For a decade and a half now, Bruno Mars has been perhaps the most consistently successful artist in popular music, and he’s certainly not about to start flopping with his latest set, The Romantic.

The album — Mars’ first solo effort since 2016’s 24k Magic, and his first LP of any sort since 2021’s Anderson .Paak teamup An Evening With Silk Sonic — debuts atop the Billboard 200 (dated Mar. 14), with 186,000 first-week units. The album’s lead single “I Just Might” also returns to No. 1 for its third total week on top, while second single “Risk It All” bows just three spots below it at No. 4.

How should Mars feel about this latest debut week? And is he trying anything particularly new with this album, or more going with what’s proven to work for him? Billboard staffers discuss these questions and more below.

1. Bruno Mars’ The Romantic debuts at No. 1 on the Billboard 200 with 186,000 units. On a scale from 1-10, how pleased do you think he and his team should be with that first-week performance?  

Eric Renner Brown: 9. While The Romantic actually fell short of Mars’ last solo effort, 2016’s 24K Magic, by 45,000 units, it accomplished something neither that album nor Mars’ most recent project, his collaborative 2021 album with Anderson .Paak as Silk Sonic, did: a No. 1 chart placement on the Billboard 200. In doing so, Mars topped the chart for the first time in 13 years, notching the longest such gap for a living solo male artist since Paul McCartney summitted it in 2018 after a 36-year gap. Beyond demonstrating his cultural relevance at the moment, this No. 1 also indicates Mars’ overall longevity as a star.
 
Kyle Denis: About an 8. Considering the general decline of pure album sales, short tracklist and a lead single that didn’t quite take over the world, The Romantic’s opening week total is nothing to scoff at. And how can you be mad at your first No. 1-debuting album! 

Lyndsey Havens: 10 — you can’t debut higher than No. 1. Plus, the fact that this is his first chart-topping album since his 2012 second album Unorthodox Jukebox and his first album to ever debut at the top spot is about as good as it can get, especially for an artist who is more than 15 years into their career. 

Michael Saponara: 7.5. Bruno hasn’t been a massive first-week numbers guy in his career when you think about him as a pop supernova, but 186,000 is a solid week, and ruling the top slot on the Billboard 200 and Hot 100 is an impressive feat nonetheless. I think you also have to factor in that this wasn’t a bloated project loaded up with 20-something songs, as Bruno kept it tight with just nine tracks on DSPs. 

Andrew Unterberger: I’d say a 7.5. It’s not the most exciting debut performance of the year, but Bruno Mars has never really been about eye-popping first weeks — he’s been about consistency, and another No. 1 album with another No. 1 hit (and already a second top five hit) means he’s just as big as he was five years ago, and 10 years ago, and 15 years ago, and probably five years from now. Hard to find reason to be upset with that.

2. “I Just Might” returns to No. 1 for a third week on top the Hot 100. Does this feel like an important/defining No. 1 hit for Bruno Mars at this point, or is it mostly still coasting off the momentum of his pair of 2024-25 global smashes (“Die With a Smile” with Lady Gaga and “APT.” with ROSÉ)? 

Eric Renner Brown: “I Just Might” doesn’t feel particularly remarkable. “Die With a Smile” and especially “APT.” were both far more distinctive, and not just because they were collaborations with other A-list artists. It’s easy to see the big debut of “I Just Might” as indicative of broader pent-up demand for new Bruno Mars. Any decently executed single – and for Mars, musical proficiency is a given – from him would likely have performed similarly, and that’s exactly what “I Just Might” is: a well-produced Mars single that conjures his classic singles without reinventing the wheel.

Kyle Denis: I feel pretty comfortable saying that “I Just Might” won’t even rank in the top five of Bruno’s most important/defining No. 1 hits when all is said and done. A lot of this still feels like residual 2024-25 momentum, combined with a relatively less competitive chart period. 

Lyndsey Havens: Considering how wildly different “Die With a Smile” and “APT.” are from one another — and from the rest of Bruno’s hits-filled catalog — I don’t consider The Romantic or “I Just Might” to be riding the momentum at all (I also think it’s why he’s able to have such a string of successes without ever reaching oversaturation). Especially because Bruno isn’t trying to build off either sound for his solo return. Instead, he returned to the tried and true form of Bruno Mars. I think that’s why “I Just Might” feels like a defining hit on its own, because it’s classic Bruno — and the fact that he can still release something that feels so distinctly him that also can resonate so strongly in 2026 is proof that he’s always known exactly what he’s doing.

Michael Saponara: “I Just Might” will define the Romantic era from a charts perspective for Bruno, but doesn’t enter the short list of his No. 1 hits of the past, which, admittedly, is going to be tough to crack at this point in his career. With the lasting impact of “Die With a Smile and “APT.,” the roads for “I Just Might” standing alone are muddied. 

Andrew Unterberger: Hard to know before wedding season, where we’ll see whether it’s already joined “Treasure,” “Uptown Funk” and “24k Magic” in the most important Bruno Mars canon of all. I have to imagine it’ll get there, though: There’s something about that breezy groove with the “doo-doo-doo” vocal hook that screams all-ages dance party, at a pitch that seemingly no other pop star of the past 20 years can quite hit. Certainly wouldn’t bet against it.
 
3. “Risk It All” is the highest-debuting of the album’s new songs, bowing at No. 4 this week. Do you think it’ll be another long-lasting smash for Mars, or will it recede more quickly following its entrance?  
 
Eric Renner Brown: Is that just… because it’s the first song on the album…? That’s the vibe I’m getting. The song is fine, but doesn’t stand out relative to other songs on the album, to me at least. I’m guessing a non-zero number of people pressed play and didn’t stick around for the rest of the album. To play devil’s advocate, the Latin flavor on “Risk It All” might buoy it on the charts in the weeks ahead. But I expect it to recede sooner rather than later.

Kyle Denis: I think this will probably perform on par with, if not better than, “Versace on the Floor.” Meaning that I’m expecting the third Romantic single to follow a trajectory closer to “Finesse.” There’s a chance a pretty ballad like this gets stunted as we reach for faster tempos to celebrate the arrival of spring and summer, but between its cross-cultural music video and wedding-ready status, “Risk It All” should go down as a solid hit single. 

Lyndsey Havens: I think “I Just Might” will be the defining hit off The Romantic, but I do think that “Risk It All” has room to grow. Granted, we already have its music video, but Bruno is heading out on tour and that surely could help the song sustain or even give it a second (even higher-charting) boost.

Michael Saponara: It was cool to see Bruno lean into bolero with “Risk It All” to open the album, but I don’t see it remaining as a top-five staple for the long haul. The video was a standout moment alongside the romantic ballad, though, as Bruno picked up the guitar and delivered on the Latin love story with a mock wedding — and pulled on the heartstrings with a relationship that just about everyone would sign up to grow old for. 

Andrew Unterberger: I think it’s another smash, yeah. You don’t really think of Bruno Mars as being a balladeer first and foremost — especially a relatively straight-faced one, like he’s playing on “Risk It All” — but when you look back at his catalog, he’s got more big slow songs than you think. I see “Risk” likely ending up the “When I Was Your Man” to the “Locked Out of Heaven” of “I Just Might”: Not as exciting a hit in the moment, but another huge chart winner that ends up being just as enduring, if not more so, than its predecessor.

4. Does anything else on The Romantic’s tracklist feel particularly new or exciting to you, or is it mostly just Bruno Mars playing the hits? 
 
Eric Renner Brown: The Romantic is the type of album Mars could make in his sleep, which is both a compliment and a criticism. Among contemporary music stars, Mars has perhaps the highest floor: At minimum, his music is always immaculately produced and performed. But there’s a certain je ne sais quoi missing on The Romantic. Outside of the Latin flavors scattered across the album, it’s mostly just Mars in his comfort zone – which isn’t particularly exciting, but is still solid.

Kyle Denis: “Something Serious” really stuck out to me. I enjoyed hearing Bruno step into his Santana bag. 

Lyndsey Havens: I mean, the fact that he’s exploring the genre of bolero definitely feels new for him and exciting for fans. And I think the best part is that while it may momentarily feel out of left field, the lasting impression is that it actually makes perfect sense for Mars, and showcases a sound he can so seamlessly pull off. I think that’s the underrated genius of The Romantic; even when trying something new, Mars’ signature stamp helps the instrumentation feel pre-worn and — to use this word again — timeless. Nothing about a solo Bruno Mars song will ever feel timestamped to the year it came out, which can be both a blessing and a curse (and fuel for the haters). But I think the fact that Bruno can balance what sounds like a classic hit in “I Just Might” alongside a fresher-sounding single like “Risk It All” and make both feel entirely him speaks for itself. 

Michael Saponara: I think Bruno played it safe with much of The Romantic. He’s still performing at a high level, but with the standard I hold him to, the bar is already at the ceiling, so he’d have to take a risk creatively and push the envelope with some innovation that would make me feel he’s delving into a completely new realm.

Andrew Unterberger: “Something Serious,” with Mars’ spin on Santana’s version of “Oye Como Va,” was the most fun of the album’s handful of new explorations to me — though I kinda wish that when talking about The Romantic, we weren’t able to describe so many of the more interesting new songs as “the one where he puts his spin on [beloved artist]’s [classic hit].”
 
5. Mars is taking The Romantic on a stadium tour shortly. Is there anything he could do with these songs to make this era pop a little more for him, or will they quickly just mix into his larger setlist and reinforce the strength of his overall catalog? 
 
Eric Renner Brown: Mars had a very successful Las Vegas residency, and his first stadium tour as a spiritual extension of that. Most Mars fans will be interested primarily in him performing his deep catalog of hits; these songs sound well-suited to slot in amongst his more classic material, but unlikely to become draws of their own. But like a lot of veteran artists who take to the stadium circuit, the new material isn’t really the point.

Kyle Denis: I could definitely see him making “Risk It All” a tour moment by officiating marriages onstage, or maybe he brings out a special guest/fan for “Cha Cha Cha” à la Role Model’s “Sally” trend. More likely than not, however, The Romantic will simply add more material to a catalog already primed for a memorable live show. 

Lyndsey Havens: I’d love to see Bruno bring the vibe of his “Risk It All” music video to the stage, even if briefly. But overall, I think he could have toured stadiums even without dropping The Romantic. His catalog really is that strong — as is his stage presence — but the fact that fans do have new material to enjoy is just one big romantic cherry on top. 

Michael Saponara: Bruno’s going to have to add a wrinkle or two to make The Romantic-specific tracks pop on tour. It’s a tall task with as robust a catalog as he boasts, but it’s possible. I’m looking at Bad Bunny’s Super Bowl performance for inspiration here. Bruno could give tracks a fresh coat of paint at different spots — think the Lady Gaga-assisted salsa rendition of “Die With a Smile” — or bring out couples on stage for viral engagement moments or a wedding ceremony and first dance, as we saw in Santa Clara in February.

Andrew Unterberger: I’d definitely like to see him jam out some of the grooves of this album a little — maybe taking “On My Soul” from “Move on Up” (Single Version) to “Move on Up” (Album Version) territory — and be a little more playful with them in general. Nothing wrong with a tight nine-track album, but there are moments where The Romantic could definitely stand to feel a little looser. Hopefully the live show will help with that.

Goldenvoice will produce a one time only dance megafest, Head Trip, Oct. 10-11 at the Coachella grounds in Indio, Calif.

Head Trip follows the tradition of 2016’s Desert Trip and 2023’s Power Trip, which each put on eye-popping lineups of classic rock and classic heavy metal, respectively.

Per this framework, Head Trip will feature two days of dance music greats, with Saturday’s bill featuring Calvin Harris, Chris Lake and Fisher performing as Under Construction, Peggy Gou playing b2b with Four Tet and Ben Sterling playing b2b with Seth Troxler. Sunday will feature Swedish House Mafia, Skrillex, Dom Dolla b2b Kettama, The Blessed Madonna and DJ Harvey.

Additionally, Floating Points will put on an installation called Sunflower Sound System that will operate all weekend long. Housed inside a domed tent, Sunflower Sound System will feature paneling made from mycelium and decorated with tapestries and original artwork by DJ and artist Josephine Chime. The space will be DJ’d by Floating Points and special guests.

Beyond this, Head Trip will feature all performances on the same stage, with no overlapping sets. Producers will appear in the order they appear on the lineup poster below. The main stage production will be designed by Romain Pissenem, the founder and director of creative production company High Scream.

Hotel packages for the 18+ festival start at $2,150 for a two night stay and GA tickets for two people. These packages are available now, with all packages including a festival ticket.

See the lineup below:

There’s a lot of Bruno Mars on the March 14-dated Billboard charts. His newest album, The Romantic, debuts atop the Billboard 200, becoming his first leader in 13 years. Its nine tracks infuse multiple rankings, with the entire tracklist populating the worldwide Billboard Global 200 and U.S.-based Billboard Hot 100. He tops both lists simultaneously, but, in a rarity, with different songs.

With “I Just Might” rebounding for a third week at No. 1 on the Hot 100 and “Risk It All” debuting atop the Global 200, The Romantic becomes the first album ever to lead both charts with different tracks at the same time. (The Global 200 launched in 2020; the Hot 100 dates to 1958.)

Even within the U.S., these Mars tracks show their strength differently. “Might” scores a third week atop Radio Songs, up 6% to 72.5 million radio airplay audience impressions in the week ending March 5, according to Luminate. “Risk” starts at No. 1 on Streaming Songs, debuting with 23.2 million streams. “Might” rebounds to No. 4 on Streaming Songs, while “Risk” has yet to appear on Radio Songs; “Might” remains Atlantic Records’ priority radio single from The Romantic, although “Risk” is already new on both Pop Airplay and Adult Pop Airplay.

“Risk” leads “Might” in streams in the U.S. (23.2 million vs. 18 million) and internationally (28.9 million versus 25.5 million). It is ultimately radio that flips the script and puts the latter track, in its eighth week, atop the Hot 100. The Global 200 (and Global Excl. U.S. chart) does not include airplay data, allowing “Risk” to reign without the radio handicap of its fresh release.

While The Romantic stages an unprecedented chart takeover, Mars has done it before. He became the first artist to top both tallies with different songs last year, when “Die With a Smile,” with Lady Gaga, and “APT.,” with ROSÉ, split honors for two consecutive weeks in January 2025. “Smile” later appeared on Gaga’s MAYHEM, and “APT.” on ROSÉ’s Rosie, though neither track wound up on a Mars set.

The only other act to pull double duty was Kendrick Lamar, the following month. In the wake of his multiple Grammy wins and Super Bowl LIX halftime set, 2024’s “Not Like Us” returned to No. 1 on the Feb. 22, 2025-dated Hot 100 and the Global 200. The following week, it held atop the Global 200 while his SZA duet “Luther” took over the Hot 100 for the first of 13 weeks at No. 1. The latter track is on Lamar’s GNX, while the former remains unattached to an album.

Not only did Mars lead with split tracks for two weeks last year compared to Lamar’s one, but he has now achieved the feat with a second pair of songs. Further, as both “Might” and “Risk” are solo tracks, he becomes the only artist to simultaneously top the Hot 100 and Global 200 with different songs on their own.

Bad Bunny has won a court order dismissing a lawsuit that alleged a track on his chart-topping Un Verano Sin Ti album featured an unlicensed sample from a Nigerian artist.

The case, filed last spring, claimed Bunny’s “Enséñame a Bailar” illegally sampled from a 2019 track called “Empty My Pocket” by an artist named Dera (Ezeani Chidera Godfrey). But on Monday (March 9), a federal judge tossed the case out of court because Dera essentially abandoned the lawsuit.

Judge Otis Wright had given the accuser until Friday (March 6) to get things moving, but Dera “failed to timely respond” by that deadline. “Accordingly, the court dismissed this action and all claims asserted therein with prejudice,” the judge wrote, using the legal term for ending the case permanently.

Dera and his record label, emPawa Africa, filed the lawsuit in May, claiming the sample was not just featured in “Enséñame” but “pervades the entirety” of the song. They claimed Bad Bunny and others had been notified, but had “turned a blind eye” to the problem.

“It is not very often that a musical artist of Bad Bunny’s caliber and sophistication uses someone else’s music without permission, and then ignores the person’s efforts to resolve the problem,” Dera’s attorneys wrote at the time.

The lawsuit was a big deal because Un Verano Sin Ti was a big deal — spending 13 weeks atop the Billboard 200 and more than 150 weeks total on the chart. “Enséñame a Bailar” was a hit in its own right, charting on the Billboard Hot 100 for two weeks and earning 72 million views on YouTube.

Dera’s lawsuit was filed by attorneys from Manatt Phelps and Phillips LLP, a prestigious national law firm with a well-known music practice. But in January, the firm said it would withdraw from the case because of “irreparable differences” with its clients.

“As this lawsuit has progressed, disagreements with respect to legal strategy have emerged between Manatt and Plaintiffs,” Dera and emPawa’s lead attorney, Robert Jacobs, told the judge. “Due to these disagreements, the attorney-client relationship and communications have frayed. Plaintiffs and Manatt worked in good faith to resolve these issues, but, unfortunately, have been unable to do so.”

Without lawyers, both Dera and emPawa abruptly stopped litigating the case. The label was dismissed from the lawsuit for blowing deadlines last month, and Judge Wright warned the artist that he would face the same outcome if he didn’t respond by Friday.

“The court has become aware that [Godfrey], proceeding [without lawyers], has failed to diligently prosecute this case,” the judge wrote in February. “Indeed, since the Court relieved Godfrey’s former counsel, Godfrey has not filed any papers or otherwise appeared in this case.”

Neither side immediately returned requests for comment.

Noah Kahan is calling out the great divide between real fans and “parasitic” autograph hounds following Chappell Roan‘s viral moment confronting people on the streets of Paris.

In Tuesday (March 10) posts on his Instagram Story, the folk-rock singer-songwriter defended the pop star by first sharing Billboard‘s story about Roan telling a swarm of followers to “get away from me” in France. “Maybe they should just idk leave her alone?” Kahan wrote.

“Also those dudes saying ‘I’m a huge fan’ following her around are scalpers and are as bad as the paparazzi,” he continued. “F–k em all.”

The Vermont native followed up with a video elaborating on his prior thoughts, telling the camera, “These people literally find out where you’re staying, where you’re flying in to, where your team, family, whoever is staying — they are clearly not your fans, they just sit outside places so they can try to guilt you into signing s–t so they can sell it.”

“They trick people like you who are just watching the video and don’t know what’s going on into thinking that someone’s being rude to one of their fans, when they’re really just manipulating you,” he added. “They’re scummy, they’re manipulative, they’re parasitic, and, yeah. F–k them, seriously. Don’t feel bad for them.”

Roan made headlines one day prior to Kahan’s posts after a video of her filming her experience with a crowd in Paris began circulating online. In the clip, the Grammy winner tells her phone camera, “I’m just trying to go to dinner, and I’ve asked these people several times to get away from me.” Meanwhile, the individuals in question continue hounding her for autographs and photos.

“These are all the people that are completely disregarding my boundaries,” she added in the moment. “All of you, I’m asking you kindly to please leave me alone and stop following me and harassing me. No, I’m not gonna sign. This is what it’s like, if you were wondering how it is.”

It’s not the first time Roan has asserted her boundaries — nor is it the first time Kahan has applauded her for doing so. In 2024, the former yelled at a photographer on the VMAs red carpet who’d allegedly told her to “shut the f–k up.” Afterward, Kahan posted on X, “I’ll never forget leaving [the] Clive Davis [pre-Grammy gala] and the horrific s–t photographers and paparazzi or whatever were saying to me in front of my sweet mom who couldn’t believe it was actually happening. Love this @ChappellRoan way to stand up for yourself.”

Kahan is currently gearing up to drop his highly anticipated album, The Great Divide, on April 24. He led the project with its title track, which dropped Jan. 30, topping the Alternative Airplay chart and debuting at No. 6 on the Billboard Hot 100.