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Chart Beat

Karan Aujla's 'Courtside' Makes a Big Debut on the Billboard Canadian Hot 100

Shawn Desman and Jamie Fine's "Body" is also among ten new debuts on the chart this week. Heavy rock band Sleep Token chart six different songs from their new album 'Even In Arcadia,' which also tops the Canadian Albums chart.

Karan Aujla - Courtside

Karan Aujla 'Courtside' Music Video

Karan Aujla's new single "Courtside" has had a hot launch.

The song debuts on this week's Billboard Canadian Hot 100 (dated May 24) at No. 59, the latest big accolade for the Punjabi-Canadian star. The laid-back hip-hop track features Toronto producer SB (Signature by SB), and the song's soulful keys give it a nice summer vibe.


The song was released alongside a music video where Aujla drives around Miami and attends the Miami Grand Prix, which took place earlier this month. It was the most-viewed YouTube video worldwide within the first 24 hours of its release according to his label Warner Music Canada, and it has since accumulated over 23 million views.

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Aujla has had multiple chart entries on both the Canadian Hot 100 and Canadian Albums chart. Most recently, "Tell Me," his crossover collaboration with OneRepublic and Ikky, entered at No. 54 and spent eight weeks on the chart. Last year, he earned his first-ever top 10 hit on the chart when "Wavy" peaked at No. 7.

Canadian singers Shawn Desman and Jamie Fine have also hit the Canadian Hot 100 with their song "Body," which debuts at No. 91.

The song officially breaks into the flagship after gaining momentum on the radio. It debuted on the Hot AC and CHR/Top 40 charts last month and continues to reach new peaks, sitting in the top 20 of both charts (No. 14 on Hot AC, No. 18 on CHR/Top 40) for the week dated May 17.

The dance-pop track continues a resurgence for Desman, who rose to Canadian prominence in the early 2000s and has been on a hot streak since appearing at the 2022 edition of OVO Fest.

This week's Hot 100 is full of new debuts, with Morgan Wallen's "Superman" being the top new entry at No. 30.

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British rock band Sleep Token have also debuted three new songs on the Canadian Hot 100 following the release of their latest album Even In Arcadia on May 9: "Dangerous" at No. 76, "Even In Arcadia" at No. 80 and "Look to Windward" at No. 84. Three of the album's tracks also re-enter the chart ("Caramel" at No. 74, "Emergence" at No. 83 and "Damocles" at No. 99), making for a total of six entries from the band this week. The album also bows in at No. 1 on both the Canadian Albums Chart and the U.S. Billboard 200, joining Skeletá by Ghost as the second rock album in three weeks to hit No. 1 in the U.S. since AC/DC in 2020. Skeletá did not top the Canadian chart, however, landing at No. 2.

Other debuts on this week's Canadian Hot 100 include "Nope Your Too Late I Already Died" by late American rapper wifiskeleton (who passed away earlier this month) & i wanna be a jack-o-lantern (No. 70), "Messy" by ROSÉ (No. 71), "More To Lose" by Miley Cyrus (No. 90) and "After All The Bars Are Closed" by Thomas Rhett (No. 95).

Check out the full Canadian Billboard Hot 100 here and find all of Billboard Canada's charts here.

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Penny Harrison and her son Parker Harrison rally against the live entertainment ticket industry outside the U.S. Capitol January 24, 2023 in Washington, DC.
Drew Angerer/Getty Images

Penny Harrison and her son Parker Harrison rally against the live entertainment ticket industry outside the U.S. Capitol January 24, 2023 in Washington, DC.

Legal News

Live Nation Lost Its Monopoly Trial. What’s Next — and Could Ticketmaster Really Be Sold?

As the dust settles on a jury's antitrust verdict against Live Nation, Billboard unpacks what's next in the high-stakes legal battle.

A jury in New York has found that Live Nation runs an unlawful monopoly that touches multiple corners of the concert industry. But it will take some time before we find out the consequences.

The blockbuster verdict, which came down on Wednesday (April 15) after a monthlong trial and four days of jury deliberations, is limited to findings of liability. That means jurors were asked only to decide whether Live Nation monopolized the market for primary concert ticketing and unlawfully required artists to use its promotion services in order to play its amphitheaters — and they answered a resounding “yes” on all counts.

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