Jennie and Tame Impala Hit New U.S. Radio Peak With “Dracula”

BLACKPINK’s Jennie has added another marker to her growing solo chart story, this time through U.S. radio. Her collaborative version of “Dracula” with Tame Impala climbed to No. 3 on Billboard’s Radio Songs chart and also reached No. 3 on the Pop Airplay chart, giving both artists new personal bests on those rankings.

The result is notable because radio airplay is often one of the slower U.S. metrics for international pop acts to build. Streaming and sales can surge quickly around fandom activity, viral clips, or a major release week, but sustained radio growth depends on repeated programming across stations and formats. For Jennie, reaching the top three suggests that the track has moved beyond a short burst of attention and into heavier rotation.

Billboard’s Radio Songs chart tracks weekly plays across U.S. radio stations in all genres, while Pop Airplay focuses on mainstream Top 40 stations. That split matters: a high placement on both lists points to broad radio support and a strong presence within pop programming specifically. It also signals that the Jennie and Tame Impala pairing is being received as a mainstream single, not only as a high-profile collaboration.

A Collaboration With Crossover Weight

Jennie and Tame Impala arrived at “Dracula” from very different corners of the pop landscape. Jennie brings the global reach of BLACKPINK and the scrutiny that comes with one of K-pop’s most watched solo careers. Tame Impala, led by Kevin Parker, carries a long-standing reputation in psychedelic pop, alternative, and festival-driven music circles. Together, the remix gives the song a cross-format identity: polished enough for Top 40, distinctive enough to stand apart from a conventional pop single.

The radio milestone also lands at a time when K-pop soloists are increasingly being measured by more than launch-week streaming figures. For years, international chart breakthroughs were often framed around fan mobilization, album sales, and digital consumption. Those remain important, but radio airplay can reflect a different kind of market penetration. When a Korean artist’s solo track becomes part of everyday U.S. programming, it can extend the life of a release and introduce the artist to listeners who may not follow K-pop closely.

“Dracula” is not relying on radio alone. The song returned to its No. 10 peak on the Billboard Hot 100, the main U.S. songs chart, while continuing to lead Billboard’s Hot Dance/Electronic Songs and Dance Streaming Songs rankings. It also appeared inside the top 10 on Billboard’s global charts, reaching No. 6 on Global Excl. U.S. and No. 7 on the Global 200.

Why The Chart Spread Matters

The spread across charts gives the single a broader story than a single-format win. A top-three radio placement shows airplay momentum, the Hot 100 placement points to overall U.S. performance, and the dance and global rankings underline the track’s international and genre-specific strength. For an artist balancing K-pop visibility, solo branding, fashion-world prominence, and Western pop collaborations, that kind of multi-chart activity is strategically valuable.

Jennie also remained on Billboard’s Artist 100, placing at No. 87 for her 16th week on the ranking as a solo artist. The Artist 100 combines activity from major Billboard charts to reflect an act’s overall footprint, so continued placement there helps show that her solo visibility is not limited to one headline moment.

For Tame Impala, the collaboration’s radio peak is another reminder of how Kevin Parker’s sound has traveled far beyond its original alternative base. Parker’s production and songwriting influence have long crossed into pop, hip-hop, and dance spaces; a top-three U.S. radio result with Jennie places that crossover reach in a very public chart context.

The next question is how long “Dracula” can hold its momentum. Radio gains can continue if callout response, station support, and broader audience familiarity stay strong. Even if the song has already reached its highest placement, the current numbers give Jennie another concrete solo achievement in the U.S. market and strengthen the case that K-pop collaborations can compete across multiple commercial lanes at once.