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 21, ANOTR, Bebe Rexha, Harry Styles, Jennifer Lopez and David Guetta achieve new feats. Check out the key movers below.

ANOTR

The Dutch duo scores its third Billboard chart hit, and biggest yet, thanks to “Talk to You,” featuring 54 Ultra. Released March 6 via the pair’s own NO ART imprint, it debuts at No. 5 on Hot Dance/Electronic Songs with 1.5 million official U.S. streams, according to Luminate. The disco-house track built on momentum on social media ahead of its release and has soundtracked over 17,000 videos on TikTok.

ANOTR is an Amsterdam-based electronic tandem comprised of Jesse van der Heijden and Oguzhan Guney. The act first charted in April 2023 when “Relax My Eyes,” with Abel Balder, debuted on Hot Dance/Electronic Songs (No. 29 peak). It followed with “How You Feel,” with Erik Bandt and featuring Leven Kali, in 2024 (No. 32). The duo has released three LPs: EXPO Series 001, The Reset (both in 2022) and On a Trip (2025).

Bebe Rexha & Faithless

Rexha returns to Billboard’s dance charts with her dance-pop track “New Religion.” Released March 6 on EMPIRE, it debuts at No. 11 on Hot Dance/Pop Songs with 2.1 million U.S. streams. It also starts at No. 39 on Dance/Mix Show Airplay.

While the single earns Rexha her first entry on Hot Dance/Pop Songs (launched in January 2025), she has a deeper history on Hot Dance/Electronic Songs, which has since become a DJ-centered chart. She has sent 18 songs onto the ranking, including six top 10s and two No. 1s: the 11-week leader “Hey Mama” (David Guetta featuring Nicki Minaj, Rexha and Afrojack) and the 55-week smash “I’m Good (Blue),” with Guetta and J Balvin. “I’m Good” is the third-longest-leading hit in the chart’s history, trailing only Marshmello and Bastille’s “Happier” (69 weeks) and Marshmello and Kane Brown’s “Miles on It” (62).

“New Religion” samples and interpolates Faithless’ “Insomnia,” which reached No. 62 on the Billboard Hot 100 in 1997 and spent two weeks at No. 1 on the now-inactive Dance Club Songs chart. A sequel, “Insomnia 2.0,” topped Dance Club Songs for a week in 2015 and reached No. 23 on Hot Dance/Electronic Songs.

Rexha’s new hit is the lead single from her fourth album, Dirty Blonde, due June 12.

Harry Styles

The singer-songwriter has a massive week across Billboard’s charts thanks to his new album, Kiss All the Time. Disco, Occasionally. Two tracks from the set appear on the latest Hot Dance/Pop Songs chart: former four-week leader “Aperture” holds at No. 2, while “Are You Listening Yet?” debuts at No. 3.

All 12 songs from Styles’ album chart on the Hot 100, while the LP opens in at No. 1 on the Billboard 200 with 430,000 equivalent album units — the biggest week for an album this year.

Jennifer Lopez & David Guetta

Lopez and Guetta debut on Billboard’s charts with their first collaboration, “Save Me Tonight.” Released March 6 on What a DJ/Warner Records, it arrives at No. 18 on Hot Dance/Electronic Songs (881,000 streams) and No. 38 on Dance/Mix Show Airplay.

Lopez released the song the same day she returned to her Las Vegas residency, Jennifer Lopez: Up All Night Live in Las Vegas, at The Colosseum at Caesar’s Palace. She kicked it off with four shows Dec. 31-Jan. 3 and returned March 6 for eight additional performances. She performed “Save Me Tonight” during many of her live shows in 2025.

The track marks her first release since the Kiss of the Spider Woman soundtrack (which included 11 of her songs) dropped last year, following 2024’s This Is Me…Now. The latter debuted at No. 38 on the Billboard 200.

Lopez lands her fourth entry on Hot Dance/Electronic Songs and ninth on Dance/Mix Show Airplay. Guetta extends his records to 97 appearances on Hot Dance/Electronic Songs and 72 on Dance/Mix Show Airplay.

“Travis! How’s it going? Just heard you and Taylor were listening to my tracks. Great to hear,” Chris Lake wrote to Travis Kelce in a mid-January Instagram DM. “I’m going to take a crack at remixing this track for her. No idea how I’ll get on, but I’ll do my best!”

The NFL superstar and famous fiancé responded a few hours later: “Chris! You’re a legend, bro love everything you’ve come out with, and Chemistry is one of my favorite albums I listen to right now,” Kelce wrote, referring to Lake’s 2025 debut LP. “Can’t wait to see how you put it together man.” A true fan, Kelce added that he’d loved Lake and Fisher’s set at Coachella 2023.

Lake replied that he was “On it” then two days later sent an update: “F–k I’ve got something really cool with this. I’ll send soon.”

“Dawg I’m f–king pumped!!!! LFG!!!! Can’t wait to hear what you cooked up,” Kelce replied.

This conversation revolved around Taylor Swift‘s “Opalite,” the ebullient second single from her 2025 album The Life of a Showgirl. Released on January 12, “Opalite” is currently in its 23rd week on the Hot 100, where it spent a week in the top spot. Lake’s mission was to reimagine it for his natural habitat, the dancefloor.

Working from a London studio for two days in January, Lake reworked the bright pop confection into the club-ready version released on Feb. 19. This remix came out as part of a drop that also included “Opalite” edits by Skream, Bunt. and Ely Oaks. Lake’s remix now has 3.4 million global on demand streams, according to Luminate.

“I do think that sometimes the downside of remixing some of the most popular artists is that there’s a belief you’re doing things for money,” says Lake. “I can’t press enough that I couldn’t give a f–k about that. If I hadn’t made something that I felt worked well, I wouldn’t have done it.”

To make something he, and then subsequently the world, would love, Lake first had to figure out how to pair, he says, the “vibe and the sentiment of the song with the beats from my world, and make [the remix] make sense as something that would fit amongst other songs from my world without it standing out like a sore thumb.” To do so, he started with a bouncy, thumping beat, over which he laid the vocals, then creating a feel of anticipatory joy with Swift’s pre-chorus and loads of building percussion, before the drop breaks the song open into a slick amalgamation of guitar, chimes and vocal samples all played at a galloping pace.

A major element of this process was making “Opalite”s major chords work with the minor chords that characterize Lake’s oeuvre. “Pretty much 99.9% of all the music I’ve ever played or made in my life is with minor chords,” he says.

To meld these styles, Lake first found a chord progression that could play for the duration of the song that melded with the vocals. “To work with a vocal that wasn’t written to be used that way was really challenging,” Lake says. “That’s the bit I’m actually the most happy with… If you listen to the original and to the feel of how her chorus comes in, it’s very happy and uplifting, whereas in the remix, I don’t know what emotion you’d call it, but maybe it’s sort of hauntingly emotive. It makes you feel a completely different way. Then the way it launches into the drop, I haven’t done that on a remix before. I’m really proud of it.”

This final result was a product of fine tuning. After two days in the studio, Lake FaceTimed a friend to get his take on it. “He was like, ‘It’s overcomplicated. You kind of overcooked this,’” recalls Lake. “I was like, ‘S–t. This is really inconvenient, but he’s absolutely right.”

As such, he spent another hour remixing his own remix, at which point he had the finished product. Passing it over to Kelce’s side, Lake was soon informed that they were “over the moon” about what he’d made. So too have been the fans who’ve heard Lake play it in recent sets, with the producer sharing that the edit has been sounding “really great and really warm” in his live shows.

Lake is of course a longtime star of the dance world who’s still riding the wave of his celebrated Chemistry release and who has major headlining and festival shows booked through this fall. But in remixing “Opalite,” he now knows the kind of attention that comes with a Swift-level collaboration.

“It’s quite mind blowing, to be honest,” he says. “The thing that’s been really funny are some of the messages I’ve gotten from people who I haven’t spoken to for a very long time who thought this was genuinely the coolest thing on the planet. There are daughters of people who’ve worked for my father who found out I’d done it and just thought it was the craziest thing. Like, they knew someone that was kind of doing something close to Taylor Swift. Her gravity is powerful.”

The project has also opened up a conversation between Lake and Kelce: “I have only spoken to him on Instagram and text, but that guy’s energy is infectious,” says Lake. “Speaking to him has been really uplifting and energizing, so shout out to him for helping make it all happen.”

In a turn of events as sweet as “Opalite” itself, making the remix has also helped people in Lake’s life who are less familiar with the dance scene better understand his world and his work.

“It’s given me the ability to have a conversation with people that very often don’t understand what I do or the world I live in,” he says. “It’s something where I’m able to say, ‘I’ve done this’ and it’s understandable, because everyone knows about Taylor Swift. My 90-year old grandfather knows who she is.”

Charlie Puth was recently back in a place he briefly called home last fall, the Blue Note Jazz Club Los Angeles, where he sat down with Billboard to talk about the residency run he did there in October — following a similar run at the New York Blue Note — as well as his upcoming fourth studio album, Whatever’s Clever (March 27).

And while the series typically involves a meal, given Puth’s legendary music nerd-dom, the singer instead took to the piano at the club and showed interviewer Tomás Mier how the songs came together and what his intentions were on the most personal collection he’s released to date.

Puth reminisced about jamming on a Boyz II Men classic with Babyface during the New York run, as well as with album guest vocalist Coco Jones (“Sideways”) in Los Angeles and special guest Jeff Goldblum, who pulled a fast one on the singer when he called an audible. “He gets on stage and he looks at the crowd and says, ‘Is anyone in here young enough to remember ‘All This Love’ by El DeBarge? And he was like, ‘You know how to play it, right Charlie?’”

The show ended up being two hours long because Puth and Goldblum ended up doing 30 minutes of covers based on the actor’s suggestions, which included a crowd sing-along to Cyndi Lauper’s “Time After Time.” Goldblum, as it turns out, is on track 11 of the album, “Until It Happens To You,” which includes the Wicked star sharing some sage advice.

Puth said the BloodPop-produced LP is “inherently jazzy” and breaks with what he said is a typical criticism of his music, that people know his music before they know him. BloodPop felt that way as well, and he said he wanted to be part of helping Puth fix that perception. “Slightly rearranging the perspective, put life first and let the music follow,” Puth said. (Watch the full interview above.)

So that’s what Puth did, starting with the prompt to write a song about his dad, a personal place he’d never gone before that BloodPop said the singer’s dad might need some day. The song is called “Cry” and, naturally, it made Puth’s dad cry, so challenge accepted and completed. That went well enough that Puth also wrote a song for his brother, called, you guessed it, “Hey Brother.”

“What’s funny is I don’t consider any of these 12 songs to be clever, I consider them to be real,” said Puth about the “incredibly honest” tracks he thinks will give his fans more insight into who he is as a person than anything he’s released to date as he played his way through the tracks and gave rundowns of what inspired them on the Blue Note’s grand piano.

And, because the album ends with the mea culpa “I Used to Be Cringe,” Puth happily went through his various cringe eras, from his fake lip ring to writing a funny song called “Marvin Gaye” and his, in retrospect, mega-cringe high school-era CharliesVlogs days, where he posted his earliest original tunes (check out “I Don’t Wanna Hurt You Baby”) and did prank calls using Auto-Tune.

Though the album is full of intimate, jazzy tunes that are perfect for a club like the Blue Note, Puth promised that his team is putting together a killer stage set-up that will make the songs come to life on his Whatever’s Clever arena tour, which kicks off on April 22 at Viejas Arena in San Diego.

All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.

Lollapalooza is back for another stellar year of festivities, fun and music.

As always, the Chicago-based romp is set to take place at the iconic Grant Park for four days from July 30 through Aug. 2. This year’s headliners are pretty major with appearances from Brat babe Charli xcx, Lorde and BLACKPINK’s Jennie. Other big names included beside the trio mentioned include Tate McRae, The Smashing Pumpkins, The xx, 2026 Grammy winner Olivia Dean and John Summit. Presale for ticketing began Thursday, March 19, 2026, 10:00 a.m. CT, while general sale began an hour later the same day on the festival’s website.

Beyond the standout headliners, you’ve got acts like Lil Uzi Vert, Turnstile, Sombr, The Neighbourhood, Beabadoobee, Ethel Cain, the Chainsmokers, Leon Thomas, Muna, Zara Larsson, Geese, Freddie Gibbs, Wet Leg, Blood Orange, Suki Waterhouse, among others. Notably, the lineup includes a ton of K-pop acts including I-dle and Aespa.

For the first time, the festival announced “premium hospitality experiences” for guests which will include Northside Suites, Suites at Perry’s and the Speakeasy Lounge, private lounges, curated dining options and VIP amenities, sweetening the deal for festivalgoers. If you’re looking to buy a pass for the day or for all four, we’ll be sharing some affordable ticketing options that you can shop below, proving you don’t have to spend a fortune to have fun.

Where to Buy Affordable Tickets Lollapalooza 2026

AFFORDABLE PRICES

StubHub

find tickets here

---

As of now, StubHub has ticketing for all days starting as low as $292 for general admission, which is pretty great considering how in-demand this year’s festival has been since the lineup dropped. While searching for ticketing on third-party sites can be a bit daunting, however, StubHub’s FanProtect Guarantee keeps your purchase protected. This initiative protects fan’s purchases by ensuring valid tickets or your money back. Plus, if your event is canceled and not rescheduled, you will receive a credit worth 120% of the amount you paid for the impacted event, or the option of a cash refund.

EARN REWARDS

Vivid Seats

FIND TICKETS HERE

---

Vivid Seats has pricing for GA at $281, the lowest pricing we’ve seen thus far. The site also features an easy-to-navigate lineup info and parking passes, available for $136 and up, depending on the day, keeping the average ticket searcher well-informed and ready for their festival experience. Right now, you can use promo code BB30 to snag $30 off your purchase. The ticketing service offers a 100% Buyer Guarantee, which ensures your transaction will be secure, that your tickets will be delivered before the event, and that those tickets will be valid and authentic.

PROMO CODES

SeatGeek

FIND TICKETS HERE

---

SeatGeek has more low pricing on GA, starting at $302. To bump that pricing down further, you can use promo code BILLBOARD10 at checkout to receive $10 off your purchase. Like the other sites we mentioned, SeatGeek has an excellent Buyer Guarantee that ensures smooth ticket purchases every time.

PROMO CODE

TicketNetwork

find tickets here

---

We’ve got even more chances to save money, this time with TicketNetwork. As far as Lollapalooza is concerned, we’ve seen ticketing for pricing as low as $295, another great price considering how in-demand the festival is. You can use code BILLBOARD300 at checkout to save $300 off orders of $1,000, and BILLBOARD150 to save $150 off orders of $500. This should hopefully make ticketing even more accessible for those looking to save some coin.

If you’re tight on money at the moment but you really want to get your tickets secured, we don’t blame you. Thankfully, TicketNetwork offers a buy now pay later option with Affirm, giving you flexible spending options on top of our special code. Plus, the website includes all-in pricing that lets you see exactly what you’ll be paying upfront (fees included).

GREAT PRICES

Gametime

find tickets here

---

Given how in demand the tour is for some venues, pricing can be pretty crazy. Thankfully, Gametime has a bunch of passes left for in-demand days for as low as $286 for GA up to just $297 with no GA spots listed for $300 or above for the moment. Gametime guarantees the lowest prices, event cancellation protection, job loss assurance and on-time ticket delivery for a smooth ticket-buying experience every time, no matter the occasion.

Lollapalooza 2026 Lineup