Ella Langley’s sophomore set, Dandelion, launches as her first No. 1 on Billboard’s Top Country Albums chart and the all-genre Billboard 200 (dated April 25). The album starts with 169,000 equivalent album units earned in the United States April 10-16, according to Luminate, marking the biggest week for an album by a woman this year.

Concurrently, five of Dandelion’s tracks pollinate the Hot Country Songs top 10, with 16 of the album’s 17 chart-eligible tracks making the list. Langley places second among women for the most titles charted at once; Taylor Swift has surpassed that mark multiple times, led by 22 when Speak Now (Taylor’s Version) made its entrance in 2023. She also charted 21 songs upon the arrival of Red (Taylor’s Version) and 18 with Fearless (Taylor’s Version), both in 2021. Langley matches Beyoncé, who placed 16 titles on the chart with 2024’s Cowboy Carter. Megan Moroney follows with 14, achieved with the release of Cloud 9 in March.

Five tracks from Dandelion are in the Hot Country Songs top 10, placing Langley third among women behind Swift and Beyoncé, who have seen as many and eight and seven chart in the tier, respectively. Zoom to the top five and Langley charts four songs this week — tying Beyoncé for the most ever by a woman in a single week. Over three weeks in 2023 and 2025, Morgan Wallen filled all five spots, including the entire top 10 on the May 31, 2025, list.

Dandelion’s placements on the latest Hot Country Songs chart, as she ups her count to nine career top 10s:

No. 1 (21st week), “Choosin’ Texas” (No. 1 last week)
No. 2, “Be Her” (holds at its high)
No. 4, “Bottom of Your Boots” (debut)
No. 5, “Loving Life Again” (No.  11 last week)
No. 8, “Dandelion” (No. 13 last week; has hit No. 7)
No. 15, “Broken” (debut)
No. 16, “We Know Us” (debut)
No. 17, “You & Me Time” (debut)
No. 21, “Low Lights” (debut)
No. 22, “Speaking Terms” (debut)
No. 26, “Butterfly Season,” with Miranda Lambert (debut)
No. 28, “Somethin’ Simple” (debut)
No. 29, “Last Call for Us” (debut)
No. 31, “I Gotta Quit” (debut)
No. 32, “It Wasn’t God Who Made Honky Tonk Angels” (debut)
No. 38, “Most Good Things Do (Acoustic)” (debut)

Langley’s “Girl You’re Taking Home” also appears at No. 39, though that track is from her 2024 release, Hungover.

Wallen holds the record for the most concurrent placements on Hot Country Songs in a single week: 36, upon last year’s chart start of his 37-song I’m the Problem, one of multiple weeks in which he has placed 30-plus titles. Zach Bryan follows, having charted 23 songs in January thanks to his album With Heaven on Top.

The only artists who have placed 10 or more songs on Hot Country Songs in a single week are Beyoncé, Bryan, Langley, Moroney, Swift, Wallen, Luke Combs, Post Malone and Thomas Rhett.

Meanwhile, Langley and Wallen are set to impact Billboard’s charts dated May 9 together: their duet, “I Can’t Love You Anymore,” is due this Friday (April 24), after they premiered it on Wallen’s Still the Problem tour in Tuscaloosa, Ala., Saturday (April 18).

ANOTR’s “Talk to You,” featuring 54 Ultra, logs a third total and consecutive week at No. 1 on the WARM Global Dance Radio chart (dated April 25), drawing more than 900 plays (up 8% week over week) across 200-plus monitored stations worldwide April 10-16, according to WARM (World Airplay Radio Monitor).

Released March 6 via ANOTR’s own NO ART imprint, the song has built momentum on TikTok, where it has been featured in nearly 60,000 videos.

“Talk to You” has also become a hit across Billboard’s other U.S.-based charts, reaching No. 5 on Hot Dance/Electronic Songs last month (and currently ranking at No. 11). In the latest tracking week, it drew 1.2 million official U.S. streams, according to Luminate.

ANOTR is an Amsterdam-based electronic duo comprising Oguzhan Guney and Jesse van der Heijden.

Rounding out the top five of the WARM Global Dance Radio chart, Bebe Rexha and Faithless’ “New Religion” holds at its No. 2 high (up 3% in plays); Calvin Harris and Kasabian’s former four-week leader “Release the Pressure” is steady at No. 3; Milky X Mall Grab’s “Just the Way You Are” keeps at No. 4; and Gordo and Reiner Zonneveld’s “Loco Loco” rises 6-5.

The top debut on the chart is Anyma and Joji’s “Beautiful” at No. 34. Anyma also debuts at No. 70 with “Bad Angel,” with LISA. All three acts teamed up at the second weekend of Coachella.

The WARM Global Dance Radio chart debuted on Billboard.com in March, joining Billboard’s long-standing U.S.-based dance lists, including Hot Dance/Electronic Songs, Hot Dance/Pop Songs, Dance/Mix Show Airplay and Top Dance Albums. The 40-position Global Dance Radio chart (published in full as a 100-position ranking on WARM’s platform) aggregates plays from 200-plus dance-dedicated radio stations across more than 30 countries, reflecting songs trending globally through a network of programmers and radio gatekeepers operating across multiple territories.

Check out the top 40 of the WARM Global Dance Radio chart on Billboard.com and head over to warmmusic.net for the full 100-position survey.

There may be no relationship between Peter Hook and New Order any longer, and substantial animosity between them. But that doesn’t mean the bassist is feeling any ambivalence about the band — and its predecessor, Joy Division — being inducted into the Rock & Roll Hall of Fame this November in Los Angeles.

“Considering it’s been three (nominations), I was always hoping (induction) would happen,” Hook, 70, tells Billboard via Zoom from home in his native Manchester, England. “I’ve always believed in Joy Division, and I’ve always believed in New Order, and then all of a sudden to get this award … I think in the context of what we’ve achieved, it’s well-earned. And the music, I still love it. I’m still immensely proud of it — even prouder when it speaks to every generation, as I’m sure a lot of musicians feel.”

Hook adds that the induction “isn’t particularly for us. It’s … for the fans of both groups, and I’d like to think this is more about their belief in us and what we did than it is for us … I think it’s a vote of confidence from the fans for both bands, which is very aptly earned by them and shines on us as well.” He’s particularly happy for one fan, David Sultan, an airline pilot who put together a Joy Division/New Order exhibit for the Rock Hall in Cleveland and “was always adamant that we should be in there. This is talking 20 years ago — it’s been there that long and they actually asked him to make it bigger now that we’re in, which is wonderful for him.”

The Rock Hall honor comes 50 years after Hook saw the Sex Pistols perform at the Lesser Free Trade Hall in Manchester, which inspired him to form a band of his own. Joy Division came together that same year and released two lauded albums — Unknown Pleasures in 1979 and Closer in 1980 — before ending when frontman Ian Curtis died by suicide on May 18, 1980, on the eve of Joy Division’s first U.S. tour. 

Hook is confident Curtis would enjoy the Rock Hall induction. “I think he would have loved it,” he says. “Ian enjoyed every single success we ever had, whether it was getting on a support gig for Siouxsie & the Banshees, whether it was getting a nip on Factory (Records). All those things were great celebrations. Ian is the one who used to sit us down whenever we were, shall I say, wearied — which is quite often in this bloody business — and would give us the pep talk, ‘We’re gonna be bigger than the Doors! We’re gonna be this, that! We’re gonna play in every country on the planet!’ To this day, every time (Hook and his band, The Light) get somewhere we haven’t played before, I always think, ‘This is for you, Ian.’ All he wanted to do was play our music, because he thought it was fantastic, and it was as simple as that.”

After Curtis’ death, Hook, Bernard Sumner and Stephen Morris decided to continue as New Order, adding Morris’ wife, Gillan Gilbert. The group had even greater international success than Joy Division, but Hook left acrimoniously in 2007 and was angry that the band continued without him in 2011. He subsequently sued in 2015 over unpaid royalties and rights to the band name, reaching a “full and final” out-of-court settlement two years later that gave the others continued use of the band name while Hook and the Light also tour, often playing Joy Division and New Order albums in their entirety.

Consequently, Hook isn’t expecting any kissing and making up or playing nice together come Nov. 14. 

“What they did in 2011 was, frankly, disgusting, and I can’t forgive it … so I won’t be borrowing their ball, shall we say, for any kind of game,” explains Hook, who’s “speaking with” ceremony producers about performing at the event. “I still do think it’s a travesty they use the New Order name when they are not New Order. They haven’t said they’re going; I have no idea, to be honest. I am gonna go, definitely. I’m looking forward to it.”

“It’s a dreadful shame, it really is — especially when you get to our age, when you realize that road (ahead) is looking a lot bloody shorter than that road (behind), and you should show it respect. We’ve just been acting like petulant, spoiled children which, sadly, has diminished the way that people look at you, I think,” he adds.

New Order has not responded to requests for comment on the Rock Hall induction since it was announced last week. 

Hook will be busy in front of the induction ceremony. The Light will be touring in North and South America, Australia and New Zealand this year, with several festival appearances. And on June 4 he’ll be commemorating the 50th anniversary of that life-changing Sex Pistols show with a special performance in Manchester, a “Peter Hook’s greatest hits” night that will also include music he made with his other bands such as Revenge, Monaco, Freebass and others. 

He’s hoping any Rock Hall performance will include the Light, which he calls “my backbone” and includes his son, Jack Bates. Bates is also part of the current touring lineup of Smashing Pumpkins, which coincidentally is playing that same day at the Darker Waves festival in Huntington Beach, Calif.  He’s also looking forward to joining Oasis at the ceremony, as he’s known Noel and Liam Gallagher for years and, in fact, their first concert under the Oasis name was an opening date with Revenge.  “They’re self-confessed Joy Division/New Order fans, the Hacienda, Madchester, the whole of it,” Hook notes. “It’s absolutely delightful to be a big part of their life like that. You never know; I might be in Oasis that night (of the induction).

“I suppose the greatest thing is I’m still here and I still enjoy it and I’m still able to enjoy it with a lot of people,” Hook continues. “That means more than anything, because without them I’d be nothing. We wouldn’t have this award without these people. I wouldn’t have a career. I wouldn’t have my vocation. So I’m proud of them all. To play Joy Division in Mexico, whereas Joy Division never got anywhere apart from Europe, those moments are amazing. And to see how young the audience is and how they know every word, oh, man, it’s a humbling experience.”

In addition to Joy Division/New Order, this year’s Rock Hall class includes: Phil Collins, Billy Idol, Iron Maiden, Oasis, Sade, Luther Vandross and Wu-Tang Clan. The 2026 induction ceremony will take place Nov. 14 in Los Angeles and air on ABC and Disney+ in December.

Even in her more subdued moments, there’s always been something deliciously theatrical about Jessie Ware. Superbloom, the singer-songwriter’s sixth studio album, sparkles with the mischief and confidence of an artist fuelled on years of enthusiastic pop star study: its ballads are draped in velvet and low light; its airy disco cuts pulse like a Balearic beach party; there’s even a steam-thick, candlelit sauna fantasy – think Bette Midler at the baths in full cabaret mode.

The London singer’s stunning second act has been shaped by her predominantly queer fandom, whose appetite for glamour has found a perfect mirror in Ware’s increasingly liberated sound. A career-redefining response to 2020’s What’s Your Pleasure? kicked off the 41-year-old’s current trajectory, which saw her secure her first Mercury Prize nomination in nearly a decade, and expand her live profile with a Harry Styles support slot run and a slew of key festival slots across Glastonbury, Mighty Hoopla and Primavera Sound.

With the release of Superbloom, the stakes are only set to get higher. 14 years on from her debut LP Devotion – an era first teased its author’s command of dance music, via collaborations with Disclosure and SBTRKT – Ware will play London’s O2, The Hydro in Glasgow and Manchester’s Co-op Live at the end of 2026, marking her first-ever arena headline shows. For an artist like Ware, who has gradually reinvented herself into a modern pop torchbearer, these bookings speak to a journey that has steadily gathered force and confidence.

“The energy is going to be amazing,” says Ware, speaking to Billboard U.K. over the phone about her forthcoming tour. “I’m trying to enjoy these moments and not be scared by them. It’s taken me nearly 15 years to get to The O2, but I wouldn’t change that for the world. I’m definitely going to revel in that night, for sure, because it’s taken a lot of hard work and some highs and lows to get there.”

The newer material feels primed for her biggest stages yet: Ware adopts the alter-ego of ‘Shirley Bloom’ on standout “Don’t You Know Who I Am,” her voice expanding heavenwards, soulful and melismatic. “Ride,” meanwhile, pairs the disco-house futurism of Beyonce’s Renaissance with the country reimagining of follow-up Cowboy Carter, giving The Good, The Bad and The Ugly theme new life, while “I Could Get Used To This” exudes “Venus energy” with its luxurious, shimmering synths. Taken together, the tracks unveil a series of high-drama personas, unified by an overarching theme of reinventing oneself.

Here, Ware tells Billboard U.K. about the next chapter in her artistry, from her “major” plans to bring Superbloom to the stage to what it means to be truly stepping into her power.

Superbloom is your sixth studio album. Do you tend to go into the making of a record with a sense of what you want the record to be, or does that reveal itself as things unfold?

For the last couple of records, I have gone into the studio with this very strong sense of what I wanted it to be. Then this time – which kind of threw me – the record that I thought I was making was going to be this kind of big, banging dance thing, but it just wasn’t coming. I think it took experience and confidence to be able to go, “You know what, I thought this was the record, but this isn’t meant to be. Let’s see what’s really resonating.”

I needed to live my life a bit, and I wanted to enjoy exploring and expressing that. Once I had the song “Automatic,” which has this beautiful, relaxed groove and an electronic sample but it also felt soulful – it felt like the perfect marrying of the two kinds of worlds that I wanted to make. I learned about patience and trusting my gut with this album. There was a fork in the road moment where I thought I could do this kind of hyper, pop-dance record and it just didn’t sit completely right with me – so I went the other way. I’m really proud of the results.

What’s something new you allowed yourself to do on this record as you fully stepped into that confidence?

I think what’s been an eye-opening thing for me is having footage of me in the studio and seeing how, I mean one could say “boss’”.. I’d like to say lead! I realized that I go 500 miles an hour in the studio. But bless my gorgeous producers, who have such patience and allow my mind to dart off into all different places, and manage to still bring all that together and all my ideas. When looking back at the footage, I was like, “Oh wow, I don’t stop. I’m actually quite exhausting.” And thank God these people suffered me…

On your last headline tour, you performed an electrifying cover of Cher’s “Believe.” What’s the next diva anthem you’d like to tackle?

God, “Believe” was just such a great one to do! I think there’s plenty of scope to get another cover on the setlist. I don’t know, I think I may put it to the fans and see what they fancy me singing. To be honest, that could be quite fun, and see if there’s a general consensus. I haven’t really thought about a cover yet, but I’m sure I will because I think “Believe” stays in that zone; she belongs to the [2023] That! Feels Good! era, for sure.

How does the shared, communal energy of your live performances feed back into the songwriting across Superbloom?

My relationship with my fans is fabulous. They have just given me this incredible confidence to go for it – vocally, creatively, lyrically – and they egg me on to always push myself further. I love that they’ve made me the artist that I am, and that I keep on trying to be. They’re always in my thoughts.

When I was writing this record, I wanted something that could satisfy the people that love shouting out [older, high-octane] songs like “Shake the Bottle” to me. But I also wanted to give the fans a ballad, because I had shied away from ballads for a while, and I could see the impact of when I’d play “Say You Love Me” with just a piano. Ballads were part of my artist DNA when I first started. 

On the flip side, what’s the most constructive criticism you’ve received from fans? Can they be harsh critics too?

I did go through my DM requests the other day, and I don’t usually look at those on Instagram – I just never know what’s going to be in there! One fan was very angry that I wasn’t remaking What’s Your Pleasure?. And I thought, “OK, well sorry, mate, that’s a record that exists, but I want to keep on pushing myself.” People get very emotionally tied to particular records, and then they want an artist to make the same thing again and again. I want to keep on switching it up.

To be honest, my fans are very, very good to me. If anything, they just want more! I want to give them more by doing these mini acoustic shows. We didn’t have loads of time to rehearse, so my lovely pianist, Mike, learned six songs. You know, everyone thinks [these shows are like] bloody Justin Bieber’s Coachella set, and that I can take requests. And I was like, “I wish I could sing any of my songs to you, but bless, Mike doesn’t know them!”

We had a good giggle, and it made me think about how I can satisfy the audiences that have been here from the start, the ones that want deep cuts. I saw Pet Shop Boys do this amazing gig last week where they only performed B-sides. I just think that is a legacy. That’s an act listening to their fans and wanting to respect them, and I hope I get to the point where I can just be like, “Oh, do you want a whole piano show, or do you want a whole ballad show, or do you want a whole B-side show?” I’d love to do that s–t!

You have worked in lots of different mediums – from podcasting to memoir writing – but always come back to pop music as your primary means of expression. What makes it such a powerful medium for you?

The beauty of pop music is that it allows you to connect with so many people. There’s a beautiful kind of universality about pop – I’m talking like Prince, Annie Lennox, or Madonna, – that feels like it’s for everyone and anyone. In a world that is so challenging, pop can provide a beautiful escape. You look at the pop girls right now and what they’re doing, whether it be Sabrina Carpenter, Chappell Roan or Addison Rae, and they’re all doing their own thing. But between them all, there’s this shared delight in the performance. I’m really here for it! 

But I mean, the one who does it the best is Lady Gaga. Whilst I don’t think I’ve got the numbers or the budget yet to put on a Gaga show, when you strip all of that [production] stuff back, Gaga could be there just singing at the piano and it would still be incredible. She’s absolutely beyond talented. I love how she creates an occasion, but also has this deep connection with her fans. I think she’s remarkable. I loved the Mayhem Ball. I thought it was beautiful. I thought Sabrina’s show was so fun too, because I’m a sucker for musical theatre and campness.

What else has inspired you recently in the realm of pop?

I think Naomi Scott’s album [F.I.G] has been really exciting, a great record. She’s taken her time with it and I think it feels incredibly unique to Naomi, but I hear all the references too. I’m really happy for her. My kids really like Pale Jay, so we listen to a lot of him. James Blake’s new record, Trying Times, is absolutely stunning – I think it’s some of his best work, I absolutely love it. And I think Rose Gray is really cool too!

How do you envision bringing the ethereal, expansive world of Superbloom to the stage?

When it comes to my next show, all I’m thinking about is the production. I’m already speaking with my creative director. It’s like, “Do I invite everyone to come in togas or cowboy hats, or both?” I think there’s definitely going to be this secret garden world on stage, bringing out all these beautiful themes of the record whilst also being able to incorporate the older music with that too. It will be my biggest show yet.

I’m playing some of the biggest venues I’ve ever played: The O2 [London], Co-op Live [Manchester], Radio City Music Hall [New York], the Greek Theatre [Los Angeles]. For me, this is a huge deal. These shows are something to be celebrated, but I also want to acknowledge the spaces and think, ‘How do we create the same kind of show in Radio City Music Hall, which is a beautiful theatre, that still makes sense at The O2?’. I’m really excited about that challenge.