The impact of Justin Bieber’s buzzy Coachella performances continues to be felt, as his “Beauty and a Beat,” featuring Nicki Minaj, reigns as the biggest song in the world, rising a spot to No. 1 on the Billboard Global 200 and spending a second week atop the Billboard Global Excl. U.S. chart.

Another longtime favorite, Michael Jackson’s “Billie Jean,” blasts to the top 10 of both tallies sparked by the premiere of the hit box office biopic Michael.

“Beauty and a Beat” crowns the Global 200 despite drops of 13% to 69.6 million streams and 35% to 13,000 sold April 24-30, according to Luminate. Bieber played the Coachella Valley Music and Arts Festival in Indio, Calif., on both April 11 and April 18. The song, which hit No. 6 on the U.S.-based Billboard Hot 100 in 2012, was part of his April 11 performance, a hybrid spotlight that blended proper live songs with clips of his early hits played directly from YouTube.

Bieber earns his third No. 1 since the Global 200 began in September 2020, after “Stay,” with The Kid LAROI, ruled for 11 weeks beginning in August 2021 and “Peaches,” featuring Daniel Caesar and Giveon, led for two weeks that April. Minaj tops the chart for the first time.

Also notably, “Beauty and a Beat” is the second non-holiday song to top the Global 200 more than a decade after its release, after Kate Bush’s “Running Up That Hill (A Deal With God),” 1985, led for three weeks in 2022, spurred by its sync in Netflix’s Stranger Things. (Two holiday classics have hit No. 1: Mariah Carey’s “All I Want for Christmas Is You,” from 1994, and Wham!’s “Last Christmas,” from 1984.)

Elsewhere in the Global 200’s top five, BTS’ “Swim” rises 3-2 after spending its first four weeks on the chart at No. 1 in April; Olivia Rodrigo’s “Drop Dead” falls to No. 3 a week after it debuted in the top spot; Tame Impala and JENNIE’s “Dracula” keeps at No. 4 after reaching No. 2; and Bieber’s “Daisies” holds at No. 5 after hitting No. 3.

Following the smash start for Michael, which premiered April 24, Jackson’s “Billie Jean” surges 65-8 on the Global 200 with 36.7 million streams (up 102%) and 3,000 sold (up 203%) worldwide. The seven-week Hot 100 No. 1 in 1983, from his landmark Thriller album, becomes his first Global 200 top 10.

“Beauty and a Beat” tops Global Excl. U.S. led by 57.9 million streams (down 11%) outside the U.S.

“Swim” treads water at No. 2 on Global Excl. U.S. after leading in its first four weeks on the chart; “Dracula” ascends 4-3 after hitting No. 2; “Drop Dead” backtracks 3-4 in its second week; and Dominic Fike’s “Babydoll” holds at No. 5 after reaching No. 3.

“Billie Jean” concurrently vaults 64-6 on Global Excl. U.S., up 97% to 27.6 million streams outside the U.S. It’s likewise the late King of Pop’s first top 10 on the chart.

The Billboard Global 200 and Global Excl. U.S. charts rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Global 200 is inclusive of worldwide data and the Global Excl. U.S. chart comprises data from territories excluding the United States.

Chart ranks are based on a weighted formula incorporating official-only streams on both subscription and ad-supported tiers of audio and video music services, as well as download sales, the latter of which reflect purchases from full-service digital music retailers from around the world, with sales from direct-to-consumer (D2C) sites excluded from the charts’ calculations.

The latest charts, dated May 9, 2026, will update on Billboard.com tomorrow, May 5. For both tallies, the top 100 titles are available to all readers on Billboard.com, while the complete 200-title rankings are visible on Billboard Pro, Billboard’s subscription-based service. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.

Quavo and Offset reunited in the studio over the weekend, which could be leading to the first collaboration between the Migos members in five years.

Huncho and Set appear to be on better terms these days, and just days after fueling speculation for another Migos album, the duo hit the studio on Sunday (May 3), which Offset posted a photo of to his Instagram Story.

One photo posted finds Quavo working on a file at the studio’s computer desk, while another picture that emerged sees Offset recording vocals in the booth.

The studio session comes after last week’s social media post from Quavo, in which he seemingly hinted at a posthumous TakeOff album, a sequel joint album with his late nephew and a possible Migos tribute project. TakeOff was fatally shot in 2022.

“Warriors Never fold. Jobs Not Finished. TAKEOFF ALBUM. UNC N PHEW 2. LAST ????? ALBUM. REAL MIGO BLOOD RUN IN MY VIENS!!! AINT NO NEW CHAPTER JUST THE NEXT ONE,” Huncho wrote.

Offset echoed Quavo’s sentiments and doubled down on the speculation, which added fuel to the fire. “On dat,” he added.

TakeOff (born Kirshnik Khari Ball) attended a Halloween party at 810 Billiards & Bowling in Houston and was shot and killed after an argument broke out during the early hours of Nov. 1, 2022.

In the years since, Quavo and Offset have been distant, with their last collaboration arriving on 2021’s Culture III, which was originally billed as the last project from the ATL trio. The album debuted at No. 2 on the Billboard 200 with 130,000 total album units earned, according to Luminate.

Quavo spoke in a 2023 interview about TakeOff having hundreds of songs recorded that he’s kept in a sacred stash. Qua and Take posthumously teamed up for “Dope Boy Phone” in 2025.

More recently, Quavo joined forces with NAV for “MUTT,” which arrived on May 1. As for Offset, the 34-year-old’s currently recovering after being shot outside the Hard Rock Casino in Hollywood, Fla., on April 6.

Ella Langley and Morgan Wallen’s new duet, “I Can’t Love You Anymore,” makes a record-setting start in the Billboard Hot 100’s top 10, while accounting for another honor last achieved in the early 1980s.

The single starts at No. 7 on the Hot 100 (dated May 9) — becoming the first song by two core-country acts in lead roles ever to debut in the chart’s top 10.

Regardless of debut position, it’s the first Hot 100 top 10 by two acts known for primarily recording country music, both in lead roles, since Kenny Rogers and Dolly Parton’s “Islands in the Stream.” The Bee Gees-written classic ruled the chart for two weeks in October-November 1983.

A few collaborations, however, by two country-focused artists have reached the region during the last four decades-plus — just not any with both acts equally billed as leads. In 2024, for instance, Post Malone’s “I Had Some Help,” featuring Wallen, led for six weeks, with the song from the former’s first album in the genre, F-1 Trillion. It followed Zach Bryan’s Kacey Musgraves-featuring “I Remember Everything,” which reigned in its debut week in 2023.

The 2000s welcomed one Hot 100 top 10 team-up by core-country artists: Carrie Underwood’s “I Told You So,” featuring genre legend Randy Travis (No. 9, 2009). His original version led the Hot Country Songs chart in 1988.

From the 1990s, two songs are worthy of honorable mentions. “From This Moment On” reached No. 4 on the Hot 100 in 1998; credited on the Hot 100 to Shania Twain, the ballad became a hit at country radio thanks in part to its version with Bryan White. Plus, Tim McGraw’s “It’s Your Love,” with Faith Hill, hit No. 7 in 1997; on the song by the couple, which had married the year before, McGraw receives lead billing. (On Hot Country Songs, they share six top 10s, though only one with both as leads: 2017’s “Speak to a Girl.”)

Meanwhile, Rogers and Parton ended a much briefer break between Hot 100 top 10s by two lead country acts than Langley and Wallen do on the latest chart. Prior to “Islands in the Stream,” Eddie Rabbitt and Crystal Gayle’s “You and I” hit No. 7 in February 1983.

“I Can’t Love You Anymore,” released April 24, begins with 16.7 million official U.S. streams, 10.8 million in radio airplay audience and 10,000 sold through April 30, according to Luminate. It’s Langley’s third Hot 100 top 10 and Wallen’s 19th.

All charts dated May 9 will update Tuesday, May 5, on Billboard.com.

Dayseeker rules a Billboard chart for the first time, topping the May 9-dated Mainstream Rock Airplay survey with “Crawl Back to My Coffin.”

The group reigns with its fifth song on the tally. It first made the list in 2022 when “Without Me” debuted at No. 37 that December, eventually peaking at No. 20 in early 2023. Dayseeker’s previous best before “Coffin” was the No. 7-peaking “Pale Moonlight,” the first of its two top 10s, last year.

Dayseeker, formed in 2012 in California, first appeared on any Billboard chart when Origin reached Heatseekers Albums in 2015. It made its first Billboard 200 appearance last year when Creature in the Black Night bowed at No. 79. “Crawl Back to My Coffin” is the latter set’s second single.

The band is the fifth act to reign on Mainstream Rock Airplay for the first time in 2026, via three songs. “End of You,” a collaboration between Poppy, Amy Lee and Courtney LaPlante, was the first, followed by Pierce the Veil with “So Far So Fake.” The pace is in line with 2025, when 10 acts earned initial leaders by the end of the year.

The song also marks the first No. 1 on Mainstream Rock Airplay for Spinefarm Records, 11 years after its first appearance on the tally.

“We are very proud to celebrate Dayseeker’s first No. 1 rock song as well as Spinefarm’s,” Jonas Nachsin, Spinefarm worldwide GM, tells Billboard. “The band and our label have been building towards this achievement with a steady climb upwards over the last few years that has now resulted in this moment. Dayseeker are absolutely on the rise as fans are connecting to the band around the world in bigger and bigger numbers, and their ascent has no limits given their unique musical and emotional blend that has connected on such a real and visceral level. Onwards Dayseeker!

“Thank you to radio and our friends at Landshark for the support.”

Concurrently, “Coffin” lifts 15-14 on the all-rock-format, audience-based Rock & Alternative Airplay chart with 2.7 million audience impressions in the week ending April 30, a boost of 14%, according to Luminate. That’s the band’s top-charting song on the list, having exceeded the No. 34 peak of “Pale Moonlight.”

“Coffin” also rose 14-13 on the most recently published, multimetric Hot Hard Rock Songs list (dated May 2, reflecting data accumulated April 17-23). In addition to its radio airplay, the track earned 531,000 official streams in the United States.

Creatures in the Black Night, Dayseeker’s sixth studio album, has earned 89,000 equivalent album units to date.

All Billboard charts dated May 9 will update on Billboard.com Tuesday, May 5.