YouTube published weekly music chart data for the seven-day period ending July 16, 2026, and the figures show "Dai Dai" by Shakira and Burna Boy reaching its highest weekly view total to date, 92,669,391, in its ninth consecutive week at the top of the Global Weekly Top Songs chart. The number marks an increase of roughly 18 percent over the 78,307,586 views recorded in the period ending July 2, 2026, reversing two earlier weeks of decline and setting a new ceiling for the track's run.

The data covers the Global Weekly Top Songs, Global Weekly Top Music Videos, Global Weekly Top Artists, and Global Weekly Top Shorts Songs charts, alongside individual Top Songs charts for 14 territories: the United States, the United Kingdom, Australia, Brazil, India, Japan, Germany, France, Spain, Kenya, South Africa, the Netherlands, Portugal, and Indonesia. Consumption is measured across the main YouTube service and YouTube Music.

Three patterns define the week. The FIFA World Cup 2026 anthem extended its global lead and reclaimed momentum after softening in late June. A cohort of Indian playback singers continued to occupy the entire top of the artist ranking, drawing view volumes with no equivalent in any Western market. And a wave of catalog recordings, some more than four decades old, climbed sharply into the upper reaches of the global songs chart.

A ninth week and a new peak

"Dai Dai" debuted at global number one on the chart for the period ending May 28, 2026, with 44,129,627 views, climbing from position 66 in a single week and displacing "NO BATIDÃO" by ZXKAI and slxughter after that Brazilian phonk track's extended stay near the summit. The song was released on May 15, 2026, through Ace Entertainment and Sony Music Latin, with a music video uploaded on May 23 that features footballers including Lionel Messi, Kylian Mbappé, Vinícius Júnior, Harry Kane, and Luis Díaz.

The trajectory since then has not been linear. The track reached 73,770,487 views in the period ending June 18, 2026, slipped to 68,569,178 in the week ending June 25, then rebounded to 78,307,586 for the period ending July 2. The figure for the week ending July 16 exceeds all of these. At 92,669,391 views, the track sits nearly three times ahead of the second-placed song, "Life Goes On" by Oliver Tree, which recorded 34,131,030 views in its 18th week.

The renewed climb coincides with the ongoing FIFA World Cup 2026, which opened on June 11 across the United States, Canada, and Mexico. Tournament anthems tend to accumulate views in waves tied to the competition calendar rather than the smooth decay curve typical of a standard single, and the July figure is consistent with that pattern. The song's growth rate in the source data reads as effectively flat week-on-week at the measurement point, at -0.02 percent, indicating the surge occurred across the tracking period rather than in a single spike at its close.

Territory-level data shows how broad the reach has become. "Dai Dai" held number one in eight of the 14 country charts measured: the United States, the United Kingdom, Germany, France, Australia, Spain, the Netherlands, and Portugal. In the United States it recorded 5,850,028 views, overtaking Ella Langley's "Choosin' Texas," a country track that had held a top-two American position for most of 2026. The song claimed number one in France and Germany for the first time in the period ending July 2, unseating "Pilé" by Mauvais Djo and "GUT GENUG" by KITSCHKRIEG respectively, and it retained both markets in the week ending July 16.

Where the anthem does not lead

The song's absence from the top spot in six territories is as informative as its dominance elsewhere. In Brazil, "Dai Dai" placed fourth with 6,509,611 views, behind "Peão Todo Tatuado" by Jeninho and Mariana Fagundes and two further domestic tracks. Brazilian audiences have consistently favored local sertanejo and funk over global viral hits across the chart's history, and the pattern held again.

Japan sat entirely apart. The territory's number one was "Hot Limit" by T.M. Revolution, a track first released in 1998, which recorded 11,196,554 views in its 24th week on the Japanese chart. That same recording entered the Global Weekly Top Songs chart at number 32 with 12,893,289 views, a rare instance of a domestic Japanese catalog title surfacing on the worldwide ranking. "Dai Dai" appeared far down the Japanese chart, a reminder that the market's consumption remains largely self-contained.

India, Indonesia, Kenya, and South Africa each returned a local or regional recording at number one. India's top track was "Shararat" by Shashwat Sachdev, Madhubanti Bagchi, and Jasmine Sandlas, with 19,105,418 views. Indonesia led with "Sesi Potret" by Ari Lesmana and eńau. Kenya's chart was topped by "Ozalima" by the Tanzanian artist Mbosso, illustrating the cross-border flow of East African bongo flava into Kenyan viewership. South Africa led with "Sengithole Omunye" by Feza.

Indian playback singers and the scale of regional consumption

The Global Weekly Top Artists chart continued a pattern that recurs across this data series. The top four positions were held by Indian playback singers: Alka Yagnik with 417,795,416 views, Udit Narayan with 315,588,379, Arijit Singh with 306,575,801, and Shreya Ghoshal with 234,786,949. Together the four accumulated more than 1.27 billion views during a single week.

The figures dwarf those of the highest-ranked Western artists on the same chart. Shakira placed sixth with 205,416,228 views, holding her position from the prior week, while Michael Jackson sat eighth with 159,402,534. Burna Boy, whose profile outside Africa has been lifted substantially by the World Cup anthem, ranked 18th with 106,434,581 views across just 58 weeks on the chart, a comparatively short tenure against the 543-week presence recorded for several of the artists above him.

The distinction matters for anyone assessing YouTube reach by market. Alka Yagnik, Udit Narayan, and their peers accumulate these totals through deep back catalogs of film music streamed continuously across a vast domestic audience, rather than through a single current release. The consumption environment for Indian YouTube audiences operates at a volume that has no direct parallel in Western media measurement frameworks, a point that recurs in PPC Land's coverage of earlier weeks in the series.

Catalog recordings surge into the global top 20

One of the more striking features of the week was the resurgence of older recordings. "Total Eclipse of the Heart" by Bonnie Tyler, first released in 1983, climbed 28 positions to number 12 with 16,815,718 views in only its third week on the global chart. "Wonderwall" by Oasis, from 1995, rose 44 places to number 20 with 14,901,881 views in its second week, the largest single-week climb in the top 100.

Michael Jackson maintained six separate titles in the global top 100. "Billie Jean" ranked seventh with 20,328,672 views in its 37th week, followed by "Beat It" at 13th, "Smooth Criminal" at 44th, "Thriller" at 63rd, "Chicago" at 88th, and "Bad" at 90th. The Jackson catalog has held a sustained presence on the chart since a synchronized surge in late April 2026, and the pattern persisted through the July measurement.

Several other decades-old tracks appeared as recent re-entries or new entries. "Zombie" by The Cranberries, from 1994, sat at number 79. "Forever Young" by Alphaville, from 1984, held number 92. "What's Up?" by 4 Non Blondes, from 1992, ranked 91st. The clustering of heritage recordings alongside a current tournament anthem underscores how YouTube's archive-accessible structure sustains consumption of older material long past the radio and retail cycles that once governed a song's commercial life.

The measurement backdrop for advertisers

The chart data carries weight beyond cultural observation because of a structural change earlier in 2026. YouTube terminated its decade-long data partnership with Billboard effective January 16, 2026, a decision rooted in a dispute over how streaming consumption should be weighted. According to YouTube's Global Head of Music Lyor Cohen, "Billboard uses an outdated formula that weights subscription-supported streams higher than ad-supported."

The consequence is that these weekly releases now function as the primary public measurement of what YouTube audiences consume, with no external cross-reference point against Billboard's methodology. The charts count views, a metric that aggregates replays, short viewing sessions, and background play, and that is not equivalent to a completed audio stream or a radio spin. Interpreting a view total therefore requires understanding what the underlying number represents before it informs any planning decision.

That interpretive burden sits alongside YouTube's broader restructuring of how content surfaces on the platform. The company closed its trending page on July 21, 2025, after a decade of operation, shifting discovery toward category-specific charts of the kind published here. The change requires marketing teams monitoring emerging content to track several ranking systems in parallel rather than a single consolidated list.

For media buyers, the organic distribution reflected in these charts sets the cultural context against which paid placements run. A tournament anthem drawing more than 90 million weekly views represents an audience concentration that surrounds, and competes for attention with, advertising inventory served on the same platform. The parallel dominance of Indian playback catalogs and the persistence of heritage recordings both point to consumption behavior that varies sharply by territory, a variance that any cross-market YouTube strategy has to account for directly.

Shorts and video formats

On the Global Weekly Top Shorts Songs chart, "PASSO BEM SOLTO (Slowed)" by ATLXS held first place in its 69th week, an unusually long tenure for a Shorts track and a marker of how audio used in short-form video can sustain use across many months. "GUT GENUG" by KITSCHKRIEG held second in its fifth week. "Dai Dai" ranked fourth on the Shorts chart, indicating that its dominance derives more from full music-video and audio consumption than from short-form usage, a different distribution profile from tracks whose chart runs are driven primarily by Shorts adoption.

On the Global Weekly Top Music Videos chart, "Dai Dai" again led with 67,962,532 views, confirming that a substantial share of the song's total consumption flows through its official video rather than audio-only formats. The alignment of the song's number one position across both the overall songs chart and the music videos chart reflects the format on which the recording was built and promoted.

Timeline

  • July 21, 2025: YouTube closes its trending page after a decade of operation, shifting to category-specific charts
  • December 17, 2025: YouTube announces termination of its data partnership with Billboard, effective January 16, 2026
  • January 16, 2026: YouTube data withdrawal from Billboard charts takes effect
  • May 15, 2026: "Dai Dai" by Shakira and Burna Boy released through Ace Entertainment and Sony Music Latin
  • May 23, 2026: The "Dai Dai" music video, featuring multiple footballers, is uploaded to YouTube
  • May 28, 2026: "Dai Dai" debuts at global number one with 44,129,627 views, ending "NO BATIDÃO"'s run
  • June 11, 2026: FIFA World Cup 2026 opens across the United States, Canada, and Mexico
  • June 18, 2026: "Dai Dai" holds global number one at 73,770,487 views in its fifth week
  • June 25, 2026: "Dai Dai" holds for a sixth week at 68,569,178 views
  • July 2, 2026: "Dai Dai" holds for a seventh week at 78,307,586 views and claims number one in France and Germany for the first time
  • July 16, 2026: "Dai Dai" reaches a peak of 92,669,391 views in its ninth week; Indian playback singers hold the top four artist positions with more than 1.27 billion combined weekly views; Bonnie Tyler and Oasis catalog tracks climb sharply into the global top 20

Summary

Who: Shakira and Burna Boy, whose FIFA World Cup 2026 anthem "Dai Dai" leads the chart, alongside Indian playback singers Alka Yagnik, Udit Narayan, Arijit Singh, and Shreya Ghoshal, who hold the top four artist positions.

What: YouTube's weekly music chart data showed "Dai Dai" reaching a peak of 92,669,391 views in its ninth week at global number one, up roughly 18 percent from the prior period, holding number one in 8 of 14 country markets, while catalog recordings by Bonnie Tyler, Oasis, and Michael Jackson climbed and Indian playback singers drew more than 1.27 billion combined weekly views.

When: The tracking period covered the seven days ending July 16, 2026. The data followed prior weekly releases across the same series through June and early July 2026.

Where: YouTube's platform globally, measured across 14 territories including the United States, the United Kingdom, Germany, France, Brazil, India, Japan, and others, covering the main YouTube service and YouTube Music.

Why: Since YouTube ended its Billboard data partnership effective January 16, 2026, these weekly releases have become the primary public measurement of YouTube music consumption, giving marketers and media buyers a view of the organic distribution and territory-level variance against which paid placements on the platform run.