRELLA” held place 5 with 966,663 views in its twenty seventh week. JC Reyes featured in a number of chart positions together with “LOQUITA” at quantity eight. Past the highest positions, a number of Yeison Jimenez tracks appeared exhibiting how Colombian regional Mexican fusion kinds penetrate Spanish markets. The chart composition illustrated Spain’s position as a bridge market between European and Latin American music consumption patterns. Advertising and marketing campaigns should account for Spain’s linguistic and cultural place, requiring Spanish-language content material and Latin American artist collaborations.

Germany high 10

1. Golden – HUNTR/X, EJAE, AUDREY NUNA, REI AMI & KPop Demon Hunters Solid – 1,335,933 views
2. The Destiny of Ophelia – Taylor Swift – 657,930 views
3. Zoo – Shakira – 657,318 views
4. Lush Life – Zara Larsson – 639,156 views
5. NO BATIDÃO – ZXKAI & slxughter – 580,376 views
6. KUSURA BAKMA – Blok3 – 570,663 views
7. Large Man – Ice Spice – 529,559 views
8. Wackelkontakt – Oimara – 484,527 views
9. Kazdoura – Nassif Zeytoun & Ward Abu – 480,112 views
10. YAMA – DYSTINCT – 463,199 views

Germany’s January 9-15 chart mirrored the nation’s multicultural inhabitants, with Turkish-language tracks claiming two high 10 positions alongside worldwide pop hits and Arabic-language content material. Blok3’s “KUSURA BAKMA” held place six with 570,663 views in its seventh week. Turkish-language music maintained constant presence throughout German charts, reflecting the nation’s vital Turkish-speaking inhabitants exceeding three million concentrated in Berlin, Cologne, Frankfurt, and different main city facilities the place Turkish cultural establishments keep sturdy neighborhood ties.

Arabic-language tracks demonstrated comparable multicultural consumption dynamics. Nassif Zeytoun’s “Kazdoura” that includes Ward Abu held place 9 with 480,112 views, whereas DYSTINCT’s “YAMA” claimed place 10 with 463,199 views. The presence of Arabic music in Germany’s high 10 mirrored refugee and immigrant populations from Syria, Iraq, Lebanon, and North Africa who arrived in the course of the 2015-2016 migration interval. Brazilian phonk maintained place 5 via “NO BATIDÃO” with 580,376 views, exhibiting how digital music transcends language obstacles in German membership tradition.

Home German artists confirmed restricted high 10 presence, with Oimara’s “Wackelkontakt” representing the only German-language entry at place eight with 484,527 views in its 52nd week. Past the highest 10, extra German content material appeared although worldwide content material dominated. The chart composition illustrated Germany’s position as Europe’s most numerous music market. Advertising and marketing campaigns focusing on Germany should account for Turkish, Arabic, and different diaspora communities alongside mainstream German audiences, requiring multilingual promotional supplies and understanding of how streaming providers serve immigrant populations sustaining cultural connections via music.

France high 10

1. melodrama – disiz & Theodora – 2,234,655 views
2. PARISIENNE – GIMS & La Mano 1.9 – 2,211,621 views
3. MON BÉBÉ – RnBoi – 1,932,454 views
4. Zoo – Shakira – 1,691,554 views
5. Golden – HUNTR/X, EJAE, AUDREY NUNA, REI AMI & KPop Demon Hunters Solid – 1,607,929 views
6. Génération impolie – Franglish & KeBlack – 1,165,979 views
7. LOVE YOU – Nono La Grinta – 1,133,426 views
8. BLOQUÉ – GIMS & L2B – 1,041,569 views
9. Melrose Place – KeBlack – 1,019,667 views
10. Soleil Bleu – Bleu Soleil & LUIZA – 937,547 views

France’s January 9-15 chart demonstrated absolute dominance by francophone hip-hop and rap, with eight of the highest 10 positions occupied by French-language city music. The melodrama collaboration between disiz and Theodora led with 2,234,655 views. GIMS maintained a number of high 10 positions via “PARISIENNE” at quantity two and “BLOQUÉ” at place eight, demonstrating the artist’s standing as one in every of France’s most commercially profitable rappers. GIMS’ sustained presence mirrored his prolific output and skill to keep up relevance via strategic collaborations.

The focus of French-language content material created substantial obstacles for worldwide releases. Shakira’s “Zoo” represented the highest-charting non-French observe at place 4. RnBoi’s “MON BÉBÉ” held place three, demonstrating sustained consumption for French R&B alongside rap dominance. The chart composition contrasted sharply with Germany’s multicultural combine or UK’s receptiveness to American releases, positioning France as Europe’s most linguistically protecting main market.

Ninho’s album launch in the course of the monitoring interval drove substantial chart exercise past the highest 10, with a number of tracks debuting. The coordinated album drop technique generated concentrated viewing throughout a number of tracks concurrently, a sample frequent in French hip-hop releases. Established French artists like JuL maintained catalog presence all through the chart. The French market’s linguistic protectionism creates alternatives for home artists whereas requiring worldwide acts to spend money on French-language variations or in depth advertising and marketing campaigns. Advertising and marketing methods should account for France’s cultural insurance policies, the place Ministry of Tradition laws affect radio programming.

Brazil high 10

1. Posso Até Não Te Dar Flores – DJ Japa NK, MC MENO Okay, MC Ryan SP & MC Jacaré – 12,701,736 views
2. JETSKI – PEDRO SAMPAIO, MC MENO Okay & Melody – 11,970,901 views
3. P do Pecado (Ao Vivo) – Grupo Menos É Mais & Simone Mendes – 8,304,445 views
4. Diário de um Cafajeste – Dj Oreia, MC Lele JP, MC Meno Okay, MC Ryan SP, MC Tuto & Mc Negão Authentic – 8,166,530 views
5. Vai Tomando Pock Pock – MC Lele JP, MC GH Authentic & MC Menor ZL – 8,149,253 views
6. SEQUÊNCIA FEITICEIRA – PEDRO SAMPAIO, MC GW, Mc Jhey & MC Rodrigo do CN – 8,143,678 views
7. Amo Minha Favela – DJ Japa NK & MC MENO Okay – 7,037,649 views
8. Eu Me Apaixonei – Vitinho Imperador – 6,758,370 views
9. SET DO JAPA NK 2.0 – DJ Japa NK, MC Ryan SP, MC MENO Okay & MC IG – 6,576,121 views
10. Pela Última Vez (Ao Vivo) – Grupo Menos É Mais & Nattan – 6,014,738 views

Brazil’s January 9-15 chart demonstrated absolute dominance by funk carioca and pagode, with the highest seven positions occupied by funk variations from São Paulo and Rio de Janeiro manufacturing facilities. DJ Japa NK’s “Posso Até Não Te Dar Flores” maintained place one with 12,701,736 views in its fifteenth week, representing the very best single-track viewing complete throughout all territories tracked. PEDRO SAMPAIO’s “JETSKI” held place two with 11,970,901 views. MC MENO Okay appeared as a featured artist on 5 of the highest 10 tracks, illustrating the concentrated ecosystem of São Paulo funk manufacturing.

The Brazilian chart confirmed negligible penetration by worldwide releases, with zero English-language tracks showing within the high 10. This linguistic and cultural isolation distinguished Brazil from different Latin American markets. Pagode tracks represented the first various to funk dominance, with “P do Pecado (Ao Vivo)” claiming place three, reflecting Brazil’s live performance tradition the place televised performances generate substantial streaming exercise.

Funk carioca’s manufacturing patterns centered on collaborative “units” that includes a number of MCs and producers. The “SET DO JAPA NK 2.0” at place 9 credited eight separate performers. Past the highest 10, sertanejo maintained presence via artists like Gustavo Mioto and Henrique & Juliano. Advertising and marketing methods for worldwide artists looking for Brazilian penetration require Portuguese-language variations, native producer collaborations, or competition circuit presence.

India high 10

1. Shararat – Shashwat Sachdev, Madhubanti Bagchi & Jasmine Sandlas – 25,368,444 views
2. Pal Pal – Afusic & AliSoomroMusic – 23,116,253 views
3. Gehra Hua – Shashwat Sachdev, Arijit Singh, Irshad Kamil & Armaan Khan – 20,892,224 views
4. Aawaara Angaara – A. R. Rahman, Faheem Abdullah & Irshad Kamil – 15,132,823 views
5. Fortuner – Raj Mawar & Ruchika Jangid – 15,008,609 views
6. Chikiri Chikiri – Mohit Chauhan – 13,372,652 views
7. Sahiba – Aditya Rikhari – 11,921,473 views
8. Bayilone Ballipalike – Mangli – 11,608,324 views
9. Oorum Blood – Sai Abhyankkar, Paal Dabba, Bebhumika & Deepthi Suresh – 11,205,451 views
10. Ghar Kab Aaoge – Anu Malik, Mithoon, Sonu Nigam, Arijit Singh, Roopkumar Rathod, Vishal Mishra, Diljit Dosanjh, Javed Akhtar & Manoj Muntashir – 10,967,951 views

India’s January 9-15 chart showcased dominance by Bollywood soundtracks and regional language content material. “Shararat” led at 25,368,444 views. Bollywood playback singers dominated the artist chart globally, with Alka Yagnik, Udit Narayan, and Arijit Singh claiming the highest three positions. This focus demonstrated how Indian cinema music drives large consumption volumes via movie tie-ins and promotional cycles.

Regional language content material maintained substantial presence alongside Hindi Bollywood tracks. “Bayilone Ballipalike” at place eight represented Telugu cinema music, whereas “Oorum Blood” at place 9 showcased Tamil movie content material. The linguistic variety inside India’s high 10 mirrored the nation’s multi-regional movie industries together with Tamil (Kollywood), Telugu (Tollywood), Malayalam, and Kannada cinema manufacturing facilities.

The large drop for “Ghar Kab Aaoge” from place 10 to place 33 demonstrated risky consumption patterns round new Bollywood releases. The multi-artist collaboration credited 9 separate performers, reflecting Bollywood’s follow of assembling {industry} veterans for tentpole movie tasks. Past the highest 10, Haryanvi and Bhojpuri regional music maintained presence. The chart composition illustrated how Indian music consumption operates nearly solely unbiased of Western pop developments, with zero English-language tracks penetrating the territory’s high positions. Advertising and marketing campaigns should account for a number of regional language variations, cinema tie-ins, and competition launch timing.

Japan high 10

1. IRIS OUT – Kenshi Yonezu – 13,279,151 views
2. lulu. – Mrs. GREEN APPLE – 6,285,558 views
3. 好きすぎて滅！ – M!LK – 4,863,704 views
4. ROSE – HANA – 4,518,472 views
5. カリスマックス – Snow Man – 4,282,231 views
6. AIZO – King Gnu – 4,260,434 views
7. さよーならまたいつか！ – Kenshi Yonezu – 4,065,097 views
8. ダーリン – Mrs. GREEN APPLE – 3,936,667 views
9. Blue Denims – HANA – 3,767,262 views
10. favourite tune – FUMINO – 3,288,931 views

Japan’s January 9-15 chart demonstrated full dominance by home J-pop content material, with all high 10 positions occupied by Japanese artists performing in Japanese. Kenshi Yonezu’s “IRIS OUT” led with 13,279,151 views in its 18th week, whereas the artist additionally claimed place seven. Mrs. GREEN APPLE maintained two high 10 positions. Established J-pop acts dominated chart positions via sustained album cycles and tv drama tie-ins that reach promotional home windows past Western launch methods.

The chart composition mirrored Japan’s distinct music {industry} construction the place tv drama soundtracks, anime theme songs, and idol group releases drive consumption patterns. Snow Man’s “カリスマックス” held place 5, representing the Johnny & Associates idol manufacturing system that dominates Japanese pop. HANA secured place 4 with “ROSE” alongside extra tracks all through the highest 20. The longevity of tracks on Japan’s chart contrasted with Western markets the place typical chart life spans measure weeks reasonably than months.

King Gnu’s “AIZO” debuted at place six, representing one in every of few new entries in a chart dominated by sustained consumption. The Japanese market’s desire for bodily album purchases alongside streaming creates totally different consumption mechanics. Zero English-language tracks appeared in Japan’s high 100, illustrating full linguistic isolation similar to India and Brazil. Advertising and marketing methods should account for tv drama placement alternatives, anime tie-ins, and bodily retail distribution alongside digital streaming promotion.

Kenya high 10

1. Inama – Zuchu – 658,675 views
2. Pawa – Mbosso – 655,633 views
3. Taya – Okello Max – 624,638 views
4. Rapudo – Prince Indah – 553,493 views
5. Digi Digi – Abongo Jakabwana – 534,093 views
6. GACUMBIRI / PALE KILELE (Stay) – Dr Sarah Okay – 533,369 views
7. Tamu – Iyanii – 482,890 views
8. Donjo Maber – Iyanii & DuJa – 455,360 views
9. Berna – Prince Indah – 439,147 views
10. Yebo (Nitawale) – Vestine and Dorcas – 436,188 views

Kenya’s January 9-15 chart showcased East African music dominance alongside selective worldwide penetration. Zuchu’s “Inama” that includes Diamond Platnumz climbed six positions to achieve primary with 658,675 views in its 18th week, demonstrating sustained consumption for Tanzanian Bongo Flava content material within the Kenyan market. Mbosso’s “Pawa” held place two with 655,633 views in its thirty first week, exhibiting extraordinary longevity for East African releases. Tanzanian artists occupied a number of high positions, reflecting sturdy cultural and linguistic ties the place Swahili-language content material flows freely throughout borders.

Nigerian Afrobeats maintained aggressive positions towards East African content material. Ayra Starr and Rema’s “Who’s Dat Lady” held place 13 with 411,617 views. The presence of West African music in Kenyan charts demonstrated pan-African consumption patterns the place anglophone African nations keep cultural trade unbiased of Western music {industry} distribution. Ice Spice’s “Large Man” climbed to place 18 with 331,845 views, representing the highest-charting worldwide launch.

Dave and Tems’ “Raindance” surged 55 positions to achieve quantity 20 with 319,545 views, demonstrating how UK-Nigerian collaborations generate curiosity throughout African markets. Past the highest 20, gospel music maintained substantial presence via artists like Israel Mbonyi and Guardian Angel, reflecting Kenya’s non secular demographics the place Christian content material generates vital streaming exercise. Advertising and marketing campaigns focusing on Kenya should account for Swahili language preferences, gospel music consumption, and pan-African reasonably than purely Western promotional methods.

Indonesia high 10

1. Sedia Aku Sebelum Hujan – Idgitaf – 12,646,447 views
2. TABOLA BALE – SILET OPEN UP, Jacson Seran, Juan Reza & Diva Aurel – 10,697,613 views
3. Orang Baru Lebe Gacor – Ecko Present, Juan Reza & CHESYLINO – 10,301,005 views
4. kota ini tak sama tanpamu – Nadhif Basalamah – 8,349,599 views
5. Ngga Dulu – Akbar Chalay, Zynakal & Priskila Oktaviani – 3,743,821 views
6. Golden – HUNTR/X, EJAE, AUDREY NUNA, REI AMI & KPop Demon Hunters Solid – 3,668,843 views
7. bergema sampai selamanya – Nadhif Basalamah – 3,547,888 views
8. Alamak – Rizky Febian & Adrian Khalif – 3,352,863 views
9. Ngapain Repot – Toton Caribo – 3,311,688 views
10. all the pieces u are – Hindia – 2,969,842 views

Indonesia’s January 9-15 chart demonstrated dominance by home pop and dangdut content material. Idgitaf’s “Sedia Aku Sebelum Hujan” led at 12,646,447 views in its 14th week. Indonesian artists occupied 9 of the highest 10 positions, with the KPop Demon Hunters soundtrack at place six representing the only worldwide entry. This focus illustrated how Indonesia’s large inhabitants of 275 million helps a self-sufficient home music {industry} with minimal reliance on Western imports.

Digital dance music variations dominated a number of chart positions. “TABOLA BALE” held place two with 10,697,613 views in its thirty fifth week, whereas “Orang Baru Lebe Gacor” claimed place three. The EDM-influenced tracks mirrored Indonesia’s membership tradition centered on Jakarta, Bali, and Surabaya. Nadhif Basalamah occupied two high 10 positions, demonstrating how established Indonesian artists keep sustained chart presence.

Past the highest 10, Indonesian rock and indie content material maintained presence via bands like Fourtwnty, Barasuara, and Perunggu. The variety of genres inside Indonesia’s home chart contrasted with markets the place single genres dominate. Tracks confirmed exceptional longevity, with a number of entries sustaining chart presence past 30-40 weeks. Advertising and marketing methods for worldwide artists looking for Indonesian penetration should account for Bahasa Indonesia language necessities, native streaming platform partnerships, and potential collaborations with established home artists.

South Africa high 10

1. Shela – Sam Deep, Nia Pearl & Boohle – 2,072,749 views
2. Umaqondana – Feza – 1,924,496 views
3. SNOKONOKO – Al Xapo, Benzoo & EeQue – 1,507,515 views
4. ZEP – DJ Smallz 732, Zinedine x Sguch & 031CHOPPA – 1,410,842 views
5. Rato Laka – Shebeshxt, Naqua SA & Zee Nxumalo – 1,381,085 views
6. Thandaza – Sam Deep & Thatohatsi – 1,099,534 views
7. Tobetsa – Myztro & Shaunmusiq & Ftears – 1,044,993 views
8. Ngixolele Mtanami – Nkeshemba – 1,014,812 views
9. Intaba Zokhahlamba – Mphathiwohlelo MC – 891,767 views
10. Large Man – Ice Spice – 889,610 views

South Africa’s January 9-15 chart showcased dominance by amapiano and Afro-house genres. Sam Deep’s “Shela” that includes Nia Pearl and Boohle maintained place one with 2,072,749 views in its twenty first week. Feza’s “Umaqondana” surged three positions to achieve quantity two with 1,924,496 views. The amapiano style pioneered in Pretoria and Johannesburg townships dominated South African consumption, with attribute log drum patterns and sluggish tempo grooves defining the sound.

Ice Spice’s “Large Man” represented the highest-charting worldwide launch at place 10 with 889,610 views, exhibiting restricted American hip-hop penetration in comparison with home amapiano dominance. DJ Smallz 732’s “ZEP” held place 4, representing Durban’s contribution via gqom influences. Kehlani’s “Folded” at place 31 and Mariah the Scientist’s “Is It a Crime” at place 22 demonstrated selective American R&B penetration in city markets.

Past the highest 10, conventional South African genres maintained presence via gospel, maskandi, and kwaito variations. Artists like Nkeshemba occupied a number of positions with tracks mixing conventional Zulu vocals with modern manufacturing. Dave and Tems’ “Raindance” jumped 27 positions to achieve quantity 14, exhibiting how UK-Nigerian collaborations resonate throughout African markets. Advertising and marketing campaigns should account for amapiano’s cultural significance, township viewers demographics, and potential collaborations with established South African producers.

Portugal high 10

1. Posso Até Não Te Dar Flores – DJ Japa NK, MC MENO Okay, MC Ryan SP & MC Jacaré – 477,324 views
2. JETSKI – PEDRO SAMPAIO, MC MENO Okay & Melody – 434,479 views
3. Golden – HUNTR/X, EJAE, AUDREY NUNA, REI AMI & KPop Demon Hunters Solid – 324,239 views
4. SEQUÊNCIA FEITICEIRA – PEDRO SAMPAIO, MC GW, Mc Jhey & MC Rodrigo do CN – 311,253 views
5. Pôr do Sol – Vizinhos – 262,398 views
6. Leva Tudo – Calema & Dilsinho – 235,881 views
7. Respirar – Calema & Sara Correia – 203,964 views
8. The Destiny of Ophelia – Taylor Swift – 200,255 views
9. Marcha – Bárbara Bandeira – 199,539 views
10. Tu na Tua – ÁTOA & Luís Trigacheiro – 172,606 views

Portugal’s January 9-15 chart confirmed sturdy affect from Brazilian funk carioca, with the highest two positions occupied by Brazilian productions. DJ Japa NK’s observe led with 477,324 views whereas PEDRO SAMPAIO’s “JETSKI” held place two. The KPop Demon Hunters soundtrack claimed place three. Linguistic connections between Portugal and Brazil create bidirectional consumption patterns, although Brazilian content material reveals stronger penetration into Portugal on account of market dimension disparities.

Home Portuguese artists maintained aggressive positions. Vizinhos occupied two high 10 positions representing Portugal’s modern pop scene. Cape Verdean-Portuguese duo Calema secured two high 10 entries, reflecting Portugal’s colonial historical past and ongoing cultural connections with Cape Verde, Angola, and Mozambique the place Portuguese-language content material maintains consumption.

Taylor Swift’s “The Destiny of Ophelia” held place eight with 200,255 views, representing restricted American pop penetration. Past the highest 10, Brazilian funk maintained substantial presence. Bárbara Bandeira’s “Marcha” debuted at place 9, exhibiting how home pop artists compete towards Brazilian manufacturing high quality benefits. Advertising and marketing methods focusing on Portugal should account for Brazilian content material saturation, lusophone African cultural influences, and leveraging Portugal’s distinct regional preferences for fado-influenced modern pop.

Netherlands high 10

1. Golden – HUNTR/X, EJAE, AUDREY NUNA, REI AMI & KPop Demon Hunters Solid – 351,109 views
2. Lush Life – Zara Larsson – 226,856 views
3. I Simply May – Bruno Mars – 212,222 views
4. The Destiny of Ophelia – Taylor Swift – 177,123 views
5. Zoo – Shakira – 172,145 views
6. Peculiar – Alex Warren – 135,505 views
7. Large Man – Ice Spice – 135,415 views
8. Winterbanden – KA – 132,430 views
9. YAMA – DYSTINCT – 131,491 views
10. NO BATIDÃO – ZXKAI & slxughter – 131,087 views

The Netherlands’ January 9-15 chart demonstrated receptiveness to worldwide content material whereas sustaining positions for Dutch-language materials. The KPop Demon Hunters soundtrack led with 351,109 views, adopted by Zara Larsson’s “Lush Life” and Bruno Mars’ debut. The Dutch market confirmed larger worldwide penetration in comparison with linguistically remoted markets like Brazil or Japan, reflecting the Netherlands’ multilingual inhabitants and excessive English proficiency charges.

KA’s “Winterbanden” held place eight with 132,430 views in its debut week, representing Dutch hip-hop’s modern scene. DYSTINCT’s “YAMA” at place 9 and Turkish rap group Blok3’s presence past the highest 10 illustrated the Netherlands’ multicultural demographics the place Turkish, Moroccan, and Surinamese communities keep cultural consumption. Brazilian phonk via “NO BATIDÃO” at place 10 confirmed digital music’s cross-border enchantment.

Past the highest 10, Dutch artists maintained presence via varied genres. Papaoutai by Stromae jumped to place 34, exhibiting Belgian francophone content material’s penetration in Dutch markets. The chart composition revealed the Netherlands as a transit market the place worldwide content material circulates alongside home productions. Advertising and marketing campaigns profit from the inhabitants’s multilingual capabilities, permitting English-language promotion with out requiring Dutch translations, although home artists keep aggressive benefits via native radio help and competition bookings.

Australia high 10

1. Golden – HUNTR/X, EJAE, AUDREY NUNA, REI AMI & KPop Demon Hunters Solid – 783,040 views
2. Zoo – Shakira – 406,596 views
3. The Destiny of Ophelia – Taylor Swift – 401,162 views
4. Peculiar – Alex Warren – 392,847 views
5. I Simply May – Bruno Mars – 390,940 views
6. Soda Pop – Saja Boys, Andrew Choi, Neckwav, Danny Chung, KEVIN WOO, samUIL Lee & KPop Demon Hunters Solid – 307,075 views
7. Large Man – Ice Spice – 287,233 views
8. Lose Management (Stay) – Teddy Swims – 280,774 views
9. Lush Life – Zara Larsson – 268,294 views
10. Man I Want – Olivia Dean – 262,238 views

Australia’s January 9-15 chart demonstrated sturdy alignment with American and British music consumption patterns, reflecting cultural and linguistic ties. The KPop Demon Hunters soundtrack led with 783,040 views, whereas Shakira’s “Zoo” and Taylor Swift’s “The Destiny of Ophelia” claimed positions two and three. Bruno Mars debuted at place 5 with 390,940 views, exhibiting stronger Australian penetration in comparison with some European markets. Australian consumption patterns intently tracked American charts whereas incorporating stronger British affect, making a hybrid Anglo-American market profile.

British artists maintained sturdy presence. Olivia Dean occupied two high 10 positions demonstrating how UK artists leverage Commonwealth cultural connections. Dave and Tems’ “Raindance” surged 41 positions to achieve quantity 15 with 184,537 views, exhibiting speedy adoption of British releases. Teddy Swims’ “Lose Management (Stay)” held place eight with 280,774 views in its a hundred and fifteenth week, demonstrating extraordinary longevity the place sustained radio help extends observe lifespans.

Catalog tracks maintained substantial presence, with Fetty Wap’s “Lure Queen” returning at place 54 regardless of releasing in 2014. Australian listeners actively devour older materials alongside new releases, creating monetization alternatives for catalog rights holders. Past the highest 10, Australian home artists confirmed restricted chart presence, reflecting the market’s small inhabitants of 26 million which struggles to help artists competing towards American and British manufacturing budgets. Advertising and marketing methods for Australia ought to leverage its position as a testing floor for English-language releases earlier than bigger market campaigns, make the most of timezone benefits for coordinated world launch methods, and account for sturdy radio affect the place industrial stations keep gatekeeping energy over chart trajectories.

Comparability with earlier monitoring durations

The January 9-15 charts confirmed notable continuity with earlier weeks whereas introducing a number of vital modifications. “Golden” maintained its dominant place globally, accumulating 66.7 million views in comparison with 72.3 million views during December 26-January 1. The 7.8% decline in weekly views suggests the observe has reached sustained consumption ranges reasonably than viral progress patterns.

Bruno Mars’ “I Simply May” represented essentially the most vital new entry, instantly capturing 24.4 million views globally in its debut week. This contrasts with the previous week’s chart, the place new debuts confirmed extra modest preliminary viewing numbers. Mars’ established fan base and catalog presence enabled rapid chart affect throughout a number of territories.

Shakira’s “Zoo” maintained sturdy efficiency in its seventh week, although views declined from earlier monitoring durations. The observe accrued 37.2 million views throughout January 9-15 in comparison with larger numbers in earlier weeks, suggesting typical post-release decline patterns. Nevertheless, the tune’s presence throughout a number of territory charts demonstrates sustained cross-market enchantment.

The elimination of Christmas content material from charts created substantial place shifts in comparison with December 19-25 tracking, when seasonal tracks occupied a number of high positions throughout Western markets. Mariah Carey’s “All I Need for Christmas Is You” and Wham!’s “Final Christmas” exited charts solely, permitting non-seasonal content material to advance positions.

Regional Brazilian funk continued dominating consumption in Brazil and Portugal, with tracks like “Posso Até Não Te Dar Flores” sustaining high positions throughout consecutive weeks. The sustained efficiency of funk carioca and phonk variations demonstrates how regional digital music kinds keep consumption unbiased of Western pop developments.

Timeline

Abstract

Who: YouTube printed weekly music charts protecting January 9-15, 2026, monitoring efficiency throughout world markets and 14 particular territories together with the USA, United Kingdom, Brazil, India, Japan, Germany, France, Spain, South Africa, Kenya, Indonesia, Portugal, Netherlands, and Australia. Bruno Mars returned along with his first solo single in a decade, releasing “I Simply May” because the lead single from his forthcoming album “The Romantic.”

What: “Golden” by HUNTR/X, EJAE, AUDREY NUNA, REI AMI and KPop Demon Hunters Solid maintained world dominance with 66,689,366 views in its thirtieth consecutive week, whereas Bruno Mars’ “I Simply May” debuted with 24,355,457 views throughout a number of territories. The official music video for Mars’ single accrued 42,615,364 views inside the first week. Regional markets confirmed deep fragmentation with Indian audiences specializing in Bollywood content material, Brazilian listeners consuming funk carioca, Japanese viewers preferring J-pop, and Western markets sustaining extra numerous consumption patterns.

When: The chart information covers the seven-day monitoring interval from January 9 via January 15, 2026, representing the primary full week following the vacation season and occurring instantly earlier than YouTube’s official withdrawal from Billboard chart calculations on January 16, 2026. Bruno Mars’ “I Simply May” launched on January 9, 2026, coinciding with the beginning of the monitoring interval.

The place: The charts observe consumption throughout YouTube’s world platform, with territory-specific rankings for main markets representing numerous geographic areas together with North America, Europe, Latin America, Asia, and Africa. Viewing patterns different considerably by territory, with minimal overlap in high tracks throughout totally different areas. Bruno Mars confirmed stronger penetration in English-speaking markets (US place 3, UK place 7, Australia place 5) in comparison with non-anglophone territories (Germany place 16, Spain place 19).

Why: The charts matter for the advertising and marketing neighborhood as a result of they reveal sustained soundtrack-driven consumption patterns from leisure franchises like Netflix’s KPop Demon Hunters, reveal Bruno Mars’ strategic return to solo releases after a decade with coordinated merchandise and streaming methods, present regional content material preferences requiring localized advertising and marketing approaches, present efficiency benchmarks for artists and labels working on YouTube’s unbiased chart techniques following the Billboard partnership termination, inform promoting placement choices throughout territories, and illustrate how Shorts format consumption differs from conventional music video viewership patterns. The info demonstrates the monetary worth of catalog monetization, the place established artists like Mars generate viewing exercise from each new releases and older materials spanning years.