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The solo version combined with the Leona version of You Are the Reason has over 800m YouTube views which is insane.

I see Watermelon Sugar is back on Hot Hits UK which is surprising as they don’t often playlist post album singles.

This narrative that Ellie isn’t successful anymore is untrue. Worry About Me flopped, but Close To You is approaching 500million streams and Hate You and Sixteen are on around 200 million. These are really respectable numbers.

Break My Heart down only 1 to no 6 which is pretty good given the general Fri - Sat drop off we usually see for new releases.

Are they stocking new releases in supermarkets? I was at Sainsbury’s this morning and the Dua album wasn’t on shelves though I went at around 10am so they may just not have put it out yet.

How can Bob Dylan be charting when it’s “album only”?

The single version of Blinding Lights has been removed from iTunes

That’s amazing, imagine if it was like that all the time. Also, well done for including Sam Smith on the list, I can’t wait for it to trigger all the regular people. (Though including them in International Woman’s Day is not really accurate as they have identified as non binary)

I’m surprised by the general lack of interest for the new Beyoncé/Lion King album. I mean I get it’s not a proper Beyoncé “album” but still, none of the tracks debuting in the top 50 seems surprising. After the complete frenzy that the self titled/Lemonade sent everyone into, this seems really low key.

It will be interesting to see how/if Glastonbury impacts streaming. Regular television promo generally has limited impact, but the age demographic who watch Glastonbury is probably a little different.

Why is Ritual showing up as album only but still charting on the iTunes chart?

Kylie’s in at 22. Pity about the song.

The Taylor YouTube numbers will also be insane. I guess they’re banking on this being huge on radio for longevity which will be interesting.

Hustle by P!NK is at 96, obviously a much slower start than Walk Me Home.

That Picture This song is now no 1 on Hot Hits U.K., despite not being in the top 50 on the official Spotify chart. I’d love to be a fly on the wall during some of the playlist conversations because some of the decisions are just completely baffling.

There is no chance that Emma is going to make the top 100 any week based on fan purchases/streams. The only way that this could potentially go top 100 is if she gets Radio 2 support and has some sort of TV promo (Graham Norton etc) at the right time. Streaming is going to be non existent.

Pink’s back to no 1 now. It’s obviously not just the Brits impact/initial fan purchases keeping this afloat now. I’m not really a fan of the song, but I quite like Pink and it’s always good to see her smashing.

I seem to remember it went top 15 on Spotify and hung around for ages. Which is great for a female over 35 on their 7th album. I can’t really think of anybody else in the same position who has done as well on Spotify other than Sia and Nicki Minaj.

On the actual iTunes chart.

New P!nk Walk Me Home is no 20. I’m fascinated by how this campaign goes. Despite her being nearly 40 and having multiple albums, What About Us did decently on streaming and was playlisted on Radio 1. Curious how much longer she can avoid the “legacy” label.

Wow at Jack Savoretti up to no 4 after Graham Norton. I’m not a fan of his voice but it shows the potential that some songs have when they are exposed to people outside of Radio 2 listeners.

Who are Emily Crystal and Kimberly Jonath, and why do they have over 50 songs between iTunes 100 and 200?

The Golden roll out really has been a master class in how “heritage” artists should do albums without Radio 1, Capital and Spotify support. From the music itself (embracing the current country trend but not so modern that it scares off R2 listeners), to the multiple formats to the TV promotion. It’s just a shame she hasn’t managed to get Spotify on board. Though I am curious from a profit perspective, the profit from a Spotify album “sale” vs a traditional physical album sale.

Well Shane McGowan basically admitted the word f***** was meant in the derogatory sense in the article posted, so you can’t have read the thread that carefully. So do you support racist words in songs too? And people not liking the racism should just get over it? Is that your take?

Sure, put the song on uncensored in a museum or library where people can learn about the context of the song and educate themselves (though I don’t think the context is anything other than using f***** as a derogatory term). This education isn’t going to happen listening to it on Capitalfm. I would argue that a song like Eminem’s Stan, or many other of Eminem’s biggest hits have the same or more cultural significance than this song, and I can guarantee that the same people who are arguing that this should be played uncensored on radio would be complaining in droves if an Eminem song was played uncensored, and their little Ella was subjected to the bad language.