Billboard Hot 100: 03/20/2021

[gabe]

Mar 10, 2021 9:20:11 GMT -5 thegreatdivine said:

That data, while impressive, is misleading and doesn't paint the whole picture. If newer songs released from 2020-now are pulling record-low streams upon arrival, streaming isn't growing.

Catalog songs being streamed more and newer songs songs being streamed way less will cancel each other out. At best, streaming in the US has peaked/stopped growing but to make a case that streaming is growing when we have proof that it isn't, doesn't make sense.

I know Nielsen/RIAA/Alpha Data are determined to convince themselves that streaming is still growing and they'll use whatever methodology they need to use to put that information out there in their year-end reports but when streaming peaks in 2021 are matching streaming peaks from 5 years ago, that doesn't indicate growth in any regard. I don't need to see any breakdowns to know that.

So just to sum this up, you just looked at data that definitively concludes streaming is continuing to grow, but you reject that data in favor of your own theory. Streaming is growing, but people have different consumption habits. Streaming isn't all about being able to listening to the newest hits on repeat, it's also about being able to easily stream any song from any artists' catalog. 

[Enigma.]

Mar 10, 2021 9:51:25 GMT -5 Groovy said:

Not radio having good taste by dropping Go Crazy and Good Time, you really love to see it.

I listened to Good Time yesterday and gosh that is probably the lamest song to reach top 20 on Hot 100 in years.

[Groovy]

Mar 10, 2021 10:22:41 GMT -5 Enigma. said:

Mar 10, 2021 9:51:25 GMT -5 Groovy said:

Not radio having good taste by dropping Go Crazy and Good Time, you really love to see it.

I listened to Good Time yesterday and gosh that is probably the lamest song to reach top 20 on Hot 100 in years.

It's tough to decipher what it's supposed to be, the lyrics make it seem like it's a country song while the the production makes it seem like it's a trap song. 

[gikem]

Mar 10, 2021 10:34:10 GMT -5 Groovy said:

Mar 10, 2021 10:22:41 GMT -5 Enigma. said:

I listened to Good Time yesterday and gosh that is probably the lamest song to reach top 20 on Hot 100 in years.

It's tough to decipher what it's supposed to be, the lyrics make it seem like it's a country song while the the production makes it seem like it's a trap song. 

It’s essentially a white guy trying to recreate Old Town Road without realizing what made that song so special.

[thegreatdivine]

Mar 10, 2021 10:19:57 GMT -5 gabe said:

Mar 10, 2021 9:20:11 GMT -5 thegreatdivine said:

That data, while impressive, is misleading and doesn't paint the whole picture. If newer songs released from 2020-now are pulling record-low streams upon arrival, streaming isn't growing.

Catalog songs being streamed more and newer songs songs being streamed way less will cancel each other out. At best, streaming in the US has peaked/stopped growing but to make a case that streaming is growing when we have proof that it isn't, doesn't make sense.

I know Nielsen/RIAA/Alpha Data are determined to convince themselves that streaming is still growing and they'll use whatever methodology they need to use to put that information out there in their year-end reports but when streaming peaks in 2021 are matching streaming peaks from 5 years ago, that doesn't indicate growth in any regard. I don't need to see any breakdowns to know that.

So just to sum this up, you just looked at data that definitively concludes streaming is continuing to grow, but you reject that data in favor of your own theory. Streaming is growing, but people have different consumption habits. Streaming isn't all about being able to listening to the newest hits on repeat, it's also about being able to easily stream any song from any artists' catalog. 

That data doesn't DEFINITIVELY conclude that streaming is growing. All it indicates is that some artists who haven't released albums after 2019 have seen an increase in the consumption of their catalog. It's great work from strongerq as usual, but that's really all it indicates. Services like Spotify and Apple Music have grown their consumer base by tens of millions of subscribers in the past 4-5 years. Other streaming services which aren't as big have seen an increase in subscribers as well. When the average weekly streams in the US is as low as it was back in 2016/2017, that doesn't indicate growth. Are the consumer bases of various audio streaming services growing yearly? Yes, most definitely. Are people streaming songs today nearly as much as they did in 2018 or even 2019? Hell no and that's with the addition of the increase in catalog streams.

Only using an increase in catalog streams over the last 3 years doesn't indicate growth in overall audio streaming because overall audio streaming doesn't just cover catalog streams, especially when newer songs make up most of the streams each streaming service pulls in a year.

If people are streaming newer songs less and less and are only streaming catalog songs a bit more than they used to, how does that indicate an overall growth in audio streaming?

[Rose "Payola" Nylund]

Mar 10, 2021 9:20:11 GMT -5 thegreatdivine said:

That data, while impressive, is misleading and doesn't paint the whole picture. If newer songs released from 2020-now are pulling record-low streams upon arrival, streaming isn't growing.

Catalog songs being streamed more and newer songs songs being streamed way less will cancel each other out. At best, streaming in the US has peaked/stopped growing but to make a case that streaming is growing when we have proof that it isn't, doesn't make sense.

I know Nielsen/RIAA/Alpha Data are determined to convince themselves that streaming is still growing and they'll use whatever methodology they need to use to put that information out there in their year-end reports but when streaming peaks in 2021 are matching streaming peaks from 5 years ago, that doesn't indicate growth in any regard. I don't need to see any breakdowns to know that.

Didn’t CD and digital go through this too? As people jumped on board with both mediums, catalogue sales went up because people were updating their collections. Streaming continues to grow as people jump on board, but those who join after the first couple years are likely not going to be fans of new music (because they were first to join - just as they were first to buy CDs and buy digital, because they don’t yet have a strong attachment to what was already there).
At some point, streaming will plateau and it will plateau with new music listening first because there are only so many people interested in new music and many of those are likely already on board. This need to continually outdo previous years numbers is frustrating.

[strongerq]

Mar 10, 2021 9:20:11 GMT -5 thegreatdivine said:

That data, while impressive, is misleading and doesn't paint the whole picture. If newer songs released from 2020-now are pulling record-low streams upon arrival, streaming isn't growing.

Catalog songs being streamed more and newer songs songs being streamed way less will cancel each other out. At best, streaming in the US has peaked/stopped growing but to make a case that streaming is growing when we have proof that it isn't, doesn't make sense.

I know Nielsen/RIAA/Alpha Data are determined to convince themselves that streaming is still growing and they'll use whatever methodology they need to use to put that information out there in their year-end reports but when streaming peaks in 2021 are matching streaming peaks from 5 years ago, that doesn't indicate growth in any regard. I don't need to see any breakdowns to know that.

While i agree that current hit streaming is at an all time low (last 4 years). I am not arguing that.

If more songs have been streamed in 2021 than 2020. Then streaming IS growing. Doesn't matter who is doing the heavy lifting old or new songs.

Here you have the Total Audio streams of the entire top 500 artists each week.

2020 Numbers are in millions (whoops)

week 1	6294.3
week 2	6260.7
week 3	6534.8
week 4	6371.4
week 5	6637.4
week 6	6630.8
week 7	6690.6
week 8	6744.4
week 9	6718.2
week 10	6871.7
week 11	6162.7
week 12	5990.9
week 13	5909.8
week 14	6072.1
week 15	5812.8
week 16	6131.9
week 17	6041.3
week 18	6547.2
week 19	6582.8
week 20	6853.2
week 21	6876.8
week 22	6685
week 23	6744.7
week 24	6739.6
week 25	6791
week 26	6631.3
week 27	6786.7
week 28	6959.5
week 29	6970.3
week 30	7123.9
week 31	6950.1
week 32	6984
week 33	6908
week 34	6813.8
week 35	6794
week 36	6747.4
week 37	6702.1
week 38	6787
week 39	6896.9
week 40	6981.8
week 41	6771.6
week 42	6736.3
week 43	6432.4
week 44	6789.9
week 45	5932.4
week 46	6910.4
week 47	7249.2
week 48	7116.5
week 49	7614.8
week 50	7865.3
week 51	8399.6
week 52	7076.6

2021

week 1	6636.1
week 2	7129.4
week 3	7112.6
week 4	7134.3
week 5	7039.8
week 6	7185.9
week 7	7114.4
week 8	7731.1
week 9	6707.7

Even with COVID-19 impacting Audio streaming rose. Mid-Year Report

 

Year-End:  COVID who ?

[fhas]

Thanks to Oldbloke for this!

Top 50 songs on audio streaming through week 7 of the calendar year:

2019: 3,738,700,000
2020: 3,559,400,000 (-4.8% vs. 2019)
2021: 3,054,200,000 (-14.2% vs. 2020 / -18.3% vs. 2019)

[Baby Yoda Hot100Fan]

^So taken together. It means that while audio streaming is up overall, it is less concentrated on the top streamed songs overall. And catalog songs have gained some ground, which isn't surprising, given that there are many more of those than current ones.

[thegreatdivine]

Rose "Payola" Nylund it's not a need to outdo previous years, but when the biggest songs in 2021 revert back to pulling average streams the biggest songs 4/5 years ago were pulling, despite a gazillion percent growth in the subscriber base of various streaming services, what does that say? Imagine streaming services keep gaining millions and millions of paid subscribers every year but we never get another album that pulls up to 300M streams in a week ever again?

On any streaming platform, new content is needed to drive up the subscriber base along with overall consumption. If no artist released new music for a whole year, catalog streams wouldn't magically make up for the loss in streams from new music.

On HDD's list of the most streamed artists of 2020, the only 2 acts who didn't release an album/mixtape/EP in either 2019/2020 are Kendrick Lamar and the Beatles.

[dremolus - solarpunk]

US Spotify - 03/09/21

1(=) Drake - What's Next 1,589,477 (-77,847)
2(=) Drake - Wants and Needs 1,399,774 (-77,201)
3(=) Bruno Mars, Anderson .Paak, Silk Sonic - Leave the Door Open 1,095,834 (-35,934)
4(=) Olivia Rodrigo - drivers license 1,077,687 (-1,319)
5(=) Kali Uchis - telepatía 1,018,845 (+17,817)
6(+2) Cardi B - Up 977,450 (+44,615)
7(=) Lil Tjay, 6LACK - Calling My Phone 951,213 (-32,284)
8(-2) Drake - Lemon Pepper Freestyle 901,707 (-92,282)
9(=) SZA - Good Days 897,553 (+20,155)
10(=) Doja Cat - Streets 891,311 (+58,604)

Others:
11(=) The Weeknd - Save Your Tears 795,291 (+28,986)
12(=) Justin Bieber - Hold On 707,781 (-7,644)
13(=) Masked Wolf - Astronaut In The Ocean 689,108 (+71,146)
14(=) Pooh Shiesty - Back in Blood 637,743 (+26,151)
15(=) The Weeknd - Blinding Lights 629,216 (+29,868)
16(=) Giveon - Heartbreak Anniversary 620,551 (+24,875)
17(=) Saweetie - Best Friend 604,506 (+29,603)
18(=) Glass Animals - Heat Waves 592,173 (+17,565)
19(=) Dua Lipa - Levitating 591,079 (+27,999)
20(+1) 24kGoldn - Mood 572,014 (+13,725)
21(-1) The Kid LAROI - WITHOUT YOU 562,843 (+4,104)
22(+1) CJ - Whoopty 539,646 (+31,648)
23(-1) Bad Bunny, Jhay Cortez - DÁKITI 536,887 (+20,966)
25(=) Ariana Grande - 34+35 470,802 (+13,804)
26(+6) Lil Baby - On Me 469,349 (+42,622)
27(-1) Pop Smoke - What You Know Bout Love 458,098 (+9,847)
33(+4) SpotemGottem - Beat Box 3 423,066 (+24,367)
34(-3) Billie Eilish - Therefore I Am 420,985 (-2,450)
35(+1) Machine Gun Kelly - my ex's best friend 419,476 (+14,301)
36(-1) Tate McRae - you broke me first 411,585 (+6,373)
37(-8) Lil Baby - Real As It Gets 411,348 (-15,379)
39(+8) Pop Smoke - Hello 405,669 (+45,697)
42(-1) Morgan Wallen - Wasted On You 395,396 (+6,631)
45(=) Justin Bieber - Anyone 373,899 (+9,998)
46(+9) Travis Scott, HVME - Goosebumps 372,800 (+34,158)
47(-4) ElyOtto - SugarCrash! 371,560 (-2,450)
49(+11) DUSTY LOCANE - ROLLIN N CONTROLLIN FREESTYLE 367,943 (+34,600)
50(-1) YBN Nahmir - Opp Stoppa 367,894 (+10,433)
52(-4) Dua Lipa - We're Good 367,411 (+9,307)
59(+2) Megan Thee Stallion - Cry Baby 338,135 (+7,967)
63(-4) Morgan Wallen - Sand In My Boots 331,536 (-2,291)
65(-13) Juice WRLD - Life's A Mess II 329,036 (-19,458)
71(=) Bad Bunny, ROSALÍA - LA NOCHE DE ANOCHE 316,627 (+13,387)
73(-9) DJ Snake - Selfish Love 315,606 (-12,129)
74(+25) DDG - Moonwalking in Calabasas Remix 315,583 (+49,503)
75(-7) Duncan Laurence - Arcade 314,324 (+1,572)
78(+8) Tiësto - The Business 309,635 (+27,220)
81(+9) Kevin Gates - Big Gangsta 298,059 (+22,993)
88(+3) Ritt Momney - Put Your Records On 290,212 (+16,239)
93(+1) Pop Smoke - AP 278,462 (+6,999)
99(-2) Brent Faiyaz - Dead Man Walking 273,441 (+4,639)

104(+13) DaBaby - Masterpiece 266,586 (+23,062)
105(+20) MoneyBagg Yo - Time Today 266,557 (+28,986)
110(=) Yung Bleu - You’re Mines Still 261,808 (+9,700)
111(+2) Harry Styles - Golden 260,834 (+9,564)
116(-9) Clinton Kane - CHICKEN TENDIES 253,183 (-1,771)
123(-30) LPB Poody - Batman 246,661 (-24,955)
127(+2) BRS Kash - Throat Baby (Go Baby) Remix 243,845 (+9,566)
130(+11) Chris Brown, Young Thug - Go Crazy 241,540 (+12,498)
140(+5) Myke Towers, Juhn - Bandido 236,018 (+8,994)
144(=) Gabby Barrett - The Good Ones 233,130 (+5,871)
145(+22) Black Eyed Peas, Shakira - GIRL LIKE ME 232,538 (+15,663)
146(-8) Erica Banks - Buss It 232,337 (+2,102)
160(+6) Ty Dolla $ign - Spicy 226,208 (+8,585)
168(-10) Brent Faiyaz, DJ Dahi - Gravity 223,819 (+2,181)
171(+15) Ava Max - My Head & My Heart 220,265 (+12,454)
172(-12) carolesdaughter - Violent 219,527 (-1,015)

Biggest Gains (50K+): Astronaut In The Ocean, Streets

[thegreatdivine]

That week 2 drop is going to be something special.

[Enigma.]

How do the RS streams compare to the Hot 100 ones? 30 million seems pretty low considering the huge opening.

[thegreatdivine]

Mar 10, 2021 11:56:07 GMT -5 Enigma. said:

How do the RS streams compare to the Hot 100 ones? 30 million seems pretty low considering the huge opening.

The tracking week isn't over yet but Rolling Stone like to publish data for their artists, singles and albums chart based on the sales/streaming data they've compiled so far in the tracking week to give a preview of how things might look when their final charts are published on Monday. The numbers they posted across all their charts will he higher when the final chart is published. 

I also noticed that while HDD/Billboard won't have Scary Hours 2 chart on their albums chart, Rolling Stones will. 

[Baby Yoda Hot100Fan]

Mar 10, 2021 11:56:07 GMT -5 Enigma. said:

How do the RS streams compare to the Hot 100 ones? 30 million seems pretty low considering the huge opening.

They are much lower since those in Streaming Songs would include, among others, YouTube music video views. RS's streaming numbers are probably similar to those of Hits Daily Double Streaming Songs, which include only on-demand audio streaming.

[Rose "Payola" Nylund]

Mar 10, 2021 11:33:47 GMT -5 thegreatdivine said:

Rose "Payola" Nylund it's not a need to outdo previous years, but when the biggest songs in 2021 revert back to pulling average streams the biggest songs 4/5 years ago were pulling, despite a gazillion percent growth in the subscriber base of various streaming services, what does that say? Imagine streaming services keep gaining millions and millions of paid subscribers every year but we never get another album that pulls up to 300M streams in a week ever again?

On any streaming platform, new content is needed to drive up the subscriber base along with overall consumption. If no artist released new music for a whole year, catalog streams wouldn't magically make up for the loss in streams from new music.

On HDD's list of the most streamed artists of 2020, the only 2 acts who didn't release an album/mixtape/EP in either 2019/2020 are Kendrick Lamar and the Beatles.

Oh I didn’t mean you specifically saying it was a necessity. I was mostly referring to it as a capitalistic thing that success depends on increasing numbers all the time when at some point, they’ll plateau. At least how I understand it anyway.

I agree with you that new content is needed and is a driver in any platform’s ability to remain relevant. When you consider platforms like Tidal or Apple Music having exclusives with major artists, those are only possible with major content and unless you’re a significant holdout from decades ago (ie, the Beatles), you kind of need to be a major artist of today with a highly-anticipated product.

The downside to this that I see - and may be wrong about, is that I don’t see new artists today having that same level of hype and anticipation created around them that those who came out as recently as ten years ago did. It’s likely I’m missing how newer artists are being developed into major musical attractions (Post Malone, Cardi and Megan being recent examples) but I’m wondering whether we’re gradually moving to a point where new artists aren’t able to generate the same type of pull they used to. From a music industry standpoint, it’s not a place we want to be. But I also might be filtering out artists I’m not interested in and failing to take them into account. Maybe we aren’t headed that way and I’m just getting old lol.

[renfield75]

It could be that audiences just aren't responding to new releases. People clicked with "Drivers License" and it had huge streaming numbers. But more mediocre releases from Bieber, Ariana, and Drake? "Put Your Records On"? The public just isn't flocking to those songs. It's old. And of course it doesn't help that there's been no touring or traditional promotion for a year now.

I think we're in a transitional period right now; the trap sound that has dominated for half a decade is played out and nothing new and exciting has really taken off yet. When that happens we'll probably see big numbers again for current hits. This cycle happens all the time, like the early 80s (post-disco/pre-synthpop), the early 90s (post-hair metal and New Jack/pre-grunge and gangsta rap), the late 2000s (post-crunk/pre-turbopop) and the mid 2010s (post turbopop/pre-trap). Popular music's in a lull, as evidenced by lackluster numbers and songs now spending a year in the top ten.

[Choco]

I'd agree that our big streaming stars have not been dropping their best material recently. Cardi feels like the only one that should have maybe done better numbers on Spotify, because the song is really good. Otherwise the Ariana interludes, the middling Bieber tracks and Drake dropping more of the same just doesn't strike me as something that should be breaking 3m streams daily.

There have been some bright spots tho ("Streets", "Good Days", "telepatia").

[Gary]

More people are streaming a wider variety of songs maybe? Rather than a narrow age group just streaming the heavy rap stuff

[thegreatdivine]

renfield75 I don't think people aren't streaming new songs because they aren't connecting to it. Also, let's not get it twisted, a huge reason why drivers license reached such a massive peak in streams was because of the drama/narrative behind the song and the fact that it took off on TikTok as soon as it was released and even that didn't last for up to a week. From the day it peaked at just over 6M daily streams on Spotify US, it spent the next 3/4 weeks losing most of it's streams until it was down to about 1.3-1.6M daily streams on Spotify US. It's numbers on Spotify Global also dropped drastically as well.

I don't think that happened because people stopped connecting with the song after the first week. It just happened to have a lot of hype from a massive teenage audience upon release and that died down almost as soon as it started. If I'm not mistaken, despite it's rapid rise on radio, it's lost chart points every week since the week it debuted.

As for the trap sound being outdated, while I myself have grown tired of it, rappers are still the most streamed artists of any given year and it's been that way for 6 years now. Rappers are also the ones scoring the most top 10 hits every year.

I think when everywhere opens up again and people can go to clubs, parties, festivals and concerts and there's a sense of community in how people can experience music again, the streaming numbers will jack back up.

[renfield75]

Mar 10, 2021 12:52:47 GMT -5 thegreatdivine said:

As for the trap sound being outdated, while I myself have grown tired of it, rappers are still the most streamed artists of any given year and it's been that way for 6 years now. Rappers are also the ones scoring the most top 10 hits every year.

But that's sorta my point...it's been the most-streamed sound for 6 years. Of course it's still the biggest thing compared to everything else but a lot of people are getting bored with it. Hence it's still number one but the numbers are down. It's not drawing new fans. I think audiences want something else.

It's like when 'American Idol' was still #1 in TV ratings in 2009 or 2010. It was still the biggest thing but it was getting stale and numbers were dropping every season.

[Deleted]

[thegreatdivine]

Mar 10, 2021 12:56:07 GMT -5 @lil14 said:

Will this be the first time two songs by the same artist debut at #1/#2 on the Hot 100?

[renfield75]

Mar 10, 2021 13:04:23 GMT -5 thegreatdivine said:

Mar 10, 2021 12:56:07 GMT -5 @lil14 said:

Will this be the first time two songs by the same artist debut at #1/#2 on the Hot 100?

It should be. I think the only other two instances of songs debuting in the top two in the same week at all were when Clay Aiken and Ruben Studdard did it in 2003 and Adele/Bieber did it in 2015.

[s9983]

Mar 10, 2021 12:52:47 GMT -5 thegreatdivine said:

renfield75 I don't think people aren't streaming new songs because they aren't connecting to it. Also, let's not get it twisted, a huge reason why drivers license reached such a massive peak in streams was because of the drama/narrative behind the song and the fact that it took off on TikTok as soon as it was released and even that didn't last for up to a week. From the day it peaked at just over 6M daily streams on Spotify US, it spent the next 3/4 weeks losing most of it's streams until it was down to about 1.3-1.6M daily streams on Spotify US. It's numbers on Spotify Global also dropped drastically as well.

I don't think that happened because people stopped connecting with the song after the first week. It just happened to have a lot of hype from a massive teenage audience upon release and that died down almost as soon as it started. If I'm not mistaken, despite it's rapid rise on radio, it's lost chart points every week since the week it debuted.

As for the trap sound being outdated, while I myself have grown tired of it, rappers are still the most streamed artists of any given year and it's been that way for 6 years now. Rappers are also the ones scoring the most top 10 hits every year.

I think when everywhere opens up again and people can go to clubs, parties, festivals and concerts and there's a sense of community in how people can experience music again, the streaming numbers will jack back up.

I dont think driver's license had the boost from tiktok you think it did. It was doing those record breaking numbers in it's first week, before it even became a staple on tiktok. Tiktok hits usually take a couple weeks to solidify on that app. And besides, all big songs become big on tiktok to a degree. It was a pretty organic hit if we're being honest. I think the controversy surrounding it blowing up allowed it to become even bigger, and most people seemed to really enjoy it on first listen, so that added to it's numbers. 

[Mayman]

Mar 10, 2021 13:06:32 GMT -5 renfield75 said:

Mar 10, 2021 13:04:23 GMT -5 thegreatdivine said:

Will this be the first time two songs by the same artist debut at #1/#2 on the Hot 100?

It should be. I think the only other two instances of songs debuting in the top two in the same week at all were when Clay Aiken and Ruben Studdard did it in 2003 and Adele/Bieber did it in 2015.

Ariana Grande and Luke Combs did last year with "Positions" and "Forever After All" as well.

[renfield75]

Mar 10, 2021 13:10:08 GMT -5 Mayman said:

Mar 10, 2021 13:06:32 GMT -5 renfield75 said:

It should be. I think the only other two instances of songs debuting in the top two in the same week at all were when Clay Aiken and Ruben Studdard did it in 2003 and Adele/Bieber did it in 2015.

Ariana Grande and Luke Combs did last year with "Positions" and "Forever After All" as well.

That's right, I knew I was forgetting something.

[iHype.]

Drake will tie Taylor Swift & Madonna for the most #2 hits in history. (6)

Drake also appeared (uncredited under a group instead) on the #2 “BedRock”.

[thegreatdivine]

Mar 10, 2021 12:55:25 GMT -5 renfield75 said:

Mar 10, 2021 12:52:47 GMT -5 thegreatdivine said:

As for the trap sound being outdated, while I myself have grown tired of it, rappers are still the most streamed artists of any given year and it's been that way for 6 years now. Rappers are also the ones scoring the most top 10 hits every year.

But that's sorta my point...it's been the most-streamed sound for 6 years. Of course it's still the biggest thing compared to everything else but a lot of people are getting bored with it. Hence it's still number one but the numbers are down. It's not drawing new fans. I think audiences want something else.

It's like when 'American Idol' was still #1 in TV ratings in 2009 or 2010. It was still the biggest thing but it was getting stale and numbers were dropping every season.

But that's just my point, lol. The numbers are down for every song across every genre, not just rap.

I don't think some magical new or some long-forgotten genre is going to have to pop up/make a comeback and revive streaming again. I believe the lack of community in listening to music has people reluctant to stream music as much as they used to. Instead, video streaming platforms have seen a massive boost in engagement.

I also think songs don't feel as big as they are because we're still mostly indoors. When you can only experience a song through your ear phones/speakers or on the radio on your way to work, it takes a lot out of the strength of a record. Being able to hear a song in a bar, at a club, in a party, at a festival - that changes things significantly.

[85la]

Mar 10, 2021 12:52:47 GMT -5 thegreatdivine said:

renfield75 I don't think people aren't streaming new songs because they aren't connecting to it. Also, let's not get it twisted, a huge reason why drivers license reached such a massive peak in streams was because of the drama/narrative behind the song and the fact that it took off on TikTok as soon as it was released and even that didn't last for up to a week. From the day it peaked at just over 6M daily streams on Spotify US, it spent the next 3/4 weeks losing most of it's streams until it was down to about 1.3-1.6M daily streams on Spotify US. It's numbers on Spotify Global also dropped drastically as well.

You seem to be vastly downplaying drivers license's streams. Any song that reaches the gigantic number of 5-6 million streams per day on Spotify isn't going to stay there long; spending several days over that threshold is exceptionally good in itself, and while it consistently lost in streams since those first few days, if my memory serves me correctly, it was still able to maintain 2-3 million daily streams for several weeks after, something that What's Next has not been able to do for four days. Do you expect DL or any song could have been able to maintain 5+ million streams per day on Spotify 9 weeks into its run?