Billboard’s Dance Moves roundup highlights the biggest movers and shakers across Billboard’s many dance charts, including new No. 1s, notable debuts, chart milestones, first-timers and rising tracks and artists.

This week, on charts dated March 28, Harry Styles, John Summit and Rohaan, and Milky and Mall Grab achieve new feats. Check out the key movers below.

Harry Styles

Styles returns to No. 1 on the latest Dance/Mix Shows Airplay chart, as “Aperture” rises a spot to No. 1 with an 11% increase in plays (among 24/7 dance reporters and pop stations’ mix show hours) March 13-19, according to Luminate.

The lead single from the superstar’s reigning Billboard 200 No. 1 album, Kiss All the Time. Disco, Occasionally., marks his second Dance/Mix Show Airplay No. 1, after “As It Was” led for two weeks in 2022. His latest is his eighth entry on the chart and first since “Music for a Sushi Restaurant” in 2022.

“Aperture” has become a smash across Billboard’s charts. It debuted at No. 1 on the Billboard Hot 100 in February, becoming Styles’ third leader, after “Watermelon Sugar” (2020) and “As It Was.” It has also topped Hot Dance/Pop Songs and the Billboard Global 200.

Of Billboard’s 25 weekly radio charts, Styles has earned No. 1s on five:

Pop Airplay: “Adore You,” “Watermelon Sugar,” “As It Was,” “Late Night Talking”
Adult Pop Airplay: “Watermelon Sugar,” “As It Was,” “Late Night Talking”
Adult Contemporary: “Adore You,” “As It Was”
Dance/Mix Show Airplay: “As It Was,” “Aperture”
Radio Songs: “As It Was”

Styles has also charted songs on Rock & Alternative Airplay, Adult Alternative Airplay, Alternative Airplay, Rhythmic Airplay and Latin Pop Airplay.

John Summit & Rohaan

Summit and Rohaan’s “SATA” debuts at No. 20 on Hot Dance/Electronic Songs. Released March 11 on Experts Only/Darkroom, the song drew 700,000 official U.S. streams in the tracking week.

“SATA” earns Summit his 26th career entry on the chart and fourth this year, after “Lights Go Out” (No. 7 peak), “Shadows,” with Lavinia (No. 9), and “With Me,” with Julia Wolf (No. 10).

As for Rohaan, “SATA” earns the York, U.K.-based DJ his first appearance on Billboard’s charts. Outside of Summit, he has collaborated with the Caracal Project, Flowdan and Kill Miami, among others.

Milky & Mall Grab

The acts’ “Just the Way You Are” continues climbing Billboard’s charts, as it pushes 7-5 for a new high on Hot Dance/Electronic Songs (2.6 million streams, up 1%). It also debuts at No. 36 on Dance/Mix Show Airplay.

“Just the Way You Are” is a remix of Milky’s 2002 hit of the same name, which spent five weeks at No. 1 on Dance/Mix Show Airplay and has since become a house classic. Australian DJ/producer Mall Grab released his remix of the song Jan. 30, and it became his first Billboard chart entry when it debuted in February.

Australian electronic trio PNAU released a new remix of the song on March 20.

Five years ago, Sturgill Simpson revealed that his 2021 album, The Ballad of Dood and Juanita, would be the last under his own name. But thankfully, fans didn’t have to wait long for more new music from the acclaimed artist; by 2024, he revealed his new moniker as Johnny Blue Skies, releasing the act’s debut album, Passage du Desir that same year. 

Now, he’s back with the second Johnny Blue Skies set – and it’s making headlines for its physical-only release. Johnny Blue Skies & the Dark Clouds’ Mutiny After Midnight debuts at No. 3 on the Billboard 200 with 59,000 equivalent album units earned — all from physical album sales. (No release date has been announced for a streaming version or a digital download for purchase.)

How should Johnny Blue Skies feel about the album’s first-week performance? And where would we suggest he goes from here? Billboard staffers discuss these questions and more below.

1. Johnny Blue Skies & the Dark Clouds moves 59,000 equivalent album units — all from physical album sales – with its Mutiny After Midnight album, the biggest debut frame for the act. On a scale of 1-10, how excited should he and his team be about that first-week performance?

Eric Renner Brown: 9. Simpson and his team understandably have different expectations for a release week than a pop superstar might. With Mutiny After Midnight, the outstanding question they probably had was simply: Will this work? And 59,000 equivalent album units, all from physical album sales, indicates that it did. This debut week proves Simpson has a durable fan base that is willing to follow him even without the convenience of streaming.

Lyndsey Havens: 8. A top five debut – no matter what sales or streams get you there – is cause for celebration. And the fact that Simpson accomplished this feat under his still-relatively-new moniker and with physical sales alone is definitely something to feel proud of. Plus, I actually think the rarity of this release, given that it was limited to physical, only helped boost not just its first week figures but the buzz around it as well. Any time an album can create conversation, that alone is an accomplishment – chart placement aside.

Joe Lynch: 10. This was a big-risk, big-reward situation, and it paid off. Nothing but (Johnny) Blues Skies do I see for Sturgill.

Taylor Mims: Their excitement should be at a 9! Reaching No. 3 on the Billboard 200 is a huge achievement for Simpson and his team. According to Billboard Charts, Mutiny After Midnight is the first album exclusively available on physical formats to reach the top 10 in nearly three years. The last person to hit that feat in the streaming era was Taylor Swift and she could move physical in her sleep. The chart placement is a testament to how eager Simpson’s fans were to hear this new album.  

Melinda Newman: 7. I’d make it higher, except I don’t get the sense that Simpson is motivated by such things as sales numbers. He surely has to be pleased by how excited his fans were to get new music from Johnny Blue Skies, though. Furthermore, he’s also got to be delighted that he achieved such a chart high without, as far as I know, any interviews, no performances, only one video, scant radio play and few of the trappings of modern release strategies, including social media.

2. Mutiny After Midnight was only made available on physical formats, including six vinyl variants. Despite the strong opening week, do you think it was a mistake to not make the album available to stream?

Eric Renner Brown: Define “mistake.” The music here is good enough and accessible enough that Simpson probably cost himself some new listeners by not servicing the album to streaming services – and for some artists, leaving new listeners on the table would be a mistake. But this business decision is very calculated: going all-in on a smaller, more passionate set of fans rather than trying to broaden his listening base. Simpson and his team know that these engaged fans are the ones who buy not only physical media, but concert tickets and merchandise, too.

Lyndsey Havens: When it comes to an artist’s vision, I don’t think there can really be mistakes… That said, I would perhaps call it a missed opportunity for the masses to hear this project. But then again, I think it was a risk worth taking – and by Simpson driving and committing to this rollout strategy, it sort of forces fans to be just as committed. You want to hear it? Come and get it. And you know what? They did just that.

Joe Lynch: No. Let’s say with streaming added on top of this physical number, JBS sailed past Morgan Wallen for a No. 2 debut on the Billboard 200. That would be a career-high for him, which would be great, but would we be sitting here (figurately) talking about it? Nah. It’s more of a story/achievement given that the album was physical only. Plus, physical purchases are worth more on the Billboard 200 than streams. Let’s say half of those physical sales were replaced by people streaming it once, twice — that could actually decrease its position on the chart.

Taylor Mims: It was absolutely not a mistake. If the album was available on streaming, people would have listened to it that way and fewer physical versions would have been purchased. The album would have been more accessible to more people, but the true fans showed up and pre-ordered the record or headed to a store to acquire it right away. The move shows that fans trust Simpson to put out a good product and that other artists could follow suit and still make it on the Billboard 200. 

Melinda Newman: Not at all. Without any streaming, he came in at No. 3, tying the best he’s ever done previously and becoming the first artist to land in the top 10 with only a physical release since Taylor Swift three years ago. He has fervent fans anyway, but given that they had to go to a physical record store (or order online from one) to buy the vinyl, CD or cassette, he turned the release into an event. Fans showed up for listening parties and to share the communal experience with other like-minded people. Given the funky, throw-back nature of many of the songs — it feels like music that comes from an earlier time before streaming existed — vinyl seems even more appropriate.

3. Simpson announced in 2024 that he planned to record all his future releases under the moniker Johnny Blue Skies. His debut under the moniker, Passage du Desir, was critically acclaimed. But based on Mutiny After Midnight‘s first-week performance, has that decision been validated?

Eric Renner Brown: I cannot purport to understanding the innerworkings of Sturgill Simpson’s brain, which his music and public persona indicates are complex and somewhat bizarre. To me, the new moniker is indicative of a new musical direction – nothing more, nothing less. Since the early ’10s, Simpson has been lumped in with a certain (and very good) contingent of NPR-approved Americana artists, even if he didn’t always mesh with that scene. Johnny Blue Skies is yet another step away from Americana for Simpson, and it goes hand in hand with the way his live shows have become pseudo-jam band affairs, with varied setlists, seamless transitions and lots and lots of improv. (To wit, Johnny Blue Skies opened one of Dead & Company’s three Golden Gate Park shows in August – and the other openers were jamgrass sensation Billy Strings and Trey Anastasio Band, the side project of the Phish frontman.)

Lyndsey Havens: From a numbers standpoint, certainly. Though I’d argue it was a decision that never really needed to be validated – no one was asking him to stop releasing music as Sturgill Simpson and no one was begging him to start anew (to some degree). Clearly, this was a creative call Simpson felt drawn to – whether it was solely because he wanted to keep to his five-album pledge as Sturgill Simpson or due to other factors. Still, I’m sure he’s pleased to know that no matter the name under which he releases music, its quality is undeniable – as is its connection to his fans, new and old.

Joe Lynch: Sure. I feel like he’ll release another album as Sturgill Simpson at some point in the distant future, but this has been a great move and a breath of fresh air. It’s more than just a name swap. While Simpson has always been more musically omnivorous than his Americana peers, Johnny Blues Skies is a full-on pivot to ass-shaking boogie rock. These are fun, funky songs recorded with a bar-band vibrancy you don’t usually get from a studio recording. Exactly the kind of music we could use more of now.

Taylor Mims: Simpson is nearly 15 years into his solo musical career and has nine albums released. To me, it is valid for any artist to want to change things up and separating himself as Sturgill Simpson from the art is just fine. There is always the risk of switching a “brand” midway through your career, but Simpson seems less concerned about the brand than the art. If he keeps putting out music that people enjoy, the name will never matter.  

Melinda Newman: 100%. Passage du Desir debuted at No. 29 on the Billboard 200, and as people have gotten used to the concept and music of Johnny Blue Skies, they’ve decided it’s a journey they want to go on with Simpson. Also, given his vast creativity, we could see another alter ego emerge at some point. When the results are this fun, why limit him? 

4. What other artist who isn’t a particularly regular visitor to the top of the Billboard charts do you think could have similar success with a physical-only release strategy like this?

Eric Renner Brown: I doubt she would, but I bet that given the devotion her fans have to her, Phoebe Bridgers could sell a bunch of records with this strategy.

Lyndsey Havens: Jack White took a version of this approach in 2024 with No Name – but, of course, he did it in his very distinct way by dropping the unlabeled vinyl in Third Man Records bags, surprising customers who made a purchase. (Following its physical-first release, the album was made available to stream). But to answer the question of who else could do this… I think Geese is probably in a place to try.

Joe Lynch: This is a great question because there are so many people for whom this would seem ‘right’ but it would probably flop. I could see Ethel Cain (who has a devoted fanbase and has hit the top 10 of the Billboard 200) having huge success with this approach. Or maybe a punk band like Turnstile, who have also hit the top 10 on the album chart before but could conceivably score a higher chart number with a physical-sales-only total.

Taylor Mims: This is a move that could benefit artists who are either regular visitors on the top of the charts or not. Physical album sales are weighted more than streams on the charts and there are a lot of folks who are missing that connection that requires intention to sit and listen to an album in its entirety. That being said, an artist needs to build trust with fans that an album is worth the extra $15-$50 for a physical product they’ve never heard. I wouldn’t say that these are folks unfamiliar with the top of the charts, but I think Arctic Monkeys, Jack Johnson, St. Vincent, Norah Jones, Jason Isbell or Solange could all do really well with physical-only releases.  

Melinda Newman: Most of the artists that I think a similar plan would work for, such as Jack White or Tyler Childers, have already tried some variation of physical only, but I’d love to see artists like Jason Isbell or Treaty Oak Revival go the physical-only route and see their wildly devoted fans go crazy. 

5. If you were on Sturgill Simpson’s team, what advice (if any) would you give him on what to do next to build on the momentum of the album’s chart success?

Eric Renner Brown: Tour, tour, tour and then tour some more. This is music that’s meant to be heard live, and without being on the major streaming platforms, that’s how Simpson will continue to mint new fans. To that end, Johnny Blue Skies should also remain on nugs.net, the platform that distributes live recordings for jam bands including Goose and Billy Strings, as well as mainstream rock artists such as Pearl Jam and Metallica. So, basically: Keep doing what you’re doing!

Lyndsey Havens: I say build on the exclusivity of the moment – briefly. Invite only those with proof of purchase to a special one-night only show and release the footage wide so that fans who haven’t heard it yet get to join right in. It will likely prompt a boost in physical sales and create even more hype for a proper tour when the time comes.

Joe Lynch: Hit the road! (In the sense of touring, not like “hit the road, Jack”). People are gonna be hungry to hear these songs live and feel them in the room, feed off of that sense of energy and community. These songs are begging to be played live. Beyond that, just keep doing you, Mr. Blue Skies.

Taylor Mims: The band has already sold the die-hards on the album, so the next step would be to get the attention of more casual fans. Simpson has said he might release the album on digital at some point, but before he commits to making it widely available he should provide more snippets. Those snippets could be in the form of television appearances, another music video, social slips or live performances. The album is good. The more people get a taste of it, the more they will want.  

Melinda Newman: I’d do another run of limited edition vinyl and put an extra song on the new iteration (although you don’t want to appear to penalize the fans who were there and supported you from the jump by making them buy something just to get the extra song, so there would have to be some way that fans who have already bought it can get the new song—maybe through 7-inch vinyl). Keep appealing to the ever-expanding base. Release more fun videos: the music video for “Situation” is insanely enjoyable and wacky. I would also do some pop-up shows where he plays the album from start to finish. 

Tank etches himself onto the Mount Rushmore of Billboard’s Adult R&B Airplay chart through his newest No. 1, “Control,” which tops the list dated March 28. The new leader gives the R&B hitmaker his 11th champ, tying him for the most among male artists and one of the four best counts in the chart’s 32-year history.

“Control,” which interpolates Janet Jackson’s 1986 single of the same name, rules Adult R&B Airplay after ascending from the runner-up spot. For its coronation week, it was the most-played song at panel-contributing adult R&B radio stations in the United States for the tracking week of March 13-19, according to Luminate, up 1% from the prior week (March 6-12). With its rise, “Control” succeeds Jill Scott’s “Pressha” in the top spot; the former leader falls to No. 5 after two weeks in charge, with a 20% reduction in plays for the week.

With “Control,” Tank adds his 11th No. 1 on Adult R&B Airplay and ties Charlie Wilson for the most among male artists in the list’s 32-year history. On the overall leaderboard, he and Wilson match Toni Braxton for the second-best sum. The three trail only Alicia Keys, who claims 14 No. 1s.

As “Control” joins the pack, here’s a review of Tank’s 11 No. 1s on the chart:

Elsewhere, “Control” retreats 12-17 on the R&B/Hip-Hop Airplay chart, which ranks songs by combined audience totals from adult R&B and mainstream R&B/hip-hop radio stations. There, the track slides 9% to 5.4 million audience impressions for the week. With its No. 12 high, “Control” yielded Tank’s best result in nearly three years, since “See Through Love,” featuring Chris Brown, also topped out at the same rank, in May 2023.

Max B and French Montana check into the penthouse of Billboard’s Rhythmic Airplay chart as “Ever Since U Left Me” jumps from No. 4 to rule the list dated March 28. The rappers’ single, released and promoted on Montana’s Coke Boys record label, takes the crown as the most-played song on panel-contributing rhythmic radio stations in the United States for the tracking week of March 13-19, according to Luminate.

For its coronation week, “Ever Since U Left Me” surged 12% in plays compared to its total from the prior week (March 6-12). The single’s advance knocks Lil Uzi Vert’s “What You Saying” from the top spot, with last week’s leader sliding to No. 3 (down 7%) in plays. Between the two, Kehlani’s “Out the Window” mounts a charge, improving 5-2 on the back of a 13% increase in plays.

The new champ also extends the legacy of a 50-year-old iconic record. “Ever Since U Left Me” samples KC and the Sunshine Band’s “That’s the Way (I Like It),” which topped the Billboard Hot 100 for two weeks and the Hot R&B/Hip-Hop Songs chart for a week in 1975.

With the new No. 1, Max B lands his first Rhythmic Airplay with his second career entry. He and The Weeknd guested on French Montana’s “A Lie,” which reached No. 34 in October 2017. “Ever Since U Left Me” is one of Max B’s first songs since the rapper was released from prison on Nov. 9, 2025. He initially received a 75-year prison sentence in 2009 for his role in a deadly robbery at a New Jersey hotel, but it was substantially reduced in 2016 after he pleaded guilty to lesser charges as part of a plea deal.

For French Montana, “Ever Since U Left Me” marks the rapper’s third No. 1 on Rhythmic Airplay. He first led via a featured turn on Chris Brown’s “Loyal,” a two-week champ in May 2014 and followed with his own “Unforgettable,” featuring Swae Lee, which ruled for one week in July 2017.

Elsewhere, “Ever Since U Left Me” climbs 7-6 on Rap Airplay (up 18%) as the Greatest Gainer for having the largest increase in audience. It also drives 25-18 on R&B/Hip-Hop Airplay with five million in audience impressions, up 24% from last week.