charts discussion US Airplay Discussion

[pride4jc1222]

3 minutes ago, Julia Fox said:

Nonsense on power rotation  it must be the first song of hers with that 

It still won’t be enough to save this. Time to let this one go. The GP has already rejected this and the remix. This will be getting large negative updates by April 15. By then, the payola machine will have moved on to Sabrina’s version of That’s Not How This Works.

[Julia Fox]

12 minutes ago, pride4jc1222 said:

It still won’t be enough to save this. Time to let this one go. The GP has already rejected this and the remix. This will be getting large negative updates by April 15. By then, the payola machine will have moved on to Sabrina’s version of That’s Not How This Works.

Did I said it was gonna get a second wind or something? I was just glad and celebrating about the fact. The GP haven’t rejected the song at all tho it has been getting very good callouts and it has been getting an amazing longevity on radio and streaming and it’s expected to reach a new peak on the Hot 100 next week.

 

if any the song has shown all of its potential but its not like the GP hated the song and said no.

[hausofbryan]

Let's see if BM can get a mini second wind now that it's in the Top 10. 

[pride4jc1222]

Creepin passes 110M AI, and Kill Bill passes SYT. With radio having 3 hits with 106M AI, including 2 with 110M, this is the strongest radio has been in well over 2 years.

 

Easy On Me - 122.70M

About Damn Time - 120.65M

Flowers - 119.67M

Leave the Door Open - 116.14M

First Class - 114.13M

Stay - 113.08M

Creepin - 110.08M

Kill Bill - 106.31M

Save Your Tears - 106.26M

[Blade]

22 hours ago, pride4jc1222 said:

lol, please no second wind. We already have a serious logjam at the top, with that Top 4 absolutely not budging and Lavender Haze/Calm Down getting very late pushes. No need to add to this by giving Bloody Mary a second wind. These spins should be given to the newer songs. It's pretty embarrassing that songs that haven't been out a month, like the ones by Pink and JVKE, are already getting negative updates, while months old songs like LH and CD are still gaining and DFY is parked at 15k spins.

I'm sorry but you don't want BM which has been charting for 15 measly weeks to be given a second push (which is still technically 1 push) but want UIFY which is in the 2000-3000 spin category in recurrence to come back so much to the point that you post about it every week?

Edited April 5, 2023 by Blade

[pride4jc1222]

29 minutes ago, Blade said:

I'm sorry but you don't want BM which has been charting for 15 measly weeks to be given a second push (which is still technically 1 push) but want UIFY which is in the 2000-3000 spin category in recurrence to come back so much to the point that you post about it every week?

UIFY didn’t really get a fair shake on Pop. It was still receiving adds on its 20th week, but was suddenly dropped the next week (and for no good reason) and went recurrent without a 21st charting week on Pop. Meanwhile, after UIFY went ‘recurrent’ on Pop, the duet version took off. UIFY would peak on streaming in January, and on Hot AC in March (more than 3 months after it went ‘recurrent’ on Pop).

 

I’d be okay with this if Pop was consistent with this and treated future songs like it the same way. But no, Under the Influence got a 21st and 22nd charting week on Pop. Lavender Haze continues to be pushed in Week 23. Calm Down (which probably is the closest thing to UIFY) is still getting large positive on radio in Week 24.

 

There was no reason for Pop radio to drop UIFY in late November/early December. UIFY would have a Top 10 (maybe even Top 5) peak on the Hot 100 if Pop just let it be and continue its rise like Calm Down.

Edited April 5, 2023 by pride4jc1222

[Sinister]

It makes no sense to go solely off of weeks charting if a song is only just entering the top 10 on Pop

 

 

[Blade]

13 minutes ago, pride4jc1222 said:

UIFY didn’t really get a fair shake on Pop. It was still receiving adds on its 20th week, but was suddenly dropped the next week (and for no good reason) and went recurrent without a 21st charting week on Pop. Meanwhile, after UIFY went ‘recurrent’ on Pop, the duet version took off. UIFY would peak on streaming in January, and on Hot AC in March (more than 3 months after it went ‘recurrent’ on Pop).

 

I’d be okay with this if Pop was consistent with this and treated future songs like it the same way. But no, Under the Influence got a 21st and 22nd charting week on Pop. Lavender Haze continues to be pushed in Week 23. Calm Down (which probably is the closest thing to UIFY) is still getting large positive on radio in Week 24.

 

There was no reason for Pop radio to drop UIFY in late November/early December. UIFY would have a Top 10 (maybe even Top 5) peak on the Hot 100 if Pop just let it be and continue its rise like Calm Down.

So all other songs have to have a **** run because some rando 1 hit wonder song you like went *gasp* recurrent in its 21st week?

[pride4jc1222]

21 minutes ago, Blade said:

So all other songs have to have a **** run because some rando 1 hit wonder song you like went *gasp* recurrent in its 21st week?

All I want is consistency. It’s not like any of those songs had a crappy run. I mean, getting to #10 on Pop in Week 19 or 20 is already a good enough achievement. I just feel that UIFY never reached its full potential on Pop in the way UtI, LH, and Calm Down have.

[nick4bty]

7 minutes ago, pride4jc1222 said:

All I want is consistency. It’s not like any of those songs had a crappy run. I mean, getting to #10 on Pop in Week 19 or 20 is already a good enough achievement. I just feel that UIFY never reached its full potential on Pop in the way UtI, LH, and Calm Down have.

UIFY probably just had **** callouts (that we no longer have access to) and the label gave up supporting it. 

 

BAL is really coming fast But at least Mary made it to Top 10. Callouts must not be awful for once if pop radio isn't dropping it and Interscope is still pushing it. Most stations seem to be content on keeping it in that 6-10 daily spin range, at least until new hits can replace it. Really bodes well for Gaga's next lead. 

[Cheetos]

Ahhhh Bloody Mary! Talent WON

[keatonzee]

ayy, Cinderella Snapped top 24!

[Polgg48]

yes ga yes top 10, organic success 

 

 

Edited April 5, 2023 by Polgg48

[pride4jc1222]

1 hour ago, keatonzee said:

ayy, Cinderella Snapped top 24!

haha, the payola is starting to kick in.

[Into The Void]

Red- -, Green +, Bold - New  (Welcome Charlie!)

 

POP 

 

TW	TW+	Artist	Title	Spins	Spin+	Bullet	Bullet+	Aud	Aud+
1	=	MILEY CYRUS	Flowers	18190	-7	-15	+17	61.424	-0.255
2	=	SZA	Kill Bill	18039	+64	549	-2	59.015	+0.376
3	=	METRO BOOMIN	Creepin' f/The Weeknd, 21 Sav.	17095	-80	-180	-37	58.553	+0.090
4	=	THE WEEKND	Die For You	15265	-7	-12	+34	48.876	-0.580
5	=	REMA & SELENA GOMEZ	Calm Down	12194	+130	1257	-27	41.308	+0.576
6	=	TAYLOR SWIFT	Lavender Haze	11743	+28	272	-65	34.457	-0.028
7	=	RAYE	Escapism f/070 Shake	11257	-22	235	-84	34.414	-0.350
8	=	MIGUEL	Sure Thing	10094	+262	2116	-40	33.224	+0.972
9	=	COI LERAY	Players	9005	+122	789	+65	28.374	+0.632
10	+1	LADY GAGA	Bloody Mary	8500	+63	424	-18	26.420	+0.209
11	-1	SAM SMITH & KIM PETRAS	Unholy	8340	-140	-1181	+111	23.414	-0.202
12	=	PINKPANTHERESS	Boy's A Liar	7670	+168	1149	+37	26.857	+0.437
13	=	LIZZO	Special f/SZA	7046	+107	395	+105	19.871	+0.271
14	=	THE KID LAROI	Love Again	6972	+95	476	+113	15.258	+0.139
15	+1	ED SHEERAN	Eyes Closed	6194	+319	2757	-322	19.937	+1.053
16	-1	SABRINA CARPENTER	Nonsense	6190	+11	261	+29	18.686	+0.161
17	=	LATTO	Lottery f/LU KALA	5657	-30	187	-126	11.924	+0.033
18	=	MILEY CYRUS	River	5042	+19	455	-48	12.712	-0.065
19	=	KANE BROWN & KATELYN BROWN	Thank God	4864	+113	229	+125	10.259	+0.080
20	=	NIALL HORAN	Heaven	4713	+43	354	-15	12.210	+0.120
21	=	MORGAN WALLEN	Last Night	4607	+86	752	-37	13.887	+0.464
22	+1	MEGHAN TRAINOR	Mother	2405	+110	733	+13	3.945	+0.206
23	-1	BEBE REXHA	Heart Wants What It Wants	2377	+18	319	-37	4.409	+0.064
24	+1	JAX	Cinderella Snapped	2300	+86	579	+61	4.553	+0.156
25	+1	HALSEY	Die 4 Me	2122	-8	413	-83	3.661	-0.082
26	-2	SZA	Nobody Gets Me	2023	-251	-2057	+53	6.234	-0.653
27	+1	ZARA LARSSON	Can't Tame Her	1887	+20	258	-2	3.045	-0.014
28	-1	TIESTO	10:35 f/Tate McRae	1850	-226	-2167	-4	2.908	-0.349
29	=	XG	Left Right	1546	+46	261	+33	2.413	+0.084
30	=	RENEE RAPP	Too Well	1494	-2	-34	+2	2.174	+0.010
31	=	MIMI WEBB	Red Flags	1275	-159	-884	-154	1.600	-0.201
32	=	LIL UZI VERT	Just Wanna Rock	1184	-72	-589	+6	2.155	-0.127
33	=	LIZZY MCALPINE	Ceilings	1176	+46	318	+15	2.757	+0.033
34	+1	TOOSII	Favorite Song	1158	+152	834	+104	3.076	+0.403
35	-1	MACKLEMORE	NO BAD DAYS f/Collett	1098	+28	143	+9	1.671	+0.067
36	=	TAYLOR SWIFT	All Of The Girls You Loved ...	741	+84	441	+81	3.384	+0.293
37	+1	P!NK	TRUSTFALL	618	+50	95	+57	0.873	+0.109
38	-1	TYGA	Sunshine f/Jhene Aiko/PopSmoke	616	-12	-97	+22	1.703	+0.016
39	=	JVKE	this is what heartbreak...	525	-18	-37	-16	0.415	-0.026
40	=	NICKI MINAJ	Red Ruby Da Sleeze	513	+23	83	+10	1.452	+0.073
41	=	TYLA	Been Thinking	395	-1	-25	-4	0.700	-0.005
42	=	FALL OUT BOY	Love From The Other Side	393	+6	-123	+17	0.924	+0.030
43	=	POST MALONE	Wrapped Around Your Finger	249	-1	-14	+6	0.645	+0.011
44	=	BIG BOSS VETTE	Pretty Girls Walk	200	-4	3	-9	0.349	-0.011
45	--	CHARLIE PUTH F/DAN+SHAY	That's Not How This Works	177	--	177	--	0.521	--
46	-1	NOTD	AM:PM f/Maia Wright	174	-12	148	-30	0.317	-0.003
47	-1	PARMALEE	Take My Name	146	+1	21	-7	0.273	-0.004
48	+1	MENUDO	Mi Amore	141	+20	132	+13	0.043	+0.004
49	-2	TAYLOR SWIFT	I Knew You Were ... (Taylor's	137	-2	18	-6	0.752	+0.023
50	-2	FLO RIDA	What A Night	131	+5	39	+5	0.260	+0.02

[Ger]

Lowkey surprised Morgan isn't coming harder on Pop, but I guess it's doing better than expected considering it's a country song with a lot of room to grow on its original format. Plus, Morgan and his controversial status maybe.

[industry baby]

4 hours ago, Blade said:

I'm sorry but you don't want BM which has been charting for 15 measly weeks to be given a second push (which is still technically 1 push) but want UIFY which is in the 2000-3000 spin category in recurrence to come back so much to the point that you post about it every week?

 

1 hour ago, pride4jc1222 said:

haha, the payola is starting to kick in.

Please… You are literally been praising The Weeknd aka the chart obsessed guy who been causing a second pandemic to US radio with NEVER ENDING PAYOLA since 2020,

 

with Heartless, Blinding Lights, Save Your Tears, Couple more Top20s for songs i cant even remember from the same era, A new album at the beginnig of 2022 , Later the year with Die For You and Creepin’. 

 

remove The Weeknd from US radios if you’re asking for fair treatment for all artists. 

 

If anyone wants to speak up against US radios, speak up against The Weeknd first and his never ending payola fraduelence. 

[Ger]

Some thoughts...

 

1. Say what you want, but thanks to streaming, we're watching a different behavior when it comes to music trends, what's popular, etc, and it's shown that GP actually gets stucked with the same songs over and over again commonly. Surely, it's tiring, but music radio's goal is to play what people want to play. And truth is... if anything, it's GP's fault for not moving on faster with the songs they like. Sure, smashes as "As It Was", "Unholy", "Die for You" or "Heat Waves" are overplayed af and spent lot of weeks with heavy rotation, but when you look at the charts, well, the demand pretty much solidified that decision. 

 

2. Sometimes I wonder if that music listening habit is something particular with this generation, or something that's always been there, but there was no way to realize it until now. Because what calls my attention is the fact that callouts have remained excellent for certain songs for many weeks even when overplayed, and it's a common trend when the song is a certified hit. In previous years, we used to see that the burnout rate of the song increased significantly as the song got plays more frequently. Right now, the song can be atop for months and the burnout percentage is still decent enough for radio programmers to keep it on power, as long as callouts say otherwise.

 

3. People used to complain a lot about this (and sometimes they still do to a lesser extent), but it's a shame the way the radio works now is that first it waits for some "streaming story" to pay attention to it and test to see if the song is confirmed as a hit by the public, instead of them having the initiative and testing if a song with potential, despite not being viral on TikTok, it is still a hit that is born from the decision of the radio stations.

 

4. UIFY is a boring song.

[Ger]

OVERALL

 

** = Incorrect update (song was dropped from or added to a format)

 

1. Miley Cyrus - "Flowers" 117.38 (-0.69) 

2. Metro Boomin, The Weeknd & 21 Savage - "Creepin'" 110.08 (+0.72) 

3. SZA - "Kill Bill" 106.31 (+0.21) 

4. The Weeknd - "Die for You" 79.02 (-0.77) 

5. Coi Leray - "Players" 68.44 (+0.12) 

6. Rema & Selena Gomez - "Calm Down" 59.04 (+0.72) 

7. David Guetta & Bebe Rexha - "I'm Good (Blue)" 57.25 (-0.51) 

8 (+1) Taylor Swift - "Anti-Hero" 55.54 (-0.28) 

9 (-1) Chris Brown - "Under the Influence" 55.12 (-0.73) 

10. Taylor Swift - "Lavender Haze" 55.00 (-0.07) 

 

11. Harry Styles - "As It Was" 51.24 (-0.11) 

12. RAYE - "Escapism. (feat. 070 Shake)" 49.84 (-0.07) 

13. Bailey Zimmerman - "Rock and a Hard Place" 48.78 (+0.61) 

14. Lady Gaga - "Bloody Mary" 46.71 (+0.39) 

15 (+1) Kane Brown & Katelyn Brown - "Thank God" 43.03 (+0.58) 

16 (-1) Lainey Wilson - "Heart Like a Truck" 42.91 (-1.19) 

17. PinkPantheress & Ice Spice - "Boy's a liar Pt. 2" 41.62 (+0.78) 

18. Lizzo - "Special (feat. SZA)" 38.91 (+0.32) 

19 (+2) Miguel - "Sure Thing" 37.80 (+1.02) 

20 (-1) Sam Smith & Kim Petras - "Unholy" 37.67 (-0.13) 

 

Dierks Bentley - "Gold" 37.02 (+0.72) 

Parker McCollum - "Handle on You" 36.61 (+1.38) 

Morgan Wallen - "Thought You Should Know" 36.25 (+0.16) 

HARDY & Lainey Wilson - "wait in the truck" 35.27 (+0.38) 

Ed Sheeran - "Eyes Closed" 34.11 (+1.25) 

Morgan Wallen - "Last Night" 32.70 (+1.25) 

Tyler Hubbard - "Dancin' in the Country" 27.61 (+0.63) 

The Kid LAROI - "Love Again" 25.48 (-0.02) 

Morgan Wallen - "One Thing at a Time" 21.79 (+0.50) 

Morgan Wallen - "You Proof" 21.38 (-0.69) 

Latto - "Lottery (feat. LU KALA)" 20.98 (+0.09) 

Niall Horan - "Heaven" 20.40 (-0.02) **

Miley Cyrus - "River"  20.35 (+0.08) 

Sabrina Carpenter - "Nonsense" 19.69 (+0.19) 

Nicki Minaj - "Red Ruby Da Sleeze" 15.29 (+0.46) 

KAROL G & Shakira - "TQG" 10.81 (+0.11) 

Toosii - "Favorite Song" 10.01 (+0.61) 

Zach Bryan - "Something in the Orange" 7.96 (+0.15) 

SZA - "Snooze" 0.62 (+0.02) 

[Raphy23]

3 hours ago, pride4jc1222 said:

haha, the payola is starting to kick in.

The P!nk payola

[Holiest Dreams]

I’m happy LH made it to the top 10, it was my original hope for it but then I thought it was impossible after things stalled so much…

 

If only bigger stations would’ve put it on PR it could’ve gone top 3 on Pop and top 5 overall - maybe. Was hoping tour and the iHeart appearance would help (similar to Delicate’s trajectory) but I think it’s too late. I really hope she pushes Karma, hopefully with a remix. Either way I feel good about its chances of becoming a radio hit. Midnight Rain is beloved but don’t think it has a chance at all.

 

Does anyone in here who follows radio more than me remember — did Bejeweled test well on radio back during Midnights’ release? I wonder if that would have a shot, considering it already has a video. But instinct tells me it wouldn’t be embraced by radio.

[Ger]

1 hour ago, Holiest Dreams said:

Does anyone in here who follows radio more than me remember — did Bejeweled test well on radio back during Midnights’ release? I wonder if that would have a shot, considering it already has a video. But instinct tells me it wouldn’t be embraced by radio.

Yes, it was showing better reception than both AH and LH during release.

[Ger]

Retention Rate: The Magic New Metric for Measuring Hit Potential in Streaming Data
 

 

WHY RECORD-BREAKING STREAMING DOESN’T TRANSLATE TO BIG HITS FOR RADIO

While “Anti-Hero” is hardly a flop, it also hasn’t been the instant home run that “Bad Blood” or “Shake It Off” were. On average, about 35% of CHR and Hot AC listeners said they loved “Anti-Hero” at its peak.

 

That’s strong enough for a secondary current, but the biggest hits typically see 50% of listeners exhibit strong passion for them using Integr8 New Music Research’s methodology. Harry Styles’ “As It Was” and “About Damn Time” from Lizzo both achieved this metric among our typical clients.

 

 

As we’ve noted in several previous posts, streaming data amplifies active fandom, which means a song’s peak week on streaming will often be on or shortly after its debut week. As weeks go by, however, streaming data increasingly reflects the passive fandom of people who discovered the song after its release.

 

With those behavior patterns in mind, let’s fast-forward to “Anti-Hero’s” 10th week from its peak. (Why 10 weeks? Typical top 10 hits for CHR radio reach their peak passion level among listeners around 10 weeks after debuting.)

 

Spotify users in the U.S. played “Anti-Hero” about 5.7 million times ten weeks after its record-breaking debut week. That’s still sufficient to be among Spotify’s Top 10 songs in subsequent weeks. However, that’s less than one-fifth as many plays as its debut.

 

In contrast, Lizzo’s “About Damn Time” only garnered around 8.5 million streams when it peaked in its fourth week. Fast forward 10 weeks, and Lizzo’s summer anthem was still pulling almost 6 million streams.

 

If you can’t simply examine how a song performs at its peak and you can’t examine how a song performs once the initial interest in the song dies down, is there any streaming metric that does track with listeners’ passion for a song, as measured in your callout research?

 

Comparing plays for a song’s peak week on Spotify with its play count 10 weeks after its peak reveals a telling story.

 

 

INTRODUCTING RETENTION RATE

Retention Rate is the ratio of how many times streaming music consumers streamed a song in its 10th week after peaking, compared to how many streamed the song during its peak week.

 

Comparing the Spotify streaming retention rate for the songs for which we initially examined passion in callout research, we finally begin to see some semblance of a correlating pattern:

 

[nick4bty]

6 hours ago, industry baby said:

 

Please… You are literally been praising The Weeknd aka the chart obsessed guy who been causing a second pandemic to US radio with NEVER ENDING PAYOLA since 2020,

 

with Heartless, Blinding Lights, Save Your Tears, Couple more Top20s for songs i cant even remember from the same era, A new album at the beginnig of 2022 , Later the year with Die For You and Creepin’. 

 

remove The Weeknd from US radios if you’re asking for fair treatment for all artists. 

 

If anyone wants to speak up against US radios, speak up against The Weeknd first and his never ending payola fraduelence. 

If The Weeknd payola'd radio he would've pushed Die For You to #1. Don't blame him just because the audiences want to his hear music lol. There's nothing fraudulent about his chart runs. Blinding Lights is one of the biggest songs of all time for good reason. And he's had his share of flops too, like Sacrifice, In Your Eyes, etc, that don't resonate with the Pop audience. 

Edited April 6, 2023 by nick4bty

[nick4bty]

12 minutes ago, Ger-55 said:

Retention Rate: The Magic New Metric for Measuring Hit Potential in Streaming Data
 

 

WHY RECORD-BREAKING STREAMING DOESN’T TRANSLATE TO BIG HITS FOR RADIO

While “Anti-Hero” is hardly a flop, it also hasn’t been the instant home run that “Bad Blood” or “Shake It Off” were. On average, about 35% of CHR and Hot AC listeners said they loved “Anti-Hero” at its peak.

 

That’s strong enough for a secondary current, but the biggest hits typically see 50% of listeners exhibit strong passion for them using Integr8 New Music Research’s methodology. Harry Styles’ “As It Was” and “About Damn Time” from Lizzo both achieved this metric among our typical clients.

 

 

As we’ve noted in several previous posts, streaming data amplifies active fandom, which means a song’s peak week on streaming will often be on or shortly after its debut week. As weeks go by, however, streaming data increasingly reflects the passive fandom of people who discovered the song after its release.

 

With those behavior patterns in mind, let’s fast-forward to “Anti-Hero’s” 10th week from its peak. (Why 10 weeks? Typical top 10 hits for CHR radio reach their peak passion level among listeners around 10 weeks after debuting.)

 

Spotify users in the U.S. played “Anti-Hero” about 5.7 million times ten weeks after its record-breaking debut week. That’s still sufficient to be among Spotify’s Top 10 songs in subsequent weeks. However, that’s less than one-fifth as many plays as its debut.

 

In contrast, Lizzo’s “About Damn Time” only garnered around 8.5 million streams when it peaked in its fourth week. Fast forward 10 weeks, and Lizzo’s summer anthem was still pulling almost 6 million streams.

 

If you can’t simply examine how a song performs at its peak and you can’t examine how a song performs once the initial interest in the song dies down, is there any streaming metric that does track with listeners’ passion for a song, as measured in your callout research?

 

Comparing plays for a song’s peak week on Spotify with its play count 10 weeks after its peak reveals a telling story.

 

 

INTRODUCTING RETENTION RATE

Retention Rate is the ratio of how many times streaming music consumers streamed a song in its 10th week after peaking, compared to how many streamed the song during its peak week.

 

Comparing the Spotify streaming retention rate for the songs for which we initially examined passion in callout research, we finally begin to see some semblance of a correlating pattern:

 

This seems like a whole lot of nothing. lol. Like, okay, most songs by established artists peak their first week and then decline. 5M streams is still 5M streams, aka, big numbers. I don't really get it. 

 

Also, why do Pop listeners hate Taylor Swift so damn much lol. Girl can't catch a break.