YouTube's weekly chart data dated October 1, 2026 keeps Shakira and Burna Boy's Dai Dai at No. 1 worldwide with 57,331,821 views, against 117,818,800 in the week ending August 6. Taylor Swift's Patient Zero, released on September 25, entered at No. 1 in the United States and Australia and at No. 9 globally.

In Short

YouTube published its weekly music rankings on October 1, 2026, and Shakira's World Cup song is still first worldwide but is being watched about half as much as in early August. Taylor Swift's new single Patient Zero went straight to first place in the United States and Australia. The result is a map in which 10 different songs lead 15 countries and not one song makes the top 100 in all of them.

A world chart with no single centre

The files cover four global lists - songs, artists, videos and Shorts songs - plus the national songs charts of 15 markets: Australia, Brazil, France, Germany, India, Indonesia, Japan, Kenya, the Netherlands, the Philippines, Portugal, South Africa, Spain, the United Kingdom and the United States. The weekly tracking window of YouTube Charts runs from Friday to Thursday, which places the October 1 files at September 25 to October 1. Every list holds 100 rows, except the Shorts list, which holds 50 and carries no view counts.

According to the global songs chart, the ten leading recordings drew 342,120,377 views between them. Four of them - positions 3, 4, 5 and 7 - are the same four songs that occupy the first four places on India's national chart, a detail that recurs through the rest of the data.

RankPreviousTrackArtistViews
11Dai DaiShakira & Burna Boy57,331,821
24BbY WOWKAROL G & Judeline & rusowsky41,066,209
33KALYANI (Remix)ARJN & KDS & FIFTY4 & Shreya Ghoshal40,597,575
42ParvatiSadhu Tiwari35,833,717
56Casa Tupka AnthemoYo Yo Honey Singh32,875,133
69Hootie FruttiKATSEYE30,530,025
75YeshanagulaSinger Prabha & Jangi Reddy & Anirudh Ravichander & Kasarla Shyam29,974,809
811ПештаXamdam Sobirov25,489,259
9n/aPatient ZeroTaylor Swift24,777,513
1015SaWaDiKaLISA23,644,316

Source: YouTube Charts global weekly songs, October 1, 2026.

Dai Dai: fewer views, fewer markets

The song was released on May 15 as the official anthem of the 2026 FIFA World Cup and debuted at No. 1 globally with 44.1 million views in the week ending May 28. Its weekly total reached 117,818,800 in the week of July 31 to August 6, after the tournament's July 19 final. The new figure of 57,331,821 stands at 48.7 percent of that level, a decline of 51.3 percent.

The Growth column in the chart files gives a more recent comparison: -0.06% for the global entry. As discussed below, the column behaves as a decimal fraction, so the figure implies a fall of roughly 6 percent on the previous week, from about 61.0 million views.

Territorial reach has narrowed more sharply than the global total. In the week ending August 13, the song led nine of 15 tracked markets: the United States, United Kingdom, France, Spain, Germany, Australia, South Africa, Portugal and the Netherlands. In the October 1 files it leads five - Germany, France, the United Kingdom, the Netherlands and Portugal. In the United States it has slipped to fourth place (4,338,484 views, down from second), in Spain to third, in Australia and Kenya to second, in Brazil to fifth and in South Africa to eighth. It does not appear in the top 100 of India, Indonesia, Japan or the Philippines.

France shows what remains of the anthem's hold. The song only reached the top spot there and in Germany in the week ending July 2, ending a 23-week run for Pilé by Mauvais Djo in France. On October 1 it leads the French chart with 2,364,028 views, while Pilé sits third with 1,701,770 views in its 36th period on the chart. In Germany the margin is wider: 1,695,107 views against 706,488 for the runner-up, Sebebi Yar (Live) by Blok3.

The official video accounts for most of the song-level total. On the videos chart the Dai Dai video logged 41,344,341 views, or about 72 percent of the 57,331,821 on the songs chart. PPC Land reported a similar split for the week ending August 6, when the official video held 84.2 million of the 117.8 million views.

Patient Zero and a catalogue that follows it

Patient Zero went on sale on September 25, according to Tixel, which described it as a digital release with collector's CD editions. The first full week produced 7,084,018 views in the United States, 12 percent more than the 6,318,710 recorded for Choosin' Texas by Ella Langley, the previous US leader. It also took No. 1 in Australia (526,082 views) and entered at No. 2 in the United Kingdom (1,039,232), No. 3 in Germany (706,155) and No. 7 in the Netherlands (138,654). It appears in 11 of the 15 national lists and is absent from those of India, Japan, Kenya and South Africa.

On the global chart the song stands ninth with 24,777,513 views. The United States supplies 28.6 percent of that total. The lyric video alone recorded 7,583,869 views and entered the videos chart at 38, which is roughly 31 percent of the song-level figure.

Germany produced the closest contest of the week. Patient Zero trailed Sebebi Yar (Live) for second place by 333 views, 706,155 against 706,488.

The effect extends well beyond one recording. In the US top 100 six Swift tracks appear: Patient Zero (1), Cleveland! (14), The Fate of Ophelia (18), Babylon (29), Pink Clouding (37) and Opalite (86). Together they drew 15,874,399 views, equal to 9.7 percent of the US list's 163,976,172. Australia lists eight, including Shake It Off (53) and I Knew It I Knew You (86); the Netherlands lists six and the United Kingdom five. On the global artist chart Swift rose from 29th to 7th with 179,742,585 views and growth of 0.77, within 2.8 million views of Bad Bunny in sixth place.

One data point carries a caveat. The Fate of Ophelia is marked with no previous rank in the US and global files despite period counts of 41 and 46. The files do not explain the marking, though long histories paired with a missing previous rank are consistent with a return to the top 100 after an absence.

KATSEYE: the widest footprint

No recording appears in more national top 100 lists than Hootie Frutti by KATSEYE. It is present in 12 of the 15 markets, missing only from India, Indonesia and Japan. Globally it rose from ninth to sixth with 30,530,025 views, and in the United States it ranks third with 4,370,855. The group's Animal is listed in 11 national charts, and four KATSEYE recordings sit in the global top 100: Hootie Frutti (6), Animal (14), ICONIC BY MISTAKE with LE SSERAFIM and ILLIT (31) and Debut (73).

The videos chart illustrates how song-level totals are assembled. Three separate Hootie Frutti uploads place in its top 100: the official video at 20 (9,339,386 views), a newly listed upload titled Hootie Frutti (Live from Saturday Night Live) at 44 (7,132,028) and a further upload at 54 (5,913,795). Added together they make 22,385,209 views, or 73 percent of the 30,530,025 credited to the song.

Ten leaders in 15 markets

Across the national lists, 10 different recordings hold first place. Patient Zero leads the United States and Australia. Dai Dai leads five markets. The remaining eight leaders each hold one:

  • Brazil: Cuida do Pet by Oldilla, Mc Iguinho Ct and Aaron Modesto, with 8,004,832 views
  • India: Parvati by Sadhu Tiwari, with 34,031,510
  • Indonesia: Teh Hijau by Tulus, with 12,836,958
  • Japan: Yes! 東京 by EBiDAN Ebisu Gakuen Boys Club, Chotokkyu, M!LK and GNJB, with 5,944,093
  • Spain: BbY WOW by KAROL G, Judeline and rusowsky, with 1,686,852
  • South Africa: Remember by Tman Xpress, Mellow and Sleazy, with 2,534,241
  • The Philippines: Na Para Bang by Mariah Deborah, with 3,999,711, up from 16th
  • Kenya: Nikumbuke by Joel Lwaga and Diamond Platnumz, with 1,152,440, up from 62nd

The 15 national lists hold 1,500 slots but only 1,094 distinct recordings; 939 of those appear in a single market and 41 appear in five or more. None appears in all 15, and the widest, Hootie Frutti, reaches 12. The count was 1,112 distinct recordings across the same 15 markets in the week ending August 13, when exactly one appeared in every list. On October 1 none does.

India's weight

India's top 100 totals 698,623,952 views, equal to 40.0 percent of the 1,744,814,737 views summed across the 15 national lists and 4.3 times the US list. The country's 100th-ranked song, Mere Mehboob Qayamat Hogi by Kishore Kumar, drew 2,960,791 views, more than the top song in nine of the other 14 markets, including France, Germany, the United Kingdom, South Africa and Spain. The same asymmetry appeared in the March 3 report on the February 20 to 26 week, when India's leader recorded more than six times the views of the US leader.

New Indian entries add to the picture. Ashke by Karan Aujla enters India at 6 with 15,763,134 views, Australia at 4 (398,259), the United Kingdom at 9 (447,123) and the global chart at 13 (21,635,111). The video for it makes up 17,089,383 views on the videos chart, around 79 percent of the song total. Aujla's artist ranking climbed from 70th to 24th with growth of 0.63 and 107,720,875 views.

Other national patterns

Brazil's top 100 totals 228,526,053 views and Indonesia's 182,717,185, the second and third largest after India. Japan's list (118,567,778) and the Philippines' (118,359,044) are nearly equal in size. In France, 14 of the 100 places belong to Tiakola, 13 of them marked as having no previous rank; together they account for 6,905,465 views, or 14.2 percent of the French total. In Japan, 13 entries belong to Mrs. GREEN APPLE, 11 of them without a previous rank, adding up to 12,936,656 views, or 10.9 percent. JISOO's MISMATCH moved from 100th to 13th in Japan with growth of 3.49. In South Africa, DJ Zinhle's Nayvee's Prayer entered at No. 2 with 1,602,861 views.

Australia recorded the most entries with no previous rank, at 38, ahead of Japan at 36.

Artists, videos and Shorts

Artists

The global artist chart is led by five Indian singers whose combined views reach 1,749,230,812, or 17.7 percent of the 9,860,748,547 across the top 100: Alka Yagnik (489,481,062), Udit Narayan (358,543,471), Arijit Singh (326,412,392), Shreya Ghoshal (302,487,938) and Kumar Sanu (272,305,949). Seven of the top 10 are Indian singers, the others being Sonu Nigam, Shilpi Raj, Bad Bunny, Taylor Swift and Shakira. Yagnik's total is 2.7 times Swift's. The same concentration was visible in July, when Indian playback singers held the top four artist places. Five names returned to the chart with no previous rank: Natanael Cano, Vishal Mishra, Lana Del Rey, Olivia Rodrigo and Neton Vega.

Videos

The videos chart lists single uploads, not recordings. Dai Dai's video leads with 41,344,341 views, ahead of Casa Tupka Anthemo (30,587,668) and a clip by Xamdam Sobirov (24,050,480). The list contains 24 entries with no previous rank, among them the official video for BTS's Merry Go Round at 26 (8,785,434 views).

Shorts

The Shorts file ranks 50 songs without publishing view counts. PASSO BEM SOLTO (Slowed) by ATLXS is first for its 80th period on the chart. The same title was in its 51st Shorts week for March 6 to 12, which fits with 29 weeks having passed. Eight of the 50 titles carry a slowed designation, 16 entries are new, and only 10 of the 50 also appear in the global songs top 100. PASSO BEM SOLTO is not among them. Where overlap exists it can be tight: KALYANI (Remix) is second on Shorts and third on songs, Parvati is fourth on both, and Training Season by Dua Lipa is 12th on both. Others diverge widely, such as Boom Shaka (7 on Shorts, 55 on songs).

SaWaDiKa by LISA shows the opposite arc. It ranks 10th globally in its fourth period with 23,644,316 views, after a debut week of 154,951,658. That is a decline of 84.7 percent from debut. Its growth figure of 0.08 implies about 21.9 million views the week before, so the latest week is a small rise after the early collapse.

How the numbers are built

Three technical points affect how the files read.

Growth column. The values carry a percent sign but only reconcile as decimal fractions. Kenya's leader Nikumbuke is listed at 8.09% after moving from 62nd to first. Read literally, that is an 8 percent gain, which is hard to square with a jump of 61 places; read as a fraction, it means a rise of about 809 percent from roughly 127,000 views, in line with the 137,460 views held by the song now ranked 62nd in Kenya. The same reading gives Na Para Bang in the Philippines a gain of about 121 percent and MISMATCH in Japan about 349 percent.

Aggregation. The songs chart combines views of every official version of a recording, including music videos, lyric videos and user-made clips that use the song, whereas the artist chart counts views across a discography. Paid advertising views are excluded. The video-versus-song gaps for Dai Dai, Hootie Frutti, Patient Zero and Ashke follow from that design.

View counting. YouTube said on August 17 that it would count views from the first frame of playback in every format from August 24, removing a minimum watch duration. The chart files do not state whether chart tallies follow the new counter, and the week-to-week data contains no marker for the change.

Four data quirks are worth noting. The Japanese file lists SPIN by Kroi twice, at 9 (2,624,490 views) and 55 (781,158) under one URL, which may reflect two recordings sharing a link or a duplicate. Period counts for Dai Dai read 19 in some markets and 20 in others, consistent with different first weeks on national lists. The Shorts file lists no URL for the entry at 49, VERITY HARDTEKK (Super Slowed). Finally, entries with no previous rank can include returns as well as debuts.

Why the split matters to marketing teams

Public music rankings have had one fewer feed since January 16, 2026, when YouTube stopped sending data to Billboard after a dispute over how ad-supported and subscription streams are weighted. Since then the YouTube lists have been the main public record of what audiences on the platform watch, which adds weight to the October 1 split across 15 markets.

The numbers describe an audience that does not move as one. The global leader, at 57.3 million weekly views, tops five national lists, has lost ground in the United States and is absent from four markets, while the largest market by chart volume is led by a song that ranks fourth worldwide. A reading of the global chart as a stand-in for any single country would, on these figures, match few of the 15 national lists: the anthem leads five, a new single leads two and eight further songs lead one each.

Two other effects bear on interpretation. Catalogue density, shown by Swift's six US entries and Tiakola's 14 French ones, means that one artist's release can account for roughly 10 to 14 percent of a national list's views in its first week. And Shorts, where slowed edits form a recurring share of the leaders, runs on a different track from the songs list; only a fifth of its 50 titles appear in the global top 100. PPC Land's March coverage noted that presence on the Shorts chart tends to precede sustained songs-chart performance.

Timeline

Summary

  • Who: YouTube Charts, the platform's ranking system; the artists leading the lists, including Shakira and Burna Boy, Taylor Swift, KATSEYE and Karan Aujla; and the 15 national markets tracked.
  • What: Weekly chart files show Dai Dai at No. 1 globally with 57,331,821 views, 51.3 percent below its August 6 week, and leading five of 15 markets instead of nine. Patient Zero debuts at No. 1 in the US and Australia. Ten different songs lead 15 markets and none appears in all of them.
  • When: The files are dated October 1, 2026 and cover the Friday-to-Thursday week of September 25 to October 1, 2026.
  • Where: Global lists for songs, artists, videos and Shorts, and national songs lists for Australia, Brazil, France, Germany, India, Indonesia, Japan, Kenya, the Netherlands, the Philippines, Portugal, South Africa, Spain, the United Kingdom and the United States.
  • Why: The data shows how listening on YouTube divides along national lines, with India accounting for 40 percent of the views across the 15 national lists, and how a single global ranking can mask those differences. YouTube's separation from Billboard data since January 16, 2026 leaves its own charts as the principal public measure of platform listening.