The “KPop Demon Hunters” soundtrack fever only intensified over the past four weeks. On the “Billboard” 200 chart dated the third week of September, it finally climbed to No. 1. “KDH” is the first No. 1 soundtrack in about three and a half years, the last being “Encanto” in 2022. It’s also only the seventh soundtrack to an animated film to ever reach No. 1. In addition to “Encanto,” the list includes “Frozen II” (2019), “Frozen” (2014), “Curious George,” (2006), “Pocahontas” (1995), and “The Lion King” (1994). “Frozen” spent 13 weeks at the top—the most of any of them. Not only is “KDH” No. 1 on the “Billboard” 200, but its track “Golden” is No. 1 on the Hot 100, too—another first since “Encanto” soared alongside the song “We Don’t Talk About Bruno.”
“KDH” rose to No. 1 after 12 consecutive weeks on the chart. Nowadays, hotly anticipated releases tend to debut on the “Billboard” 200 at No. 1 in their opening week on the back of strong initial numbers, then remain near the top if they enjoy sustained streaming performance. It’s rare, then, for an album to debut lower down on the chart and then steadily climb to No. 1. One that took even longer than the 12 weeks it took “KDH” was “F*CK LOVE” by the Kid LAROI, which hit No. 1 in its 53rd consecutive week on the chart back in 2021. Given how rare an occurrence it is, the specifics behind each scenario vary widely. It’s also different from when outside forces send an album back to the chart with a momentum that drives it straight to the top. A notable recent example of the latter is Toby Keith’s 2008 album “35 Biggest Hits,” which returned to the chart and reached No. 1 last year following the artist’s passing.
Notably, “KDH” hit No. 2 seven different weeks before finally cracking No. 1. It’s the most weeks since the nine that Linda Ronstadt’s 1977 album “Simple Dreams” spent at No. 2 before eventually being crowned. And of course, countless albums have peaked repeatedly at No. 2 without ever managing to reach No. 1, with the record going to the Stray Cats’ 1983 album “Built for Speed,” which hit No. 2 a total of 15 times. For 13 of those weeks, it was blocked by the Men At Work album “Business As Usual.” Next on the list, heartbreakingly, is Michael Jackson’s “Thriller.”
“KDH” performed steadily better each week through August, surpassing 100,000 units, and later 120,000 units in the first week of September. Several factors contributed to these outstanding sales. First, the sing-along events held in theaters across North America over the August 23–24 weekend were a massive success and kept buzz around the soundtrack swirling. Immediately after, the sing-along version also became available for streaming on Netflix. Second, CDs of the soundtrack went on sale on August 22, though they initially could only be purchased online (these figures were reflected in the chart for the first week of September). Third, starting September 5, the CD version became available at wide-reaching brick-and-mortar retailers like Walmart and Target. At the same time, a deluxe album including the sing-along version was released on digital and made available for streaming (reflected in the chart for the third week of September). The result was actual album sales totaling 18,000 copies in the first week of September (a 236% increase from the previous week) and 23,000 copies in the third week (a 56% increase).
During the same period, weekly streaming figures for “KDH” reached the 100,000-unit range, which, combined with album sales, easily pushed its total above 120,000 units. Meanwhile, Morgan Wallen’s “I’m The Problem,” which had kept “KDH” at No. 2 during the second through fifth weeks of August, saw its weekly total drop below 120,000 units, allowing “KDH” to surpass it. In the first week of September, however, the Stray Kids album “KARMA” debuted at No. 1 with a massive 313,000 units, followed by the debut of Sabrina Carpenter’s “Man’s Best Friend” the following week at No. 1 with an even more astounding 366,000 units. Consequently, despite overtaking Wallen’s album, “KDH” remained at No. 2, becoming a new benchmark for what it takes to reach the top of the “Billboard” 200 in the process.
Now, let’s look at the songs themselves. “Golden” has held strong at No. 1 for the past four weeks for a total of five and has crossed several milestones. First, it has the longest No. 1 streak of any K-pop song other than BTS’s 2021 hit “Butter,” which stayed at the top for 10 weeks. Second, “Golden” is the third-longest-running No. 1 hit for a female group after Destiny’s Child’s “Independent Women Part I,” with 11 weeks at No. 1 in 2001, and TLC’s “Waterfalls,” which reigned for seven weeks. “Golden” is actually tied for third with the Emotions’ 1977 classic “Best of My Love,” also at five weeks, followed by five songs that topped the chart for four weeks each. Third, “Golden” now holds the record for the most weeks at No. 1 among songs from animated features. The previous record of four weeks dates back to before 1970.
As of the third week of September, “Golden” had been No. 1 in streaming for eight straight weeks. The song has seen streams in the 30-million range every week for the past six weeks—the only song to do so this year. Previously, Kendrick Lamar and SZA’s duet “luther” crossed the 30-million threshold for five weeks. On top of that, “Golden” debuted at No. 42 on the Radio Songs chart in the fifth week of August and climbed swiftly from there, reaching No. 20 in just four weeks. In short, the song’s making a strong case that it will be remembered as a hit with longevity.
Other tracks off the album have been doing great as well. Over the past four weeks, “Your Idol,” “Soda Pop,” and “How It’s Done” have all stuck around in the Top 10. “KDH” is now the only soundtrack in history to have had four tracks simultaneously chart in the Top 10. Only four other soundtracks have ever had four or more Top 10 hits, but never all at the same time. Those albums are all in the proverbial soundtrack hall of fame: “Waiting to Exhale” (1996), “Purple Rain” (1985), “Grease,” and “Saturday Night Fever” (both 1978).
Tracks from “KDH” simultaneously held onto Nos. 1, 4, and 5. The last time a soundtrack had three songs in the Top 5 at the same time was in April 1978, when the “Saturday Night Fever” tracks “Night Fever,” “Stayin’ Alive,” and “If I Can’t Have You” were Nos. 1, 2, and 5. Even then, the disco classic only held on for two weeks, while “KDH” became the first soundtrack to extend this feat to three weeks.
“KDH” is poised to continue breaking records. We won’t be able to take our eyes off it as the awards season unfolds early next year, but as explained in detail above, its achievements over the past three months alone have already cemented “KDH” as a permanent star in the pop culture constellation. “The New York Times” compared “KDH” to “Encanto” and “Frozen.” Director Maggie Kang, attending the Busan International Film Festival, likened it to “Sailor Moon” or “The Little Mermaid” for a new generation. However it’s described, the sentiment is the same. Just as “The Little Mermaid” and “Under the Sea” or “Frozen” and “Let It Go” have become a part of the cultural DNA not just for younger viewers but all modern audiences, no doubt “KDH” and “Golden” are bound to achieve the same status.
What makes “KDH” even more remarkable is that its success represents a culmination of trends spanning over a decade. Ever since the release of “Moana” in 2016 and a handful of animated films that followed, creators from diverse cultural backgrounds—including Asia and Latin America—have woven their unique sensibilities into works that explore universal themes. In 2021, “Encanto” was released on Disney+ for Christmas just 30 days after its theatrical debut due to the COVID-19 pandemic. The movie became the first example of how the combination of repeat views over video and music streaming platforms could unleash a storm of popularity. And Korean pop culture, with K-pop at the helm, has fought its way into the global market, claiming commercial clout for non-English content. No single factor alone can explain the overwhelming success of “KDH,” but the movie’s ability to captivate children and adults alike proves it’s latched onto the zeitgeist. It’s also why it’s a waste of time to focus on where the money comes from or where the profits are going.
Sabrina Carpenter’s album “Man’s Best Friend” debuted at No. 1 on the “Billboard” 200 in the second week of September on the back of 366,000 units. The figure is largely made up of 224,000 copies sold and 184.1 million streams, equivalent to 141,000 units. The sales, streaming, and combined figures are the highest of Carpenter’s career to date and the highest for any female artist this year. For reference, her debut album, “Short n’ Sweet,” debuted with 362,000 units. The only albums to outperform “Man’s Best Friend” this year have been Morgan Wallen’s “I’m The Problem” (493,000 units) and the Weeknd’s “Hurry Up Tomorrow” (490,000). For pure album sales, it follows “Hurry Up Tomorrow” (359,000 copies) and Stray Kids’ “KARMA” (296,000).
Vinyl made up a significant portion of album sales at 160,000 copies, marking the ninth-best week for sales of an album on vinyl since data first became available in 1991. Out of the Top 8, seven are Taylor Swift’s, and the other belongs to Harry Styles—a clear indicator of the kind of core fanbase Carpenter now possesses.
“Man’s Best Friend” is the first album by a woman to top the charts in nearly five months. The last was Ariana Grande’s “eternal sunshine,” which took No. 1 on the April 12 chart. This five-month gap is the longest since the seven-month stretch between “30” by Adele and “RENAISSANCE” by Beyoncé in 2022.
All 12 tracks from Carpenter’s latest entered the Hot 100, starting with “Tears” at No. 3 and “Manchild” at No. 4 and continuing down the chart to No. 39. The singer now has a total of 31 Hot 100 hits to her name, including five in the Top 10 and 25 in the Top 40. Furthermore, she’s one of only four female artists—alongside Taylor Swift, SZA, and Olivia Rodrigo—to have had 12 songs in the Top 40 simultaneously.
Conan Gray’s album “Wishbone” debuted at No. 3 on the “Billboard” 200 in the fifth week of August. The album moved 71,000 units in its first week, marking Gray's highest chart performance to date. With 53,000 copies sold, it also claimed No. 1 on the Top Album Sales chart. This marks his third album in the Top 10, following 2022’s “Superache” and 2020’s “Kid Krow,” which reached No. 9 and No. 5, respectively.
Gray’s path from being a teenage music YouTuber to releasing his debut single “Idle Town” independently at 20, then catching the attention of a major label and securing a record deal, may sound like a success story typical of modern days, but Gray is different from artists whose social media savvy and fan engagement are often highlighted as defining traits. What truly sets him above so many others and places him among the finest of his generation is his exceptional songwriting. Such a generational writing talent isn’t something that takes time to ripen but rather tends to shine bright right from the start of a career.
Unsurprisingly, then, his debut album, “Kid Krow,” and its tracks, like “Heather” and “Maniac,” remain defining moments of his career. Gray draws from personal experience to capture universal emotions, like unrequited love (“Heather”) and the complexities of friendships (“Maniac”), with raw honesty and perfect precision. While his musical aesthetic has evolved through dreamy bedroom pop, ’80s synthpop, and ’90s rock across his releases, his core songwriting pillar remains sturdy—and the new “Wishbone” serves as yet more evidence of that remarkable talent.
Laufey’s third album, “A Matter of Time,” debuted at No. 4 on the “Billboard” 200 in the first week of September. The release marks her first Top 10. The album pulled in 99,000 units in its debut week, making it her highest-performing release yet. With 71,000 copies sold, it landed at No. 2 on the Top Album Sales chart, just behind Stray Kids’ “KARMA.” Following the success of her 2023 album, “Bewitched,” which won the Grammy for Best Traditional Pop Vocal Album and has moved a total of 950,000 units since release, expectations for Laufey’s new album were high. And with the impressive first week of “A Matter of Time,” Laufey has cemented herself as one of today’s best contemporary jazz vocalists, and the fact that it debuted on the “Billboard” 200 at No. 4 makes it the highest debut for a jazz album since Michael Bublé released “love” in 2018.
Laufey has long been recognized for her ability to balance both timeless artistry and modern sensibilities. The singer was given a musical upbringing with a foundation in jazz and classical ever since she was young, but her music is most definitely pop and approachable, as proven in her time on “The Voice Iceland.” The combination of strings, piano, and her tender vocals make for a lush soundscape as she explores contemporary themes such as cynical views on romance, self-acceptance, and self-confidence. “A Matter of Time” takes this signature sound of hers and elevates it to new heights. In short, Laufey’s artistic evolution and popular reception of her work are a cause for celebration.
In the first week of September, the Stray Kids album “KARMA” debuted at No. 1 on the “Billboard” 200. The album saw 313,000 units during its first week, briefly making it the third-best debut of 2025 until the release of Sabrina Carpenter’s “Man’s Best Friend.” With 296,000 copies sold, “KARMA” also became the second-best-selling physical album of 2025 and secured the top spot on the Top Album Sales chart. “KARMA” saw 23.1 million streams, equal to 16,000 units, reaching No. 34 on the Top Streaming Albums chart. Stray Kids has made it onto the “Billboard” 200 seven times, debuting each time at No. 1—a first in the history of the chart. That same week, the group’s song “CEREMONY” debuted at No. 52 on the Hot 100, marking their fourth time on the chart.
JENNIE’s album “Ruby” also returned to the “Billboard” 200 the same week, this time at No. 153. By the third week, aespa’s sixth mini album, “Rich Man,” debuted at No. 14, ZEROBASEONE’s album “NEVER SAY NEVER” at No. 23, and MONSTA X’s EP “THE X” at No. 31.
Also in the third week, KATSEYE’s single “Gabriela” reached a new peak of No. 57 in its eighth week on the Hot 100. Over on the Global 200, major K-pop song debuts included “CEREMONY” by Stray Kids at No. 10 in the first week, “XOXZ” by IVE at No. 89 in the second week, and “Rich Man” by aespa at No. 30 in the third.