February 16, 20214 yr With artists such as Kykie and Madonna their times have passed for hit singles and thankfully they have a huge back catalogue of hits, Kylie has put in a good effort with her last few singles but streaming has killed her chances but these days duch artists going top 75 is a huge result.
February 16, 20214 yr Olly murs is the standout for me I’d also say Steps to a degree - numerous top 40 songs based on downloads and only one with streaming included
February 16, 20214 yr I mean this thread should probably be retitled “which artists have we lost to streaming as they don’t get put on popular playlists” because that’s the main reason many of the artists mentioned don’t get top 40 hits anymore.
February 16, 20214 yr Leona Lewis is shouting out to me. I know she mainly only had success of the back of X Factor, but she used to always do so well on iTunes but now anything released since Glassheart has slipped through the cracks.
February 17, 20214 yr Leona Lewis is shouting out to me. I know she mainly only had success of the back of X Factor, but she used to always do so well on iTunes but now anything released since Glassheart has slipped through the cracks. Yeah she was declining in success since 2009 but still managed top 10 hits. That said, I think 'Fire Under My Feet' would've still missed the top 10 even if streaming wasn't introduced. :P Usher is definitely the one that came to my mind. He bagged at least one top 10 hit per era up to 2012 but then he's disappeared. Alicia Keys also! She had a massive era in 2010 and even 'Girl On Fire' was a big hit two years later. I like to think 'In Common' would've been a hit if music consumption stayed the same. The Saturdays also had their biggest hit 1 year before streaming was introduced. I think their Greatest Hits single would've given them another high-charting hit if it wasn't for streaming and maybe they would've continued for another few years.
February 17, 20214 yr Jennifer Lopez, Gwen Stefani, Fergie, BEP, Nelly Furtado, and Ashanti are some more.
February 17, 20214 yr Gwen, Nelly and Fergie gave up on their solo careers long before streaming came into play. :lol:
February 17, 20214 yr Black Eyed Peas also didn't release anything from 2011-2018... and are having big hits in the US again
February 17, 20214 yr Fergie had a solo top 3 hit as recently as 2015! Poor forgotten 'L.A. Love (La La)' :lol: but yes, it did go downhill after that.
February 17, 20214 yr Fergie had a solo top 3 hit as recently as 2015! Poor forgotten 'L.A. Love (La La)' :lol: but yes, it did go downhill after that. And then Milk Man didn't get out on any streaming playlists and she flopped! Oh, and Mel C could easily break top20 still before streaming.
February 17, 20214 yr Yeah she was declining in success since 2009 but still managed top 10 hits. That said, I think 'Fire Under My Feet' would've still missed the top 10 even if streaming wasn't introduced. :P Usher is definitely the one that came to my mind. He bagged at least one top 10 hit per era up to 2012 but then he's disappeared. Alicia Keys also! She had a massive era in 2010 and even 'Girl On Fire' was a big hit two years later. I like to think 'In Common' would've been a hit if music consumption stayed the same. The Saturdays also had their biggest hit 1 year before streaming was introduced. I think their Greatest Hits single would've given them another high-charting hit if it wasn't for streaming and maybe they would've continued for another few years. The Saturdays were totally done at that point, WWYF would have only charted at #25 on downloads.
February 17, 20214 yr but one thing is when streaming was introduced into the charts and a different thing is when streaming became the dominant force in 2014, stream was incorporated but have a minor effect like Meghan Trainor would be #1 with 100K but 90K are pure sales and streaming was just like 10K but actually not sure when streaming become the ruler of the singles charts as it is now
February 17, 20214 yr but actually not sure when streaming become the ruler of the singles charts as it is now I'd say 2016 was when it was clear sales were on the way out.
February 17, 20214 yr I agree the week when Justin Bieber held the whole top 3 was I think the moment streaming had become the dominant force on the singles chart. Then not long after we had One Dance staying at Number 1 while other songs repeatedly overtook it on the sales chart.
February 17, 20214 yr I think the foundations for streaming really dominating were laid in late 2015, when held-back releases started to fade out (KDA's Turn the Music Louder was the last held-back #1), but 2016 was when streaming really started to take hold of the chart I thought. I remember the painfully stale couple of months where the top 25 (because that's all Radio 1 used to play on the chart show) would barely change each week, in the days before we had ACR.
February 17, 20214 yr Yeah, streaming obviously grew throughout 2015 and we had some record breaking streaming numbers late in the year thanks to Justin Bieber and Adele, but in the album chart at Christmas we were still getting huge 100k+ sellers at various positions. One year later, only two albums sold just over 100k which was previously unheard of.
February 17, 20214 yr "Stale" is exactly the word that springs to mind when I think about the charts in 2016. :no: :lol:
February 18, 20214 yr Interesting thread. I'm sure it's been posted previously and I haven't read every contribution, but generally all guitar-rock-based acts (many of whom actually even struggled to make the transition convincingly from physical to digital paid-for sales in the late 2000s), and also boy/girl solo or group-style pop (the few big-hitters of the 2005-'11 'X Factor' era managed a decent run in the first half of the 2010s when actual sales were still king, but since streaming dominance exerted itself have generally struggled to achieve any notable main singles chart placings). While there's a fair few acts whose music may not be missed by many in the current charts, they've arguably been replaced by a lot of dross that as many of us or more dislike even more! Some may celebrate the nigh-on clean sweep that grime/drill/trap/rap acts now enjoy in the Top 100 (and let's face it these sub-genres and their predecessors already performed pretty consistently well on sales even before streaming took over), some will bemoan the lack of distinction between most of the actual songs in terms of production, style and delivery, and it would make for a very monotonous long listen if one were to stream each one of the week's Top 40 in succession. There's actually plenty of more innovative and interesting material still being recorded and released, but chances of such content breaking through to achieve any sort of notable mainstream singles chart profile is now lower than ever thanks to streaming. And I don't just mean 'stuff I happen to like'! Whatever one's personal view of the genres, artists or individual songs that have tended to prosper in the UK singles charts over the years, at least when sales still ruled there was a good deal of diversity, which would allow a broader appreciation from a wider audience of music fans. Even the '00s, which at the time felt a bit samey and as if all novel creative avenues in pop were closed and being recycled, a look at any average chart will reveal a surprising amount of musical diversity in terms of both category and quality, which wasn't unduly dampened by the takeover of downloads from CDs. Talent show vocalists rubbed shoulders with manufactured pop groups, metal/rock bands, dance/EDM producers, hip-hop/rap acts, indie rockers and internet-launched one-offs. The only real style that lost out post-2000 was the slow ballad or love song of the kind we were used to seeing in the 1990s and 1980s. It is sad that the story of the '10s was the steady decline in that once-proud diversity, partly through some consumers tiring with the pace of technological change and refusing to jump on board with digital developments, but mostly due to what in effect is the social engineering of streaming by major platforms via preconfigured playlists occupied for months on end by the same big hits, derived mainly from what was once known as 'urban' genres. Okay, if consumers didn't passively listen to such playlists, or the OCC found an effective way to remove such listens from their count, the impact would be lessened. But it'd be far better for Apple and Spotify et al to not offer such things in the first place - or if they do, ensure that enough breadth of musical styles are represented and turned-over more quickly. In a world where we seem to be on a quest for maximum diversity in all walks of life almost before any other factors are considered, it seems surprising that this doesn't get applied to online streaming playlist policy. Until it does, the charts will continue to be over-dominated by a small number of styles/acts, with lots of talent in other areas getting overlooked for lack of a chart foothold, and its turnover will stay stagnant, as the OCC struggle to control undesirable impacts of passive streaming by introducing more rules that only serve to manipulate and artificialise its rankings.
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