Olivia Dean will top the bill on the final night of BBC Radio 1’s Big Weekend when the annual festival lands in Sunderland, England, May 22-24.

The British pop and soul singer, who scooped four trophies at this year’s BRIT Awards, is set to close out the Sunday (May 24) main stage alongside Niall Horan, formerly of One Direction, and U.S. R&B star Kehlani.

Elsewhere on the lineup, Zara Larsson, Louis Tomlinson and Lola Young will perform on the main stage across the weekend, while rave heavyweights Fatboy Slim and Sonny Fodera are set to launch the festivities on Friday with a dance music-led opening day.

Sunday’s main stage will also feature CMAT and Myles Smith, while the festival’s new music stage will host sets from Ezra Collective, FLO and Jorja Smith, among others.

The event will take place at Herrington Country Park, marking the first time Big Weekend has taken place in Sunderland. Previous host cities include Liverpool (2025), Luton (2024) and Dundee, Scotland (2023).

Dean, 26, has had a stellar breakout year following the release of her second LP, The Art of Loving, last September. She took home the best new artist prize at this year’s Grammy Awards, and is set to headline six sold-out shows at London’s 20,000-capacity O2 Arena later this year.

Meanwhile, Horan is gearing up to release a new single, “Dinner Party,” on March 20. The track will mark his first solo effort since his U.K. chart-topping LP, The Show, which landed in 2023. He also recently featured on the Myles Smith track “Drive Safe.”

BBC Radio 1’s Big Weekend began in 2003 as a free annual live-music event, organized by the major radio station of the same name, to bring pop artists to different parts of the U.K. each year. It has since grown into one of the nation’s most prominent festivals, hosting stars such as Taylor Swift, Sabrina Carpenter, Ed Sheeran, Coldplay and Harry Styles over the years.

Tickets for the opening day of BBC Radio 1’s Big Weekend went on sale last week via the BBC website, and Saturday and Sunday will go on sale from 17 p.m. GMT on March 11, with local residents getting priority access.

General sale Saturday and Sunday tickets will cost £44.50 ($60) per day, while VIP will cost £106 ($142.73).

Dionne Warwick has filed a lawsuit accusing a rights management company of stealing “millions of dollars in royalty income” from her “Walk On By” and other iconic hits.

Artists Rights Enforcement Corp. first sued Warwick last year, claiming she’d unfairly reneged on a longtime partnership. The group said it had lucratively represented her for years, including negotiating the Warwick sample in Doja Cat’s recent chart-topping “Paint the Town Red.”

But in a scathing countersuit on Monday, Warwick’s lawyers are telling her side of the story: That AREC exploited a one-page agreement hastily signed in 2001 to quietly skim millions of dollars from the 85-year-old singer for more than two decades until she recently caught on.

“Ms. Warwick seeks to expose AREC’s performative ethics and vindicate her rights and obtain restitution for the damages caused by AREC’s decades-long pilfering of millions of dollars in royalty income she earned as a result her legendary recordings,” her lawyer Robert S. Meloni writes in the court filing, obtained and first reported by Billboard.

Calling AREC a “wolf in sheep’s clothing,” Warwick says the group has wrongfully taken royalties from songs including “Walk On By,” “I Say a Little Prayer,” “I’ll Never Fall in Love Again,” “That’s What Friends Are For,” “Do You Know the Way to San Jose,” “Alfie,” and many others recorded over her long career.

Warwick’s lawsuit also claims that AREC improperly scuttled a potential deal Warwick was negotiating with Primary Wave to sell the company revenue streams from her sound recordings. The group allegedly reached out to Primary Wave to say that Warwick could not do so — a move her lawyers say was an illegal effort to “destroy or damage Ms. Warwick prospective business opportunity.”

AREC was founded in 1977 by Chuck Rubin, a music industry figure who the New York Times once described a “white knight of rock” who had made a career out of “helping the performers who shaped rock-and-roll to receive what their songs have earned.” Gabin Rubin, Chuck’s daughter, has served in top roles at the company since the late 1990s.

In its December lawsuit, AREC claimed that one of those artists had been Warwick. The company said it had worked “at great effort and expense” to boost her royalties for decades “at no cost to her,” in return a 50 percent cut of any money recovered through the enforcement efforts. It specifically called out the sample in Doja’s “Paint,” which spent three weeks atop the Hot 100 and 37 overall weeks on the chart.

But in Monday’s countersuit, Warwick’s attorneys say that complaint “grossly exaggerates” the services AREC actually provided to the star over the years, and certainly doesn’t account for the “staggering” and “disproportionate” cut it took from her royalties.

“It is full of self-aggrandizing statements designed to inflate its purported contributions and justify the unmerited windfall of millions of dollars to which it was not entitled,” her lawyers write. “When you strip away the illusion manufactured by AREC and expose the lie, AREC’s efforts were at best nothing more than administrative in nature, or activities that music lawyers routinely perform for an hourly fee.”

In a response statement to Billboard on Tuesday, AREC defended its work for Warwick, saying she had been receiving only “a small fraction” of her rightful compensation before hiring the company.

“Artists Rights’ work has multiplied the amount of royalties that Ms. Warwick receives, both from her classic masters and the expanded use of her work, such as Doja Cat’s hit “Paint the Town Red,” the group said in the statement. “We look forward to proving that Artists Rights is entitled to its fee for the extensive work it has done for Ms. Warwick.”

The dispute between Warwick and AREC centers on a 2001 agreement inked by both sides after the singer retained the group to chase down unpaid royalties allegedly owed to her by then-called Warner Bros. Records. AREC claims that deal gives it the right to enforce her rights “in perpetuity.”

But in Monday’s countersuit, Warwick’s attorneys say she believed that deal, signed without a lawyer, applied only to the specific dispute with Warner Bros: “Instead, for 23 years AREC took a 50% share of anything and everything that flowed as a result of her creative output from 1962 to 2001.”

Over that period, AREC has “collected and deposited into its own bank account all of Ms. Warwick’s royalty income,” Warwick’s lawyers say. And in a “profound failure of the transparency required” the group “never prepared or rendered any accounting statements” for such payments.

Warwick says she didn’t discover the problem until September, when she retained Douglas J. Davis, a well-known music attorney. Davis immediately demanded more detailed records from the group, and later terminated the deal when such files were not provided, sparking the December lawsuit.

“Rather than addressing the reasonable demands made by Ms. Warwick’s counsel or offering any justification for its numerous defalcations, AREC instead chose to initiate this litigation against Ms. Warwick.”

In technical terms, the lawsuit accuses AREC of breaching its fiduciary duty to Warwick, defrauding her, and breaching its contract with her. It also claims that it committed “tortious interference with prospective business relations” by intervening in the Primary Wave negotiations.

Calvin Harris and Kasabian’s “Release the Pressure” rises a spot to No. 1 on the WARM Global Dance Radio chart — now publishing on Billboard.com.

Released Feb. 6 via Columbia Records, the track by the DJ and veteran band leads the ranking (dated March 14) with 800-plus spins across more than 200 monitored stations worldwide in the Feb. 27-March 5 tracking week, according to World Airplay Radio Monitor. The top contributors to the song’s chart-topping total include Australia, France and Harris and Kasabian’s native United Kingdom.

Harris also charts at No. 28 with his collaboration with Clementine Douglas, “Blessings.” Released in May 2025, the song rises 17 places.

FISHER’s “Rain” (on Catch & Release) rises a rank to No. 2, a new high, thanks to 650 plays. A third of the song’s spins were from FISHER’s native Australia.

David Guetta has the most songs on the full 100-position WARM Global Dance Radio chart, with five tracks to his name: “Upside Down,” with Jaden Bojsen (No. 13); “Where Is My Husband! – Remix,” with RAYE and Hypaton (No. 18); “Crazy,” with Matt Sassari, Jack Back and Amira Eldine (No. 37); “Gone Gone Gone,” with Teddy Swims and Tones and I (No. 44); and “Locked In,” with MORTEN and Trippie Redd (No. 70).

Tiësto, MK and Sam Harper follow with three charting songs apiece.

As announced March 5, Billboard is expanding its dance chart portfolio with the inclusion of the WARM Global Dance Radio chart. The ranking debuts on Billboard.com Tuesday (March 10), 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 chart (published in full as a 100-position ranking on WARM’s platform) aggregates plays from 200-plus dance-dedicated radio stations worldwide, reflecting which songs are trending globally through a network of programmers and radio gatekeepers operating across multiple territories. WARM monitors more than 23,000 radio stations across all genres and formats in 150 countries worldwide.

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.

Zara Larsson and PinkPantheress‘ “Stateside” is one of the top 10 songs over in the States, and after the Swedish pop star worked her entire career to make it happen, she couldn’t be happier to finally achieve that milestone.

In a candid TikTok posted Monday night (March 9), Larsson leveled with followers about how surreal it is to see the electro-dance-pop hit reach the top tier of the Billboard Hot 100 dated March 14. “My name is on the top 10 Billboard Hot 100 at No. 7,” she said while lounging back in her seat, her hair in pin curls. “Hi! It’s so crazy.”

“I’m 28, and this has been my dream for as long as I can remember,” she continued. “It’s weird having it happen. I really enjoy the fact that I’ve been doing this for a long, long, long time. It really is about the journey.”

“I get to see it happening, I get to be present, and I get to enjoy every single thing that’s happening to me,” she added. “It’s not even really about the charts — even though, yippee! — it’s really about people listening.”

Larsson signed off, “I’m really happy. Thank you so much.”

In the comments, the singer’s fans showered her with congratulations. “You deserve every DROPLET of this success and love,” one person wrote, while another listener added that it was “about time” Larsson nabbed that top 10 placement.

Another fan said, “I wish you SOOOOO much success girl … you deserve it!”

The new No. 7 peak for “Stateside” comes amid a career breakthrough more than a decade in the making for Larsson, whose rise first started in summer 2024 after her song “Symphony” began trending alongside a dolphin-related TikTok meme. In 2025, she dropped album Midnight Sun and hopped onto a version of PinkPantheress’ Fancy That track “Stateside,” which took off this year after Olympic figure skater Alysa Liu performed a viral routine to it.

“Being a part of culture and history, like I got to be with Alysa, is way more impactful to me personally than any chart position,” Larsson told Teen Vogue recently. “I felt so proud, not only because she won gold, but because she looked so joyful.”

Check out Larsson’s TikTok reacting to her Hot 100 feat below.