Die with a Smile: Yet Another Beast of a Record Set

September 21, 2026

“Die With A Smile” by Lady Gaga and Bruno Mars has now surpassed 4.0 billion streams on Spotify. It is the fastest track in Spotify’s history to reach that figure and the first song led by a female artist to achieve it.

The track was released in August 2024 and it also holds the speed records for reaching 1.0, 2.0 and 3.0 billion streams. The 1.0 billion milestone was reached in just 96 days. Now it has needed around 765 days to reach 4.0 billion.

The list of records for every 100 million that ChartData shares has its own charm. “The Fate of Ophelia” was the fastest to reach 100 and 200 million. “Flowers” was the fastest from 300 million to 800 million. From 900 million onward, practically everything is “Die With A Smile”: 900 million, 1.0 billion, 1.1, 1.2… and so on up to 4.0 billion. After that, “As It Was” by Harry Styles and “Blinding Lights” by The Weeknd appear.

It’s also worth praising the song’s official certifications, which are anything but discreet. “Die With A Smile” holds 11× Diamond in Brazil, 8× Platinum in Australia and Canada, Diamond in France and Poland, 6× Platinum in New Zealand and Portugal, 3× Platinum in Spain and the United Kingdom, and Platinum in Germany, Italy, Norway and Switzerland, as well as certifications in Belgium and Nigeria. In the United Kingdom, 3× Platinum corresponds to 1.8 million certified units; in Spain, to 300,000.

The next major figure is 5.0 billion. At the moment the record belongs to “Blinding Lights,” which came out in 2019 and took almost six years to reach that milestone. “Die With A Smile” could achieve it in around three years from its release if it maintains a pace similar to the current one. In other words, it could reach 5.0 billion in roughly half the time it took The Weeknd’s track.

Image placeholder
Emily Carter
I cover the intersections between emerging scenes and the wider industry shifts shaping how music is created and consumed today. Based in London, I focus on stories that reveal the cultural and structural forces behind the sound. My work at The Sorrow aims to document what moves the industry forward long before it reaches the mainstream.