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Chart Beat

Tate McRae’s ‘It’s OK I’m OK’ Leads Inaugural Hot Dance/Pop Songs Chart

Plus, Marshmello and Kane Brown's "Miles On It" spends a 35th week atop the revamped Hot Dance/Electronic Songs chart.

Tate McRae

Tate McRae

Charlie Denis

Billboard’s Hot Dance/Pop Songs chart (dated Jan. 18) premieres this week led by Tate McRae’s “It’s OK I’m OK” at No. 1.

As previously announced, the 15-position chart ranks the most popular current dance/pop titles, featuring titles with dance-centric vocals, melody and hooks by artists not rooted in the dance/electronic genre, ranked by streaming activity by online music sources tracked by Luminate; radio airplay audience impressions as measured by Mediabase and provided by Luminate; and sales data as compiled by Luminate.


“It’s OK I’m OK” tops the chart thanks to 22.3 million radio airplay audience impressions and 4.7 million official U.S. streams in the Jan. 3-9 tracking week.

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Charli XCX follows at Nos 2, 3, 4 and 6 with “Apple,” “360,” “Guess” (featuring Billie Eilish) and “Sympathy Is a Knife” (featuring Ariana Grande), respectively, all from her album Brat.

Rounding out the top 10 of the inaugural Hot Dance/Pop Songs chart, The Weeknd and Anitta’s “Sao Paolo” ranks at No. 5, Betsy and Maria Yankovskaya’s viral “Sigma Boy” starts at No. 7, bbno$’s “Two” places at No. 8, Katy Perry’s “I’m Him, He’s Mine” (featuring Doechii) ranks at No. 9 and Kesha’s “Joyride” is No. 10.

Billboard’s revamped Hot Dance/Electronic Songs chart also takes effect this week. The 25-position list ranks the most popular current dance/electronic songs, billed to DJs, producers and long-standing core artists in the dance/electronic genre, with an emphasis on electronic-based production.

Marshmello and Kane Brown’s “Miles On It” rules Hot Dance/Electronic Songs for a 35th week, with 16.7 million radio airplay audience impressions, 7.3 million U.S. streams and 1,000 sold. It’s the fourth longest-leading No. 1 in the chart’s 12-year history, after Marshmello and Bastille’s “Happier” (69 weeks at No. 1 in 2018-20); David Guetta and Bebe Rexha’s “I’m Good (Blue)” (55 weeks, 2022-23); and Elton John and Dua Lipa’s “Cold Heart (Pnau Remix)” (36 weeks, 2021-22).

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Elsewhere in the top five: Guetta, Alphaville and Ava Max’s “Forever Young” (No. 2), Chrystal’s “The Days” (No. 3), Adam Port and Stryv’s “Move” (featuring Malachiii; No. 4) and Snow Strippers’ “Under Your Spell” (No. 5).

Meanwhile, on the Top Dance Albums chart (whose name switches from Top Dance/Electronic Albums as of this week), Charli XCX’s Brat spends a 31st week at No. 1 – encompassing its entire run on the ranking – with 20,000 equivalent album units.

This article was first published by Billboard U.S.

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The Weeknd performs onstage during the Michael Rubin REFORM Alliance Casino Night Event on September 13, 2025 in Atlantic City, New Jersey.
Dimitrios Kambouris/Getty Images

The Weeknd performs onstage during the Michael Rubin REFORM Alliance Casino Night Event on September 13, 2025 in Atlantic City, New Jersey.

Publishing

Meet the Swiss Investment Firm Behind The Weeknd and Lyric Capital’s Billion-Dollar Deal

Partners Group bought royalty backed notes to finance a joint venture that gives Lyric a 25% equity stake and allows The Weeknd "creative freedom" over publishing and master rights.

The Weeknd and Lyric Capital‘s deal to move the Starboy artist’s back catalog into a new joint venture was financed through royalty-backed notes bought by the Swiss-based investment firm Partners Group, according to a press release.

The Weeknd’s masters catalog and Lyric Capital raised $1 billion — including $750 million in debt — in a deal that gave Lyric a 25% equity stake in artist Abel Tesfaye‘s masters, Billboard reported earlier in December. Partners said on Wednesday that The Weeknd will maintain “freedom to utilize the publishing and masters’ rights over the catalog” in the new vehicle, which it financed through the purchase of royalty-backed notes bought with client funds from its cross-sector royalty strategy.

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