The Secret Hit-Making Power of the Spotify Playlist

David Pierce, writing for Wired:

Spotify, Apple Music, and other streaming services have fundamentally changed how people listen to music. In the process, they’ve changed how artists and songs break. Radio may remain the most popular way of discovering music among casual fans, but unless you’re Drake or Rihanna, it’s hard to get any play. Plus, real fans—the people who go to concerts and buy merch and actually pay for music—use streaming services like Spotify.

“Spotify playlists, and Spotify charts, and Spotify plays, have become the number one tool that labels and artists and managers are using in order to break artists and measure success,” says industry analyst Mark Mulligan. Facebook has more users, YouTube has more views, but Spotify represents more important real estate. “If you get things working on Spotify,” Mulligan says, “that’s going to crank the wheel.”

I’ve heard from labels and managers that specifically target certain regions in the world to boost Spotify plays and hit charts because it may lead to getting onto a featured playlist.

Tried to Warn You This Guy Sucked

Shaant Hacikyan of Cute is What We Aim For, on Twitter:

Hey, most claims of sexism/racism are total bullshit. This isn’t the 1960’s. Please get a grip.

And:

Ok, CIS is akin to BAE. Both may be amongst the popular vernacular but they aren’t real. They’re superficial labels.

Yeah, fuck right off. I once heard he cried when his band locked him out of the studio during a recording session for one of their shitty albums because even they couldn’t stand him.

Review: Chris Stapleton – From A Room: Volume 1

Chris Stapleton - From A Room: Volume 1

No artist has ever had a success story quite like that of Chris Stapleton. Two years ago this week, Stapleton released his debut album, a 14-track collection of old school country, blues, southern rock, and soul called Traveller. The album didn’t arrive without buzz: Stapleton was one of the most dependable songwriters in Nashville, a guy with (at the time) four number one country hits to his name. He also made his record with Dave Cobb, the producer who had helped Jason Isbell and Sturgill Simpson craft breakthrough, critically-beloved albums the two years previous. The result was a number 14 debut on the Billboard 200 with 27,000 copies sold; not remarkable, but not bad for a debut artist, either.

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