Up next are Olivia Rodrigo at #4, Drake at #5, Morgan Wallen at #6, Summer Walker at #7, Silk Sonic at #8, and the Weeknd’s greatest hits album at #9.
Michael Bublé’s Christmas climbs back up to #3 with 59,000 units, bolstered by 44,000 streaming equivalent albums. That said, 102,000 units for Taylor Swift’s Red (Taylor’s Version) in its third week is nothing to sniff at either. She’s still operating on a different level from the rest of the music industry. Those would constitute blockbuster first-week numbers, and per Billboard, they represent decreases of 66% and 68% from last week. After posting the year’s biggest debut last week, her album 30 rules the Billboard 200 again with a whopping 288,000 equivalent album units and 225,000 in sales. Bad Bunny Is The King Of The Worldįor the second week in a row, Adele holds on to #1 on both of Billboard‘s top two charts. Conveniently, Spotify, Apple Music, and YouTube have all issued year-end reports in the past week. What’s big on streaming platforms is what’s big, period. Sales and radio play continue to matter, but in a very real sense, streaming is what’s driving the industry in terms of both economics and content. According to the RIAA, streaming accounted for more than 50% of music industry revenue for the first time in 2016. Two decades later it is the baseline of the music industry.īillboard began incorporating data from streaming services into the Hot 100 in 2007.
At the time, this was novel and, depending on your connection speed, impractical.
3, 2001, the San Francisco startup launched Rhapsody-not a personalized online radio station but a searchable “celestial jukebox” allowing users to stream any song in its library for a monthly fee. The first on-demand streaming service turned 20 years old last week.
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