As of Tuesday (March 10), ENHYPEN is no longer seven members — and ENGENE is in total disbelief over the sudden exit of HEESEUNG.

After HYBE label BELIFT LAB announced on social media that the 24-year-old performer would be “parting ways” with the group after six years together to pursue solo activities, devotees in ENHYPEN’s fanbase flooded social media with messages of shock and concern. And while HEESEUNG himself wrote in a Weverse letter shortly afterward that he’d chosen to follow “the direction the company suggested” in regards to his solo work “after thinking deeply for a long time,” much of ENGENE expressed doubt that the decision had really come from him.

“just 2 days ago heeseung said that they’re planning to go back to europe so what happened?” one person wrote on X, sharing a video of the performer telling a fan about ENHYPEN’s hopes to perform again in the continent.

“clearly Heeseung’s departure was unplanned, how is it that this announcement was done on a whim?” wrote another fan. “Is it really that urgent? The timing seems so off honestly.”

“i just don’t get why heeseung has to leave the group to pursue his music,” posted one confused listener. “whyyyy? can’t it exist at the same time? why does it have to be this way? i feel like my heart is breaking into pieces. enhypen won’t be the same without him. i just wish things could be different, that he could chase his dreams without leaving the group he’s worked so hard with.”

Another person joked alongside a video of a man crying, “okay fun idea @ENHYPEN how about you collab with this solo artist under belift named heeseung.”

Countless other fans banded together to launch a petition on Change.org protesting HEESEUNG’s departure. At press time, the page already had more than 200,000 signatures within just five hours.

Billboard has reached out to HYBE for comment.

And just as K-pop fans are shocked by the news, so are other artists. One video that’s been circulating shows Yoon Yechan of boy band 82MAJOR seemingly reacting to BELIFT’s announcement in real time, with his jaw dropping for several long seconds before he yells, “What?!”

ENHYPEN first debuted as a septet in 2020, with HEESEUNG working alongside bandmates JUNGWON, JAY, JAKE, SUNGHOON, SUNOO and NI-KI. Just a couple of months before the membership shakeup, the group had topped Billboard‘s Top Artists chart for the first time ever, thanks to the January release of THE SIN : VANISH. The set debuted at No. 1 on the Top Album Sales chart, selling 113,000 copies in its first week, according to Luminate.

In his Weverse statement, HEESEUNG had nothing but kind words for his time spent in the band. “For me, six years was a time filled with moments that were overwhelming and precious beyond words,” he wrote, according to platform’s English translation of the original Korean. “I don’t want to forget those moments, and I want to be the one who continues to support ENHYPEN more than anyone else.”

He also elaborated on his choice to step away. “As you all know, I’ve been working on my personal work, and I’ve spent a lot of time hoping to show it to the ENGENE,” HEESEUNG explained. “There were a lot of things I wanted to show, but I also didn’t want to put my greed ahead of the team.”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

As announced March 5, Billboard is expanding its dance chart portfolio with the inclusion of the WARM Global Dance Radio chart. The ranking debuts on Billboard.com Tuesday (March 10), joining Billboard’s long-standing U.S.-based dance lists, including Hot Dance/Electronic Songs, Hot Dance/Pop Songs, Dance/Mix Show Airplay and Top Dance Albums.

The 40-position chart (published in full as a 100-position ranking on WARM’s platform) aggregates plays from 200-plus dance-dedicated radio stations worldwide, reflecting which songs are trending globally through a network of programmers and radio gatekeepers operating across multiple territories. WARM monitors more than 23,000 radio stations across all genres and formats in 150 countries worldwide.

Check out the top 40 of the WARM Global Dance Radio chart on Billboard.com and head over to warmmusic.net for the full 100-position survey.