Kid Laroi and Justin Bieber performed their tenth-week-holding Australian No.1 track "Stay" at the MTV VMA's this past week, bolstering it's position not only here but in eight further countries around the world.
"Stay" is also holding for a tenth week at No.1 in New Zealand, plus Norway (9th week), Canada (7th week), Austria, Finland (4th week in each), Denmark and The Netherlands (3rd week in each) plus a fifth week atop the World Chart, while it's also at No.2 in Germany, No.3 in Sweden and France, No.4 in Switzerland, No.6 in America (after their Top 10 was swamped by nine new Drake tracks, thus "Stay" was the only song to remain within the U.S.A. Top 10 this week), No.8 in Portugal and it drops to No.10 in both England and Ireland this week.
This is the second time this decade that a song has held for ten consecutive weeks at the top in Australia, as The Weeknd logged ten weeks from January 27th, 2020 with "Blinding Lights" up until March 30th, later returning for an eleventh and final week on April 20th. For this decade's tally for 'Accumulated Weeks at No.1: Singles; 2020's', Justin Bieber now rises to the top of that list with twelve overall weeks from his two No.1 songs this decade, while Kid Laroi moves up to equal second with eleven accumulated weeks at the chart summit. Justin also moves up on the list for 'Overall Weeks at No.1; 1940 to 2021' to now have 41 weeks at the top from his eight No.1's (lead and guest), to land just behind Rihanna's 41 weeks from her ten No.1's, ranked now 16th on the listing.
The song "Stay" now also rises to equal eleventh on the list of 'Most Weeks at No.1; 1940 to 2021' with seven previous songs also attaining ten weeks at No.1, with the last being "Party Rock Anthem" for LMFAO in 2011, and the only other Australian act to log ten weeks at the top being Daddy Cool's "Eagle Rock" from 1971, with the only other local act to have logged more weeks at No.1 being Tones and I in 2019/20 with "Dance Monkey" (24 weeks). The current No.1 track is also now the second longest running No.1 song this decade, just behind the eleven weeks achieved by "Blinding Lights" for The Weeknd and "Mood" for 24KGOLDN, both in 2020.
The ebbing Drake tracks this week help the chart to rebound most of it's previous entries, and this week Ed Sheeran returns to No.2 with "Bad Habits'', back up two spots, plus he also debuts at No.5 with a third track from his fifth album "=" called "Shivers'', which has landed at No.1 in both England and Ireland this week, dethroning his "Bad Habits" track from both charts after eleven weeks at the top in both regions, with "Shivers" becoming his 26th Top 10 entry (23 as lead, 3 as guest) in Australia.
Rebounding to it's former peak of No.3 for a second time is the Elton John and Dua Lipa collaboration "Cold Heart (PNAU Remix)", back up two places, with the song scoring it's first week in the UK Top 10 this week, rising to No.4, while it's back up to No.5 in New Zealand, with another track scoring a new UK peak this week of No.8 (2nd week in their T10), and here it rebounds six places to land back at No.4, Glass Animals with "Heat Waves", scoring it's 33rd week in the Australian Top 10, the outright third longest in Aussie Chart History.
The first of three returning tracks to the Top 10 this week is Lil' Nas X with "Industry Baby", who won at the MTV MVA's this past week, the song is back up five places to No.6, one of only three chart positions the song has been in during it's eight week chart run, 6-5-6-5-5-6-11-6. Rising back up seven spots to No.8 is Olivia Rodrigo with "Good 4 U" which scores the track a seventeenth week within the Top 10, becoming her longest running Top 10 entry in Australia, surpassing the 16 weeks she achieved for her first No.1 single "Driver's License", after which another seven place jump occurs for "Beggin" by Italian rock group Måneskin, rebounding to land at No.10 and an eleventh week in the Top 10.
The two further Top 10 entries this week are Drake tracks which manage a second week within the ten, "Girls Want Girls" (2 to No.7) and "Fair Trade" (3 to No.9), reducing his T10 tally from last week from five to two this week. But he has achieved a rare U.S. Chart feat this week by landing nine songs within their Top 10 from his latest album "Certified Lover Boy", and all 21 tracks within the Billboard Top 35 (here last week it was 21 songs within the Top 56), while here this week he is down to five within the entire Top 50 Singles.
UP: TOP 20: Billie Eilish is "Happier Than Ever" that her latest album's title track is back up nine places to No.11, while Doja Cat is on another planet (Her's) with three songs all rising into the Top 20, with "Kiss Me More" (21 to No.14), "Need to Know" (22 to No.15) and scoring a new peak of No.17, up thirteen places, is "Woman". Dua Lipa's "Levitating" rises back up nine spots to land at No.16, while Lil' Nas X's new album "Montero" was issued on Friday, his album's title track rebounds thirteen chart-rungs to No.19, followed by the second highest placed Aussie act this week in Jolyon Petch with his "Dreams" remix, which floats back up fourteen spots to No.20 and also scores a Gold (●) in sales (the only cert in the T50). TOP 30: Eight tracks here move back up, seven of which jump with double-digit rises, with The Weeknd and "Save Your Tears'' (37 to No.21), "2055" for Sleepy Hallow (35 to No.22), "Visiting Hours" for Ed Sheeran (31 to No.24), three local acts in Kid Laroi and Miley Cyrus and "Without You" (44 to No.23), Clinton Kane's "I Guess I'm in Love'' (42 to a new peak of No.25) and Vance Joy with "Missing Piece" (45 to No.26). There are two songs which jump to new peaks this week, first of which was a new T100 entry last week for TikTok star Tai Verdes and "A-O-K", which is up twenty-nine places to land at No.28, while Doja Cat has a fourth Top 30 entry this week with "Get into it (Yuh)", which debuted at No.49 three weeks ago, and this week it rises back up twenty-two spots to a new peak of No.30. TOP 40: The nine rising songs in this chart region ALL rise with double-digit rebounds, Tom Grennan's "Little Bit of Love" (49 to No.32), "Take My Breath" for The Weeknd (47 to No..33), "Leave Before You Love Me" by Marshmello & Jonas Brothers (53 to No.34, Gold (●) in sales last week), "Peaches" for Justin Bieber (54 to No.35), "Astronaut in the Ocean" by Masked Wolf (51 to No.36, who just issued his first mixtape), "Traitor" by Olivia Rodrigo (50 to No.37), "Friday" by Riton x Nightcrawlers (59 to No.38), the Fleetwood Mac original of "Dreams" (60 to No.39) and local dance act SHouse with "Love Tonight" (62 to No.40). TOP 50: Of the eight rising tracks within the Top 50, two of then are Top 100 returns too, as the 2014 Sam Smith single "Like I Can" (HP-20, Dec. 2014) returns at No.42, plus thanks to a performance on The Voice finale last week, Keith Urban's "One Too Many" with Pink returns to the chart at No.45. Olivia's final rising track this week is her first chart entry "Driver's License" (48 to No.41), followed by another Weeknd riser in his 94 week charting "Blinding Lights" (63 to No.43). U.S. rapper Baby Keem sees his debut album land at No.21 this week, which helps pull up his three week old Top 100 entry `Family Ties' with Kendrick Lamar, jumping twenty-six places to land at No.44. Three further songs rising back up into the Top 50 this week are "The Business" for Tiësto (64 to No.46), "I Wanna Be Your Slave" by Måneskin (58 to No.48) and "Mood" by 24KGOLDN with Iann Dior (67 to No.50).
DOWN: TOP 20: There are four songs dropping out of the Top 10 this week, two of them land within the T20, Kanye West with "Hurricane" (HP-4, WI10-2) down three to No.12 and Drake's new U.S. No.1 song this week in "Way 2 Sexy" (HP-7, WI10-1), which here is down six spots to No.13, while Drake also has the third and final drop-down track in the twenty in "Knife Talk", which dips five spots to No.18. TOP 30: Drake's "Champagne Poetry" which debuted at No.6 last week, is down twenty-three spots to land at No.29, the only dropping track within the Top 30 this week... TOP 40: ... while there are no songs declining within the forty chart region. TOP 50: Kanye West has the two final dropping tracks within the Top 50 this week, down with "Off the Grid" (26 to No.47) and "Moon" (43 to No.49), while Drake sees fifteen singles from last weeks chart drop out of the Top 50, with last week's No.8 entry "Papi's Home" being the fourth and final Top 10 departure from last week, plus we also see the two new ABBA singles from last week leave the fifty, but they could be back in November when their new album is issued.
FURTHER NEW ENTRIES: * #5 - Shivers by Ed Sheeran (Atlantic)
* #27 - Meet Me At Our Spot by The Anxiety (MSFTS Music/Roc Nation) is the chart entry for the U.S. duo made up of Willow Smith and Tyler Cole, which is taken from their self-titled album from March of 2020, which landed at No.7 in the U.S. Album Charts, with this song taking off on TikTok recently.
* #31 - Higher by Bella Taylor Smith (EMI Australia) is the winner of the 2021 singing competition The Voice, with Bella being from Guy Sebastian's team, with the last Voice winner to chart being Judah Kelly with "Count on Me" (HP-19, July 2017). Last edited:
Drake becomes the fifth act for 2021 to hold for a second week at No.1 in Australia, as his "Certified Lover Boy" claims another week atop the ARIA Albums Chart.
"Certified Lover Boy" follows on from other multiple week holders this year in Taylor Swift (Jan.), Amy Shark (May), Olivia Rodrigo (6 weeks from late May) and Billie Eilish (August), while Justin Bieber logged three weeks at No.1 this year, but not consecutively, one week each in March, April and May. The album is also holding for a second week at No.1 in New Zealand and debuted at the top this past week in the U.S.A. and his native Canada, while here in Australia this now becomes his eighth overall week at No.1, moving him up on the list for 'Accumulated Weeks at No.1: Albums; 1965 to 2021' from equal 93rd to now equal 85th, alongside Ariana Grande (8 weeks from 4 #1's), while for this decade Drake now has logged four weeks at No.1, placing him equal third alongside AC/DC. Drake also surpasses Justin Bieber's seven weeks at No.1, to become the Canadian act with the seventh most weeks at No.1 in Australia, ahead of him now are Avril Lavigne (9 weeks), Alanis Morissette (11 weeks), Bryan Adams (18 weeks), Shania Twain (22 weeks), Celine Dion (24 weeks) and the highest goes to Michael Buble (33 weeks).
Local act Amyl & the Sniffers see their second studio album "Comfort to Me" debut at No.2 this week, becoming their first Top 10 placement locally, as their self-titled debut set entered and peaked at No.22 in the first week of June, 2019, with this album also landing at No.21 in England this week. This is followed by two albums which rise back up one place each, "SOUR" by Olivia Rodrigo to No.3 and Doja Cat's "Planet Her" to No.4, with Doja landing four Top 30 singles chart entries this week.
Down three places each are Kanye West with his recent No.1 set "Donda" and last week's new entry for Iron Maiden and "Senjutsu" to No.5 and No.6 respectively. Last week's swap-around albums at No.7 and No.8 do so again this week, with Kid Laroi's "F**k Love" back up one to No.7 (logging a 40th week within the Top 10), and down one to No.8 is Billie Eilish and "Happier Than Ever".
The second and final Top 10 debut this week is the fifth studio album for American singer Kacey Musgraves called "star-crossed", and by entering at No.9 it becomes her first ever Australian Top 10 album, and her fourth chart entry overall, having previously charted with "Same Trailer Different Park" (LP#1, HP-77, 2013), "Pageant Material" (LP#2, HP-33, July 2015) and "Golden Hour" (LP#4, HP-25, April 2018). Scoring the longest running Top 10 entry this week at 47 weeks, is Dua Lipa's second album "Future Nostalgia", which dips one spot to No.10.
UP: TOP 20: Harry Styles' "Fine Line" album rebounds four spots to No.13 after spending the past two weeks at No.17, with the only other album rising within the Top 20 being Ed Sheeran's third set "÷", up two spots to No.18 thanks to a new No.5 entry this week for his new single "Shivers". TOP 30: Thanks to the 30th Anniversary edition of their 1991 fifth self-titled studio album for Metallica (also known as 'The Black Album'), the set returns this week at No.23, as a limited edition vinyl and multi CD and DVD edition, with the set first hitting No.1 for a single week in mid August of 1991, with the album charting initially for just over two years, later returning as repacked editions in 2008 and 2010. TOP 40: Another album returning to the Top 100 this week occurs at No.38, the most recent album for Voice judge and mentor Keith Urban and "The Speed of Now, Vol.1", thanks to his performances on the finale this past week. This is followed by a four place rise to No.39 for the self-titled Harry Styles album. TOP 50: Each time that Ed Sheeran issues a new single from his forthcoming fifth album "= (Equal)", his older sets rise back up, and this occurs again this week with "x (Multiply)" back up twelve spots to No.43 and his last album "No.6 Collaborations Project" moving up four places to No.45.
DOWN: TOP 20: The two falling albums within the Top 20 this week are the Guy Sebastian album "T.R.U.T.H." down five to No.17 and Lorde's third set "Solar Power", dimming seven places to No.20. TOP 30: The only Top 10 dropout to land within the Top 50 this week is the Bliss N' Eso album "The Sun" (HP-2, WI10-2), sinking nineteen spots to No.25. Maroon 5's "Singles Collection" drops five to No.27, followed by the Halsey album "If I Can't Have Love, I Want Power" which tumbles down seventeen places to No.28, while securing it's lowest chart placement during its 129 Top 100 weeks is the Billie Eilish set "When We All Fall Asleep...", dropping six spots this week to No.29. TOP 40: Lewis Capaldi drops down seven places to No.33 with his debut album, and Pop Smoke's "Shoot for the Stars, Aim for the Moon" album declines six spots to No.35. TOP 50: Juice WRLD's "Legends Never Die" and the soundtrack for 'The Greatest Showman' both drop five spots to No.41 and No.42 respectively, the self-titled Dua Lipa set falls back down eight places to No.46, and the XXXTentacion album "?" falls nine to land at No.50. The Imagine Dragons debut at No.10 last week for "Mercury - Act 1" leaves the Top 50 this week, as do Top 20 entries from Stray Kids (#14) and ABBA (#18), along with entries from CHVRCHES (#30), Lady Gaga (#31) and David Campbell (#33).
FURTHER NEW ENTRIES: * #2 (LP#2) - Comfort to Me by Amyl & the Sniffers (Amyl & The Sniffers/Universal)
* #9 (LP#5) - star-crossed by Kasey Musgraves (MCA Nashville/Interscope)
* #11 (LP#7) - What the Future Holds Part 2 by Steps (BMG/Warner) is the seventh studio album and second in under a year to chart for the British group, whose Part 1 set made it to No.26 in the first week of December, 2020, while overall this is the fifth ARIA Albums Chart (both T50 and T100) entry and now their second highest charted set, beaten only by their debut set "Step One" which hit No.5 in both September and October in 1998.
* #12 (LP#1) - Idiocracy by Pist Idiots (Pist Idiots/Flightless/Inertia) are a four-piece punk rock act from the south western Sydney suburb Revesby, made up of Jack Sniff (Vocals), Joey and Tommy Tomato (Lead and Bass guitarists) and Belton Jon (Drums), with this being the groups debut studio album and first chart entry, while they have previously issued three EP's in 2017, 2018 and 2019.
* #14 (LP#19) - Saint Georges Road by The Black Sorrows (Ambition/Sony Australia) becomes the Aussie groups tenth albums chart entry (9 studios and 1 Best of), and this new set lands three places lower than their last album "Citizen John" (HP-11) achieved in early April of 2019.
* #21 (LP#1) - The Melodic Blue by Baby Keem (Columbia) is the debut album for the American rapper and producer, which features this weeks No.44 single "Family Ties" featuring Kendrick Lamar, who appears on two tracks on the album, while also featuring guest artists Travis Scott and Don Toliver.
* #22 (LP#7) - Shadows and Shinings by Drapht (The Ayems/Warner Australia) is the seventh studio album for the Perh born rapper, also becoming his fourth albums chart entry and first since his fifth album "Seven Mirrors" (HP-4, late August 2016), while he saw his fourth set "The Life of Riley" debut and peak at No.1 in April of 2011.
* #40 (GH#1) - The Gurrumul Story by Gurrumul (Decca Australia) is the first compilation of the passed singer and guitarist Geoffrey Gurrumul Yunupingu featuring 14 of his performances, while a deluxe edition has seventeen songs and a DVD with six performances and a 25 minute documentary. Overall this now becomes his sixth albums chart entry, 4 studio, 1 live and now 1 compilation. Last edited:
Do we see "Stay" potentially challenging Dance Monkey's record weeks at #1? Seems like it could be the 'token' Australian song in a lot of streaming playlists for some time, much like Dance Monkey was.
An extra 14 weeks would take it to the very end of the year (25 December).
It's held off some big artists recently (Drake, Kanye) although there's still Ed Sheeran and Adele albums to come this year along with Mariah's week at #1.
Seriously, these charts get more and more insane with every passing week, but especially every time a big-name artist releases another bloated ~20 track album. The entire chart gets decimated for a week or two, but then it's back to business as usual as if nothing ever happened within only a few weeks. The charts are already weird enough as it is. A couple of weeks ago, more than a quarter of the the Top 100 singles had charted for longer than a year, 11 of those for more than 100 weeks, and Ed Sheeran's "Perfect" inexplicably back within the Top 50 after nearly 4½ years on the chart. *4½ years*?!?! WTF? And this week, Noah Cyrus' "July" hits 96 weeks on the chart, never having gone any higher than #40, but somehow certified 4xPlatinum! And that's not even the worst of it -- in the ARIA Report's last monthly accreditation listing, there was a single certified Platinum that had never even cracked the Top 100! What's the point of gold and platinum accreditations anymore, if something that stalls halfway up the chart goes Platinum four times over, while another one that never even makes the officially published chart at all goes Platinum, but at the same time some than actually get towards the upper end of the chart and hang around for a reasonable length of time don't achieve any certification at all? Have certifications become a bit irrelevant? Or is it more that the method of calculating the charts is a bit whacked? Or both?
I know people will disagree but i think the accreditations have run their course for the reasons you state above TC. A stream is a sale, a download is a sale, i get it, but it's all too easy to inflate a song to gold and platinum status if you include that plus regular sales. For singles though it's different as physical singles don't really exist any more do they? The sheeran thing could be because of him releasing new music, but why perfect rather than something else? good question. We don't know the songs below 100 so he may have had entries there. 4x platinum is a lot though. If plat is still 70k copies that makes 240,000 plus sold which seems an odd amount even if you include streams and downloads
Agree. It’s all really weird. And unless I’m missing something, I don’t see much transparency from ARIA re how it’s all calculated, other than some massively outdated references on the ARIA website. I get that there’s a ‘sales equivalent’ streaming calculation, but I’m never sure exactly what that includes and/or whether it contributes to album chart calculation as well? Given that non-single tracks can chart due to streaming, I’m really not clear. Also, are streaming volumes only from user self-selection of individual tracks (which I think would be fair) or from users playing pre-populated playlists (which I don’t think would be fair)? I don’t even know how Spotify and the like work, so I dunno if what I just said is even possible, but if the latter is a thing, then it’s effectively like a radio playlist, which might explain why so many bigger hits are still in the chart long after they realistically should’ve disappeared.
The streaming rules of the little we know are odd. Someone said and anyone correct me if i'm wrong because i'm paraphrasing that if a stream is 30 seconds it counts towards an overall number being counted as one sale. The rules have needed to be changed for some time but neither ARIA or the record companies would see a problem with it i imagine. Wait'll sheeran releases his album in october. LIkely will see every song off that chart as well. One instance where i doubt that will happen is when abba's album is out in november. New album is ten songs and i'd be surprised if any dent the top 100 even the ones that were already out.
The industry has turned into a scam with streaming. Artists literally pay to have a hit nowadays. Dua's Levitating spent over a year on Spotify's biggest playlist (Today's Top Hit), and everyone knows that something stuck in your throat for a long time ends up taking off… I could give you many more examples of scams like that. Streaming will never be equivalent to a sale, ever.
I don't personally agree with streaming being counted but i don't have a problem with streaming itself. Just the way the rules are, as i say from the little we know. As technology evolves obviously you have to move with the times otherwise a lot more homes would have record players and cassette decks playing music. It does seem as if things are slanted in one particular direction. Of course i have nothing to back it up with, just from observations. Honestly, how many streaming services do we have nowadays anyway? does ARIA count youtube plays? is that where we're headed?
There are two key things in play here. Firstly, yes, the way music is consumed and that consumption is measured has changed, and there's a false perception that prior chart standards should be used in a modern context.
Firstly streaming works by differing ratios. If you have a paid account on a service, 100 streams equates to 1 sale, if you don't pay, I think it's 600 streams equating to 1 sale. For album chart streaming, they take the 3rd-12th most streamed songs on the album, and take the average streaming points of those 10 which gives an album its streaming points. The top two are left off so albums aren't just buoyed by a quick couple of hit singles. For example, Dua Lipa's self-titled album was basically a non-entity in 2017 despite "Be The One" and "New Rules" both being big hits (admittedly the former wasn't superb on the streaming chart), but once another smash in "IDGAF" arrived early in 2018, it was able to circumvent this, and ever since the deluxe edition added on "One Kiss", "Scared To Be Lonely" etc etc it's been an immovable object on the chart to this day. I won't pretend that this is a particularly great situation but I don't have all the empirical data on hand to really analyse it. Album consumption is so low that it allows all of these hit-laden albums to make a residency in the top 50 as most albums can't sell more than a couple hundred copies after the first week.
Obviously the main thing with streaming is that it tracks the way the songs stay with people which inevitably means that they're gonna last longer as they're not frontloaded like sales have always typically been. And yeah, on the surface it means the chart moves slower but it doesn't discredit longevity. Longevity might feel inevitable but it isn't, "In My Feelings" and "Body" posted incredibly strong figures during their tenure at the top but ended up spending only about 5 months in the top 50, a pittance compared to other hit songs that obviously are doing something that keeps people coming back to them (I could scrutinise the reasons on this but that's for another time).
The main picture that's often missed is just how much the distribution of the chart has changed in the last 5, 10 years. What the #1, #10, #50, #100, #1000 etc positions mean relative to each other is completely different now, but since we usually just see them as positions, it's hard to shake the initial mindset. For instance, once upon a time, the #1 song could have been posting figures that were perhaps 30 times bigger than that week's #100. On yesterday's Spotify chart, #1 was only 10 times bigger than #200. We have two key things to take away from this. Firstly that the songs that hover around the lower positions of the chart, or below the chart, are actually posting significant figures on a week by week basis, and secondly that the published chart is capturing an increasingly small percentage of all music consumption.
It's so easy now to find music catered to you, whether you're interested in the new or old that the idea of the country being particularly enraptured by this current rotating cast of current hits is not really the case anymore. There will still be your all-conquering hit songs that you can't help but hear (about) but more people than ever before are just listening to something else. A song's tenure in the chart is something of an arbitrary snapshot that doesn't mean much long term. For instance, "Uptown Funk" was undeniably one of the biggest chart hits of all time, and its 58 weeks in the ARIA top 50 were a record at the time. However, "Uptown Funk" has actually moved more units in its time out of the top 50 than while it was in there. The remix of "Goosebumps" has been a pretty big hit this year but in actual fact, it's not remotely close to outselling the original version of the song that only spent 1 week in the top 50. There's a decent chance the remix will never catch up. You can say that certifications are inflated and meaningless, but over time (assuming they're accurately updated) they're actually our most reliable barometer. It's not the charts invalidating the certifications but the certifications invalidate the charts if anything.
This deprioritising of the top 50 is also why we're seeing big albums take a punt at the chart too, and why Christmas will do the same in a couple of months. Like it's just not unfathomable to me to believe that more people are listening to a new Drake album the week that it comes out than Riton's "Friday" 6 months after the last time I heard anyone talk about it. But chart runs are so long and drawn out now that it never feels like anything's been robbed of being a hit because it's really just a ripple in that song's long parabola. Really what we've also got is the death of the minor hit, the stuff never primed for mass consumption that got there on fanbases, Voice performances and whatnot. It's gotten a lot harder to be a top 50 hit or a top 10 hit. I won't deny that it makes the chart more boring, but it does feel more accurate than before.
I still find the chart interesting to follow but just with tempered expectations of seismic shifts. It's really interesting to me to see things like why some songs stick around and some don't (although boring playlist meddling is often the culprit), and it's also satisfying to see the chart of today where the radio doesn't have such unstoppable control over what is and isn't a hit (and evidently they're not particularly interested in breaking new hits anyway). But also TikTok kids have such fascinating taste in music compared to my millennial counterparts. All of a sudden "Space Song", "Washing Machine Heart", "505" etc are absurdly popular because they're just reaching many more people than before and people are realising off-the-beaten-path stuff can actually be great. It mirrors my own journey of rediscovering my love for music 15 years ago.
Certainly the chart isn't without its problems, often on a clerical end that goes largely ignored by most, and the arbitrary assigning of tracks to albums on the album chart is an unbridled disaster that makes the chart almost meaningless except on a week to week basis, but it's irrational to decide that the correct operation should be what it was in the past. Everything goes through a cycle of eventual change, inevitable revolt, the revoltees packing up and going, building up a new audience on that new standard, and then having that new audience revolt when it changes again. Old discussions of digital downloads being included into the chart are surprisingly similar to those of when streaming was added to the chart. Funnily enough if you follow the Billboard Hot 100, you'll see people who genuinely think that digital downloads should no longer count to the chart, in the wake of so many questionable #1 hit singles that exploit the rather generous point ratio for them. I honestly do think that streaming is super underweighted on a week by week basis versus digital downloads, the average stream to sales ratio tends to be like 175:1 but I've literally never played a song 175 times in my 13 years of obsessively tracking my stats. I get why ARIA do it like that though and it doesn't bother me. I just like looking at stats, ever since I was 6 and I saw the AFL Ladder for the first time. It's just fun.
Do we know if songs off of an album are counted as a sale towards the single (therefore it being a double sale for album and single if streamed a certain amount of times) or are they counted separately?
Also no ARIA doesn't include YouTube, I think in the wake of user-generated content with situations like "Harlem Shake" or "We Might Be Dead By Tomorrow" I've suspected that they're especially hesitant to include data that's not necessarily driven by music. It's kind of a tricky subject that calls to question what it really means to consume music.
Also regarding "STAY", I've had it pegged for a lengthy run for quite a while but I think it's hard to call. It's been declining for a solid 5 weeks now, and I think both LAROI & Bieber have frontloaded chart tendencies, but it's all really down to whether or not something whips up a storm to overtake it. "Heat Waves" & "Like I Can" re-climbing the charts doesn't really indicate a thirst for new music Funnily enough it'll miss out on a Song Of The Year nomination at the ARIA Awards because "WITHOUT YOU" will have outsold it in the time period, which I suspect was close to happening to "Dance Monkey" 2 years ago as well.
And yes, any album track that is within the 3rd-12th most streamed songs on the album that week will have their performance count to both charts, but it's not really double counting as much as it is 1.1x counting. If I stream "Knife Talk" on my premium Spotify account, it will count for 0.01 sales to the single, and 0.001 sales to the album. Last edited:
Hijinx, so many really interesting things you’ve said here. Hugely insightful. I’m really glad I made my initial comment now! I had a big long reply with loads of thoughts and questions ready to go, but for some reason I can’t post it. I’m betting it’s probably too long haha Last edited:
@Hijinx, so many really interesting things you’ve said here. Hugely insightful. I’m really glad I made my initial comment now!
To the question of volumes, be they physical, equivalent or otherwise — you evidently have access to a huge amount of data that we mere mortals can only dream of! I’m drooling as we speak. I assume access to this data is restricted by ARIA, or whoever owns it. I’ve never understood the secrecy that seems to exist around week-to-week volume data in this country. I often look to the UK as a bastion of transparency when it comes to publishing such numbers, although arguably the Brits have always been more obsessed by chart-related factoids than Australians. But I don’t get why ARIA doesn’t routinely, and broadly, share that information, if only as a means of reiterating how healthy the industry is? Or maybe that’s the problem? Maybe it wouldn’t reflect a healthy industry at all? Or maybe they just think it’s all too complex? Maybe broader awareness of the numbers would only generate more questions than they want to answer? Not that I’m having a go at ARIA here, per se, but they do seem to be the keeper of the coin in this respect.
To the question of streaming and what counts towards “sales equivalent” figures for singles and albums, etc. My view has long been that streams of ‘official’ singles (such as they are these days) should contribute to singles charts, while streams of ‘non-single’ album tracks should contribute to albums charts — this makes sense to me, if reference to “singles” and “albums” charts is to continue unchanged. But if it’s now just a question of what’s being broadly consumed by whatever means, then I think that’s a different thing altogether. If that’s the case, then maybe it doesn’t matter if the singles chart is routinely infiltrated by truckloads of new entries every time a super-popular artist releases a new album. They’ll never again be able to claim they got a massive #1 album from it, but at least they’ll be able to say they had 27 tracks in the singles chart for one whole week!
Additionally, I’ve always felt that greater emphasis should be put on the volume of tracks that are self-selected by paid users of streaming services. In the old days, me browsing through the record store didn’t contribute to the charts, after all. But then again, where would taking that approach leave the content of casual or non-financial users who either don’t pay, and/or almost exclusively consume content via playlists assembled by the platform? Would counting these towards charts and equivalent volumes be hugely different to considering radio airplay? Probably not. I assume record companies influence streaming content as much as radio airplay?
Also, while I understand all the various points of view re accreditations, if they’re to continue as a thing I’d find it pretty odd if they weren’t amended, to align with changes to both distribution and consumption. For example, levels of Platinum were changed in the past, so they could surely be amended again. By way of a basic analogy, a lottery jackpot win of $250,000 in 1960 would’ve been a far bigger deal for the average person than winning the same amount would be in 2021, which is reflected in the number of lottery jackpots in the tens of millions of dollars today. Similarly, then, to persist with an equivalent measure of 35,000 for Gold and 70,000 for Platinum after ~40 years is odd, to say the least. Aside from anything else, it invalidates comparisons between physical, download and streaming eras, given that a 4xPlatinum accreditation for a single in 2021 isn’t nearly as huge, nor in any way ‘unprecedented’, as it was in 1991.
And finally there’s the disparity between the distribution of streaming consumption, which surely must also be a factor in all of this. Arguably, pop music has always been skewed towards younger people, and the charts were more-or-less dictated by what ‘the kids’ were into (just as arguably, most of the time said kids were probably into whatever the record companies wanted them to be into!). Anyone of any age could walk into a record store and buy a CD, record or cassette. And every year on Mother’s Day and Father’s Day, you’d see the charts being influenced by people of all ages having done just that, buying up loads of releases typically associated with older generations. I’m curious to know the demographic breakdown of the likes of Spotify. When was the last time we saw Sir Cliff, Elvis, Aker Bilk, Roy Orbison and ABBA re-entering the charts en masse each Mother’s Day? So I can only assume that the only time old music really gets heavily streamed is at Christmas? Seems like nobody streams (much less downloads) anything for their old mums on the second Sunday in May.
So in effect, the youngest generations — and, by extension, the record companies — now control the charts more than they ever have? Last edited: