Dance
This week in dance music: Massive Attack will headline London’s LIDO festival in June with an entirely battery-powered performance, an ongoing legal battle between Sony Music and Ultra Music Publishing escalated with a new lawsuit, Carl Cox exited the Movement 2025 lineup and was replaced by Jeff Mills and Odesza made a 23-minute remix of the Severance score.
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And to all that we add these, the best new dance tracks of the week.
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Mochakk feat. The RAH Band, “From the Stars”
Brazil’s jet-setting party starter makes his Ninja Tune debut with his From the Stars EP, a two-song project led by its title track. A collaboration with England’s The RAH Band, the song is a take on the group’s 1983 bop “Messages From the Stars,” with Mochakk turning up the BPM and the far-out factor on the slinky, sexy but still muscular club update, which balances nicely with its cool after-hours B-side, “Maria.” The mustachioed producer born Pedro Maia calls releasing the EP on Ninja Tune “completely bananas… one of those stamp-of-approval moments” that he’ll celebrate by playing a flurry of shows in his native country as Brazil celebrates carnival later this month. Closer to home, he plays EDC Las Vegas in May.
Röyksopp feat. Robyn, “Do It Again [True Electric]”
11 years after the release of the original, Röyksopp drop an edit of their Robyn collab “Do It Again.” While the original leaned hard into urgency and flirted with heaviness, the new take adds maximum peak hours heft, dialing up the BPM, isolating the vocals in just the right moments and eventually exploding into all-out, all-encompassing dancefloor delirium. The edit is the second track from the Norwegian legends’ tenth studio album, True Electric, coming April 11 on their own Dog Triumph label.
Bianca Oblivion feat. Sam Binga, “Hypnø”
Los Angeles-based producer Bianca Oblivion makes her long-form debut with a heater of an EP, Net Werk. The four-track project spans bass, grime, Jersey club and more, with “Hypnø” (a collab with British artist Sam Binga) fusing squelchy strings, a hectic beat and waves of low end into a delicious kind of chaos. Oblivion says she “never wanted to rush into an EP or album until I fully understood myself as a producer and felt that my music could stand alongside the tracks I play in my sets.” The title reflects the global network of friends and collaborators I’ve connected with over the years, all of whom, alongside the many music influences from my childhood, have helped shape this release.” Net Werk is out on the U.K. imprint LuckyMe.
Tripolism & Nandu, “Sunrise”
Danish trio Tripolism and producer Nandu link for the hypnotic “Sunrise,” a track that says right there in the name what part of the set it should be played at. It’s recently been rinsed by acts including the ever chic Keinemusik and has gotten support from other tastemakers, with key ears apparently in thrall with the track’s balance of sunlight-like falsetto and a chant that implores what those of us still dancing at dawn might already feel: “You’re never going home, you’ve got to keep going.” The heater is out on Ultra Records.
Hiver, “Dreamachine“
Be transported to the ’90s afterhours of your mind with this electronica-era influenced dreamscape of a track from Milanese duo Hiver. Out on CircoLoco Records, the track pairs pristine production and clean, soaring strings with a feeling of undertow embodied by the beat and the emotive vocals. Hiver says the song is “a testament to our growth as producers. We’ve invested countless hours in honing our studio skills, experimenting with sound design, and perfecting the production process to craft something that feels authentic and unique. The track reflects our love for the electro sound while pushing boundaries to create something unique.” Also: Do not sleep on the uptempo edit by Romanian master Gerd Janson.
Fans of the show know that getting a job offer related to Severance might be an unsettling proposition, but the gentlemen of Odesza jumped at the opportunity.
“We’re mega-fans,” the duo’s Harrison Mills says of the show, which tracks the bifurcated existences of the employees of Lumon Industries, a mysterious, seemingly nefarious global conglomerate that employs people who’ve chosen to undergo a neural procedure that severs their personal and professional lives, making it so that neither part is aware of the other. After a three-year hiatus, the show’s acclaimed second season launched on Apple TV+ last month.
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Today (Feb. 21), fans of the series are getting a company bonus via a mix of the Severance theme song created by Odesza. The pair — Mills and Clayton Knight — transformed the soundtrack into a 23-minute mix that’s also been looped to form an eight hour piece of music, not coincidentally the same amount of time as a standard 9-5 workday. Hear the 23-minute mix, set to footage from the show, below.
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Upon accepting the remix offer, Mills and Knight were provided with the complete (and then still unreleased) season two episodes, along with the stems of the score created by Teddy Shapiro, who won an Emmy Award for Severance‘s season one soundtrack and returned for season two.
“We wanted to take people on a journey and give a wider breadth of music and play off and reinterpret Teddy’s score in a unique way,” says Mills. “We put different chords under a lot of his melodies, while also trying to stay true to the vibe of the show, which is kind of creepy and subversive. You’re not overtly aware of this dark underbelly.”
Being based in Seattle also helped the duo in the creation process, with the current dark days of winter helping them get in a mental zone that matched the show. Unlike the characters, however, they did not flip the work switch off at the end of the day. “We were literally living and breathing this thing,” says Knight, “going to bed thinking about it, probably too much in the zone.”
Working under a hard deadline — they project had to be completed in just a month — was helpful, as the tight timeline made it so they didn’t overthink decisions or get too in the weeds on what they were doing.
Their final product takes cues from the show — including the signature piano chords from its theme and other sonic moments, like typing — and folds them into a mix that reflects the themes of Severance itself, balancing light and dark moments. Mills describes it as,”lulling you into this false sense of security that it’s all happy and then bringing these darker sounds that creep into it. It’s like beautiful melancholy. There’s sadness, but there’s also surface level joy throughout. We were trying to play with major chords, but then sneak in these weird, kind of dissonant sounds that creep in.”
They agree that the project took inspiration from their own 2020 side project, Bronson, which focused on darker, heavier sounds than the typical Odesza output. The mix was also a natural fit given that, Mill says, “we’ve always been so influenced by film scores and scores in general.” Meetings with Shapiro also instilled confidence, as the composer, Mills continues, “was so open and receptive to us just doing anything… He was such a fun person to bounce our ideas off of and was so receptive to us trying things. It just allowed us to really have fun with it.”
“It’s got Odesza energy, but it tries to capture the tone and motifs of the show,” says Knight. “It’s also the first time we haven’t had a vocal element to work with. It uses zero vocals. So it was us going back to our roots in terms of tempo, slowing everything down to keep it more cinematic and keeping it more instrumental, not relying on a lead top line to carry anything and letting the instrumentation speak for itself. It was definitely a different workflow than we’ve done the past, but really fun and exciting.”
The project also arrived at a synergistic moment for the broader Odesza trajectory. The guys wrapped their massive The Last Goodbye tour last July, with the run (named for their 2022 album) spanning 54 shows at 48 venues throughout North America, including headlining sets at festivals like Governors Ball and Bonnaroo. (In 2022 and 2023, the tour grossed $35.8 million and sold 601,000 tickets, according to numbers reported to Billboard Boxscore.)
The pair have since been on a break and are just now getting back into album writing mode, with the Severance mix helping them get their musical gears once again turning.
“It was a really nice first stepping stone into what will be our next project, the big album project,” says Knight. “It’s a nice way to get the creative juices flowing again and to jump in without having too many avenues.” He adds that for the foreseeable future, “We’re definitely in writing mode. We have some DJ sets sprinkled throughout the year, but [now] it’s really a focus on studio time and making the next chapter of the Odesza project.”
“We’re experimenting,” Mills adds. “We want to build time to find inspiration and to innovate and just not feel too pressured to just be on another cycle again.”
Given the pressure that their jobs can contain, one wonders if Mills and Knight would ever consider severing their personal and professional lives, like Lumon employees. They laugh at the question. Knight says that while they’d maybe want to forget about “some earlier shows where we played in a hotel lobby, to 20 people looking at their phones,” ultimately they’re happy to be integrated.
“We have the best jobs in the world,” says Knight. “We get to make music and hang out with cool people and make fun projects. There’s really no complaining.”
Carl Cox will no longer appear at Movement 2025. A statement posted to the techno producer’s Instagram Story on Thursday (Feb. 20) reads, “I regret to inform you that due to scheduling complications, my show at Movement has been postponed to 2026. I’m sorry for any inconvenience this may cause, but I promise to make […]
Sony Music Entertainment is asking a judge to throw out a lawsuit brought against the company by Patrick Moxey‘s Ultra International Music Publishing late last year, claiming the suit was an act of “retaliation” against the major label after it filed its own lawsuit against the publishing outfit two years prior.
Ultra International Music Publishing and Ultra Music Publishing Europe brought the lawsuit against Sony Music Entertainment and its subsidiaries — including Ultra Records, which Moxey sold his remaining 50% share of to Sony in 2021 — last November over allegations of copyright infringement, claiming Sony and its affiliates had been using Ultra Publishing’s compositions without a license. Filed in New York federal court, the complaint alleged that Ultra Publishing had conducted an audit finding that Sony had been underpaying royalties to the publisher and its songwriters “for years” — but that after bringing the results of the audit to Sony’s attention, the major label “failed” and “refuse[d]” to pay Ultra Publishing the royalties it was due.
Ultra Publishing claimed that after Sony’s alleged refusal, it ceased granting the music giant licenses to the company’s compositions, but that Sony nonetheless continued uploading tracks featuring Ultra Publishing-owned compositions to streaming services and selling them as digital downloads and physical releases, among other exploitations. The lawsuit concerned more than 50,000 compositions by artists including Ed Sheeran, Madonna, Rihanna and others.
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In its response, filed on Monday (Feb. 17) by attorney Tal Dickstein, Sony Music called the lawsuit “an ill-conceived effort by Plaintiffs — two music publishing companies owned by Patrick Moxey — to retaliate against” Sony Music for an earlier lawsuit it filed against Ultra Publishing for the continued use of the Ultra name. In that complaint, filed in November 2022, Sony attested that Moxey had signed away his rights to the Ultra trademark after selling the company his remaining stake in Ultra Records, which he founded in 1995.
Sony claims Ultra Publishing attempted to justify the “nefarious timing” of its own lawsuit — which allegedly dropped the day before the trial for the trademark lawsuit began — “by claiming this lawsuit stems from an audit of the music publishing royalties that Sony Music Entertainment paid to Plaintiffs.” However, Sony alleges that the audit in question, “which involved payments made by Sony Music Entertainment to Plaintiffs through 2016,” was in fact “settled in principle years ago for a small fraction of the amount claimed, and Plaintiffs never pursued those audit claims any further.”
Sony’s filing goes on to say that it and Ultra Publishing “continued working together after the audit was settled, with Sony Music Entertainment paying publishing royalties on the musical compositions that were the subject of the audit without objection from Plaintiffs, and working to license and pay the corresponding publishing royalties for well over a thousand other compositions owned in whole or in part by Plaintiffs.”
“Sony Music Entertainment’s licensing practices are both appropriate and entirely consistent with the licensing practices of every other leading record label that releases new sound recordings, including record labels that Moxey himself controlled in the past and currently owns,” the filing continues. “Moreover, Plaintiffs’ own songwriters and producers continue to write songs and collaborate with SME artists with the intention and expectation that the resulting sound recordings incorporating the underlying musical compositions will be commercially released — underscoring the obvious question of whether Plaintiffs’ attempted boycott of SME is in their songwriters’ best interest.”
An attorney for Ultra International Music Publishing did not immediately respond to Billboard‘s request for comment.
The Avicii estate is again opening the vault Friday (Feb. 14), releasing of a new version of the late producer’s 2016 track “Forever Yours.” Titled “Forever Yours – Tim’s 2016 Ibiza Version,” the song comes on the heels of a pair of Avicii documentaries — I’m Tim and My Last Show — released on Netflix […]
This week in dance music: Blond:ish releases her debut album Never Walk Alone today, a week after being announced as Pacha Ibiza’s first female headline resident DJ. Charlotte de Witte, Sara Landry, Horsegiirl and many others were added to the Movement 2025 lineup; EDC Las Vegas announced the lineup for its May event; Winter Music Conference announced the first wave of speakers for its event next month in Miami; Empire of the Sun’s Luke Steele signed a global deal with Warner Chappell Music; Seven Lions signed with management company MLennial and Justice hit the Hot 100 for the first time in the duo’s decades-long career with its appearance on The Weeknd’s Hurry Up Tomorrow opener “Wake Me Up.”
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And on this day of love, we celebrate our enduring passion for the music with the best new dance tracks of the week.
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Haai, “Can’t Stand to Lose”
Australia-born, London-based producer Haai returns with her first new music since 2023 via “Can’t Stand to Lose.” A reflection on the fast-paced DJ life and the desire to sometimes slow down, the song takes its time unfurling, creating a nuanced depth and mood evoking both solitude and a crowded club. The artist born Teneil Throssell calls the song “a reflection on longing, loss, and the deeply human emotions that accompany them – the nostalgia, the yearning, and the vulnerability. It’s inspired by our rapidly changing world and how it reshapes our lives: opening possibilities that are initially exciting, but are soon met with the realization of what’s lost. It’s a meditation on what we gain and what we leave behind.” Her upcoming U.S. shows include the music cruise Friendship, which sets sail from Miami next week, and back to back weekends at Coachella in April.
Anyma, Argy & Son of Son, “Voices In My Head”
Having played a whole lot of unreleased music during his Sphere residency, Anyma is now in the process of releasing some of it. A standout moment of the show came during the segment when the venue’s screens were filled with thousands of blinking and seemingly sleep-deprived eyes, a segment soundtracked by a song we now know is called “Voices In My Head.” Out today on Interscope Records, the song is a collaboration with Greek artist Argy and Swedish producer Son of Son and further establishes the dark but still widely accessible melodic techno that is Anyma’s signature. Anyma will play his final four dates at Sphere in late February and early March.
Sammy Virji, “I Guess We’re Not the Same”
After blasting through our earholes with 2024’s totally undeniable Interplanetary Criminal collab “Damager,” white-hot U.K. producer Sammy Virji returns with the mellower but equally compelling “I Guess We’re Not the Same.” Out on Astralwerks, the song’s bouncy, singsong vibe juxtaposes with kind of bittersweet lyrics, with the theme also reflected in the track’s undertow of a bassline. Virji’s upcoming U.S. tour includes appearances at Coachella, Lightning in a Bottle, Movement and Bonnaroo.
DJ Minx, “Blocked”
Let us not forget that Valentine’s Day is also about self-love and that self-love is a lot about boundaries, sentiments Detroit legend DJ Minx celebrates today with her latest release. “Delete,” she commands on the track, “unfollow, removed, blocked,” reminding us all that sometimes taking care of ourselves is as simple as pressing a button and eliminating anything and anyone, that is, as she puts it, “f–king with my flow.” The wind up house track gives the whole exercise a commanding and celebratory feel.
Alok & Kylie Minogue, “Last Night I Dreamt I Fell in Love”
Generational dance royalty Kylie Minogue makes another run for the booth with “Last Night I Dreamt I Fell In Love,” her first collab with Brazilian producer Alok. Much like the lovey dreamscape it references, the two-minute track has an ephemeral quality, but like a good dream, is also sweet while it lasts.
EDC Las Vegas will host more than 250 dance acts at the festival this May.
On Thursday (Feb. 13), EDC Las Vegas producer Insomniac Events announced the festival lineup, which is once again stacked with the who’s who of the dance world. The bill features big names including Dom Dolla, Alesso, Afrojack, Alison Wonderland playing b2b with Kaskade, Illenium playing b2b with Slander, Sara Landry, Horsegiirl, Gesaffelstein, RL Grime, Martin Garrix, DJ Snake, Interplanetary Criminal, Rezz, Fisher, Eric Prydz and many, many more.
Happening at the Las Vegas Motor Speedway on May 16-18, this year’s EDC Las Vegas will feature 16 stages, the most in the festival’s history. Two of the festival’s key stages, CircuitGrounds and NeonGarden, will feature new designs, with the festival also set to debut a new stage called Ubuntu.
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Created in collaboration with South Africa’s Bridges For Music Academy, which provides young people from underserved communities with access to programs focused on creative entrepreneurship, well-being and music, Ubuntu will feature Afro house, a genre that’s skyrocketed in popularity in the U.S. over the last few years. The stage will host performances from rising students artists and established South African acts.
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In a statement, Insomniac Events says that EDC Las Vegas 2025 is currently sold out. EDC moved to Las Vegas from its original home in Los Angeles in 2011, and in the 14 years since, has established itself as the country’s biggest dance music festival, drawing 125,000 attendees a day.
Get out your magnifying glass and check out the complete 2025 lineup below.
EDC Las Vegas 2025
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Influential French electronic duo Justice has been a staple in the dance/electronic community since the early 2000s, but the pair finally earns its first entry on the Billboard Hot 100 (chart dated Feb. 15) with a new collaboration with The Weeknd, “Wake Me Up.”
Released Feb. 7 on The Weeknd’s new album, Hurry Up Tomorrow, the song opens at No. 45 on the Hot 100 with 10.9 million official U.S. streams, 1.4 million radio audience impressions and 1,000 downloads sold in its opening week, according to Luminate. The set launches at No. 1 on the Billboard 200 with 490,000 equivalent album units earned in its first week, the largest opening figure since Taylor Swift’s The Tortured Poets Department in May 2024.
“Wake Me Up,” the first cut on Hurry Up Tomorrow, interpolates the classic title track from Michael Jackson’s 1982 album Thriller and Georgio Moroder’s “Main Title” from the 1983 film Scarface. The late Rod Temperton, who wrote “Thriller,” is credited as a co-writer of “Wake Me Up,” along with The Weeknd, Justice, Belly, Mike Dean, Johnny Jewel and Vincent Taurelle; The Weeknd, Justice, Mike Dean, Johnny Jewel produced it. Moroder, notably, is credited as a featured artist on Hurry Up Tomorrow track “Big Sleep,” which just misses the Hot 100, opening at No. 3 on the list’s Bubbling Under ranking. He has charted two songs on the Hot 100: “Chase” (No. 33 peak in 1979) and “Reach Out,” featuring Paul Engeman (No. 81, 1984).
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Justice, which comprises Gaspard Augé and Xavier de Rosnay, first appeared on Billboard’s charts with Cross, which debuted at No. 1 on the Top Dance Albums chart dated July 28, 2007. The project is noteworthy for including hundreds of samples, helping usher in the bloghouse era and, later, the EDM boom.
The duo has charted six additional projects on Top Dance Albums, including four other top 10s: A Cross the Universe (No. 8 peak in 2008), Audio, Video, Disco (No. 4, 2011), Woman (No. 1, 2016) and Hyperdrama (No. 1, 2024).
Justice has also charted three hits on the Hot Dance/Electronic Songs chart: “D.A.N.C.E.” (No. 13 peak in 2013, from Cross), “One Night/All Night,” with Tame Impala (No. 10, 2024) and “Neverender” (No. 8, 2024).
“Neverender” won best dance/electronic recording at the 67th Grammy Awards. It’s the pair’s third Grammy win, joining trophies for best remixed recording, non-classical for “Electric Feel (Justice Remix)” in 2009 and best dance/electronic album for Woman Worldwide in 2019. Cross was nominated for best electronic/dance album in 2008, while its breakout song “D.A.N.C.E.” earned a nod for best dance recording.
Justice’s collaboration with The Weeknd was first teased more than a year ago, when a demo leaked online. In an interview ahead of the release of Hyperdrama, Justice’s longtime manager Pedro Winter told Billboard that the duo had been inspired to partner with collaborators who felt like authentic fits.
“Justice has been a band saying ‘no’ to everything, exactly like when I used to work with Daft Punk,” he said. “They really wanted to focus on their own music. Now it has been a 20-year career, so it’s time to open the door and work with other people,” adding “Of course, a lot of [their fans] will not get the Justice sound … but out of those millions, let’s try to grab the attention and love of some of them.”
Winter Music Conference 2025 has announced a long phase one list of speakers for its March event in Miami.
The dance industry conference, returning to Miami Music Week for the first time since 2019, will feature input from artists including Aluna, LP Giobbi, Hayla, Sydney Blu and more.
Additionally, programming will include more than 60 industry representatives from a wide range of labels, management companies, agencies, publications, streaming services and more. See the complete list of phase one names and companies below.
Panels themes, keynote speakers and more will be announced in the coming weeks, with the event also set to feature mixers, a pool party and workshops, along with the inaugural hybrid awards show from the EDMAs and IDMAs. The Conference and tangential events will happen at Eden Roc Miami Beach Resort on March 26-28. Tickets are on sale now.
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Winter Music Conference is owned by Ultra Music Festival, which kicks off in Miami the same day the conference ends, Friday, March 28. Launched in 1985, Winter Music Conference was held every March in Miami (prior to the pandemic) and is part of the larger event known as Miami Music Week, a marathon of dance music performances and parties. Drawing an estimated 100,000 attendees and 3,500 music professionals from more than 70 countries at its height, WMC hosts a schedule of events, parties, seminars and workshops and serves as one of the largest industry networking events in the dance/electronic music genre.
Though the Ultra Music Festival was originally spawned by the conference, it eventually surpassed it in terms of influence, and its parent company went on to acquire WMC in 2018.
Winter Music Conference 2025 Industry Speakers:
Alex Greenberg – Falcon PRAlex Jukes – Jukebox PR/The TribesAndy Daniell – Defected RecordsAnna Horowitz – WMEBina Fronda – Ultra RecordsBlake Coppelson – Proximity II Kompass Music GroupCameron Sunkel – EDM.comCandace Silva-Torres (p/k/a SiLVA) – KCRWaCarly Peterson – CircaCelena Fields – EVENChris Johnson – SoundCloudChuck Fishman – Soul Clap RecordsConnie Chow – FUGA II shesaid.so AMSCristiana Votta – Alegria AgencyDani Chavez – Good Girl ManagementDani Deahl – BandLabDanny Klein – SPIN Magazine II Robot SunriseDavid Waxman – Ultra RecordsDeron Delgado – EMPIRE Dance/DirtybirdDilini Weerasooriya – Merrill Wealth Management (Bank of America)Dorothy Caccavale – FM Artists/Three Six ZeroEddie Sears – Republic RecordsElyn Kazarian – Women In Visuals/dublabEmma Hoser – Liaison ArtistsEric Silver – Red Light ManagementEryk Puczek – FriendsOfFriends.AgencyGavin Ryan – Big Beat Records/Atlantic RecordsGeorge Hess – G5 EntertainmentGina Tucci – 146 RecordsHallie Halpern – SeriouslyHallie StudiosHarmony Soleil – c895 SeattleHilary Gleason – BacklineJason Adamchak – Calculated Creative AgencyJaye Hamel – 1of1 CustomJeroen te Rehorst – BEAT Music Fund/ArmadaJess Page – RareformJordyn Reese – Do Better For ArtistsKat Bein – Super Kat WorldKatie Bain – BillboardKatie Knight – Can U Put Me On Guestlist PodcastKyle Jones – EDM.comLauren Anderson – LabelWorxLewis Kunstler – 2 + 2 Management II Young Art RecordsLorne Padman – Dim Mak RecordsMatt Sherman – Sherm In The Booth Podcast II Hood Politics RecordsMegan Venzin – DJ MagNicholas Saady – Pryor Cashman LLPOlivia Mancuso – Elevated Frequencies PodcastOllie Zhang – 88risingPaula Quijano – Little Empire MusicPete Anderson – ETP AgencyPeter Slayton – Slayton CreativeSam Mobarek – Major Recordings (Warner Records)Seth Shapiro – Shapiro Legal, PLLCShannon Herber – Wise River ConsultingSilvia Montello – Voicebox ConsultingSimon Scott – Cirkay LTDSonya Okon – Helix Records/Ultra PublishingSteph Conlon – Easier SaidTaryn Haight – WassermanTom Williams – L’Affaire MusicaleVivian Belzaguy Hunter – Ultra Music Festival II Ascendance Sustainable EventsWatse de Jong – Manager, Martin GarrixWill Scott – Helix Records / Ultra Publishing
Lady Gaga debuts at No. 1 on the Feb. 15-dated Hot Dance/Pop Songs tally with “Abracadabra,” becoming the second chart-topper in the survey’s five-week history. Tate McRae’s “It’s Ok I’m Ok” drops to No. 6 after reigning for the list’s first four frames.
All Billboard charts dated Feb. 15 will update tomorrow, Feb. 11. Hot Dance/Pop Songs ranks the most popular current dance/pop titles, separate from Billboard’s Hot Dance/Electronic Songs chart, which focuses on producers and DJs.
“Abracadabra” and its official music video were debuted during last weekend’s Grammy telecast (Sun, Feb. 2), before appearing in full on digital platforms later that night. Billboard‘s tracking week stretches from Friday to Thursday, meaning that the song’s chart debut was handicapped by its Sunday release. Still, its No. 1 entry was powered by 13.7 million official U.S. streams, 1.3 million radio audience impressions, and 10,000 downloads sold through Feb. 6, according to Luminate.
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Despite its shortened week, “Abracadabra” boasts the highest sales and streaming totals in the chart’s brief history.
Gaga also debuts on the Billboard Hot 100, with “Abracadabra” arriving at No. 29 in its first abbreviated week. Following the chart’s current reigning champ, the Bruno Mars-assissted “Die with A Smile”, and “Disease” (No. 27), her upcoming Mayhem now boasts three top 40 hits on the all-genre ranking before its impending March 7 release, marking her first album to do so since 2013’s Artpop. Overall, it’s her 39th entry on the chart dating back to “Just Dance,” featuring Colby O’Donis, which spent three weeks at No. 1 in 2009.
Gaga’s history in the genre reaches farther back than her No. 1 debut. She crowned the Dance/Mix Show Airplay list four times, reigning for one week with “Bad Romance” and “Born This Way,” for four weeks with “Rain on Me” featuring Ariana Grande, and for a 15-week stretch with “Poker Face.” Plus, her debut album The Fame has logged 193 weeks at No. 1 on Top Dance Albums, climbing back to No. 2 in its 569th week on the chart, 17 years removed from its 2008 release.