4 hours ago, Eric_Blob said:

In the sprawling digital landscape of pop music fandoms, BuzzJack stands out as a peculiar microcosm—part fan forum, part critical think tank, part pop culture battleground. Known for its elaborate chart discussions, Eurovision obsession, and intense debates over musical artistry, BuzzJack reveals a fascinating tension at the heart of contemporary pop discourse: a pronounced bias toward female pop stars and, in parallel, a thinly veiled dismissiveness toward certain male artists who don't fit the forum's aesthetic or emotional expectations. One of the most glaring recent examples of this bias is the forum’s treatment of Alex Warren’s heartfelt ballad, Ordinary, which was met not with thoughtful engagement, but with disinterest, mockery, and even outright disdain.

To understand this phenomenon, one must first unpack BuzzJack’s identity. Founded in 2003, BuzzJack initially grew around UK Singles Chart predictions but gradually evolved into a wider community for pop culture lovers, particularly those with a taste for mainstream and electronic pop. Over time, its user base developed an archetype of the “ideal pop artist”—a figure often female, emotionally vulnerable yet visually glamorous, sexually autonomous yet polished, flamboyant yet emotionally grounded. The resulting environment is one that elevates figures like Lady Gaga, Dua Lipa, Charli XCX, Ava Max, and especially Britney Spears and Kylie Minogue to near-mythic status.

There’s a pattern in the type of female artist BuzzJack prefers. She is often perceived as either camp or cathartic—an emblem of emotional release, queer empowerment, and theatricality. This “diva worship” culture is deeply rooted in LGBTQ+ pop fandoms, which dominate BuzzJack’s demographic. The aesthetic is loud, synthetic, high-stakes. Melodrama is a virtue. Sincerity is tolerated only when it’s dramatic. Subtlety, especially from a male artist, is seen as a risk—and often not a welcomed one.

Enter Alex Warren and his 2023 single Ordinary. A slow-burning piano ballad about romantic insecurity, Ordinary is rooted in lyrical vulnerability and minimalistic production. The song tells a story many can relate to—the quiet dread of feeling forgettable in the eyes of someone we love. Warren’s delivery is raw, unfiltered, and unpretentious. There’s no beat drop, no synth climax, no auto-tuned belt. It’s not designed for TikTok virality, nor does it come packaged in glitter or queer-coded camp. It is, in essence, the anti-BuzzJack song.

Yet what’s striking is not just that Ordinary was disliked. It’s that it was not permitted into the emotional space of the forum. It didn’t receive the luxury of being critiqued on musical terms. Instead, it was preemptively dismissed—called “bland,” “whiny,” or “basic”—without meaningful engagement. That reaction speaks volumes not just about Ordinary itself, but about the implicit expectations BuzzJack has of its music, and of the artists who make it.

Part of this rejection is gendered. BuzzJack’s community, in its quest for the theatrical and extraordinary, often relegates male emotional expression to a narrow bandwidth. Male singers must either be genre-bending enigmas like Troye Sivan or The Weeknd—embraced for their sensuality, queerness, or edge—or they must possess the vocal gravitas and legacy appeal of Sam Smith or Lewis Capaldi. Otherwise, they’re seen as filler, chart clutter, or worse, straight mediocrity. Alex Warren—a straight, white, TikTok-native male artist without the camp flair or subversive edge—falls squarely into the category BuzzJack finds unworthy of serious attention.

This bias isn’t necessarily conscious. Rather, it’s systemic, shaped by years of forum culture where certain sounds and personas were rewarded and others quietly pushed aside. It’s reinforced by the “New Music Friday” threads where members rush to crown their queens of the week, and by the relentless ranking and re-ranking of female discographies in sprawling rate threads. Even the annual BuzzJack Song Contest—ostensibly a meritocratic celebration of taste—tends to skew female-heavy in its winners and finalists. Songs by male artists are often treated as novelty entries or guilty pleasures rather than contenders for genuine emotional resonance.

In this landscape, Ordinary feels like a sacrificial lamb. Its very title almost invites critique. Ordinary? BuzzJack does not want ordinary. BuzzJack wants era-defining. BuzzJack wants iconic. BuzzJack wants ferocity, not fragility. And yet, Ordinary offers something that few BuzzJack anthems do: intimacy. It strips away the gloss and lets discomfort take center stage. Its power lies in its restraint. But that very restraint—its refusal to shout, to sparkle, to flex—renders it invisible on a platform that equates sonic volume with emotional impact.

It’s also worth exploring the influence of artist origin. Alex Warren, a figure birthed in the algorithmic chaos of TikTok, carries the stigma of being “not a real musician” in the eyes of certain music purists. BuzzJack, despite its love for pop, holds tightly to standards of authenticity—just not in the traditional rockist sense. Authenticity on BuzzJack means emotional commitment, fan-service, reinvention, and a narrative arc that feels earned. A TikTok star crossing over into music must prove themselves far more than a pop girl launching a debut single with an eye-catching cover and a thumping chorus.

The forum’s reaction to Ordinary also reveals an intriguing discomfort with minimalism. In a world of maximalist production—where even ballads come drenched in cinematic strings or sweeping choruses—Warren’s choice to hold back, to linger in silence, feels alien. It defies the expected structure of BuzzJack-approved ballads, like Adele’s Someone Like You or Beyoncé’s Sandcastles, both of which explode with catharsis. Ordinary, in contrast, sits with the ache. And BuzzJack doesn’t sit still well. It scrolls. It ranks. It craves the next hit of pop adrenaline.

The tragedy here is not simply that Ordinary was dismissed. It’s that BuzzJack, a forum ostensibly created to dissect and celebrate music, failed to practice its core value: listening. True listening requires one to silence personal bias, genre expectations, and aesthetic preferences long enough to let the music speak on its own terms. In the case of Ordinary, that didn’t happen.

But there is a deeper irony. In its own quiet way, Ordinary is a protest song. Not a political one, but an artistic protest against the idea that music must perform for us. It doesn’t beg for a replay. It doesn’t pander to algorithms or dance floors. It simply exists, like a diary entry never meant to go viral. And perhaps, one day, BuzzJack might be ready to receive it not with an eye-roll but with curiosity. Perhaps when the glitter fades and the BPMs drop, the forum will realize that there is courage in vulnerability—and power in being, well, ordinary.

Until then, Ordinary will remain a song out of sync with its cultural gatekeepers, a reminder that taste-making spaces, even democratic ones like forums, are not free from prejudice. They are mirrors of their own mythology, curators of a canon that excludes as much as it celebrates. And in that exclusion lies the most telling truth of all.

This is the best thing I have ever read.

I confess. But can we appreciate that ChatGPT knows what the Buzzjack Song Contest is. Congrats to all the people who run it and take part each year!

Also I like how it thinks we're all Lewis Capaldi fans lol.

I am conditioned at this point to instantly stop reading any text as soon as I see "—".

1 hour ago, Juranamo said:

This is the best thing I have ever read.

Honestly sums up my feelings about Buzzjack, as much as I love the forum and the community, and have a deep love of music of many genres, to see artists like Alex, Ed and Lewis dismissed does feel wrong, and this actually makes sense why it is

I think all the biases are also highlighted perfectly this week with Chappell being no1 when you read the comments 😂

7 hours ago, Eric_Blob said:

I confess. But can we appreciate that ChatGPT knows what the Buzzjack Song Contest is. Congrats to all the people who run it and take part each year!

It's not just an annual contest though...

LMAO at ChatGPT calling Ava Max (or any artist for that matter) "emotionally vulnerable"

Edited Tuesday at 07:182 days by Sour Candy

I think the “Buzzjack likes female pop” tag is a bit simplistic and outdated. It depends where on Buzzjack you go for a start. There’s an active 20th Century Retro forum where there isn’t a lot of female led pop to get excited about in the first place. In the chat forum we have a good mixture these days. Artists like sombr can win the reshuffle chart.

Look who’s won the last 5 annual Ultimate No X Hit polls - The Killers, Radiohead, Green Day, Depeche Mode and Nirvana. You could almost accuse that of having become too 90s/00s indie weighted.

As for that being the reason for not liking “Ordinary”, most of us who aren’t big female fronted pop fans think “Ordinary” is average. But it’s in good company - most of the huge running number 1s in history have had widespread appeal but haven’t been that interesting. And that doesn’t mean its stats aren’t extremely impressive - of course they are.

14 hours ago, Eric_Blob said:

In the sprawling digital landscape of pop music fandoms, BuzzJack stands out as a peculiar microcosm—part fan forum, part critical think tank, part pop culture battleground. Known for its elaborate chart discussions, Eurovision obsession, and intense debates over musical artistry, BuzzJack reveals a fascinating tension at the heart of contemporary pop discourse: a pronounced bias toward female pop stars and, in parallel, a thinly veiled dismissiveness toward certain male artists who don't fit the forum's aesthetic or emotional expectations. One of the most glaring recent examples of this bias is the forum’s treatment of Alex Warren’s heartfelt ballad, Ordinary, which was met not with thoughtful engagement, but with disinterest, mockery, and even outright disdain.

To understand this phenomenon, one must first unpack BuzzJack’s identity. Founded in 2003, BuzzJack initially grew around UK Singles Chart predictions but gradually evolved into a wider community for pop culture lovers, particularly those with a taste for mainstream and electronic pop. Over time, its user base developed an archetype of the “ideal pop artist”—a figure often female, emotionally vulnerable yet visually glamorous, sexually autonomous yet polished, flamboyant yet emotionally grounded. The resulting environment is one that elevates figures like Lady Gaga, Dua Lipa, Charli XCX, Ava Max, and especially Britney Spears and Kylie Minogue to near-mythic status.

There’s a pattern in the type of female artist BuzzJack prefers. She is often perceived as either camp or cathartic—an emblem of emotional release, queer empowerment, and theatricality. This “diva worship” culture is deeply rooted in LGBTQ+ pop fandoms, which dominate BuzzJack’s demographic. The aesthetic is loud, synthetic, high-stakes. Melodrama is a virtue. Sincerity is tolerated only when it’s dramatic. Subtlety, especially from a male artist, is seen as a risk—and often not a welcomed one.

Enter Alex Warren and his 2023 single Ordinary. A slow-burning piano ballad about romantic insecurity, Ordinary is rooted in lyrical vulnerability and minimalistic production. The song tells a story many can relate to—the quiet dread of feeling forgettable in the eyes of someone we love. Warren’s delivery is raw, unfiltered, and unpretentious. There’s no beat drop, no synth climax, no auto-tuned belt. It’s not designed for TikTok virality, nor does it come packaged in glitter or queer-coded camp. It is, in essence, the anti-BuzzJack song.

Yet what’s striking is not just that Ordinary was disliked. It’s that it was not permitted into the emotional space of the forum. It didn’t receive the luxury of being critiqued on musical terms. Instead, it was preemptively dismissed—called “bland,” “whiny,” or “basic”—without meaningful engagement. That reaction speaks volumes not just about Ordinary itself, but about the implicit expectations BuzzJack has of its music, and of the artists who make it.

Part of this rejection is gendered. BuzzJack’s community, in its quest for the theatrical and extraordinary, often relegates male emotional expression to a narrow bandwidth. Male singers must either be genre-bending enigmas like Troye Sivan or The Weeknd—embraced for their sensuality, queerness, or edge—or they must possess the vocal gravitas and legacy appeal of Sam Smith or Lewis Capaldi. Otherwise, they’re seen as filler, chart clutter, or worse, straight mediocrity. Alex Warren—a straight, white, TikTok-native male artist without the camp flair or subversive edge—falls squarely into the category BuzzJack finds unworthy of serious attention.

This bias isn’t necessarily conscious. Rather, it’s systemic, shaped by years of forum culture where certain sounds and personas were rewarded and others quietly pushed aside. It’s reinforced by the “New Music Friday” threads where members rush to crown their queens of the week, and by the relentless ranking and re-ranking of female discographies in sprawling rate threads. Even the annual BuzzJack Song Contest—ostensibly a meritocratic celebration of taste—tends to skew female-heavy in its winners and finalists. Songs by male artists are often treated as novelty entries or guilty pleasures rather than contenders for genuine emotional resonance.

In this landscape, Ordinary feels like a sacrificial lamb. Its very title almost invites critique. Ordinary? BuzzJack does not want ordinary. BuzzJack wants era-defining. BuzzJack wants iconic. BuzzJack wants ferocity, not fragility. And yet, Ordinary offers something that few BuzzJack anthems do: intimacy. It strips away the gloss and lets discomfort take center stage. Its power lies in its restraint. But that very restraint—its refusal to shout, to sparkle, to flex—renders it invisible on a platform that equates sonic volume with emotional impact.

It’s also worth exploring the influence of artist origin. Alex Warren, a figure birthed in the algorithmic chaos of TikTok, carries the stigma of being “not a real musician” in the eyes of certain music purists. BuzzJack, despite its love for pop, holds tightly to standards of authenticity—just not in the traditional rockist sense. Authenticity on BuzzJack means emotional commitment, fan-service, reinvention, and a narrative arc that feels earned. A TikTok star crossing over into music must prove themselves far more than a pop girl launching a debut single with an eye-catching cover and a thumping chorus.

The forum’s reaction to Ordinary also reveals an intriguing discomfort with minimalism. In a world of maximalist production—where even ballads come drenched in cinematic strings or sweeping choruses—Warren’s choice to hold back, to linger in silence, feels alien. It defies the expected structure of BuzzJack-approved ballads, like Adele’s Someone Like You or Beyoncé’s Sandcastles, both of which explode with catharsis. Ordinary, in contrast, sits with the ache. And BuzzJack doesn’t sit still well. It scrolls. It ranks. It craves the next hit of pop adrenaline.

The tragedy here is not simply that Ordinary was dismissed. It’s that BuzzJack, a forum ostensibly created to dissect and celebrate music, failed to practice its core value: listening. True listening requires one to silence personal bias, genre expectations, and aesthetic preferences long enough to let the music speak on its own terms. In the case of Ordinary, that didn’t happen.

But there is a deeper irony. In its own quiet way, Ordinary is a protest song. Not a political one, but an artistic protest against the idea that music must perform for us. It doesn’t beg for a replay. It doesn’t pander to algorithms or dance floors. It simply exists, like a diary entry never meant to go viral. And perhaps, one day, BuzzJack might be ready to receive it not with an eye-roll but with curiosity. Perhaps when the glitter fades and the BPMs drop, the forum will realize that there is courage in vulnerability—and power in being, well, ordinary.

Until then, Ordinary will remain a song out of sync with its cultural gatekeepers, a reminder that taste-making spaces, even democratic ones like forums, are not free from prejudice. They are mirrors of their own mythology, curators of a canon that excludes as much as it celebrates. And in that exclusion lies the most telling truth of all.

Love this

49 minutes ago, Julian_ said:

As for that being the reason for not liking “Ordinary”, most of us who aren’t big female fronted pop fans think “Ordinary” is average. But it’s in good company - most of the huge running number 1s in history have had widespread appeal but haven’t been that interesting. And that doesn’t mean its stats aren’t extremely impressive - of course they are.

This - long runners are usually mediocre by nature - hence they are long running hits in the first place.

55 minutes ago, Julian_ said:

I think the “Buzzjack likes female pop” tag is a bit simplistic and outdated. It depends where on Buzzjack you go for a start. There’s an active 20th Century Retro forum where there isn’t a lot of female led pop to get excited about in the first place. In the chat forum we have a good mixture these days. Artists like sombr can win the reshuffle chart.

Look who’s won the last 5 annual Ultimate No X Hit polls - The Killers, Radiohead, Green Day, Depeche Mode and Nirvana. You could almost accuse that of having become too 90s/00s indie weighted.

Heck I actually like AW (shock horror, its 1 particular member that makes it hard to like him) I just dont like Ordinary 😅 ,ed, and lewis are in my top played of the year too

The AI summary was truly hilarious

So subway is 3 on Apple now and 15 on Amazon

Golden 2 on Apple and 1 and 75 on Amazon

Think Chappell should just about be okay if she keeps the Spotify advantage

2 hours ago, Julian_ said:

I think the “Buzzjack likes female pop” tag is a bit simplistic and outdated. It depends where on Buzzjack you go for a start. There’s an active 20th Century Retro forum where there isn’t a lot of female led pop to get excited about in the first place. In the chat forum we have a good mixture these days. Artists like sombr can win the reshuffle chart.

Look who’s won the last 5 annual Ultimate No X Hit polls - The Killers, Radiohead, Green Day, Depeche Mode and Nirvana. You could almost accuse that of having become too 90s/00s indie weighted.

As for that being the reason for not liking “Ordinary”, most of us who aren’t big female fronted pop fans think “Ordinary” is average. But it’s in good company - most of the huge running number 1s in history have had widespread appeal but haven’t been that interesting. And that doesn’t mean its stats aren’t extremely impressive - of course they are.

To be fair, I did say Buzzjack likes female pop above all else! I don't think anyone is claiming there isn't a diverse range of music tastes on the site, it was just an example of what's popular on the site (and the multichart #1s still largely back up the fact that female pop is particularly popular). Likewise, I didn't say an interest in female pop is the reason Ordinary isn't so popular, it's just part of a genre that gets particularly derided by the vocal chart forum posters, and that's not new, it's happened to almost any male singer/songwriter in my time on the site.

16 hours ago, Eric_Blob said:

In the sprawling digital landscape of pop music fandoms, BuzzJack stands out as a peculiar microcosm—part fan forum, part critical think tank, part pop culture battleground. Known for its elaborate chart discussions, Eurovision obsession, and intense debates over musical artistry, BuzzJack reveals a fascinating tension at the heart of contemporary pop discourse: a pronounced bias toward female pop stars and, in parallel, a thinly veiled dismissiveness toward certain male artists who don't fit the forum's aesthetic or emotional expectations. One of the most glaring recent examples of this bias is the forum’s treatment of Alex Warren’s heartfelt ballad, Ordinary, which was met not with thoughtful engagement, but with disinterest, mockery, and even outright disdain.

To understand this phenomenon, one must first unpack BuzzJack’s identity. Founded in 2003, BuzzJack initially grew around UK Singles Chart predictions but gradually evolved into a wider community for pop culture lovers, particularly those with a taste for mainstream and electronic pop. Over time, its user base developed an archetype of the “ideal pop artist”—a figure often female, emotionally vulnerable yet visually glamorous, sexually autonomous yet polished, flamboyant yet emotionally grounded. The resulting environment is one that elevates figures like Lady Gaga, Dua Lipa, Charli XCX, Ava Max, and especially Britney Spears and Kylie Minogue to near-mythic status.

There’s a pattern in the type of female artist BuzzJack prefers. She is often perceived as either camp or cathartic—an emblem of emotional release, queer empowerment, and theatricality. This “diva worship” culture is deeply rooted in LGBTQ+ pop fandoms, which dominate BuzzJack’s demographic. The aesthetic is loud, synthetic, high-stakes. Melodrama is a virtue. Sincerity is tolerated only when it’s dramatic. Subtlety, especially from a male artist, is seen as a risk—and often not a welcomed one.

Enter Alex Warren and his 2023 single Ordinary. A slow-burning piano ballad about romantic insecurity, Ordinary is rooted in lyrical vulnerability and minimalistic production. The song tells a story many can relate to—the quiet dread of feeling forgettable in the eyes of someone we love. Warren’s delivery is raw, unfiltered, and unpretentious. There’s no beat drop, no synth climax, no auto-tuned belt. It’s not designed for TikTok virality, nor does it come packaged in glitter or queer-coded camp. It is, in essence, the anti-BuzzJack song.

Yet what’s striking is not just that Ordinary was disliked. It’s that it was not permitted into the emotional space of the forum. It didn’t receive the luxury of being critiqued on musical terms. Instead, it was preemptively dismissed—called “bland,” “whiny,” or “basic”—without meaningful engagement. That reaction speaks volumes not just about Ordinary itself, but about the implicit expectations BuzzJack has of its music, and of the artists who make it.

Part of this rejection is gendered. BuzzJack’s community, in its quest for the theatrical and extraordinary, often relegates male emotional expression to a narrow bandwidth. Male singers must either be genre-bending enigmas like Troye Sivan or The Weeknd—embraced for their sensuality, queerness, or edge—or they must possess the vocal gravitas and legacy appeal of Sam Smith or Lewis Capaldi. Otherwise, they’re seen as filler, chart clutter, or worse, straight mediocrity. Alex Warren—a straight, white, TikTok-native male artist without the camp flair or subversive edge—falls squarely into the category BuzzJack finds unworthy of serious attention.

This bias isn’t necessarily conscious. Rather, it’s systemic, shaped by years of forum culture where certain sounds and personas were rewarded and others quietly pushed aside. It’s reinforced by the “New Music Friday” threads where members rush to crown their queens of the week, and by the relentless ranking and re-ranking of female discographies in sprawling rate threads. Even the annual BuzzJack Song Contest—ostensibly a meritocratic celebration of taste—tends to skew female-heavy in its winners and finalists. Songs by male artists are often treated as novelty entries or guilty pleasures rather than contenders for genuine emotional resonance.

In this landscape, Ordinary feels like a sacrificial lamb. Its very title almost invites critique. Ordinary? BuzzJack does not want ordinary. BuzzJack wants era-defining. BuzzJack wants iconic. BuzzJack wants ferocity, not fragility. And yet, Ordinary offers something that few BuzzJack anthems do: intimacy. It strips away the gloss and lets discomfort take center stage. Its power lies in its restraint. But that very restraint—its refusal to shout, to sparkle, to flex—renders it invisible on a platform that equates sonic volume with emotional impact.

It’s also worth exploring the influence of artist origin. Alex Warren, a figure birthed in the algorithmic chaos of TikTok, carries the stigma of being “not a real musician” in the eyes of certain music purists. BuzzJack, despite its love for pop, holds tightly to standards of authenticity—just not in the traditional rockist sense. Authenticity on BuzzJack means emotional commitment, fan-service, reinvention, and a narrative arc that feels earned. A TikTok star crossing over into music must prove themselves far more than a pop girl launching a debut single with an eye-catching cover and a thumping chorus.

The forum’s reaction to Ordinary also reveals an intriguing discomfort with minimalism. In a world of maximalist production—where even ballads come drenched in cinematic strings or sweeping choruses—Warren’s choice to hold back, to linger in silence, feels alien. It defies the expected structure of BuzzJack-approved ballads, like Adele’s Someone Like You or Beyoncé’s Sandcastles, both of which explode with catharsis. Ordinary, in contrast, sits with the ache. And BuzzJack doesn’t sit still well. It scrolls. It ranks. It craves the next hit of pop adrenaline.

The tragedy here is not simply that Ordinary was dismissed. It’s that BuzzJack, a forum ostensibly created to dissect and celebrate music, failed to practice its core value: listening. True listening requires one to silence personal bias, genre expectations, and aesthetic preferences long enough to let the music speak on its own terms. In the case of Ordinary, that didn’t happen.

But there is a deeper irony. In its own quiet way, Ordinary is a protest song. Not a political one, but an artistic protest against the idea that music must perform for us. It doesn’t beg for a replay. It doesn’t pander to algorithms or dance floors. It simply exists, like a diary entry never meant to go viral. And perhaps, one day, BuzzJack might be ready to receive it not with an eye-roll but with curiosity. Perhaps when the glitter fades and the BPMs drop, the forum will realize that there is courage in vulnerability—and power in being, well, ordinary.

Until then, Ordinary will remain a song out of sync with its cultural gatekeepers, a reminder that taste-making spaces, even democratic ones like forums, are not free from prejudice. They are mirrors of their own mythology, curators of a canon that excludes as much as it celebrates. And in that exclusion lies the most telling truth of all.

12 minutes ago, DanielCarey said:

I nearly did that but my inner noisy biatch couldn't help myself 🤣🤣

2 hours ago, 777666jason said:

Heck I actually like AW (shock horror, its 1 particular member that makes it hard to like him) I just dont like Ordinary 😅 ,ed, and lewis are in my top played of the year too

Completely this.

I really like Carry You Home and Bloodline, and when Ordinary was first released I enjoyed it a lot.

That one particular member from Buzzjack you speak of has certainly dampened any enthusiasm I had for the song. For someone who is seemingly desperate for respect to be laid at Alex Warren's door, their persistent comments about the song, and then seemingly needing to argue every time someone says something negative about it has got just so very timesome.

Definitely time to start ignoring their posts.

Edited Tuesday at 12:392 days by ChrisJK

Guys it's really quite simple - there's no need to address other posters in any way that isn't an on-topic discussion. No goading and no insulting, whether it be indirect or direct. This is the streaming thread but it feels more like a primary school playground right now. We'll be dishing out warnings if this kind of thing continues because if it's tiring for me, I hate to think how it feels for those who don't even post in the thread and only come here for chart news and insight.

2 hours ago, JosephBoone said:

To be fair, I did say Buzzjack likes female pop above all else! I don't think anyone is claiming there isn't a diverse range of music tastes on the site, it was just an example of what's popular on the site (and the multichart #1s still largely back up the fact that female pop is particularly popular). Likewise, I didn't say an interest in female pop is the reason Ordinary isn't so popular, it's just part of a genre that gets particularly derided by the vocal chart forum posters, and that's not new, it's happened to almost any male singer/songwriter in my time on the site.

Totally and my comments weren’t specifically replying to yours. I just see comments around to the effect of Buzzjack’s a female popstar fansite and and I think our branding should be more come here if you like music / the charts and there’ll be something for you.

Spotify

01 [01] Chappell Roan – The Subway (490,958)

02 [02] Alex Warren – Ordinary (376,404)

03 [03] Demon Hunters Cast – Golden (362,534)

05 [06] Justin Bieber – DAISIES (300,269)

07 [08] Disco Lines & Tinashe – No Broke Boys

09 [10] MK ft Chrystal – Dior

10 [09] Demon Hunters Cast – Your Idol

13 [13] Demon Hunters Cast – Soda Pop

14 [14] Demon Hunters Cast – How It’s Done

15 [16] Drake & Central Cee – Which One

19 [20] Demon Hunters Cast – What It Sounds Like

21 [29] sombr – 12 to 12

22 [21] Alex Warren – Eternity

29 [26] Demon Hunters Cast – Takedown

38 [45] Demon Hunters Cast – Free

45 [56] Justin Bieber – YUKON

57 [61] BLACKPINK – JUMP

70 [73] Rossi. & Jazzy – High On Me

104 [NE] Bella Kay – The Sick

131 [192] Lola Young – d£aler

Edited Tuesday at 13:262 days by ElectroBoy

sombr on the way back up

YUKON seems to have some momentum behind it right now, wonder if that can become a bigger hit for Justin in the coming weeks?