YouTube published its weekly music charts for January 9-15, 2026, revealing sustained dominance by Netflix's KPop Demon Hunters soundtrack while new entry "I Just Might" by Bruno Mars captured immediate traction across multiple territories. "Golden" by HUNTR/X, EJAE, AUDREY NUNA, REI AMI and KPop Demon Hunters Cast maintained the number one position globally with 66,689,366 views during the seven-day tracking period.

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The track's performance represents its 30th consecutive week on the global chart, demonstrating how Netflix's animated content continues driving sustained music consumption months after the film's initial release. This sustained performance contrasts sharply with typical promotional cycles, where tracks peak during launch windows then decline rapidly. The KPop Demon Hunters soundtrack has maintained multiple tracks in top positions across global charts since the film became one of Netflix's most-watched productions in 2025.

According to the chart data, "Golden" appeared at number one across multiple territories including the United States (8,570,842 views), United Kingdom (1,770,154 views), Germany (1,335,933 views), and France (1,607,929 views). The track held positions within the top three across most Western markets while showing more limited penetration in Asian territories where regional content preferences dominated consumption patterns.

Bruno Mars returns with first solo single in decade

Bruno Mars' "I Just Might" debuted during the January 9-15 tracking period, immediately capturing top 10 positions across seven territories while the official music video accumulated 42,615,364 views on YouTube within the first week. The track accumulated 24,355,457 views across chart metrics globally, entering at position eight on the worldwide chart. Released January 9, 2026, "I Just Might" represents Mars' first solo single since his 24K Magic era, preceding 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 performance style. According to the video description, Mars handles multiple production roles including singing, dancing, and filming direction, reflecting his comprehensive artistic control. The single's lyrical content centers on dance floor romance, with Mars singing about meeting someone whose appearance suggests dance ability - "if she dance as good as she look right now, I just might make her my baby."

In the United States, "I Just Might" debuted at number three with 5,396,063 views, demonstrating immediate commercial traction. The track claimed position seven in the UK with 716,790 views, position 16 in Germany with 373,940 views, and position 19 in Spain with 471,684 views. According to the chart data, the song showed stronger penetration in English-speaking markets compared to non-anglophone territories, following typical patterns for American pop releases. Australia positioned the track at number five with 390,940 views, while France placed it at position 25 with 590,421 views.

The release strategy incorporated multiple commercial touchpoints. Mars tagged six products in the YouTube video description including vinyl variants, CDs, and cassettes available through his official store. The merchandise strategy included a webstore-exclusive vinyl with velvet sleeve, standard black vinyl, CD, and cassette formats, all shipping on the album release date. This direct-to-consumer approach bypasses traditional retail distribution channels, maximizing revenue retention for the artist and label.

YouTube comments on the official video reflected widespread positive reception. The official YouTube account posted "we might just watch this on repeat," accumulating 44,000 likes. User comments highlighted Mars' consistency, with one stating "Every time Bruno drops, the world feels a little more alive again" (56,000 likes), while another noted "Bro is the definition of quality over quantity" (23,000 likes). Several comments referenced Mars' ten-year absence from solo releases, with one user stating "After 10 years, Bruno mars has returned with another solo project. We're witnessing a golden era all over again" (18,000 likes).

The immediate chart impact demonstrates how established artists leverage existing fan bases for strong debut performance. Mars built his career since 2009 on consistent hit-making, accumulating 16 Grammy Awards including Album of the Year for 24K Magic, and becoming the first artist to reach 150 million monthly listeners on Spotify. His catalog includes 35 Billboard Hot 100 hits with nine number one singles, selling over 150 million records worldwide. According to the video's biographical section, Mars holds the highest-certified song in RIAA history with 2010's "Just the Way You Are."

Mars' catalog maintained presence across YouTube charts during the tracking period. "Just the Way You Are" accumulated 1,019,788 views in the United States at position 65, while "That's What I Like" generated 1,004,891 views at position 68. Additional catalog tracks appearing included "Uptown Funk" and various Silk Sonic collaborations with Anderson .Paak. This sustained consumption of older material alongside new releases illustrates how YouTube's platform differs from radio formats that prioritize current releases. The catalog performance demonstrates the financial value of maintaining active YouTube presences for established artists, where viewing activity extends years beyond initial release dates.

The video accumulated 8,900 Shorts remixes within the first week according to YouTube's metrics, demonstrating how platform users create derivative content from official releases. This remix culture creates additional promotional value as user-generated content extends reach beyond the official video's audience. The song's structure with distinct choreographed sections and quotable lyrics provides material for Shorts creators to build reactions, dance covers, and remix variations that feed YouTube's recommendation algorithms.

The release 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 release follows traditional major label strategies for building anticipation. Pre-orders opened immediately upon single release, allowing Mars' team to capture purchase intent during peak interest periods. The coordinated merchandise strategy including physical formats suggests targeting collectors and dedicated fans who maintain vinyl and CD purchasing habits alongside streaming consumption.

Industry observers noted Mars' return fills a void in mainstream pop-funk production. His 24K Magic World Tour ranked among the highest-grossing tours in history and within the top ten highest-grossing of the 2010s decade. The artist's hiatus following Silk Sonic's 2021 release "An Evening with Silk Sonic" created pent-up demand for new solo material. Recent collaborations including "Die with a Smile" with Lady Gaga and "APT." with ROSÉ achieved massive streaming numbers, with both tracks becoming among the fastest songs to reach one billion streams. These collaborations maintained Mars' visibility during his solo album development period.

The musical production on "I Just Might" incorporates Mars' characteristic retro-soul influences with contemporary pop production. The song's tempo and structure optimize for both radio airplay and streaming platform playlists, while choreographed elements provide visual content for social media circulation. Marketing campaigns can leverage Mars' established brand as a performer who delivers both audio and visual entertainment, distinguishing him in an era where many artists prioritize streaming-first releases without corresponding performance content.

Regional fragmentation intensifies across markets

The January 9-15 charts revealed deep fragmentation across the 13 territories tracked. Indian audiences concentrated viewing on Bollywood soundtracks and regional language content, with "Shararat" by Shashwat Sachdev, Madhubanti Bagchi and Jasmine Sandlas leading 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 K, MC Ryan SP and MC Jacaré accumulated 12,701,736 views.

Japanese viewers maintained distinct preferences for domestic 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 seeking cross-border reach through YouTube's platform.

According to the data, successful tracks in Western markets showed minimal penetration in Asian, African, and South American territories where local content preferences dominate consumption patterns. The fragmentation requires marketing budgets to account for territory-specific promotion rather than assuming global viral potential. Campaigns must develop localized strategies with appropriate language content, cultural contexts, and regional influencer partnerships.

Shakira's "Zoo" demonstrated unusual cross-market appeal, appearing in top 10 positions across six territories including Spain (656,315 views, position 13), Brazil (1,820,155 views, position 51), and South Africa (358,749 views, position 40). The track accumulated 37,163,191 views globally during the tracking period, positioning at number two on the worldwide chart. Such cross-market performance remains exceptional rather than typical for most releases.

Shorts format drives remix consumption

The Global Weekly Top Shorts Songs chart for January 9-15 showed distinctly different consumption patterns compared to traditional music charts. "NO BATIDÃO" by ZXKAI and slxughter led the Shorts chart in its 11th week, while "PASSO BEM SOLTO (Slowed)" by ATLXS held position two in its 43rd week on the format-specific ranking.

According to the data, Shorts charts showed preferences for remixed, slowed, and modified versions of tracks rather than original recordings. Ice Spice's "Big Guy" reached position three on the Shorts chart while claiming position two on the Global Weekly Top Songs chart, demonstrating how tracks perform differently across format types. The remix culture around Shorts creates separate monetization opportunities for artists willing to license alternative versions.

Brazilian funk variations dominated the Shorts format, with "MONTAGEM REBOLA" by ATLXS and DJ FKU debuting at position 47, and "MONTAGEM COMA" by ANDROMEDA and elysian. holding position seven in its 24th week. These phonk and funk variations exemplify how regional electronic music styles gain international exposure through Shorts distribution patterns. The format's algorithm appears to favor high-energy electronic remixes over traditional song structures.

Marketing strategies must account for these format differences when planning content distribution. Teams should create separate asset packages optimized for vertical video consumption, potentially including slowed versions, remixes, or phonk variations that perform better in the Shorts ecosystem. The data suggests that success on traditional music charts doesn't guarantee Shorts performance, requiring distinct promotional approaches.

Artist chart reveals concentration patterns

The Global Weekly Top Artists chart for January 9-15 showed sustained dominance by Bollywood vocalists and regional language performers. Alka Yagnik maintained position one with 446,510,203 views accumulated across all content during the tracking period. Udit Narayan held position two with 330,710,063 views, while Arijit Singh claimed position three with 311,785,281 views.

Bad Bunny positioned at number six with 208,395,318 views, representing the highest-ranked Latin artist. Fuerza Regida held position 11 with 137,849,883 views. Shakira advanced to position 13 with 129,498,133 views, climbing one position from the previous week. Bruno Mars jumped 14 positions to reach number 16 with 120,048,237 views, demonstrating how new release activity drives artist-level viewing surges.

The KPop Demon Hunters Cast climbed one position to number 12 with 133,720,511 views, while related performers HUNTR/X (position 30), EJAE (position 27), AUDREY NUNA (position 31), and REI AMI (position 32) all maintained top 40 positions. This concentration demonstrates how soundtrack success distributes viewing activity across multiple credited performers rather than consolidating around single artists.

Yeison Jimenez debuted on the artist chart at position 18 with 116,648,589 views, driven by multiple new releases including "Aventurero," "Destino Final," and "Ni Tengo Ni Necesito." The Colombian artist's immediate chart impact shows how coordinated multi-track releases can generate substantial viewing activity within single tracking periods.

Marketing implications across territories

The January 9-15 YouTube music charts carry significant implications for marketing professionals, artists, labels, and platform advertisers. Regional fragmentation creates challenges for campaigns seeking cross-border reach. Marketing budgets must account for territory-specific promotion, with separate strategies required for Western markets, Asian territories, Latin American regions, and African markets.

Content strategies must address multiple chart types. According to YouTube's measurement systems, performance on traditional song charts, music video charts, Shorts charts, and artist charts all require distinct promotional approaches. Teams cannot assume that success in one chart format translates to performance in others, requiring coordinated campaigns across format types.

The data demonstrates how YouTube operates independent chart systems following the December 17, 2025 announcement terminating the Billboard partnership effective January 16, 2026. Marketing teams previously using Billboard rankings as success metrics must now track performance through YouTube-specific metrics rather than industry-standard benchmarks. This creates measurement complications for campaigns spanning multiple streaming platforms.

Soundtrack placements in high-viewership productions generate sustained chart performance extending months beyond initial release windows. The KPop Demon Hunters success demonstrates how cross-platform content strategies can drive music consumption. Marketing professionals must account for entertainment franchise tie-ins as substantial promotional vehicles, potentially exceeding traditional radio or streaming platform promotion in sustained impact.

Catalog monetization opportunities extend years beyond initial release dates. Artists with strong back catalogs can generate substantial viewing activity from older tracks while simultaneously launching new material. According to the chart patterns, YouTube consumption differs from traditional radio or algorithmic streaming platforms in maintaining active discovery of older content.

Territory-by-territory YouTube Charts performance

Global top 10 songs

  1. Golden - HUNTR/X, EJAE, AUDREY NUNA, REI AMI & KPop Demon Hunters Cast - 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 Era Cantante - El Bogueto & Yung Beef - 27,429,138 views
  6. NO BATIDÃO - ZXKAI & slxughter - 26,784,627 views
  7. The Fate of Ophelia - Taylor Swift - 25,075,165 views
  8. I Just Might - 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 Cast - 23,188,719 views

United States top 10

  1. Golden - HUNTR/X, EJAE, AUDREY NUNA, REI AMI & KPop Demon Hunters Cast - 8,570,842 views
  2. Big Guy - Ice Spice - 5,909,893 views
  3. I Just Might - Bruno Mars - 5,396,063 views
  4. Zoo - Shakira - 4,341,254 views
  5. FDO - Pooh Shiesty - 4,183,820 views
  6. Ordinary - Alex Warren - 3,864,364 views
  7. Soda Pop - Saja Boys, Andrew Choi, Neckwav, Danny Chung, KEVIN WOO, samUIL Lee & KPop Demon Hunters Cast - 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 Cast - 3,213,432 views
  10. End of Beginning - Djo - 3,120,193 views

The United States market demonstrated diverse consumption patterns during the January 9-15 tracking period, with the KPop Demon Hunters soundtrack maintaining three positions in the top 10. Ice Spice's "Big Guy" climbed to position two with 5,909,893 views in its sixth week, showing sustained momentum for the Bronx-born rapper following her breakthrough 2023-2024 period. Bruno Mars' debut at position three with 5,396,063 views represented the strongest new entry across the territory chart, demonstrating how established artists leverage existing fan bases for immediate chart impact. The top 10 combined viewing exceeded 45 million during the seven-day period, with the KPop Demon Hunters Cast claiming three separate tracks illustrating how soundtrack success distributes consumption across multiple album cuts rather than concentrating around a single hit.

Regional Mexican music maintained significant presence through Fuerza Regida's "Marlboro Rojo" at position eight with 3,344,912 views in its 36th week on the chart. The corridos tumbados track demonstrated sustained consumption in markets with substantial Mexican-American populations, particularly in southwestern regions including California, Texas, Arizona, and Nevada where Spanish-language radio stations program the genre alongside English-language content. Pooh Shiesty's "FDO" held position five with 4,183,820 views, representing Memphis hip-hop's continued influence in urban markets. The diversity of genres within the top 10 reflected YouTube's role as a cross-format consumption platform rather than radio's genre-specific programming approach.

Beyond the top 10, catalog tracks maintained substantial viewing activity demonstrating YouTube's unique monetization characteristics. Bruno Mars' older material including "Just the Way You Are" positioned at number 65 with 1,019,788 views and "That's What I Like" reached position 68 with 1,004,891 views. Fetty Wap's "Trap Queen" returned to the chart at position 27 with 1,811,702 views despite releasing in 2014, illustrating YouTube's consumption patterns where users actively search for older content independent of radio promotion. Marketing strategies targeting American audiences must account for regional genre preferences, with corridos tumbados dominating southwestern markets, drill and trap variations controlling urban consumption, and pop-country crossovers appealing to suburban demographics.

United Kingdom top 10

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

The United Kingdom chart for January 9-15 showed strong performance from domestic UK artists alongside international hits. Dave's "Raindance" featuring Nigerian singer Tems jumped 40 positions to reach number two with 1,061,586 views in its 12th week, representing the most significant positional gain within the top 10. The collaboration between the British rapper and Nigerian vocalist demonstrated how UK audiences maintain strong support for homegrown talent even when competing against major international releases. The track's surge suggested renewed promotional activity or viral social media moments driving discovery during the tracking period.

Zara Larsson's "Lush Life" held position four with 949,994 views despite releasing years prior, demonstrating the Swedish pop artist's sustained UK fanbase. The track maintained consistent consumption across multiple weeks in its 29th week on the chart. Alex Warren's "Ordinary" claimed position three with 975,450 views in its 49th week, demonstrating extraordinary longevity for an independent artist release. The track's sustained performance illustrated how UK audiences support artists through extended consumption periods.

Bruno Mars debuted at position seven with 716,790 views compared to his position three ranking in the United States, suggesting relatively weaker UK penetration despite Mars' established career success. Taylor Swift's "The Fate of Ophelia" held position five with 741,895 views, maintaining consistent performance across both territories. Beyond the top 10, RAYE's "WHERE IS MY HUSBAND!" positioned at number 16 with 498,261 views in its 17th week, reflecting sustained support for British female artists. The UK market demonstrated preference for melodic pop and rap collaborations over regional Mexican music. Marketing campaigns targeting Britain must account for BBC Radio 1 playlisting, UK garage and grime influences, and strong support for British artists across genres.

Spain top 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 Cast - 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 Era Cantante - El Bogueto & Yung Beef - 738,575 views

Spain's January 9-15 chart demonstrated dominance by Latin music across multiple genres, with reggaeton, bachata, and urban Latino tracks claiming nine of the top 10 positions. ROSALÍA's "La Perla" featuring Yahritza Y Su Esencia led with 1,512,933 views in its 10th week, showcasing the Catalan artist's sustained popularity following her experimental flamenco-fusion evolution. Romeo Santos and Prince Royce's bachata collaboration "Dardos" held position three with 1,204,460 views in its seventh week, demonstrating how traditional Latin genres maintain commercial viability alongside contemporary urban sounds.

Colombian and Argentine artists captured multiple top 10 positions. Ryan Castro's "LA VILLA" jumped nine positions to reach number six with 819,532 views in its fourth week. KAROL G's "Si Antes Te Hubiera Conocido" maintained position nine with 741,663 views in its 74th week. Luck Ra and BM's "La Morocha" represented Argentine consumption influence at position seven with 816,319 views, showcasing how Spanish audiences engage with diverse Latin American regional scenes.

Domestic Spanish artists maintained competitive positions. Aitana's "SUPERESTRELLA" held position five with 966,663 views in its 27th week. JC Reyes featured in multiple chart positions including "LOQUITA" at number eight. Beyond the top positions, multiple Yeison Jimenez tracks appeared showing how Colombian regional Mexican fusion styles penetrate Spanish markets. The chart composition illustrated Spain's role as a bridge market between European and Latin American music consumption patterns. Marketing campaigns must account for Spain's linguistic and cultural position, requiring Spanish-language content and Latin American artist collaborations.

Germany top 10

  1. Golden - HUNTR/X, EJAE, AUDREY NUNA, REI AMI & KPop Demon Hunters Cast - 1,335,933 views
  2. The Fate 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. Big Guy - 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 reflected the country's multicultural population, with Turkish-language tracks claiming two top 10 positions alongside international pop hits and Arabic-language content. Blok3's "KUSURA BAKMA" held position six with 570,663 views in its seventh week. Turkish-language music maintained consistent presence across German charts, reflecting the country's significant Turkish-speaking population exceeding three million concentrated in Berlin, Cologne, Frankfurt, and other major urban centers where Turkish cultural institutions maintain strong community ties.

Arabic-language tracks demonstrated similar multicultural consumption dynamics. Nassif Zeytoun's "Kazdoura" featuring Ward Abu held position nine with 480,112 views, while DYSTINCT's "YAMA" claimed position 10 with 463,199 views. The presence of Arabic music in Germany's top 10 reflected refugee and immigrant populations from Syria, Iraq, Lebanon, and North Africa who arrived during the 2015-2016 migration period. Brazilian phonk maintained position five through "NO BATIDÃO" with 580,376 views, showing how electronic music transcends language barriers in German club culture.

Domestic German artists showed limited top 10 presence, with Oimara's "Wackelkontakt" representing the sole German-language entry at position eight with 484,527 views in its 52nd week. Beyond the top 10, additional German content appeared though international content dominated. The chart composition illustrated Germany's role as Europe's most diverse music market. Marketing campaigns targeting Germany must account for Turkish, Arabic, and other diaspora communities alongside mainstream German audiences, requiring multilingual promotional materials and understanding of how streaming services serve immigrant populations maintaining cultural connections through music.

France top 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 Cast - 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 top 10 positions occupied by French-language urban music. The melodrama collaboration between disiz and Theodora led with 2,234,655 views. GIMS maintained multiple top 10 positions through "PARISIENNE" at number two and "BLOQUÉ" at position eight, demonstrating the artist's status as one of France's most commercially successful rappers. GIMS' sustained presence reflected his prolific output and ability to maintain relevance through strategic collaborations.

The concentration of French-language content created substantial barriers for international releases. Shakira's "Zoo" represented the highest-charting non-French track at position four. RnBoi's "MON BÉBÉ" held position three, demonstrating sustained consumption for French R&B alongside rap dominance. The chart composition contrasted sharply with Germany's multicultural mix or UK's receptiveness to American releases, positioning France as Europe's most linguistically protective major market.

Ninho's album release during the tracking period drove substantial chart activity beyond the top 10, with multiple tracks debuting. The coordinated album drop strategy generated concentrated viewing across multiple tracks simultaneously, a pattern common in French hip-hop releases. Established French artists like JuL maintained catalog presence throughout the chart. The French market's linguistic protectionism creates opportunities for domestic artists while requiring international acts to invest in French-language versions or extensive marketing campaigns. Marketing strategies must account for France's cultural policies, where Ministry of Culture regulations influence radio programming.

Brazil top 10

  1. Posso Até Não Te Dar Flores - DJ Japa NK, MC MENO K, MC Ryan SP & MC Jacaré - 12,701,736 views
  2. JETSKI - PEDRO SAMPAIO, MC MENO K & 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 K, MC Ryan SP, MC Tuto & Mc Negão Original - 8,166,530 views
  5. Vai Tomando Pock Pock - MC Lele JP, MC GH Original & 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 K - 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 K & 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 top seven positions occupied by funk variations from São Paulo and Rio de Janeiro production centers. DJ Japa NK's "Posso Até Não Te Dar Flores" maintained position one with 12,701,736 views in its 15th week, representing the highest single-track viewing total across all territories tracked. PEDRO SAMPAIO's "JETSKI" held position two with 11,970,901 views. MC MENO K appeared as a featured artist on five of the top 10 tracks, illustrating the concentrated ecosystem of São Paulo funk production.

The Brazilian chart showed negligible penetration by international releases, with zero English-language tracks appearing in the top 10. This linguistic and cultural isolation distinguished Brazil from other Latin American markets. Pagode tracks represented the primary alternative to funk dominance, with "P do Pecado (Ao Vivo)" claiming position three, reflecting Brazil's concert culture where televised performances generate substantial streaming activity.

Funk carioca's production patterns centered on collaborative "sets" featuring multiple MCs and producers. The "SET DO JAPA NK 2.0" at position nine credited eight separate performers. Beyond the top 10, sertanejo maintained presence through artists like Gustavo Mioto and Henrique & Juliano. Marketing strategies for international artists seeking Brazilian penetration require Portuguese-language versions, local producer collaborations, or festival circuit presence.

India top 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. "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 top three positions. This concentration demonstrated how Indian cinema music drives massive consumption volumes through film tie-ins and promotional cycles.

Regional language content maintained substantial presence alongside Hindi Bollywood tracks. "Bayilone Ballipalike" at position eight represented Telugu cinema music, while "Oorum Blood" at position nine showcased Tamil film content. The linguistic diversity within India's top 10 reflected the country's multi-regional film industries including Tamil (Kollywood), Telugu (Tollywood), Malayalam, and Kannada cinema production centers.

The massive drop for "Ghar Kab Aaoge" from position 10 to position 33 demonstrated volatile consumption patterns around new Bollywood releases. The multi-artist collaboration credited nine separate performers, reflecting Bollywood's practice of assembling industry veterans for tentpole film projects. Beyond the top 10, Haryanvi and Bhojpuri regional music maintained presence. The chart composition illustrated how Indian music consumption operates almost entirely independent of Western pop trends, with zero English-language tracks penetrating the territory's top positions. Marketing campaigns must account for multiple regional language versions, cinema tie-ins, and festival release timing.

Japan top 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 Jeans - HANA - 3,767,262 views
  10. favorite song - FUMINO - 3,288,931 views

Japan's January 9-15 chart demonstrated complete dominance by domestic J-pop content, with all top 10 positions occupied by Japanese artists performing in Japanese. Kenshi Yonezu's "IRIS OUT" led with 13,279,151 views in its 18th week, while the artist also claimed position seven. Mrs. GREEN APPLE maintained two top 10 positions. Established J-pop acts dominated chart positions through sustained album cycles and television drama tie-ins that extend promotional windows beyond Western release strategies.

The chart composition reflected Japan's distinct music industry structure where television drama soundtracks, anime theme songs, and idol group releases drive consumption patterns. Snow Man's "カリスマックス" held position five, representing the Johnny & Associates idol production system that dominates Japanese pop. HANA secured position four with "ROSE" alongside additional tracks throughout the top 20. The longevity of tracks on Japan's chart contrasted with Western markets where typical chart life spans measure weeks rather than months.

King Gnu's "AIZO" debuted at position six, representing one of few new entries in a chart dominated by sustained consumption. The Japanese market's preference for physical album purchases alongside streaming creates different consumption mechanics. Zero English-language tracks appeared in Japan's top 100, illustrating complete linguistic isolation comparable to India and Brazil. Marketing strategies must account for television drama placement opportunities, anime tie-ins, and physical retail distribution alongside digital streaming promotion.

Kenya top 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 (Live) - Dr Sarah K - 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 international penetration. Zuchu's "Inama" featuring Diamond Platnumz climbed six positions to reach number one with 658,675 views in its 18th week, demonstrating sustained consumption for Tanzanian Bongo Flava content in the Kenyan market. Mbosso's "Pawa" held position two with 655,633 views in its 31st week, showing extraordinary longevity for East African releases. Tanzanian artists occupied multiple top positions, reflecting strong cultural and linguistic ties where Swahili-language content flows freely across borders.

Nigerian Afrobeats maintained competitive positions against East African content. Ayra Starr and Rema's "Who's Dat Girl" held position 13 with 411,617 views. The presence of West African music in Kenyan charts demonstrated pan-African consumption patterns where anglophone African nations maintain cultural exchange independent of Western music industry distribution. Ice Spice's "Big Guy" climbed to position 18 with 331,845 views, representing the highest-charting international release.

Dave and Tems' "Raindance" surged 55 positions to reach number 20 with 319,545 views, demonstrating how UK-Nigerian collaborations generate interest across African markets. Beyond the top 20, gospel music maintained substantial presence through artists like Israel Mbonyi and Guardian Angel, reflecting Kenya's religious demographics where Christian content generates significant streaming activity. Marketing campaigns targeting Kenya must account for Swahili language preferences, gospel music consumption, and pan-African rather than purely Western promotional strategies.

Indonesia top 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 Show, 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 Cast - 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. everything u are - Hindia - 2,969,842 views

Indonesia's January 9-15 chart demonstrated dominance by domestic pop and dangdut content. Idgitaf's "Sedia Aku Sebelum Hujan" led at 12,646,447 views in its 14th week. Indonesian artists occupied nine of the top 10 positions, with the KPop Demon Hunters soundtrack at position six representing the sole international entry. This concentration illustrated how Indonesia's massive population of 275 million supports a self-sufficient domestic music industry with minimal reliance on Western imports.

Electronic dance music variations dominated multiple chart positions. "TABOLA BALE" held position two with 10,697,613 views in its 35th week, while "Orang Baru Lebe Gacor" claimed position three. The EDM-influenced tracks reflected Indonesia's club culture centered on Jakarta, Bali, and Surabaya. Nadhif Basalamah occupied two top 10 positions, demonstrating how established Indonesian artists maintain sustained chart presence.

Beyond the top 10, Indonesian rock and indie content maintained presence through bands like Fourtwnty, Barasuara, and Perunggu. The diversity of genres within Indonesia's domestic chart contrasted with markets where single genres dominate. Tracks showed remarkable longevity, with multiple entries maintaining chart presence beyond 30-40 weeks. Marketing strategies for international artists seeking Indonesian penetration must account for Bahasa Indonesia language requirements, local streaming platform partnerships, and potential collaborations with established domestic artists.

South Africa top 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. Big Guy - Ice Spice - 889,610 views

South Africa's January 9-15 chart showcased dominance by amapiano and Afro-house genres. Sam Deep's "Shela" featuring Nia Pearl and Boohle maintained position one with 2,072,749 views in its 21st week. Feza's "Umaqondana" surged three positions to reach number two with 1,924,496 views. The amapiano genre pioneered in Pretoria and Johannesburg townships dominated South African consumption, with characteristic log drum patterns and slow tempo grooves defining the sound.

Ice Spice's "Big Guy" represented the highest-charting international release at position 10 with 889,610 views, showing limited American hip-hop penetration compared to domestic amapiano dominance. DJ Smallz 732's "ZEP" held position four, representing Durban's contribution through gqom influences. Kehlani's "Folded" at position 31 and Mariah the Scientist's "Is It a Crime" at position 22 demonstrated selective American R&B penetration in urban markets.

Beyond the top 10, traditional South African genres maintained presence through gospel, maskandi, and kwaito variations. Artists like Nkeshemba occupied multiple positions with tracks blending traditional Zulu vocals with contemporary production. Dave and Tems' "Raindance" jumped 27 positions to reach number 14, showing how UK-Nigerian collaborations resonate across African markets. Marketing campaigns must account for amapiano's cultural significance, township audience demographics, and potential collaborations with established South African producers.

Portugal top 10

  1. Posso Até Não Te Dar Flores - DJ Japa NK, MC MENO K, MC Ryan SP & MC Jacaré - 477,324 views
  2. JETSKI - PEDRO SAMPAIO, MC MENO K & Melody - 434,479 views
  3. Golden - HUNTR/X, EJAE, AUDREY NUNA, REI AMI & KPop Demon Hunters Cast - 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 Fate 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 showed strong influence from Brazilian funk carioca, with the top two positions occupied by Brazilian productions. DJ Japa NK's track led with 477,324 views while PEDRO SAMPAIO's "JETSKI" held position two. The KPop Demon Hunters soundtrack claimed position three. Linguistic connections between Portugal and Brazil create bidirectional consumption patterns, though Brazilian content shows stronger penetration into Portugal due to market size disparities.

Domestic Portuguese artists maintained competitive positions. Vizinhos occupied two top 10 positions representing Portugal's contemporary pop scene. Cape Verdean-Portuguese duo Calema secured two top 10 entries, reflecting Portugal's colonial history and ongoing cultural connections with Cape Verde, Angola, and Mozambique where Portuguese-language content maintains consumption.

Taylor Swift's "The Fate of Ophelia" held position eight with 200,255 views, representing limited American pop penetration. Beyond the top 10, Brazilian funk maintained substantial presence. Bárbara Bandeira's "Marcha" debuted at position nine, showing how domestic pop artists compete against Brazilian production quality advantages. Marketing strategies targeting Portugal must account for Brazilian content saturation, lusophone African cultural influences, and leveraging Portugal's distinct regional preferences for fado-influenced contemporary pop.

Netherlands top 10

  1. Golden - HUNTR/X, EJAE, AUDREY NUNA, REI AMI & KPop Demon Hunters Cast - 351,109 views
  2. Lush Life - Zara Larsson - 226,856 views
  3. I Just Might - Bruno Mars - 212,222 views
  4. The Fate of Ophelia - Taylor Swift - 177,123 views
  5. Zoo - Shakira - 172,145 views
  6. Ordinary - Alex Warren - 135,505 views
  7. Big Guy - 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 international content while maintaining positions for Dutch-language material. The KPop Demon Hunters soundtrack led with 351,109 views, followed by Zara Larsson's "Lush Life" and Bruno Mars' debut. The Dutch market showed higher international penetration compared to linguistically isolated markets like Brazil or Japan, reflecting the Netherlands' multilingual population and high English proficiency rates.

KA's "Winterbanden" held position eight with 132,430 views in its debut week, representing Dutch hip-hop's contemporary scene. DYSTINCT's "YAMA" at position nine and Turkish rap group Blok3's presence beyond the top 10 illustrated the Netherlands' multicultural demographics where Turkish, Moroccan, and Surinamese communities maintain cultural consumption. Brazilian phonk through "NO BATIDÃO" at position 10 showed electronic music's cross-border appeal.

Beyond the top 10, Dutch artists maintained presence through various genres. Papaoutai by Stromae jumped to position 34, showing Belgian francophone content's penetration in Dutch markets. The chart composition revealed the Netherlands as a transit market where international content circulates alongside domestic productions. Marketing campaigns benefit from the population's multilingual capabilities, allowing English-language promotion without requiring Dutch translations, though domestic artists maintain competitive advantages through local radio support and festival bookings.

Australia top 10

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

Australia's January 9-15 chart demonstrated strong alignment with American and British music consumption patterns, reflecting cultural and linguistic ties. The KPop Demon Hunters soundtrack led with 783,040 views, while Shakira's "Zoo" and Taylor Swift's "The Fate of Ophelia" claimed positions two and three. Bruno Mars debuted at position five with 390,940 views, showing stronger Australian penetration compared to some European markets. Australian consumption patterns closely tracked American charts while incorporating stronger British influence, creating a hybrid Anglo-American market profile.

British artists maintained robust presence. Olivia Dean occupied two top 10 positions demonstrating how UK artists leverage Commonwealth cultural connections. Dave and Tems' "Raindance" surged 41 positions to reach number 15 with 184,537 views, showing rapid adoption of British releases. Teddy Swims' "Lose Control (Live)" held position eight with 280,774 views in its 115th week, demonstrating extraordinary longevity where sustained radio support extends track lifespans.

Catalog tracks maintained substantial presence, with Fetty Wap's "Trap Queen" returning at position 54 despite releasing in 2014. Australian listeners actively consume older material alongside new releases, creating monetization opportunities for catalog rights holders. Beyond the top 10, Australian domestic artists showed limited chart presence, reflecting the market's small population of 26 million which struggles to support artists competing against American and British production budgets. Marketing strategies for Australia should leverage its role as a testing ground for English-language releases before larger market campaigns, utilize timezone advantages for coordinated global release strategies, and account for strong radio influence where commercial stations maintain gatekeeping power over chart trajectories.

Comparison with previous tracking periods

The January 9-15 charts showed notable continuity with previous weeks while introducing several significant changes. "Golden" maintained its dominant position globally, accumulating 66.7 million views compared to 72.3 million views during December 26-January 1. The 7.8% decline in weekly views suggests the track has reached sustained consumption levels rather than viral growth patterns.

Bruno Mars' "I Just Might" represented the most significant new entry, immediately capturing 24.4 million views globally in its debut week. This contrasts with the previous week's chart, where new debuts showed more modest initial viewing numbers. Mars' established fan base and catalog presence enabled immediate chart impact across multiple territories.

Shakira's "Zoo" maintained strong performance in its seventh week, though views declined from previous tracking periods. The track accumulated 37.2 million views during January 9-15 compared to higher numbers in earlier weeks, suggesting typical post-release decline patterns. However, the song's presence across multiple territory charts demonstrates sustained cross-market appeal.

The elimination of Christmas content from charts created substantial position shifts compared to December 19-25 tracking, when seasonal tracks occupied multiple top positions across Western markets. Mariah Carey's "All I Want for Christmas Is You" and Wham!'s "Last Christmas" exited charts entirely, allowing non-seasonal content to advance positions.

Regional Brazilian funk continued dominating consumption in Brazil and Portugal, with tracks like "Posso Até Não Te Dar Flores" maintaining top positions across consecutive weeks. The sustained performance of funk carioca and phonk variations demonstrates how regional electronic music styles maintain consumption independent of Western pop trends.

Timeline

Summary

Who: YouTube published weekly music charts covering January 9-15, 2026, tracking performance across global markets and 14 specific territories including the United States, United Kingdom, Brazil, India, Japan, Germany, France, Spain, South Africa, Kenya, Indonesia, Portugal, Netherlands, and Australia. Bruno Mars returned with his first solo single in a decade, releasing "I Just Might" as the lead single from his forthcoming album "The Romantic."

What: "Golden" by HUNTR/X, EJAE, AUDREY NUNA, REI AMI and KPop Demon Hunters Cast maintained global dominance with 66,689,366 views in its 30th consecutive week, while Bruno Mars' "I Just Might" debuted with 24,355,457 views across multiple territories. The official music video for Mars' single accumulated 42,615,364 views within the first week. Regional markets showed deep fragmentation with Indian audiences focusing on Bollywood content, Brazilian listeners consuming funk carioca, Japanese viewers preferring J-pop, and Western markets maintaining more diverse consumption patterns.

When: The chart data covers the seven-day tracking period from January 9 through January 15, 2026, representing the first full week following the holiday season and occurring immediately before YouTube's official withdrawal from Billboard chart calculations on January 16, 2026. Bruno Mars' "I Just Might" released on January 9, 2026, coinciding with the start of the tracking period.

Where: The charts track consumption across YouTube's global platform, with territory-specific rankings for major markets representing diverse geographic regions including North America, Europe, Latin America, Asia, and Africa. Viewing patterns varied substantially by territory, with minimal overlap in top tracks across different regions. Bruno Mars showed stronger penetration in English-speaking markets (US position 3, UK position 7, Australia position 5) compared to non-anglophone territories (Germany position 16, Spain position 19).

Why: The charts matter for the marketing community because they demonstrate sustained soundtrack-driven consumption patterns from entertainment franchises like Netflix's KPop Demon Hunters, reveal Bruno Mars' strategic return to solo releases after a decade with coordinated merchandise and streaming strategies, show regional content preferences requiring localized marketing approaches, provide performance benchmarks for artists and labels operating on YouTube's independent chart systems following the Billboard partnership termination, inform advertising placement decisions across territories, and illustrate how Shorts format consumption differs from traditional music video viewership patterns. The data demonstrates the financial value of catalog monetization, where established artists like Mars generate viewing activity from both new releases and older material spanning years.

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