BLACKPINK's JUMP tops Sabrina Carpenter's Manchild as biggest 2025 debut
Prior to BLACKPINK's comeback, AESPA held the 2025 record for the biggest debut by a K-pop girl group, with 2.39 million first-day streams for 'Dirty Work'. 'JUMP' didn't just surpass that milestone, it nearly quadrupled it.
(Credit: X/kchartsmaster)
The gap widens further when compared with other leading K-pop releases by female acts this year. TWICE's highly awaited track 'THIS IS FOR' earned 2.25 million streams on day one. Against such figures, BLACKPINK's performance underscores their extraordinary global influence.The success of 'JUMP' also had an impact beyond the K-pop genre. Sabrina Carpenter's Manchild, which previously led 2025's female Spotify debuts with 8.7 million streams taking the top spot among all female artists this year.In addition to the song's success, the release of JUMP also sent BLACKPINK soaring up Spotify's artist rankings. The group jumped an impressive 128 spots on the Global Daily Top Artists chart, climbing to No. 41 within just one day.- EndsMust Watch
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Dosanjh honoured Sadiq with a shawl and tumbi – Sadiq's instrument – in a glass case, besides going on his knees and bowing to him on stage. 'That boy (Dosanjh) has shown the way to the younger generation and manifested what it is to respect senior artistes. It is because of him that the younger generation knows me and my music. He's achieved so much and yet he is still so down to earth. I wish Waheguru gives him more success,' says Sadiq. Born in Kup Kalan, a sleepy little village in Punjab's Malerkotla, Sadiq grew up in a Punjabi Muslim family from the Mirasi community, traditionally travelling musicians and keepers of the folklore in the subcontinent, who came from Rampur near Ludhiana. In the village noted for its literary tradition and writers like Surjit Rampuri, Gurcharan Rampuri, Joginder Singh and Surinder Rampuri, is where Sadiq's father, a military man, became a raagi in the Manji Sahab gurdwara – a significant religious site for the Sikhs – in the nearby Alamgir. 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Families organising weddings stopped calling the artistes. But slowly things began improving,' says Sadiq, who says that he hasn't received any royalty for the song since HMV changed hands in 1986. While Punjabi folk has found a new lease of life in Hindi cinema, questions of credit and royalty remain unanswered. Dhurandhar producers also did not credit Sadiq or any of the members involved with the song before it was pointed out by Charanjit Singh's son on social media, where he tagged actor Ranveer Singh. There has been no payment, of course, since the songs were owned by labels earlier and artistes were not very well aware of their rights. 'Almost every other Hindi film either has a Punjabi tune or a glimpse of one. But the folk artistes are often left on the margins. I hope there is awareness and better credit,' says Sadiq.
