Twenty-four Dolly Parton entries appeared across seven national YouTube song charts for the seven-day period ending August 27, 2026, drawing 14,118,226 measured views in a window that captured only the final three days after the singer's death. Not one of those titles reached any of YouTube's four global rankings for the same week.

YouTube's weekly chart files for the tracking period running Friday, August 21 through Thursday, August 27, 2026 cover four global rankings and fifteen individual country charts. The global set comprises the Global Weekly Top Songs, Global Weekly Top Music Videos, Global Weekly Top Artists and Global Weekly Top Shorts Songs charts. The country set covers the United States, the United Kingdom, Australia, Brazil, India, Japan, Germany, France, Spain, Kenya, South Africa, the Netherlands, Portugal, Indonesia and the Philippines.

The headline entry at the top of the global songs file did not change. What changed sits several rows below it, and in seven national files that the global aggregation never reaches.

A catalogue surge that the global charts did not register

Parton died on August 25, 2026, at the age of 80. The chart window closed two days later. Whatever consumption her recordings drew between the announcement and Thursday night is compressed into three of the seven measured days.

In the United States file, five Parton titles appear with no previous rank. "9 to 5" sits at seventh with 3,247,845 views. "Jolene" follows at eighth with 2,655,852. "Islands in the Stream," her duet with Kenny Rogers, holds sixteenth at 2,160,462. "I Will Always Love You" ranks 32nd at 1,551,315, and "Here You Come Again" ranks 81st at 930,523. Four of the five carry a periods-on-chart value of one, meaning no prior week in the measured top 100. "Islands in the Stream" carries a value of two.

The United Kingdom file returns the same five titles in a different order. "9 to 5" reaches sixth at 484,422 views, "Islands in the Stream" eighth at 438,503, "Jolene" eleventh at 388,350, "I Will Always Love You" 40th at 212,497 and "Here You Come Again" 59th at 173,084. The British file records "Islands in the Stream" in its seventeenth charting period, which indicates the duet had appeared in the domestic top 100 before this week.

Australia matches the count at five: "Islands in the Stream" eighth at 205,773 in a 21st charting period, "9 to 5" ninth at 205,654, "Jolene" seventeenth at 150,815, "I Will Always Love You" 55th at 76,954 and "Here You Come Again" 66th at 73,121. The Netherlands returns four titles, led by "Islands in the Stream" at twelfth with 78,441 views. Germany returns three, the highest being "Islands in the Stream" at 56th with 174,833. France returns one, "Jolene" at 61st with 270,487. Kenya returns one, "Islands in the Stream" at 61st with 145,308.

Brazil, India, Japan, Spain, Portugal, Indonesia, the Philippines and South Africa record none.

Summing every Parton entry across the fifteen national files produces 14,118,226 views. That figure is a floor rather than a total. It counts only consumption that landed inside a measured top 100 in one of fifteen territories, and YouTube publishes charts for considerably more markets than the fifteen contained in this file set.

Why the global files stayed silent

The arithmetic explains the absence. The hundredth position on the Global Weekly Top Songs chart belongs to "Touch" by KATSEYE at 6,850,610 views. Adding every measured national figure for "9 to 5" produces 4,164,191. "Jolene" reaches 3,702,590 by the same method, "Islands in the Stream" 3,203,320, "I Will Always Love You" 1,871,397 and "Here You Come Again" 1,176,728.

Even allowing for consumption in unmeasured territories, no single Parton title in this file set approaches the global cutoff. The catalogue is broad and its individual titles are modest. A back catalogue distributed across five recordings and seven markets fragments into figures that a per-title global ranking cannot see, while a single new release concentrating the same audience into one video would clear the threshold comfortably.

The Global Weekly Top Artists chart aggregates by performer rather than by recording, and in principle it captures exactly this pattern. Parton does not appear on it. The hundredth position there belongs to Arcangel at 48,613,018 weekly views, more than three times the total Parton drew across every measured national chart combined.

That gap is the clearest available measure of how far a catalogue spike in English-language Western markets sits below the platform's aggregate consumption baseline. It is also a partial-week figure. The equivalent file for the period ending September 3, 2026 will be the first to measure seven full days.

Dai Dai holds at 90.1 million in a fifteenth week

"Dai Dai" by Shakira and Burna Boy held the global number one with 90,122,937 views in its fifteenth charting period. The figure represents a decline of roughly 23 percent from the 116,992,928 views recorded for the week ending August 13, 2026, the most recent period documented in this coverage. No figure has been published here for the intervening week ending August 20.

The growth field in the source file reads -0.07% for the track. Prior chart cycles in this series have shown that field corresponding to a week-over-week decline of roughly seven percent rather than a fraction of one percent, which would place the undocumented preceding week near 96.9 million. That reconstruction rests on a field convention rather than on a published figure, and the source file offers no direct confirmation.

The track's dominance has narrowed in relative terms without disappearing. It accounts for 7.20 percent of the 1,251,233,688 views logged across the entire global top 100, down from the 9.2 percent recorded a fortnight earlier. Second place goes to "KALYANI (Remix)" by Shreya Ghoshal, KDS, FIFTY4 and ARJN at 36,579,829 views, leaving "Dai Dai" 2.46 times ahead of the next entry. Two weeks earlier that multiple stood at 3.72.

Territorially the picture is unchanged. "Dai Dai" holds number one in nine of fifteen country charts: the United States, the United Kingdom, Australia, Germany, France, Spain, Kenya, the Netherlands and Portugal. It sits third in Brazil at 7,036,096 views, third in South Africa at 1,113,308, 56th in India, 85th in Indonesia and 85th in Japan. It does not appear on the Philippines chart at all.

The United States file records the one positional change worth noting at the top. "Dai Dai" moved from second to first with 6,566,859 views, displacing "Hootie Frutti" by KATSEYE, which fell from first to third in its second charting week at 4,512,743.

KATSEYE holds six global entries; ENHYPEN debuts at seven

KATSEYE occupies six positions on the global songs chart: "Hootie Frutti" fourth at 27,856,416 views, "Animal" fifth at 24,033,564, "ICONIC BY MISTAKE" ninth at 17,782,729 as a credited collaboration with LE SSERAFIM and ILLIT, "PINKY UP" 64th at 9,114,253, "Debut" 84th at 7,718,998 and "Touch" hundredth at 6,850,610. The group appears on twelve of fifteen national charts, absent only from India, Indonesia and Japan.

"Bloody Paradise" by ENHYPEN is the week's highest new entry, arriving at seventh globally with 21,746,957 views. Its national distribution differs sharply from KATSEYE's. The track reaches fifth in Indonesia at 5,148,474 views and sixth in the Philippines at 2,363,902, against 51st in the United States at 1,251,440 and 45th in the United Kingdom at 199,721. Two acts from the same broad genre category, charting in the same week, produce almost inverted territorial profiles.

Nineteen of the hundred global song entries carry no previous rank. Alongside "Bloody Paradise" they include "Yeh Awarapan" at seventeenth with 15,885,951 views, "Irumudi Kattu" at 24th, "BORN DIRE" by ALPHA DRIVE ONE at 33rd, "Training Season" by Dua Lipa at 35th with 11,601,870 and "Dance Monkey" by Tones And I at 97th.

The sharpest climb belongs to "Пешта" by Xamdam Sobirov, which moved from 92nd to thirteenth with 17,100,297 views in its second charting period, a growth field of 1.49%. "BiiiG" by BIGBANG rose from 78th to 31st.

The artists chart still runs on Indian film catalogue

Alka Yagnik leads the Global Weekly Top Artists chart with 413,386,504 views in her 519th charting period. Arijit Singh follows at 308,853,117, Udit Narayan at 306,161,282, Shreya Ghoshal at 252,509,993 and Kumar Sanu at 227,004,105. All five are Indian playback singers, and their combined weekly total of 1,507,915,001 equals 17.02 percent of the 8,857,115,295 views recorded across the artist top 100.

Both figures fell week over week against the last documented comparison. The top five aggregate declined roughly two percent from 1,537,863,375, and the full chart total fell roughly 2.7 percent from 9,099,088,590.

Shakira ranks sixth at 189,902,078 views, Bad Bunny seventh at 182,729,821, KATSEYE eleventh at 139,679,679, Michael Jackson sixteenth at 117,655,443 and Burna Boy nineteenth at 103,346,768. The largest gain in the top 100 belongs to G.V. Prakash Kumar, up from 83rd to 37th at 77,334,334 views. B Praak fell from 44th to 83rd.

Four artists appear with no previous rank despite long chart histories: Maroon 5 at 92nd in a 547th charting period, Lana Del Rey at 98th in a 300th, Vishal Mishra at 99th and Arcangel at hundredth. The blank previous-rank field therefore records absence from the immediately preceding week rather than a first appearance, a distinction that matters when the same field is read as a debut marker on the songs charts.

Three files, one week, three different answers

The Global Weekly Top Music Videos chart totals 798,482,123 views across its hundred entries, roughly 64 percent of the songs chart total. The "Dai Dai" video leads at 65,554,362, which is 72.7 percent of the track's cross-format global figure and 8.21 percent of the entire video chart.

Chart tenures diverge between the two files for the same recordings. "Dai Dai" shows fifteen periods on the songs chart and fourteen on the videos chart. "Golden" shows 62 and 46. "Sunflower" shows 79 and 73. Several national files, including the United States, the United Kingdom and France, also record "Dai Dai" at fourteen periods rather than fifteen.

Credits differ too. The songs chart lists "KALYANI (Remix)" under Shreya Ghoshal, KDS, FIFTY4 and ARJN; the videos chart lists the same title under ARJN, KDS, FIFTY4 and Shreya Ghoshal. "Yeh Awarapan" is credited on the songs chart to Amaal Mallik, Arijit Singh and Rashmi Virag, and on the videos chart to Sony Music India. The India file records "KALYANI (Remix)" in a 28th charting period against the global file's nineteenth. These are discrepancies within a single week's release from a single publisher, and the source files carry no reconciliation.

The Global Weekly Top Shorts Songs chart is a fifty-row file with no views column at all, so the format's consumption cannot be sized against the other three. "PASSO BEM SOLTO (Slowed)" by ATLXS returned to first from second in its 75th charting period. "Chai Ki Tapri" by Soundverse climbed from thirteenth to second in week two. "KALYANI (Remix)" rose from 28th to eighth, and "Sunflower" from 23rd to eleventh in what the file marks as its second Shorts period despite a 79-week run on the songs chart.

Fragmentation held at 85 percent

Across the fifteen national files, fragmentation held near the prior week's level: 1,500 chart positions are occupied by 1,074 distinct recordings. Of those, 914 appear on exactly one national chart, or 85.1 percent. The comparable count for the week ending August 13 was 1,112 distinct recordings and 958 single-market titles.

Only one recording charts in all but one of the fifteen markets. "Dai Dai" appears in fourteen. "Hootie Frutti" and "Sunflower" each appear in twelve, "Bloody Paradise" in eleven, and "Animal," "ICONIC BY MISTAKE" and "Life Goes On" in ten apiece. Michael Jackson's "Beat It" appears in nine, as does Justin Bieber's "Beauty And A Beat."

Six national number ones are local-language recordings that do not chart globally in the top ten. Brazil is led by "Cuida do Pet" by Oldilla, Mc Iguinho Ct, MC Willian and Aaron Modesto at 8,406,022 views in a twelfth period. India is led by "KALYANI (Remix)" at 29,607,490. Japan is led by "Yes! 東京" by EBiDAN Ebisu Gakuen Boys Club, Chotokkyu, M!LK and GNJB at 4,789,579, a title that also entered the global chart at 71st. Indonesia is led by "Teh Hijau" by Tulus at 10,790,699, up from second. The Philippines is led by "Kalapastangan (Live)" by fitterkarma at 3,460,969 in a nineteenth period. South Africa is led by "Remember" by Tman Xpress, Mellow and Sleazy at 1,352,867, up from second.

Chart totals per market range from 5,688,027 views across the Dutch top 100 to 566,145,138 across the Indian top 100, a spread of roughly a hundredfold between the smallest and largest measured files.

Why this matters for media buyers

YouTube withdrew its streaming data from Billboard chart calculations effective January 16, 2026, following a dispute over how ad-supported consumption is weighted against subscription listening. Since that withdrawal, these weekly files have functioned as the primary public record of what audiences watch on the platform, without an external cross-check.

That status places weight on the counting rules behind the numbers. YouTube began counting a public view from the first frame across all formats on August 24, 2026, three days into this tracking window. The platform has not stated whether the chart pipeline draws on public view counts, on a filtered measure, or on some other input, and the source files carry no methodology note. Any comparison between this week's totals and totals from before August 24 therefore straddles a counting change of unknown effect on the charts themselves. The distinction between public YouTube views, engaged views and billable views has been documented separately, and the categories are routinely conflated in commercial discussion of the platform.

For anyone planning video inventory against music content, the fragmentation figure carries more practical weight than the number one. A campaign built around the global top ten reaches an audience concentrated in a handful of titles that behave very differently by territory: "Bloody Paradise" is a top-six record in Indonesia and the Philippines and a mid-table entry in the United States. A pre-roll placed against a global top-ten title lands in a different audience in Jakarta than in Chicago, and contextual targeting against a global chart position does not describe what is being bought in any specific market.

The Parton pattern points the same way from the opposite direction. A well-known catalogue can generate two dozen simultaneous national chart entries and remain entirely invisible in every global ranking the platform publishes. Adjacency buys keyed to global chart data would have missed it. The Shorts file, which carries no view figures, offers no way to size the short-form component of that surge at all, and short-form audio use is the mechanism that has driven several of the longest chart runs recorded in these files, including the 75-week tenure of "PASSO BEM SOLTO (Slowed)."

The following week's file will show whether the pattern was a three-day spike or the start of a sustained catalogue run.

Timeline

Summary

Who: YouTube, operated by Google under Alphabet, published the weekly chart files. The recordings and performers at the centre of the data include Dolly Parton and Kenny Rogers ("Islands in the Stream"), Shakira and Burna Boy ("Dai Dai"), Shreya Ghoshal, KDS, FIFTY4 and ARJN ("KALYANI (Remix)"), KATSEYE, ENHYPEN ("Bloody Paradise"), HUNTR/X and the KPop Demon Hunters Cast ("Golden"), Post Malone and Swae Lee ("Sunflower"), Xamdam Sobirov ("Пешта"), Indian playback singers Alka Yagnik, Arijit Singh, Udit Narayan, Shreya Ghoshal and Kumar Sanu, ATLXS ("PASSO BEM SOLTO (Slowed)"), Tulus (Indonesia), fitterkarma (Philippines) and Tman Xpress with Mellow and Sleazy (South Africa).

What: Twenty-four Dolly Parton catalogue entries appeared across seven national top 100 charts totalling 14,118,226 measured views, with none reaching any of the four global rankings. "Dai Dai" held global number one for a fifteenth week at 90,122,937 views, down roughly 23 percent from the last documented figure, and led nine of fifteen country charts. Nineteen titles entered the global songs chart with no previous rank, led by ENHYPEN's "Bloody Paradise" at seventh. Indian playback singers held the top five artist positions with 1,507,915,001 combined views. Across the national files, 914 of 1,074 distinct recordings charted in exactly one market.

When: The tracking period ran Friday, August 21 through Thursday, August 27, 2026. Parton died on August 25, two days before the window closed. YouTube's first-frame view counting change took effect on August 24, inside the same window.

Where: Across YouTube and YouTube Music globally, with individual Top Songs charts for the United States, the United Kingdom, Australia, Brazil, India, Japan, Germany, France, Spain, Kenya, South Africa, the Netherlands, Portugal, Indonesia and the Philippines.

Why: Since YouTube withdrew from Billboard chart calculations on January 16, 2026, these files have been the primary public record of music consumption on the platform, with no external cross-check. The Parton data shows a catalogue capable of generating two dozen simultaneous national chart placements while remaining invisible in every global ranking the platform publishes, and the persistence of 85 percent single-market titles across the national files documents a consumption landscape in which a global chart position describes very little about any specific territory.