Great Expectation, single de Sienna Spiro, numero un au Royaume-Uni
This week, a twenty-year-old newcomer put an end to Ella Langley’s chart-topping streak in the UK, JISOO opened her first solo chapter outside BLACKPINK, and francophone acts held their own between confessional songwriting, viral R&B and Congolese rumba. Between massive ballads, unapologetic club pop and Latin hits that refuse to fade, ten tracks sum up what people actually listened to between September 14 and 18, 2026.
“Great Expectation” — Sienna Spiro
At twenty, the British singer becomes the youngest female artist to land a UK number one in twelve years. “Great Expectation,” which entered the chart in July at number 32, took ten weeks to climb to the top, where it just dethroned Ella Langley’s “Choosin’ Texas” after the longest reign in Hot 100 history. It now holds the summit for a second straight week, an emotional ballad that finally found the formula the public was waiting for. The single is drawn from her debut album, “Visitor,” and its slow-burn trajectory — rather than an instant smash — is part of what makes the achievement stick.
“CLICK” — JISOO
The lead single ahead of her upcoming solo album, “CLICK” topped iTunes charts in nine countries on release day and cracked the top ten in forty-three territories. Directed by Joseph Kahn in Bangkok, the video casts JISOO as the last sentient cyborg in an abandoned theme park, and passed eight million YouTube views in just over twelve hours — the fastest launch of the year for a Korean solo act. On top of that, she swept both the Hanteo weekly World Chart and Album Chart in her first week out, an early sign that her upcoming debut album carries real commercial weight beyond BLACKPINK’s shadow.
“Sous influence” — Eddy de Pretto
The first single from a newly announced album, “Sous influence” got its official video just this September 18. The song questions how much of what we choose truly belongs to us, rather than being dictated by other people’s gaze, trends or the need to be accepted. It carries the same unsettling writing that built the French singer’s reputation, wrapped this time in a tighter, more urgent production.
“Chévere (premium_remix)” — Aria Vega & Ryan Castro
This remix gave Colombian singer Aria Vega her very first Billboard number one, topping the Latin Airplay chart — a striking debut that makes her the sixth Colombian solo act to reach that summit, and the only number one carried by two artists from the same country. Ryan Castro brings an urban, Caribbean edge that pushed the track well past the Latin market, on to a ninth non-consecutive week atop Colombia’s national chart.
“Piégé” — Mezé
Released quietly back in March, “Piégé” is living a second life this week, carried by a TikTok resurgence that made it one of the most Shazammed French-language tracks of the period. Rooted in hushed R&B, the track is a reminder that a song can resurface months after release the moment a social platform decides to run with it.
“Mr. Know It All” — Teddy Swims
Over a production steeped in eighties-tinged rock and R&B, Teddy Swims owns up to sabotaging his own love life. The song keeps climbing on French charts months after release, kept alive by a steady stream of remixes and covers that turn it into a listening habit rather than a one-off spike. It is exactly the kind of slow-building, radio-friendly heartbreak song that tends to outlast flashier releases once word of mouth catches up with it.
“Complices” — Fally Ipupa
Twenty years into his career, Fally Ipupa this week wraps up “XX: Délirium,” his triple album and full-scale tribute to Congolese rumba. “Complices,” one of the tracks already released as a video, condenses that ambition: making rumba’s heritage speak to thoroughly current production, without ever betraying the foundation that built his legend.
“Bass Persuades” — Miley Cyrus
The title track of “Bass Persuades,” Miley Cyrus’s tenth album, the song owns a direct lineage to club-era Madonna and Britney Spears, while calling out a generation that, per its chorus, doesn’t even dance anymore. That gap between the polished pop surface and the almost disillusioned lyric is exactly what makes the track worth a second listen.
“FUN” — Rema
Released nearly a year ago, “FUN” still hasn’t let go of the top spot on Nigeria’s Spotify and Apple Music charts, racking up consecutive weeks at number one. The video, which traces Rema’s path from humble beginnings to global stardom, had already passed a million views in under twenty-four hours — proof that an afrobeats track doesn’t need to be new to stay massive. The clip also features a cameo from Mavin labelmate Crayon, a small detail that underlines how tightly connected the current wave of Nigerian pop stars remains behind the scenes.
“Training Season” — Dua Lipa
Originally released in 2024 on “Radical Optimism,” the track is riding a second viral wave in the UK this week, climbing back up in the slipstream of Sienna Spiro’s historic run at number one. A reminder that a weekly chart is never fixed: an older single can always find a second wind once listening habits swing back its way, sometimes years after its original music video first came out.
