Shakira and Burna Boy's World Cup anthem held YouTube's global No. 1 for a seventeenth week in the chart period of September 18 to 24, 2026, on 61,242,280 views, a figure 13 percent below the previous week and 48 percent below the song's August peak, according to the weekly Top Songs export published by YouTube. Around it, the fifteen national files tell a stranger story: India's hundredth-ranked track outdrew the No. 1 in nine other countries, the deaths of two singers within a day of each other sent twelve catalogue songs into the Brazilian and Portuguese lists within three days, and a track named after an Australian actress climbed in six markets at once.

In Short

YouTube's weekly music charts for September 18 to 24 show the World Cup song by Shakira and Burna Boy still on top worldwide, even though its weekly audience has roughly halved since August. The more useful lesson is about where the viewing actually happens: India alone produces more chart views than Brazil, Indonesia, the United States and Japan combined, and the deaths of two singers pushed a dozen old songs into the Brazilian and Portuguese top 100s in under three days. If you buy ads on YouTube, these files are a map of where the largest and least predictable audiences will be sitting next week.

A World Cup song that will not go home

The tournament ended in July. The song did not. "Dai Dai," released on May 15 as the official song of the 2026 FIFA World Cup, first reached the top of YouTube's global chart in the week ending May 28 with 44.1 million views, ending a 27-week run by "NO BATIDÃO." It then peaked at 117,818,800 views in the week ending August 6, when it led nine of the fifteen national charts that PPC Land tracks. The song surrendered the top spot to LISA's "SaWaDiKa" for a single week in early September, took it back the following week on 70,651,536 views, and now sits at 61,242,280. That is seventeen weeks at No. 1 out of nineteen weeks on the chart, and a 13.3 percent week-on-week decline.

The geography has narrowed. "Dai Dai" leads seven national charts in the new file: the United Kingdom (1,500,580 views), Germany (1,850,677), France (2,514,214), the Netherlands (468,007), Portugal (494,287), Australia (491,488) and Kenya (676,947). Those are the same seven it led a week earlier. It is second in the United States behind Ella Langley's "Choosin' Texas," third in Spain, fifth in Brazil and eighth in South Africa, the only market where its views actually rose, by 5 percent. It does not appear at all in the top 100 for India, Indonesia, Japan or the Philippines. Four of the six largest national files by total views, in other words, have no room for the most-viewed song on Earth.

Shakira herself had a decent week regardless. "AGUA," her new duet with Maluma, entered the global chart at No. 51 with 11,633,403 views, debuted at No. 7 in Spain and appeared in six national charts. On the global Top Artists list she moved from tenth to eighth on 171,328,520 weekly views, one of only two non-Indian acts in the top ten. Burna Boy, her co-billing on the anthem, sits 56th on 74,126,959 views after 68 weeks on the artist chart.

SaWaDiKa's descent is the fastest in the file

If "Dai Dai" is the guest who will not leave, "SaWaDiKa" is the guest who came for one drink. LISA's single debuted at global No. 1 with 154,951,658 views in the week ending September 10, some 37 million more than "Dai Dai" managed in its own best week, then fell to 32,700,768 and fifth place. The new export puts it fifteenth on 21,842,953 views. That is 33 percent below the prior week and 85.9 percent below the debut, two chart periods after the song arrived.

The decline is uniform. "SaWaDiKa" fell between 18 and 43 percent in every one of the eleven national charts where it still appears, from Spain (down 18 percent) to the Philippines (down 43 percent). In the United States it slipped from eleventh to 33rd. Most telling is the market where it is missing. A week after the debut, India supplied 48,609,434 views, or 31.4 percent of the global total. The song is now absent from India's top 100, whose hundredth entry carries 3,156,107 views. Whatever India was doing with "SaWaDiKa" in early September, it stopped.

India's hundredth song beats nine countries' No. 1

Every one of these weekly files comes with a reminder that YouTube's music audience is not where the advertising conversation usually assumes it is. The Indian top 100 aggregated 754,081,966 views in the tracking period, which is 41.5 percent of the 1,816,764,512 views recorded across all fifteen national files combined. Brazil (223,462,347), Indonesia (194,002,148), the United States (164,427,405) and Japan (129,555,568) add up to 711,447,468. India beats the next four markets put together.

The scale shows up in odd places. India's hundredth-ranked track, "Mal Na Malpua Ha" by Geeta Rani, drew 3,156,107 views. That is more than the No. 1 song in the United Kingdom, Germany, France, Spain, the Netherlands, Portugal, Australia, Kenya or South Africa. India's third-placed song, "Yeshanagula" from the Telugu film "The Paradise," logged 29,721,275 views, more than Germany's entire top 100 (28,644,771) and more than the United Kingdom's (26,187,063). Both German and British No. 1s would rank outside India's top 100 by a wide margin.

The artist chart makes the same point with even less subtlety. The top five acts worldwide are Alka Yagnik (515,806,235 weekly views), Udit Narayan (378,736,729), Arijit Singh (343,552,772), Shreya Ghoshal (324,722,839) and Kumar Sanu (285,075,199). Eight of the top ten are Indian playback singers or composers; the exceptions are Bad Bunny at sixth and Shakira at eighth. Alka Yagnik's weekly total is 19.7 times the sum of the entire British top 100 and 3.1 times the American one, and she has been on the artist chart for 523 weeks, or just over ten years.

On the global Top Songs list, 29 of the 100 entries are Indian or South Asian recordings, and they account for 492,824,729 views, or 33.9 percent of the global top 100's 1,452,409,526. The biggest new arrival anywhere in the files is one of them. Yo Yo Honey Singh's "Casa Tupka Anthemo" debuted at global No. 6 with 29,661,554 views, of which 24,924,053 came from India, where it entered at No. 4. The song also appeared in Australia (No. 69) and the United Kingdom (No. 81). Honey Singh jumped from 69th to 25th on the artist chart, a 53 percent rise to 104,894,200 views.

A quieter movement on the same list carries more weight. Zubeen Garg, the Assamese singer who died in Singapore on September 19, 2025 at the age of 52, according to Wikipedia, moved from 88th to 37th among artists on 90,489,195 views, up 51 percent, in the week that contained the first anniversary of his death. Three of his songs re-entered India's top 100: "Ya Ali" at No. 60 with 4,541,013 views, "Mayabini" at No. 70 and "DIL TU HI BATAA" at No. 95. Fans gathered in Sonapur to mark the anniversary, according to The Hawk. The chart recorded it.

Three days that rewrote two Portuguese-language charts

The week's most abrupt changes were not about new music at all. On Monday, September 21, a helicopter carrying the sertanejo singer Rick, one half of the Brazilian duo Rick & Renner, disappeared on a flight from Porto Belo to São Joaquim in the state of Santa Catarina, according to Agência Brasil. His body was found with the wreckage the following day; he was 59, according to Billboard Brasil. The tracking window closed on Thursday, so the Brazilian file captured at most three days of what followed.

Three days were enough. Six Rick & Renner recordings entered Brazil's top 100 in the same week, every one of them a debut: "Sem Direção" at No. 14 with 3,358,194 views, "Filha" at No. 26 with 2,691,652, "Ela é Demais" at No. 41, "Só Pensando Em Você" at No. 53, "Nos Bares da Cidade" at No. 70 and "Ao lado de Deus" at No. 81. Together they drew 12,500,882 views, more than the Brazilian No. 1, "Cuida do Pet," managed on its own (8,434,619). "Filha" also crossed the Atlantic and debuted at No. 80 in Portugal.

Portugal had its own loss the same day. Jorge Palma, one of the country's most celebrated singer-songwriters, died of cardiac arrest on September 21 at the age of 76, according to Wikipedia and Funchal Notícias. Six of his songs debuted in the Portuguese top 100 at once, led by "Encosta-te a mim" at No. 5 (192,085 views) and "A Gente Vai Continuar" at No. 6 (190,238), with "Estrela Do Mar," "Deixa Me Rir," "Passeio dos prodígios" and a live recording of "Frágil" further down. Their combined 593,222 views exceed the 494,287 that "Dai Dai" needed to lead the Portuguese chart. In a market whose entire top 100 sums to 8,175,145 views, a catalogue that had not charted at all a week earlier became roughly 7 percent of everything.

Twice already this summer PPC Land has watched a death push a back catalogue into these files, and the pattern holds. Oliver Tree died on June 14, and his 2021 single "Life Goes On" reached global No. 3 in the week that followed; it is still 38th on 13,425,894 views in its 28th charting period. Dolly Parton died on August 25, and her catalogue took 24 chart positions across seven national files in the three days before the window closed. Five weeks on, the surge is nearly spent: "9 to 5" sits at No. 51 in the United States and No. 19 in the United Kingdom, and "Jolene" holds exactly No. 100 in the American file, down 19 percent, one week from disappearing. The lesson for anyone modelling YouTube audiences is uncomfortable. The largest single-week swings in these charts are not scheduled, not promoted and not for sale.

KATSEYE is everywhere; Blok3 is wherever the diaspora is

No song reached more national charts than KATSEYE's "Hootie Frutti," which appears in twelve of the fifteen files, peaking at No. 2 in the Netherlands and No. 3 in the United Kingdom, and sits ninth globally on 26,099,868 views. The group's "Animal" is in eleven charts, "ICONIC BY MISTAKE" with LE SSERAFIM and ILLIT in ten, and "Debut" in seven. KATSEYE has five entries in the American top 100 and six each in Brazil and Germany. Its four global entries total 70,121,621 views, and the group ranks fifteenth on the artist chart with 135,372,627 after 69 weeks, which puts a group that debuted in 2024 within touching distance of Michael Jackson (eighteenth, 118,908,637). The other long-distance runner in the same orbit is "Golden" from Netflix's KPop Demon Hunters, seventh globally on 29,270,946 views in its 66th charting period and still inside the top ten in six national files, including No. 2 in the United Kingdom, No. 3 in Australia and No. 5 in the United States.

ROSÉ's "new trick" did the breadth trick in a single week. It debuted in eleven national charts and at global No. 10 on 25,560,156 views, with its best placing in Australia (No. 4), followed by the United Kingdom (No. 8), the Netherlands (No. 16), France (No. 19) and Germany (No. 20). Miley Cyrus's "Let's Get Married" entered six charts, reaching No. 7 in the United Kingdom, No. 10 in Australia and No. 22 in the United States, and scraped onto the global list at No. 91.

The German file is the week's best argument that national charts measure populations rather than nations. Ten of its 100 entries are Turkish-language recordings, six of them by the rapper Blok3: "Sebebi Yar (Live)" at No. 3 (828,118 views), "Kayıp Kalp" at No. 6, "Çok Güzel Gülüyorsun" at No. 11, "Kırgınım" at No. 14, "KUSURA BAKMA" at No. 32 and "Değiştiremezsin Yazılmışsa" at No. 59. The same artist holds six positions in the Dutch top 100, where Turkish-language tracks number nine, and he is 30th on the global artist chart with 99,960,165 views. Germany's list also carries Arabic-language entries from TUL8TE and Assala, Russian ones from SABI and MIA BOYKA, a Ukrainian track by Kolibri and Zlata Ko, Albanian pop from Enca and Don Xhoni, and a debut from the Balkan band Magla Bend. The German-language news of the week was Sido's "WOKE," which entered at No. 2 with 1,128,481 views, and Kontra K's "Adrenalin 2.0" at No. 8.

Australia tells the same story with a different accent. Ten of its 100 entries are South Asian recordings, from Sidhu Moose Wala's posthumous "Ghostface Killah" at No. 16 to Anuv Jain's "Arz Kiya Hai" at No. 100, with "Parvati" and "KALYANI (Remix)" at 29th and 30th. The British file has "KALYANI (Remix)" at No. 34 and "Casa Tupka Anthemo" at No. 81. Anyone planning an Australian music audience from the top of the chart alone would miss a tenth of it.

Australia's jukebox, Japan's fortress and the Philippines' fresh start

Chart tenure, the number of weekly periods a track has spent in a given list, varies so much between markets that the same column means different things in different files. Australia's median entry has been on the chart for 24.5 weeks, and 57 percent of its top 100 has been there for twenty weeks or more. Twenty-seven tracks re-entered the Australian list this week alone, among them "Save Your Tears" by The Weeknd (67 weeks of tenure), "Believer" by Imagine Dragons (57), "Flowers" by Miley Cyrus (61), "Shake It Off" by Taylor Swift (62), "Thunderstruck" by AC/DC (44), "Come As You Are" by Nirvana (22) and "Nothing's Gonna Stop Us Now" by Starship (34). The Australian top 100 is less a chart than a jukebox in a pub, and it draws only 13,621,033 views in total.

Japan is the opposite: a fortress. Eighty-nine of its 100 entries are by Japanese acts; the eleven exceptions are Korean pop titles and Céline Dion's "My Heart Will Go On." "Dai Dai" is nowhere. The boy band M!LK holds ten positions, including No. 1 with 6,686,147 views, and Kenshi Yonezu holds thirteen, nine of them re-entries of catalogue titles such as "Lemon" (63 weeks of tenure), "KICK BACK" (60) and "Kanden" (62). The files never say why a catalogue re-enters, and this one is no exception. Japan was also the week's most buoyant market: 57 percent of its returning entries gained views, and the average change across the chart was plus 10.6 percent, against minus 7 percent for the global list, where 58 of 79 returning tracks fell.

The Philippines file has no entry older than 23 weeks, while every other national file contains at least one track past 50. Its median tenure is 6.5 weeks. The chart is led by Katy Perry's "The One That Got Away," a track from her 2010 album, on 3,902,205 views, and its lower reaches this week filled with Air Supply, Atlantic Starr, Dan Hill, Bread, Kenny Rogers and Cheap Trick, a lineup that suggests the country's karaoke machines feed straight into YouTube's servers. Indonesia, meanwhile, produced the largest No. 1 outside India: Tulus's "Teh Hijau" on 14,048,979 views, more than double the American No. 1.

The week's movers: a calendar, an actress and a Viking

Some climbs need no explanation. Earth, Wind & Fire's "September" rose from 65th to eleventh in the United States, up 124 percent to 2,596,118 views, and re-entered the British and Dutch charts, in a tracking window that contained the night the song's opening line asks about. It happens every year. It is still funny.

Others are harder to account for. ADÉLA's "Nicole Kidman" gained between 39 and 57 percent in six markets in the same week, climbing from 40th to sixteenth in the United States, 42nd to 24th in the United Kingdom, 60th to 27th in the Netherlands and, in Australia of all places, 27th to fourteenth. It also debuted on the global chart at No. 66 with 9,430,941 views. "VALHALLA CALLING" by Ragal Ironbull, a track that has been sitting in the German top 100 for 24 weeks, finally made the American chart (No. 70, 1,110,112 views) and the global one (No. 89) in the same week, while rising 17 to 45 percent in Britain, Portugal, France, the Netherlands and Australia. A song called "VALHALLA CALLING" with a 24-week fuse is the kind of thing only YouTube produces.

"Joseph" by Falling In Reverse with Corey Taylor and Serj Tankian, in its second week, appears in nine national charts, rose in five of them and reached No. 10 in the United States. Morgan Wallen's "Last Thing You Need (from GTAVI: The Album)" debuted at No. 29 in the American file, a video game soundtrack arriving as a country single. The largest single gain in any file belonged to Kenya, where "Blow" by Sparker Domani Mkadinali went from 39th to seventh on a 181 percent rise. Japan supplied the next two: "INMU KING" by YAJU-MC, up 145 percent to No. 7, and a rabbit rap performed by anime voice actors, up 135 percent to No. 14.

The steepest fall of the week was French. Mylène Farmer's "Des lols et des quoi" went from eighth to 88th in its second chart period, down 74 percent. Germany's rap releases from the previous week fared little better: "Count your blessings" by Sa4 and Gzuz dropped from eighth to 62nd (down 65 percent) and "Fata Morgana" by Nina Chuba and Tokio Hotel from 22nd to 96th (down 63 percent). A German-language single, on this evidence, has about one week to make its case.

The Shorts chart is a different universe

The weekly Shorts list ranks songs by the number of Shorts created with them rather than by views, and it barely overlaps with anything above. Thirty-six of its fifty entries do not appear in any of the sixteen Top Songs files. Nine of the fifty carry "Slowed" or "Super Slowed" or "Ultra Slowed" in the title. The list is led once again by "PASSO BEM SOLTO (Slowed)" by ATLXS, which held first place for its 72nd consecutive week in early August, lost the top spot to "Wrap Me In Plastic" by CHROMANCE and Marcus Layton last week, and reclaimed it in its 79th charting period. "Wrap Me In Plastic" fell to sixth.

Only a handful of tracks live in both worlds. "KALYANI (Remix)" is third on Shorts and third on the global song chart; "Parvati" is ninth and second. "Dai Dai," the most-viewed song in the world, is 37th on Shorts, down from 28th. A song that people watch and a song that people make things with are, on YouTube, two separate products.

The official video is not the song

The Top Videos file makes it possible to see how much of a song's audience comes from its own upload. The Top Songslist on YouTube Charts combines views of every official version of a recording, including lyric videos and user-made videos that use the official song, while the videos list counts a single upload. Yo Yo Honey Singh's official video drew 28,225,119 views, or 95 percent of the song's global total. Xamdam Sobirov's "Peshta" ran at 93 percent and "Basinga Balaalu" at 91 percent. "Dai Dai" sat at 73 percent, with 44,557,722 of its 61,242,280 views on the official upload.

At the other end, "BbY WOW" by KAROL G, Judeline and rusowsky gets only 35 percent of its 38,052,215 views from the visualizer that represents it on the videos chart. "KALYANI (Remix)" runs at 43 percent, "Hootie Frutti" at 41 percent and "Golden" at 50 percent. The whole Top Videos list sums to 847,827,373 views, against 1,452,409,526 for the Top Songs list. For a media buyer, the gap is the difference between the inventory on a single premium channel and the inventory scattered across thousands of uploads that happen to use the same audio.

The same file is a small lesson in brand suitability. The eighth-placed song in Spain and 54th in the world carries a title that YouTube's own videos chart renders with an asterisk, and the Spanish top 100 also includes an entry titled "P0RN0" at No. 90. A placement bought against "music" on YouTube is a placement bought against all of it.

Why the numbers matter beyond the leaderboard

YouTube's advertising revenue reached $11.055 billion in the second quarter of 2026, up 13 percent year on year, and music remains one of the largest single categories of inventory on the platform. Since YouTube withdrew its data from Billboard's charts on January 16, 2026, these weekly exports have been the only public ranking of what the platform's music audience actually watches.

Two caveats attach to the week-on-week figures. YouTube began counting a view from the first frame across every format on August 24, and while the company did not say whether chart tallies use the new standard, both of the weeks compared here fall after the change, so the comparison is at least internally consistent. The export's Growth column is a separate problem. It shows "-0.13%" against "Dai Dai" in a week when the raw view counts fell 13.3 percent, and "1.24%" against "September" in the United States when the views rose 124 percent. This article reads the column as a fraction and reports the percentages that the view counts themselves support.

Read that way, the week's picture is one of broad decline with violent exceptions. Fifty-eight of the 79 returning entries on the global chart, or 73 percent, lost views. India, the largest market, saw only 16 percent of its returning tracks grow. South Africa (81 percent rising) and Japan (57 percent) were the outliers. Against that backdrop, the events that moved the most attention in the shortest time were a helicopter crash in Santa Catarina, a death in Portugal, an anniversary in Assam and a calendar date in a disco song from 1978. None of them appears in a media plan, and all of them appear in the files. That, more than any single No. 1, is what these charts are for.

Timeline

Summary

Who: Shakira and Burna Boy, LISA, KATSEYE, ROSÉ, Yo Yo Honey Singh, Zubeen Garg, Rick & Renner, Jorge Palma, Blok3, Alka Yagnik and the other artists ranked in YouTube's weekly charts; the media buyers and publishers who plan against YouTube's music inventory.

What: YouTube's weekly Top Songs, Top Artists, Top Videos and Top Shorts Songs exports for fifteen national markets and the global chart. "Dai Dai" held global No. 1 for a seventeenth week on 61,242,280 views, down 13 percent week on week and 48 percent from its August peak; "SaWaDiKa" fell to fifteenth, 86 percent below its debut; India's top 100 supplied 41.5 percent of all national views, and its hundredth-ranked song outdrew nine national No. 1s; the deaths of Rick and Jorge Palma put twelve catalogue songs into the Brazilian and Portuguese charts within three days.

When: The tracking window of September 18 to 24, 2026, with comparisons to the weeks ending September 17 and September 10 and to the August 6 peak.

Where: The global chart plus Australia, Brazil, France, Germany, India, Indonesia, Japan, Kenya, the Netherlands, the Philippines, Portugal, South Africa, Spain, the United Kingdom and the United States.

Why: YouTube's advertising revenue reached $11.055 billion in the second quarter of 2026, its charts are now the only public ranking of its music audience following the January split from Billboard, and the files show where attention concentrates (India), how fast it decays (LISA), and how unpredictably it spikes (three catalogue surges tied to deaths and an anniversary), none of which a media plan can schedule.