g'won Sir Drake *.*

 

but really I can't see this new one making #1 officially, though I imagine it will go to #1 on Spotify for a few days. the UK don't get behind his rap songs as much as his (half-)singing ones (ie God's Plan, Nice For What), besides it does sound like an album track.

Spotify Chart Update [26/05]

 

01 [01] Calvin Harris & Dua Lipa - One Kiss [571,638]

02 [02] Drake - Nice For What [516,538]

03 [03] Ariana Grande - No Tears Left To Cry [403,692]

04 [05] Anne-Marie - 2002 [378,571]

05 [06] Lil Dicky - Freaky Friday (feat. Chris Brown) [371,277]

06 [04] Post Malone - Better Now [357,536]

07 [08] Banx & Ranx - Answerphone (feat. Ella Eyre & Yxng Bane) [300,736]

08 [07] Drake - God's Plan [300,137]

09 [11] Jess Glynne - I'll Be There [280,550] [NEW PEAK]

10 [10] Khalid & Normani - Love Lies [272,611]

 

11 [09] Childish Gambino - This Is America

12 [12] M.O - Bad Vibe (feat. Lotto Boyzz & Mr Eazi)

13 [14] Marshmello & Anne-Marie - FRIENDS

14 [13] EO - German

15 [20] George Ezra - Paradise

16 [15] Zedd, Maren Morris & Grey - The Middle

17 [19] Rudimental - These Days (feat. Jess Glynne, Macklemore & Dan Caplen)

18 [18] Sigala & Paloma Faith - Lullaby

19 [16] Post Malone - Psycho (feat. Ty Dolla $ign)

20 [17] Shawn Mendes - In My Blood

 

21 [22] Cardi B - I Like It (feat. Bad Bunny & J Balvin)

22 [21] Clean Bandit - Solo (feat. Demi Lovato)

23 [24] David Guetta & Sia - Flames

26 [28] Liam Payne & J Balvin - Familiar

27 [30] Shakka - Man Down (feat. AlunaGeorge) [NEW PEAK]

28 [29] Selena Gomez - Back To You

30 [32] David Guetta, Martin Garrix & Brooks - Like I Do

33 [23] A$AP Rocky - Praise The Lord (Da Shine) (feat. Skepta)

37 [40] Ramz - Family Tree [NEW PEAK]

40 [41] Rita Ora - Girls (feat. Cardi B, Bebe Rexha & Charli XCX)

41 [42] Yxng Bane - Vroom

42 [39] Years & Years - If You're Over Me

43 [46] Dennis Lloyd - Nevermind

48 [43] Dappy - Oh My (feat. Ay Em)

49 [52] George Ezra - Shotgun

50 [45] Shawn Mendes - Youth (feat. Khalid)

 

53 [62] Lil Baby - Yes Indeed (feat. Drake)

55 [27] Shawn Mendes - Nervous

60 [65] 5 Seconds Of Summer - Youngblood

61 [63] KYLE - Playinwitme (feat. Kehlani)

66 [78] M-22 - First Time (feat. Medina) [NEW PEAK]

67 [69] Billie Eilish - lovely (feat. Khalid)

71 [72] AJ x Deno - London (feat. EO)

76 [84] Cardi B - Be Careful

77 [94] NOTD - I Wanna Know (feat. Bea Miller)

82 [104] Juice WRLD - Lucid Dreams [NEW PEAK]

84 [95] Swarmz - Lyca

85 [90] Khalid - OTW (feat. 6LACK & Ty Dolla $ign)

88 [112] Charlie Puth - Done For Me (feat. Kehlani)

90 [103] Not3s - Sit Back Down (feat. Maleek Berry)

92 [105] Nicki Minaj - Chun-Li

 

107 [130] ZieZie - Fine Girl

108 [125] Tyga - Taste (feat. Offset)

111 [115] RAYE - Cigarette (feat. Mabel & Stefflon Don)

121 [113] Arctic Monkeys - Four Out Of Five

130 [190] Alice Merton - No Roots [NEW PEAK]

136 [145] BTS - FAKE LOVE

137 [189] Loud Luxury - Body (feat. brando) [NEW PEAK]

144 [151] Tiësto & Dzeko - Jackie Chan (feat. Preme & Post Malone)

149 [194] Arlissa & Jonas Blue - Hearts Ain't Gonna Lie [NEW PEAK]

165 [171] Loski - Forrest Gump

174 [170] Belly Squad - Missing (feat. Headie One)

178 [RE] King Princess - 1950

183 [163] Florence + The Machine - Hunger

189 [102] Panic! At The Disco - High Hopes

 

OUT [91] CHVRCHES - Graffiti

OUT [107] ZAYN - Entertainer

OUT [187] Jorja Smith - February 3rd

OUT [193] Big Shaq - Man Don't Dance

 

+++

 

Shawn Mendes - Shawn Mendes

20 In My Blood

50 Youth (feat. Khalid)

55 Nervous

69 Lost In Japan

78 Where Were You In The Morning?

97 Like To Be You (feat. Julia Michaels)

99 Fallin' All In You

112 Particular Taste

118 Because I Had You

120 Mutual

124 Queen

126 Why

129 Perfectly Wrong

164 When You're Ready

 

A$AP Rocky - TESTING

33 Praise The Lord (Da Shine) (feat. Skepta)

117 A$AP Forever (Remix) (feat. Kid Cudi, Moby & T.I.)

145 Fukk Sleep (feat. FKA Twigs)

 

OUT Distorted Records

OUT Tony Tone

OUT CALLDROPS (feat. Dean Blunt & Kodak Black)

OUT Buck Shots (feat. Playboi Carti & Smooky MarGielaa)

OUT Gunz N Butter

OUT Purity (feat. Frank Ocean)

OUT Brotha Man (feat. French Montana & Snoop Dogg)

OUT OG Beeper

OUT Kids Turned Out Fine

OUT Hun43rd (feat. Devonté Hynes)

 

Pusha T - DAYTONA

134 If You Know You Know

150 What Would Meek Do? (feat. Kanye West)

173 Infrared

185 The Games We Play

 

OUT Hard Piano (feat. Rick Ross)

OUT Come Back Baby

OUT Santeria

Great that M22/Medina have a new peak and Shotgun is back in the top 50

the new drake is such a no-song, that's worts than his b-sides so hope it doesn't make it on name alone

the new drake is such a no-song, that's worts than his b-sides so hope it doesn't make it on name alone

I find it better than NFW.

I think the charts are actually more reflective of a song's popularity now than they were earlier in the decade.

 

I do not agree with you.

I agree with ML.

 

Held-back songs were of course going to go top 10. The charts were artificial

YES M-22 *.*

but we also see a lot of songs that chart lower that they should cos they're snubbed by spotify i.e. paloma or sigrid, so don't think spotify is a perfect reflection of what's popular

YES M-22 *.*

 

Can it go top 20? :o

 

-------

 

I know the circular discussion has been had a million times, but the way playlists and payola orchestrate everything now makes it more manipulated than ever. I know there was manipulation with the likes of fanbase boy/girlbands infiltrating through before but at least in comparison it felt like there was a semblance of choice and decision making there, rather than head honchos completely ruling the entire process like we have now. I know that's how it is now and I accept it, but it doesn't mean I have to like or agree with it.

 

I mean, we have a lot of reputable and respectable artists literally TAILORING their music and watering it down to try and get these playlist adds. How is that good for artistic integrity and creativity?

Edited May 27, 20187 yr by Tawdry Hepburn

but we also see a lot of songs that chart lower that they should cos they're snubbed by spotify i.e. paloma or sigrid, so don't think spotify is a perfect reflection of what's popular

Strangers went top 10 :P

I know the circular discussion has been had a million times, but the way playlists and payola orchestrate everything now makes it more manipulated than ever. I know there was manipulation with the likes of fanbase boy/girlbands infiltrating through before but at least in comparison it felt like there was a semblance of choice and decision making there, rather than head honchos completely ruling the entire process like we have now. I know that's how it is now and I accept it, but it doesn't mean I have to like or agree with it.

What's interesting for me is that in the other thread about the biggest hits of the year, I see a lot of circumventing the raw streaming stats (which in the end are only just a slice of the bigger picture) in favour of popularity being represented by what gets exposed on radio/TV/ads/singing contests etc. That in itself is just a lot of executive decisions from different sets of higher ups, which you could argue isn't much different.

 

I always find it interesting to try and determine how popular a song is in its own right but Spotify definitely makes it tricky. Do songs like "Pretty Girl" or "Call On Me" eventually transcend their playlistola status? If they do, is that of their own merit or just Stockholm syndrome from being thrust so heavily into the spotlight that they can't help but take off? It's kind of a shame because this platform is ripe for songs virally taking off, but since the numbers don't work for it, it's very difficult for it to happen without feeling like a song/artist has already become part of this carefully curated machine.

 

At least now I have the opportunity to rip on songs when their vital playlists are taken away from them and they plummet away. :D

Can it go top 20? :o

 

-------

 

I know the circular discussion has been had a million times, but the way playlists and payola orchestrate everything now makes it more manipulated than ever. I know there was manipulation with the likes of fanbase boy/girlbands infiltrating through before but at least in comparison it felt like there was a semblance of choice and decision making there, rather than head honchos completely ruling the entire process like we have now. I know that's how it is now and I accept it, but it doesn't mean I have to like or agree with it.

 

I mean, we have a lot of reputable and respectable artists literally TAILORING their music and watering it down to try and get these playlist adds. How is that good for artistic integrity and creativity?

 

I agree with you to some extent. Especially the point about how some artists seem to make songs specifically to be play-listed everywhere on Spotify. For example there were millions of songs a couple of years ago that seemed to be based on Lean On which was annoying.

 

However, before then radio stations seemed to have just as much impact as the Spotify playlists do. I watched again, and again, and again the situation where Capital FM started playing a song and it would shoot up iTunes fast. You could see it with pre-orders and the fake cover versions, but it was most obvious with post-album singles or the international singles that weren't held back. And singles that Capital FM decided not to playlist would usually not do much. A common pattern was that songs which were only supported by Radio 1 and not Capital FM would often debut at around #16 and spend 2 weeks in the top 40. The only other ways I could think of to get a song to do well in the charts without Capital FM would be if it got used on TV a lot (e.g. in adverts or talent shows), in movies, or there were sometimes cases of a music video being released and being able to boost a song enough to get top 40 without any airplay. (Also, many artists clearly made music specifically for Capital FM and its equivalent stations in other countries like Z100, etc, which is not that different to the problem we have today of artists making songs specifically to be put in as many Spotify playlists as possible). Also, I want to point out that of course there were exceptions. Jar Of Hearts somehow sold bucketloads without being played on either Capital FM or Radio 1 as far as I remember. Pass Out managed to debut at #1 with only Radio 1 support (although Capital ended up playing it a huge amount after its release for about 18 months which gave it an extremely long chart run lol).

 

Radio has less impact now, but it's been replaced by Spotify playlists now unfortunately. I would have hoped with streaming at least the charts would become more organic, but that doesn't seem to have happened, it seems people at the top of the music industry will always try and find a way to control what songs get fed to people.

 

I would say the charts seem more accurate now though, on balance. I think it's because a lot of people who never legally downloaded music weren't included in the charts back then, but now many of them actually use Spotify or Apple Music. I know it's something everybody discussed a lot, but there were some songs that I would hear all the time, for months (and no, NOT from my friends) that never made the top 40, and I refuse to believe some of those songs were at best the 83rd most popular song in the country in its most popular week or whatever. It just doesn't make any sense. Whilst I appreciate people in different parts of the country, different ages, different lifestyles, etc. listen to different music, so nobody really can get a good picture of what's popular through the whole country solely based on their personal experiences, there's a massive difference between back then when a song that seemed to me to be everywhere peaking at #76, and today when it peaks at #13.

 

What's interesting for me is that in the other thread about the biggest hits of the year, I see a lot of circumventing the raw streaming stats (which in the end are only just a slice of the bigger picture) in favour of popularity being represented by what gets exposed on radio/TV/ads/singing contests etc. That in itself is just a lot of executive decisions from different sets of higher ups, which you could argue isn't much different.

 

I always find it interesting to try and determine how popular a song is in its own right but Spotify definitely makes it tricky. Do songs like "Pretty Girl" or "Call On Me" eventually transcend their playlistola status? If they do, is that of their own merit or just Stockholm syndrome from being thrust so heavily into the spotlight that they can't help but take off? It's kind of a shame because this platform is ripe for songs virally taking off, but since the numbers don't work for it, it's very difficult for it to happen without feeling like a song/artist has already become part of this carefully curated machine.

 

At least now I have the opportunity to rip on songs when their vital playlists are taken away from them and they plummet away. :D

 

Some of the songs that were originally just on lots of Spotify playlists (Cheerleader, Lean On, Firestone), I would say have become popular in their own right. But yes, I'm sure there are quite a few smaller chart hits in recent years which won't be very well-known outside of Spotify users.

Edited May 27, 20187 yr by Eric_Blob

Ariana ft. Nicki & Drake to slay when released pls

Can it go top 20? :o

 

-------

 

I know the circular discussion has been had a million times, but the way playlists and payola orchestrate everything now makes it more manipulated than ever. I know there was manipulation with the likes of fanbase boy/girlbands infiltrating through before but at least in comparison it felt like there was a semblance of choice and decision making there, rather than head honchos completely ruling the entire process like we have now. I know that's how it is now and I accept it, but it doesn't mean I have to like or agree with it.

 

I mean, we have a lot of reputable and respectable artists literally TAILORING their music and watering it down to try and get these playlist adds. How is that good for artistic integrity and creativity?

 

What is the difference between paying for heavy radio play and paying for favourable Spotify playlists?

 

There is no difference IMO - the latter is just a lot more obvious.

Ariana ft. Nicki & Drake to slay when released pls

 

What a hideous collaboration, can they kick Ari off?

Imagine hating Ariana THAT much :’)

What is the difference between paying for heavy radio play and paying for favourable Spotify playlists?

 

There is no difference IMO - the latter is just a lot more obvious.

 

Radio doesn't get you chart "sales"

 

let's not pretend that getting good airplay didn't/doesn't help a lot with a song's chart position even if airplay isn't actually incorporated into the chart like it is in America though.

It's a difficult situation really because there's no obvious way around it. Without payola playlists, we would end up with just the top 50 playlist influencing the chart, or some other user-created playlist would become popular. People are just lazy unfortunately.

 

Spotify has ruined the chances of a load of songs, but it's helped kickstart a load too - the aforementioned Pretty Girl and Call On Me for instance, which I would say definitely transcended their Spotify status (Maggie performed on tour with The Vamps in April and sang Pretty Girl as well as Personal, it went down really well with the crowd and everyone knew it). That's the benefit of radio latching onto them I guess, but we've also seen Spotify hits blanked by radio (Joel Adams - Please Don't Go, FRENSHIP - Capsize, Lauv - I Like Me Better).