Ayumu Imazu's "Musubi" has secured the top spot on the Oricon weekly streaming chart for the second consecutive week, recording 9.196 million streams during the week of October 12–18, 2026. The achievement comes alongside significant milestones for other Japanese artists, including Vaundy's first-ever top-three placement and Kenshi Yonezu's record-breaking streaming numbers. If you've been following Japan's music scene and want to understand what these numbers mean and why they matter, we've gathered all the details you need.
The latest Oricon streaming rankings, dated October 26, 2026, reflect a week of both sustained momentum and breakthrough achievements across Japan's digital music landscape. Let's break down what happened and why music fans are paying attention.
The Quick Version
- Ayumu Imazu's "Musubi" ("結び") held No. 1 for a second week with 9.196 million streams, up 3.6% from the previous week
- Vaundy's "Shiawase" ("しわあわせ") jumped from No. 5 to No. 3, its first top-three placement after more than five years on the charts
- Kenshi Yonezu's "IRIS OUT" passed 600 million cumulative streams, the fastest a solo artist has reached that milestone on Oricon
- EBiDAN's "Yes! Tokyo" held steady at No. 2, marking its ninth consecutive week in the top three
- The week covered streaming data collected between October 12 and October 18, 2026
Ayumu Imazu Strengthens His Hold at the Top
Ayumu Imazu's "Musubi" didn't just maintain its position at No. 1—it actually grew its audience. The track recorded 9.196 million streams during the October 12–18 tracking week, representing a 3.6% increase from the previous week's total of approximately 8.878 million streams. This upward trajectory is notable because many chart-topping songs see their numbers decline after the initial peak.
Released digitally on October 2, 2026, "Musubi" reached the summit remarkably quickly, claiming the No. 1 spot in only its second week on the chart. The song's continued growth suggests it's connecting with listeners beyond just initial curiosity, building genuine momentum through word-of-mouth and playlist placements. For an artist to not only debut at the top but also expand their streaming numbers in the second week indicates strong staying power.
We've seen this pattern before with songs that go on to define a season or even a year in Japanese music. The question now is whether "Musubi" can maintain this level of performance in the coming weeks, or if it will follow the more typical pattern of gradual decline after a strong opening.
Vaundy's Five-Year Journey to the Top Three
Perhaps the week's most emotionally resonant story belongs to Vaundy and "Shiawase" ("しわあわせ"), which climbed from No. 5 to No. 3—its first-ever top-three placement. The achievement is made more remarkable by the song's longevity: this breakthrough came during its 264th charting week, roughly five years and six months after it first appeared on Oricon's streaming rankings.
The song recorded 7.381 million streams during the October 12–18 tracking period, a substantial 38.0% increase from the previous week. That surge brought its cumulative total to 212.414 million streams, a testament to the song's enduring appeal. But what sparked this sudden resurgence for a track that's been available for more than half a decade?
The answer lies in the power of media tie-ins. "Shiawase" serves as the theme song for the film "Even If Mama Is No Longer in This World: My Diary of My Life" ("ママがいなくても、この世界にいても 〜私の命の日記帳〜"), which was released on October 2, 2026. The movie's emotional themes appear to have resonated with audiences, who have turned to the song in large numbers. This phenomenon illustrates how film and television placements can breathe new life into catalog tracks, introducing them to fresh audiences or prompting longtime fans to revisit them.
For Vaundy, this represents a career milestone. While the artist has enjoyed consistent success, breaking into the top three after such a long chart presence demonstrates both the quality of the work and the unpredictable nature of music consumption in the streaming era. Songs don't simply disappear after their release week—they can lie dormant for years before finding their moment.
Kenshi Yonezu Makes Solo Streaming History
While Ayumu Imazu and Vaundy captured the top chart positions, Kenshi Yonezu was quietly making history at No. 10. His track "IRIS OUT" recorded 4.509 million streams during the tracking week, a 3.3% increase, bringing its cumulative total to 619.51 million streams. More significantly, the song crossed the 600 million threshold in its 57th charting week—the fastest any solo artist has achieved that milestone in Oricon's streaming rankings.
This marks Yonezu's second song to pass 600 million streams, following "KICK BACK." But speed matters in record-keeping, and "IRIS OUT" reached the benchmark faster than any previous solo artist release. Among all artists (including groups and collaborations), the 57-week pace ranks third overall, behind only YOASOBI's "Idol" and Creepy Nuts' "Bling-Bang-Bang-Born."
The achievement extends "IRIS OUT"'s impressive run, which includes 24 consecutive weeks at No. 1 and 55 total appearances in the top 10. These numbers reflect not just initial popularity but sustained listening—the kind of deep catalog strength that defines the streaming era's most successful artists. When a song continues to accumulate millions of streams per week more than a year after its release, it indicates genuine integration into listeners' regular rotation rather than fleeting interest.
Yonezu's consistency across multiple releases demonstrates an ability to create songs that resonate across different periods and contexts. While some artists struggle to replicate success, he's built a body of work where multiple tracks achieve extraordinary longevity.
EBiDAN's Steady Presence in the Top Three
Holding the No. 2 position is EBiDAN's "Yes! Tokyo," which maintained its spot in the top three for the ninth consecutive week. This marks the song's 15th week overall in the chart's upper tier, reflecting consistent streaming activity that hasn't wavered despite competition from both new releases and resurging catalog tracks.
While the song didn't experience the dramatic week-over-week growth of some other top performers, stability at this level is its own achievement. Maintaining a top-three position for nine straight weeks requires a broad listener base that continues to return to the track, and "Yes! Tokyo" has clearly found that audience.
What These Numbers Tell Us About Japan's Streaming Landscape
The October 26 Oricon streaming chart offers a snapshot of a mature streaming market where multiple success stories can coexist. We're seeing new releases like "Musubi" quickly capture the top spot, catalog tracks like "Shiawase" finding second lives through media placements, and established hits like "IRIS OUT" continuing to accumulate impressive numbers.
This diversity suggests that Japanese streaming audiences aren't simply chasing the newest releases. They're maintaining relationships with songs across different timeframes, returning to older favorites while also exploring new music. The fact that a five-year-old song can suddenly jump into the top three demonstrates that discovery and rediscovery are ongoing processes in the streaming era.
Media tie-ins continue to play a crucial role in song performance. Both "Shiawase" and numerous other chart successes over the past year have benefited from associations with films, television dramas, and anime series. These placements create emotional contexts that deepen listener connections to songs, transforming them from simple audio experiences into parts of larger cultural moments.
What People Are Saying
Fans celebrating Vaundy's achievement have expressed particular emotion about the five-year journey. "Watching 'Shiawase' finally break into the top three after all this time feels like watching a friend succeed," one listener wrote on social media. "This song has been with us through so much, and now it's getting the recognition it always deserved."
Ayumu Imazu's fans are noting the significance of the week-over-week growth. "A lot of songs drop after they hit No. 1, but 'Musubi' is actually growing," a supporter observed. "That tells you it's not just hype—people are genuinely connecting with this song and sharing it with others."
Kenshi Yonezu's milestone has prompted discussions about his remarkable consistency. "He's not just having hits, he's creating songs that become part of the soundtrack of people's lives," one comment noted. "600 million streams isn't about one week of virality—it's about a year of people coming back again and again."
Music industry observers have highlighted the health of Japan's streaming ecosystem. "When you can have a brand new release, a five-year-old song, and a year-old track all performing strongly in the same week, that shows a really vibrant market where quality endures," an analyst remarked.
Frequently Asked Questions
When was the tracking period for this Oricon streaming chart?
The chart dated October 26, 2026, reflects streaming data collected between October 12 and October 18, 2026. This seven-day period captures the listening activity that determines each song's weekly ranking and stream counts.
Where can I listen to these top-streamed songs?
While the research doesn't specify exact platforms, Oricon's streaming charts aggregate data from major Japanese music streaming services. The songs are widely available on standard streaming platforms that operate in Japan.
How many streams did Ayumu Imazu's "Musubi" record in its second week at No. 1?
The song recorded 9.196 million streams during the October 12–18 tracking week, representing a 3.6% increase from its previous weekly total of approximately 8.878 million streams.
Why did Vaundy's "Shiawase" suddenly surge after five years?
The song's 38% week-over-week increase and jump to No. 3 coincided with its use as the theme song for the film "Even If Mama Is No Longer in This World: My Diary of My Life," which was released on October 2, 2026. Film tie-ins often introduce songs to new audiences or prompt existing fans to revisit tracks.
What makes Kenshi Yonezu's 600 million streams milestone special?
Yonezu's "IRIS OUT" became the fastest song by a solo artist to reach 600 million cumulative streams on Oricon's chart, achieving the milestone in just 57 weeks. Among all artists including groups, it ranks third-fastest behind YOASOBI's "Idol" and Creepy Nuts' "Bling-Bang-Bang-Born."
Looking Ahead on the Charts
The October 26 Oricon streaming rankings capture a moment of genuine diversity in Japanese music consumption, where immediate hits, enduring favorites, and rediscovered gems all find their audience. Ayumu Imazu's "Musubi" will face the challenge of maintaining its momentum into a third week at No. 1, while Vaundy's "Shiawase" may continue benefiting from its film association. Kenshi Yonezu's "IRIS OUT" continues its steady accumulation toward even more impressive cumulative totals.
What these numbers ultimately reveal is a streaming landscape where quality and emotional connection matter more than timing alone. Whether a song was released two weeks ago or five years ago, listeners are finding and embracing the music that speaks to them. For artists, that's both encouraging and challenging—your work never really stops competing, but it also never stops having the potential to find new audiences.
We'll be watching to see which songs maintain their positions and which new releases might shake up the rankings in the coming weeks. For now, these October streaming numbers offer a fascinating glimpse into what Japanese listeners are choosing to hear as we move deeper into the autumn season.
