According to his LinkedIn profile, Sergent is “an entrepreneur driven by passion, having led hyper growth digital media enterprises in the U.S. and in Europe with extensive experience in the music industry, digital consumer marketing, brand building, business development, and mergers & acquisitions. He co-founded and led two start-ups to $100m+ revenues, starting his journey by founding Club-Internet, with the support of Lagardere/Hachette in 1995. Club-Internet was one of the very first Internet Service Provider (similar to AOL in the US) launched in France and later became one of the largest [Internet Service Providers] before it was purchased by Deutsche Telecom’s T-Online in 2000 for 1.2 billion Euro.”

Today, we’ll look back on his road to music, what Bandsintown is up to nowadays, and what the future holds in store for live music.

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Urbina won a Pulitzer Prize for Breaking News and a George Polk Award for Foreign Reporting. Several of his stories have been adapted into major feature films, and his reporting for a New York Times Magazine article called The Secret Life Of Passwords was nominated for an Emmy Award.

He has degrees in history and cultural anthropology from Georgetown University and the University of Chicago, respectively. Before joining The New York Times for roughly 17 years as a staff reporter, he was a Fulbright Fellow in Cuba, and he also wrote about the Middle East and Africa for various outlets including the Los Angeles Times, Harper’s, and Vanity Fair.

On this episode, we talk to Urbina about the Outlaw Ocean Music Project, an offshoot of The Outlaw Ocean Project that's "[a]imed at people who might not otherwise have encountered this reporting." According to the project's website, "[T]he music renders stories more viscerally, and delivers them to the public through different channels. The music project’s goal is to raise awareness and stoke a sense of urgency about the human rights, labor, and environmental abuses that occur at sea.”

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Check out Byta here.

To attend a free Byta symposium that explores "how the music ecosystem will evolve and adapt to the developing digital landscape," register here.

Byta recently published a white paper on the state of music sharing, which you can check out here.

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Sung graduated with a bachelor’s degree of electrical engineering and computer science from Seoul National University, and an MBA from UCLA Anderson School of Management.

He enjoys posting ideas on his blog (http://sungmooncho.com), which has attracted more than 5 million views and is considered as one of the leading tech blogs in Korea. Sung has invested in 10 startups in New York, Silicon Valley, and Seoul (http://angel.co/sung-cho).

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Read 20 things we've learned about Music Live Streaming by DICE Founder & CEO Phil Hutcheon.

Check out DICE here, and download the app on your phone.

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If you're new to Chartmetric, follow the URL above after creating a free account here.

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Check out Stem here.

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Connect With Dave on LinkedIn and check out UnitedMasters here.

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Prior to that, Aileen was the General Manager of DigSin, a subscription-based independent music label focused on singles, playlisting, and data, as well as being an artist manager—and that was after spending almost seven years at world-renowned consulting firm McKinsey & Co. Today, Aileen runs The Streaming Story, a website dedicated to contextualizing streaming success with the narrative surrounding that success.

Since recording this interview, Aileen has teamed up with Lark42, a digital consultancy that solves hard problems in the music, data, blockchain, streaming and startup space.

You can connect with Aileen on LinkedIn here.

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“Established in 2003, the Popakademie is a higher education institution for the music and creative industries and their pop cultural scenes. By focusing its study programmes on popular music, it offers an academic education that is unique in Germany's public university landscape.” 

In this context, the students are part of Popakademie’s SMIX.LAB. Founded in 2008 as an interface between the online world and the traditional music industry, SMIX.LAB sees itself as a center for the digital music business. It integrates digital knowledge and future-oriented research, investigating the modern possibilities of music marketing and other forward-thinking initiatives.

The students themselves have industry experience at companies such as Live From Earth, Electric Feel, Amazon Music, and Ease Agency. Over the past few months, the Chartmetric team supported the students in their project to study how TikTok is influencing the German charts.

Check out their exciting research on our blog: https://blog.chartmetric.com

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Connect With Zael on LinkedIn and check out YMU Group here.

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Ami is a music marketing strategist from Houston, Texas, with a Bachelor of Business Administration in Marketing and Entrepreneurship from the University of Houston. She has a passion for artist development and the global music market and frequently shares her thoughts on current music trends and new music discoveries on her website.

In June 2021, Patel penned a 3,600-word tome titled “Anatomy of a modern pop fanbase: How fans use data to build their own music marketing powerhouses,” which will be the main topic of today’s conversation with her. The K-Pop guide was rigorously researched and written by Patel and edited by Cherie Hu, who runs Water & Music, which is a membership-funded email newsletter, research hub, and community forum dedicated to unpacking the fine print of commercial, technological, and cultural change in the music industry.

Patel was a recent participant in the first-ever Measure of Music music + data event in February 2021, and is joining us today from the great state of Texas.

Note: Around 43 minutes in, Ami says, "1.93 million ticket buyers." The correct number is 1.33 million ticket buyers.

You can connect with Ami on LinkedIn here.

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In September 2020, Rocchi penned a Chartmetric article entitled “How Data is Redefining the Role of A&R in the Music Industry Today,” based off of his research at Berklee. It focuses on where the field of A&R has gone in the digital era from its analog roots, and how data plays a significant role, but should never replace the human side of how professionals operate.

Rocchi is currently a Project Manager for Data and Analytics at Netherlands-based classical music label PENTATONE.

Connect with Tommaso: LinkedIn | Twitter | Instagram

Read "How Data is Redefining the Role of A&R in the Music Industry Today" here.

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If you're new to Chartmetric, follow the URL above after creating a free account here.

Read "What Spotify Follower Ratio Tells Us About Artist Growth and Fan Engagement" here.

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He’s a 2021 graduate from Cornell University in New York, with a background in Human Development, and minoring in International Relations and Music. His primary interests are in creating psychologically smart, culturally relevant, and globally reverberating digital marketing campaigns for up-and-coming musical artists.

Read How to Promote Your Music in Southeast Asian Trigger Cities here.

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Read The Under 27 Club: Music and Mental Health in the Streaming Era here.

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According to Songular’s website: “We amplify creative voices through forward-thinking digital services.
Songular is an independent music company that empowers fearless artists through strategic streaming campaigns. Our approach is artist-first and data-driven: this means that our bespoke campaigns are shaped by the stories our artists have to tell, and we use data to link the strategy to the story.” Songular’s roster includes Joji, Bakar, Young T & Bugsey, Zara Larsson, and Flume. Previously, Lee has served as a Music Editor for Deezer, a Radio Plugger, and in his earliest days, a Broadcast Assistant for the BBC and regular contributor to British culture outlet, NME.

Connect with Sam via LinkedIn or Songular's Instagram.

Francisco is an A&R Researcher for a major label, based in and from the great city of Ciudad de México, and has a background in financial services. He holds an MBA from ESADE, located in Barcelona, Spain, and a Master’s in Music Business from New York University. You can connect with him on LinkedIn or Twitter.

Connect with Chartmetric at blog.chartmetric.com.

Read The Rise of Regional Latin Music, Part 2: Colombian Music Genres here: https://blog.chartmetric.com/regional-latin-music-colombian-music-genres/

Ver la versión en español aquí: https://blog.chartmetric.com/es-ascenso-mundial-musica-latinoamericana-musica-colombiana/

Francisco is an A&R Researcher for a major label, based in and from the great city of Ciudad de México, and has a background in financial services. He holds an MBA from ESADE, located in Barcelona, Spain, and a Master’s in Music Business from New York University. You can connect with him on LinkedIn or Twitter.

Connect with Chartmetric at blog.chartmetric.com.

Prior to running Trapital full-time, the San Francisco-based Runcie has a background in market analysis and business strategy, while also spending several years as a freelance writer for publications such as WIRED and Complex. He graduated Cum Laude in Marketing & Finance at Quinnipiac University in Connecticut, and earned an MBA from the University of Michigan, a fantastic place to hang out in in the winter.

Connect with Dan on Twitter, LinkedIn, Instagram, but most importantly, sign up for the Trapital newsletter here!

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InnerCat handles artist marketing, music distribution, YouTube optimization, and neighboring rights for a range of artists, many of whom are Latin stars like Puerto Rican singer-songwriter Farruko. The music group's artists and network of owned and operated channels garner 630M+ streams per month, 330M video views per month, and 22M subscribers on all networks, and they've been able to pay out more than $7M in royalties to indie artists. Innercat focuses on a data-driven, tech-it-yourself approach to digital assets, and the results speak for themselves.

Connect with Paris on LinkedIn, Instagram, or Twitter.

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Connect With Cullah Here

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Read The Rise of Regional Latin Music, Part 1: Mexican Music Genres here: https://blog.chartmetric.com/regional-latin-music-mexican-music-genres/

Ver la versión en español aquí: https://blog.chartmetric.com/es-ascenso-mundial-musica-latinoamericana-musica-regional-mexicana/

Francisco is an A&R Researcher for a major label, based in and from the great city of Ciudad de México, and has a background in financial services. He holds an MBA from ESADE, located in Barcelona, Spain, and a Master’s in Music Business from New York University. You can connect with him on LinkedIn or Twitter.

Connect with Chartmetric at blog.chartmetric.com.

Graduating from the University of Michigan with a degree in Political Science & Southeast Asian studies, Fowler first spent three years at 2U, a publicly-traded educational tech company. Moving from a role in Admissions to Business Analyst, it was then his first stint as Product Manager that transitioned him to The Orchard in 2016. The avid Red Sox fan then rapidly worked his way up the chain from Director of Product to SVP for Engineering and Product and then to his current role as CTO, starting in February 2020.

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Getting his start in the music industry at ripe age of 13, Jordan started one of the hardcore punk scene’s seminal labels, Watermark Records, with his brother Jason in 1991. It was there in New Jersey where the visually-oriented Jordan began his career as an Art Director, which eventually led him to co-found the creative design film Earthprogram in New York City, where he served as Lead Designer and Creative Director from 1996 to 2008.

It was then when Jordan founded Synchtank, where, as a 2018 Pop Disciple interview describes, Synchtank “serves over 150 high profile clients including Disney Music, 20th Century Fox, Reservoir Media, Spirit Music Group, Concord Music, BT Sport, Red Bull Media House, Primary Wave, and peermusic.”

• Check out music licensing software platform Synchtank here.
• Check out Earth Program's homepage here. 
• Check out Earth Program's QnAnR podcast here.

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Getting his start in the music industry at ripe age of 13, Jordan started one of the hardcore punk scene’s seminal labels, Watermark Records, with his brother Jason in 1991. It was there in New Jersey where the visually-oriented Jordan began his career as an Art Director, which eventually led him to co-found the creative design film Earthprogram in New York City, where he served as Lead Designer and Creative Director from 1996 to 2008.

It was then when Jordan founded Synchtank, where, as a 2018 Pop Disciple interview describes, Synchtank “serves over 150 high profile clients including Disney Music, 20th Century Fox, Reservoir Media, Spirit Music Group, Concord Music, BT Sport, Red Bull Media House, Primary Wave, and peermusic.”

Check out music licensing software plaform Synchtank here.

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At How Music Charts, we try to bring a new perspective to the music business, and today that perspective is from me! I’m Christine Osazuwa, Global Marketing Director of Data & Insights at Warner Music Group. I was also the first guest on this podcast back in December 2019, which at this point, seems about 100 years ago.

In honor of UK Black History Month, I’ve taken over today’s episode with a different take on music data! In addition to my day job, I am also a Co-Chair of Warner Music Group UK’s BAME employee resource group, The Link. As a Nigerian-American working in the UK music industry, I am committed to a diverse and equitable music business and the power that data can bring to any conversation. Given that context, I’m thrilled to introduce today’s guests: Paulette Long OBE and Ammo Talwar MBE.

Paulette has served as Deputy Chair for the UK Music Diversity Taskforce since 2016, while Ammo has served as Chair since 2019. With decades of music industry experience between Paulette and Ammo, spanning publishing, arts education, marketing, PR, artist management, and even running record shops, they have both been recognized under the Most Excellent Order of the British Empire by the Queen for their enduring contributions to the UK’s cultural industries. 

While we could speak for hours about their accomplishments, today we’ll focus on their latest one: the 2020 UK Music Diversity Report, which, by the time you hear this, will be available online.

In addition to diving into the report’s data, we’ll use our time together to discuss the importance of diversity, representation & accountability to progress the industry and create the culture we want to see within our workplaces and around the world.

Disclaimer: All opinions and views expressed by the guests and host are theirs alone, and do not in any way constitute the opinions or views of any company they work for or have been associated with.

Connect With the Host & Guests
Host: https://www.linkedin.com/in/christineosazuwa/
Guest: https://www.linkedin.com/in/paulettelonguk/
Guest: https://www.linkedin.com/in/ammo-talwar-mbe-217b2612/

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With a pre-college Juilliard diploma in Piano Performance in one hand, and a Harvard BA in Statistics in the other, maybe it’s no wonder that Cherie decided to carve out her career at the intersection of music, data, and technology. Before establishing her writing as a popular must-read, Cherie held internships at Interscope Records, Jamplify, Forbes, and Ticketmaster, alongside even more writing and researching for The Harvard Crimson, Harvard Business School, and NYU. 

In 2017, she became the youngest nominee and winner of the international music business journalist of the year award at the annual Reeperbahn Festival in Hamburg, Germany. Cherie has also been featured as a keynote speaker, moderator and panelist in many high-profile conferences including MIDEM, Primavera Sound, SXSW, IMS Ibiza, DIY Musician Conference, and many more.

Subscribe to Cherie Hu's Water & Music Patreon.

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With a pre-college Juilliard diploma in Piano Performance in one hand, and a Harvard BA in Statistics in the other, maybe it’s no wonder that Cherie decided to carve out her career at the intersection of music, data, and technology. Before establishing her writing as a popular must-read, Cherie held internships at Interscope Records, Jamplify, Forbes, and Ticketmaster, alongside even more writing and researching for The Harvard Crimson, Harvard Business School, and NYU. 

In 2017, she became the youngest nominee and winner of the international music business journalist of the year award at the annual Reeperbahn Festival in Hamburg, Germany. Cherie has also been featured as a keynote speaker, moderator and panelist in many high-profile conferences including MIDEM, Primavera Sound, SXSW, IMS Ibiza, DIY Musician Conference, and many more.

Subscribe to Cherie Hu's Water & Music Patreon.

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Having graduated from the National University of Kiev with a BS in Computer Science, the data-driven Chivanova also co-founded and grew two live music companies operating in Russia and wider Europe, giving her more than eight years of experience in the European and Asian markets.

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Having graduated from the National University of Kiev with a BS in Computer Science, the data-driven Chivanova also co-founded and grew two live music companies operating in Russia and wider Europe, giving her more than eight years of experience in the European and Asian markets.

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As one of the first and foremost K-Pop music exporters, DFSB Kollective and its artists have been featured speakers/performers at top international music industry events (CMJ, CMW, SXSW, Coachella, The Great Escape, Glastonbury, Summer Sonic, Music Matters, MusicBiz, and MIDEM). Bernie himself has been involved with the startup of six TV channels, two concert series, and one film festival.

A true executive all-rounder, Bernie served as the Head of MTV Korea’s Digital Media Production team and worked for nearly two decades in the Korean music and TV industries as a Creative Planner, Program Producer, and Show Host. Though Bernie has no relation to Chartmetric’s CEO Sung Cho, Bernie is an Advisor for several US and Korean music tech startups, including Chartmetric.

You can listen to Part 1 of this two-part episode here.

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As one of the first and foremost K-Pop music exporters, DFSB Kollective and its artists have been featured speakers/performers at top international music industry events (CMJ, CMW, SXSW, Coachella, The Great Escape, Glastonbury, Summer Sonic, Music Matters, MusicBiz, MIDEM). Bernie himself has been involved with the startup of 6 TV channels, 2 concert series, and 1 film festival.

A true executive all-rounder, Bernie served as the Head of MTV Korea’s Digital Media Production team and worked for nearly 2 decades in the Korean music & TV industries as a Creative Planner, Program Producer, and Show Host. He has earned a Bachelor’s degree from Dartmouth College in Government/Asian Studies; graduated from the UCLA Anderson - Executive Entertainment & Media Program, and even matriculated from the Foundation Film Program at Vancouver Film School.

Though Bernie has no relation to Chartmetric’s CEO Sung Cho, Bernie is an Advisor for several US & Korean music tech startups, which happens to include Chartmetric.

We’ve split this talk into two episodes for easier listening.

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Connect With Emily
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https://twitter.com/iVotedConcerts

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Soon thereafter, Page became the Chief Economist for the United Kingdom’s largest collection society, PRS for Music. After that, he assumed the same title for Stockholm-based streaming platform Spotify.

Will is now a Fellow at the Royal Society of Arts in London, a Visiting Fellow at the London School of Economics, and a non-Executive Director at music licensing company SoundVault. In what little spare time he has, he’s busy at work on his upcoming book Pivot, which is about digital disruption and the economics behind it.

We discuss:

• His continuing love for soul music, including his DJ mixes on MixCloud and Blackstars of High Life, his documentary on Ghanian Jazz, Afrobeat, and Funk
• His double agent life in his 20s as a Scottish government economist by day and Straight No Chaser music journalist by night
• What economics has to do with the music industry
• His May 2020 Billboard feature, "Peak Streaming: Are We There Yet?"
• His February 2020 Billboard feature, "Is the Music Copyright Business Worth More Than Ever?"
• His quotes in John Thornhill's March 2020 Financial Times op-ed, "How Covid-19 Is Accelerating the Shift From Transport to Teleport"
• His upcoming book on digital disruption, Pivot: Ten Lessons in Tarzan Economics that Help You Navigate Disruption

Connect with Will:
https://www.linkedin.com/in/wpage/

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Connect With Diana:
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https://www.linkedin.com/in/diana-gremore-494b6625/

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This week, we're diving into our new analysis of how artist live streaming is affecting audience engagement during COVID-19: https://blog.chartmetric.com/covid-19-effect-on-the-global-music-business-part-3-live-streaming-artists/

Follow along with the article, which is full of pretty charts and graphs, and subscribe to our blog for more.

How Music Charts is a podcast by Chartmetric that explores the dance between interpreting data and making creative decisions in the music business every day.

Follow along with the article, which is full of pretty charts and graphs, and subscribe to our blog for more.

How Music Charts is a podcast by Chartmetric that explores the dance between interpreting data and making creative decisions in the music business every day.

Sample of YouTube channel list (contact Ben for more):
https://docs.google.com/spreadsheets/d/1Bj-wzvUJiEusikzzJ_iI-u35J0eWbe0_hQ4dgiEd7QI/edit?usp=sharing

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This week, we're diving into our recent analysis of Spotify listenership changes across nine different genres during COVID-19: https://blog.chartmetric.com/covid-19-effect-on-the-global-music-business-part-1-genre/

Follow along with the article, which is full of pretty charts and graphs, and subscribe to our blog for more.

How Music Charts is a podcast by Chartmetric that explores the dance between interpreting data and making creative decisions in the music business every day.

Find Out More About Republic Records:
http://www.republicrecords.com

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Article by Dr. Nuttiiya Seekhao: https://blog.chartmetric.com/the-evolving-role-of-music-artist-collaborations/

Special thanks to Dr. Nuttiiya for such a rigorous look at one of the latest trends in our music industry!

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This week, we're diving into Data Scientist Josh Hayes’ comparative analysis of major label vs. non-major label chart performance around the world: https://blog.chartmetric.com/state-of-the-industry-major-label-vs-non-major-label-performance-across-regions/

Follow along with Josh's original piece, which is full of pretty charts and graphs, and subscribe to our blog for more.

How Music Charts is a podcast by Chartmetric that explores the dance between interpreting data and making creative decisions in the music business every day.

Follow along with the interactive PDF here: https://www.chartmetric.com/6mo
Follow along with the webinar video here: https://vimeo.com/397073249

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• Highlights  
  • If a song was a traveller making its way through the playlist world, what would its passport look like? What connections could we make through the playlists it went through? Vamos a ver.  
• Mission   
  • Good morning, it’s Jason here at Chartmetric with your 3-minute Data Dump where we upload charts, artists, and playlists into your brain so you can stay up on the latest in the music data world.
  • We’re on the socials at “chartmetric” — that’s Chartmetric, one word and no “S.” 
  • Follow us on LinkedIn, Instagram, Twitter, or Facebook, and talk to us! We’d love to hear from you.
• Date
  • This is your Data Dump for Wednesday, Oct. 30, 2019.
• Track Journeys on Today’s Top Hits...Where Do Tracks Go? 
  • These days playlists are a given standard in the recorded music industry, and naturally they get a lot of our attention.
  • Tracks come and go through these curated collections and…wait a minute...where do these tracks come from and where do they get added to after? Let’s dig in.
  • So an easy point of reference to start from is Spotify’s flagship playlist, Today’s Top Hits with 24.5M followers. We’ve collected over 1K tracks that the 50-track list has placed since May 2016. 
  • It changes the majority of its list every Friday, though sometimes it sneaks in a track or two on Mondays and Wednesdays.
  • Now, where do all of these tracks come from?
  • Using a new feature we call Playlist Track Journeys, we can look backwards and see common tracks that Today’s Top Hits has with other Spotify playlists.
  • For example, it might not be a surprise that more than 25 official New Music Friday playlists (including those from Germany, the Philippines and Turkey)  place tracks just before or concurrently with TTH, as both playlists frequently are showcases for well-established artists to premiere new work.
  • But did you know that 37% of Spotify's Pop Rising tracks were added before TTH? For example, over three months ago, Pop Rising added Sam Feldt’s “Post Malone” track on May 27th and 23 days later on June 19th, the track got added to Today’s Top Hits, jumping from Pop Rising’s 1.8M followers to the big show with over 10x the amount of TTH followers, in less than a month.
  • Other playlists have common track DNA with TTH, such as Get Popped! with 218K followers and 26% track overlap, as well as Digster’s Danish playlist Hits Nu, with 185K followers and 12% overlap.
  • If that weren't enough, we can also look forward as well: looking at where TTH tracks go after they were added to the flagship list.
  • In this case, Ali Gatie’s acoustic guitar-driven ballad banger “It’s You” got added to the Global Top 50 playlist nine days after it was added to TTH, part of a 46% track overlap.
  • Or another insight is that 67% of the Lithuania Viral 50 playlist got added to its catalog after first being added to TTH, sometimes as much as 30 days later. This seems to indicate some sort of market lag Western hits experience locally, which can be useful information.
  • Now whether looking back or forward, correlation is certainly not causation, and let us be the first to say it. But there is still an advantage to understanding some of the relationships between playlists through the common song histories they share.
  • It could also provide a general path for your new music to emulate, especially if you're nurturing an emerging artist's career, going from lower tier followed lists to more prominent ones. The uses are many, so we’ll see in the months ahead what other parts of the playlist ecosystem we can begin to understand.

Outro

• That’s it for your Daily Data Dump for Wednesday, Oct. 30, 2019. This is Jason from Chartmetric.
• Free accounts are available at chartmetric.com 
• And article links and show notes are at: podcast.chartmetric.com
• Happy Wednesday, we’ll see you on Friday! 

• Highlights
  • What does an emerging Atlanta rapper and a British TV series soundtrack have to do with each other? Let our A&R Prediction tool explain.
• Mission   
  • Good morning, it’s Jason here at Chartmetric with your 3-minute Data Dump where we upload charts, artists, and playlists into your brain so you can stay up on the latest in the music data world.
  • The SXSW 2020 schedule was just announced yesterday, and Chartmetric is officially hosting two panels: one on Trigger Cities in the Creating & Monetizing Music track and another on Music Data for Engineers & Data Scientists for the Future of Music track. We’ll see you there.
  • Follow us on LinkedIn, Instagram, Twitter, and Facebook at chartmetric, one word, no “s”.
• Date
  • This is your Data Dump for Wednesday, Oct. 23, 2019.
• Making Growth Predictions With Our New A&R Tools
  • On October 9th, one of Chartmetric’s Data Scientists, Josh Hayes, wrote on our blog about the new A&R Prediction capabilities we now have live on the app, and now it’s time to dig into it!
  • We currently have a menu of algorithms that create shortlists of talent that we expect to grow in the next week.
  • We trained a model based on thousands of success-patterns taken from 1.7 million artists over the past 3 years, including album releases, monthly listeners, followers, and Spotify Popularity Index.
  • One of the algorithms predicts who will reach a Spotify Popularity Index (or SPI) of 35 in the next week. If you’re not familiar with SPI, essentially Spotify internally ranks the popularity of all artists on their platform daily, and puts them on a 100-point scale according to their own metrics, which we also track.
    • Coming in #1 yesterday was Atlanta rapper Benjamin Ken who is currently at 23 SPI and grew from 7.5K followers in mid-July to 11.8K followers now.
      • The biggest spike for Ken seems to be his monthly listeners, which was in the 300s only last Wednesday, and spiked up to 12.5K as of Monday.
      • The interesting part is Ken was not added to any new Spotify playlists since August 22nd, and hasn’t released any new music on the platform since his CHOSEN EP in July 2019...so this looks like a case in which the stimulus of increased Spotify traction has nothing to do with Spotify, it only acting as a repository for increased attention from another source, which for now, requires more digging.
  • Another algorithm we have in the A&R Prediction tool looks at who will break a Spotify Popularity Index of 30 in the next week, which is digging deeper into the level of complexity and confidence on whether they’ll actually hit that benchmark...but hey as long as it’s good music, who cares?
  • Yesterday’s winner was London rock outfit Eyes on Film at 25 SPI and a rather flat follower growth going from the 200s in 2017 to only the 500s this week.
    • Despite the low follower growth, Eyes on Film went from just under 8K monthly listeners at the end of July to breaking 21K this week, growing over 50% in the past month alone.
    • What’s going on here? Yet another TV sync success story...in this case, the award-winning, BBC-produced, and Netflix-acquired series Peaky Blinders, starring Cillian Murphy.
    • The Eyes on Film track “Waking Up Dead” was released back in 2013, but it is also included in two Peaky Blinder-oriented playlists with 288K and 108K followers each.
    • With the fifth season of the series releasing on BBC One in August, coinciding with Eyes on Film’s also spiking up in...you guessed it, August...we now have our method behind the madness.
  • There’s more for us to explore together on the A&R Prediction tool later, but for now, we hope you check it out for yourself!

Outro

• That’s it for your Daily Data Dump for Wednesday, Oct. 23, 2019. This is Jason from Chartmetric.
• Free accounts are available at chartmetric.com 
• And article links and show notes are at: podcast.chartmetric.com
• Happy Wednesday, we’ll see you Friday! 

• Highlights
  • Peloton’s recent IPO has us wondering about the most popular fitness playlists on Spotify and Deezer, so slap on some cross-trainers and fire up those Bluetooth earbuds.
• Mission   
  • Good morning, it’s Jason here at Chartmetric with your 3-minute Data Dump where we upload charts, artists, and playlists into your brain so you can stay up on the latest in the music data world.
  • We’re on the socials at “chartmetric” — that’s Chartmetric, one word and no “S.” 
  • Check us out on LinkedIn, Instagram, Twitter, and Facebook!
• Date
  • This is your Data Dump for Wednesday, Oct. 16, 2019.
• Music + Fitness: Shaping Up Spotify and Deezer’s Top Workout Playlists
  • Peloton, the indoor fitness brand best associated with its high-energy, online-class guided cycling experiences, went public on Oct. 7th, but closed its first day 11% under its initial public offering price, according to CNN.
  • Competitor SoulCycle pulled out of IPO-ing last year, and maybe it has something to do with the music issues Peloton is now facing: a $300M lawsuit from a group of music publishers.
  • Whether they’re using IP legitimately or not, there’s a lot at stake when it comes to music’s intimate relationship to fitness, according to music/tech journalist Cherie Hu’s latest newsletter.
  • And it’s definitely illustrated by Spotify’s most popular workout playlists, six of which are in the Top 100 in terms of Follower count:
    • Beast Mode is the most popular context-based fitness playlist on the Swedish platform, and the 9th most followed overall at 6.5M Followers.
      • Post Malone is currently getting the most unique monthly listeners from four playlist slots he’s currently sitting in, acquiring 891K MLs.
      • Reggaeton king J Balvin and American DJ/producer Marshmello are in the #2 and #3 slots with 592K and 577K Beast Mode-specific MLs respectively.
      • Almost 20% of the current list is tagged as EDM, and more than 30% if you include Brostep.
      • More than half of the current list are American artists, with the second most-represented country being high-energy Dutch electronic artists like Armin van Buuren, Hardwell and R3HAB...but still comprising only 13% of the list.
    • Spotify’s Motivation Mix at 4.4M Followers and the simply-titled Workout playlist at 3.3M are the next most popular fitness lists there, but an interesting juxtaposition may be Deezer’s most popular fitness playlist, Rock Workout.
  • That’s right: the #1 list to work out to on the French streaming platform is based around the rock genre, which is very different from Spotify’s top workout mixes, which are usually hip-hop, pop or dance-based.
  • Rock Workout has 342K fans and currently a 70-track count, compared to Beast Mode’s 200 track count.
  • Up until mid-May this year, Beast Mode only held 50 tracks at once, and though the amount of slots open up in the playlist, they do a great job of keeping things fresh, with a 100% 28-day ratio, meaning that the entire list has changed in the past month.
  • With Rock Workout, only 3% of the list has changed in the past month, even though it’s less than ¼ of Beast Mode’s track count, featuring artists such as Linkin Park, Nickelback and AC/DC.
  • Other Deezer workout playlists like Rap & Sport and Motivation Hits at 324K fans each feature much of the same pop/hip-hop/EDM fare you may expect...but it just goes to show that not all sweat beads to the same drummer.

Outro

• That’s it for your Daily Data Dump for Wednesday, Oct. 16, 2019. This is Jason from Chartmetric.
• Free accounts are available at chartmetric.com 
• And article links and show notes are at: podcast.chartmetric.com
• If you haven’t downloaded our semi-annual global industry report 6MO yet, you can find it all across our socials and in our show notes!
• Happy Wednesday, we’ll see you Friday! 

• Highlights
  • If you don’t eat chicken noodle soup with a soda on the side yet, then at least check out how a member of K-pop supergroup BTS tapped a 2006 Harlem dance craze to make a splash today...you might reconsider your lunch plans.
• Mission   
  • Good morning, it’s Jason here at Chartmetric with your 3-minute Data Dump where we upload charts, artists, and playlists into your brain so you can stay up on the latest in the music data world.
  • We’re on the socials at “chartmetric” — that’s Chartmetric, one word and no “S.” 
  • Check us out on LinkedIn, Instagram, Twitter, and Facebook!
• Date
  • This is your Data Dump for Wednesday, Oct. 9, 2019.
• Chicken Noodle Soup With j-hope and Becky G
  • If you’re not a BTS Army superfan, then you didn’t know that they’re currently taking a break from their full-on conquest for the US market, which has been going on since at least late 2017. You can read about that in our blog, link in the show notes.
  • And if you didn’t grow up in the mid-2000s, especially in New York City or the East Coast, you might not know about Webstar, Young B or AG, the artists behind a fun dance to their mid-2000s hit “Chicken Noodle Soup”.
  • But what might be interesting to you now, is how even during BTS’ two-month hiatus...they’re still really working the US market, just through one of the members as a solo act, j-hope.
  • J-hope is known for his dance skills among the BTS fanbase, and in the last week of September, he dropped a remake of the Harlem party anthem “Chicken Noodle Soup”, rapping verses in Korean and singing the catchy chorus in English.
  • The track has likely amassed over 70M YouTube views as of today with over 5.4M likes and 550K comments...this is all within 1.5 weeks.
  • J-hope experienced a 6x increase in Spotify daily followers to over 18K and doubled his Spotify monthly listener count to over 2M.
  • While certainly the star of the remake track, he also enlisted the help of Latin American pop star Becky G, who has a Spotify Popularity Index (or SPI) of 84 She also 84th in her ranking in the Chartmetric system.
  • J-hope’s SPI is lower at 69, while his Chartmetric ranking was 947th yesterday, so it’s clear that at least on Spotify, Becky G’s higher profile should be helping expose the BTS member’s solo career to more people in the States and the Latin community alike.
  • However, likely a measure of how curious BTS fans were of this collaborator, Becky G experienced her biggest jump in the past year in daily Wikipedia views by almost 10x to 29K.
  • Regarding overall popularity, BTS themselves are just ahead of her in terms of their own Chartmetric ranking at 82nd place, with an SPI of 90.
  • It’s hard to say who’s helping the other out more: j-hope picked an undeniably American dance classic to stoke stateside nostalgia and to pour more gas on the fire, featured one of Latin music’s top stars to gain more global market share.
  • But Becky G is certainly enjoying her own new fans from j-hope’s part of the world: BTS’ stronghold on several platforms is still major cities in East and Southeast Asia, and as for fandom, the BTS camp is world-class.
  • As for the original artists, Webstar and Young B? They’ve experienced their own upticks...for example, Young B is now known as Bianca Bonnie, and she experienced a 100x increase in daily Twitter followers to over 5K upon the remake’s release.
  • Better yet? Their soda on the side will come in the form of tasty, tasty publishing royalties, thanks to a couple of Korean and Latin pop stars.

Outro

• That’s it for your Daily Data Dump for Wednesday, Oct. 9, 2019. This is Jason from Chartmetric.
• Free accounts are available at chartmetric.com 
• And article links and show notes are at: podcast.chartmetric.com
• If you haven’t downloaded our semi-annual global industry report 6MO yet, you can find it all across our socials and in our show notes!
• Happy Wednesday, we’ll see you Friday! 

Outro

• That’s it for your Daily Data Dump for Wednesday, Oct. 2, 2019. This is Rutger from Chartmetric.
• Free accounts are available at chartmetric.com 
• And article links and show notes are at: podcast.chartmetric.com
• By the way, if you haven’t downloaded our report yet, you can find it all across our socials and in our show notes!
• Happy Wednesday, and we’ll see you on Friday for Part 2!

Outro

• That’s it for your Daily Data Dump for Friday, Sept. 27th, 2019. This is Rutger from Chartmetric.
• Free accounts are available at chartmetric.com 
• And article links and show notes are at: podcast.chartmetric.com
• Happy Friday, have a great weekend, and we’ll see you next week!

• Highlights  
  • Obsessed with streaming? Rightfully so, but after almost a year of coverage on Chartmetric, let’s go over some useful US radio facts that may help your artist’s overall distribution strategy.
• Mission   
  • Good morning, it’s Jason here at Chartmetric with your 3-minute Data Dump where we upload charts, artists and playlists into your brain so you can stay up on the latest in the music data world.
  • Chartmetric’s social media handle is Chartmetric, no “S ”- follow us onTwitter, LinkedIn, Instagram, and Facebook- we’re always posting useful music tidbits, we’d love to hear from you!
• Date
  • This is your Data Dump for Wednesday, Sept. 25, 2019.
• Radio in the Streaming Era: US Radio Facts for Streaming Experts
  • Coming up on one year ago, Chartmetric added 300 US radio stations to our 20+ sources of music data.
    • Why? Well, radio is still considered one of the major ways to break an artist into the mainstream here in the States, and to many, it remains a strong advantage of the major labels, who are well-networked in the radio community.
  • You can check our blog article about it in the show notes, but for those who maybe never got a chance to learn about the world before streaming, we thought we’d take the time to review some basic radio facts to help you put it all in context.
    • First, a radio spin does NOT equal a streaming play! Nowadays, we’re so used to looking at total streams on whatever platform, how many plays are coming from what playlist, or how many plays came from a user’s library...but nonetheless, each stream is just a one-to-one relationship with a listener.
    • With radio, one spin can mean thousands of listeners, at the same time, and usually in the same geographic area! A one to many relationship is how terrestrial radio differentiates itself from streaming, and it requires a certain appreciation to realize that just because radio spin counts aren’t as big in quantity as streams in a given time period, they are much more geographically attributable, they’re time-stamped, and they play to many more people.
  • On the many more people part, one term to be aware of is “AQH”, which stands for average quarter-hour persons, or the amount of unique listeners in a 15-minute period listening for at least 5 minutes.
    • Have you ever been stuck in highway traffic and flipped through radio stations, only to hear commercials? Well, I bet it was around one quarter hour before or after the hour when that happened.
      • Why? The reason is the way Nielsen Audio records AQH, because by playing commercials on the :15 and :45 minute marks, they maximize the period of time they play music (and thus, get the highest AQH possible). This raises their profile for advertisers wanting to buy time and more exposure on their station.
      • The AM Drive during morning rush hour is primo ad time, so while 5-10AM is highly lucrative for radio stations, it’s probably not when your new song is going to get played. You probably have a better chance in the PMD (guess what that is), Evening or Overnight dayparts.
      • Location-wise, New York City, Los Angeles and Chicago stations tend to have the highest AQH ratings, which makes sense given they’re the top three populated cities in the country.
    • Another term you may have heard is “Radio Format”, and this loosely refers to the type of genres a station plays, and it’s really more of a way for advertisers to recognize a station’s listener demographics.
      • Surely you’ve heard “Top 40”, and that also goes by Contemporary Hit Radio, or “CHR”, and it’s what you’d expect, the latest and greatest from mostly major labels.
    • Country is another format, and of course it plays best in the South, but also a sizeable presence in other places like Chicago.
    • Urban plays better in the Midwest/South/East and is made up of hip-hop and rap, while Rhythmic plays bigger in the West; a mix of Top 40 and Urban where R&B, dance, hip-hop, and pop all intermingle.
    • Other formats like “Triple A”, Alternative and Hot Adult Contemporary exist as well, we invite you to check out the blog article to learn more. Many thanks to our data supplier RadioWave and Seth Keller for their expertise.
• Outro
  • That’s it for your Daily Data Dump for Wednesday, Sept. 25, 2019. This is Jason from Chartmetric.
  • Free accounts are available at chartmetric.com 
  • And article links and show notes are at: podcast.chartmetric.com
  • Happy Wednesday, and we’ll see you on Friday!

• Highlights  
  • If the 2000s belonged to 50 Cent, the future belongs to Tencent. We’ll check out a few Western artists who are active in the Chinese market, and how the tech conglomerate may matter to them in the near future.
• Mission   
  • Good morning, it’s Jason here at Chartmetric with your 3-minute Data Dump where we upload charts, artists and playlists into your brain so you can stay up on the latest in the music data world.
  • Chartmetric’s social media handle is Chartmetric, no “S ”- follow us on LinkedIn, Instagram, Twitter, and Facebook- we’re always posting fun music facts, we’d love to hear from you!
• Date
  • This is your Data Dump for Friday, Sept. 20, 2019.
• Taylor Swift enjoys Chinese success on QQ Music, with R3HAB set to in the near future
  • Music Business Worldwide yesterday reported on Tencent, the giant Chinese tech company responsible for running the massively popular WeChat messaging platform with over 1B users and related music streaming app QQ Music, with over 650M active monthly users. 
  • One piece highlighted how Tencent is reportedly in talks to buy 10 to 20% of Universal Music Group, in a move that would surely be a boon for all artists operating with the major label.
  • Some already there don’t need it! Looking at the QQ Music Western chart for this week, one of their artists under the Republic Records imprint is already enjoying her access to Chinese music fans, an artist by the name of Taylor Swift.
  • While Tay Tay isn’t in the Top 20 this week, she does have by far the most tracks on the 100 track chart, placing 17 tracks of her recent Lover album onto the list.
  • This obviously suggests that her entire album is getting quite an amount of attention on the platform, rather than just a few hits like Camila Cabello at 3 tracks or Ed Sheeran at 2.
  • She’s not the only artist with new album release doing well there however, as Post Malone placed seven of his 17-track album Hollywood’s Bleeding in the QQ Western Top 100 and showing that Chinese fans are into trap just as much as pop music.
  • Someone who doesn’t show up on the QQ Chart this week but may be doing so very soon is Dutch-Moroccan DJ/producer R3HAB, who just signed to Tencent’s joint venture label with Sony, named Liquid State.
  • The Hong-Kong based electronic-focused label must be excited to host the international artist’s content in the Chinese market, as he’s played at least five live shows on the mainland this year, the last three being in Shanghai, Harbin and Chengdu, according to Songkick data.
  • R3HAB’s exposure on Spotify and YouTube has been mostly European, getting most of his streams from cities like Amsterdam, Oslo, Warsaw and Paris, but the electronic sound does indeed lend itself to a global audience, just like Liquid State “ambassador” Alan Walker can attest to.
  • The British-Norwegian DJ has an almost 35% Instagram follower demographic from Asia, over 30% of them hailing from Indonesia and India alone and accounting for over 2M followers in those markets.
  • So with Liquid State and Tencent now in his corner, it looks like R3HAB could very well start exhibiting Taylor Swift-like success there, because with over 83% of the Chinese music market controlled by Tencent, the promotional advantages will be plenty.

Outro

• That’s it for your Daily Data Dump for Friday, Sept. 20, 2019. This is Jason from Chartmetric.
• Free accounts are available at chartmetric.com 
• And article links and show notes are at: podcast.chartmetric.com
• Happy Friday, have a great weekend, and we’ll see you next week!

Outro

• That’s it for your Daily Data Dump for Friday, Sept. 13th, 2019. This is Rutger from Chartmetric.
• Free accounts are available at chartmetric.com 
• And article links and show notes are at: podcast.chartmetric.com
• Happy Friday, have a great weekend, and we’ll see you next week!

• Highlights  
  • When was the last time you got your face melted with some heavy metal? Well, distributor TuneCore says it was probably during 2018 and American alt-metal group Tool says it’s right now on the Billboard 200 chart.
• Mission   
  • Good morning, it’s Jason here at Chartmetric with your 3-minute Data Dump where we upload charts, artists and playlists into your brain so you can stay up on the latest in the music data world.
  • Chartmetric’s social media handle is Chartmetric, no “S ”- follow us on LinkedIn, Instagram, Twitter, and Facebook- we’re always posting cool music tidbits for your knowledge! And here’s more.
• Date
  • This is your Data Dump for Wednesday, Sept. 11, 2019.
• Tool, Metal’s Growth, and the Future of the Album
  • Yesterday, digital distributor TuneCore released some Q1 2019 statistics stating that $83M USD was earned by its artists, bringing their total distribution revenue to over $1.5B all-time.
  • However, one of its finer details caught the eye of some music outlets like Consequence of Sound: the Heavy metal genre sported a 154% increase in streams and downloads in 2018, outdoing the next four genres J-Pop at a 133%, R&B/Soul at 68% and K-Pop at 58%.
  • While the 2018 data might feel a little outdated, how about this week of September 14th, when American alternative metal band Tool debuted in the #1 Billboard 200 album chart like they were a Billie Eilish / Drake super-group. 
    • Tool’s new album “Fear Inoculum” breaks all of the pop and hip-hop’s rules, as it was 13 years in the making for the progressive metal act and according to Billboard:
      • “...a now-rare example of a No. 1 album without…” a concert redemption offer, pre-order promotion, or merchandise bundle.
    • Tool amazingly relegated Taylor Swift’s “Lover” album to the #2 slot on the Billboard chart, and the band is currently ranked 679th overall according to Chartmetric’s Cross-Platform Performance ranking as of yesterday.
    • Tool’s Neighboring Artists who are ranked similarly include Reggaeton artist Arcangel, Pop crooner Alec Benjamin and Rap duo Rae Sremmurd.
  • Now given Tool’s smashing album success this week, you’d expect to see them similarly trouncing their fellow artists with similar music metrics.
    • However, the opposite is the case: Tool only wields 830K Spotify followers, while Rae Sremmurd has over 5.1M and Arcangel has over 3.8M.
    • Similarly, both artists also trounce Tool with regard to Spotify Monthly Listeners -- the rap and reggaeton stars are collecting almost 11M unique streamers on the Swedish platform while Tool only has half that.
  • But that’s why it’s important to take into account more hits-driven artists vs. album-driven artists: Tool’s fans have long known they don’t go by industry rules and that’s part of why they love them.
    • Six of the new album’s ten tracks clock in over 10 minutes each and the packaged CD released with a 4-inch HD screen inside of it to play its visual arts-driven music videos to their fans that bought it.
  • So while no single Tool songs are appearing on Apple Music or Amazon track charts, the album sits at No. 14 on Apple’s Album charts and leading their Rock one. 
    • They also take No. 17 on Amazon’s Album charts and No. 1 on its Rock chart.
    • This breaks the normal correlation between each platform’s track and album charts...which just goes to show that Tool is doing things their way, in a big way.
  • As most music markets continue to digitize away from the physical world, Tool is showing that while the album format still has its charms, they are likely also benefitting from a   rising tide where metal fans are digitizing themselves.

Outro

• That’s it for your Daily Data Dump for Wednesday, Sept. 11, 2019. This is Jason from Chartmetric.
• Free accounts are available at chartmetric.com 
• And article links and show notes are at: podcast.chartmetric.com
• Happy Wednesday, and we’ll see you on Friday!

• Highlights  
  • Not all breaking artists are new artists, not all platforms have the same up and comers, and not a day more should pass until you check out all the viral talent we’re discovering on our new A&R tool.
• Mission   
  • Good morning, it’s Jason here at Chartmetric with your 3-minute Data Dump where we upload charts, artists and playlists into your brain so you can stay up on the latest in the music data world.
  • Chartmetric’s social media handle is Chartmetric, no “S ”- follow us on LinkedIn, Instagram, Twitter, or Facebook, and talk to us! We’d love to hear from you.
• Date
  • This is your Data Dump for Wednesday, Sept. 4, 2019.
• Breaking in Our Newly Updated A&R Dashboard
  • Do you like discovering new music, but you want more than just a New Music Friday playlist? Do you like discovering new music, but you don’t necessarily want to be out 7 nights a week in the clubs either?
  • Well, come check out the next version of Chartmetric’s A&R tool, now live on the platform.
  • The newest, shiniest updates include:
    • Several windows of relative change….for example, there is now a 7-day, 30-day and 60-day absolute value and growth change %
    • For example, if I click on the Instagram Followers tab, Chartmetric scans over all the IG profiles we have in our 1.7M artist database, and as of yesterday, pulled out over 38K artists who showed remarkable growtih in that particular metric.
      • Feel-good, indiecoustica troubadour Andrew Simple comes out on top here, with a 1700% increase in his IG follower base to 8.8K, from 30 days ago.
    • “But what if I’m not into indiecoustica?” you may say, well here’s what else is really neat about this new A&R tool version:
      • We have established our own Chartmetric parent genre system, containing 20 major genres such as “Pop”, “Rock, Punk, Metal” and “Rap & Hip-Hop”.
      • And once you pick that, it goes even further with the sub-genre filter, which uses over 1.8K specific genres to really get to the type of sonics you want to discover, such as “Latin jazz” or “electro swing” or if you’re really looking for it, “symphonic black metal”.
      • If I narrow down to Rap & Hip-Hop, I get US rapper Gerald Walker as the #1, but if I apply the sub-genre “Alternative Hip-Hop”, I get Benny the Butcher as the #1 with a 21% increase himself in IG followers.
    • “What if I’m curious about Australian artists, and I value YouTube the most?” 
      • That’s what our Artist Country filter is for, which contains virtually all the world’s countries, allowing you to surgically find artists according to the biographical data we have.
      • And then you simply click into “YouTube Channel Views”, and there you’ll have neo-psychedelic Aussie band King Gizzard and the Lizard Wizard at #1 with a 28% increase in views in the past month.
  • What’s a couple of cool things so far that we’ve discovered?
    • There’s not a lot of crossover between platforms, which can open up your mind on who is doing best on which platform...and this also provides a way to focus energy once an artist hits that “breaking” threshold: Where do they need to focus their attention next?
    • We’d also pay attention to the First Release and Last Release Columns, because a breaking artist doesn’t necessarily mean they’re a new artist.
      • For example, Fleetwood Mac’s YouTube channel saw an increase of 6.2M views in the last 30 days and 11.5M in the last 60 days, putting them in the 10th spot, as of Sept. 2.
      • Their first release was in the ‘60s.
      • If you’re in the catalog game, you’re in luck, but if you’re looking for the next big thing to sign, the first release column can help you move on to other artists quickly.
    • Much more to discover as we dig into the data ourselves, but for now, have at it and let us know what you think!

Outro

• That’s it for your Daily Data Dump for Wednesday, Sept. 4, 2019. This is Jason from Chartmetric.
• Free accounts are available at chartmetric.com 
• And article links and show notes are at: podcast.chartmetric.com
• Happy Wednesday, and we’ll see you on Friday!

Outro

• That’s it for your Daily Data Dump for Friday, August 30th, 2019. This is Rutger from Chartmetric.
• Free accounts are available at chartmetric.com 
• And article links and show notes are at: podcast.chartmetric.com
• Happy Friday, have a great weekend, and we’ll see you next week!

• Highlights  
  • Know thy neighbor, you may have been told, and to that us music data nerds would say, know thy artist neighbor...we’ll do so with rapper Pusha T through Chartmetric’s Neighboring Artists feature.
• Mission   
  • Good morning, it’s Jason here at Chartmetric with your 3-minute Data Dump where we upload charts, artists and playlists into your brain so you can stay up on the latest in the music data world.
  • We’re on the socials at “chartmetric”, that’s Chartmetric, no “S ”- follow us on LinkedIn, Instagram, Twitter, or Facebook, and talk to us! We’d love to hear from you.
• Date
  • This is your Data Dump for Wednesday, Aug. 28, 2019.
• New Kids on the Block: Identifying Pusha T's Artist Neighbors
  • Virginia Beach veteran rapper Pusha T, dropped a new song, “Sociopath,” on Monday.
    • The Kanye West-produced track featuring Kash Doll was leaked early, but Complex Magazine’s "Best Rapper Alive" of 2018 is still keeping it moving.
  • As of yesterday, Pusha T’s Chartmetric rank was at 729th out of the 1.7M artists we track globally.
    • He has 8.2M SoundCloud followers, 140M total YouTube channel views and a Spotify Monthly Listener count at 3.8M.
  • Now, if we break out Pusha T’s Artist Neighbors by his Chartmetric rank alone...
    • To the north, we’ve got 
      • Singer-songwriter god Sara Bareilles ranked 728th, and Irish indie band Two Door Cinema Club in 725th place.
    • To the south of Push, there’s 
      • American pop rockers Cage the Elephant ranked 731st and Australian rockers The Vines in 732nd place.
  • Would Push ever do a cross-genre track with these acts who are at similar popularity levels in the digital world? 
    • It wouldn’t be his first: his guest verse on Justin Timberlake’s 2002 solo album debut “Like I Love You” or 2017 guest on Linkin Park’s “Good Goodbye” with grime rapper Stormzy have both accumulated tens of millions of spins on Spotify alone.
  • But if we filter by genre cluster-which through Chartmetric’s data science magic we find to be rap, trap music, pop, pop rap, southern hip hop-Pusha T’s Artist Neighbors now turn into:
    • Brooklyn’s Desiigner at 623rd place and Atlanta’s Playboi Carti at 591st place above Push.
    • And below, is Toronto’s PARTYNEXTDOOR at 859 and Diddy himself at 889.
    • So if Push were looking for a more similar sound in vein to plan a tour with or collab with, he could easily generate some creative ideas this way.
  • Our data science skills are growing strong with the Force back at Chartmetric HQ, so be sure to keep an eye out for more super-cool and hopefully super-useful features to come.

Outro

• That’s it for your Daily Data Dump for Wednesday, Aug. 28, 2019. This is Jason from Chartmetric.
• Free accounts are available at chartmetric.com 
• And article links and show notes are at: podcast.chartmetric.com
• Happy Wednesday, and we’ll see you on Friday!

• Highlights 
  • What better A&R team to have then over 150M smartphones Shazaming every month around the globe? Let’s check out new Apple Music’s Shazam-powered Discovery Top 50 chart/playlist.
• Mission   
  • Good morning, it’s Jason here at Chartmetric with your 3-minute Data Dump where we upload charts, artists and playlists into your brain so you can stay up on the latest in the music data world.
  • We’re on the socials at “chartmetric”, that’s Chartmetric, no “S ”- follow us on LinkedIn, Instagram, Twitter, or Facebook, and talk to us! We’d love to hear from you.
• Date
  • This is your Data Dump for Thursday, Aug. 22, 2019.
•  Unpacking Shazam's New Discovery Top 50 Playlist
  • This week on Variety, Apple Music made some superhero-sized news with the reveal of its Shazam-powered Discovery Top 50 playlist, which aims to spot “emerging and up-and-coming” artists based on data from 11 countries.
  • According to Music Ally, the global chart is based on Shazam data from the US, UK, Brazil, Mexico, Australia, Canada, France, Germany, Italy, Spain, and Russia for now, and is a way for Apple to spot and deliver trends worldwide.
  • Apple bought Shazam in September 2018 for an estimated $400 million, and this is likely one of many cross-app data integrations to come. 
  • Shazam Discovery Top 50 updates every Tuesday, and appears to be exclusive to frontline material, though they’re not all necessarily new releases.
  • Clicking through to the playlist profile on Chartmetric, we can see that seven of the 50 tracks, were released in 2018, and five of those were released more than a year ago.
  • For example, American Lucy Dacus’ anti-Americana track “Yours & Mine” currently sits in the No. 13 spot. But after Sept. 2, it will pass the 18-month catalog date, which is the industry’s traditional rule of thumb.
  • A few weeks after that, Dutch producer Mason’s itchy-footed track “Dance, Shake, Move,” currently at No. 34, will join her.
  • Interestingly, there also appears to be some genre and geographic method to the madness.
  • Unlike Apple’s other top playlists, EDM rules at 11 percent of the Shazam playlist’s genre distribution, Progressive House follows at 8 percent, and House at almost 3 percent, giving the larger Electronic & Dance genre almost a quarter of the market share this week.
  • The next biggest segment is all Latin, including Pagode, Música Popular Brasileira, Samba, Forro, and Reggaeton-each with nearly 6 percent of the distribution-and Bossanova following at almost 3 percent.
  • With the exception of the Puerto Rican-originated reggaeton sound, these genres are all Brazil-based.
  • Considering that next to the US’ 30 percent artist country distribution on the playlist, Brazil comes in second with 15 percent and Puerto Rico comes in third with 11 percent, there’s clearly a geographical alignment with the types of music presented.
  • Going another level deeper into the tracks themselves, we can expose more of why some of these songs are popping up on the Discovery Top 50 radar.
  • For example, Kosovo-based DJ Regard appears in the No. 4 position in the Shazam-fed chart, but his EDM track “Ride It” also happens to be trending on TikTok.
  • It was 40th yesterday on the TikTok Top Tracks chart with 1.9M TikToks using the track, many times the users simply doing a fun dance or showing lists of why they’re single, different, or annoyed with something.
  • While the Shazam Discovery Top 50 playlist is only currently pulling from 11 countries, it will be interesting to see if EDM and Latin music continues to outnumber Pop and Hip-Hop tracks as the playlist’s country inputs increase.
  • So if you feel like benefiting from 20 million Shazams a day, 1 billion app downloads, and users in 190 countries, check out Apple’s freshest playlist and welcome your newest addition to your A&R team.

Outro

• That’s it for your Daily Data Dump for Thursday, Aug. 22, 2019. This is Jason from Chartmetric.
• Free accounts are available at chartmetric.com 
• And article links and show notes are at: podcast.chartmetric.com
• Happy Thursday, and we’ll see you tomorrow!

• Highlights  
  • TikTok is the new game, but it’s already the 2nd quarter. Let’s dive into one of our newest features, TikTok Top Track and Trending Videos charts.
• Mission   
  • Good morning, it’s Jason here at Chartmetric with your 3-minute Data Dump where we upload charts, artists and playlists into your brain so you can stay up on the latest in the music data world.
  • We’re on the socials at “chartmetric”, that’s Chartmetric, no “S ”- follow us on LinkedIn, Instagram, Twitter, or Facebook, and talk to us! We’d love to hear from you.
• Date
  • This is your Data Dump for Thursday, August 15th, 2019.
•  TikTok Top Tracks and Trending Videos
  • If you are involved in music marketing at all, or you have a Gen Z-er in your life, you know about TikTok.
  • Owned by Beijing-based Internet company ByteDance, TikTok is arguably the newest place to be when it comes to music discovery, and it’s hard not to be when you take over the giant lip-sync app that was Musical.ly.
  • Earlier this year, ByteDance hit over 1B downloads across their suite of apps, 100M of them in the US and 250M of them in India, according to CNN.
  • Some of its biggest stars are just regular people: teens dancing, moms decorating cookies, people playing practical jokes on each other….but it’s all frequently set to music.
  • So who’s winning that never-ending game for eyes and ears on TikTok?
  • As of yesterday, the top track used was none other than Lil Nas X and Billy Ray Cyrus’s “Old Town Road (remix)”, with 9.3M videos using the now record-breaking track.
  • One thing to note about TikTok as a music platform is that-at least in its current state-it’s not the neatest from a metadata perspective. It’s more about the users’ creativity.
  • As users are free to record and upload video and audio like YouTube, songs can be uploaded with no identifying song name or artist to keep track.
  • Or in Lil Nas X’s case, duplicates. There were two original track copies of “Old Town Road” in the 28th and 34th positions on the top tracks chart yesterday, with 2.3 and 2M videos respectively. So if you include remixes, the track is definitely the top one on the Chinese platform with over 13.6M TikTok videos with the yeehaw anthem.
  • And while there is a Trending Video chart, where Mariah Carey’s 2009 track “Obsessed” is currently the soundtrack for the #1 and #2 videos, you don’t have to go to the trending chart to find non-Top 40 tracks.
  • For example, Why Mona’s 2017 moody electronic cover of the Spice Girls’ “Wannabe” took the #2 spot yesterday with 9.2M videos, due to its viral dance that many users uploaded the song with.
  • In 4th place with 7.6M videos is Sean Kingston’s 2007 track “Beautiful Girls”, where lots of TikTok-ers are do a cute hand dance or some Fortnite moves.
  • Or in 135th place with 791K videos is none other than ABBA, with their 1986 track “Gimme! Gimme! Gimmie!”, because it has a nice “reveal” type of drop into its chorus. Users like to provide some kind of visual surprise or fun moment when it hits.
  • So if you’ve got a catalog track ripe for memes, let her rip, because the world awaits its next hashtag!

Outro

• That’s it for your Daily Data Dump for Thursday, August 15th, 2019. This is Jason from Chartmetric.
• Our new TikTok Top Tracks and Trending Video charts are now live, check them out with a free account at chartmetric.com 
• Article links and show notes are at: podcast.chartmetric.com
• Happy Thursday, we’ll see you tomorrow!

Outro

• That’s it for your Daily Data Dump for Friday, August 9th, 2019. This is Rutger from Chartmetric.
• Free accounts are available at chartmetric.com 
• Article links and show notes are at: podcast.chartmetric.com
• Happy Friday, have a great weekend, and we’ll see you next week!

• Highlights  
  • What happens when a global artist gets sued by another for copyright infringement? Not much for the former, but a notable increase for the latter...we’re talking about music data by the way, not legal damage payments.
• Mission   
  • Good morning, it’s Jason here at Chartmetric with your 3-minute Data Dump where we upload charts, artists and playlists into your brain so you can stay up on the latest in the music data world.
  • We’re on the socials at “chartmetric”, that’s Chartmetric, no “S ”- follow us on LinkedIn, Instagram, Twitter, or Facebook, and talk to us! We’d love to hear from you.
• Date
  • This is your Data Dump for Wednesday, August 7th, 2019.
• Katy Perry, Flame and the Effects of Publicity
  • We’ve all seen industry gossip and trade news before...but have you ever used it to measure the impact of publicity?
  • For the past week, both general and industry news sources have been reporting on the lawsuit of American rap artist Flame and the alleged copyright infringement of Katy Perry and team on her widespread 2013 hit, “Dark Horse”.
  • Though debate still rages in the industry on whether it was valid in the eyes of copyright law, the jury itself decided it was indeed infringement, and ordered the American pop star and songwriting team to pay $2.78M in collective damages to the defendant.
  • From a data perspective, what’s interesting is how this kind of news affects their digital profiles.
  • For example, looking at the past week of social and streaming data for Katy Perry since news of the lawsuit first broke around July 30th, there was….basically no effect.
  • No extra playlists or apparent correlation to Instagram follower count or Spotify monthly listeners….just more Katy Perry-level numbers, which is more than 7K new daily Spotify followers, 13M more daily YouTube views and 21K new daily IG followers….all in a day’s work.
  • But for a lesser known artist like the Christian rapper Flame, he did experience a notable increase in digital profile.
  • As of late, Flame in comparison had only gained about 67 new daily Spotify followers and 184 new YouTube daily views….and actually did score a few new charts.
  • For example, “Joyful Noise”, which was the 2009 Flame track that was allegedly knowingly copied from by the Perry team, charted on official Viral 50 Spotify daily charts for the United Kingdom, New Zealand and Canada.
  • It was for one day on August 2nd, a few days after the news had been able to make the news rounds in places like the Guardian, Rolling Stone, the BBC and Associated Press, and the track itself sat in the 13th, 15th and 24th respective positions on the 50-track viral charts.
  • Its YouTube video went from 1800 daily views on Monday July 30th to more than 580 times that, peaking on July 31st at over 1M daily views….even the track’s Genius page, which only had less than 10 daily views the week prior, jumped to 740 the week of the proceedings.
  • More than the track itself, Flame’s general artist profile gained 331 Spotify followers on July 31st, almost 5x his recent daily average, and his Spotify monthly listener count as of Monday August 5th has more than doubled in size to over 500K from his count only a week prior.
  • He experienced similar multiples of increase in Twitter followers, retweets and Wikipedia views.
  • So what does this mean for the rest of us? Possibly, a way to measure the effects of publicity….it’s virtually impossible to do so on a global superstar, but with an artist with a relatively little daily digital footprint, we can see which platforms are most affected by such news on certain given sources...and maybe be able to plan for future publicity expectations when working with your own artists.
  • Because as they say in the show biz, “Any publicity is good publicity.”

Outro

• That’s it for your Daily Data Dump for Wednesday, August 7th, 2019. This is Jason from Chartmetric.
• Free accounts are available at chartmetric.com 
• Article links and show notes are at: podcast.chartmetric.com
• Happy Wednesday, see you on Friday!

Outro

• That’s it for your Daily Data Dump for Friday, August 2nd, 2019. This is Rutger from Chartmetric.
• Article links and show notes are at: podcast.chartmetric.com
• And if you like what we’re doing, don’t forget to leave us a rating or review!
• Happy Friday, have a great weekend, and we’ll see you next week!

• Highlights  
  • Are you a manager looking for a quick summary of a record label you’re talking to? Maybe you want to compare the label you work for with a competitor? We’ve got a solution for you in our new Labels Page!
• Mission   
  • Good morning, it’s Jason here at Chartmetric with your 3-minute Data Dump where we upload charts, artists and playlists into your brain so you can stay up on the latest in the music data world.
  • We’re on the socials at “chartmetric”, that’s Chartmetric, no “S ”- follow us on LinkedIn, Instagram, Twitter, or Facebook, and talk to us! We’d love to hear from you.
• Date
  • This is your Data Dump for Wednesday, July 31st, 2019.
• New Feature: Labels Page
  • Debuting this week is a new feature simply called the Labels Page! We’re still putting tweaks on how we’re visualizing and organizing the data, but we’re hoping you can get a good idea of what certain imprints have been up to lately.
  • First and foremost, it isn’t an exhaustive list of labels in our entire database, because that would equal long load times.
    • So we try to focus on more active labels with better known tracks.
    • Specifically, this translates to labels that have released at least one track on Spotify with a Popularity Index of 40 or higher, in the past three years.
    • The Labels List defaults to the highest number of such popular releases in the past 3 years...
      • ...with Sony Music Entertainment having the most with 747 as of today, Columbia Records in 2nd with 711 and then RCA Records in 3rd place with 432.
      • So notice that we are currently displaying both parent group labels as well as label imprints alongside each other, since this is how we receive tracks’ metadata, but we’ll keep optimizing this down the road.
  • Once you click on various labels, we display their artists who’ve released in the past 60 days, along with releases in the past three years and even each label’s social media followers over time!
    • For example, you can check out that Sony Music Latin’s top performer in the past 60 days is CNCO, the Latin boy band that we blogged about back in December 2017 (link in the show notes).
    • CNCO is at a 78 Spotify Popularity Index, with an impressive 5.7M followers on the platform and 9.3M monthly listeners.
    • Their latest release on the label was “De Cero” a little over a month ago on June 23rd, which is also on 43 Apple Music playlists, 25 Amazon Music playlists and 18 Deezer ones...which you can see quickly here in one page.
  • You will also be able to get quick personalities of labels via their release numbers…
    • ...for example, Armada Music, as an electronic label, doesn’t have many releases that got over 60 on the Spotify Popularity Index in the past three years, as electronic as a genre has never been the strongest type of music on Spotify (which we also blogged about in Jan 2018, link in show notes).
    • However, Armada has released 810 tracks in the past three years that we’re tracking, while similarly electronic genre labels do a similar pace like Monstercat at 785 and Ultra at 767.
    • You can compare this with the 442 that 300 Entertainment has put out in the same time period, which is still a fast pace at over 12 releases per month...to be expected for a rap label in a genre that is well-known for constantly dropping new music.
  • Get to know foreign labels like India’s T-Series or Brazil’s Som Livre via our Labels feature as well...we’ll surely include more label analysis down the road, but for now, check it out yourself with a free account at chartmetric.com

Outro

• That’s it for your Daily Data Dump for Wednesday, July 31st, 2019. This is Jason from Chartmetric.
• Article links and show notes are at: podcast.chartmetric.com
• Happy Wednesday, see you on Friday!

Outro

• That’s it for your Daily Data Dump for Friday, July 26th, 2019. This is Rutger from Chartmetric.
• Free accounts are at chartmetric.com
• And article links and show notes are at: podcast.chartmetric.com
• Happy Friday, have a great weekend, and we’ll see you next week!

• Highlights  
  • The MTV Video Music Awards are back for 2019 and the ballots are open! We’ll take a look at who’s up for what and from a data perspective, who might win!
• Mission   
  • Good morning, it’s Jason here at Chartmetric with your 3-minute Data Dump where we upload charts, artists and playlists into your brain so you can stay up on the latest in the music data world.
  • We’re on the socials at “chartmetric”, that’s Chartmetric, no “S ”- follow us on LinkedIn, Instagram, Twitter, or Facebook, and talk to us! We’d love to hear from you.
• Date
  • This is your Data Dump for Wednesday, July 24th, 2019.
• VMAs
  • The 2019 MTV Video Music Awards take place in New Jersey’s Prudential Center on Aug 26th.
  • Started in 1984, the 36th installment of the annual ceremony will continue to draw together the music industry’s brightest stars, and their biggest fans, to celebrate the music video medium.
  • Voting for performer categories have been open to the public since 2006, and for 2019, the virtual ballots will be open until Aug. 15.
  • Looking at the artists with the most nominations, the data is very clear that the ceremony is about the biggest stars today:
    • Coming out with 10 nominations each are Ariana Grande and Taylor Swift, Billie Eilish with 9 and Lil Nas X with 8. This is for the performer categories, of which there are 14, while professional category voting (such as Best Art Direction) are closed off to qualified personnel.
    • All four of these artists have Spotify Popularity Indices higher than 92, Monthly Listener counts above 39M, and Chartmetric rankings of 20 or above.
    • Interestingly, their YouTube subscriber counts vary widely, with Grande and Swift with 36M and 34M each, Eilish at 16M and Lil Nas X around 4.5M.
    • Since subscriber count on YouTube reflects a long-term public interest in an artist, and to a certain degree, the seniority of any creator, it says something about how MTV nominates its artists, which seems to be a closed process.
    • By nominating Grande and Swift the most, who have both been active since 2008 and 2004 respectively, it’s nodding to the more veteran players in the industry.
    • But with Eilish and Lil Nas X, who have been active only since 2015 and 2018, it understandably shows the awards to also be a measurement who’s hot now.
  • But who will win what? What are your predictions, Chartmetric?
    • Well, we can’t say for sure, but what we can do is pretend certain metrics are the best predictors for each category.
    • For example, if Video of the Year came down to straight YouTube views, Lil Nas X and Billy Ray Cyrus’ “Old Town Road (Remix)” would leave everyone else in the dust at 551M views, several steps ahead of the #2 runner up, which would be Eilish’s “bad guy” at 406M.
    • If Song of the Year came down to Spotify Monthly Listeners, then it’d be (surprise, surprise) Lil Nas X again at 48M and then Drake as runner-up with 45M.
    • Finally, if Artist of the Year came down to Chartmetric’s Cross-Platform Performance ranking, then the winner would be Shawn Mendes, who’s ranked #3 in our systems, with Ariana coming in 2nd in the MTV category with an 11th Chartmetric CPP ranking.
  • But who knows which artists the people will vote for next month, we’ll just have to tune in and see!

Outro

• That’s it for your Daily Data Dump for Wednesday, July 24th 2019. This is Jason from Chartmetric.
• Free accounts are at chartmetric.com
• And article links and show notes are at: podcast.chartmetric.com
• Happy Wednesday, and we’ll see you Friday!

• Highlights  
  • In Part 3 of the music "trigger cities" mini-series, we explore the music tastes of Mexico City, São Paulo, Buenos Aires, Rio de Janiero, Bogotá, Lima and Santiago.
• Mission   
  • Good morning, it’s Jason here at Chartmetric with your 3-minute Data Dump where we upload charts, artists and playlists into your brain so you can stay up on the latest in the music data world.
  • We’re on the socials at “chartmetric”, that’s Chartmetric, no “S ”- follow us on Instagram, Twitter, Facebook or LinkedIn, and talk to us! We’d love to hear from you.
• Date
  • This is your Data Dump for Wednesday, July 17th, 2019.
• Latin America "Trigger" Cities
  • In case you missed them, we have been working on a written mini-series called “trigger cities”, it’s a concept that Chartmetric’s Partner and Advisor, Chaz Jenkins, an international marketing guru coined many years ago.
  • It’s the idea that in the streaming environment, our algorithms on YouTube, Spotify and all platforms are connected with the tastes of huge cities around the world who also love the same apps.
  • Lauv, the uber-successful independent artist first saw playlist success with his 2017 hit “I Like Me Better” in Southeast Asia! Lauv...is not Asian, but SE Asians adore great pop love songs.
  • Reggaeton from the likes of huge superstars like Colombia’s J Balvin and Puerto Rico’s Bad Bunny are now on top playlists like Spotify’s Today’s Top Hits, a primarily English-language playlist...but their come-up was based on Latin American listeners supporting them more than any other region.
  • So in the interest of knowing what the local markets are like, we wrote about  seven different metropolitan areas in Latin America: Mexico City, São Paulo, Buenos Aires, Rio de Janiero, Bogotá, Lima and Santiago.
  • Five speak Spanish, two speak Brazilian Portuguese, and all love the YouTube.
  • It’s a known fact that Latin America turns to the Google platform more than anything else to listen to music, and the numbers are quite impressive: 
    • Bogotá, despite having less than half (10.7M) of Mexico City’s population, took the #1 spot in YouTube views in one week last month with 26.5M views across 1.6M+ artists. The Mexican capital, however, was not far behind with 24.8M, and the two cities seem to be leading YouTube’s consumption in the region, with Lima a distant #3 with 17.1M views.
  • On Spotify, Mexico City-as Spotify’s proclaimed “World’s Music-Streaming Mecca”-took the top spot in the same week with 2.3B non-unique monthly listeners (and this is admittedly odd metric, check the show notes for a link to the explanation), far outstripping Santiago in the #2 spot with 1.5B non-unique monthly listeners (MLs).
  • When it comes to genres, we compiled genre tags on Shazam chart occurrences in these seven cities and found what sounds each city was most curious about when they flipped out their phones.
    • “Urbano latino”-which is primarily reggaeton and Latin trap and the most popular in Santiago, Lima and Bogotá-didn’t show up at all in Brazil, with Brazilian-native genres such as “Sertanejo” (Brazilian country music) asserting their unique identity in the region, with Pop/Rock/Dance all showing strongly in the past month for both cities.
      • This is contrary to the idea that all of Latin America loves reggaeton...just not true.
  • On Instagram, who do you think are the ten most followed artists in the region?
    • Well there’s Selena Gomez, Justin Bieber, Ariana Grande and Beyoncé…
    • ...there’s also Maluma and Daddy Yankee...
    • But do you know pop queen Anitta, local icon Ivete Sangalo, comedian-entertainer Whindersson Nunes or the Beyoncé-inspired Ludmilla? They’re all Brazilian, showing how much Brazilians love IG, and also how much they love their own country’s artists.
  • So there’s a taste of Part 3 of our trigger cities mini-series, please do check it out on Medium or LinkedIn and let us know what you think! If you’re into Southeast Asia, we wrote about that too (Medium or LinkedIn). 
  • We hope they’re useful insights as you target social media campaigns, forge international collaborations or plan out a tour!

Outro

• That’s it for your Daily Data Dump for Wednesday, July 17th 2019. This is Jason from Chartmetric.
• Free accounts are at chartmetric.com
• And article links and show notes are at: podcast.chartmetric.com
• Happy Wednesday, and we’ll see you Friday! 

• Highlights  
  • Who says music is all about young people and streaming? Amazon Music and American radio would beg to differ, and we’ll check out a couple of Australian artists who are doing well on them.
• Mission   
  • Good morning, it’s Jason here at Chartmetric with your 3-minute Data Dump where we upload charts, artists and playlists into your brain so you can stay up on the latest in the music data world.
  • We’re on the socials at “chartmetric”, that’s Chartmetric, no “S ”- follow us on Instagram, Twitter, Facebook or LinkedIn, and talk to us! We’d love to hear from you.
  • FYI, we’re scaling back to 2 episodes per week, why? Because we’re working on some special projects that we will certainly tell you about over the next few months, but we need to make the time to do them! So don’t worry, your phone isn’t playing games with your heart….it’s just us and the Backstreet Boys.
  • Having said all that….
• Date
  • This is your Data Dump for Friday, July 12th, 2019.
• Vance Joy and AC/DC on Amazon Music and US Radio
  • The Financial Times reported yesterday on the rise of Amazon Music, and how it has experienced a 70 percent growth in subscribers in the past year.
  • The head of Amazon Music- Steve Boom (that’s a great name for a music guy)-  noted that all the other platforms were playing for the younger crowds, but not older consumers. 
    • Apparently 14 percent of subscribers to Amazon Music are aged 55 or older, compared with just 5 percent of Spotify’s customers, according to Midia Research’s Mark Mulligan.
  • Now on the radio side of things, Music Business Worldwide reported that AM/FM US radio consumption is growing! Take that, streaming.
    • Radio reached more folks than any other entertainment platform in 2019, according to Nielsen’s Audio Today 2019 report.
    • 272M Americans fire up their radios each week, that is 7M more listeners than 2016...and why? Because Americans love their cars, and radios are just there.
  • Now to help illustrate that with actual artists, we’ll turn to two of Australia’s biggest ones, relative newcomer Vance Joy and classic rock gods AC/DC.
  • Vance Joy, the pop/folk singer-songwriter from Melbourne is currently on
    • 19 Amazon editorial playlists, including the contextual playlists Rise and Shine, Road Trip: Folk and a chart-like playlist: Best Folk Songs of 2017.
    • His massive hit “Riptide” is actually NOT the most playlisted on the platform, it’s actually another one of his records, “Lay It On Me”, placing in 9 of those 19 Amazon Music playlists.
    • On the 300 influential American radio stations we cover, Joy had as many as 506 spins in the week of Sept 24th 2018, and the week of July 1st, it was down to 91.
    • But it’s all good because the state of Wisconsin LOVES Vance Joy, as his songs have been 1% of all the tracks that state’s radio stations have played since September. Pretty impressive.
  • Now for all-time rock greats AC/DC, straight out of Sydney:
    • They are on 14 Amazon editorial playlists, including the #2 slot on Classic Rock for Lifting, the #5 spot for Pre-Game Grilling, and the #1 spot for 80s Hard Rock Workout...who’s feeling some testosterone?
    • AC/DC hits like “You Shook Me All Night Long” and “Back in Black” seem to resonate most in Boston, Massachusetts and Gainesville, Florida…
  • ...but what’s really good to remember is that in case your phone runs out of battery, you can find either of these artists or others by flicking on the old car radio, or simply asking Alexa to do it for you.

Outro

• That’s it for your Daily Data Dump for Friday, July 12th, 2019. This is Jason from Chartmetric.
• Free accounts are at chartmetric.com
• And article links and show notes are at: podcast.chartmetric.com
• Happy Friday, and we’ll see you next week! 

Outro

• That’s it for your Daily Data Dump for Wednesday, July 10th, 2019. This is Rutger from Chartmetric.
• Free accounts are at chartmetric.com
• And article links and show notes are at: podcast.chartmetric.com
• Happy Wednesday, and we’ll see you on Friday!

Outro

• That’s it for your Daily Data Dump for Wednesday, July 3rd, 2019. This is Rutger from Chartmetric.
• Free accounts are at chartmetric.com
• And article links and show notes are at: podcast.chartmetric.com
• We’ll be off air for the holiday weekend, so happy Wednesday, happy Fourth of July, and we’ll see you on Monday!

• Highlights  
  • “Scooter Braun's Ithaca Holdings Acquires Scott Borchetta's Big Machine Label Group” is what Sunday’s official press release reads, we’ll take a look at a sample of Swift’s data while on Big Machine and on Republic Records
• Mission   
  • Good morning, it’s Jason here at Chartmetric with your 3-minute Data Dump where we upload charts, artists and playlists into your brain so you can stay up on the latest in the music data world.
• Date
  • This is your Data Dump for Tuesday, July 2nd, 2019.
• Taylor Swift: Before and After Big Machine
  • The music business’ latest media frenzy revolves around a music mogul acquiring a top music star’s catalog.
    • This is reminiscent of how in 1985, the late King of Pop, Michael Jackson, acquired the Beatles’ catalog of song copyrights, after receiving advice from Paul McCartney himself that music publishing was a great business to get into.
  • Current music executive Scooter Braun and his Ithaca Holdings media company purchased Nashville-based Big Machine Label Group, Taylor Swift’s former label,  for lots of money. This was announced over the weekend.
    • Big Machine’s assets include Swift’s catalog up through 2017’s “Reputation”.
    • She signed to UMG’s Republic Records in 2018, and now owns her own future masters starting with the album “Lover”.
  • While we don’t have data on the controversy, we can look at two tracks: one from Swift’s Big Machine era, and one from her Republic Records era.
  • The former is “Look What You Made Me Do” from 2017’s “Reputation” album while the latter is the first single from the 2019 album “Lover,” “You Need to Calm Down”.
  • Big Machine-owned “Look What You Made Me Do”
    • ...was released almost two years ago in August 2017.
    • Currently at a 75 out of 100 Spotify Popularity Index (or SPI), it was at 91 SPI in Nov 2018.
    • The track is on 1.6K Spotify playlists, 17 of them editorial including the This Is: Taylor Swift playlist....
    • ...while it also has a current spot on 77 Apple Music playlists and 27 Amazon playlists, all editorial for the latter case.
  • In her Republic-era, “You Need to Calm Down”
    • ...was released just two weeks ago in June 2019.
    • Currently at 92 SPI, it’s on less total Spotify playlists at 1.1K, but is on more editorial at 94, which makes sense since it’s relatively a brand new release.
    • It’s on almost three times as many Apple Music playlists at 202, and 3.5x as many Amazon playlists at 98.
  • So is it fair to say that the Republic era is “better”? Not necessarily- again, it’s just a newer track and her Big Machine track was in the middle of her 2014-2018 Spotify absence, limiting a big part of her data profile.
    • But what this kind of side-by-side track comparison CAN do is help you evaluate how well tracks do under different promotional strategies, label teams or simply with different types of music.
    • Hope it’s useful.

Outro

• That’s it for your Daily Data Dump for Tuesday, July 2nd, 2019. This is Jason from Chartmetric.
• Free accounts are at chartmetric.com
• And article links and show notes are at: podcast.chartmetric.com
• Happy Tuesday, and we’ll see you tomorrow!

• Highlights  
  • Fake streams! Playlist manipulation! Fake artists! There’s a lot of buzz about it, but what does this look like in the data?
• Mission   
  • Good morning, it’s Jason here at Chartmetric with your 3-minute Data Dump where we upload charts, artists and playlists into your brain so you can stay up on the latest in the music data world.
• Date
  • This is your Data Dump for Friday, June 28th, 2019.
• Enter the World of Streaming Manipulation
  • Last week’s streaming code of conduct was signed by more than 20 major companies across the industry to combat streaming fraud, which is good for artist compensation and more forthcoming to the fans.
  • How can we think about this prickly topic from a music data perspective? And when we say “this”, it’s not just fake streams. It’s also playlist manipulation and fake artist accounts.
  • For sure, we are in very murky waters, and there is little actual data on the phenomenon.
    • Recently American indie label Hopeless Records estimated 3-4 percent of global streams could be fraudulent.
    • But a 2015 MBW article mentions how 60% or more Twitter followers on top artist accounts could also be fake.
    • Granted, these are different types of fraudulent behavior, but it’s also a huge delta to try to account for.
    • What we can do though is search for red flags in the music data available to us.
  • For example: if we look at playlist manipulation, here’s one way to look at the data to try to identify potentially iffy behavior:
    • We scanned the playlist charts looking for abnormally high 28-day follower increases, and found a non-editorial hip-hop genre playlist with a 262% increase in followers in the past month.
    • While that could just be great marketing, currently having 110K followers-an impressive number-its max artist monthly listeners, however, is only ~470, which doesn’t seem to match up.
      • This means that the only artist on the playlist that gets a lot of its unique listeners from here is getting less than 1% of its supposed followers actually listening to them.
      • Again, possible, especially since the playlist has about 100 current tracks on it, but it’s ranked in the first third of the playlist, so it’s not likely.
    • That artist, which only has a little over 200 followers, is playlisted among high-profile artists like Eminem, Kanye West and Cardi B, presumably to draw traffic, which would be smart marketing if done legitimately, but if so many followers are not streaming the actual tracks...it smells a little fishy.
    • If that weren’t enough, there’s a three-piece pop band with only 16 followers, and two other rap artists who have 4 and 17 Spotify followers, respectively.
      • All three have their listed label as a series of numbers, then “Records DK” or “DK2”, which is a default label for the distributor DistroKid, if left untouched.
      • DistroKid is one of the most popular digital distributors available to independent artists and an official partner distributor with Spotify.
    • If that still isn’t enough, all the playlist album artwork looks like carbon copies of official Spotify playlist album art. Again, good marketing tactic...or borderline deception?
      • So while it’s admittedly an analytical leap, it is very possible that a playlist curator is buying illegitimate playlist followers to make themselves look good, they dupe unknowing artists into thinking they are getting amazing exposure, and the curator gets paid accordingly and in our opinion, unfairly.
      • We could be completely 100% wrong on this, but the point is, there are certain ways you can look at the music data to try to suss out what’s likely real, and what at least should raise some red flags.
  • We’ll try to unpack some other types of illegitimate activity from a data perspective next week.

Outro

• That’s it for your Daily Data Dump for Friday, June 28th, 2019. This is Jason from Chartmetric.
• Do you know how NPR does their ask for donations every so often? That’s what we’re about to do now! But we’re just asking for an Apple Podcasts rating.
• Rutger and I put at least a few hours a day into each episode, researching, writing, editing, recording, editing again, publishing to multiple platforms, checking analytics...and it’d be really cool for us to get some feedback on how we’re doing: the good/bad/ugly. So it’d only takes a few thumb swipes out of your day, and you’d be sending us so much joy: we’d appreciate it.
• As always, free accounts are at chartmetric.com
• And article links and show notes are at: podcast.chartmetric.com
• Happy Friday, have a great weekend, and see you on Monday!