It was a celebratory good time in Miami on Thursday (March 26) during the second annual Femmy Awards. Presented by Femme House, the awards honor women and allies across the dance music industry, from artists to labels to agents to parties and beyond.

Awards were divided into two categories: publicly voted and those chosen by a special committee. See the complete winners list below.

2026 Femmy Publicly Voted Awards Winners

Ableton instructor of the year: Honoring the educators who lead the way by example for every student that enrolls in a Femme House Session or signs up for an online course

  • Suzi Analogue
  • Modern Lover
  • Claire Marie Lim
  • Lorna Dune
  • Christina Horn

Album or EP of the year: Recognizing a full body of work that pushed sonic and cultural boundaries

  • Tides (Remixes) – Karaba
  • Through the Wall – Rochelle Jordan
  • Volver – Sofia Kourtesis
  • The BPM – Sudan Archives
  • Humanise – HAAi

Best club: Recognizing a nightclub that champions diversity, safe spaces, and inclusive lineups, shaping the electronic music scene

  • Nowadays
  • Smartbar
  • TV Lounge
  • The Fruit
  • Walter WhereHouse

Best DJ set or live performance: Recognizing a live performance that stood out for its creativity, energy and impact

  • Matisa (Fabric, London)
  • Zoe Gitter (Boiler Room, Ibiza)
  • Charlotte de Witte & Amelie Lens (Flanders Expo, Belgium)
  • Ladies of Leisure (Boiler Room, Ibiza)
  • Deer Jade (Lollapalooza, Paris)

Best Femme House radio mix: Recognizing an outstanding Femme House Radio mix, showcasing innovative track selection and storytelling

  • Kiimi
  • Sinca
  • Awen
  • Golden
  • Krithi

Best producer: Recognizing a producer whose work stood out for its originality, technical mastery and influence on the sound of dance music

  • Yulia Niko
  • Honeyluv
  • Azzecca
  • Miss Monique
  • Ki/Ki

Best record label: Recognizing a label that prioritizes femme, non-binary and LGBTQ+ artists

  • She/Her
  • Bass n Babes
  • Nuxxe
  • Smile Records
  • Abracadabra Records

Best underground promoter: Honoring the grassroots, regional promoters in the U.S. who are shaping underground dance culture

  • Playhouse
  • Thique
  • Ladera Hearts
  • Jerk
  • PBNJ

Best vocalist: Recognizing the often heard but not seen voices of dance music

  • Blythe
  • Hayla
  • Bibi Bourelly
  • Pamé
  • House Gospel Choir

Breakthrough artist: Honoring artists who had phenomenal years and set the bar for visibility, artistic output, and buzz

  • Me N U
  • Lumia
  • Inda Jani
  • Zingara
  • Tiffy Vera

Femme House activist & impact award: Honoring an artist, collective or industry professional using their platform to advocate for social change and inclusion in the music industry

  • Support Women DJs
  • Empwr Beats
  • Beatport Diversity + Parity Fund
  • Book More Women
  • Her Dancefloor

Femme House community member of the year: Celebrating an individual in the Femme House community whose dedication, passion and engagement have gone above and beyond to embody the spirit of Femme House

  • Raecola
  • Barbara Nicole
  • Tara Verma
  • Val Fleury
  • Hai-Life

“For the Culture” award: Honoring BIPOC and LGBTQIA+ creators and platforms making an impact in serving their communities

  • Sisters In Sound
  • House of Yes
  • TT the Artist
  • QDP
  • Courtney Hollinquest

Innovator award: Recognizing innovation and impact in sound design, cultural significance and more

  • DJ Dave
  • Blood Oath
  • Juliet Fox
  • Mz Worthy
  • Desiree

Most diverse lineup: Honoring the show bills that have challenged the notion that the best lineups are predominantly male and white

  • Cosimea
  • 4 Tha Luv
  • Babestock Music Festival
  • All Things Go Music Festival
  • Deep Tropics Music, Art and Style Festival

Song of the year: Recognizing a song that showcases innovation, inclusivity, and exceptional artistry from a femme, non-binary, or LGBTQ+ producer, DJ or vocalist

  • “Forget” – DJ Minx
  • “Richman” – Inda Jani + Ghezz
  • “IDK” – Azzecca
  • “Hurt Me No More” – Emjie
  • Don’t Wanna Leave You” – Tiffy Vera

2026 Femmy Committee Voted Award Nominees

Agent of the year: Celebrating an agent who has made a significant impact in advancing the careers of diverse talent in the music industry

  • Brittany Gaston
  • Barbara Frum
  • Daisy Hoffman
  • Natalie Koe

Best music journalist: Honoring a writer who has championed diverse voices in music media and amplified underrepresented artists through their work

  • Nyshka Chandran, Resident Advisor
  • Sheila Lim, EDM Identity
  • Ariel King, Pollstar
  • Megan Venzin, DJ Mag

Best talent booker or promoter: Honoring a booker dedicated to diverse, femme, non-binary and LGBTQ+ artists, curating inclusive and groundbreaking lineups

  • Jenn Yacoubian
  • Andrea Graham
  • Britt Van Wouwe
  • The Night League (Leslee Tatman, Jodie Layton, Shirin Saffari, Itziar Gonzalez, Gaby Castro)

Culture shifter: Recognizing an industry leader who has made significant strides in promoting diversity and inclusion within electronic music and beyond

  • Tracey Manner
  • Tay Allen
  • Aluna Francis
  • Madame Gandhi

Manager of the year: Recognizing a manager who has demonstrated exceptional dedication to artist development, advocacy, and career growth

  • Cristiana Votta
  • Sophia Kearney
  • Sophie Kennard
  • Travis Alexander

Theresa Velasquez award for outstanding executive: Theresa Velasquez’s legacy is that of a beloved executive who worked tirelessly behind the scenes to amplify diverse talent. This committee voted category recognizes executives that honor that legacy in their own work.

  • Robby Engle
  • Bina Fronda
  • Rida Naser Greene
  • Alex Simpson


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The longtime friends behind New York dance events company Teksupport are no longer getting along — and now they’re messily litigating the terms of a business divorce.

Rob Toma and Mike Vitacco are the co-founders of TCE Presents, which owns the warehouse venue Brooklyn Storehouse and produces dance events through the brand Teksupport. Toma has always been the company’s public face and talent booking whiz, while Vitacco is the behind-the-scenes force responsible for the company’s logistics and finances.

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But the partnership recently took a turn for the worse, and Toma and Vitacco have now brought dueling lawsuits against each other in New Jersey court. Each man accuses the other of unlawfully pushing him out of TCE.

Toma sued first in early February, alleging Vitacco conspired with TCE’s longtime lawyer to usurp control of the business. Toma said he discovered in the fall of 2025 that Vitacco had secretly transferred ownership interests to his mother as part of an alleged conspiracy, and their relationship has since “deteriorated to the point of no return.”

“Defendants knowingly and intentionally conspired and acted in concert to perpetuate a fraudulent scheme against plaintiff, with the common purpose of mismanaging TCE, effectuating an invalid transfer of membership interests, concealing material facts from plaintiff, and depriving plaintiff of rightful economic benefits, control and oversight as a minority member,” reads Toma’s legal complaint.

Vitacco countersued later in February with a different story. He alleged that Toma has actually been trying to force him out since mid-2025 with an “an increasingly aggressive, irrational and totalitarian plan for consolidating authority.” Vitacco claimed Toma was “driving TCE into certain destruction” and planning to either embark on a new solo endeavor or take the company’s events to Ibiza-based competitor Pacha, which recently began managing the Brooklyn Mirage venue in New York.

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“Toma has represented to multiple high-level contacts within the industry that he is going to work for Pacha,” reads Vitacco’s countersuit. “While preparing to join TCE’s competitor Pacha, Toma has simultaneously spread unauthorized information about Brooklyn Storehouse, prematurely informing people in the industry that the venue is closing. Upon information and belief, Toma is intentionally attempting to damage TCE and redirect TCE business opportunities to its competitors for his own personal gain.”

Both men asked a New Jersey judge to immediately restrict the other’s management activities. Vitacco won this first bout of the legal battle, with Judge Thomas D. McCloskey entering a temporary restraining order in early March barring Toma from diverting away TCE business or locking out Vitacco while the litigation plays out.

On Wednesday (March 25), Judge McCloskey further extended that temporary restraining order against Toma and rejected his request for comparable relief against Vitacco. The judge also ordered the two men to try to settle their differences amicably with a mediation session within the next month.

If Toma and Vitacco are unable to reach a settlement, the case will head toward a trial to decide the future of TCE. Both co-founders are asking a judge to make them the company’s sole owner, and each is also requesting financial damages from the other — Toma for breach of fiduciary duty, fraud, civil conspiracy, breach of contract and unjust enrichment, and Vitacco for breach of fiduciary duty, waste of company assets, conversion and breach of contract.

Vitacco’s attorney, Daniel Guadalupe, told Billboard following Wednesday’s hearing that they’re “delighted with the court’s ruling” regarding the temporary restraints against Toma.

“We are hopeful that the extension of these restraints will persuade Mr. Toma to collaborate and cooperate in operating the companies and not do anything to harm the business or harm our client Mike Vitacco,” said Guadalupe. “We look forward to having discussions to resolve this matter, and if it doesn’t get resolved we are ready willing and able to continue protecting our clients.”

A rep for Toma declined to comment on the dispute.


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Anitta is set to make her highly anticipated debut as the musical guest on Saturday Night Live on April 11, NBC announced Thursday (March 26). The Brazilian superstar, internationally renowned for her Billboard Hot 100 hits such as “Envolver,” “Me Gusta” featuring Cardi B and Myke Towers and “Bellakeo” with Peso Pluma, will take Studio 8H stage for the first time, adding another feat to her growing list of achievements.

Sharing the spotlight with the Rio de Janeiro star on this episode is Emmy Award-winning actor Colman Domingo, who will be making his SNL hosting debut. Domingo, celebrated for his powerful performances in Euphoria and Fear the Walking Dead, will star in the upcoming drama Michael, set to hit theaters on April 24.

Anitta has been a trailblazing force in bringing Brazilian music to the global stage. From her viral reggaetón hit “Envolver” — which took the world by storm in 2022 and earned her multiple Billboard chart placements, including No. 3 on Hot Latin Songs — to her unforgettable performances at major festivals such as Coachella, she continues to break barriers as one of Brazil’s most prominent musical exports.

The Grammy-nominated artist recently dropped her latest single, “Pinterest,” an acoustic bossa nova track infused with her signature pop flair. Releasing two versions, in Spanish and Portuguese, the tender song continues to showcase her versatility and is part of her forthcoming album, Equilibrium, via Republic Records, featuring a dual-structure concept blending her Brazilian roots with international pop.

Catch Anitta and Colman Domingo on Saturday Night Live, airing on NBC on April 11 at 11:30 p.m., with livestreaming available on Peacock. Jack Black and Jack White will be the host and musical guest, respectively, the week before.


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Billboard‘s first Dance Power Players list in seven years made waves near the shores of South Beach on Wednesday (March 25) as honorees gathered to toast the accomplishment.

With the list honoring some of the most powerful people in the global dance music industry, the packed room was a who’s who of the scene and the people who make it go, with executives from Atlantic, Virgin, Casasblanca, EMPIRE, Warner, Ninja Tune, Beatport, Apple, Amazon, The Orchard, Ultra Records, Silqscreen, Prodigy Artists, The Circuit Group, AlphaTheta, LabelWorx, Meta, Billboard editors and a host of other assorted dance world emissaries mingling throughout the night.

The party happened at the chic Little Torch bar at newly renovated The Shelborne By Proper Hotel, with the vibe-setting not only accomplished by the luxe atmosphere and flowing cocktails, but the music of Miami DJ Jovigibs, who played a host of dance classics including Sylvester’s eternal “You Make Me Feel (Mighty Real),” keeping the energy high from start to finish.

The night also saw a swirl of glamour via the artists in the room, with legendary dance vocalist Kiesza hanging during the night and Bebe Rexha also making a grand entrance.

The space was of course stocked with Billboard issues containing the Dance Power Players list, with the cover star of the issue being dance world phenomenon Mau P. The Dance Power Players party happened amid Miami Music Week, a key dance industry gathering that brings much of the world’s dance music community to Miami for days of panel discussions, meetings, parties, afterparties and after after parties, with the week culminating in this weekend’s Ultra Music Festival.

Organizers of the 2026 Music Sustainability Summit have announced the complete program for its April 14 event in Los Angeles.

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Featuring panelists from across the industry, from live to management to labels and beyond, “This year’s summit is focused on moving from ideas to implementation,” Music Sustainability Alliance CEO and co-founder Amy Morrison says in a statement. “We’ve designed the program to highlight practical solutions that organizations can adopt today while also exploring the innovations that will shape the future of sustainable music.”

See the complete program slate below. Presented by the Music Sustainability Alliance, the day-long Summit is happening at Hollywood’s Solotech Studios. Passes are $382 through March 31 and available here.

Welcome to MSS26
Speakers: Madame Gandhi, Artist and Activist, Amy Morrison, CEO & Co-Founder, Music Sustainability Alliance

Lightning Talk: Deloitte CSO Survey – Key Takeaways for Sustainability Leaders
A brief set of insights drawn from Deloitte’s most recent Chief Sustainability Officer (CSO) survey. Designed to provide an executive-friendly snapshot of themes and implications for music sustainability leaders.
Speaker: Dan Goldenberg, Chief Sustainability Officer-in-Residence, Deloitte

Lightning Talk: How to Think About AI and Sustainability
Artificial intelligence is rapidly reshaping every industry, including music: a framework for understanding AI’s environmental implications and the choices that could determine whether AI becomes a climate liability or opportunity. Speaker: Trent Wolbe, Creative Director, Music Sustainability Alliance

Taking Stock: The Road Ahead for Live
An assessment of where the live music sector stands from four major players in live music. Includes: current initiatives, emerging solutions and the collective steps still needed to meaningfully reduce the environmental footprint of touring, festivals and concerts.
Speakers: Lindsay Arell, Chief Sustainability Officer, Legends Global; Lucy August-Perna, Senior Director, Global Sustainability, Live Nation; Erik Distler, SVP Sustainability, AEG; Kristen Fulmer, Global Head of Sustainability, OVG & GOAL; Hanna Grahn, Head of Sustainability, Spotify

Morning Breakout Sessions:

Zero Waste & Circularity: Cleaner Shows & Smarter Systems
A discussion on practical approaches to reducing all types of waste and improving circularity at live events. Panelists will share operational lessons, enabling practices, and ways to measure and track progress with clear accountability.
Speakers: Travis Markowitz, Sustainability Leader for Technology, Media, Telecom, Deloitte; Mike Martin, Founder & CEO, r.World; Laura Rosenshine, Co-Founder and CEO, WATS (Waste Admin Software); Carol Scott, Principal Sustainability & ESG, TAIT; Morganne Sigismonti, Music Sustainability Alliance

Fret Not: Guitars, Materials, and Nature
Instrument makers are grappling with regulatory requirements and their impacts on supply chain and manufacturing. Protecting forests while preserving the craftsmanship and sound musicians depend on is critical to success.
Speakers: Fanny Calder, Executive Director, Murmur; Adam Gardner, Co-Founder, REVERB; Musician, Guster; John McElroy, General Counsel, CF Martin Guitars; Scott Paul, Director of Sustainability, Taylor Guitars

Music Sustainability 101
Sustainability touches every aspect of the music industry. A conversation on how to prioritize and address environmental challenges facing your organization — from touring emissions, F&B, and venue energy use to manufacturing and fan travel.
Speakers: Emily Bines, Hope Solutions; Lara Seaver, Director of Touring & Projects, REVERB; Dylan Siegler, SVP, Head of Sustainability, Universal Music Group; Kristina “Red” Tanner, Partner-Head of Ticketing, Commerce and Sustainability, Activist Artists Management; Kurt Langer, Board Member, Music Sustainability Alliance

Measurement and Reporting: How and Why
An overview of tools and frameworks that help artists, venues, labels and promoters measure emissions, track progress and communicate environmental impact with credibility.
Speakers: Kelly Brennan-Kleyn, Business Manager, KBK Management; Angie Gamber, Senior Manager, ESG Data & Reporting, Warner Music Group, Marawan Ibrahim, Planet First Initiatives Lead, Nimblist; Mike Wallace, Board Member, The Climate Trust; Danielle Azoulay, Founder, The CSO Shop

Afternoon Breakout:

Fan Travel: Getting There Is Half the Fumes
Fan travel represents the largest share of emissions across live music. A focus on strategies for reducing the impact through transportation partnerships, ticketing incentives and communications that encourage fans to choose lower-carbon ways to attend shows.
Speakers: Katie Bailey, Director of Sustainability, Intuit Dome; Aileen McManamon, Board Chair, Green Sports Alliance; Madeline Weir, Director of Impact, REVERB; Jennifer Fraser, Planet Reimagined

The Untapped Opportunity of Decarbonized Productions
Behind every show is a complex web of logistics — trucks, equipment transport and crew travel. This discussion explores emerging solutions for reducing emissions from production transport, including electrification, alternative fuels and smarter routing that can deliver ROI.
Speakers: Jamal Chalabi, Tour & Production Manager-Massive Attack, Backlash Productions; Mickey Curbishley; President, Live Productions, Solotech; Stuart Ross, Partner, THE Conference Live at Lititz; Neel Vasavada, Founder/CEO, Overdrive Energy Solutions; Joel Makower, Chairman & Co-Founder, Trellis Group; Strategy Director, Music Sustainability Alliance

Getting to Zero: Looking Beyond Offsets
There are many ways to address unavoidable emissions. The priority: identifying high-integrity climate investments that deliver real environmental benefits and avoiding common pitfalls that can undermine impact!
Speakers: Carly Holenick, CDO, Sound Future; Heather Schrock, Director of Environmental Partnerships, Bonneville Environmental Foundation; Anne Shudy Palmer, Director of Sustainability, Green Worldwide Shipping; Cathy Runciman, Co-Executive Director, Earth Percent

Small Venues, Big Solutions
Independent venues operate on tight margins but wield enormous cultural influence. Practical sustainability actions for smaller venues — from energy efficiency to waste reduction — and examples of how collaboration and shared resources can help scale impact.
Speakers: Mary Conde, Senior Vice President, Another Planet Entertainment; Jake Hiersteiner, Sr. Director, Venue Development, AEG Presents; Cheryl Liguori, CEO, Z2 Entertainment; Shaun Hoyte, Columbia University

Mainstage Afternoon Program:

Big-Stage Sustainability: Mega-Event Lessons for Music
A conversation on how infrastructure choices — temporary and permanent — can support more sustainable live, global music and entertainment events. Panelists will share transferable lessons and considerations that music organizations can apply across venues, tours, and large-scale gatherings.
Speakers: David Beame, Vice President, Global Events & Experiences, Global Citizen; Jake Raykhelson, Senior Manager, Environmental Sustainability, The Walt Disney Company; Shay Eliaz, Sustainability Strategy Leader, Deloitte

Lightning Talk: Music Climate Pact and the Vinyl Alliance Sustainable Supplier Program
Speaker: Ian Stanton, Head of Sustainability/Programme, Beggars Group/Murmur

Thought for Food: Putting Sustainability on the Menu
Food choices shape both the environmental footprint and the audience experience of events. We go in depth with Billie Eilish’s team to hear how they’ve transformed food service into a climate positive treat for the palate — including plant-forward menus, responsible sourcing and ways to reduce food waste.
Speakers: Maggie Baird, Founder, Support+Feed; Lesley Olenik, SVP of Global Touring, Live Nation; Stefanie Lynch, Corporate Engagement Director, Greener By Default; Lara Seaver, Director of Touring & Projects, REVERB

Music’s Impact on Culture Is Its Climate Superpower
Reflections on how artists, storytelling and fan communities influence public imagination and help normalize climate awareness and action far beyond the industry itself.
Speakers: Madame Gandhi, Artist; Rozzi, Artist; Jo Little, Founder, Earth Calling


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Submit questions about Billboard charts, as well as general music musings, to askbb@billboard.com.

Please include your first and last name, as well as your city, state and country, if outside the United States.

Or, reach out on Bluesky.

Let’s open the latest mailbag.

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‘Choosin Different No. 1s

Hi Gary,

Until Ella Langley’s current run of two consecutive weeks topping the Billboard Hot 100 with “Choosin’ Texas” (of its four total weeks at No. 1), for six chart weeks in a row, from Feb. 7 through March 14, No. 1 songs failed to repeat in back-to-back weeks:

  • Feb. 7: “Aperture,” Harry Styles
  • Feb. 14: “Choosin’ Texas,” Ella Langley
  • Feb. 21: “DtMF,” Bad Bunny
  • Feb. 28: “Opalite,” Taylor Swift
  • March 7: “Choosin’ Texas,” Ella Langley
  • March 14: “I Just Might,” Bruno Mars

(That stretch followed the first two weeks at No. 1, consecutively from its debut, for “I Just Might.”)

I was curious how often this kind of change has occurred. So, I looked through the chart’s archives and, while rare, it seems to be happening more often in the past few years. I would imagine that it’s likely tied to the increasing phenomenon of songs debuting at No. 1? Not only would that help explain the turnover, but those songs often tend to spend only their debut weeks in the top spot.

Thanks,

Jesse Rifkin
Washington, D.C.

Thanks, Jesse.

Tate McRae called it.

(Revolving doors are fun, aren’t they? Almost no work, no germs. Swinging doors, too, very old-timey. How about a time doorway? Much less common.)

You’re correct that such switchover atop the Hot 100 isn’t particularly frequent historically, although on the rise this decade. Prior to the six-week streak of non-repeating No. 1s until the past two weeks, the chart hosted five-week runs in March-April 2021, December 2020-January 2021 and May-June 2020, making for four periods of five weeks or more just more than halfway through the decade.

That’s twice the total occurrences in the 2010s, when five-week runs were linked in 2010 and 2018.

The latest stretch in February-March matched the longest for Hot 100 hits not holding at No. 1 in more than 16 years:

  • Oct. 17, 2009: “Down,” Jay Sean feat. Lil Wayne
  • Oct. 24: “3,” Britney Spears
  • Oct. 31: “Down,” Jay Sean feat. Lil Wayne
  • Nov. 7: “Fireflies,” Owl City
  • Nov. 14: “Whatcha Say,” Jason Derulo
  • Nov. 21: “Fireflies,” Owl City

(As with “Choosin’ Texas” this year, the weeks above also sport songs yo-yoing at No. 1 in Jay Sean and Owl City’s hits.)

Prior to fall 2009, no such six-week makeovers atop the Hot 100 had occurred since September-November 1990. The last to go even longer? A seven-week run that brought notable variety to No. 1 the year before:

  • June 3, 1989: “Rock On,” Michael Damian
  • June 10: “Wind Beneath My Wings,” Bette Midler
  • June 17: “I’ll Be Loving You (Forever),” New Kids on the Block
  • June 24: “Satisfied,” Richard Marx
  • July 1: “Baby Don’t Forget My Number,” Milli Vanilli
  • July 8: “Good Thing,” Fine Young Cannibals
  • July 15: “If You Don’t Know Me By Now,” Simply Red

Going back further, likewise no No. 1s repeated for seven straight weeks in June-July 1977, following a six-week run that April-May and a seven-week streak in December 1975-January 1976.

The longest example of Hot 100 No. 1s not staying at the summit? For 12 weeks more than half a century ago, chart watchers (and Casey Kasem and writers) celebrated these enduring single-week leaders:

  • Jan. 18, 1975: “Mandy,” Barry Manilow
  • Jan. 25: “Please Mr. Postman,” Carpenters
  • Feb. 1: “Laughter in the Rain,” Neil Sedaka
  • Feb. 8: “Fire,” Ohio Players
  • Feb. 15: “You’re No Good,” Linda Ronstadt
  • Feb. 22: “Pick Up the Pieces,” AWB
  • March 1: “Best of My Love,” Eagles
  • March 8: “Have You Never Been Mellow,” Olivia Newton-John
  • March 15: “Black Water,” The Doobie Brothers
  • March 22: “My Eyes Adored You,” Frankie Valli
  • March 29: “Lady Marmalade,” Labelle
  • April 5: “Lovin’ You,” Minnie Riperton

The only other streaks of songs not retaining No. 1 for five weeks were in 1974 (twice) and 1961.

All of which is to say that Hot 100 No. 1s historically tend to stay in charge for more than a week: perhaps surprisingly, at a 64% majority among all 1,189 leaders dating to the chart’s Aug. 4, 1958, start.

Still, as you observed, Jesse, more turnover atop the chart is on the upswing. To recap, here’s a breakdown by decade of runs of five-plus consecutive frames with songs not repeating at No. 1 week to week:

  • 2020s: four
  • ‘10s: two
  • ‘00s: one
  • 1990s: one
  • ‘80s: one
  • ‘70s: six
  • ‘60s: one

1974-77 was an especially lively time atop the Hot 100, with this decade the closest comp. Modern No. 1 debuts, as noted above, by their nature draw first-week streaming totals that can be difficult to maintain until radio reach catches up. In the recent six-week window, that was the case for Styles’ “Aperture.” Langley’s “Choosin’ Texas” then led around spikes for Bad Bunny’s Super Bowl-boosted “DtMF,” a physical sales surge for Swift’s “Opalite” and the release of Mars’ album, The Romantic, which helped send “I Just Might” back to No. 1 (with halftime shows and the sudden release of new product not viable or largely practiced strategies in prior eras).

Timing simply plays a factor, too, as with many chart achievements. In 2009, for instance, prior to the six-week streak cited above, the Black Eyed Peas dominated the Hot 100 for a record 26 consecutive weeks, thanks to “I Gotta Feeling” (14 weeks) and “Boom Boom Pow” (12).

Meanwhile, six of the seven longest leading Hot 100 No. 1s have run up their reigns in the past decade, despite the increase of hits not staying at the top in back-to-back weeks.

A Hot 100

Hi, Gary,

Fun with adjacent Hot 100 song titles this week:

No. 79, “Secondhand”
No. 80, “Plastic Cigarettes”

Eek, all that smoke.

Pablo Nelson
Oakland, Calif.

Thanks, Pablo.

And on Pop Airplay:

No. 34, “Go!,” Cortis
No. 35, “Go,” BLACKPINK

(But no Wham! classic or a certain Rock & Roll Hall of Fame band.)


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Dash Crofts, one half of the soft rock duo Seals and Crofts, has died. He was 85 years old.

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The news was announced by producer Louie Shelton early Thursday morning (March 26), shortly after which a member of Crofts’ family confirmed it to TMZ. “Sad to hear our dear brother and partner in music has passed away today,” Shelton wrote on Facebook. “Sending love and prayers to all his family and many fans. R.I.P. my brother…..Dash Crofts.”

The “Summer Breeze” hitmaker — whose was born Darrell George Crofts on Aug. 14, 1940 — died Wednesday (March 25) from heart failure, as shared by his daughter Lua, according to The New York Times.

His passing comes about four years after former bandmate Jim Seals died in 2020 at the age of 80. Together, Seals and Crofts scored a number of Billboard Hot 100 hits, including top 10 singles “Summer Breeze” (No. 6, 1972), “Diamond Girl” (No. 6, 1973) and “Get Closer” featuring Carolyn Willis (No. 6, 1976). One of their most controversial tracks, “Unborn Child” — an anti-abortion song released the year after the Roe v. Wade Supreme Court verdict in 1973 — reached No. 66.

Both Texas natives, the two men had known each other since they were teenagers. Before their success as a duo, Seals and Crofts were members of the rock band The Champs.

The pair also had success on the Billboard 200 albums chart. In 1972, Summer Breeze reached No. 7, after which Diamond Girl peaked at No. 4 in 1973. Seals and Crofts parted ways in 1980, but they would briefly reunite in the late ’80s/early ’90s, and again in 2004.

Crofts is survived by his wife, Louise Crofts, three children and eight grandchildren.


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J. Cole took plenty of backlash for walking back his Kendrick Lamar diss track “7 Minute Drill,” and he pulled up to Cam’ron’s Talk With Flee on Wednesday (March 25) to provide proper context around the song’s creative process and explain what he hoped to achieve with it.

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Following Kendrick’s explosive verse on “Like That,” Cole felt the pressure to respond. However, he wanted to land a few jabs and not do any permanent damage to his relationship with Lamar, while still feeding rap fans’ appetites for war.

“Let me say just enough to where it looks like I said something. Everything I’m saying to him, I know and he knows it’s all survivable. It’s nothing,” he said. “I’m not hitting him with no fatal blows, but it’ll be just enough to be like, ‘Alright n—a, you said what you said, now you gonna come back.’ I know, this is my man, he gonna come back. He gonna say something. Give me a line or two, and I’m gonna be like, ‘You got that, cool. Now let’s get to this album, and really f—k them up.’”

When “7 Minute Drill” ultimately arrived in April 2024, Cole underestimated the attention the diss track would receive and the tensions it would raise with Kendrick. He felt he “misrepresented” himself and was “fraudulent” about how he went about responding, caving to fan pressure.

“The second it comes out, I’m seeing right away what I did. Instantly, what I did was divided off rip. You created a divided line,” he explained. “You forcing the world to pick a side. If they f—k with you, they gotta slander him. They taking what you said and they giving it gas. Then my thoughts, ‘I done f—ked up. I misrepresented myself.’ My intention was some bulls—t.”

Cole then made the analogy comparing the intended damage of his Kendrick diss to shooting someone in the toe.

The North Carolina rap legend was immediately filled with regret, which led to him scrubbing “7 Minute Drill” from streaming services days later and apologizing to Lamar on stage at Dreamville Fest. This all cleared the way for Drake to step in and battle Kendrick later in April 2024.

Elsewhere in Cam and Cole’s chat, Cole revealed that Lamar originally had a pair of features on an earlier version of The Fall-Off, which he pivoted from following the aforementioned events.

Watch the full interview below. Talk about Kendrick and “7 Minute Drill” takes place around the 46-minute mark.


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Live music in Spain recorded revenues of €807.2 million (more than $930 million) from ticket sales in 2025, according to the 2026 Yearbook of the Association of Musical Promoters (APM). This figure represents an increase of 11.24% compared to the previous year and builds on the growth registered in 2024, when the sector exceeded €725 million ($836 million).

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The report attributes this result to an increase in the offering of concerts and festivals, as well as the consolidation of large-scale formats, particularly in high-capacity venues. According to the document, this growth coexists with structural challenges such as administrative processes, differences in criteria across territories and the impact of ticket reselling on the perception of ticket prices.

Beyond musical activity, the report highlights the impact of live events on sectors such as tourism, hospitality and commerce. In this vein, the APM has begun developing a national economic impact report to provide data for dialogue with administrations.

Geographically, the Community of Madrid regained the top spot with revenues of €237.1 million (29.4%), followed by Catalonia, with €163.2 million (20.2%) and Andalusia with €108.7 million (13.5%), which, despite remaining in third place, recorded a 6.4% drop in annual revenue.

In the national tours category, Joaquín Sabina topped the ranking with Hola y Adiós (The Project, Get In, Riff), selling 383,633 tickets across 41 concerts, all of which were sold out. He was followed by Manuel Carrasco with Tour Salvaje (Riff), which sold 367,256 tickets across 31 shows, and Antonio Orozco with “La Gira de Mi Vida” (Clipper’s Music Group), with 170,378 tickets across 32 concerts.

Meanwhile, Aitana became the first woman to enter the top 10 of the national ranking with her Metamorfosis Season tour (GTS, Clipper’s Music Group), which sold 153,198 tickets across three concerts. The report also notes that several artists surpassed 50,000 tickets sold per concert, concentrating demand on a limited number of dates.

In the international artists category, Ed Sheeran led the ranking with 137,884 tickets sold across two concerts in Madrid (Mercury Wheels @ Live Nation), followed by Imagine Dragons (Live Nation) with 112,419 tickets and AC/DC (Gay Mercader/Live Nation) with 103,946. Festivals also represented a significant portion of live music activity in 2025, according to the report. Among cycle festivals, Icónica Santalucía Sevilla Fest (Seville, Green Cow Music) led with 276,601 tickets sold across 28 dates, followed by Marenostrum Fuengirola (Fuengirola, Fox Group) with 191,573 tickets across 35 concerts and Noches del Botánico (Madrid, Serious Fan Music) with 185,753 attendees across 50 dates.

In the macro-festivals segment, Arenal Sound (Burriana, The Music Republic) remained the largest event with 300,000 attendees, followed by Primavera Sound Barcelona (Barcelona, Primavera Sound) with 297,000 and Viña Rock (Villarrobledo, The Music Republic) with 240,000. With these results, live music in Spain surpassed €700 million in revenue for the second consecutive year and reached a new record of over €800 million, according to the APM report.


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Hilary Duff needed a lot of luck to get through Sean Evans’ Hot Ones challenge, on which the singer-actress looked back on her Lizzie McGuire days and spoke about the challenges of returning to music while struggling through an array of increasingly spicy chicken wings.

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In the episode posted Thursday (March 26), Duff coughed, cried, sniffled and lost her train of thought a few different times while battling the Hot Ones sauces, but she still managed to share which elements of her actual adolescent life paralleled what her iconic character was going through on Lizzie McGuire in real time. The main one? “Bra shopping,” she told Evans without hesitation.

“I think a lot of the themes of the episodes were actually happening in my life as well — social dynamics and stuff within my friend groups outside of work,” Duff continued. “It’s so nice to hear people’s experience with the show or, like, how it helped them or formed them. Whether it be, like, her style or not quite fitting in anywhere. And I also kind of resonate with that. I feel like a very big dork, dressed in a cool girl’s outfit a lot of the time.”

More than two decades after the Disney Channel show wrapped in 2004, Duff said she still feels like a child star at heart as she embarks on her musical comeback. Ten years after her last LP, the performer finally dropped a new album — Luck … or Something, which debuted at No. 3 on the Billboard 200 — in February, but promoting the project has looked a lot different from when she first began releasing music in the 2000s.

“The fact that I have many, many memories of being at TRL is a part of my personality,” Duff told Evans. “There would be the same song on the TRL charts for, like, weeks after weeks after weeks after weeks. And can you imagine kids dealing with that kind of length in this day and age?”

“But I’m also loving a TikTok trend,” she added. “Actually, my hair and makeup [team], they’re dear friends of mine, and they’ll be like, ‘This is the trend we’re doing today,’ and I’m like, ‘OK, I’ll do anything!’ I’m still a child actor inside, wanting to please.”

By the end of the episode, Duff was fully in tears, at one point calling the tactile experience of the spice in her mouth a “hellhole.” Before she left, however, she made sure to call out her upcoming Lucky Me world tour, which kicks off in June and runs through next February.

Watch Duff’s full episode of Hot Ones above.


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