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Post by lady𝓐fan on Aug 9, 2019 20:18:47 GMT -5
If NRO had terrible callout scores, I can't even imagine what this would get. I love Katy, but "blah blah blah" is an instant station-changer.
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g8erboi
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Post by g8erboi on Aug 9, 2019 20:39:11 GMT -5
I LOVED "Never Really Over", but I really can’t get into this. I can’t see this doing much on Pop tbh. :/
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gabe
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Post by gabe on Aug 9, 2019 20:43:27 GMT -5
holy SHIT this clicked even more than it did before.... this might be better than NRO
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kimberly
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Post by kimberly on Aug 9, 2019 20:46:04 GMT -5
I'm going to cross my fingers and hope Pulse not liking this means it will have "girls like you" levels of longevity lmao
I like it, it is a cute bop for a playlist, but "Hot Girl Summer" is the release of the week which doesn't help its chances (in comparison NRO was the best of that week)
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Envoirment
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Post by Envoirment on Aug 9, 2019 22:04:16 GMT -5
This is a cute bop! Given the reaction on pulse, watch it be massive. I prefer NRO, but this'll likely have better callouts due to how inoffensive it is.
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Post by frashcoholic on Aug 9, 2019 22:20:43 GMT -5
the beat is good the lyrics are strange NRO >>>>>>>
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SPRΞΞ
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Post by SPRΞΞ on Aug 9, 2019 22:21:41 GMT -5
This song is a massive grower. It’s not as fantastic as NRO, but it’s no slouch, either. It’s very singable. The blah blah blah, while initially annoyed by it in a cheesy Taylor Swift kinda way, now is just part of the song’s charm. The song’s length is nice as it allows for repeated listens. The “strangers to lovers” bit is so euphoric. The “small talk” chorus, especially at the end, is classic Katy.
2 for 2 for me
And I’ll go back to thinking this might be her best album yet.
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SPRΞΞ
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Post by SPRΞΞ on Aug 9, 2019 23:27:47 GMT -5
holy s**t this clicked even more than it did before.... this might be better than NRO I lowkey think this too. It’s exciting!
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theflying
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Post by theflying on Aug 10, 2019 3:15:25 GMT -5
How is this thread even extra or dramatic lol i lIkE tHiS sO eVeRyOnE eLsE iSn'T aLlOwEd To CrItIcIzE iT! Essentially that. Let's be real, that response is more extra than anything else in this thread. Oh please. Yes, everyone acting like a soap opera character about a perfectly good Katy Perry song is less extra than pointing out that a fairly mainstream offering isn’t worth overthinking.
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Post by Rose "Payola" Nylund on Aug 10, 2019 13:48:23 GMT -5
Sheryl Crow has a song on her last album about this idea called Strangers Again and I think Katy captures the feeling better and more clearly than Sheryl's did, but it's almost too goofy to take seriously though I really like the sentiment of the song.
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Post by justlurkingaround on Aug 10, 2019 14:30:10 GMT -5
I like the lyrics, but I feel it would have been a better song with a different production?
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Post by Deleted on Aug 10, 2019 15:15:30 GMT -5
How is this thread even extra or dramatic lol i lIkE tHiS sO eVeRyOnE eLsE iSn'T aLlOwEd To CrItIcIzE iT! Essentially that. Let's be real, that response is more extra than anything else in this thread. Nah, it's the overdramatic 'I don't like this, therefore this song is an utter failure and she can't launch an album with this, she needs to scrap it before the adds date' less than 24 hours after release - and when Katy has yet to indicate she's ready to drop a full album, to boot. I don't think this is a great song, and it is a step back from NRO. But I also don't think it's a terrible enough song for people to be reacting so strongly to it not being that great. In general a lot of recent pop hits are in that 'subtle' (aka background filler) vein, and I Don't Care was probably the most apt comparison - the lyrics there are not stellar. There's not really any reason to think Small Talk couldn't be at least a minor hit in the current CHR climate, if we were only talking about the song's merits. Katy's star power is a different story and I think it's fair to point out that she's not in the same position any of those aforementioned acts are in, thus may not have the luxury of trying to conform if she really wants to make a comeback. But again, that doesn't really have much to do with the song itself. And for all we know, ST might do fine. The main thing Katy needs to do now is start performing on tv again. Unfortunately the Bon Appetit and Swish Swish performances are the last memory most people have from Witness; she needs to show that she still has the stage presence and charisma to pull off a song. Capitol seems poised to give ST a full push, but Katy needs to add more to that on her end.
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Post by Deleted on Aug 10, 2019 15:49:01 GMT -5
I wonder how "Bon Appetit" would have performed in the hands of Ariana Grande. Anyway Max Martin has probably moved on giving Katy Perry cutting edge hits to Ariana Grande.
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NeRD
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Post by NeRD on Aug 10, 2019 16:38:51 GMT -5
Wow only 3 stations played this yesterday on Pop radio. Even though it didn't get a radio deal and Katy's relevancy has waned, you would think there would be more initial interest.
Nevertheless, the song isn't good. At all. Not sure what they were thinking going with this when they were just starting to get Pop radio back on board.
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Active Aggressive
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Post by Active Aggressive on Aug 10, 2019 16:45:27 GMT -5
But then again, songs like I Don't Care get #1 these days, maybe the GP is enjoying uneventful. I get that you are a Katy stan, but...let's not act like she has the official seal of approval like Ed does and like Justin used to (also, this was Justin's return to the spotlight to a public that was clearly hungry for him). Of course, I Don't Care went #1. Also, the pre-chorus and chorus were MUCH more memorable and catchy than ALL of Small Talk (and I actually like ST). Anyway, this song is cute. NRO, 365, and Con Calma are all vastly superior, but I don't hate this.
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Post by wavey.✨️ on Aug 10, 2019 16:57:49 GMT -5
and now theres nothing left but small talk
So catchy, and so minimal! It's different from her past singles, which is definitely a great thing.
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Post by World top 40 on Aug 10, 2019 16:59:09 GMT -5
I like it, but it seems a B-side or a Demo.
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Post by Love Plastic Love on Aug 10, 2019 17:16:03 GMT -5
But then again, songs like I Don't Care get #1 these days, maybe the GP is enjoying uneventful. I get that you are a Katy stan, but...let's not act like she has the official seal of approval like Ed does and like Justin used to (also, this was Justin's return to the spotlight to a public that was clearly hungry for him). Yeah I don't think that I Don't Care is better than Small Talk, but Ed and Justin have way more "clout" on radio at this point. I think Katy is going to need a boost to get it top 5 on pop-a great video and/or some tv performances/promo that really connect would help.
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Maximillian
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Post by Maximillian on Aug 10, 2019 17:24:54 GMT -5
I get that you are a Katy stan, but...let's not act like she has the official seal of approval like Ed does and like Justin used to (also, this was Justin's return to the spotlight to a public that was clearly hungry for him). Yeah I don't think that I Don't Care is better than Small Talk, but Ed and Justin have way more "clout" on radio at this point. I think Katy is going to need a boost to get it top 5 on pop-a great video and/or some tv performances/promo that really connect would help. But with the heavy divide of love / hate on this song, perhaps hold off on booking promo until you have a better offering that is connecting more to the overall public. It would have been like TS booking all the late night shows for “Gorgeous”. What would it really have accomplished?
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Snowbeast
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Post by Snowbeast on Aug 10, 2019 17:36:11 GMT -5
It’s risky for someone of her scope. Definitely female Charlie- where it could blow up or be forgotten by Monday. She’s going almost indie-electronic this era (while working with mainstream producers)? It works for me. Who is her A&R this era?
After a few plays, I do like it. It sounds well in any playlist, but general listeners won’t know (or care) if this is Selena, Bebe Rexha or Julia Michaels. Anyone could have sang this and it won’t do anything for “Katy Perry”. Maybe that’s the double edged sword of being one of the four acts that brought pop music back to prominence, and being the only one still making pure pop. After sitting on the throne for years, artists take your sound, producers tweak it, and by the time you come with a release, you’re almost a caricature at your own party.
A dead horse, but her predominant issue was/is the inability to reinvent her image and brand in a way that is that superior to the raven haired, quirky, pin up girl aesthetic that she circulated for the greater part of 7 years. Superficial and ridiculous, but image has and will always be more important than content for teenagers/ pop music listeners.
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COW COW COW COW COW COW COW
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Post by COW COW COW COW COW COW COW on Aug 10, 2019 18:06:31 GMT -5
It’s risky for someone of her scope. Definitely female Charlie- where it could blow up or be forgotten by Monday. She’s going almost indie-electronic this era (while working with mainstream producers)? It works for me. Who is her A&R this era? After a few plays, I do like it. It well in any playlist, but general listeners won’t know (or care) if this is Selena, Bebe Rexha or Julia Michaels. General listeners do not know who Julia Michaels is or what a BeBe Rexha is.
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Post by Rose "Payola" Nylund on Aug 10, 2019 18:14:03 GMT -5
It’s risky for someone of her scope. Definitely female Charlie- where it could blow up or be forgotten by Monday. She’s going almost indie-electronic this era (while working with mainstream producers)? It works for me. Who is her A&R this era? After a few plays, I do like it. It well in any playlist, but general listeners won’t know (or care) if this is Selena, Bebe Rexha or Julia Michaels. General listeners do not know who Julia Michaels is or what a BeBe Rexha is. Clearly you missed the point.
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Post by Deleted on Aug 10, 2019 18:26:18 GMT -5
#19 on Spotify with 702,566 streams.
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think pink.
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Post by think pink. on Aug 10, 2019 18:51:30 GMT -5
#19 on Spotify with 702,566 streams. This is kinda bad?. It had the top promo slot on TTH. It's also already fallen out of the top 10 on iTunes. NRO did a lot better out of the gate. I expected this to do better just based on curiosity spins alone.
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jumpb4uthink
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Post by jumpb4uthink on Aug 10, 2019 20:26:24 GMT -5
Let’s give this time to breath billboard The Katy Perry Renaissance Is Here: 'Small Talk' Is a Triumph for the Pop Star 8/9/2019 by Jason Lipshutz www.billboard.com/articles/columns/pop/8527060/katy-perry-renaissance-small-talk-single“Never Really Over” hinted at it, and “Small Talk” confirms it: the Katy Perry Renaissance (Perrissaince?) is here, undeniably and spectacularly. With her latest single, released on Friday (Aug. 9), Perry has recovered the top-level song craft that both her fans and general pop enthusiasts have been craving for years, a return to form for an artist who spent the better part of this decade’s first half dominating the mainstream. Katy Perry, expert pop-song supplier, is back. Resistance isn't futile, but it’s a lot less fun. Part of what makes the Perrissaince so gleefully entertaining is how unexpected it is -- at least now, in the middle of 2019. Perry, who collected a whopping 10 No. 1 singles on the Billboard Hot 100 chart across her first three albums from 2008 to 2014, faltered as a bulletproof commercial entity with her fourth album, 2017’s politics-adjacent and under-developed Witness. The album marked Perry’s first project that failed to consistently produce hits, and even with lead single “Chained to the Rhythm” debuting in the top 10 of the Hot 100, the album was largely considered a commercial misfire. Then, earlier this year, Perry’s first post-Witness radio single was “365,” an undercooked electro-pop collaboration with Zedd that bowed at No. 86 on the Hot 100 and never climbed any higher. Zedd’s first commercial release since his international smash “The Middle” with Maren Morris, “365” and its tepid reception seemed to confirm that, regardless of whether her songs offered a political subtext or not, Perry’s status as a consistent hitmaker may have come to an end, after years of mind-boggling success. But then “Never Really Over” happened. Another team-up with Zedd, the breakup single contained the sort of ecstatic hooks that Perry had mastered during her Teenage Dream days. There’s an appealing looseness to the song’s energy -- with a rapid-fire chorus (inspired by “Love You Like That” from Norwegian artist Dagny, who’s listed as a songwriter) and the ticking-clock production that Zedd has turned into a recent touchstone, “Never Really Over” allowed Perry to showcase the elasticity of her personality (“I’m losing my self-controoool,” she wails in the opening seconds) in a way that the Witness singles and “365” did not. By the sixth time you heard its chorus and tried in vain to keep up with the bullet-time declarations, it was clear that “Never Really Over,” seemingly out of nowhere, represented a triumph for Perry, and her strongest single since “Dark Horse” a half-decade earlier. “Never Really Over” did not become another top 10 hit for Perry, but the song did reach No. 15 on the Hot 100, and has hung around the top 40 for months following its late May release (it currently sits at No. 29 on the current chart, up three spots from last week). Combined with the concurrent success of “Con Calma (Remix)” -- Daddy Yankee’s new single featuring Perry and Snow, which peaked at No. 22 earlier this summer -- Perry had made inroads back into popular music relatively quickly after some consecutive missteps. It’s too soon to tell whether or not “Small Talk” will continue Perry’s hit streak, but the promise of “Never Really Over” is fully realized on its follow-up. Co-written and co-produced by Charlie Puth, “Small Talk” is a total blast, pairing sly, confident songwriting with the lovable quirkiness that Perry kept at the heart of past hits like “Waking Up in Vegas” and “Last Friday Night (TGIF).” “Small Talk” is fascinating to absorb because of how right Perry gets it on the track. It’s as if this is the type of pop that she should be making, since it perfectly plays to her strengths as an artist with a radio-beloved voice and an overflow of screwball charm. The best pop songs offer a unique spin on an instantly relatable feeling, and “Small Talk” focuses on post-breakup awkwardness -- running into an ex and fumbling through conversation with someone who used to know you on an intimate level physically and emotionally. But Perry treats this situation as less of a dramatic showdown than a mundanity with a twinge of sadness, which is what the situation is for most people. “Isn't it weird that you've seen me naked?” she offers, before sighing, “We had conversations 'bout forever / Now it's 'bout the weather‚ okay.” The lyrics are nuanced -- this isn’t Puth’s first post-breakup rodeo as a songwriter -- but so is Perry’s vocal take, quietly grasping for resolution but also certain it’s not coming, and that this lyrical encounter will mostly just be annoying. And whereas the “Never Really Over” chorus returned Perry to her “Firework”-esque grandiosity, the main hook of “Small Talk” is all jittery energy as she reviews the shifted relationship in front of her: “Had every inch of your skin, there's nowhere your hands haven't been / Ain't it funny? ‘Cause now there's nothing left but small talk.” When a post-chorus kicks in and Perry can only summon a dejected “Blah BLAH, blah blah,” the ennui has fully enveloped her perspective, right at the moment that the song’s unobtrusive production becomes the most engaging. The whole thing is remarkably composed, especially when considering Perry’s penchant for gigantic choruses -- a penchant, by the way, that made her one of the defining pop artists of this decade. She could have gone for the jugular on the “Small Talk” chorus and tried to color in the song’s more muted tones, but her restraint ultimately makes it more compelling, and no less catchy. Will “Small Talk” become a hit? No clue -- it’s subtler and less flashy than “Never Really Over,” so predicting how Perry’s longtime home at Top 40 radio will treat it is anyone’s guess. What is clear, though, is that Perry is making her most exciting music in years, and within the span of a few months, she has completely shifted expectations for her next project among pop junkies. A longtime superstar just released a quiet, slightly weird, brilliant single. Such things should be celebrated.
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Post by Deleted on Aug 10, 2019 20:37:46 GMT -5
#19 on Spotify with 702,566 streams. This is kinda bad?. It had the top promo slot on TTH. It's also already fallen out of the top 10 on iTunes. NRO did a lot better out of the gate. I expected this to do better just based on curiosity spins alone. Never Really Over debuted on Spotify at #11 with 865,984 and was the second song on TTH (and was also featured prominently on a few other big playlists - other than New Music Friday, I don't know if ST has that going for it or not). NRO also had a first-day airplay deal, i.e. increased exposure which would have led to some extra spins. After the first week it settled in the 15-20/mid to upper 600k range for a month before descending. The first day for ST is a drop but not a drastic depreciation IMO. On iTunes, NRO held inside the top 10 for a week before sliding out and (I think) never reappearing there. Funny enough during that one week there were people who kept saying the iTunes numbers were 'concerning', I guess because it was obvious she was hitting a ceiling and not likely to outdo that peak later. I can't really get worked up much about sales these days since so few people buy...I do think there is probably more overlap between the purchasing audience and the HAC audience, so in that sense I'd be a bit worried that this song is not going to fare well on the format where Katy should ideally be comfortable as she gets deeper into her career. Now in comparison to her competition...these are the first 10 songs on TTH right now and where they ranked on Spotify overall yesterday: Small Talk - 19 How Do You Sleep - 11 Ransom - 1 Boyfriend - 5 Goodbyes - 6 No Guidance - 8 Senorita - 3 Someone You Loved - 20 Beautiful People - 12 I.F.L.Y - 31 Granted, all of those other songs except for I.F.L.Y (...I think?) benefit from being out already and having time to build up an audience elsewhere. I don't think we can fully judge ST until we see how it holds up over time. For this first week I expect the streams to drop from the first day # but hopefully they stabilize in the 600k per day range like NRO did.
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Choco
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Post by Choco on Aug 10, 2019 21:12:51 GMT -5
The fact that they have the Harleys song ready for release means the label probably knows this ain't gonna have a long run.
Maybe they were contractually required to release it? Otherwise I think it would have been much better as a later single (from what we're asuming is an album); right now it feels like a waste of a decent song (that would have done a solid top 10 showing following a bigger hit/more hype).
I still think it goes top 30 or so after the adds date and label push.
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Eloqueen™
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Post by Eloqueen™ on Aug 10, 2019 22:32:46 GMT -5
A dead horse, but her predominant issue was/is the inability to reinvent her image and brand in a way that is that superior to the raven haired, quirky, pin up girl aesthetic that she circulated for the greater part of 7 years. Superficial and ridiculous, but image has and will always be more important than content for teenagers/ pop music listeners. I think it has less to do with audiences being shallow/superficial as a whole and way more to due with Katy's trajectory as an artist individually (not to say audiences can't exude such qualities of course). I don't think she ever truly developed a strong core fanbase or had any truly solid, consistent identity as an artist and, beyond the melodies, people had nothing to latch onto if that makes sense (which likely is due, even by self-admission, to the fact that she fell into playing a role). Katy Perry's image is pretty much built on the back of the superficial side of the music business (sex appeal, on-trend material, hit-making etc) and when those go, so does her relevance. Unfortunately, I don't even think most take note of her songwriting/musicianship which is sad in itself (cause while she isn't incredible, she is good). I think this all only was highlighted by Witness, because when she finally dropped the role-playing and actually began to introduce aspects of her actual personality people had no idea who the hell she was. The crappy music didn't help of course. lol
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Kris
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Post by Kris on Aug 10, 2019 22:37:45 GMT -5
It’s risky for someone of her scope. Definitely female Charlie- where it could blow up or be forgotten by Monday. She’s going almost indie-electronic this era (while working with mainstream producers)? It works for me. Who is her A&R this era? After a few plays, I do like it. It well in any playlist, but general listeners won’t know (or care) if this is Selena, Bebe Rexha or Julia Michaels. General listeners do not know who Julia Michaels is or what a BeBe Rexha is. I would find it incredibly hard to believe after the success of Meant to Be people wouldn't know who Bebe Rexha is. Even Julia Michaels, even just for that annoying Issues song. .
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SPRΞΞ
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Post by SPRΞΞ on Aug 10, 2019 23:00:43 GMT -5
Katy Perry definitely has a fanbase. Go to the YouTube comments of any video, or IG post, and you’ll see them. They just aren’t as rabid as Taylor or Gaga fans. And that’s ok.
And besides, just because a rabid fanbase can turn something technically into a hit, doesn’t mean the material is actually any good.
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