{"id":87112,"date":"2024-06-10T12:03:04","date_gmt":"2024-06-10T16:03:04","guid":{"rendered":"https:\/\/www.cyberlego.com\/web\/2024\/06\/10\/catalog-hits-were-soaring-on-the-charts-why-have-they-fallen-off-in-2024\/"},"modified":"2024-06-10T12:03:04","modified_gmt":"2024-06-10T16:03:04","slug":"catalog-hits-were-soaring-on-the-charts-why-have-they-fallen-off-in-2024","status":"publish","type":"post","link":"https:\/\/www.cyberlego.com\/web\/2024\/06\/10\/catalog-hits-were-soaring-on-the-charts-why-have-they-fallen-off-in-2024\/","title":{"rendered":"Catalog Hits Were Soaring on the Charts. Why Have They Fallen Off in\u00a02024?"},"content":{"rendered":"

<\/p>\n

\n<\/p>\n
\n

\n\tWhen The Weeknd\u2019s \u201cDie for You\u201d came out in 2016, it was just a modest hit, failing to crack the top 40 on the Hot 100. But the track was rejuvenated during the pandemic, thanks in part to the community of TikTok users who love sped-up<\/a> and slowed-down remixes. Interest in \u201cDie for You\u201d eventually spiked enough that it was promoted to radio as if it were a new record, and after Ariana Grande hopped on a remix, the ballad lumbered to No. 1 on the Hot 100 in March 2023, more than six years after its release.\u00a0<\/p>\n

\n
\n

\n

\t\t\t\t\tRelated\t\t<\/p>\n<\/h3><\/div>\n

\n

\t\t\t<\/p>\n

\n
\n
\n

\t\t\t\t\t\t\"Glass<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n

\n
\n\t\t\t\t\t<\/div>\n
\n

\n

\t\t\t\t\tHow TikTok Is Blurring the Lines Between \u2018New\u2019 and \u2018Old\u2019 Music\t\t<\/p>\n<\/h3><\/div>\n

\t\t<\/a><\/p>\n<\/div><\/div>\n

\n\tIn recent years, starting especially during the pandemic, major hits following a similar trajectory have become a regular feature of the pop landscape. Two months after \u201cDie for You\u201d peaked, Miguel\u2019s early 2010s R&B hit \u201cSure Thing\u201d climbed to No. 1 on the Pop Airplay chart \u2014 No. 11 on the Hot 100 \u2014 more than a dozen years after its original release. And in October, Taylor Swift\u2019s \u201cCruel Summer\u201d topped the Hot 100, four years after it came out as a deep cut on 2019\u2019s Lover<\/em>.\u00a0<\/p>\n

\n\t\u201cThere\u2019s a huge trend for music that\u2019s chronologically old to have a second life,\u201d Amazon Music global head of music programming Mike Tierney <\/strong>told Billboard<\/em><\/a> <\/em>in 2022. \u201cThe lines are getting incredibly blurry.\u201d<\/p>\n

\n\tIt felt reasonable to assume that this blurring process would continue. In a surprising turnaround, however, those lines look more solid this year: So far, no catalog tracks \u2014 defined as more than 18 months old \u2014 have made it to the upper reaches of the Hot 100.\u00a0<\/p>\n

\n
\n

\n

\t\t\t\t\tRelated\t\t<\/p>\n<\/h3><\/div>\n

\n

\t\t\t<\/p>\n

\n
\n
\n

\t\t\t\t\t\t\"Sophie<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n

\n
\n\t\t\t\t\t<\/div>\n
\n

\n

\t\t\t\t\tHot 100 First-Timers: Sophie Ellis-Bextor Debuts With \u2018Murder on the Dancefloor\u2019 Thanks to\u2026\t\t<\/p>\n<\/h3><\/div>\n

\t\t<\/a><\/p>\n<\/div><\/div>\n

\n\tThe closest thing would be Djo\u2019s neo-glam hit \u201cEnd of Beginning,\u201d which peaked at No. 11 at the end of March, just around 18 months after its original release. Early in the year, Sophie Ellis-Bextor\u2019s 2002 nu disco cut \u201cMurder on the Dancefloor\u201d looked like it might become ubiquitous after its revival via the hit film Saltburn<\/em>, but in the end, it topped out at No. 51 \u2014 pretty good for a song released more than two decades ago, but not at the same level as the reincarnated hits of 2023.\u00a0<\/p>\n

\n\tExecutives believe this change is partly due to the deluge of superstars and breakout artists vaccuming up attention with new releases, preventing listeners from wandering aimlessly towards oldies. In addition, they say, disruptions to the pipeline of film and TV last year, and the music ecosystem on TikTok this year, closed off some avenues for old songs to transform into new hits.\u00a0<\/p>\n

\n\tWhile it\u2019s not even halfway through 2024, the new-release calendar has already been packed with high-flying albums \u2014 a pair from Future & Metro Boomin, double-LP-sized releases from Beyonce and Taylor Swift, plus full-lengths from Ariana Grande, Billie Eilish, J. Cole, and more A-listers. Kendrick Lamar and Drake didn\u2019t put out albums, yet they still commanded everyone\u2019s attention for weeks with diss records. \u201cThe quality of new music that\u2019s come out this year is so high that there hasn\u2019t been the need to bring back old records to use on TikTok,\u201d says Mike Weiss, vp of music and head of A&R at the distribution company UnitedMasters.\u00a0<\/p>\n

\n
\n

\n

\t\t\t\t\tRelated\t\t<\/p>\n<\/h3><\/div>\n

\n

\t\t\t<\/p>\n

\n
\n
\n

\t\t\t\t\t\t\"Taylor<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n

\n
\n\t\t\t\t\t<\/div>\n
\n

\n

\t\t\t\t\tThis Is the Best Start to a Year We\u2019ve Had in Pop This Decade\u00a0(Essay)\t\t<\/p>\n<\/h3><\/div>\n

\t\t<\/a><\/p>\n<\/div><\/div>\n

\n\tThis sentiment was echoed by R Dub, director of programming at Z90, a top 40 station in San Diego: Playing rejuvenated oldies \u201cis a little easier to justify,\u201d he says, \u201cwhen there just isn\u2019t enough top-tier current product coming out.\u201d\u00a0<\/p>\n

\n\tThis matters because when catalog hits are on the verge of being massive, radio functions as a closer. After these songs have gone bananas on short-form video platforms and seen a similar bump on streaming services, then it becomes radio\u2019s turn to blanket the rest of the population. Not only did \u201cDie for You\u201d and \u201cSure Thing\u201d top Pop Airplay, \u201cCruel Summer\u201d spent longer at No. 1 on that chart than any of Swift\u2019s many other hits.\u00a0\u00a0<\/p>\n

\n\tBut a track doesn\u2019t typically make it big at radio without a big label push, and right now, with so much current-release firepower, labels don\u2019t feel the need to dust off old records and present them to program directors as if they\u2019re fresh. \u201cIt\u2019s exciting to be at top 40 again, because of all these great new singles,\u201d says Jay Michaels, brand manager for Y101, a pop station in Mississippi. \u201cThey\u2019re different styles, from pop to country to hip-hop to alternative; they\u2019re big, and they\u2019re legit.\u201d\u00a0<\/p>\n

\n\tImportantly, these songs aren\u2019t just coming from the usual suspects among the pop elite: First-time acts also appear to be breaking through at a steady clip, after several years of stagnation.\u00a0<\/p>\n

\n
\n

\n

\t\t\t\t\tRelated\t\t<\/p>\n<\/h3><\/div>\n

\n

\t\t\t<\/p>\n

\n
\n
\n

\t\t\t\t\t\t\"Jack<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n

\n
\n\t\t\t\t\t<\/div>\n
\n

\n

\t\t\t\t\tWhy You\u2019re Seeing Fewer \u2018Featuring\u2019 Credits and More Co-Billings on the\u2026\t\t<\/p>\n<\/h3><\/div>\n

\t\t<\/a><\/p>\n<\/div><\/div>\n

\n\tIn 2022, executives described<\/a> the landscape for important new artists as \u201cabysmal\u201d and \u201cdry as f\u2013k.\u201d In recent months, however, Shaboozey, Sabrina Carpenter, Sexyy Red, Chappell Roan, Benson Boone, Tommy Richman, and other newbies have all been vying for chart real estate simultaneously. Their approaches vary widely: Richman\u2019s \u201cMillion Dollar Baby\u201d is a falsetto-smeared homage to underground Memphis hip-hop; Shaboozey\u2019s \u201cA Bar Song (Tipsy)\u201d is a country club-wrecker; Boone prefers heaving pop power ballads.\u00a0<\/p>\n

\n\tThe emergence of all these artists in close succession over the course of a few months is a welcome sign in the music industry. Artist development suffered \u201cbecause of the pandemic,\u201d according to Weiss. Now, he says, \u201cit feels like we\u2019re over that hump, there\u2019s been enough time to really make great records, develop artists and put the work in\u201d \u2013 building the type of foundations that can lead to sustained breakthroughs.<\/p>\n

\n\tThis means that new music has enjoyed a surge of top reinforcements as it battles with legions of oldies for eyes and ears. At the same time, catalog has been fighting with one hand tied behind its back for many months.\u00a0<\/p>\n

\n
\n

\n

\t\t\t\t\tRelated\t\t<\/p>\n<\/h3><\/div>\n

\n

\t\t\t<\/p>\n

\n
\n
\n

\t\t\t\t\t\t\"SAG,<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n

\n
\n\t\t\t\t\t<\/div>\n
\n

\n

\t\t\t\t\tWhat the Hollywood Strikes Mean for the $2B Music Synch\u00a0Business\t\t<\/p>\n<\/h3><\/div>\n

\t\t<\/a><\/p>\n<\/div><\/div>\n

\n\tFirst, retrenchment and belt-tightening in Hollywood \u2013 combined with dual strikes in 2023 \u2013 slowed the flow of new TV shows and movies. Netflix plans to reduce the amount of original movies it makes by nearly half, according to<\/a> Variety<\/em>. And Deadline <\/em>noted<\/a> in December that while 2023 \u201ccounted 124 wide theatrical releases (opening in 1,000-plus theaters), the dual WGA and SAG-AFTRA strikes forced a bulk of tentpole delays that are leaving 2024 with only 107 wide titles.\u201d That leaves fewer opportunities for the synch soundtrack moments that often jolt catalog records to life.\u00a0<\/p>\n

\n\tAt the start of this year, catalog was hobbled further when licensing negotiations between Universal Music Group and TikTok crumbled. \u201cMany of the titles that \u2018come back\u2019 do so via TikTok \u2014 they just explode out of nowhere,\u201d R Dub notes. That process was impeded when UMG and TikTok failed to reach an agreement at the end of January.\u00a0<\/p>\n

\n\tMost of the labels\u2019 official recordings were then yanked from the platform. After a month, most recordings featuring contributions from Universal Music Publishing Group\u2019s songwriters were pulled as well.\u00a0<\/p>\n

\n\tAs a result, a large swath of popular music was much harder to stumble across on the app that plays an outsized role in music discovery \u2014 especially for younger listeners. And those listeners are more likely to hear a catalog track and experience it as new, simply because they\u2019re younger and have heard less music. An 18-year-old TikToker was around four or five when \u201cSure Thing\u201d first came out.\u00a0<\/p>\n

\n
\n

\n

\t\t\t\t\tRelated\t\t<\/p>\n<\/h3><\/div>\n

\n

\t\t\t<\/p>\n

\n
\n
\n

\t\t\t\t\t\t\"TikTok\"<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n

\n
\n\t\t\t\t\t<\/div>\n
\n

\n

\t\t\t\t\tMore Than One Third of TikTok’s Most Popular Songs Are Gone After UMG\u00a0Fallout\t\t<\/p>\n<\/h3><\/div>\n

\t\t<\/a><\/p>\n<\/div><\/div>\n

\n\tDespite this turbulence, several executives believe that catalog hits are just experiencing a temporary downturn. Mike Biggane, a former UMG and Spotify executive, predicts that \u201colder music will continue to be rediscovered outside of the release moment.\u201d\u00a0<\/p>\n

\n\tThe star-packed release schedule can\u2019t continue at this pace forever, leaving more room for rediscovery. And UMG and TikTok reached a deal in May.\u00a0<\/p>\n

\n\t\u201cAs long as people have a platform like TikTok where they have a viral mechanism for sharing their own interpretation of their favorite songs, you\u2019ll continue to see these moments [where old tracks] pop up,\u201d says Benjamin Klein, a manager who also runs Hundred Days Digital, a TikTok marketing agency.<\/p>\n

\n\tThe question is: Now that the pandemic is in the rear-view mirror, when these throwback singles re-emerge, will they look more like \u201cDie for You\u201d or \u201cMurder on the Dancefloor\u201d?<\/p>\n<\/div>\n<\/div>\n

Aller \u00e0 la source<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

When The Weeknd\u2019s \u201cDie for You\u201d came out in 2016, it was just a modest hit, failing to crack the top 40 on the Hot 100. But the track was rejuvenated during the pandemic, thanks in part to the community of TikTok users who love sped-up and slowed-down remixes. Interest in \u201cDie for You\u201d eventually […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[17],"tags":[],"class_list":["post-87112","post","type-post","status-publish","format-standard","hentry","category-musique","et-doesnt-have-format-content","et_post_format-et-post-format-standard"],"_links":{"self":[{"href":"https:\/\/www.cyberlego.com\/web\/wp-json\/wp\/v2\/posts\/87112","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.cyberlego.com\/web\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.cyberlego.com\/web\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.cyberlego.com\/web\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.cyberlego.com\/web\/wp-json\/wp\/v2\/comments?post=87112"}],"version-history":[{"count":0,"href":"https:\/\/www.cyberlego.com\/web\/wp-json\/wp\/v2\/posts\/87112\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.cyberlego.com\/web\/wp-json\/wp\/v2\/media?parent=87112"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.cyberlego.com\/web\/wp-json\/wp\/v2\/categories?post=87112"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.cyberlego.com\/web\/wp-json\/wp\/v2\/tags?post=87112"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}