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.

Zara Larsson and PinkPantheress‘ “Stateside” is one of the top 10 songs over in the States, and after the Swedish pop star worked her entire career to make it happen, she couldn’t be happier to finally achieve that milestone.

In a candid TikTok posted Monday night (March 9), Larsson leveled with followers about how surreal it is to see the electro-dance-pop hit reach the top tier of the Billboard Hot 100 dated March 14. “My name is on the top 10 Billboard Hot 100 at No. 7,” she said while lounging back in her seat, her hair in pin curls. “Hi! It’s so crazy.”

“I’m 28, and this has been my dream for as long as I can remember,” she continued. “It’s weird having it happen. I really enjoy the fact that I’ve been doing this for a long, long, long time. It really is about the journey.”

“I get to see it happening, I get to be present, and I get to enjoy every single thing that’s happening to me,” she added. “It’s not even really about the charts — even though, yippee! — it’s really about people listening.”

Larsson signed off, “I’m really happy. Thank you so much.”

In the comments, the singer’s fans showered her with congratulations. “You deserve every DROPLET of this success and love,” one person wrote, while another listener added that it was “about time” Larsson nabbed that top 10 placement.

Another fan said, “I wish you SOOOOO much success girl … you deserve it!”

The new No. 7 peak for “Stateside” comes amid a career breakthrough more than a decade in the making for Larsson, whose rise first started in summer 2024 after her song “Symphony” began trending alongside a dolphin-related TikTok meme. In 2025, she dropped album Midnight Sun and hopped onto a version of PinkPantheress’ Fancy That track “Stateside,” which took off this year after Olympic figure skater Alysa Liu performed a viral routine to it.

“Being a part of culture and history, like I got to be with Alysa, is way more impactful to me personally than any chart position,” Larsson told Teen Vogue recently. “I felt so proud, not only because she won gold, but because she looked so joyful.”

Check out Larsson’s TikTok reacting to her Hot 100 feat below.

Before they formed the folk band Buffalo Traffic Jam, Frankie Cassidy, 23, and Nathan Ross, 22, were introduced on a hunch as freshmen at Montana State University. “I was DoorDashing and my girlfriend’s roommate at the time called me and was like, ‘I have this dude over that you should meet, I think you guys would be friends,’” Cassidy recalls. After a few games of Mario Kart together, he and Ross started to walk home — only to realize that they lived in the same dorm, on the same floor, just two doors down from one another.

Forming a band, however, was a slower process for the duo. They moved into an off-campus apartment sophomore year and would jam occasionally — Cassidy was studying architecture and Ross mechanical engineering, but they both brought their guitars to college. It wasn’t until the end of their junior year in 2024 that they started working on original music (with influences including Tyler Childers, Zach Bryan, The Districts and Punch Brothers) and later opened for a local act in their college town of Bozeman, Mont.

That summer, while Cassidy was interning in his hometown of Baltimore, he and Ross started sending files back and forth in GarageBand. They continued the process while Cassidy studied abroad in Scotland the first semester of senior year. Despite the quality of the files getting “encrypted so bad,” says Cassidy, he and Ross managed to self-release a pair of tracks remotely: the jangly “Rescue Me” and aching “Forgot Your Roots,” both of which showcase Cassidy’s warm rasp and put Buffalo Traffic Jam on the map. 

“We made a TikTok carousel for ‘Rescue Me,’ and that was our first glimpse of success — kind of,” says Cassidy. “A lot of people were DMing our Instagram account. We didn’t think any of it was real until we got one official offer, and we didn’t know how the music industry worked at all.” He and Ross hired a traffic-ticket attorney to help them read the offer, and after two hours they asked, “If we were your children, would you want us to sign this?” The attorney told them not to.

That left the door open for Arista Records, which signed the act in May 2025. A management deal with Playdate’s Mason Romm and Nate Fenningdorf followed. “We came across Buffalo Traffic Jam when they had less than 100 followers on Instagram and TikTok,” says Fenningdorf. Off the bat, their unwavering commitment to be nothing but themselves had us [buy] in.”

By last October, Buffalo Traffic Jam was positioned for its big break — which came with the release of its debut EP, Take Me Home. The six-track project included standout single “Fool’s Gold,” a raspy folk-pop hit that has reaches a new No. 5 high on Billboard’s Adult Alternative Airplay chart dated March 14. “My dad called me three weeks ago, freaking out: ‘You’re not going to believe it. [Your song] was on [SiriusXM station] The Spectrum!’” recalls Cassidy with a laugh. The hit also became a staple in their setlist while opening on tour for Dylan Gossett late last year.

Again, the song’s inspiration struck while the members were apart. After graduating in May 2025, Ross — who still lives with Cassidy in Bozeman — went home to Seattle for a weekend. “There’s one line in ‘Fool’s Gold’ where I say: ‘Hate being left alone/ It reminds me no one’s home,’” says Cassidy. “That week I was struggling a lot, because all of our friends left town after they graduated. I was like, ‘I’m going crazy in this house.’”

Even so, Ross returned home to new material from his bandmate. “There were a few different songs, and ‘Fool’s Gold’ was the one that really stood out to me,” he says. “The day after, we built it out.” Ross says the support from Arista led to new opportunities, like working with local producer Joe Becker and Seattle-based producer Ryan Hadlock (The Lumineers, Zach Bryan). “That was pretty scary at first,” says Ross. “There was a Lumineers platinum record right next to where we were recording.”

The two cite their sessions with Hadlock as the initial time everything felt different. “He’s got the classic studio board with all the buttons on it,” jokes Cassidy. They spent hours focused on the minutiae of tracks, with Cassidy recalling 30 takes of guitar alone for “Fool’s Gold.” But that precision helped the song become a hit.

Soon after its October release, Cassidy and Ross started hearing “Fool’s Gold” in downtown Bozeman at stores and restaurants. They even note that the bartender at one of their favorite spots is a big fan. “Hearing it on someone’s playlist or on radio — never thought that that was going to happen,” says Cassidy. “A year ago we were still in school. It’s so weird being in the same bar, but now we hear our music.”

“Sometimes I’ll see old friends that will post on social media [using] ‘Fool’s Gold’ and I don’t even know if they know I’m helping with that,” adds Ross. 

Fenningdorf credits the team’s “exhaustive digital strategy” for the hit’s success, pointing to the band’s quality over quantity approach online: “Every piece of content is heavily vetted prior to going live.” However, on other team-run accounts, the approach is just the opposite. “Throw a ton of s–t at the wall and see what sticks,” Fenningdorf says. “This has led to tens of millions of views within the past four months, with a majority for ‘Fool’s Gold.’”

While Cassidy and Ross would love to see a remix featuring Marcus Mumford, Hozier or Noah Kahan, for now, Buffalo Traffic Jam is set on consistency. The group believes that reliability, plus authenticity, is what has made “Fool’s Gold” such a success — and don’t want to switch up that formula now while preparing new music. Single “I Don’t Care” arrived in January, and another titled “Hanging on Hope” arrives March 13 as the two continue to work on a debut album. 

“We’re trying to keep doing exactly what we always do,” says Cassidy. “We’re still in Bozeman. People have been encouraging us to move to L.A., New York or Nashville — I just don’t think we’re going to be creative in those places.

“I like living like a degenerate in Montana,” he continues, seated next to Ross on their couch below a Coors Light mirror, which hangs below a painting of Bigfoot spooning a raccoon. “Writing ‘Fool’s Gold,’ it was a true song about how I was feeling at that moment. I think it goes hand-in-hand with our music, trying to stay as true as possible. We never write a song that we haven’t lived.”

A version of this story appears in the March 7, 2026, issue of Billboard.

Double P Publishing and Prajin Publishing has appointed Alex Flores as president and Teresa Romo as its first-ever vp.

Flores will oversee Double P Publishing and Prajin Publishing’s creative, administrative and strategic operations as well as lead songwriter development, catalog expansion and global partnerships. Romo will offer her expertise in música Mexicana to further strengthen the company’s leadership. Both will work closely with writers and producers while reinforcing the company’s commitment to artist-first development and long-term cultural impact.

“Alex is a powerhouse executive with unmatched experience and vision,” said George Prajin, CEO and founder of Prajin Parlay and co-founder of Double P, in a statement. “Her leadership and creative background will help us continue to elevate Latin music on a global scale, while nurturing the next generation of writers and producers.”

“It’s an honor to join Double P/Prajin Publishing at such an exciting time for Latin music,” added Flores. “George has built a culture rooted in authenticity and artist empowerment, and I’m thrilled to collaborate with this incredible team to further amplify music and its creators on a global stage.”

Prior to her new role as president, Flores served as executive vp of music at Hello Sunshine/Candle Studios; senior vp of creative worldwide at BMI; and held senior leadership roles at BMG, Walt Disney Studios and Universal Pictures. Romo brings senior leadership experience from Kobalt, BMI, Universal Music Latin, Warner Music Group and NBCUniversal/Telemundo.

Flores will report directly to Prajin, while Romo is the first key executive hire under Flores’ leadership.