Calvin Harris and Kasabian’s “Release the Pressure” spends a third week at No. 1 on the WARM Global Dance Radio chart. Released in early February, the track leads the March 28-dated ranking with 800-plus spins across more than 200 monitored stations worldwide in the March 13-19 tracking week, according to WARM (World Airplay Radio Monitor).

FISHER’s “Rain” holds at its No. 2 peak, while Gordo and Reinier Zonneveld’s “Loco Loco” jumps five spots to No. 3. Milky and Mall Grab’s “Just the Way You Are” rises 6-4 and HUGEL and SOLTO’s “Jamaican (Bam Bam)” falls 4-5 to round out the chart’s top five.

Both songs are built around notable samples. “Just the Way You Are” reworks Milky’s 2002 hit of the same name, which spent five weeks at No. 1 on Billboard’s Dance/Mix Show Airplay chart and has since become a house classic. A new remix of the track by the Australian electronic trio PNAU was released March 20. Meanwhile, “Jamaican (Bam Bam)” draws from Sister Nancy’s reggae staple “Bam Bam,” which the Jamaican dancehall DJ recorded for her 1982 album One Two. The song has been sampled or interpolated by many other acts, including Lauryn Hill (“Lost Ones”), Jay-Z (“Bam”), Pete Rock & C.L. Smooth (“The Basement”) and Kanye West (“Famous”).

David Guetta and John Summit lead all artists on the latest WARM Global Dance Radio chart with four entries each. Guetta appears with “Upside Down (Extended Mix),” with Jaden Bojsen (No. 9); “Save Me Tonight,” with Jennifer Lopez (No. 24); “Crazy,” with Matt Sassari, Jack Back and Amira Eldine (No. 44); and “Locked In,” with MORTEN, featuring Trippie Redd (No. 78 debut). Summit charts with “Shadows,” with LAVINIA (No. 10); “Lights Go Out” (No. 39); “With Me,” with Julia Wolf (No. 72); and “SATA,” with Rohaan (No. 83 debut).

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

As announced March 5, Billboard has expanded its dance chart portfolio with the inclusion of the WARM Global Dance Radio chart. The ranking debuted on Billboard.com 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 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.


Billboard VIP Pass

Red Hot Chili Peppers bassist Flea made quite an entrance on The Tonight Show on Monday night (March 23) when the 63-year-old punk funk veteran rocker executed a flawless handstand as host Jimmy Fallon looked on in awe. The indefatigable musician was on hand to plug his upcoming debut solo album, Honora, which is due out on Friday (March 27).

Before all that, though, Fallon couldn’t help noticing that Flea had a white bandage on his forehead and when asked about it the bass thumper joked that it was the result of a very serious incident. “A few days ago I was walking down the street and I see this gang of thugs walking towards me,” Flea said of what sounded like a fictitious group of leather jacket-wearing toughs marauding through the neighborhood mugging old ladies. “They’re carrying bats, knives, chains,” Flea fantasized. “They looked like the bad buys in Robo Cop,” he added, noting that he’s trained in the rare martial arts method “Wang Chung” his entire life, so he was ready for battle.

After charging the bad guys and pulling off a series of acrobatic high kicks and flips, Flea said he subdued the hooligans and had just a “little nick” on his head for his efforts.

After accepting congratulatory applause from Fallon and the studio audience, Flea quickly fessed up, saying he was injured in a Spinal Tap-esque “bizarre peeing accident.”

What he ended up revealing is that while appearing on Apple Music recently to promote the album he was spinning one of his favorite songs, a Lee Morgan track called “Stopstart.” “There were three minutes left in the song and I said, ‘I got to pee,’ so I have three minutes before I introduce the next tune,” he told Fallon. So, he jumped up, ran down the hallway to do his business and as he sprinted back while wearing his reading glasses things went wobbly.

“I yell something to someone, running full sprint down the hallway and bam! Smack into a glass door, flat on my back, blood spurting out of my head,” Flea explained, adding that he then realized he needed a good cover story. “I’m laying there going, ‘Oh man, I’ve got to do the Fallon show in a few days … I’ll tell him I got into a fight.”

Getting real, Flea reminisced about learning to play trumpet as a kid and meeting one of his heroes, trumpet legend Dizzy Gillespie, and how he would pick the instrument up every once in a while, and then going back to it a few years ago determined to practice every day in preparation for the album’s recording. “It was just the process, the learning process,” he said of getting back to the trumpet. “And I’m so happy that I had the opportunity to do it.”

Flea then took to the stage to play with an all-star band featuring Tortoise guitarist Jeff Parker, André 3000 collaborator drummer Deantoni Parks, bassist Anna Butterss (Phoebe Bridgers, Jenny Lewis), his LP’s producer, multi-instrumentalist Josh Johnson and a full string section. He started by plucking the song’s melody out on his bass before picking up the trumpet to add some flavor and going on a mellow walk with Parker as the two men traded off playing the song’s yearning refrain on their instruments.

The moving instrumental version of the lead single from the enigmatic Ocean’s 2012 debut solo album, Channel Orange, was transformed in Flea’s hands into what sounded like a lost relic from the 1940s jazz age, performed with a style and grace that breathed new life into the track.

To date, Flea has dropped the free jazz/spoken word jam “A Plea” and the thrumming, tropical “Traffic Light” featuring vocals from Radiohead’s Thom Yorke from the album that features six original songs alongside cover of tracks by Jimmy Webb (“Wichita Lineman”), P-Funk’s George Clinton and Eddie Hazel (“Maggot Brain”), Ocean and Ann Ronnell (“Willow Weep For Me”).

Watch Flea on The Tonight Show below.


Billboard VIP Pass

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.

W Hotels has officially stepped into the world of all-inclusive experiences. With the grand opening of their W Punta Cana property in Dominican Republic, the luxury hotel chain aims to redefine the hospitality market that’s typically synonymous with wristbands and buffet-style food by providing its adults-only guests with a relaxed, modern layout, a variety of culinary experiences and a wellness-forward retreat.

The first thing guests will notice as they enter the 340-room resort is the mix of lush jungle greenery and tropical beach views. Designed by Zanobia Arquitectura, every design choice feels intentional, from the towering palm trees to the contemporary architecture and decor, to an open-air, village-style layout, to tropical plants flanking each building and swimming pool throughout. There’s a level of relaxation, local heritage and W’s signature style all blending together to provide a luxe feel of escapism.

W Hotels

“This entry is not about following trends; it is about expanding our brand DNA into new environments while staying true to what makes W Hotels unique,” says the brands in a press release. “Including bold, detail-driven design, vibrant energy, and meaningful connections to culture and the locale.”

Developed in partnership with Grupo Puntacana and MAC Hotels, rooms and suites start at 700 square feet, all with king beds and bathtubs. 46 suites come with swim-ups, and several offer full private pools, a rarity on the island.

As its first all-inclusive resort, W Punta Cana has something for everyone, especially in their dining and beverage options. Their culinary program features six signature restaurants and six bar/lounges ranging from a noodle bar serving up Asian dishes like hand-pulled noodles and wok-inspired meals, a rooftop restaurant that pairs fresh seafood plates with a stunning ocean view, a food hall-style venue featuring global street-food dishes and desserts, and a hidden speakeasy-style cocktail lounge that has cigar rolling, vinyl collections and parties for night goers. Whatever you’re in the mood for, W Punta Cana will most likely have a dining option for you.

W Hotels

Travelers familiar with the brand will recognize the W flair, especially at the 262-foot infinity pool and wet deck overlooking the beach. A short walk away, the Chill Pool offers a more relaxed alternative, complete with a lively swim-up bar. There’s also a variety of fun actives including DJ-led sound baths and beachside silent discos curated by W Hotels Americas music director Sinegoto to keep the party going all-night long.

When you need to slow things, the AWAY Spa includes a steam room, sauna, Himalayan salt room and striking indoor pool for the ultimate getaway. There’s also sunrise yoga and restorative rituals that take advantage of Punta Cana’s natural setting. Guests can workout at W’s 1,500-square-foot FIT gym, which is open 24/7.

W Hotels

“From music and wellness activations to cultural storytelling, each element is curated to be both immersive and authentic,” says the brand. “Unlike traditional all-inclusive resorts, which can feel standardized, the W Hotels approach is intentionally dynamic, layered, and unmistakably connected to both the local culture and the energetic spirit of the brand.”

Book your all-inclusive stay at W Punta Cana online here.

Maroon 5 singer Adam Levine got a little personal on The Voice on Monday night (March 23) during the Battle of Champions round. When Team Adam singers Drew Russell and Jared Shoemaker took to the stage to sing the emotional duet ballad “Leather and Lace” from Fleetwood Mac singer Stevie Nicks’ 1981 debut solo album, Bella Donna, Levine shared that the song had a very special meaning to him.

After fellow coach Kelly Clarkson gave the duo high praise, saying she felt like she as “at your concert,” before complimenting the pair on how their voices complement each other, Levine stepped up to talk about his tie to the track. “This song to me is just a heavyweight champion of songs in my life,” said Levine, 47.

“Like, I sang this song with Stevie Nicks to my wife at our wedding, you know what I mean?,” he added as Clarkson shouted a shocked, “what?!” and John Legend put his hand on his heart in surprise.

“I did. That happened, it really happened,” Levine assured his fellow coaches. “I think it really happened. I pinch myself sometimes.” Because of his close connection to the song, Levine said it made it “even harder” for him to remain objective about the performance. “I was gonna be uber-critical of it, and in the rehearsals, to be completely honest, the promise was there and the vibe was there, but it just wasn’t where it needed to be yet.”

In the end, Levine called their performance “so beautiful,” praising Russell for being “so Stevie-esque” and Shoemaker for handling Henley’s tricky part. “You crushed it,” he said.

Levine and Prinsloo, 37, were married in San José del Cabo, Mexico in July 2014 and have three children, daughters Dusty Rose, 9, Gio Grace, 8, and a three-year-old son whose name they have not publicly revealed.

Maroon 5 are gearing up for a brief South American tour that is slated to kick off on April 25 at Coliseo Medplus in Bogota, Colombia.

Watch Russell and Shoemaker’s performance of “Leather and Lace” below.


Billboard VIP Pass

Keyla Richardson stopped the show on Monday’s American Idol with a performance of The Beatles‘ “With a Little Help From My Friends” that left judge Lionel Richie declaring it the greatest he had ever witnessed on the show.

The 29-year-old single mother and music teacher from Pensacola, Fla., dedicated the performance to the people God had placed in her path, delivering a vocal that drew comparisons to Janis Joplin and Tina Turner from Richie himself.

“I have never. I have never ever! I’ve been on American Idol since I was that big,” Richie said after the performance, unable to contain himself. “I have never had any contestant walk out on this stage and tear the place up.”

“The place got blown up. That Janis Joplin sounding, Tina Turner sounding. I don’t know who you are, but that right there was the greatest performance I have ever seen on this stage,” he added.

Guest advisor and judge Keke Palmer was moved to tears during rehearsals, telling Richardson: “That voice was ancestral, girl. What you’re doing is more than just singing. You’re embodying spirit through song.” After the performance, Palmer drew a pointed comparison.

“The last time I’ve seen somebody make me feel like this and get people turned up like this, her name was Fantasia Barrino,” she said. “And she won American Idol.”

Carrie Underwood added: “You don’t think about what you’re doing as it’s happening. It just flows out of you. You were in the moment, you were having fun with the audience. It was from the heavens to Keyla and then out to us. It was spectacular.” Luke Bryan rounded out the praise: “You’re just here to let what God has given you come out.”

Richardson has been a standout since her Season 24 audition, when she performed P!nk’s “Glitter in the Air” and brought Bryan to tears. She has previous competition experience — she was a Top 4 finalist on BET’s Sunday Best in 2019, and subsequently landed her first No. 1 on Billboard’s Gospel Airplay chart with the single “So Good.”

She has been a music teacher at Life Shifting Learning Academy in Florida and serves as a praise and worship leader at her church. Her nine-year-old son Drew, who briefly sang for the judges during her audition, has been her biggest supporter throughout the competition.

The Top 14 will be revealed during the first live show on March 30. Viewers can vote for Richardson by texting 20 to 21523, at AmericanIdol.com, or by commenting “Keyla” on American Idol‘s pinned posts on Facebook, Instagram or TikTok. Voting closes at 6 a.m. ET Tuesday, March 24.

Ocean Alley have wrapped the biggest headline tour of their career, selling more than 80,000 tickets across 11 shows in Australia and New Zealand, with their fifth studio album Love Balloon returning to No. 1 on the ARIA Australian Albums Chart in the same week.

The run — which spanned January through March — saw the Sydney six-piece graduate to their most ambitious open-air stages yet, including Sydney’s Domain, Fremantle’s Esplanade Park and Brisbane Showgrounds, before closing out at Adelaide’s Glenelg Beach over the weekend.

The capital city dates featured support from Nothing But Thieves, Rainbow Kitten Surprise, Ruby Fields, Skegss and Birdland, among others, while regional dates brought in Allah-Las, Babe Rainbow and The Grogans across various stops. The result marks a significant milestone for an independent band. Ocean Alley operate through Community Music, and the 80,000-ticket haul — matching the scale of their combined 2023 and 2024 headline runs — underscores their position as one of the most compelling live draws in Australian music.

Love Balloon, released in September 2025, has been a slow-burning phenomenon. The record has now spent 22 weeks in the ARIA Australian Albums Top 10, including 14 consecutive weeks, and has returned to No. 1 for the third time this week. It has surpassed 50 million streams worldwide since release.

The album’s title track has spent 29 weeks in the Top 20 of the ARIA Australian Singles Chart, while the tour’s finale has sparked a viral moment around album closer “Drenched” — its lyric “Livin’ in the Moment like when we were kids” has soundtracked more than 17,000 social media posts, accumulating 3.5 million views.

Earlier this year, Ocean Alley placed four tracks in triple j’s Hottest 100 of 2025: “Love Balloon” (No. 17), “First Blush” (No. 43), “Drenched” (No. 44) and “Left of the Dealer” (No. 87). “First Blush” also held the position of triple j’s most-played track to start the year.

Formed on Sydney’s Northern Beaches in 2011, Ocean Alley broke through nationally when “Confidence” topped triple j’s Hottest 100 in 2019 and went on to reach No. 15 on Billboard’s Hot Alternative Songs chart.

The band’s catalogue has now surpassed 1 billion streams worldwide, with ten singles certified Gold or higher across Australia, New Zealand and the U.S. Their previous albums Lonely Diamond (2020) and Low Altitude Living (2022) both debuted at No. 3 on the ARIA Albums Chart.

In 2025, they expanded their global footprint with a headline show at London’s Alexandra Palace and their first-ever dates in Brazil, Chile and Mexico, plus festival appearances at Lollapalooza, Sziget and Austin City Limits.

Earl Sweatshirt and MIKE have announced a run of Australian and New Zealand headline shows in May, alongside their previously announced joint appearance at Sydney’s Vivid LIVE festival.

The tour takes in Auckland’s Studio The Venue on May 22, Melbourne’s The Timber Yard on May 23, and Brisbane’s The Tivoli on May 27. The Sydney Opera House show for Vivid LIVE on May 24 rounds out the run. C.FRIM and Chef Chung will provide support at selected dates. Presale opens Thursday, March 26 at 8 a.m. AEDT, with general public on sale from Friday, March 27 at 9 a.m. AEDT.

The shows follow the announcement of POMPEII // UTILITY, a collaborative album from Earl Sweatshirt, MIKE, and New York collective SURF GANG, due April 3 via 10k/Tan Cressida Records.

The double-disc project — featuring lead single “Minty // Earth” — brings together two artists whose friendship and creative partnership stretches back more than a decade, with previous collaborations including “Allstar” on MIKE’s 2020 album Weight of the World and “Sentry” on Earl Sweatshirt and The Alchemist’s 2023 collaboration VOIR DIRE.

Earl Sweatshirt — born Thebe Kgositsile — emerged at 16 as part of the Odd Future collective before launching a critically acclaimed solo career. His debut album Doris (2013) debuted at No. 5 on the Billboard 200 and No. 1 on Top Rap Albums. His subsequent records I Don’t Like Shit, I Don’t Go Outside (2015) and Some Rap Songs (2018) both peaked within the top 20 of the Billboard 200 and earned widespread critical praise. His most recent solo album, Live, Laugh, Love, arrived in August 2025.

MIKE, the New York-born rapper and producer, has built one of the most prolific and critically admired catalogs in underground hip-hop over the past decade. His 2025 album Showbiz! was among the year’s most acclaimed releases.

Fans of Ella Langley’s “Choosin’ Texas” can’t get enough of the song, which breaks another record this week on the Billboard charts. The tune marks its fourth week at No. 1 on the Billboard Hot 100, making it the most weeks spent at the pinnacle by a woman that also reached No. 1 on the Hot Country Songs chart.

“Choosin’ Texas” had been tied for the honor with Taylor Swift’s 2012 hit “We Are Never Ever Getting Back Together” at three weeks atop the Hot 100; now Langley has the record all to herself.  She’s doubled the amount of time spent at No. 1 by three country hits by women that topped the Hot 100 for two weeks each: Beyoncé’s “Texas Hold ‘Em” in 2024 and Dolly Parton’s “Islands in the Stream,” with Kenny Rogers (1983), and “9 to 5” (1981).

Related

Langley’s song has now spent 17 weeks at No. 1 on Hot Country Songs. It is also No. 1 on the Streaming Songs chart.

The protagonist of the song, which was co-written by Langley, Miranda Lambert, Luke Dick and Joybeth Taylor, bemoans the fact that she unintentionally led her boyfriend straight back into the arms of his ex by taking him from the Volunteer State to the Lone Star State.

Throughout the song, Langley cites songs, cities and references associated with the two states, but how well do you recognize them? Below, Billboard breaks down all the mentions in “Choosin’ Texas” that are aligned specifically with Texas and Tennessee. (Texas clearly comes out ahead in the song, but does it in our tally?)

When Ashnikko opened her performance at L.A.’s Shrine Auditorium and Expo Hall on Friday (March 20) with “Working B—h,” she let the crowd know exactly what she would be doing for her entire nearly two-hour-long performance: working.

Los Angeles was the second stop on the 30-year-old alt-pop singer and rapper’s Smoochies world tour, supporting her second studio album, 2025’s Smoochies. Friday’s show at the Shrine was also Ashnikko’s first full performance in Los Angeles since she opened for Billie Eilish in 2024 on the Hit Me Hard and Soft tour.

Related

It was clear even before that the crowd had been long awaiting Ashnikko’s return to L.A., as a large contingent of attendees adopted Ashnikko’s “trinket girl” aesthetic for the occasion. Fans decked out in “itty bitty” skirts, thigh-high boots, blue wigs and, of course, plenty of trinkets filled the Shrine Auditorium. Some particularly dedicated fans even went so far as to paint their faces white and cover their bodies in lip prints. For audience member drag queen Kacey Starz, committing to the Ashnikko bit really paid off when the singer called them up, bowed down to them and bestowed them the honor of being L.A.’s “Smoochie Girl” — a ritual that comes with a sash, crown and bragging rights.

From the first song, the crowd screamed along to every word Ashnikko rapped and sang. With a balance of new and old songs, Ashnikko catered to fans old and new, even asking the crowd if anyone has been around since her 2021 EP Demidevil or earlier — many in the audience screamed in affirmation. In the end, the 23-song setlist was half songs off Smoochies, while the other half was a mix of tracks from her first album Weedkiller, previous EPs and singles. Smoochies singles “Trinkets” and “Itty Bitty” were big hits with the audience, who jumped up and down in their platform boots with Ashinkko. Meanwhile, deep cut and ballad “It Girl” provided a heartfelt moment of reflection and connection between the artist and fans.

The decision to heavily feature older tracks also paid off as the crowd screamed along the loudest to songs like “Manners” from her 2019 EP Hi, It’s Me and Weedkiller‘s lead single “You Make Me Sick.” Particularly ear-rupturing cheers came from the crowd when Princess Nokia, one of the two openers, stepped back on the stage to perform her verse to Ashnikko’s viral song “Slumber Party.”

You can find the full setlist from the L.A. stop of Ashnikko’s Smoochies world tour below.

Bad Bunny’s lawyers say an African music publisher should cover their fees after dragging the Puerto Rican superstar into failed copyright litigation over a track on his chart-topping album Un Verano Sin Ti.

emPawa Africa, an independent music company that has a deal with Nigerian songwriter Dera, sued Bad Bunny last year for allegedly failing to ask their permission before sampling his 2019 song “Empty My Pocket” on “Enséñame a Bailar,” which spent two weeks on the Billboard Hot 100 in 2022. Bad Bunny maintains that he properly cleared the sample with another rightsholder on “Empty My Pocket,” the producer Lakizo.

Related

The attorneys repping emPawa dropped out of the lawsuit at the end of 2025 due to “irreconcilable differences,” ultimately leading a judge to dismiss the case for lack of prosecution earlier this month. Now, Bad Bunny and various co-defendants in the case, including Rimas Entertainment and The Orchard, argue that emPawa should have to foot the $465,612 legal bill they racked up defending against the “frivolous” claims.

“This case was meritless from the beginning and should never have been brought,” reads the Monday (March 23) motion for legal fees. “Instead, emPawa filed and aggressively litigated it, apparently hoping that Bad Bunny’s wealth, prominence and desire to avoid attorneys’ fees and bad publicity would enable emPawa to extract an undeserved, multimillion-dollar settlement.”

Bad Bunny’s lawyers say emPawa dragged out the case even though it was clear from the beginning that the “Enséñame a Bailar” sample was properly licensed from Lakizo. emPawa allegedly used various tactics to “stall and delay” the litigation, then bowed out when it came time to hand over evidence through the discovery process.

“When faced with an imminent court order that would require it to explain how it owned ‘Empty’ and Lakizo did not, Empawa chose instead to abandon its claims altogether,” reads Monday’s motion. “That it did not find a replacement counsel to prosecute its claims after its original counsel withdrew speaks volumes.”

Related

According to the motion, this conduct forced heavy-hitting music lawyer Jeff Goldman and a team of attorneys from Florida firm Gray Robinson to rack up hundreds of hours on Bad Bunny’s defense. The three senior lawyers on the case billed hourly rates of $555, $615 and $680.

Reps for emPawa did not immediately return a request for comment on the fee request. Notably, Bad Bunny is seeking fees only from the publishing company and not from Dera himself, even though the songwriter was a plaintiff in the case, too. A footnote explains this decision: “It is moving defendants’ belief that this co-plaintiff, Ezeani Chidera Godfrey p/k/a Dera, was not primarily responsible for the prosecution of the lawsuit, nor did he finance the lawsuit.”

Under U.S. law, the winners of copyright litigation can get their legal fees covered by the losers if they can show that the claims were frivolous or unreasonably handled. This is designed to deter unscrupulous actors from abusing the court system with meritless lawsuits.

Musical artists who prevail over copyright accusers frequently turn to this remedy in the aftermath. Mariah Carey, for example, is currently seeking $1 million after defeating a copyright infringement lawsuit over her holiday classic “All I Want for Christmas Is You.” Nelly, too, recently demanded that the lawyer repping one of his former bandmates reimburse him $78,000 for litigation over the rights to his debut album Country Grammar.


Billboard VIP Pass