ANOTR’s “Talk to You,” featuring 54 Ultra, rises a spot to No. 1 on the WARM Global Dance Radio chart dated April 11, topping the tally for the first time thanks to nearly 800 plays across more than 200 monitored stations worldwide in the March 27-April 2 tracking week, according to World Airplay Radio Monitor.

Released March 6 via ANOTR’s own NO ART imprint, the song debuted on the ranking two weeks earlier at No. 7. It has also built on momentum from TikTok, where it has been featured in more than 40,000 videos to date.

“Talk to You” has also become a hit across Billboard’s U.S.-based charts, reaching No. 5 on Hot Dance/Electronic Songs. In the latest tracking week, it drew 1.1 million official U.S. streams, according to Luminate.

ANOTR is an Amsterdam-based electronic duo comprising Oguzhan Guney and Jesse van der Heijden.

Milky X Mall Grab’s viral “Just the Way You Are” jumps 4-2 WARM Global Dance Radio. The song samples Milky’s 2002 hit of the same name, which spent five weeks at No. 1 on Dance/Mix Show Airplay and has since become a house music classic. Australian electronic trio PNAU released a new remix of the song on March 20.

Rounding out the top five of the WARM Global Dance Radio chart, Calvin Harris and Kasabian’s “Release the Pressure” falls to No. 3 after spending four weeks on top; Bebe Rexha and Faithless’ “New Religion” climbs 7-4 for a new high; and FISHER’s “Rain” drops 3-5.

The top debut on the chart is Chris Stussy and Tom Did It’s “Wide Awake” at No. 35, followed by Alok and Khalid’s “Dive Into Me” at No. 39.

David Guetta has the most songs on the latest chart with four: “Save Me Tonight,” with Jennifer Lopez (No. 13); “Upside Down,” with Jaden Bojsen (No. 16); “Crazy,” with Matt Sassari and Amira Eldine (also billed to Guetta’s DJ alias, Jack Back); and “Head & Heart,” with Joel Corry and MNEK (billed to Jack Back). John Summit, Meduza and Tiësto follow with three charting songs each.

The WARM Global Dance Radio chart debuted on Billboard.com in March, 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 WARM’s website for the full 100-position survey.

Harry Styles is putting his stamp on one of London’s most prestigious arts venues with a tastefully curated bill for the 2026 edition of Meltdown Festival.

In a statement, Styles said: “Music is my life; every artist involved in this year’s Meltdown festival means so much to me, both as a fan and a musician. It’s a true honor to host legends who have paved the way for the generations that follow them, as well as new acts that have inspired me to push my creative boundaries.”

Set to run from June 11 to 21 at the Southbank Centre, the event reflects Styles’ wide-ranging musical taste, pairing established alternative acts with emerging voices across indie, jazz, electronic and pop. The artist is also set to headline the venue’s Royal Festival Hall during the festival.

Among the indie-leaning highlights are Stephen Fretwell, who will deliver a rare performance, alongside Dev Hynes (also known as Blood Orange), Orlando Weeks, Nilüfer Yanya, Bar Italia and Warpaint. Newer acts across the lineup include Bristol-based duo Getdown Services and in-demand Australian DJ and producer Ninajarichi. 

The lineup also extends to jazz, featuring Kamasi Washington and Mulatu Astatke, alongside contemporary U.K. figures such as Yussef Dayes and Shabaka Hutchings.

Elsewhere on the bill, experimental pop acts Erika de Casier and Fousheé join ambient and electronic names such as Jon Hopkins, Beverly Glenn-Copeland and LCD Soundsystem’s James Murphy, the latter being a key influence for Styles’ recent fourth LP Kiss All the Time. Disco, Occasionally.

Further lineup details, including ticketing information for Styles’ own show at the Royal Festival Hall, will be announced soon.

Tickets for the rest of the lineup go on sale to Southbank Centre members at 10 a.m. BST on Thursday (April 9) via the venue’s official website. General sale will take place at 10 a.m. BST on Friday (April 10).

The former One Direction member joins a prestigious list of previous Meltdown Festival curators including the likes of The Cure’s Robert Smith, David Byrne, Grace Jones, Nick Cave, Jarvis Cocker and most recently, Little Simz.

Kiss All The Time. Disco, Occasionally topped the Billboard 200 and the Official U.K. Albums Chart upon release on March 12, spawning a Billboard Hot 100 No. 1 with lead single “Aperture” and U.K. No. 1 single in “American Girls.” Styles is set to support the record with the Together, Together Tour later this year, kicking off at the Johan Cruyff Arena in Amsterdam on May 16.

Karol G bares her soul — and her killer abs — for the latest issue of Playboy, which dropped Tuesday (April 7) featuring the Latin music icon as its cover star.

Striking a number of different sensual poses, Karol G looks strong and glowy in all of the photos she shot for the legacy magazine. Though stripping down for Playboy can be daunting, she told the publication, “The only person I asked if I should do it or not was Sofia Vergara. I called her and told her, ‘If you tell me not to do it, I won’t.’”

“‘Mijita, with that body?’” the Modern Family actress responded, according to Karol G. “When you get to this age, you tell yourself, ‘F–k, why didn’t I pose that one time?’”

The cover comes ahead of this year’s Coachella, which kicks off Friday (April 10). The Colombian musician is set to headline the festival alongside Sabrina Carpenter and Justin Bieber, an opportunity that’s particularly meaningful for Karol.

“They called me and told me — in Spanish — that I was going to be the first Latina to close the festival,” she told Playboy. “I feel like it’s a show for my community, for the world, but it’s a show that’s very much for me.”

On the topic of representing her community, the singer was also candid about her complicated feelings toward condemning ICE, which has been carrying out Donald Trump’s promise of mass deportations and raids on immigrant communities since he took office last year. According to her, she’d like to speak out more — but she’s been repeatedly advised not to.

“People will say, ‘It’s better you don’t,’” she told the publication. “Why? Because if you say the thing, maybe the next day you’ll get a call: ‘Hey, we are taking your visa away.’ You become bait, because some people want to show their power.”

“My team would kill me,” she continued. “If I’m being honest with you, it’s something that crosses the line of what I have to do to protect myself. But at the end of the day, what is my role if I’m in this position?”

That said, she’s waiting for the opportunity to arise for her words to make the most impact. “I have a huge stage, and that’s why I want to wait, and if someone was ever to do something to me, I want to stand firmly on my stage for my community,” Karol added. “So that’s why I may have to be more careful, and wait for my turn, and ensure that, through that opportunity, I can talk and represent something more.”

Pop-rock singer-songwriter Bella Kay doesn’t understand why everyone thinks her upbeat-sounding breakout hit “iloveitiloveitiloveit” is a sad song.

As she tells Billboard on a giggly Zoom call in late March just a few days after her 20th birthday, “I put it out, and everyone was like, ‘Oh my god… this is gut-wrenching,’” she says. “I was genuinely like, ‘What? Hold on. I thought it was fun, guys.’”

With Kay’s bright, earnest voice chugging the acoustic guitar-driven track’s momentum forward from start to finish, “iloveitiloveitiloveit” is the winking lament of someone who can’t escape the cycle of a slightly concerning, rollercoaster-like romance — packaged as a carefree love song in which ignoring red flags is thrilling, not self-sabotage. (“I love it when we fight, and I like it when you’re mean,” she admits in the lyrics. “We don’t have to get into what that says about me.”)

“I don’t look at it like, ‘Oh, this is a toxic relationship,’” she says. “I look at it as like, ‘Oh!’” — she cheers, smiling and shaking her head wildly, as if she’s in the middle of a rave — “‘This is a toxic relationship!’”

Intentionally heartbreaking or not, the song’s wide-reaching relatability and punchy lyricism launched “iloveitiloveitiloveit” onto the Billboard Hot 100 in February — Kay’s first entry on the chart, which has since reached No. 17. It was officially released in January, but she first posted the chorus on TikTok immediately after writing it in “five minutes” on her guitar in November. Within the next month, she’d finished the lyrics with producer and now-frequent collaborator Alexis Kesselman and settled on its breathless, no-spaces title — despite people “teasing” her for it — to match the chaotic nature of the song.

“The whole point is like, ‘I shouldn’t do this, but I love it,’” she explains with a shrug. “It has to feel stupid and crazy.”

“iloveitiloveitiloveit” came at exactly the right time for Kay. In the spring of 2025, she decided to begin regularly posting music clips on TikTok in hopes of launching a career, despite being two years into a prelaw degree at Texas A&M. “I was so embarrassed,” the Houston native recalls of sharing her first original song snippets on the platform. “My TikToks were getting, like, 30 likes … but I kept going.”

As her fan base took off that summer — largely thanks to viral clips of her moody, stripped-down tracks “Lonely” and “The Sick,” which appear in full on her November 2025 self-released EP sick to my stomach — she signed with Atlantic Records in July and then partnered with Immersive Management’s Adam Mersel and Priscilla Felten in October.

The fire had been lit — she just needed one song to pour gasoline on the flame. Released on Jan. 11, “iloveitiloveitiloveit” did that in abundance, racking up nearly half a million uses on TikTok to date. “When it started charting, I was like, ‘This is insane,’” Kay says tentatively, as if she still can’t quite believe it herself.

But the most fulfilling evidence, she says, is how loud her fans scream the words back at her when she sings the track at shows. Felten notes that Kay’s performances have been key to the success of “iloveitiloveitiloveit” — particularly her series of free, intimate pop-up concerts in Los Angeles, London, Houston and more cities beginning in November.

“The L.A. show in particular … even though [the song] was unreleased at that time, hearing it in that context — and the word-of-mouth that spread from there — was powerful,” Felten says of the 100-capacity performance. “It was also the first time you were seeing her [in person], because everyone had just known her solely through a phone.”

Mersel adds that Kay dropping “iloveitiloveitiloveit” on a Sunday evening, forgoing the industry-standard Friday release window, has been a strategic win — and one inspired by Kay’s prior farm-to-table delivery of sharing songs straight to social media. “During the school year, when Sunday nights can really be the blues for a lot of kids, it’s a nice little treat before the beginning of the week,” Mersel says, pointing out that the team has stuck with non-Friday releases for Kay’s other singles. “[Fans] felt like they were communicating with her in real time. They didn’t feel like there was a middleman involved.”

Next on the agenda is her first headlining tour through theaters in Europe and North America this spring, plus even more yet-to-be-announced live shows after that. And, if all goes to plan, Kay will release her already nearly complete debut album this summer. She says that the sound and emotional nuance of “iloveitiloveitiloveit” has informed the project more than any other track, recalling with a self-deprecating laugh, “I was talking to Alexis, and I was like, ‘There’s not enough sad songs.’ And she was like, ‘Bella. There’s like one and a half happy songs, and they’re not even really that happy.’”

But just as she did with “iloveitiloveitiloveit,” Kay has her own way of looking at things. “A good sad song to me is always going to be a happy song, just because you feel so understood [by it],” she says. “I want to make sure that I do pop my own way. I don’t want it to be super shiny and polished — I want it to be dirty and real.”

A version of this story appears in the April 18, 2026, issue of Billboard.