It’s been a landmark week for PinkPantheress. The British producer and singer scored her first-ever Billboard No. 1 when “Stateside” featuring Zara Larsson reached the top spot on both the Global 200 and the Global Excl. U.S. charts, following an 11-week climb that kicked into overdrive after American ice skater Alysa Liu skated to the hit at the Winter Olympics in February. The song also reached No. 6 on the Billboard Hot 100 this week, making it PinkPantheress’ biggest single since she reached No. 3 on the chart with the Ice Spice collaboration “Boy’s a Liar Pt. 2″ in 2023.

The chart-topping moment is the latest highlight from her Fancy That mixtape campaign, released via Warner Records U.K., Parlophone and Atlantic in May 2025. The nine-song collection paid homage to the 2000s U.K. dance scene with the 24-year-old referencing Basement Jaxx, Groove Armada and Fatboy Slim as inspirations on the lively tracks. 

The project was nominated for the 2025 Mercury Prize and competed in two Grammy categories: best dance/electronic album and best dance pop recording (for the song “Illegal”); upon release, Fancy That hit No. 3 on the U.K.’s Official Albums Chart and No. 4 on Billboard’s Top Dance Albums chart. In October, a remix collection, Fancy Some More?, pulled a number of huge collaborators: Anitta, Seventeen, Kylie Minogue, Kaytranada and Ravyn Lenae, to name a few.

That remix release included LP highlight “Stateside,” which starred Swedish pop star Larsson, a track that resonated with fans and coincided with Larsson’s own breakout moment. Having released her debut album in 2014 and gained traction with the 2015 single “Lush Life,” Larsson’s career was boosted by a Tate McRae support slot in North American arenas last summer. A track from her 2025 LP Midnight Sun competed against PinkPantheress in the best dance pop recording category at the 2026 Grammy Awards.

That “Stateside” remix, co-written with Caroline Alinn, Karen Poole, The Dare and MNEK, played a role in a wider cultural moment at the 2026 Winter Olympics in February. During an exhibition gala for the figure skating programme, U.S. gold medalist Liu performed a routine to the remix and boosted its international exposure. And helping push the track was Atlantic Music Group president of digital Alana Dolgin, who earns the title of Billboard‘s executive of the week.

Here, Dolgin explains how the song rose to become the biggest song in the world this week, how Atlantic played a role in that success and why the combination of Pinkpantheress and Larsson worked so well. “It was the perfect balance between contrast and familiarity — underground credibility mixed with mainstream polish,” Dolgin says. “Pink and Zara are having their own breakthrough moments, and the timing of this track amplifies the effect both are having in culture right now.”

PinkPantheress’ “Stateside” has hit No. 1 on Billboard’s Global 200 chart this week. Why do you think that song has resonated?

This song has all the ingredients for a hit in today’s musical landscape: the sound, the culture, a sense of modern nostalgia and undeniable transatlantic appeal. PinkPantheress has spent her career refining her niche rather than chasing mainstream trends — and now, listeners have finally caught up.

Of all the remixes and guest appearances on the Fancy Some More? mixtape, why has this collaboration stood out and achieved chart success?

While every remix on Fancy Some More? had its own twist, this track was more than just a feature — it was a true collaboration. It never felt like an add on; it felt like a fully-realized, definitive song, always meant to be part of the album.

What specific decisions has the team made to support the song during this viral moment?

We let the artist and the fans lead the moment, working alongside them to amplify what was already happening organically. The Zara Larsson co-sign was perfectly timed, alongside other key cultural moments, most notably Olympic star Alysa Liu’s performance. As a team, we didn’t try to control the viral moment; we channeled it through smart decision-making, precise timing and one-of-a-kind influencer marketing.

Alysa Liu helped “Stateside” reach a new audience when she performed to the track at the Winter Olympics. How did that moment come about, and what role did it play in the song’s success?

Liu has been a trailblazer and trendsetter throughout this year’s Olympic Games — she’s been intentional with her song choices, but most importantly, she chooses music she genuinely loves. The conversation she sparked during the Games created the perfect conditions for a viral explosion when she selected “Stateside” for her exhibition gala routine. While the song was already on its way to becoming a global hit, the platform Alysa provided expanded its audience, strengthened its visual identity and tied a global emotional moment to an already remarkable story — for both Alysa and “Stateside.”

PinkPantheress recently made history as the first woman and the youngest-ever artist to win the producer of the year honor at the BRITs. What makes her artistry and craft stand out?

PinkPantheress winning producer of the year at the BRITs was years in the making. This recognition highlights just how distinct her craft is compared to standard pop music today. She’s intentional, specific and precise — she doesn’t just make hit records, she has redefined how hits are built, and her influence is already evident in the work of many artists today.

How important has visual storytelling been in the “Stateside” campaign?

While visual storytelling has been crucial to the “Stateside” campaign, it hasn’t followed the traditional “big-budget music video” approach. PinkPantheress has spent years building her brand so deliberately that visuals don’t define her songs, they support them. She has a highly specific visual language — nostalgic, soft, intimate — and the “Stateside” visuals reinforce an identity that’s been unmistakably hers all along, helping her cut through even the most crowded feeds.

Looking at fan engagement, how has PinkPantheress’ audience evolved since the song took off?

One of the best parts of viral hits today is how easily they drive rediscovery of an artist’s catalog. With the success of Fancy That, PinkPantheress reached a highly online, deeply engaged global audience — not only continuing to amplify her built-in brand, but also fueling streams of catalog tracks like “Pain.” Her audience isn’t just consuming her music, they’re co-creating alongside it.

Fans are also connecting across communities: indie/alt-pop listeners, mainstream pop fans drawn in via Zara Larsson, sports audiences through Alysa Liu and fashion followers during Pink’s highlights at fashion weeks. The success of the song has shifted PinkPantheress from being an artist of mystery to one defining the cultural moment, naturally influencing fan behavior. Most importantly, her U.S. tour in the months leading up to the peak of “Stateside” was essential in translating online momentum to real-world engagement.

She is among a number of U.K. artists hitting new heights on a global scale. Why do you think Pink and these artists are cutting through?

The biggest shift for U.K. artists has been the ability for their music to travel and reach audiences faster than ever, thanks in large part to platforms like TikTok. Their sound is truly borderless now.

How do you continue to support PinkPantheress on this next phase of the campaign?

Between us stateside at Atlantic Music Group and across the pond at Warner Records U.K., we will continue to let PinkPantheress lead, trusting her creative vision every step of the way. Our role is to help scale her reach without interfering with the qualities that have made her so successful. “Stateside” is just the beginning; PinkPantheress is laying the foundation for the next era of pop music.

BTS’ big comeback week has resulted in the group’s third U.K. No. 1 album with ARIRANG on the U.K.’s Official Albums Chart dated March 27.

The K-pop titans returned March 20 with a free concert in Seoul, South Korea, after a four-year hiatus so the group members could complete mandatory military service and focus on solo projects. The performance was broadcast on Netflix and drew an audience of 18.4 million global viewers.

It’s the third time that the group has hit the No. 1 spot on the U.K. chart following 2019’s MAP OF THE SOUL: PERSONA and 2020’s MAP OF THE SOUL: 7. On the Official Singles Chart, “Swim” lands at No. 2 to give BTS a new career peak on the tally and the band’s fifth top 10 single. 

The K-pop group set to play a pair of shows at the Tottenham Hotspur Stadium later this summer as part of its global world tour. The tour will commence on April 9 with shows in Goyang, South Korea, and hit North America on April 25 in Tampa, Fla.

Harry Styles’ two-week reign at the summit of the charts with Kiss All the Time. Disco, Occasionally comes to a close, but he falls just one spot to No. 2. The album has 2026’s biggest opening week to date and set a new career-best debut week for Styles.

Fresh off more awards show glory, Olivia Dean’s The Art of Loving finishes at No. 3 in this week’s edition. At the 30th anniversary MOBO Awards in Manchester on Thursday (March 26), the LP was named album of the year; Dean came away with three awards in total.

Luke Combs scores a personal best with sixth studio album The Way I Am which debuts at No. 4, and goes one spot better than 2023’s Gettin’ Old. Fleetwood Mac’s greatest hits collection 50 Years: Don’t Stop rounds out the top five.

New Music Latin is a compilation of the best new Latin songs and albums recommended by Billboard Latin and Billboard Español editors. Check out this week’s picks below.

Yami Safdie & Alejandro Sanz, “Cuéntame” (Warner Music Latina)

Argentine singer-songwriter Yami Safdie and Spanish icon Alejandro Sanz join forces on an moving love song that’s as simple as it is profound in its musicality and lyrics. In “Cuéntame,” Safdie’s vocal warmth meets Sanz’s interpretive intensity as they inquire with interest about each other’s lives, hoping to embark on a relationship. “Tell me, what is your plan? What are your dreams?/ Do I happen to fit into any of them?/ There is just so much left for me to know/ Tell me,” goes part of the chorus. Described in a press release as “an ode to love: eternal, universal, and deeply felt,” this heart-warming pop ballad serves as the first preview of Querida Yo Deluxe, the upcoming extended version of Safdie’s third album. — SIGAL RATNER-ARIAS

León Larregui, Manifiesto de un tremendo delirio (EMI/Universal Music México)

For his fourth solo album, the lead singer of the Mexican rock band Zoé has crafted his most personal and introspective work yet. The common thread running through this LP is his breakup with the woman who was his partner for years and the mother of his child; as the album unfolds, it evolves into a reflection on loss, the various forms of love, and finding the light at the end of the tunnel. Lyrically, it displays an emotional fragility that lays bare his most intense feelings. Musically, the singer-songwriter presents us with 13 tracks of sonic elegance, featuring electronic touches and mesmerizing guitars that convey nostalgia while also reflecting the overflowing joy of someone who has overcome an emotional crisis.

The set opens with the single “Bruma,” a sensory ballad that offers a preview of the journey the subsequent songs will take them on. In “Se Me Va,” the musician surprises us with a nod to bolero, while in “Cometas” he reveals his social and humanist streak by drawing attention to the plight in Gaza. “ROTURA” stands out as another of the album’s most intense ballads, featuring heartfelt confessions addressed to a loved one, while “Strainstation” recounts a farewell scene, with electronic sounds urging the listener to keep moving forward. Once again, Larregui has assembled a French “dream team” led by Adán Jodorowsky and comprising Vincent Polycarpe (drums), Victor Mechanik (guitars, synthesizers), and Fabrice Colombani (percussion) — the very same collaborators with whom he previously worked on his debut solo album, Solstis (2012). Manifiesto De Un Tremendo Delirio is, in every sense, arguably Larregui’s most significant album to date. — NATALIA CANO

Jasiel Nuñez & Ximena Sariñana, “Corazonada” (Double P Records)

Jasiel Nuñez, one of the young talents of Mexican music, has led singer-songwriter Ximena Sariñana to explore a completely different realm in her career with “Corazonada.” This fusion of contemporary pop with the sounds of the new generation of regional Mexican music brings together two vastly different voices, successfully delivering the dose of romanticism that the lyrics demand. “Being with you smells like danger/ It’s well known that love can be harmful/ If the river roars, it surely carries water/ But with her, I think it just might be worth it,” go the lyrics. The song opens with Sariñana’s distinctive voice, giving way to sierreño-style guitars that take center stage. The smooth melody is joined by a charcheta and other experimental sounds, creating a delightful hybrid. The colorful music video was filmed in Xochimilco — an iconic district on the outskirts of Mexico City known for its boat rides aboard vessels known as trajineras. — TERE AGUILERA

Draco Rosa, “Colores de Ayer” (Sony Music Latin)

Draco Rosa’s “Colores del Ayer” feels like a whisper from the soul that quietly unravels in the listener’s heart. Anchored in steely guitars and meditative keys, the track tells a rare, almost sacred kind of intimacy to life. He begins his musings with questions — “Who do we love? Why do we love? How do we love?” — but instead of offering answers, he paints a poetic scenery of gratitude, memory, and enduring love. Lyrics like “in a world of chaos, your love is my calm” cut through the noise of a restless environment. “Colores del Ayer” radiates peace, but it’s hard-earned. This is the second single off of Draco Rosa’s upcoming Olas de Luz album, where the musician continues to create existential-leaning music layered in enigmatic, almost spiritual energy. — ISABELA RAYGOZA

Melanie Santiler, “TODO SE ME DA” (MamiFinaRecords)

In what becomes her first single of 2026—and the first in four months following “Deja La Sonsera”—Melanie Santiler drops “TODO SE ME DA.” Co-produced by Javier Sampedro, Yoyi Lagarza and Drumglass, the song is rooted in an alternative pop sound laced with an edgy reparto melody that’s backed by the genre’s distinct hard-hitting clave instrumentation. Moreover, the Cuban newcomer — a former Billboard On the Radar Latin artist — is as fierce and unapologetic as ever, delivering sharp verses that are both for the haters, and serve also a strong manifestation on abundance and prosperity. “Everything comes naturally to me—perfectly/ We deserve nothing less; we were born with talent/ Everything comes naturally to me—perfectly/ I am now living what was once just a dream,” Santiler chants with her sugary-yet-demanding and potent vocals. — JESSICA ROIZ

Edgardo Nuñez & Xavi, “Vengache Pa’ Aca” (Warner Music Latina)

For the first time, two of the rising stars of the new generation of regional Mexican music hailing from Phoenix join forces in a collaboration, doing so with an unexpected extra ingredient: rock and roll. An intro reminiscent of Elvis Presley’s “Jailhouse Rock” blends with the accordion in such a surprising way that it suddenly immerses the listener in an unimaginable sound that proves highly enjoyable — even more so when the rhythm of cumbia is added to the mix. The lyrics of “Véngache Pa’ Acá“— in which the singers invite a girl to share a dance — bear Xavi’s signature style: easy to learn, uncomplicated, and, above all, fun. As for the music video, it was filmed in a diner in Mexico City, capturing the full atmosphere of the 1950s — milkshakes included — albeit featuring dancers performing in the style of Texas norteño. — T.A.

Linea Personal, Todo Ø Nada (Street Mob Records/A.T.B.)

Somewhere between lust and hedonism, TODO Ø NADA unravels like a late-night joyride through neon-lit streets — equal parts reckless and reflective. Signed to Street Mob Records, the Stockton, Califas-based group leans all the way into their unstoppable energy, riveting requintos, and boundary-pushing sound. Tracks like “Por LA,” featuring Fuerza Regida, pulse with cinematic bravado, while “Los Cadetes” and “Sin Sueño” are unapologetic odes to debauchery, glittered with high-fashion references and laced with tales of excess. But Linea Personal also knows when to take their foot off the gas; “ÜLALA” and “Ninguna Sabe A Ti” (featuring Eddy) slow things down, revealing a romantic, introspective dimension with more delicate melodies. With their second full-length album, the band continues to push the corridos tumbados movement — bold, irreverent, and entirely their own. — I.R.

Cuarto Poder, “Nos Fuimos Pa La Calle” (Holy Sound Records)

Venezuelan rap group Cuarto Poder has made a surprise return with its first release in more than 15 years called “Nos Fuimos Pa’ La Calle.” The powerful track is more than just a comeback, it’s an emotional tribute and heartfelt love letter to one of their own members, Lennin Perez — a cancer survivor and a tireless warrior who serves as an inspiration in the Latin rap community. “Lenin MC has been a cornerstone in our journey as Cuarto Poder… but beyond that, he’s been a brother and friend in our lives,” the group expressed in an Instagram post. On this track, Apache, Cotur, Psycho, El Rojo, and Lennin deliver a master class in hip-hop, reminding listeners how Cuarto Poder defined a generation, and is a true pioneer in the Venezuelan rap scene. Set against piano and trumpet melodies, each verse is imbued with messages of hope and resilience, reflecting the group’s unwavering spirit. As Lennin raps, “No matter how difficult it is, you always have to believe.” — INGRID FAJARDO

Dairon Gavilan & Anna Bensi, “Mi Tierra” (Plus Media)

Dairon Gavila — a popular Christian artist in the Cuban music scene — and the emerging Anna Bensi have joined forces to send a powerful message on “Mi Tierra.” Sonically, the track (produced and composed by Gavilan) is a melancholic grassroots folk song accompanied by weeping guitar riffs and a heart-pounding cajón. Lyrically, the pair makes a statement about faith, hope and resilience amid the political turmoil in Cuba. “I want my land to rise again to see the sun/ To heal its wounds, to feel no fear/ To follow, step by step, the voice of the Savior/ I want my land to be filled with His love,” Bensi sings with passion.

“Mi Tierra” (my land) comes on the heels of Bensi’s rise on social media as a modern-day activist, who has courageously used the internet to speak out against the Cuban regime. “When we say ‘Cuba for Christ’ — far from dividing, excluding, indoctrinating, or hating—our intention as Christians is to proclaim a message of hope and liberation for the Cuban people. Jesus is the best solution,” the 21-year-old artist expressed in an Instagram story on the eve of the song’s release. — J.R.

Check out more Latin recommendations this week below:

Lou Gramm is adamant that he’ll be “hanging up the microphone at the end of the year.” But the original Foreigner frontman is making some noise before he does that.

On Friday (March 27), Gramm releases what he says will be a third and final solo album; Released is a self-produced collection of 10 songs from his vaults, which were in various stages of completion before they were worked on for this set. He’ll be doing dates with his own band to support it as well as some special guest appearances with Foreigner. And then, he says, he’ll be a juke box hero no more.

“I do mean it, yes,” Gramm — who will nevertheless join Foreigner as a special guest on the Rock Legends Cruise XIV next February — tells Billboard via Zoom from his home in Bradenton, Fla. “I’ll miss it. I’ve got a lot more things that I’m wanting to do, such as playing with my cars and be a full-time dad to my kids. I’ve been doing this for a long time. I wanted to put out one last solo album for myself, one that I’m thrilled with. This is it.”

Gramm, 75 — who joined Foreigner during its formation in 1976 after a tenure with the band Black Sheep — says Released came from realizations that “it’s been a while since I put out anything,” and also, “I had some gems sitting in the vault.” Everything, he says, was intended for his solo albums — Ready or Not in 1987 and Long Hard Look in 1989 — or for the lone 1991 album by Shadow King, the group he formed with post-Dio/pre-Def Leppard guitarist Vivian Campbell and Black Sheep mate Bruce Turgon, who’d been part of the solo albums and played with Foreigner during the ‘90s. Turgon also co-wrote nine of the tracks on Released with Gramm.

“These (songs) weren’t on the album because they weren’t good enough,” says Gramm, whose son Matthew Gramm served as Released‘s associate producer. “A lot of it was because we had a timeline to turn in 10 songs for an album, and some of those really good ideas I had weren’t quite finished. But years later I went back and listened to the songs that there three-quarters finished or whatever, and there were some awesome songs.”

Gramm says the tracks on Released fell into two categories: those that were “mostly complete” and others that were “rough.” Of the former, “Heart and Soul,” “Lightning Strikes” and “World Gets Around” hail from the Long Hard Look sessions, while “Young Love,” “Walk the Walk” and “Time Heals the Pain” came after that and before the Shadow King album. Meanwhile, “Long Gone” and “Deeper Side of Love” “were written sometime during the first two albums and forgotten,” and both needed more work, including new instrumentation and vocals.

The track “Long Hard Look” was “a complete concept,” but Gramm “decided to retrack much of the song.” And “True Blue Love” was on the Long Hard Look album but is recast on Released in a stripped-down, “unplugged” arrangement featuring just his voice and keyboards.

“We mostly kept the basis of the songs,” says Gramm. “I think my songs always have great guitar progressions in the intro, in the choruses. It’s very exciting to perform against guitar chords that are very uplifting like that.” Gramm did record at least some new vocals for nearly every track — and, he adds, didn’t have any trouble blending with the younger version of himself.

 “For the last 15 or so years I’ve been taking care of my voice — no drugs, no alcohol,” he says. “I take vocal lessons once a week from a great guy who lives in New York City and did opera, so he’s doing scales with me and showing me how to control my breath, how to stand when I’m singing and stuff. So I bring something to these (older) songs now, although I still hear soulfulness in those recordings.”

The Released songs aren’t the only material to come from Gramm’s past, however. Foreigner has also been digging into its vaults, releasing two songs so far: “Turning Back the Time,” an unreleased 1996 track, for the 2024 compilation of the same name; and the outtake “Fool If You Love Him” for last year’s reissue of the 1981’s 4 album. Band founder Mick Jones, who stopped touring in 2022 due to Parkinson’s disease, and manager Phil Carson have said more will be coming. Gramm confirms there’s quite a bit more where those songs came from, including a batch of nine tunes he and Jones began writing during the early 2000s.

“I think Mick is not in a place to sit down and listen through hours and hours to find a good song…but there’s stuff there,” says Gramm, who left Foreigner acrimoniously in 2003 but patched things up with Jones a decade ago and began taking part in reunion shows during 2017 and has been making special guest appearances with the band during the past couple of years. (The two were inducted into the Songwriters Hall of Fame during 2013.) Gramm even foresees a potential collaboration between Foreigner’s Rock & Roll Hall of Fame-inducted members and the current lineup on some of those records.

“The (recordings) would need some finishing up, some lead guitar, to go from a drum machine to some real drums, but the vocal and guitar performances are great,” Gramm says. “We could build off those and have the new Foreigner guys fill in the rest of the parts, or maybe even have Dennis (Elliott) on drums and Rick (Wills) on bass and Al (Greenwood) play keyboards, then let the new Foreigner guys fill in the spaces there. That could be a good juxtaposition.”

Released‘s release comes on the heels of Gramm’s performances on the 70s Rock & Romance Cruise. He’ll be announcing shows with his own band soon, and he’ll appear with Foreigner on “select” dates during its upcoming Double Trouble Double Vision Tour with Lynyrd Skynyrd this summer in addition to next year’s Rock Legends Cruise.

“I really like singing with those guys,” Gramm notes. “They’re a very good band. They’re very particular about how the songs are played, they’re good performers and they’re good ball-busters off stage. I hope they go as long as they want to…and I’m glad to do (shows) with them. It was sad the way Mick and my relationship ended back in (2003); it never sat right with me to be dissociated from Foreigner. So it’s good to be able to do what I do with them, and then do shows with my band and finish up on a high note this year.”