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#bigger than me mediabase

beccasafan · 2 years

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Bigger Than Me - Mediabase as of 2022-10-11

Top 40:

US:

Canada:

Hot AC:

Totals:

#bigger than me mediabase

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silverfoxlou · 2 years

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September 12 2022

Louis + team

Louis' tour tweets (x)

LTHQ Bigger Than Me picture (useless)

BMG

Lisa Wilkinson deletes tweets :) (if anyone has a link/screenshot to this please let me know)

Radio/streaming

#38 on Billboard Airplay Chart (x)

#39 on Mediabase Top 40 (US) (x)

Shazam song of the day (x)

F1 Takeover: Louis Tomlinson, Monza Playlist - Bigger Than Me and Kill My Mind added the day after the event ended, and 3 days after the playlist went live (useless)

September 13 2020

Louis + team

LTHQ tweet about new spotify canvas (x)

LTHQ tweet with NME interview video (x)

LTHQ late late show band photo IG post (x)

BMG

Warner Music Ireland - Bigger Than Me clip

Press

Official Charts - Louis Tomlinson on the 'importance' of supporting new artists, 'brilliant' 5SOS and his 'amazing' Away From Home Festival performers STONE (x)

Headline Planet - Louis Tomlinson Chats, Performs On “Late Late Show With James Corden” (Special Look) (x)

Interviews

The Late Late Show with James Corden - performance, interview 1 and 2

Radio/streaming

Updated Spotify canvas with fanart (fwiw, the fan did not know beforehand)

#4 on Top 40 adds (15 new stations)

Official impact day (US Radio)

Faith In The Future featured as an upcoming album on Apple Music

Bigger Than Me is a featured sound on Tiktok

September 14 2020

Louis + team

LTHQ tweet about new spotify canvas (x)

LTHQ Late Late Show video (cross-posted on IG and Tiktok) (x)

BMG

WMA - Monthly mixtape

Press

Rolling Stone - Watch Louis Tomlinson Perform Anthemic New Single ‘Bigger Than Me’ on ‘Corden’ (x)

Billboard - Louis Tomlinson Hugs His Biggest Fan on ‘Late Late Show,’ Reminisces About Horrifying One Direction Hotel Pranks (x) (annoying)

Radio/Streaming

LTHQ Instagram stories

#faith in the future promo

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needsmoresarcasm · 7 years

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strip that down on the charts

I don’t know if you’ve heard but Liam Payne released this song called “Strip That Down,” and like it’s totally smashing, or maybe it’s definitely a flop. Because, like, it peaked at #441 on Icelandic Hits Bi-Monthly and everyone knows that’s the chart that really matters. But it was also the most played song in the 9 o’clock hour on KISZ 104.7 in Kennebunkport, Maine, which is totally unheard of for a debut single released by an artist with four (... sometimes five?) vowels in their name. Or something.

AKA a post in which I attempt to break down how Strip That Down has been doing on the (mostly US) charts (and what those charts actually mean) because every time I run across another poorly argued stan war a little piece of my soul dies, and I’m already running dangerously low on soul.

So, how much success has Strip That Down had? The answer is, of course, it depends. On worldwide streaming services? Fucking excellent. On US digital sales for a One Direction member? Pretty dire. Overall as a debut single? As with any serious question asked to a magic 8-ball, too soon to tell. So, like, let’s just get into some charts.

The Hot 100 | Chart Run: 42 - 65 - 51 - 44 - 34 - 33

Billboard’s Hot 100 is the traditional measure of success for singles in the US, so let’s start there. The Hot 100 ranks songs using a formula that takes into accounts radio play, sales, and streaming, where 1 download = 1000 radio audience impressions = 75 on-demand streams (or 150 radio-like streams). Thus, doing well on the Hot 100 is a holistic measure of success. Two caveats here: a song may do well overall, but its peak on the Hot 100 may not reflect that if it doesn’t do well on everything all at once. So a song like Awolnation’s “Sail” peaked at #17, despite going 5x platinum, because it essentially peaked twice: once on alternative radio, and once on mainstream formats. Second, a song may be a non-factor to the world, but have an artificially high peak because of first-week sales. My guess is no one in the world could hum more than a line of Taylor Swift’s “Today Was A Fairytale,” but that song had the same peak as “I Knew You Were Trouble” thanks to (at-the-time) record-breaking first-week sales. TL;DR: Hot 100, good success barometer, but like, don’t pray at its altar. Or do if that’s your thing. idk, I’m not gonna judge, people pray to way weirder shit.

On to Strip That Down’s run. It’s currently at #34, its peak, after six weeks on the chart. After falling from its initial position of #42, it has been steadily rising for the last month. Of course, without context, these numbers are about as meaningful as tickets to a Lauryn Hill concert. So for some damn context, let’s compare Strip That Down’s run to three songs released essentially at the same time as it: Bad Liar, Crying in the Club, and Swish Swish.

Swish Swish has been a tragic circus car disasterfest, and so like, Strip That Down has at least hurdled that unfortunately low bar. It’s not quite doing as well as Bad Liar, Selena Gomez’s lead single, but is outpacing Crying in the Club, Camila Cabello’s lead single. Crying in the Club is probably the best comparison here, as a debut lead single from an artist after leaving a popular group. (Admittedly an imperfect comparison, as 1D was bigger than Fifth Harmony, but Camila’s name as a solo act is better known to US radio stations thanks to a host of features.) Of course, there may be even better comparisons. And, let’s be real, that’s what everyone is here for. And as much as I do not want to get into these comparisons, you kinda need to to get any objective sense of Strip That Down.

Again, the resounding conclusion here is that Strip That Down (goddamnit if this song had a less terrible acronym I would be saving so many characters) is... doing fine. Like, not a whole lot of surprises in any direction. It’s certainly not close to the Hot 100 success of Sign of the Times’s early run. But its run is somewhat different looking from the other 3 debuts. It has seen fairly steady growth almost immediately, whereas the other songs fell for a handful of weeks before climbing again. (The reason for this is pretty clear: sales, but we’ll get to that in a bit.) Strip That Down’s run looks most like Slow Hands, a song that’s like kiinda smashing at the moment. Overall, Strip That Down is doing fine on the Hot 100. If it falls off a cliff tomorrow, it would have had a seriously disappointing chart run. But like, otherwise, don’t lose any sleep over it, but also don’t be one of those people arguing in the comments on a Youtube video about how it’s a smash hit. If you’re arguing in the comments section of Youtube, you’ve already lost. Even if you’re right. Which, you’re not, because you’re arguing in the comments on Youtube.

[Sidebar: Strip That Down has been pretty rockin on the UK Singles Chart, which tracks streams + sales. Its run has been 3-3-4-4-4-6 so far. The UK charts turnover much quicker than US ones, so that kinda longevity is already quite good. Like, it’s sticking around for longer than any of One Direction’s singles did.]

Sales | Total Sales: 121,653 (US), 253,408 (UK)

Sales are sales are sales are sales. Not a whole lot to explain here. Early sales are driven by fanbases, and then continuing sales are driven by the “general public” - the inexplicable holy grail of stan war arguments. In the US, Strip That Down started with 52K sales, which was pretty underwhelming compared to the rest of the One Direction solo debuts. This Town sold about twice as much initially (121k in two weeks), Sign of the Times sold 3-4x more (200k in two weeks). Just Hold On sold about as much as Strip That Down. Of course, all of this leads us to the incredibly shocking conclusion that Harry has the largest fanbase, then Niall, then Liam and Louis. Now, if that’s news to you, let me catch you up on some other things: Donald Trump is President, Vine is dead, adjustable-rate mortgages are a trap, he could see dead people, Talkies are the next big thing, and there’s an entire continent west of Europe before India.

Since then, Strip That Down has been steadily growing. It has spent the last two weeks or so in the low twenties on iTunes. increasing at a rate commensurate with its exposure. A quick note here: Strip That Down has never been discounted to $0.69, and discounts actually do have a pretty significant effect on sales - 11 of the current top 20 songs are discounted. So... overall, relatively poor sales so far in the US. If it has a long chart life, its sales could end up being amazing, so the writing is hardly on the wall. If they like it, they will come. (... phrasing?)

And if you feel the need to see success everywhere you look, it’s doing really well sales-wise in the UK. So grip that fact with white knuckles and mention it any time you talk to anyone ever. Here’s a sample conversation:

PERSON: I can’t believe Sarah Huckabee Sanders unhinged her jaw and consumed Glenn Thrush on live TV!

YOU: STRIP THAT DOWN BY LIAM PAYNE WAS CERTIFIED SILVER IN THE UK FASTER THAN ANY OTHER SOLO DEBUT SINGLE FROM A FORMER BOYBAND MEMBER IN THE LAST TWO YEARS. #KING 🔥🔥🔥💯 💯 🔥🔥 👣🥑

PERSON: Wow! That information really changes my opinion of that song! That really makes me want to buy Liam Payne’s music! Thank you, kind stranger, for letting me know.

~end scene~

Airplay | Pop: #21, Rhythmic: #17, 31.234M A.I.

Radio play is interesting because it’s something fans have essentially no control over. Because no matter how many times you Twitter request a song to get in on WHYT The Hytz’s Top 7 @ 7, that’s just a drop in the radioplay bucket. Instead, it’s dominated by label support, artist familiarity, and general audience reaction. The most commonly referred to charts (on the interwebs) for radio airplay are Mediabase’s charts. (Billboard draws its numbers from BDS, not Mediabase, but in the grand scheme of things, the similarities in the tracking systems far outweigh the differences.) Mediabase keeps genre-specific charts, and charts songs based on the number of plays (spins) the song gets on those stations. Aside from spins, the other important number for radio is audience impressions (A.I.) which measures how many people heard a song. Because a spin on New York’s pop station Z100 at rush hour is going to reach more people than a spin on WSTW, Wilmington DE’s Hot Adult Contemporary station at 2AM.

The chart people care about for the purposes of stan-warring is the CHR/Pop chart, which is exactly what it says on the tin: the pop chart. And wow, what do you know, here too Strip That Down has been steadily rising since its release (chart run: 36 - 31 - 26 - 24 - 24 - 22). You’d be pretty hard pressed to argue that this is underperforming. You’d also be pretty hard pressed to argue that it’s overperforming. So don’t! No one wants to be hard pressed. Well, actually... Err, where was I? Oh right, here’s a chart.

Again, aside from Swish Swish, which, lol, the general trend for all these songs is pretty similar. Bad Liar/Sign of the Times both grew way faster with some pretty significant radio deals. Everything else kinda chugged along. Strip That Down has been seeing a pretty linear increase in spins, and if it’s going to really climb, that’s going to need to pick up. But radio is super top-heavy, in that the top 10 songs account for a huge percentage of total spins. Maybe the radio gods will deign to grace Strip That Down and it’ll sky rocket. Or maybe not and it’ll stall in the mid-teens and like, that’ll be fairly respectable.

In terms of overall audience, Strip That Down is the 58th most-heard song on radio, reaching 31.235 million/week. A majority of that is from pop stations, but a sizable chunk is also from CHR/Rhythmic stations, which are more hip-hop/r&b leaning. (And, a small slice is from Hot Adult Contemporary stations, a format that skews closer to pop rock, but generally plays every big pop hit.) Strip That Down has been seeing its biggest audience gains in the last couple days, so who knows. The world is its oyster.

Streaming | Spotify #23 (US), #9 (Worldwide), Youtube #57

Because it’s 2017 and millennials refuse to spend money on anything but avocado toast and actively staying unemployed, streaming exists. And tbh, I don’t really know shit about streaming patterns because the last time I followed music charts closely, Spotify wasn’t really a thing. And like every old person who used to know something, instead of doing the research and educating myself, I’m just gonna speculate wildly and hope no one notices when I pronounce Zendaya like it rhymes with papaya.

From my rigorous research, it looks like streaming turnover is definitely faster than radio turnover. And streaming in the US (at least on Spotify/Apple Music) trends more towards hip hop/rap. It also seems like streaming is basically its own beast, but not totally insulated from label influence. IDK how Spotify’s top hits playlists work, but like, my guess is there’s not no money to be had there.

What really matters is that Strip That Down is kinda killin’ it. It’s been gaining in the top 30 for US Spotify streams, and in the top 10 for worldwide Spotify streams for the last month. It’s definitely had the benefit of being on the most popular playlists, so that probably explains some of it. I don’t know what explains the rest of it. But like, idk, I guess the youths are digging it. Let’s visually illustrate this multiple times to place more emphasis on the streaming factor because such an emphasis would be advantageous to the perception of Strip That Down that most appeases my carnal desires.

Wow, for once the analysis isn’t “idk we’ll see how it does.” For streaming, Strip That Down has just straight up done well regardless of the context or comparison you’d like to make. It’s already a streaming success for who knows what reason.

Let’s end on that note. Please use this information for good and not evil. I don’t care if you like Liam or hate him or WHATEVER (that’s a lie, I do care if you hate Liam, because you’re a monster), but have some basic grasp of what the various chart numbers mean, please. Or if you must continue to engage in petty, misinformed arguments with rando strangers on the internet, do it in a place where there is zero chance of me stumbling upon it. (Those places don’t exist on the internet, because I will scrape into the deepest recesses of the web to find people saying nice things about Liam Payne. Because I am so bored.)

But, y’know, if your mental well-being depends on Liam’s songs performing well, then there’s definitely enough here for you to tell yourself that he’s #smashing #kingofpop #yourfavescouldnever #heynowyourearockstargetyourshowongetpaid.

#liam payne #strip that down #yall studying for a test for two months is real fucking boring #and leads to shit like this

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ourpickwickclub · 7 years

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Can any of you answer this ? About the CM charts. How many are out there I read thatETIHTS is up to 5th spot or moving but the C&C count down said today it was at 7 the second week. Geez how many count downs are there and is BIllboard the only one that counts.

🙋🏼I'm a chart dork. That's different than being a chart expert. I love chart watching but I'm NOT the Grand Poobha of chart info. So, Mediabase is tied to Nielsen and relies on people generating the info. Billboard is tied to BDS and relies on computer generated info.Cool article explaining it all here. http://www.radio-media.com/song-album/articles/airplay26.htmlFeel free to correct my info bigger dorks than me. I love hearing about this stuff. - B

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227snewfacebookfries · 6 years

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