YouTube's weekly music charts for mid-March 2026 show NO BATIDÃO at global #1 for a 21st week, with sharp regional splits across 15 territories and a Shorts chart that explains everything.
YouTube published its weekly music chart data covering a tracking period in mid-March 2026, and the headline figure is blunt: "NO BATIDÃO" by ZXKAI and slxughter has now spent 21 consecutive weeks at number one on the Global Weekly Top Songs chart, accumulating 36,915,147 views during the most recent seven-day window. That is not a misprint. Twenty-one weeks. Across 15 territories, every other chart story this week is subordinate to understanding how a Brazilian phonk track produced by two relatively unknown artists became the most durable chart-topper YouTube has measured in recent memory.
The Global Weekly Top Shorts Songs chart explains the mechanism. "NO BATIDÃO" holds the number one position there as well, for a 20th consecutive week. The Shorts chart does not measure how many people watched a music video. It measures how many creators used a track as the audio layer in their own videos — a fundamentally different signal. When a song tops the Shorts chart, it means millions of video creators worldwide selected it above every other option. That persistent creator adoption feeds back into the main songs chart, generating views on the original track each time a Short is played. The two charts are not parallel stories. They are the same story measured twice.
The second position belongs to "Golden" by the KPop Demon Hunters Cast with 33,355,478 views in its 39th week — a track driven by the Netflix animated film of the same name. The film's impact on YouTube charts has been documented since late 2025, when "Golden" was accumulating over 72 million views per week during the holiday peak. Its current volume is less than half that peak figure, yet it still holds the second global position. Week 39 with 33 million views is a different kind of durability than "NO BATIDÃO"'s Shorts-driven model — it reflects catalog depth across a franchise's multiple tracks appearing simultaneously across territories.
Third globally is "Shararat" by Shashwat Sachdev, Madhubanti Bagchi and Jasmine Sandlas with 29,974,576 views in week 14. The track leads India's domestic chart this week and simultaneously tops the Global Weekly Top Music Videos chart with 24,350,128 views. That split — top of both the songs chart and the video chart in the same week — is uncommon and reflects a different consumption mode than "NO BATIDÃO," which does not appear in the top 10 music videos at all. "Shararat" is watched; "NO BATIDÃO" is used.
The Shorts chart contains data points that have no real equivalent in traditional music tracking. "PASSO BEM SOLTO (Slowed)" by ATLXS is now in its 52nd week — essentially a full year of continuous creator usage. "Friendships (feat. Leony)" by Pascal Letoublon is in its 69th week. These longevity figures describe something different from a hit song: they describe audio infrastructure. Creators reached for these tracks not because they were new but because they worked technically — tempo, tone, loop structure — for vertical video. PPC Land's analysis of the March 6–12 Shorts chart data noted that "the relationship is no longer incidental" between Shorts dominance and main chart position.
The Global Weekly Top Artists chart is dominated by Bollywood playback singers whose catalogs span multiple decades. Alka Yagnik leads with 403 million views across her catalog in her 496th week — a figure that dwarfs the per-track view counts in the songs chart precisely because catalog volume is the driver. Arijit Singh appears at third with 283 million views in his 526th week, while also co-writing "Gehra Hua" which sits at eighth in the global songs chart. Bad Bunny holds fourth with 234.8 million views, the only non-Indian artist in the top six. The artist chart measures breadth of catalog consumption; the songs chart measures depth of individual track adoption. They describe the same platform through different lenses.
The US chart placed "Golden" by the KPop Demon Hunters Cast at number one with 4,343,168 views in its 39th week, climbing one position from the previous week.
The US market reveals a concentration of KPop Demon Hunters Cast tracks. "Golden" at first, "Soda Pop" at sixth, and "Your Idol" at 18th all originate from the same Netflix production. "NO BATIDÃO" reached the US top 10 at position 10 with 2.4 million views — present, but not dominant. Fuerza Regida's "Marlboro Rojo" held fifth in its 45th week, demonstrating the sustained Mexican regional market presence that YouTube's independent charts have tracked since separating from Billboard in January 2026.
"Ordinary" by Alex Warren holds the UK number one with 1,076,583 views in its 58th week — a track that has been in the UK chart for over a year and sits atop a market that also has "Lush Life" by Zara Larsson at a close second with 1,069,121 views. "Raindance" by Dave and Tems holds third with 967,855 views in week 21, a domestically produced track that also crosses into South Africa, Portugal, France, the Netherlands, and Kenya this week. "NO BATIDÃO" sits at 11th with 473,790 views, just outside the top 10 but present in the market for 19 weeks.
Brazil's chart reflects an almost entirely domestic consumption pattern. The top 10 is entirely composed of Brazilian phonk, funk, and forró, with no crossover from the global or European charts.
"JETSKI" by PEDRO SAMPAIO, MC MENO K and Melody leads at 9.7 million views. The scale of Brazilian consumption is worth noting in absolute terms: the tenth-place track in Brazil generated 4.3 million views, which exceeds the first-place track in the Netherlands. Brazil's scale relative to the European markets is substantial. "P do Pecado (Ao Vivo)" held sixth in its 46th week, demonstrating the sustained catalog performance that Brazilian funk tracks can achieve through live performance versions.
India's top 10 is entirely domestic, dominated by Bollywood and regional Indian music.
India's number one, "Shararat," generated 25.9 million views alone — a figure that puts the entire UK top 10 combined in perspective. "Dhurandhar The Revenge - Aari Aari" entered at ninth in only its second week, climbing 84 positions. That debut velocity, combined with its simultaneous entry at third on the Global Music Videos chart with 12.9 million views, suggests a Bollywood soundtrack release with significant cross-format pickup. Shashwat Sachdev appears across four of India's top 10 entries this week, illustrating catalog concentration.
Japan's chart remains structurally isolated from global trends, with domestic acts occupying the top positions.
M!LK occupies the top two positions this week, with "好きすぎて滅！" reaching first in week 21 with 6.9 million views. ARASHI's "Five" dropped three positions to fourth after debuting at first three weeks prior — a pattern consistent with domestic Japanese releases that generate strong initial views and then decline as catalog behavior takes over. "3月9日" by Remioromen holds seventh in its 55th week; the track originates from the early 2000s, and its continued chart presence illustrates the catalog resurgence phenomenon that YouTube's architecture facilitates through discovery mechanismsdistinct from streaming services. "NO BATIDÃO" sits at position 34 with 1,005,823 views — present in Japan in its 14th week, which is more cross-territory penetration than most non-English tracks achieve.
Germany is one of "NO BATIDÃO"'s strongest European territories, where it holds the number one position for 21 consecutive weeks with 997,721 views — just under one million. "Leni Woess" with "Aura (feat. Toby Woess)" climbed 69 positions to ninth in only its second week, a debut trajectory worth tracking. "Wackelkontakt" by Oimara holds tenth in its 60th week, a persistence figure that rivals the track longevity observed in the Shorts chart. Domestic German-language content holds positions 4, 7, 9, and 10, indicating a market where local production competes meaningfully with international crossover.
France's number one, "PARISIENNE" by GIMS & La Mano 1.9, has held that position for 33 weeks with 1.57 million views. GIMS occupies three of France's top 10 slots this week — positions 1, 3, and 16 — a domestic dominance that structurally limits the room for international crossover content. "NO BATIDÃO" climbed one position to fourth with just over one million views. "Melrose Place" by KeBlack is in its 50th week at seventh, another data point in the catalog longevity pattern that recurs across markets this week.
Spain's chart is led by Latin content from across the Spanish-speaking world. "Dardos" by Romeo Santos and Prince Royce holds the number one position in its 16th week. "La Morocha" by Luck Ra and BM sits at third in its 71st week — the second-longest single-track chart run visible across any territory this week. "NO BATIDÃO" reaches Spain at position 15 with 457,093 views, present in its 19th week. Spain's top 10 contains no English-language tracks this week, with "Golden" at eighth the only non-Latin entry.
Portugal's chart reveals the linguistic corridor between Brazil and the Iberian Peninsula. Brazilian funk dominates the top three positions, led by "JETSKI" at 442,561 views. Calema holds three separate top-10 entries — positions 6, 8, and 10 — across "Respirar," "Leva Tudo," and "Amar Pela Metade." "Amar Pela Metade" has been on the Portuguese chart for 69 weeks, ranking it among the most persistent single-track chart runs measured across any territory. "NO BATIDÃO" sits at ninth.
The Netherlands presents a particularly dense international chart: Zara Larsson (Swedish), "NO BATIDÃO" (Brazilian), the KPop Demon Hunters Cast (global franchise), a Dutch-language debut at fourth, Alex Warren (American), Dave and Tems (British/Nigerian), Taylor Swift (American), PinkPantheress (British), and Bruno Mars (American) across the top 10. The debut, "Halverwege" by Suzan & Freek, entered directly at fourth with 165,427 views — the only domestic Dutch-language track in the top 10 this week.
Australia's chart contains two notable data points. "Dealer" by Diljit Dosanjh, Da Future and Virk Andaaz climbed 38 positions to fourth in its second week — a new entry gaining rapid traction. More striking is "Lose Control (Live)" by Teddy Swims at eighth in its 124th week. One hundred and twenty-four consecutive weeks is, by any measure, an extraordinary chart lifespan for a single track. The live version's sustained performance suggests audience behavior that goes beyond initial discovery and into habitual re-consumption. "NO BATIDÃO" sits at 12th with 197,530 views, just outside Australia's top 10 in week 19.
Indonesia's chart is almost entirely domestic, with "Bahagia Lagi" by Piche Kota leading at nearly 7 million views. The exception is Bruno Mars, whose "Risk It All" climbed to sixth with 4.9 million views in its third week — consistent with the track's early-stage cross-territory momentum visible in Australia, the US, and globally. "TABOLA BALE" by SILET OPEN UP and collaborators holds third in its 44th week. "NO BATIDÃO" appears at 18th with 1,953,011 views in week 11.
Kenya's chart is led by Swahili and East African music, with "Pawa" by Mbosso at the top after 40 weeks with 538,031 views. The chart shows consistent presence of Tanzanian artists — Mbosso, Zuchu (with Diamond Platnumz), Marioo — alongside Kenyan acts, reflecting a shared consumption space across the East African region. "Yebo (Nitawale)" by Vestine and Dorcas holds fourth in its 47th week. "TETE" by Marioo holds tenth in its 49th week. The debut this week is "Talk To Me Nuh" by Shenseea, Vybz Kartel and Rvssian at seventh — one of the few Jamaican dancehall entries visible in the African territory charts this cycle. "NO BATIDÃO" does not appear in Kenya's top 10 this week.
South Africa's chart is dominated by Amapiano and South African house. "Botshelo Ke Eng" climbed to first in week 5 with 1.57 million views, overtaking "Umaqondana" by Feza. "Raindance" by Dave and Tems holds sixth with 973,993 views — the track's most prominent position across all 15 territories this week. "Shela (feat. Mano)" by Sam Deep, Nia Pearl and Boohle holds fourth in its 30th week, while "Amanxeba" in eighth is in its 34th week. "NO BATIDÃO" does not appear in South Africa's top 10.
Several structural facts emerge from reading all 15 territories simultaneously rather than in isolation.
First, the gap between Shorts adoption and main chart performance is measurable and consequential. "NO BATIDÃO" holds the Shorts chart number one for week 20 and the main global songs chart number one for week 21. The one-week lag is consistent with the mechanism: Shorts creator adoption precedes and sustains main chart position. Tracks without Shorts presence — however strong their initial video views — tend to show steeper decline curves. YouTube's home feed changes in late 2025, which reduced long-form video recommendations by up to 80% in favor of Shorts, reinforce how central the short-form format has become to content discovery on the platform.
Second, the market segmentation is more severe than aggregate global figures suggest. Brazil's 10th-place track generates more views than the Netherlands' first-place track. India's number one generates more weekly views than the entire UK top 10 combined. A track can hold a global top-10 position driven primarily by Indian or Brazilian volume while being completely absent from the European charts. Conversely, "Raindance" by Dave and Tems appears across six separate territory charts this week — the UK, South Africa, Kenya, Portugal, France, and the Netherlands — without approaching number one in any of them. Cross-territory presence and chart leadership are different things.
Third, catalog longevity on YouTube has no close equivalent in traditional chart systems. "Lose Control (Live)" by Teddy Swims is in its 124th week in Australia. "TETE" by Marioo is in its 49th week in Kenya. "Pal Pal" by Afusic and AliSoomroMusic is in its 50th week globally. YouTube's separation from Billboard's methodology in January 2026 was partly driven by disagreement over how ad-supported consumption should be weighted — and these long-tail catalog figures are exactly the type of consumption that ad-supported platforms generate abundantly. Billboard's subscription-weighting would have discounted much of this activity. YouTube's independent charts measure it directly.
YouTube Shorts achieving revenue parity with long-form content in the US during Q3 2025 means the chart data this week is not merely a cultural snapshot. It maps the territories and formats where advertising inventory is being created and consumed at scale.
Who: YouTube published weekly music chart data for a mid-March 2026 tracking period, covering Global Weekly Top Songs, Global Weekly Top Music Videos, Global Weekly Top Shorts Songs, Global Weekly Top Artists, and territory-specific Top Songs charts for the United States, United Kingdom, Brazil, India, Japan, Germany, France, Spain, Portugal, Netherlands, Australia, Indonesia, Kenya, and South Africa. Primary chart subjects include ZXKAI and slxughter ("NO BATIDÃO"), the KPop Demon Hunters Cast ("Golden"), Shashwat Sachdev ("Shararat"), ATLXS ("PASSO BEM SOLTO (Slowed)"), M!LK (Japan), GIMS (France), PEDRO SAMPAIO (Brazil and Portugal), Mbosso (Kenya), and Trechyson Molly vx (South Africa).
What: "NO BATIDÃO" by ZXKAI and slxughter extended its run at the top of YouTube's Global Weekly Top Songs chart to 21 consecutive weeks, accumulating 36,915,147 views in the most recent seven-day period. The same track held the number one position on the Global Weekly Top Shorts Songs chart for its 20th week. Across 15 territories, the charts documented significant market fragmentation, catalog longevity patterns, and the structural relationship between Shorts creator adoption and main chart performance. "Shararat" led both India's domestic chart and the Global Weekly Top Music Videos chart simultaneously. Bruno Mars' "Risk It All" appeared in multiple territories in only its third week.
When: The data covers a weekly tracking period in mid-March 2026. The chart period follows the reclamation of the global number one by "NO BATIDÃO" in the March 6–12 tracking period and represents week 21 of the track's global run at number one.
Where: YouTube published data across 15 territories: Global, United States, United Kingdom, Brazil, India, Japan, Germany, France, Spain, Portugal, Netherlands, Australia, Indonesia, Kenya, and South Africa. The charts cover consumption across YouTube's main platform, YouTube Music, and YouTube Shorts. The publication context is PPC Land (https://ppc.land), a digital advertising and marketing publication that has tracked YouTube's weekly chart data throughout this period.
Why: The charts matter for the marketing community because they document the platform's consumption architecture at the territory level — where advertising inventory is created, which formats drive discovery, and how long tracks sustain chart presence. The Shorts chart data in particular establishes which audio is actively being used by creators across the platform, directly relevant to brands and agencies running audio-adjacent campaigns or considering Shorts as an ad placement environment. The sustained divergence between YouTube's independent chart methodology and Billboard's subscription-weighted model, in effect since January 16, 2026, makes these charts the primary public data source for understanding YouTube-specific consumption at scale.