Our guest today is Fabrice Sergent, Co-Founder and Managing Partner at Bandsintown, where they “believe that live music is one of the last ‘tribal experiences’ which creates happiness and understanding in the world. Their mission is to help artists build a sustainable future through virtual live streams, music releases, merchandise and traditional live events promotion. With a reach of 250 million Monthly Active music fans globally, over 67m registered concert goers and 550k touring artists registered to the platform, Bandsintown offers powerful, scalable and targeted digital marketing solutions to engage with music enthusiasts.” 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. If you want more free insights, follow our podcast, our blog, and our socials. If you're an artist with a free Chartmetric account, sign up for the artist plan, made exclusively for you, here. If you're new to Chartmetric, follow the URL above after creating a free account here.

UnitedMasters’ Head of Marketing David Melhado (mel-HEY-doh) is a New York City-based industry veteran who first cut his teeth in music marketing and management in the South, holding roles at Atlantic Records, iHeartRadio, StreamCut Media & RocNation. Connect With Dave on LinkedIn and check out UnitedMasters here. If you want more free insights, follow our podcast, our blog, and our socials. If you're an artist with a free Chartmetric account, sign up for the artist plan, made exclusively for you, here. If you're new to Chartmetric, follow the URL above after creating a free account here. 

On this episode, we chat with Aileen Crowley, former Vice President of Global Streaming Marketing at Universal Music Group. Before leaving the major label world in November 2020, Aileen devised data-driven streaming strategy for developing artists, working directly with artist management to translate streaming analytics, develop artist release strategies, and implement plans for audience growth. 

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. If you want more free insights, follow our podcast, our blog, and our socials. If you're an artist with a free Chartmetric account, sign up for the artist plan, made exclusively for you, here. If you're new to Chartmetric, follow the URL above after creating a free account here.

Aqui Kumar, Jannick Steinke, Sebastian Gorki, and Valerian Dilger are music business students at the Popakademie in Germany. 

“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 If you want more free insights, follow our podcast, our blog, and our socials. If you're an artist with a free Chartmetric account, sign up for the artist plan, made exclusively for you, here. If you're new to Chartmetric, follow the URL above after creating a free account here. 

Zael is a manager at YMU Group, a global talent management company with a roster that includes RAC, Kina, Ryan Caraveo, Ben Zaidi, and Oshi. Originally from Amherst, Massachusetts, Zael grew up around a lot of jazz, cows, and psychologists. After moving out to LA and building his own management company, Zael joined forces with YMU in late 2019 where he kicked things off by developing the marketing plan for RAC’s third studio album “BOY” before signing Kina and Ryan Caraveo in early 2020. Connect With Zael on LinkedIn and check out YMU Group here. If you want more free insights, follow our podcast, our blog, and our socials. If you're an artist with a free Chartmetric account, sign up for the artist plan, made exclusively for you, here. If you're new to Chartmetric, follow the URL above after creating a free account here. 

On this episode, we chat with Ami Patel, a writer for Water & Music and a passionate analyst of the international music scene. 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. If you want more free insights, follow our podcast, our blog, and our socials. If you're an artist with a free Chartmetric account, sign up for the artist plan, made exclusively for you, here. If you're new to Chartmetric, follow the URL above after creating a free account here.

On this episode, we talk to Adam Kanwal about the article he wrote for the Chartmetric blog entitled, How to Promote Your Music in Southeast Asian Trigger Cities. Kanwal is a Digital Marketing and Analytics Consultant, working with artists including Amorphous, Still Woozy, Remi Wolf, Suzuki Saint, and Miss Madeline to analyze TikTok and YouTube trajectories, building campaigns from the ground up. He’s formed partnerships with over one hundred influencers globally, and has also served as the Digital Marketing Specialist for Shifted Recording in New York City.

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. If you want more free insights, follow our podcast, our blog, and our socials. If you're an artist with a free Chartmetric account, sign up for the artist plan, made exclusively for you, here. If you're new to Chartmetric, follow the URL above after creating a free account here.

In honor of Mental Health Awareness Month, on this episode, we talk to Berklee's Camille Lopez-Silvero about the article she wrote for the Chartmetric blog entitled, The Under 27 Club: Music and Mental Health in the Streaming Era. Lopez-Silvero is a 2021 Global Entertainment and Music Business Master of Arts candidate at the Berklee College of Music program in Valencia, Spain, and a 2020 Northwestern University graduate. She currently serves as the Head of Marketing and Branding at Disrupción Records, an independent, student-run record label based out of Berklee’s graduate campus. She has previously interned at Paradigm Talent Agency in their Chicago office, and a host of diverse companies including a New York-based creative digital agency (Swell Shark), branding company (Siegel+Gale), investment firm (Loeb Enterprises), and startup (Thnks). Read The Under 27 Club: Music and Mental Health in the Streaming Era here. If you want more free insights, follow our podcast, our blog, and our socials. If you're an artist with a free Chartmetric account, sign up for the artist plan, made exclusively for you, here. If you're new to Chartmetric, follow the URL above after creating a free account here.

On this episode, we speak with Dan Runcie, the Founder of the business/hip-hop/culture media company Trapital. Launching in early 2018, Trapital began as a subscription-based newsletter, but provides now features a podcast and a free weekly memo focusing on the business strategy of hip-hop, talking about topics like Beyoncé’s streaming strategy, how the hip-hop’s indie community has taken off and How Tyler, The Creator Built a Cult-Like Following. Trapital’s readers are music executives, media moguls and venture capitalists, with clientele like Translation CEO Steve Stoute and SoundCloud CEO Mike Weissman. Trapital also offers advisory and speaking services.

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! If you want more free insights, follow our podcast, our blog, and our socials. If you're an artist with a free Chartmetric account, sign up for the artist plan, made exclusively for you, here. If you're new to Chartmetric, follow the URL above after creating a free account here.

On this episode, we talk with Latin music mogul Paris Cabezas. Born and raised in rural Cuba, the MIT Applied Mathematics grad got his start working on the first generation of Yamaha’s digital mixing consoles. This studio engineering stint helped him become the Grammy-nominated producer that he is now, and he's also been able to apply his technical acumen to the various functions of InnerCat Music Group, which Cabezas founded in 2012.

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. If you want more free insights, follow our podcast, our blog, and our socials. If you're an artist with a free Chartmetric account, sign up for the artist plan, made exclusively for you, here. If you're new to Chartmetric, follow the URL above after creating a free account here.

SEE THE 2020 UK MUSIC DIVERSITY REPORT HERE: https://www.ukmusic.org/equality-diversity/uk-music-diversity-taskforce-workforce-diversity-survey/2020-report/ 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 & GuestsHost: https://www.linkedin.com/in/christineosazuwa/Guest: https://www.linkedin.com/in/paulettelonguk/Guest: https://www.linkedin.com/in/ammo-talwar-mbe-217b2612/ Connect With Us (@chartmetric)http://chartmetric.com/https://blog.chartmetric.comhttps://smarturl.it/chartmetric_social

Bernie Cho is a music executive with more than 21 years of culture creation in the Asian music, television, and pop culture industries. As President of DFSB Kollective, a Seoul-based independent artist and label services agency that specializes in providing digital media, marketing, and distribution solutions to 600+ Korean Pop music artists, DFSB collaborates with artists and their management to devise customized strategies that directly connect them to their local and global fans. Since 2009, the agency has successfully produced numerous K-Pop concerts/showcases around the world as well as secured No. 1 chart debuts for various K-Pop albums in North America, East Asia, Western Europe, and Australia.

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. Connect With Ushttp://podcast.chartmetric.com/http://chartmetric.com/https://blog.chartmetric.comhttps://smarturl.it/chartmetric_social

Bernie Cho is a music executive with more than 21 years of culture creation in the Asian music, television, and pop culture industries. As President of DFSB Kollective, a Seoul-based independent artist & label services agency that specializes in providing digital media, marketing, and distribution solutions to 600+ Korean Pop music artists, DFSB collaborates with artists and their management to devise customized strategies that directly connect them to their local and global fans. Since 2009, the agency has successfully produced numerous K-Pop concerts/showcases around the world as well as secured No. 1 chart debuts for various K-Pop albums in North America, East Asia, Western Europe, and Australia.

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. Connect With Ushttp://podcast.chartmetric.com/http://chartmetric.com/https://blog.chartmetric.comhttps://smarturl.it/chartmetric_social

On this episode, we chat with former Sony Music Nashville VP of Digital Strategy Ed Rivadavia. Ed is originally from São Paulo, Brazil, but he spent much of his early years in Europe and the United States, learning three languages, other than Portuguese, along the way. Most recently a VP of Digital Strategy at Sony Music Nashville, where he worked with some of the biggest names in Country, Ed has always been — and still is — a metalhead at heart. What’s particularly interesting about Ed’s career is how you can trace the trajectory of the role of marketing in the music industry from radio promotion or “old media” marketing in the ‘90s, to trying to get a handle on ways to use the internet, or “new media,” in the early 2000s, and then to settling in to what we now know as digital marketing and digital strategy in the 2010s. Ed’s global and multi-genre experience imbues his perspective on digital trends in the music industry with nuance and prescience. Connect With Edhttps://www.linkedin.com/in/edrivadavia/ Connect With Ushttp://podcast.chartmetric.com/http://chartmetric.com/https://blog.chartmetric.comhttps://smarturl.it/chartmetric_social

Guest - Christine Osazuwa:https://twitter.com/c_osazuwahttps://www.linkedin.com/in/christineosazuwa/http://christineosazuwa.com/https://musically.com/2019/10/31/what-trigger-cities-really-mean-for-music-marketing/https://www.elitedaily.com/dating/lessons-100-first-dates/1099230 Podcast:http://podcast.chartmetric.com/ http://chartmetric.com/

How Music ChartsSeason 2, Episode 1 - Get to Know the Hosts (Jason Joven, Rutger Ansley Rosenborg)Guests: Jason Joven - Manager, Content and InsightsRutger Ansley Rosenborg - Digital Marketing Timestamps:0:00 - Intro to Season 2's format1:15 - S2E1 intro1:56 - Jason's background4:25 - Rutger's background6:25 - Data vs. Gut9:35 - Where should business data start to mix with the creative process?11:44 - AI startups changing music itself13:20 - SPEED ROUND15:16 - Wrap-Up How Music Charts is owned and operated by ChartmetricEmail us at [email protected] on Twitter, LinkedIn, Facebook, InstagramFree accounts are available at chartmetric.com Article links and show notes are at: podcast.chartmetric.com

Highlights  This week, two huge artists let the track lists of their upcoming albums slip and a couple of other big names released music videos. Let’s see if they reaped any data rewards. Mission   Good morning, it’s Rutger 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.DateThis is your Data Dump for Friday, Oct. 25, 2019.Track List Reveals and Music Videos: Stunts or Bumps?Coldplay and Miley Cyrus let the track listings for their respective upcoming albums drop this week, while Doja Cat and Selena Gomez released some music video eye candy to promote their upcoming album releases.We’re not saying the strategies are mutually exclusive by any means, but what are the actual gains from each, from a data perspective?Coldplay, who cheekily revealed the track list of their upcoming album by posting a classified ad in North Wales’ Daily Post, have been pretty good about staying in the spotlight, but amidst collabs and side projects, they’ve still managed to put together a double album called “Everyday Life,” which is due out Nov. 22.So far, the sneaky announcement has garnered tons of press, helped along by the release of “Arabesque” and “Orphans,” two tracks from each album.It probably didn’t cost them very much, either.While the effect seems relatively negligible now due its two-day freshness, across most platforms, they’re showing signs of an upward trajectory.They’ve gained some 30K Spotify followers, 5K Insta followers, 2K Twitter followers, and 8.5K Wikipedia views. They’ve also increased their Spotify popularity by a point, which is not insignificant in just a day or two’s work.Clearly, Coldplay had a lot of intention behind their track list leak, but Miley Cyrus’ situation is a bit murkier.During a livestream on Instagram on Sunday, viewers spotted a whiteboard behind Miley with a bunch of, well, presumably track names scrawled all over it.It doesn’t look staged, but then again, her upcoming album isn’t exactly a secret, so there could be a bit of guerilla marketing going on there.Seeing as she hasn’t released anything “tangible” this week, her metrics are a bit more stagnant, which is not to diminish her No. 10 rank across eight platforms, according to our Cross-Platform Performance ranking system.Two artists who have some audiovisual tangibility to show are former Disney star Selena Gomez and LA-based rapper Doja Cat.Gomez’s “Look at Her Now” music video has bumped her up in terms of fan acquisition on Spotify, Instagram, Twitter, SoundCloud, and YouTube, but her streams and views aren’t seeing a huge lift … yet.She did just release two new singles within a day of each other, so those follower gains are likely to bump up her listener and views gains in the coming days.Star-on-the-rise Doja Cat was trending hard on Twitter following her music video/single drop of “Rules” and her streaming numbers are climbing and climbing.Just six months ago, Doja was at 1.9M Spotify Monthly Listeners.That number started accelerating in August, from 2.6M to 3.7M, and just this month, she’s gone from 4.6M to nearly 6M. Combined with her half-a-million-Spotify-followers-and-climbing, her Spotify popularity score is edging near the upper echelons of the streaming world.With the kind of attention that Doja’s powerfully provocative video is getting, there’s some definite streaming staying power there.So, while album track list leaks don’t appear to be particularly indicative of a data bump on their own, combined with a double-single release — especially if you’re Coldplay — they can be a relatively inexpensive strategy for generating a lot of attention.There’s nothing like a really cool music video to train and sustain all eyes on an artist, though.OutroThat’s it for your Daily Data Dump for Friday, Oct. 25, 2019. This is Rutger from Chartmetric.Free accounts are available at chartmetric.com And article links and show notes are at: podcast.chartmetric.comIf you haven’t downloaded 6MO, our Global Music Industry Data Report, yet, you can find it all across our socials and in our show notes!Happy Friday, have a great weekend, and we’ll see you next week! 

Highlights  UK singer-songwriter and producer prodigy Labrinth has created a hallucinatory experience with his soundtrack of HBO’s new show Euphoria, and with data as our guide, we’re going to try to navigate the psychedelic experience with you.Mission   Good morning, it’s Rutger 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.DateThis is your Data Dump for Friday, Oct. 11, 2019.Take a Psych Trip Through Labrinth’s ‘Euphoria’Besides collaborating with Sia, Diplo, and Beyonce in recent years, Timothy Lee McKenzie, better known by his stage name, Labrinth, just scored — literally and figuratively — his first TV series, HBO’s Euphoria.According to Rolling Stone, “His soundtrack ... hums with soft electricity, perfectly complementing the journey of the main character, Rue, a teenager caught in limbo between the euphoria of a drug high and the harsh consequences of addiction.”It’s rare that a TV show soundtrack generates high — if any at all — demand, but according to McKenzie himself, “If I put a post up, the first message is ‘Where’s the album? Where’s the soundtrack?!’ So I’m like, ‘OK, don’t worry.’ We’re working on getting ‘em what they need.”And he and the HBO team did just that, releasing the soundtrack last Friday.Though his early April releases of “SIN” and LSD, his Sia/Diplo collab, accounted for his highest Spotify Follower gains this year, at 5K and 3K, respectively, Euphoria has him at a 2K increase.That said, on Insta and Wikipedia, an early single drop from the soundtrack on Aug. 3 gave Labrinth his most significant spikes with a 5K follower increase and 3.5K views, respectively.It’s an interesting strategy for artists, labels, and managers to think about, because not only are there upfront fiscal upsides from synchronizations, but there are also the inherent promotional upsides couched in the television and video streaming industry’s massive marketing budgets. That’s not to say that it limits a series to only one artist, of course.Euphoria’s official Spotify playlist, which includes every track used in Season 1, ranges from Solange to Lizzo, Blood Orange to Randy Newman and much, much more.Unfortunately, an individual curator seems to have ripped the official Euphoria playlist and pawned it off as their own, outperforming the official playlist by about 3 to 1 in terms of follower count.Which just goes to show — albeit unscrupulously — that understanding and anticipating trends and listener behavior can go a long way toward building audiences in the streaming era.  OutroThat’s it for your Daily Data Dump for Friday, Oct. 11, 2019. This is Rutger from Chartmetric.Free accounts are available at chartmetric.com And article links and show notes are at: podcast.chartmetric.comIf you haven’t downloaded 6MO, our Global Music Industry Data Report, yet, you can find it all across our socials and in our show notes!Happy Friday, have a great weekend, and we’ll see you next week! 

Highlights  With a head-to-head comparison between the Apple Music Video and YouTube Music Video charts, we’ll expand your understanding of chart behavior through a chart velocity analysis. Mission   Good morning, it’s Rutger 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.DateThis is your Data Dump for Friday, Sept. 13th, 2019.Apple vs. YouTube Music Video VelocityLooking at Apple Music Video and YouTube Music Video charts, pure chart rank can tell us a lot — but not everything.And that’s where chart velocity comes in. Chart velocity measures a track’s — or in this case, a music video’s — behavior on a chart within a predetermined time period.For the Apple Music Video and YouTube Music Video charts, we track 7-Day Velocity, or how a given music video has performed on each chart in the last week — irrespective of its pure position.It could be No. 1, or it could be No. 150 — what we’re looking at here is time-constrained growth trends, which can expand our understanding about how contextual factors might be influencing those micro-trends.For Apple, Post Malone’s “Sunflower” leads with a Velocity of a bit more than three, even though its pure chart rank is No. 42.Lil Nas X’s “Old Town Road” is next up at two, even though its pure chart rank is No. 28.Both songs were released about a year ago, give or take, which makes sense if you consider that Apple isn’t a music video platform, so major hits just kind of linger.However, YouTube features the actual newest viral videos.And that’s probably why YouTube’s Velocity leaders are totally different, as is the correlation between their Velocity scores and their pure chart ranks.On YouTube, Polo G’s “Effortless” leads with a bit more than seven, in terms of Velocity rank.The music video is ranked 11th overall.At second is Tainy, Anuel AA, and Ozuna’s “Adicto,” which is ranked No. 6 overall with a 2.6 Velocity score.Here’s the interesting thing: Polo G’s music video has jumped some 50 spots, and “Adicto” had an 18 spot fluctuation. On Apple Music, the change was nine and 13 spots, respectively. Couple that with the fact that Apple’s top velocity music videos are near catalogue material and YouTube’s top velocity music videos are decidedly frontline, and you get a sense of what Velocity is measuring on each respective platform.Note, for instance, that songs from Post Malone’s new album, which was released just a week ago, are in every Top 10 spot on the Apple Music Daily Track chart.On YouTube, only two are — “Sunflower” and “Circles.”As such, on Apple, music videos can continue to climb the charts, irrespective of release date and according to new album marketing drivers.On YouTube, music videos climb the charts according to freshness and virality.Or so it seems.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.comHappy Friday, have a great weekend, and we’ll see you next week!

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.DateThis is your Data Dump for Thursday, August 15th, 2019. TikTok Top Tracks and Trending VideosIf 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.comHappy Thursday, we’ll see you tomorrow!

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.DateThis is your Data Dump for Wednesday, July 17th, 2019.Latin America "Trigger" CitiesIn 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.comAnd article links and show notes are at: podcast.chartmetric.comHappy Wednesday, and we’ll see you Friday! 

Highlights  Brazilian Bossa Nova legend João Gilberto died over the weekend at the age of 88. We remember “O Mito” and just how timeless he is.Mission   Good morning, it’s Rutger 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.Our social media handle is “chartmetric”, that’s Chartmetric, no “S ”- follow us on all your favorite platforms at Instagram, Twitter, Facebook or LinkedIn, and let us know what you think about this or any episode, get the latest and greatest from us daily...we’d also love to get your feedback!DateThis is your Data Dump for Wednesday, July 10th, 2019.Remembering Bossa Nova Great João GilbertoJoão Gilberto, the father of Bossa Nova, died in Rio De Janeiro over the weekend, and we’d be remiss if we didn’t honor his monumental legacy.Gilberto was born in 1931 in the Brazilian state of Bahia, received his first guitar when he was 14, and you might say the rest is history.In 1965, he and American jazz saxophonist Stan Getz won three Grammy Awards for their album Getz/Gilberto, which features their famous recording of “The Girl From Ipanema.”With any legacy artist like Gilberto, whose catalog consists of, well, catalog (as opposed to frontline) recordings, numbers tend to flatline without those big new release marketing drivers.Gilberto’s repertoire has seen a significant uptick in interest across platforms not only in the last week, which is to be expected anytime a music great passes into the next frontier — but within the last two months as well.On Spotify, Gilberto’s follower increase has hovered steadily around a 100 since January, but since May 25, it’s shot up to around 600.While his monthly listeners fell some 5 or 600,000 from early April to early May, by the end of May, they had increased some 3 or 400,000.His Spotify Popularity Index, as a result, lifted some five points from 65 to 70 between May 23 and July 8.On every social platform, save for the Facebook wildcard, interest spikes are understandably, if unfortunately, localized around the news of his death.His Wikipedia views, for example, jumped from around 300 to nearly 70,000.There’s a similar increase on YouTube, where daily views leapt from around 66,000 to 1.2 million.Given his holy status in his home country of Brazil, Sao Paulo and Rio De Janeiro are his top cities by Spotify monthly listeners at 13.6 and 7.3 percent, respectively.On YouTube, however, Paris, France, and Santiago, Chile, are his top cities, both at around 8 percent.As far as countries go, USA, at 15 percent, is his biggest fan behind Brazil, at 17 percent of daily YouTube views.So, while Gilberto is definitely a Brazilian deity in the music world, it’s clear his impact has been global and that it will remain so for many, many years to come.Outro That’s it for your Daily Data Dump for Wednesday, July 10th, 2019. This is Rutger from Chartmetric.Free accounts are at chartmetric.comAnd article links and show notes are at: podcast.chartmetric.comHappy Wednesday, and we’ll see you on Friday!

Highlights  On Part 1 of our streaming manipulation series, we took you on a wild ride into depths of playlist fixing. Today, on Part 2, we’re zeroing in on fake artists.Mission   Good morning, it’s Rutger 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.DateThis is your Data Dump for Monday, July 1st, 2019.Enter the World of Streaming Manipulation, Part 2 - Fake ArtistsFor Part 1 of our streaming manipulation series, we covered some funny business in the playlisting world. On Part 2, we’re scratching a different part of streaming’s underbelly: fake artist accounts.Last November, Pop Buzz and others covered a mysterious account uploading ostensibly unreleased Ariana Grande tracks under the name Zandhr.As it turned out, the tracks had been available online for some time, but that didn’t change the fact that a streaming account reportedly not linked to Ariana Grande, according to the BBC, was uploading her intellectual property to potentially profit off of.While the Zandhr account has since been taken down, our data suggests the fake artist accrued 9.5K Spotify followers and almost 30K monthly Spotify listeners, in addition to landing an “Ariana Grande - Every Song” playlist with some 20K+ followers of its own.Playboi Carti found himself in a similar predicament when three different fake accounts — Lil Kambo, Unocarti, and Unocompac — started uploading his tracks, with some pitch-shifting his songs in an attempt to disguise the illegitimate uploads.While both Lil Kambo and Unocarti’s profiles appear to have been taken down, the former amassed a 50K+ playlist reach from 37 playlists and the latter almost a 20K playlist reach from 19 playlists.Unocompac, meanwhile, appears to still have at least one Playboi Carti song up, enjoying 14K Spotify followers and a 30K playlist reach from 54 playlists.The best — or worst — part is that Unocompac’s artist gallery on Spotify includes three out-of-focus nighttime shots of a white suburban teenager posing and throwing up fake gang signs.Shaking my damn head.While this all might seem rather innocuous, as most of these accounts never amass more than a couple of thousand followers, it’s important to remember ...One, fake artist accounts effectively steal intellectual property and income from the legitimate artists they’re “impersonating.”And two, fake artist accounts devalue the work of all legitimate artists who have put their blood, sweat, and tears into making and marketing their art. While this phenomenon probably isn’t something to worry about in the short-term, how it’s handled now will determine how big of a problem it becomes in the long-term.With so many metadata errors, artist-song mismatches, and unclaimed blackbox royalties as a result, the last thing artists need is an army of mysterious impersonators gaming the system. OutroThat’s it for your Daily Data Dump for Monday, July 1st, 2019. This is Rutger from Chartmetric.Free accounts are at chartmetric.comAnd article links and show notes are at: podcast.chartmetric.comHappy Monday, 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.DateThis is your Data Dump for Friday, June 28th, 2019.Enter the World of Streaming ManipulationLast 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.comAnd article links and show notes are at: podcast.chartmetric.comHappy Friday, have a great weekend, and see you on Monday!

HighlightsFollow us down to the trigger cities of Southeast Asia where their Shazam, Spotify, and YouTube charts have some big implications for tour strategy and catalog exploitation.Mission   Good morning, it’s Rutger 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.DateThis is your Data Dump for Thursday, June 27th, 2019.Trigger Cities in Southeast Asia On our blog this week, Jason did an epic analysis of Southeast Asia’s trigger cities, revealing what implications their Shazam, Spotify, and YouTube charts have for tour strategy and catalog exploitation.We’re just scratching the surface of it here.First, Shazam. From Singapore’s 41 pop genre tags to Jakarta’s 40 to Kuala Lumpur’s 37 down to Bangkok’s 30, an overwhelming Southeast Asian love of pop music in the past month would be an understatement.However, the region doesn’t appear to care much about querying hip-hop or rap, as the genre only makes a 10th place appearance in Jakarta.On Spotify, K-pop group BLACKPINK is currently the hottest act throughout the region, having 2.11M monthly listeners in the past month.Our good friend Lauv (remember him from our June 3 episode?) slides into #2 with 2.10M monthly listeners.With the exception of BLACKPINK, all other artists have US or UK origins.Given Spotify’s northern European origins and that its most popular artists are also of Western origin, this makes sense.Ho Chi Minh City, Vietnam, however, seems to exist in its own silo. More commonly known as Saigon, locals prefer Korean acts, sharing a love of K-pop boy band SEVENTEEN with Bangkok.But the city’s #1 most listened-to artist on Spotify is their “queen of V-pop,” Mỹ Tâm. An outlier here, however, is Ho Chi Minh City’s third most listened to artist on Spotify: Nashville’s Landon Austin.Austin’s covers are apparently catnip for Southeast Asia’s love of non-controversial pop, because his top five cities by Spotify monthly listeners are all in Southeast Asia.Should Austin be touring the region like a madman, then?Based on the available data, it sure looks like it, but we can’t rule out the possibility of bots and bought streams — for which a lot more research still has to be done.On YouTube, BLACKPINK and BTS, two of Korea’s biggest international acts, consistently appear in the top 10 artists by YouTube daily video views.Aggregating the top 10 artists of each of the six Southeast Asian cities for YouTube daily views, the #6 most viewed artist is Brad Kane. If you missed our May 16 podcast episode on Quezon City, Kane was the titular character’s original singing voice for the 1992 Disney animated film Aladdin, which has just been re-released as a live action film starring Will Smith.The fact that the New York City actor, singer, and producer’s rendition of “A Whole New World” has stirred up so much engagement 27 years later in Southeast Asia says something about how locals consume music … not necessarily to support the artist, but for their own karaoke endeavors!So, if you’re looking to exploit catalog records, this might be the perfect spot.But don’t count out domestic artists.Three Southeast Asian artists make the region’s top 10 most viewed: Bangkok trap rapper YOUNGOHM (at #4 with 1.1M daily views), Indonesian singer Nella Kharisma (at #7 with 637K daily views), and Bangkok punk rock band Labanoon (at #9 with 589K daily views).One distinct takeaway with these domestic artists is that their YouTube support comes exclusively from their home countries. Since all three are proudly delivering content in their mother tongues, they are likely limiting their global market appeal, but it’s also why they resonate so well with their fellow country people.As Jason puts it, looking at a certain market’s music data raises our awareness about who the fans are, what their specific cultural histories have been, and how they are now living as a reflection of it.  Well said, but something to consider beyond the computer screen is the fact that digital behavior doesn’t always correspond directly to behavior in the real world.Which is why, before you completely tailor your tour or marketing strategy to your streaming data, make sure you’ve considered all avenues of information.Spotify numbers don’t always translate to ticket sales.OutroThat’s it for your Daily Data Dump for Thursday, June 27th, 2019. This is Rutger from Chartmetric.If you want to read Jason’s piece in full and look at some pretty charts, it’s up on our blog at blog.chartmetric.io.Free accounts are at chartmetric.comAnd article links and show notes are at: podcast.chartmetric.com.Happy Thursday, and see you tomorrow!