There’s nothing casual about Chappell Roan‘s current relationship status. While guesting on the new episode of Call Her Daddy posted Wednesday (March 26), the pop star revealed that she’s in a serious relationship, adding that she’s very much “in love” with her significant other.

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Ironically, the subject of Roan’s attachment first came up as the Missouri native was advocating for the benefits of staying single. When host Alex Cooper then asked if Roan herself was flying solo these days, the musician revealed that she’s actually been dating someone for six months now.

“It’s serious,” Roan said. “I’m very in love, but I am pro-single. Everyone should be single … Find out for yourself if you can 100% be OK alone before you date. That’s what I found out. I had a great time when I was single, and I know that I’ll be OK, and now I have an awesome time that I’m with someone.”

Adding that a friend set them up — but ultimately, Roan was the one to make the first move — the “Pink Pony Club” vocalist went on to share that her partner is a rekindled flame from her past. “I haven’t dated someone since this all really, really blew up,” she said. “I’m dating the same person that I was dating before I got, like, blew up, so I’m not sure how I would date now.”

“I think it would actually be a nightmare,” the Grammy winner continued. “I think I would be so single right now because you’re terrified of their intentions. I’m scared. I don’t trust anyone. I just think in my head, I’m like, any new person that I’m texting, I’m like, ‘I’m assuming they will screenshot this and send it to someone else.’”

The interview marks the first time Roan has shared as much about her relationship status since finding global fame in the spring and summer of 2024 thanks to the combined momentum of Billboard Hot 100 top 10 hit “Good Luck, Babe!,” the steady climb of debut album The Rise and Fall of a Midwest Princess and a whirlwind festival run marked by unprecedented crowd sizes. Roan recently dropped her first single since then: “The Giver,” which debuted at No. 5 on the Hot 100 and at No. 1 on the Hot Country Songs chart.

Amid her meteoric rise to superstardom, however, Roan says she has lost touch with her sexuality, despite it being a dominant part of her onstage persona. “Obviously, I’ve come into being more comfortable with saying I’m queer, with dating women, but I don’t know — something f–ked up my sexuality,” she told Cooper. “I think my nervous system is so fried that I can’t even feel flirtatious. It’s just too intense to even be sexual at all.”

“When there’s so much of you in the world that is exposed, then being sexual with someone is so vulnerable,” she added. “‘Cause the rest of your life is so vulnerable that it’s like … I want to save something. I just don’t wanna be that vulnerable with so many people.”

Listen to Roan on Call Her Daddy below.

A federal judge has refused Universal Music Group’s request for an injunction that would have immediately blocked artificial intelligence company Anthropic PBC from using copyrighted lyrics to train future AI models.

In decision issued Tuesday, Judge Eumi K. Lee ruled that it remained an “open question” whether using copyrighted materials to train AI is illegal – meaning UMG and other music companies could not show that they faced the kind of “irreparable harm” necessary to win such a drastic remedy.

“Publishers are essentially asking the court to define the contours of a licensing market for AI training where the threshold question of fair use remains unsettled,” the judge wrote. “The court declines to award publishers the extraordinary relief of a preliminary injunction based on legal rights … that have not yet been established.”

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The ruling was not on the actual merits of the case, but it represents a victory for Anthropic — which likely would have needed to overhaul its training operations if the judge had sided with UMG. The case will now proceed ahead, likely with a motion by Anthropic seeking to dismiss the case entirely.

An attorney for UMG and the other music companies did not immediately return a request for comment on Wednesday.

UMG and other music publishers sued Anthropic in 2023, claiming the company was violating copyrights en masse by using songs without authorization to teach its Claude AI models how to spit out new lyrics. Anthropic denies the allegations, saying its training is a so-called “fair use” of copyright materials.

The case is one of many lawsuits, filed by authors, newspapers, musicians and other creatives, that will test whether AI companies are breaking the law by taking the fundamental step in creating their technology – a potentially trillion-dollar question in the booming industry.

A month after UMG filed its case, the music giant demanded a preliminary injunction – type of interim ruling that would prohibit the AI firm from continuing to use the songs while the case plays out in court. “If the court waits until this litigation ends to address what is already clear—that Anthropic is improperly using publishers’ copyrighted works—then the damage will be done.”

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But in Tuesday’s decision, Lee said UMG and the other music companies couldn’t show such harm because that key question in the case – the trillion-dollar issue of fair use – has not been reached by a final ruling, either in the current lawsuit against Anthropic or in any of the other case against AI firms.

“[Earlier] cases demonstrate that emerging technologies often test the bounds and principles of copyright law,” the judge wrote. “Here, it is an open question whether training generative AI models with copyrighted material is infringement or fair use.”

Even if the legal question was settled, Lee said that any harm caused by Anthropic’s use of the lyrics could later be compensated by a monetary judgment, meaning it was not the kind of irreversible damage that must be stopped before the case plays out.

In a statement to Billboard on Wednesday, a spokeswoman for Anthropic said the company was pleased that the judge had rejected UMG’s “disruptive and amorphous request” for an immediate injunction: “As the case continues, we look forward to explaining why use of copyrighted material for training large language models aligns with fair use principles under copyright law.”

Coheed and Cambria has its fifth No. 1 on Billboard’s Top Hard Rock Albums chart, debuting atop the March 29-dated ranking with The Father of Make Believe.

The new set bows with 16,000 equivalent album units earned in the U.S. in the week ending March 20, according to Luminate. A total of 12,000 units of that sum are via album sales, including 7,000 vinyl copies, leading to a No. 4 start on Vinyl Albums.

Coheed and Cambria first ruled Top Hard Rock Albums, which began in 2007, in 2010 with Year of the Black Rainbow. Its other leaders include 2015’s The Color Before the Sun, 2018’s The Unheavenly Creatures and 2022’s Vaxis II: A Window of the Waking Mind.

Concurrently, The Father of Make Believe starts at No. 8 on the Top Rock & Alternative Albums chart, Coheed and Cambria’s eighth top 10. On the all-genre Billboard 200, it begins at No. 51, the Claudio Sanchez-led band’s 11th entry, dating back to the No. 52 debut and peak of In Keeping Secrets of Silent Earth: 3 in 2003.

Three songs from The Father of Make Believe reach the multimetric Hot Hard Rock Songs tally, “Goodbye, Sunshine” leading the trio at No. 16 via 607,000 official U.S. streams.

An additional track, lead single “Someone Who Can,” rises to a new peak of No. 24 on Alternative Airplay. Upon its debut in February, it became Coheed and Cambria’s first appearance on the tally in nearly 15 years and is now its highest charting song since “The Running Free” peaked at No. 19 in 2007.

Yeah Yeah Yeahs’ “Spitting Off the Edge of the World,” featuring Perfume Genius, sports a big boost in streams and sales after being featured in the new film The Gorge, driving it to a No. 1 debut on Billboard’s Top TV Songs chart, powered by Tunefind (a Songtradr company), for February.

Rankings for the Top Movie Songs chart are based on song and film data provided by Tunefind and ranked using a formula blending that data with sales and streaming information tracked by Luminate during the corresponding period of February. The ranking includes newly released films from the preceding three months.

“Spitting Off the Edge of the World” was originally released on Yeah Yeah Yeahs’ 2022 album Cool It Down — the rockers’ first full-length record since 2013’s Mosquito — as its lead single.

After its synch in The Gorge — which was released in theaters on Feb. 14 via Apple TV+ and stars Miles Teller, Anya Taylor-Joy and Sigourney Weaver — “Spitting Off the Edge of the World” accumulated 2.4 million official on-demand U.S. streams and 5,000 downloads in February in addition to its Tunefind activity, according to Luminate.

As a result of its boost in metrics, the song even entered Billboard’s Rock Digital Song Sales chart dated March 1 at No. 1, earning 3,000 downloads in the March 14-20 tracking week alone.

In all, The Gorge appears on the 10-position Top Movie Songs chart five times, the movie’s next-highest entry being Devlin and Ed Sheeran’s rendition of “(All Along the) Watchtower” at No. 4 (85,000 streams).

“I Always Wanted a Brother,” from Mufasa: The Lion King, ranks at No. 2 in its final month of eligibility, as the movie was released in December 2024. The song jumps to No. 2, after appearing at No. 8 on the January tally, via 16.5 million streams and 1,000 downloads in February.

Read on for the full chart, which also features music from Heart Eyes, Back in Action, Captain America: Brave New World and You’re Cordially Invited.

Rank, Song, Artist, Movie

  1. “Spitting Off the Edge of the World,” Yeah Yeah Yeahs feat. Perfume Genius, The Gorge
  2. “I Always Wanted a Brother,” Braelyn Rankins, Theo Somolu, Aaron Pierre & Kelvin Harrison Jr., Mufasa: The Lion King
  3. “Are You In Love?,” Spyder Sympson, Heart Eyes
  4. “(All Along the) Watchtower,” Devlin & Ed Sheeran, The Gorge
  5. “Blitzkrieg Bop,” Ramones, The Gorge
  6. “Oh Come All Ye Faithful,” Twisted Sister, The Gorge
  7. “Doo Wop (That Thing),” Lauryn Hill, Back In Action
  8. “I Feel Love (Every Million Miles),” The Dead Weather, The Gorge
  9. “i,” Kendrick Lamar, Captain America: Brave New World
  10. “Cake By the Ocean,” DNCE, You’re Cordially Invited

Jason Aldean, Brooks & Dunn, Luke Bryan, Cody Johnson, Megan Moroney and Keith Urban are among the acts who will appear at Nissan Stadium as part of CMA Fest, which will run June 5-8 in Nashville and span 10 stages.

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Also slated for Nissan Stadium are Kelsea Ballerini, Dierks Bentley, Jordan Davis, Riley Green, Ella Langley, Ashley McBryde, Parker McCollum, Rascal Flatts, Red Clay Strays, Darius Rucker, Shaboozey, Black Shelton, Zach Top and Bailey Zimmerman.

Four-night stadium passes range from $240 to $1,061, while single-night stadium ticket starts at $79.80.

CMA Fest, which began in 1972 as Fan Fair, will spread across Music City on stages both free and paid. The event has a new partner, bank and financial services company SoFi, in a multi-year partnership.

MŌRIAH will kick off the Chevy Riverfront Stage on Thursday morning, performing the national anthem. Other artists playing that stage over the festival run include Gavin Adcock, Tanner Adell, Cooper Alan, Drew Baldridge, Sam Barber, Gabby Barrett, George Birge, Tyler Braden, Colbie Caillat, Ashley Cooke, Dasha, Jackson Dean, Marcus King, Randall King, Brandon Lake, Chris Lane, Ella Langley, Maddie & Tae, Dylan Marlowe, Kameron Marlowe, Max McNown, Midland, Megan Moroney, Ian Munsick, RaeLynn, Redferrin, Josh Ross, Conner Smith, Austin Snell, Alana Springsteen, Thelma and James, Tigirlily Gold, The War And Treaty, Hudson Westbrook and Tucker Wetmore.

Appearing on the Dr. Pepper Amp Stage at Ascend Park are Rodney Atkins, Frankie Ballard, Casey Barnes, Danielle Bradbery, Blanco Brown, T Graham Brown, Karley Scott Collins, Billy Dean, Tyler Farr, Filmore, Josh Gracin, Ty Herndon, Braxton Keith, Erin Kinsey, Lakeview, Edwin McCain, John Morgan, Kylie Morgan, Jerrod Niemann, Jamie O’ Neal, Mason Ramsey, Owen Riegling, Emily Ann Roberts, Reyna Roberts, Kaylee Rose, Shaylen, Sister Hazel, Iam Tongi, US Navy Band Country Current, Darryl Worley, Charlie Worsham and Jake Worthington.

Artists playing The Chevy Vibes Stage at Walk of Fame Park are Angie K, Graham Barham, Blessing Offor, Craig Campbell, Dillon Carmichael, Mackenzie Carpenter, Ashland Craft, Kashus Culpepper, Dailey & Vincent, Jade Eagleson, Exile, Mickey Guyton, Kelsey Hart, Tayler Holder, Greylan James, Willie Jones, Tiera Kennedy, Vincent Mason, Madeline Merlo, Drake Milligan, Lorrie Morgan, David Nail, Meghan Patrick, Dylan Schneider, Shenandoah, MaRynn Taylor, Thompson Square, Pam Tillis, Lauren Watkins, Mark Wills, Rita Wilson and Waylon Wyatt.

The Good Molecules Reverb Stage at Bridgestone Plaza’s line-up includes  Willow Avalon, Maddox Batson, Laci Kaye Booth, Brenn!, Franni Rae Cash, Chapel Hart, Julia Cole, Preston Cooper, Kolby Cooper, Wesley Dean, Melanie Dyer, Madeline Edwards, Mae Estes, Carter Faith, Lanie Gardner, Cole Goodwin, Fancy Hagood, Jack Wharff and The Tobacco Flats, Max Jackson, James Barker Band, Just Jayne, Alexandra Kay, Zach John King, Matt Lang, Bryce Leatherwood, Hannah McFarland, Walker Montgomery, Will Moseley, Elizabeth Nichols, Adrien Nunez, Scoot Teasley, Cameron Whitcomb, Blake Whiten, Austin Williams and Eli Winders.

Acts will perform free at The Hard Rock Stage with a slate that includes Ashley Anne, Palmer Anthony, Hayden Blount, BODHI, BoomTown Saints, Luke Borchelt, CECE, Hayden Coffman, Abbey Cone, Crowe Boys, Eddie and The Getaway, Sterling Elza, Brian Fuller, Giovannie and The Hired Guns, Colt Graves, Reid Haughton, Christian Hayes, The Heels, Hueston, Solon Holt, Preston James, Jason Scott & The High Heat, Britnee Kellogg, Alex Lambert, LECADE, Trey Lewis, Tyler Joe Miller, MŌRIAH, Clayton Mullen, O.N.E The Duo, Harper O’Neill, Pistol Pearl and the Western Band, Peytan Porter, RVSHVD, Sacha, Matt Schuster, Sophia Scott, SKEEZ, Kevin Smiley, Payton Smith, Liam St. John, Colin Stough, Troubadour Blue, Leah Turner, Alli Walker, Carson Wallace, Brendan Walter, Chandler Walters, Jay Webb, Wesko, Angel White and Sam Williams.

All artists perform for free to benefit the CMA Foundation, with a portion of ticket proceeds supporting music education programs. CMA Fest will be filmed for a special airing on ABC and Hulu later in the summer.

For more details and ticketing options, go here.

The term “dance music” may conjure visions of heaving clubs, packed festival tents and partying with abandon, and certainly these concepts are a substantial piece of the pie. But so too is the term reductive, a broad catch-all that does little to indicate the dizzying taxonomy of sounds and experiences contained within.

A complete culture unto itself, dance music is vast and contains multitudes. It can be hard or soft, joyful or melancholic, hedonistic or contemplative, big or spare. It’s both lusty and full of longing, joyful and angry, protest music disguised as a good time. It’s hard to think of a human emotion that doesn’t have a corresponding sound or song within the genre, or a type of person that wouldn’t find something to love within it all.

So it’s about dancing, yes, but it’s also about so much more than the party. Since its inception in the late ’60s and early ’70s — as new technology created the instruments that created the sounds that created the songs, that created the culture that pushed music and the world at large further into the future — dance music has been both underground refuge and mainstream juggernaut. It has pulled in bits and pieces from every other genre of music, generating sounds that reach around the world and through time itself. While its presence in pop culture and the major charts ebbs and flows, it’s always been happening just around the corner from ubiquity, if you know where to look.

Because of all this, the music on the list of all-time best dance songs will naturally be strange bedfellows — a group of tracks and artists who to the naked eye may not have much to do with each other, but which share the DNA connecting the genre’s five-plus decades of existence.

This week we’re rolling out the 100 best dance songs of all time, 20 per day, through Friday (March 28). See 100-41 below.

It’s been a decade since Zayn Malik left One Direction and on Tuesday night (March 25) during the singer’s show in Mexico City he did something he hasn’t done since then: he performed one of the group’s most beloved hits during a solo show.

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At his gig at Palacio De Los Deportes on the Stairway to the Sky tour — his first arena show as a solo act — Malik shocked fans when he played the 2014 1D single “Night Changes” from the group’s fourth studio album, Four. In fact, Malik opened the show with the song, with a Twitter user reporting that he told the surprised audience, “I haven’t sung this song in 10 years. That you, that was amazing, I almost cried.”

Check out a video of Malik performing the song, and the audience shouting along to every lyric, here.

The song written by the group with Jamie Scott, John Ryan and Julian Bunetta was the fourth single from Four and the last one released by the band to feature Malik before he announced he was leaving 1D on March 25, 2015. The video for the ballad opens with Malik seated at a restaurant singing, “Going out tonight, changes into something red/ Her mother doesn’t like that kind of dress/ Everything she never had, she’s showing off” during what looks like a date with an unseen girlfriend.

The track had a resurgence in late 2024 after the shocking death of former 1D member Liam Payne after a fall from a hotel balcony in Buenos Aires, Argentina on Oct. 16. In the week after his death, “Night Changes” — which ran up to No. 31 on the Billboard Hot 100 in 2014 — saw its U.S. streams spike 416% to 4.9 million, with the song re-entering both the Billboard Global Excl. U.S. (at No. 95) and the Billboard Global 200 (No. 117) for the week dated Oct. 26.

After rescheduling the tour after postponing it in the wake of Payne’s death, Malik kicked off the tour in November.

In 2023, Grammy-winning producer Daniel Nigro founded his independently-funded Amusement Records primarily as a home for a then-independent Chappell Roan to release the album they made together, The Rise and Fall of a Midwest Princess.

Roan at the time had been recently dropped by her former label, but as Nigro told Billboard when announcing Amusement: “I was so in love with everything that we were doing. I believe in [Chappell] so much that I was like, ‘Do I want this added stress in my life? Is it worth it? Yes.’”

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And it sure was. Last August, almost one year after her debut album’s release, The Rise and Fall peaked at No. 2 on the Billboard 200. The following month, she scored her highest-charting Hot 100 hit with “Good Luck, Babe!” And this February, Roan won the Grammy for best new artist.

Now, on Wednesday (March 26), Universal Music Group and Nigro announced an expanded partnership with Amusement following the knockout success of Roan and building on the producer’s long-term creative relationship with superstar Olivia Rodrigo (who is signed to UMG label Geffen/Interscope). Going forward, Amusement will operate as a label venture within UMG, allowing new signees to partner with any of UMG’s labels.

“Daniel embodies the type of creative brilliance and entrepreneurial spirit that is at the heart of UMG,” UMG chairman and CEO, Sir Lucian Grainge, said in a statement. “I can’t wait to hear the culture shaping music and artists [he] will bring next to our global family.”

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Since Nigro founded Amusement, he and Roan have both celebrated new highs. The Rise and Fall of a Midwest Princess spawned six Hot 100 hits, including the top 10 smash “Pink Pony Club.” Meanwhile, Nigro earned his second Grammy for producer of the year at the 2025 ceremony for his work with Roan, Rodrigo and the soundtrack for The Hunger Games: The Ballad of Songbirds & Snakes. (His first win was for Rodrigo’s debut album Sour.)

“After 6 years of working almost exclusively with the various labels [and] artists under Universal, it made perfect sense to make the relationship more formal,” Nigro said in a statement. “I want Amusement Records to be a place where artists can feel comfortable growing and developing at their own pace but with all the real resources needed to thrive and succeed.”

“Also,” he added, “a place where I can have the freedom to help choose the right team each time for the artist. I know in my heart that the people at Universal understand this, and I am beyond excited about what’s to come.”

Keyshia Cole, Monica and SWV are the performing stars enlisted to headline Femme It Forward’s first-ever cruise, Billboard can exclusively reveal. Presented in association with Sixthman and Vibee, Femmeland at Sea will sail from Miami to Nassau, Bahamas between Feb. 20-23, 2026.

Femme It Forward’s voyage aboard the Norwegian Pearl also marks the female-led music and entertainment firm’s transition into a 100% woman- and Black-owned company after a five-year partnership with Live Nation.

Femme It Forward president/CEO Heather Lowery, who founded the firm in 2019, tells Billboard, “I’ve always fought to have more equity in a company I’ve worked so hard to build. Now Femme It Forward is 100% woman-owned and Black- owned. I’m so excited! It feels like the beginning again, but this time I’m starting from a different place. 

“Live Nation was a great partner that allowed for a lot of business as well as personal growth,” continues Lowery, a Billboard Women in Music 2025 honoree. “They’ve provided me with a lot of resources for me to continue building Femme It Forward independent of the partnership. I’m super grateful for it all. We’re celebrating our five-year anniversary and there’s a lot of symbolism in the number five representing freedom, change, adventure and adaptability. I’m stepping into this next phase with open arms.”

In addition to the aforementioned live performances, Femmeland at Sea will also offer uniquely curated activities, live podcast recordings, parties, workshops/panels, mentorship labs, wine tastings and karaoke. The popular podcasts being featured include Keep It Positive Sweetie, hosted by Crystal Renee Hayslett, and Let’s Try This Again with B. Simone. Among the cruise’s additional activities will be wellness sessions helmed by WalkGood LA, Pretty Vee, Pretty Girls Sweat and Morning Mindset with Tai. Femme It Forward will also present its own branded activities such as Femme Salon and Femme Mentorship, with the latter hosted by mentors from the company’s Next Gem Femme and MUSE initiatives. Also on the schedule: Kirk Franklin’s Sunday School and #MusicSermon LIVE.

In the press release announcing the inaugural sailing, Lowery states in part that the cruise is “a vision I’ve had since our launch in 2020. I have always been bold about what Femme It Forward stands for and the experiences we create with women at the center. And despite the current optics and everything around us demanding we shrink, we will continue to do more — create more opportunities, make space for more representation and curate more experiences that amplify the voices of women everywhere.”

In turn, Femme It Forward will continue to present its various other events inaugurated over the last five years such as the annual Give Her FlowHERS Gala, the Femme It Forward High Tea and the My Sister’s Keeper Summit honoring artists and executives in music and entertainment. Future plans for its mentorship program include launching global chapters in South Africa and Europe.

Femmeland at Sea’s first round pre-sale sign-ups are available now through April 1 at 11:59 pm (ET). Final round pre-sale sign-ups will conclude on April 9 at 11:59 pm (ET). Public on-sales begin April 11 at 2:00 pm (ET), exclusively here.

Lucy Dacus has some mixed feelings about her newly minted public profile. “My dream is that I could play huge shows where [the crowd] knows every word,” she says, “we can connect after the show — and then I can wipe everyone’s mind of myself once they leave.”

The lack of Men in Black-esque technology notwithstanding, it’s easy to see why Dacus may feel that way. After spending the majority of her career as a cult artist with a tight-knit fan base in the indie scene, the singer-songwriter broke big alongside her friends Phoebe Bridgers and Julien Baker with The Record in 2023. Their supergroup, boygenius, sold out arenas, led Billboard’s Top Rock Albums chart while also earning a top 10 debut on the Billboard 200 and dominated the rock categories at the 2024 Grammys, winning three awards.

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As she prepares her first solo release since the band’s breakthrough, Dacus, 29, still struggles with her shift from underground phenom to rock headliner. “Honestly, I don’t like being culturally relevant,” she says with a giggle. “I don’t like being somebody where people think they need to have a ‘take,’ in either direction.”

Yet even in that discomfort, Dacus exudes a confidence that feels new for her. Forever Is a Feeling, her fourth studio album (out March 28 on Geffen Records), takes the sound that Dacus has painstakingly crafted over the last decade and broadens it as her most lush collection to date.

Going into the creation of Forever Is a Feeling, Dacus says she “knew the scope was going to be different” for this album. That process included honing what she wanted to sing about. Whereas her past albums confronted loss and childhood trauma, the new set focuses almost entirely on romance. The first proper track off the album, “Big Deal,” finds Dacus reminding a doomed lover just how important they are; “Talk” traces the shifting dynamics of a relationship to its near end; and album closer “Lost Time” is one of the boldest love songs of her career, on which she declares, “I notice everything about you.”

Lucy Dacus photographed on March 5, 2025 in New York.

That line also encapsulates a key part of the singer’s songwriting process: Since she broke onto the scene with 2016’s No Burden, Dacus has always thrived at transforming specificity into universal lyrics. “Once you focus on one thing and one person, it actually recontextualizes everything else, and you realize that every detail is its own universe,” says Dacus, who recently revealed that she and her boygenius bandmate Julien Baker are in a relationship. She then quotes a line she read in one of Susan Sontag’s journals: “Love is noticing.”

With Forever Is a Feeling marking Dacus’ major-label debut on Geffen, the singer’s new music is striking a chord with mainstream listeners. “Ankles,” the project’s exhilarating lead single, earned Dacus her first solo entries on the Adult Alternative Airplay and Rock & Alternative Airplay charts. “She writes songs that are potent and timely but will endure for years to come,” says Matt Morris, executive vp of A&R at Interscope Geffen A&M. “The success of ‘Ankles’ at radio is a very deserved accomplishment for an artist who has already been so influential and continues to break new ground with this album.”

The set also finds Dacus continuing to evolve as a producer, after she recently helmed singer-songwriter Jasmine.4.t’s debut, You Are the Morning, alongside her boygenius bandmates. “A lot of [producing Jasmine’s album] was about advocating when it comes to being less experienced in the studio,” she explains. “It’s about helping develop a language and asking folks, ‘What do you want? Here’s how to say it.’ I want to continue to help hold the emotional space of saying, ‘Do us the favor of being a control freak.’ ”

Lucy Dacus photographed on March 5, 2025 in New York.

That experience speaks to Dacus’ larger goal of late: using her newfound platform to create good. Shortly after the Trump administration began rolling out its ­anti-trans policy agenda, Dacus took to her social media and called for any of her trans fans hosting fundraisers for gender-affirming surgeries to share their campaigns so that she could donate $10,000 in $500 increments to those in need of help.

There’s a reason Dacus made that pledge in public. “Ten thousand dollars is not that much in the grand scheme of things,” she says. “But I wanted there to be a list of links on my profile so that if anybody else wanted to do what I was doing, then they could scroll through and donate as well. If other people are jumping in, then that can really matter.”

It’s that sense of renewed purpose that shows how far Dacus has come as a leading voice in rock — even if, as she points out, she is the “guinea pig” of the boygenius bandmates as the first of the trio to release a solo project since The Record.

“I feel really gratified when putting my albums out means something to someone else,” she says with a warm smile. “I wouldn’t do this if it didn’t matter to some people.”

Lucy Dacus photographed on March 5, 2025 in New York.
Lucy Dacus photographed on March 5, 2025 in New York.

This story appears in the March 22, 2025, issue of Billboard.