Bad Bunny rules the roost on the global charts…
The 29-year-old Puerto Rican Grammy-winning superstar’s new single “Monaco” has debuted at No. 1 on the Billboard Global 200 and Billboard Global Excl. U.S. songs charts dated October 28.
The song is from his new LP, Nadie Sabe Lo Que Va a Pasar Mañana, which debuts as his third No. 1 on the U.S.-based Billboard 200 albums chart.
Bad Bunny debuts two other songs from the set in both the Global 200 and Global Excl. U.S. top 10: “Perro Negro,” with Feid, and “Fina,” with Young Miko.
“Monaco” begins atop the Billboard Global 200 with 82.3 million streams and 2,000 sold worldwide in its first week (October 13-19), giving Bad Bunny his second No. 1 debut, on the chart, following “Where She Goes,” which led for a week upon its start in June.
He previously reigned with “Un x100to,” with Grupo Frontera, for two weeks in May and “Dakiti,” with Jhay Cortez (now Jhayco), for three weeks in November-December 2020.
Bad Bunny breaks out of a tie with Drake and Olivia Rodrigo for the most Global 200 No. 1s among soloists; overall, only BTS, with seven, has more.
Likewise, “Monaco” launches atop Billboard Global Excl. U.S. with 57 million streams and 1,000 sold outside the U.S. October 13-19. He notches his second No. 1 debut, on the chart, after “Un x100to,” with Grupo Frontera, rose to the top for three weeks in May and “Dakiti,” with Jhay Cortez, began at No. 1 and ruled for five weeks in November-December 2020.
Bad Bunny solely claims the most Global Excl. U.S. No. 1s among soloists and ties BLACKPINK for the second-most among all acts; BTS leads all artists with seven No. 1s.
The Billboard Global 200 and Billboard Global Excl. U.S. charts, which began in September 2020, 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.