Bruno Mars’ “I Just Might” debuts at #1 on the Hot 100

[Economy 52,846]

2 hours ago, robotvoiceinalice said:

if a female released a song this bland it would be bubbling under

Have u never heard of Gracie Abrams????

Edited January 17 by Economy

[JustJames 1,089]

4 hours ago, gagzus said:

Me neither, I’ve seen songs go #1 or be in the top 10 that I’ve NEVER heard in my life. I understand when it’s songs like by Taylor Swift and such because I hear them EVERYWHERE like in adverts on tv, on the radio, they get auto play on Spotify etc 

But like that song Ordinary I think it was called, it was #1 for weeks and I’d never heard of it ever nor have I still ever heard it and yet it was number 1. But Abracadabra was everywhere, had massive streaming numbers, was one of the most recognisable hits of 2025, had the push of DWAS as well and yet… nothing  I swear billboard makes **** up out their ass

I don’t get this type of criticism of the Hot 100 methodology or the “I’ve never even heard (insert song)!” Every country has their own official chart catered to that market / local listening habits. Ordinary was everywhere in the U.S. - it’s not my taste, but I realize a national chart isn’t going to match my personal playlist.

Official charts in countries like Spain and Italy are flooded with local artists, the German chart is revenue based, and the UK applies unique rules (limiting to 3 songs per artist, slashing points after 8 weeks, etc.). There’s no perfect, purely objective way to rank “the most popular songs” each week. Billboard has a fairly transparent methodology; the most streams + sales + airplay that week gets to be #1 and that’s that. If you value 1 component more than the other, they have separate charts. If you value global consumption, there’s the Global 200. Or Spotify Charts.

Unfortunately, no chart can account for fans being unable or unwilling to apply context/remember well enough when a song like Abracadabra misses top 10 because of bad timing. Had the 2025 SB performer been Usher, Rihanna, or JLo/Shakira and not Kendrick, or had Abracadabra been released almost any other week, it would’ve made the top 10.

1 hour ago, Lord Mayhem said:

Yet it baffles me Abracadabra...arguably one of the biggest songs of the year barely cracked Top 50 

I mean, hopefully sarcasm or hyperbole. But, #13 with over 4 months in the top 40 is certainly not “barely cracking the top 50.”

Edited January 17 by JustJames

[PatrickMonster 6,955]

2 hours ago, Super said:

has taylor released any variant/remix/exclusive tracks to once again block a POC to reach #1? if not its coming

Of course she did, new remix with seperate extended version and discounted all Ophelia variants. She is known for being the most chart obsessed and desperate musician ever for a reason.

[gagzus 23,111]

1 hour ago, JustJames said:

I don’t get this type of criticism of the Hot 100 methodology or the “I’ve never even heard (insert song)!” Every country has their own official chart catered to that market / local listening habits. Ordinary was everywhere in the U.S. - it’s not my taste, but I realize a national chart isn’t going to match my personal playlist.

Official charts in countries like Spain and Italy are flooded with local artists, the German chart is revenue based, and the UK applies unique rules (limiting to 3 songs per artist, slashing points after 8 weeks, etc.). There’s no perfect, purely objective way to rank “the most popular songs” each week. Billboard has a fairly transparent methodology; the most streams + sales + airplay that week gets to be #1 and that’s that. If you value 1 component more than the other, they have separate charts. If you value global consumption, there’s the Global 200. Or Spotify Charts.

Unfortunately, no chart can account for fans being unable or unwilling to apply context/remember well enough when a song like Abracadabra misses top 10 because of bad timing. Had the 2025 SB performer been Usher, Rihanna, or JLo/Shakira and not Kendrick, or had Abracadabra been released almost any other week, it would’ve made the top 10.

I mean, hopefully sarcasm or hyperbole. But, #13 with over 4 months in the top 40 is certainly not “barely cracking the top 50.”

The fact of the matter is back in my day, if a song was literally popular and EVERYWHERE it would be a hit in almost every country lol Let’s not forget that even Gaga’s old songs when she debuted where EVERYWHERE and charted high in every country.

Abracadabra absolutely had enough impact in popular culture (it literally had everybody talking about how she was back to her old TFM self, and had people comparing it to Bad Romance and everything) and is probably THE most remembered song of 2025, yet somehow it wasn’t charting well? Like WHAT that makes no sense.
 

Like I don’t understand how DWAS for instance was #1 on the worldwide chart for so long to the point it broke records- but wasn’t number one on the main charts in the three biggest markets in the world; the US, UK and Japan at that time (yes it did end up as number 1 on the hot 100 for a bit but I mean statistically it should’ve STILL been number one for almost the same amount of time IN THE US to make it that big).

Probably a controversial take BUT whether people like to admit it or not, if your song isn’t a hit in the US, UK, Japan and Australia. It’s not a REAL hit single. If it isn’t on radio and being used everywhere, it’s not a REAL hit single. All these songs that have “accolades” that if l- a person that’s so plugged into popular culture doesn’t know about, then it absolutely is not a hit. It also becomes a true hit if it becomes regular conversation in the real world, like how Shallow was a water cooler topic of conversation in 2018 and then it went beyond the song where people were talking about Gaga and Bradley and Gaga’s voice etc. That’s the sign of a real hit single. 
 

If we are still playing it and buying it a decade or 2 from now THEN it’s a hit imo. I mean HOW is The Fame STILL one of the top 5 best selling electronic albums every single year in the US and yet not a single song from it is in the hot 100 or it’s singles? Statistically that makes absolutely no sense to me.

[Guillaume Hamon 6,989]

6 hours ago, gagzus said:

I’ve seen songs go #1 or be in the top 10 that I’ve NEVER heard in my life.

Same but it ain't surprising. While we don't know X or Y all the little girls gonna be streaming the hell out of them and beg the parents for the album/ ticket.

The era of a hit being this song everybody know/ hear are done since radios are behind streaming. That's how you see future rap songs getting so successful or those country tracks outperforming big popstars hits...

Seem senseless but it can be based... Or chart manipulation through payola and other tricks. 

[bornthisway135 722]

I just don’t get the Bruno hype. 

It Just Might sounds like it came out in 2015. wtf is happening. 

[Controversiaga 16,031]

Then Unpredict it

[Economy 52,846]

19 hours ago, gagzus said:

The fact of the matter is back in my day, if a song was literally popular and EVERYWHERE it would be a hit in almost every country lol Let’s not forget that even Gaga’s old songs when she debuted where EVERYWHERE and charted high in every country.

Abracadabra absolutely had enough impact in popular culture (it literally had everybody talking about how she was back to her old TFM self, and had people comparing it to Bad Romance and everything) and is probably THE most remembered song of 2025, yet somehow it wasn’t charting well? Like WHAT that makes no sense.
 

Like I don’t understand how DWAS for instance was #1 on the worldwide chart for so long to the point it broke records- but wasn’t number one on the main charts in the three biggest markets in the world; the US, UK and Japan at that time (yes it did end up as number 1 on the hot 100 for a bit but I mean statistically it should’ve STILL been number one for almost the same amount of time IN THE US to make it that big).

Probably a controversial take BUT whether people like to admit it or not, if your song isn’t a hit in the US, UK, Japan and Australia. It’s not a REAL hit single. If it isn’t on radio and being used everywhere, it’s not a REAL hit single. All these songs that have “accolades” that if l- a person that’s so plugged into popular culture doesn’t know about, then it absolutely is not a hit. It also becomes a true hit if it becomes regular conversation in the real world, like how Shallow was a water cooler topic of conversation in 2018 and then it went beyond the song where people were talking about Gaga and Bradley and Gaga’s voice etc. That’s the sign of a real hit single. 
 

If we are still playing it and buying it a decade or 2 from now THEN it’s a hit imo. I mean HOW is The Fame STILL one of the top 5 best selling electronic albums every single year in the US and yet not a single song from it is in the hot 100 or it’s singles? Statistically that makes absolutely no sense to me.

Well in the case of DWAS in the US specifically it had the bad back of peaking at the same time as the biggest hit in years (Bar Song) or it would have been #1 for a very long time

 

Same sh*t that happened with Bad Romance. It was a huge hit but did not go #1 in US simply because it peaked at the same time as the years biggest hit (Tik Tok) and got blocked the entire time, had it peaked any other time in 2010 it would have gone #1

 

As for what u said about USA, UK, Japan and Australia I agree, ppl put way too much emphasis on peaks of specific Countries

 

Also I do not get why Austria. Theres a number of bigger markets with bigger populations in the West:

 

Canada

Germany

France

Mexico

Spain 

Italy

Brazil (Brazil is an absolutely massive market for music)

 

Edited January 18 by Economy

[weed 78,933]

I'm not shocked 

 

[gagzus 23,111]

1 hour ago, Economy said:

Well in the case of DWAS in the US specifically it had the bad back of peaking at the same time as the biggest hit in years (Bar Song) or it would have been #1 for a very long time

 

Same sh*t that happened with Bad Romance. It was a huge hit but did not go #1 in US simply because it peaked at the same time as the years biggest hit (Tik Tok) and got blocked the entire time, had it peaked any other time in 2010 it would have gone #1

 

As for what u said about USA, UK, Japan and Australia I agree, ppl put way too much emphasis on peaks of specific Countries

 

Also I do not get why Austria. Theres a number of bigger markets with bigger populations in the West:

 

Canada

Germany

France

Mexico

Spain 

Italy

Brazil (Brazil is an absolutely massive market for music)

 

I personally would put more emphasis on countries that have bigger populations, media access and places to promote the songs like adverts, tv programmes, radio airplay. Like look at Japan, it’s easily Gaga’s biggest and most reliable market yet we put focus more on the US purely because it simply just is the US. 

[gagzus 23,111]

1 hour ago, weed said:

I'm not shocked 

 

Let’s not act like DWAS wasn’t like this though lmao. There was one point where almost every autoplay I had at the peak of DWAS, it was the song and same for my friends. 

ALTHOUGH an argument can be made for the fact that Spotify’s algorithm always suggests their most played artists 

Edited January 18 by gagzus

[TEANUS 16,140]

1 hour ago, weed said:

I'm not shocked 

 

This stuff always cracks me up - you’re listening to a generic pop artist and you’re shocked Spotify recommended you a song by another generic pop artist?? 

[Madame Goo Goo 4,132]

On 1/17/2026 at 10:59 AM, Lord Mayhem said:

Yet it baffles me Abracadabra...arguably one of the biggest songs of the year barely cracked Top 50 

Abracadabra did way more than barely crack the top 50, it peaked at #13 and spent months in the top 40

[Super 1,205]

22 hours ago, PatrickMonster said:

Of course she did, new remix with seperate extended version and discounted all Ophelia variants. She is known for being the most chart obsessed and desperate musician ever for a reason.

lmao I can't believe she REALLY did this. not even trying to hide atp

[Juanjo 2,284]

He deserves it!