From “Baby” to “Daisies,” Coachella headliner Justin Bieber is all over the April 25-dated Billboard charts, surging on and reentering the Billboard 200 and Billboard Hot 100. But beyond the California festival’s domestic impact, his streams explode globally, with more dramatic results than on home turf for Coachella (United States) or Bieber himself (Canada).

Worldwide, his catalog drew 663.9 million official on-demand streams in the week ending April 16, according to Luminate – a 171% vault over the previous week. The jump reflects Bieber’s April 11 Coachella performance (with his April 18 follow-up set to impact next week’s charts, dated May 2).

The U.S. remains Bieber’s biggest market by total volume, as it does for the vast majority of English-speaking artists. Here, he drew 173.1 million streams April 10-16, accounting for about a quarter (26.1%) of his global count. That number is up 165% week over week in the wake of his weekend-one (April 11) Coachella performance, though that triple-digit gain is dwarfed by increases around the world.

All 89 countries tracked by Luminate show gains for Bieber’s catalog. Of those, his streams doubled, at least, in 65 territories. Ranked by percentage increases, the U.S. is bested by sharper jumps in 56 countries across six continents. (Again, he starts at a higher base of total streams in the U.S., allowing for streams elsewhere to gain more exponentially percentage-wise).

The biggest post-Coachella gain for Bieber’s catalog was in Croatia, where clicks jumped 394%, from 95,000 to 469,000. Lebanon, Ireland, and Spain follow, each up more than 300%. The smallest moves were in African countries such as Cameroon, Gabon and Liberia, rising by 29%, 28%, and 17%, respectively.

By volume, Philippines follows the U.S., with 44.4 million streams April 10-16 (6.7% of total, up from 5.7%), more than triple last week’s 13.9 million. Indonesia, Brazil, the United Kingdom, and Mexico are next, posting between 30-40 million each.

Accounting for population, Iceland is Bieber’s most supportive country, with 0.87 streams per citizen in the tracking week. Australia, Singapore, Denmark, and Ireland are next, ranging from 0.63 to 0.77. His native Canada is next, streaming at a rate of 0.58 listens per person. The U.S. ranks ninth (0.52).

“Beauty and a Beat,” featuring Nicki Minaj, is Bieber’s biggest post-Coachella track, with the 2012 hit debuting on the Billboard Global 200 at No. 4, and one spot higher on the Billboard Global Excl. U.S. survey. It appears on 27 of Billboard’s 48 Hits of the World chart, ranking among the top 10 in 13 countries. It’s No. 2 on Taiwan Songs, and follows in the top five in Austria, Belgium, Czech Republic, Malaysia, Singapore, Slovakia, and Switzerland. In the U.S., it’s No. 15 on Streaming Songs and No. 26 on the multimetric Hot 100.

From weekly gains to total volume of streams to chart ranks, Bieber’s biggest post-Coachella showings were primarily concentrated across Asia and Europe. Many of these countries are primarily English-speaking territories, though that doesn’t apply to Lebanon, Slovakia, or Taiwan.

Of Bieber’s 16 songs on both of this week’s global charts, it’s his R&B-leaning tracks – last year’s “Yukon” and 2013’s “Confident,” featuring Chance the Rapper – that have the highest share of U.S. streams (44% and 28%, respectively), each ranking higher on the Global 200 than the Global Excl. U.S. list. More straightforward pop tracks, and especially those that take influence from dance music, like “Never Say Never,” “Sorry,” and “Beauty and a Beat,” (17%, 22%, and 23%) plus collaborations with DJ Snake and The Kid LAROI, see a more even spread across the world.

The international expanse of Bieber’s catalog gains points to Coachella’s increasing emphasis on its livestream on YouTube and more official content on Instagram. While the festival attracts more than 100,000 attendees per day, his set reportedly drew more than 100 million social impressions between the two weekends that he performed. Cut into parts, Coachella’s YouTube clip of “Daisies” has garnered 13 million views as of April 21, 70% more than any other video on the festival’s official channel; fellow headliner Sabrina Carpenter’s “Espresso” is next with 7.7 million. Beyond the official livestream, fan-made videos went mega-viral on social media, spreading far beyond the confines of Coachella’s Empire Polo Club headquarters.