For the past two years, REPUBLIC has set a new industry-leading mark for current market share, finishing 2023 at 13.47% and 2024 at 14.90% — numbers that were well above the rest of the competition. In 2025, they went even better, finishing the year at a 16.04% current share, closer to that of the entire independent music community by distribution (20.17%) than its nearest competitor, Interscope Geffen A&M (9.62%), which finished in second place.

REPUBLIC — whose market share includes that of Island (2.81%), Big Loud (2.51%), Mercury (0.73%) and indie distributor Imperial (0.68%) — was buoyed by the record-shattering release of Taylor Swift’s The Life of a Showgirl, released Oct. 3. That album debuted at a modern-day unprecedented mark of 4.002 million equivalent album units in its first week of availability, a number that would have, in just seven days, made it the second-biggest album of the year. It ultimately finished 2025 with 5.61 million equivalent album units, one of just two albums to cross the 5 million threshold. The other was Morgan Wallen’s gigantic I’m The Problem, also a REPUBLIC release in partnership with Big Loud and Mercury, which finished the year at 5.13 million units, securing REPUBLIC yet another one-two punch and a clear market share lead in the industry. No other album in 2025 surpassed 2.6 million units.

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Swift’s release was so monumental that in the fourth quarter alone, the album accounted for 9.07% of the current market share for the period, with REPUBLIC’s fourth-quarter current market share a jaw-dropping 22.50% — not far off Sony’s 23.94% for the quarter. For the full year, Swift’s album accounted for 2.49% current share, despite being out for just three months.

At this point, it almost seems a given that REPUBLIC, with its stable of modern-day superstars, will run away with the No. 1 current market share rankings slot, as it has for the past four years. But with established stars, big records and breakout upstarts, several other labels have made strides to try to close the gap — only for Swift, REPUBLIC’s ace in the hole, to upend things once again, while Wallen, the Kpop Demon Hunters soundtrack and Sabrina Carpenter’s 2024 Island release Short N Sweet also finished the year among the top 10 albums.

In second place, Interscope’s 9.62% was a dip from last year’s 10.72% current share, but it was still enough for a dominant runner-up position, with Kendrick Lamar’s GNX and Billie Eilish’s Hit Me Hard And Soft — both initially released in 2024 — still putting up big numbers alongside Lady Gaga’s Grammy-nominated MAYHEM album. (IGA’s share includes Verve Label Group.) Due to parent company Universal Music Group’s structure, in which REPUBLIC Collective also includes Def Jam, and Interscope Capitol also includes Capitol Music Group (and with it, Motown/Quality Control, Capitol Christian, Blue Note, Astralwerks and Virgin), REPUBLIC Collective’s current market share for 2025 came out to 16.84%, while Interscope Capitol came in at 14.02%.

Those two powerhouse divisions helped fuel UMG’s current market share growth to 37.48% for 2025, up from 36.90% through 2024. In second place among the label groups, Sony Music Entertainment held steady year over year, hitting 25.92% current share (from 25.96% in 2024), with Warner Music Group growing slightly year over year, to 16.43% from 16.33% in 2024. The indies, collectively, came in at 20.17% current share by distribution ownership, down from 20.81% in 2024. By label ownership, the indies remained the largest sector of the business at north of 38%.

Among the individual labels, Atlantic Music Group — which includes 300 Entertainment and 10K Projects — finished the year on a strong note, growing quarter by quarter from 5.64% current share in 2024 to a 7.73% current share at the end of 2025, thanks to the addition of 10K into its share. And while 10K’s 1.52% — brought under Atlantic in Luminate’s system after the second quarter — certainly didn’t hurt, Atlantic’s year-over-year gain even without it was the biggest of any label other than REPUBLIC. Breakout years for Alex Warren, Ravyn Lenae and The Marías, plus No. 1 albums from Cardi B and Twenty One Pilots and hits from Rosé and Bruno Mars, helped Atlantic there.

In fourth place is Warner Records, which at a 5.78% current share has come back down to earth slightly after a blockbuster 2024, when it finished at 6.55%, though it still is on a hot streak (and an early January 2026 album from Zach Bryan bodes well for the beginning of this year). Columbia Records, largely even at 4.51% (down from 4.59% last year), maintains its position in fifth place, while Capitol Music Group jumps into sixth, leapfrogging RCA to a 4.40% current share from last year’s 3.98%. RCA, with SZA’s momentum not slowing down and a blockbuster album from Tate McRae, came in seventh at 4.05%.

Rounding out the top 10 is a trio of Sony Music labels: Alamo, at 2.37%, came in eighth, steadily growing after 2024’s 2.11% finish; while Sony Latin (2.01%) and Sony Nashville (1.74%) finished in ninth and 10th, respectively, with the latter moving into the top 10 after just barely missing the cut in 2024.

In terms of overall market share — which combines current and catalog releases — REPUBLIC also came in first, with an industry-leading 10.66%, in front of Interscope Geffen A&M’s 9.85% — powering Universal’s mammoth 38.96%, up from 38.61% last year. In third, Atlantic Music Group’s 8.48% was a jump from last year’s 7.63%, while Warner Records (in fourth place) was also up, jumping to 6.98% from 6.88%. Capitol Music Group moved up to fifth place with 5.98%, while Columbia slipped slightly to sixth with 5.33%. RCA remained in seventh, up slightly to 5.06%, while Epic (2.43%), Sony Nashville (1.96%) and Concord (1.81%) rounded out the top 10. Among the label groups, Sony Music ticked up to 27.48% from 27.38% last year, while Warner Music Group also improved, rising to 18.87% from 18.39%. Those gains came as the indies dipped to 14.69% by distribution, down from 15.62% in 2024.

In terms of catalog share, which counts releases older than 18 months, Interscope Geffen A&M came in first with 9.92%, leading second place REPUBLIC’s 8.99% and Atlantic Music Group’s 8.71%. Warner Records, in fourth, reached 7.36%, up from a flat 7% last year, while Capitol, in fifth, came in at 6.47%. Columbia’s 5.58% was good for sixth, just edging out RCA’s 5.38% in seventh. Rounding out the top 10 are Epic (2.69%), Concord (2.13%) and Def Jam (2.03%). Universal’s 39.42% share led the industry among label groups, while Sony (27.96%), Warner (19.63%) and the indies (12.99%) followed.


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On Wednesday (Jan. 28), the Recording Academy announced artists who will honor music legends we lost in the last year with performances included in the In Memoriam segment:

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  • Ms. Lauryn Hill will perform in honor of both D’Angelo, who died in October at age 51, and Roberta Flack, who died last February at age 88. Hill’s group, Fugees, had a Grammy-winning smash in 1996 with a remake of Flack’s 1973 classic “Killing Me Softly With His Song.” At the 1996 MTV Movie Awards, Flack and the Fugees memorably performed the song together.
  • Post Malone, Andrew Watt, Chad Smith, Duff McKagan and Slash will perform in a tribute to Ozzy Osbourne, who died in July at age 76. Post Malone had a hit in 2019 with “Take What You Want” featuring Osbourne and Travis Scott.
  • Reba McEntire will be joined by Brandy Clark and Lukas Nelson will pay tribute to unspecified “others” we’ve recently lost in the creative community.  

The Academy hasn’t said if there will be specific salutes to Brian WilsonSly Stone and Bob Weir. (Flack, Osbourne, Wilson, Stone and Weir all received lifetime achievement awards from the Recording Academy – Wilson as part of The Beach Boys; Osbourne as part of Black Sabbath; Weir as part of the Grateful Dead.)

Other shows have already had the opportunity to salute some of these artists. Andra Day sang Flack’s “Killing Me Softly With His Song” on the BET Awards on June 9. Steven Tyler, Joe Perry, Yungblud and Nuno Bennencourt performed a three-song tribute to Osbourne on the MTV Video Music Awards on Sept. 7.

In recent years, the Grammys have put an extra spotlight on one or more recently deceased artists per year, sometimes as part of the In Memoriam spot and sometimes apart from it. Last year, Quincy Jones got a six-song tribute. In 2024, the In Memoriam segment included extended tributes to Tony Bennett, Sinéad O’Connor, Clarence Avant and Tina Turner.

In 2023, Loretta Lynn, Takeoff from Migos and Christine McVie from Fleetwood Mac got extra shine in the In Memoriam spot, as did Broadway legend Stephen Sondheim the year before. In 2021, Little Richard, Kenny Rogers, John Prine and Gerry Marsden of Gerry & the Pacemakers got extra attention in the In Memoriam spot. (The latter group had a hit in 1965 with Rodgers & Hammerstein’s “You’ll Never Walk Alone,” which was a natural for the spot.)

In 2020, Boyz II Men sang “It’s So Hard to Say Goodbye to Yesterday” in tribute to basketball legend Kobe Bryant, who had died in a helicopter crash the morning of the Grammy ceremony. The In Memoriam spot that year put extra focus on Nipsey Hussle and Dr. John.

Sabrina Carpenter was the first performer announced for this year’s show, followed by news that all eight best new artist nominees would perform for the second year in a row. This year’s best new artist nominees are Addison RaeAlex WarrenKATSEYELeon ThomasLola YoungOlivia Deansombr and The Marías.

The third performer announcement focused on Clipse and Pharrell Williams, who share three nominations this year.  Earlier today, Justin Bieber was added to the performer lineup.

Ravyn Lenae welcomed fans into her world, delivering a captivating performance of “Days” from Bird’s Eye in a stripped-back, immersive setting presented by Billboard and Delta.

One, two, one, two, three

You had to pick a fight at the car dealer
I had to take a plane just to fall for ya
You’re driving me insane in the parking lot
You really made me think you were all I got

Me and myself got to talking
Maybe I wasn’t the problem
Sometimes we fall for the sake of falling

You weren’t a part of me, what did I lose?
I ran a mile away, what did I lose?
Nothing inside of me leads back to you
You said goodbye to me, what did I lose?

I only lost the days
I only lost the days
I only lost the days
I only lost the days

You’re the lightning
You’re the thunder
I was waiting
Waiting for summer
Loving you was a bad idea
But I won’t spend my whole life drying my tears

God, me and myself got to talking
Maybe I wasn’t the problem (wasn’t the problem)
Sometimes we fall for the sake of falling

You weren’t a part of me, what did I lose?
I ran a mile away, what did I lose?
Nothing inside of me leads back to you
You said goodbye to me, what did I lose?

I only lost the days
I only lost the days
I only lost the days
I only lost the days

Jealousy
Now you hate to see I found a better me
A better me
Scared of me
‘Cause you hate to see I found a better me
A better me

Waking up, my eyes are open
The door to the past is closing
Waking up, my eyes are open
The door to the past is closing


WRITERS
Ravyn Lenae Washington


PUBLISHERS
Lyrics © SONGS OF SPIRIT, Sony/ATV Music Publishing LLC, Kobalt Music Publishing Ltd.

This is partner content.

Ice-T’s tweaking the lyrics of Body Count’s politically-charged “Cop Killer” to “ICE Killer” during a Warped Tour performance last July was by pure instinct.

Ice joined The Breakfast Club on Wednesday (Jan. 28), where he explained modernizing the title of Body Count’s 1992 controversial anthem to fit the political climate targeting U.S. Immigration and Customs Enforcement officers.

“When I did that, that didn’t happen just recently; that happened in L.A. when we played the Warped Tour,” he said. “When I was there, ICE was active out there. I’m in the midst of ICE raids. I’m in front of an L.A. audience and it just came up.”

Ice continued: “I didn’t know I was gon’ do it. It’s time to play ‘Cop Killer’ and my brain just said, ‘Do ‘Ice Killer.” But of course, when the girl [Renee Good] got killed, they bring that press to the front. They had me in the news fighting with the police and it was two years old. When a cop pulled me over and it made it to the news.”

The Law & Order SVU star is referring to the death of Renee Good, who was shot and killed by a U.S. Immigration and Customs Enforcement officer on Jan. 7 while behind the wheel after dropping off her youngest of three children at school in Minneapolis.

“You know ‘ICE Killer,’ ‘Cop Killer’ it’s really protest,” Ice-T explained. “I’m just protesting. Like I said, I think we’re headed in some very ugly terrain and Black people ain’t got nothing to do with it. It’s bad. I think the moment somebody shoots an ICE agent, it’s gon’ get bad.”

Tensions in Minneapolis were raised over the weekend when two federal agents fired shots that killed 37-year-old ICU nurse Alex Pretti on Jan. 24, according to the Associated Press. The confrontation began when Pretti attempted to help a woman thrown to the ground by an ICE agent. He was wrestled to the ground by half a dozen officers and struggled to stand back up. Pretti, who was licensed to carry a firearm in public, was relieved of a gun in a side holster by an officer and fatally shot 10 times by two others while on his knees. Members of President Trump’s administration initially labeled Pretti a “domestic terrorist” intent on killing ICE agents, but footage from multiple verified sources appears to contract the administration’s version of events. An initial report from the Department of Homeland Security also seems to confirm that Pretti was not brandishing his legal firearm or attacking officers at any point during the fatal altercation.

TMZ caught up with Ice-T out and about in New York City on Tuesday (Jan. 27), where he issued a warning for those joining the protests against the immigration raids. “Stand strong and stay out the way,” he said. “These cats will kill you.”

According to The Guardian, at least eight people have been killed by ICE agents or killed in the custody of U.S. Immigration and Customs Enforcement in 2026.

Watch the clip of Ice-T below.

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LeBron James and the Los Angeles Lakers are set to take on the Cleveland Cavaliers today (Jan. 28) at Rocket Arena. Even though it’s been eight seasons since King James decided to leave his hometown team and join the purple and gold, NBA fans always get excited when the kid from Akron comes home.

The Lakers and Cavs are having equally great seasons with both teams currently sitting at the 5th seed in their respective conferences with 28 wins so far. In the middle of his 23rd season, LeBron is averaging 22.4 points, 6.7 assists and 6 rebounds per game. With Luka Doncic putting up MVP numbers as well, the Cavs will need to step up their defense to stop the Lakers offensive fire power.

When Does the Lakers vs. Cavs Game Start?

Lakers vs. Cavs game will start on Jan. 28 at 7 p.m. ET/4 p.m. PT at Rocket Arena in Cleveland.

Where to Watch Lakers vs. Cavs Online

The Lakers vs. Cavs game will broadcast live on ESPN but can be streamed through Sling TV. Keep scrolling on how to sign up for the streaming service.

Here’s How to Watch the Lakers vs. Cavs Wild Card Game on Sling TV

Sling TV offers the Blue, Orange and Sling Orange + Blue packages, which comes with ESPN, NBC, USA Network, CNBC, MS NOW, Bravo and others. Blue is one of the most affordable options and comes with more than 40 channels and can be streamed on up to three device at a time.

You can watch cable networks, including ESPN2, ESPN3 (for ABC simulcast), Disney Channel, Freeform, MotorTrend, A&E, AMC, BBC America, BET, CNN, Comedy Central, Food Network, Fuse, HGTV, History Channel, IFC, Lifetime, Nick Jr., QVC, TBS, TNT, Travel Channel, Vice and many others.

Meanwhile, starting at $4.99 for the Sling 1-Day Pass, you can access Sling Blue for 24 hours. Additionally, the Sling 3-Day Pass goes for $9.99 to access Sling Blue from Friday-to-Sunday. Sling 7-Day Pass, which goes for $14.99, gets you access for seven days of Sling Blue.

Please note: Prices and channel availability depends on your local TV market. You can learn more about Sling TV here.

Is Madonna a Harrie now? Well, the Queen of Pop certainly enjoys Harry Styles’ new single “Aperture.”

In an Instagram story, Madge posted “love your new song Harry!!!!” over an alleged quote from the former One Direction member that said “I was deep into disco while making it, lots of Sylvester, Bee Gees and Madonna, Confessions on a Dance Floor energy. Now, she’s doing a sequel, which feels slightly unfair. How do you follow disco after Madonna?” (Billboard could not confirm the veracity of the statement.)

Nonetheless, Madonna added another slide featuring the cover of Styles’ upcoming album Kiss All the Time. Disco, Occasionally with the words “On Repeat……….”

“Aperture” debuted on Thursday Jan. 22, with its accompanying video dropping hours later. The full album – produced by longtime collaborator Kid Harpoon – is due this March. “I was playing demos to friends and I’d be with friends and put it on and be like, ‘What do you think of this?’ And it just became really obvious that it was music that was meant to be played loud. That is when it feels its best,” Styles told John Mayer in a Sirius XM interview of his fourth full-length.

And with his upcoming dates at Wembley Stadium in London for his newly announced Together Together tour, Styles – who will appear as a presenter at the 68th Annual Grammy Awards and is set to perform at the 2026 Brit Awardswill break the record for most nights played at the famed venue in one year with 12, besting Coldplay’s previous number of 10.

As for Madonna – who is certainly used to praise from fellow artists herself – the icon released Bedtime Stories – The Untold Chapter, a collection of remixes and outtakes from her 1994 album Bedtime Stories; Confessions on a Dance Floor (Twenty Years Edition); and Veronica Electronica all in 2025.

While some fans are wallowing in their 10th year without a new Rihanna album, everyone’s favorite Bajan Bad Gal is celebrating the massive success her ANTI album has generated during that period.

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On Jan. 28, in celebration of the 10th anniversary of her era-defining opus, the Recording Industry Association of America revealed new certifications for nine different ANTI tracks, including a jaw-dropping eighth Diamond certification for Ri thanks to the success of “Love on the Brain.”

The doo-wop-infused ballad soared to No. 5 on the Billboard Hot 100 back in 2017, and its new certification helps Rihanna extend her record as the female artist with the most Diamond singles in RIAA history. “Love” joins fellow ANTI smashes “Needed Me” and “Work” (with Drake), which earn new 12x Platinum and 11x Platinum certifications, respectively. Her other Diamond tracks are her Eminem collab “Love the Way You Lie,” “Stay,” “We Found Love” with Calvin Harris, “Umbrella” and “Diamonds.”

Additional new ANTI RIAA certifications include fresh plaques for “Kiss It Better” (quadruple Platinum), “Sex with Me” (quadruple Platinum), “Desperado” (triple Platinum), the SZA-assisted “Consideration” (double Platinum) and “Woo” (Platinum). Currently certified sextuple Platinum, ANTI also remains the longest-charting album by a Black female artist on the Billboard 200, with more than 508 weeks and counting.

Rihanna’s latest commercial achievements come amid a particularly busy — and successful — week for the household she shares with partner A$AP Rocky. On. Jan. 26, Rocky scored his first Billboard 200 No. 1 album in more than a decade with Don’t Be Dumb, which Rihanna celebrated via X, writing, “Just me here to let yall know my baby daddy got the NUMBER 1 ALBUM!!! Aaahhhhhh hah! DONT BE DUMB!!!”

Though a new album still eludes the Rihanna Navy, their fearless leader hasn’t been completely musically absent in the years since ANTI‘s release. In 2023, she headlined the Super Bowl LVIII Halftime Show, which arrived just months after she dropped her Grammy and Oscar-nominated Black Panther: Wakanda Forever theme, “Lift Me Up.” Last year, she voiced Smurfette in Smurfs and welcomed her third child (and first girl!) with Rocky.

See the RIAA’s celebration of Ri below:


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Rage Against the Machine‘s Tom Morello is using his voice to defend Minnesota.

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On Wednesday (Jan. 28), the iconic rock guitarist announced the Concert of Solidarity & Resistance to Defend Minnesota, set for Friday (Jan. 30) at First Avenue in Minneapolis, with doors opening at 10:30 a.m. CT. Fans can purchase tickets via AXS.

“If it looks like fascism, sounds like fascism, acts like fascism, dresses like fascism, talks like fascism, kills like fascism and lies like fascism, boys & girls, it’s f—king fascism,” Morello wrote in a lengthy, impassioned Instagram caption. “It’s here, it’s now, it’s in my city, it’s in your city, and it must be resisted, protested, defended against, stood up to, exposed, ousted, overthrown and driven out. By you and by me.”

“We are coming to Minneapolis, where the people have heroically stood up against ICE, stood up against Trump, stood up against this terrible rising tide of state terror,” Morello continued in his caption. “Where the people have stood up for their neighbors and themselves, for democracy and justice. Ain’t nobody coming to save us except us, and it’s now or never.”

The concert’s proceeds will go to the families of Renee Good and Alex Pretti, who were killed by ICE in Minneapolis earlier in January. The event, which is all ages, will also feature performances by Rise Against, Al Di Meola, Ike Reilly and a few still-unannounced special guests across music, protest and community action.

Morello has long been an outspoken critic of President Donald Trump and his administration. On Jan. 12, he called out U.S. Department of Homeland Security secretary Kristi Noem for standing behind a podium that displayed a “verbatim” quote of a “Nazi mass murder slogan.” Last summer, Morello released the protest song “Pretend You Remember Me” in response to ICE’s ongoing raids.

Alongside Rage Against the Machine, which officially disbanded in 2024, Morello topped the Billboard 200 twice, won a pair of Grammys, was part of the 2023 Rock & Roll Hall of Fame induction class and was saluted as one of the 50 Best Rock Bands of All Time on a 2025 Billboard staff ranking.

Check out Tom Morello’s Concert of Solidarity & Resistance to Defend Minnesota announcement below.


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J. Cole is officially back.

The North Carolina rapper dropped the Birthday Blizzard ’26 mixtape last night in time for his birthday, which is today. The tape is hosted by the legendary DJ Clue? out of Queens — who also once released his own Birthday Blizzard ’96 mixtape back in the day — and includes four freestyles where Cole raps over mixtape freestyle beat mainstays like Diddy‘s “Victory,” Black Rob‘s “Can I Live,” Biggie‘s “Who Shot Ya?” and the LOX‘s “Money, Power, Respect.” Cole spent a lot of time in Queens when he went to St. John’s, and also grew up with rap during Clue’s prime, so him going this route shouldn’t really be a surprise to anybody.

With his seventh studio album The Fall-Off set to be released on February 6, Cole felt the need to remind his fans, the naysayers and the media that he can rap at a very high level. Now, whether or not it’s enough to have people believe he’ll ever be worthy of the throne again remains to be seen — but this is a good start.

People tend to forget that rappers throughout history have gotten into battles that they lost and were able to dust themselves off and try, try again. Jadakiss lost to Beanie Sigel once upon a time and so did Cole’s Roc Nation boss Jay-Z when he took an L to Nas and he’s still considered the god MC Jay Hova. It happens. The one thing folks can’t come to grips with, though, is that he walked his diss back at Dreamville Fest and decided not to get int he ring at all, so for some, the “I’m the best to do this” raps don’t have the same bite.

Regardless, though, Cole can rap and he did a bunch of that on this tape and we picked some of our favorite bars. Check out the best lines on Birthday Blizzard ’26 below, and go study up on some old Clue? tapes that are floating around the Internet.

  

Welcome to Billboard Pro’s Trending Up newsletter, where we take a closer look at the songs, artists, curiosities and trends that have caught the music industry’s attention. Some have come out of nowhere, others have taken months to catch on, and all of them could become ubiquitous in the blink of a TikTok clip. 

This week: An early classic by The Cure slowly grows into a potential 2020s breakout hit, while a potentially big year for the Michael Jackson catalog gets off to an early start and a beloved soul staple scores a Netflix bump.

‘Cry’ing All the Way to a Billion Streams: The Cure’s Early Classic Finds New Streaming Life

It’s been a good past year for emotional alt-rock songs that never found a pop audience in their first lives finding a second life with 2020s audiences. A pair of fan favorites from Jeff Buckley (“Lover, You Should Have Come Over”) and Radiohead (“Let Down”) have even found their way to the Billboard Hot 100, despite not even being released as singles upon their ‘90s debut. Now, a newer (but even older) viral hit may be on its way to joining them: The Cure’s “Boys Don’t Cry.” 

The Cure has found a decent amount of pop crossover success during its lifetime, with 14 hits on the Billboard Hot 100, including three top 40 hits (led by 1989’s No. 2-peaking “Love Song”). None of those hits, however, were 1979’s “Boys Don’t Cry,” which the goth-rock progenitors released very early in their career and which missed the charts on both sides of the Atlantic upon its original release — a stunning commercial snub in retrospect, given the song’s preternatural catchiness and Smokey Robinson-like lyricism. (In 2023, Billboard’s staff ranked it as one of the 20 greatest pop songs to never hit the Hot 100.) 

But that “never” may soon be coming to an end if the song keeps growing on streaming like it has. Over the last three months, the post-punk classic has caught fire on TikTok, with younger listeners gravitating to its chiming hooks and fragile masculinity (to the tune of over 107,000 videos, several with over one million likes), and that has translated to major streaming growth. In mid-October, the song was still garnering under a million weekly official on-demand streams, according to Luminate, but two months later (for the tracking week ending Jan. 23), that total had more than tripled, with the song now racking up over 3.1 million weekly streams. “Boys” even recently passed one billion streams on Spotify, becoming The Cure’s first song in the Billions Club. 

It’s all very good timing for The Cure, who recently announced a 40th-anniversary vinyl reissue of the song’s 1986 re-recording — which did bring the song to the U.K. Official Charts for the first time, with a No. 22 peak — along with the second-go-round version finally arriving on DSPs. We’ll see if “Boys,” whose original version just hit the U.K.’s top 40, can match the re-recording’s peak in the band’s home country, or get onto the Hot 100 for the first time. — ANDREW UNTERBERGER


Majorette Dance Challenge Revives Michael Jackson’s ‘Liberian Girl’ 

Just in time for the King of Pop’s upcoming biopic, which hits theaters on April 24, a Bad deep cut is surging on streaming. 

Thanks to a majorette dance challenge shared by TikTok user @jshun0729 — a coach for the Memphis Prancing Tigerettes majorette team — “Liberian Girl” has leapt 116% in streaming activity over the past two weeks. User @jshun0729 posted his video on Jan. 7, and the clip has since amassed over 5.6 million views, setting to motion a challenge that has united majorettes across regions and generations. Notably, several core members and fan-favorites from Lifetime’s Bring It! — a 2010s reality series following Coach Dianna Williams’ Dancing Dolls in Jackson, Miss. — hopped on the dance trend, helping the official “Liberian Girl” TikTok sound reach nearly 50,000 posts, while the unofficial sound attached to @jshun0729’s initial clip has surpassed 27,000 creates. On Instagram, MJ’s track plays in over 73,000 reels. 

According to Luminate, “Liberian Girl” earned over 240,000 official on-demand U.S. streams during the week of Jan. 2-8. The following week (Jan. 9-15), once the dance trend began circulating, those numbers jumped 36% to over 331,000 official streams. By the weeks of Jan. 16-22, “Liberian Girl” rose a further 58% to over 524,000 official streams. And the song’s rise is far from over. During the four-day period of Jan. 23-26, “Liberian” earned 410,000 official streams, a 60% improvement from its streaming totals a week prior (Jan. 16-19). 

One of the few Bad tracks to miss the Hot 100, maybe the 2020s can do for “Liberian Girl” what the ‘80s couldn’t. — KYLE DENIS 


New Netflix Smash ‘His & Hers’ Spurs Gains for Classic Roberta Flack-Donny Hathaway Duet 

Netflix’s new limited series His & Hers, led by BAFTA nominee Tessa Thompson and Emmy winner Jon Bernthal, has quickly taken over social media while thrusting a gorgeous duet from the late Roberta Flack and Donny Hathaway back into the spotlight. 

“I (Who Have Nothing),” the opening track from the duo’s eponymous 1972 joint album, plays after a particularly heart-wrenching conversation in episode three — and the scene clearly struck an emotional chord with the show’s audience. 

During the week of Jan. 2-8, the duet logged just under 3,000 official on-demand U.S. streams (according to Luminate), setting the stage for a 1,204% increase to over 39,000 official streams by the next week (Jan. 9-15), following the Jan. 8 premiere of the six-episode series. “I (Who Have Nothing)” jumped a further 30% the following week (Jan. 16-22), making for a whopping 1,603% increase in streaming activity over the past two weeks. 

Flack & Hathaway’s English-language cover of the Italian song “Uno dei tanti” never hit the Billboard charts, but that could very well change should it maintain its new streaming momentum. — KD