Keeping in mind that these are subject to substantial fluctuation especially for a song just released earlier today, here are the debut rankings for “Broken”:
Things are looking up for Adam Lambert, in probably his busiest year to-date, as he is finally apparently transitioning into a permanent celebrity fixture independent of his role on American Idol. Here is the list:
- Adam just signed with a UK modeling agency. It’s about time.
- Adam is judging the next season of X Factor Australia (after “Ghost Town” reached #2 for 2 weeks there following a well-received performance on the Australian version of “The Voice”).
- Adam is playing Eddie on an upcoming remake of “The Rocky Horror Picture Show.”
- Adam recently released two non-album singles, “Can’t Go Home” and “Welcome to the Show.” While neither has been a major international smash, (or much of a hit in the US), “Can’t Go Home” has had some success in Germany, while the new music video for “Welcome to the Show” has been getting quite a bit of buzz (35 articles show up in a Google News search, and 0.5M youtube views in its first 3 days — competitive with other recent Adam Lambert releases “Ghost Town” [which was an international hit], and “Another Lonely Night” [which was not]). Is the music video the first step of a full promotion campaign to US radio?
- Adam featured vocals alongside Mary J Blige, Jason Derulo, Britney Spears, Tyler Glenn, Selena Gomez, Halsey, Ty Herndon, Imagine Dragons, Juanes, Jennifer Lopez, the Trans Chorus of Los Angeles, Kacey Musgraves, MNEK, Alex Newell, P!nk, Prince Royce, Nate Ruess, RuPaul, Troye Sivan, Jussie Smollett, Gwen Stefani, and Meghan Trainor, and Mary Lambert (quick shout-out: who just released a super-cute and probably under-appreciated new music video about her love for her dog and her girlfriend), in charity single “Hands,” to raise money for survivors of the Orlando nightclub massacre.
- Adam has “The Original High Tour” PLUS more tour dates with Queen + Adam Lambert.
- Adam is apparently already working on his fourth studio album, and he is doing it with hitmakers Max Martin and Shellback.
- Adam has been featured in major recent advertising campaigns by Macy’s and Oreo.
- Adam was the biggest-earning American Idol alum of 2015 with $10M (largely due to touring with Queen). With all of his projects this year, coupled with more Queen tour dates, Adam could see an even bigger paycheck in the wings.
- Oh, yeah. Also, somehow, Adam has basically become the token gay of country music, despite having never released a country single. Adam performed “Girl Crush” alongside Leona Lewis at the CMT awards last year on December 2nd. Now, he has been nominated for a CMT award for “Performance of the Year” for that performance. Either he is the token gay, or country music misinterpreted the performance as the first successful case of conversion therapy.
All of this follows Adam’s true post-Idol breakthrough success with “Ghost Town,” which the New York Times said was “perhaps his best single to date,” before it went on to sell over 1 million copies worldwide (including half a million in the United States), charting in dozens of countries, and reaching the upper rungs of several major music markets (#2 in Australia, #11 in Germany, #1 in Poland, and top five in Russia [of all places!]). Yes, “Whataya Want From Me” was legitimately a bigger international hit, and “If I Had You” was at least a bigger hit in the United States. But, both of those singles were released in the afterglow of American Idol. Typically, artists have their strongest sales with their first project after the talent show — then they slowly fade away to obscurity.
After 2012’s Trespassing, a person could have been forgiven for wondering if that was what was happening to Adam Lambert. The initial sales bump was just enough to give Adam the first ever #1 album by an openly gay male artist, but the singles largely flopped, and album sales dropped like a rock. The media talked less and less about Adam, despite an album that was chock full of what I would consider some of the best music that Adam has ever made. To some extent, that isn’t just me, either. Billboard wrote a 2015 cover article explaining why music aficionados should give Trespassing a second glance, saying “The majority of the album is pure kinetic energy, with Lambert delivering its choruses rapidly and squeezing over-the-top sexuality into every tawdry syllable.”
“Ghost Town” was Adam’s breakthrough single. It a sleeper hit with a long life, whose success was driven by its own catchiness. And the fact that two of pop music’s biggest hitmakers (Max Martin and Shellback) are still working with Adam Lambert for his next project bodes well for his future. But stacked up next to everything else that Adam Lambert has going on this year, it is just one sign among many that Adam has become a permanent fixture, and that he has finally outgrown his origins on American Idol.
First of all, here is the obligatory April Fools-oriented post. Please feel free to trend #SpinTheBottle on twitter & con as many #Glamberts as you can on social media and chat fora. Now, on to the weekly recap —
Ariana Grande just released a new music video — the first in a series? — for “Dangerous Woman.” If she is indeed doing something clever on the music video angle, she could have an incredibly intelligent management team plotting a path to #1 on the Hot 100. Step 1: Great music => spotify streams and easy radio promotion. Step 2: Early music video-type material to spur streams and attention. Step 3: Release new music-video style material on TOP of that which has already been released when the song seams to be at its peak, in order to give it that little extra kick that it needs to make it over the finish line and give Ariana her first #1 hit.
In fact, it seems to be a similar strategy to that being currently pursued by Sia and Iggy Azalea, both of whom released music video-like material (more than a lyric video, but less than the full music video) earlier to drum up the stream-count.
Speaking of music videos, Rihanna also dropped a new one yesterday, and it already has over 5 million streams on Youtube. “Kiss it Better” is a killer single and an excellent followup to “Work,” which has finally clearly peaked at #2 on Radio songs with 164.909 million audience impressions. “Work” loses 0.883 million audience impressions today and drops to 162.626 million over the past week. Couple those stats with the substantial lead that Justin Bieber’s “Sorry” retains (it is still getting over 192 million audience impressions) and the fact that “Sorry” retains a substantial advantage in Callout survey results of pop listeners, and the chances begin to approach 0% that “Work” will ever reach the #1 slot on the radio chart.
Nick Jonas (feat. Tove Lo)’s “Close” (89) is today’s greatest radio gainer, with 24.844 million audience impressions over the past week (+2.602 million today).
Lukas Graham‘s “7Years” (#8) is today’s second-greatest radio gainer with 102.265 million audience impressions over the past week (+2.245 million from yesterday).
Mike Posner‘s “I Took a Pill in Ibiza” comes in third, with a 1.65 million increase today (96.562 million over the past week).
Zayn‘s new album, Mind of Mine, is set to top the Billboard 200 next week, but without nearly the level of sales that One Direction was used to. One Direction has typically sold 300,000-600,000 copies of their albums in the first week. Zayn’s Mind of Mine looks like it might have sold 125,000. It’s fascinating, because Zayn’s lead single debuted at #1 on the Hot 100, thereby nominally becoming a bigger hit than anything 1D ever put out.
Meghan Trainor‘s sleek new single, “No” is set to vie with Ariana Grande‘s “Dangerous Woman” for song of the summer, given that both should be peaking around memorial day. Will both or either make it to #1 on the Hot 100?
A few other songs that I think might blow up in summer time?
“Hey” – Fais ft. Afrojack
“The Original High” – Adam Lambert
“Can’t Go Home” – Steve Aoki & Felix Jaehn ft. Adam Lambert
“Team” – Iggy Azalea
“Cheap Thrills” – Sia
“BeFoUr” – Zayn
“Close” – Nick Jonas ft. Tove Lo
“Rock Bottom” – Hailee Steinfeld v. DNCE
“Low Life” – Future ft. The Weeknd
“Piece by Piece” – Kelly Clarkson
“Desire” – Years & Years ft. Tove Lo
Adam Lambert may be in the middle of TWO world tours (one as a soloist & one as de facto frontman of Queen), he may have recently been cast in a major role in a Fox reboot of The Rocky Horror Picture Show, and he may have some semblance of a love life besides, but he has still found time to release THREE new songs within the span of a week and a half.
First, it was passé “Welcome to the Show,” which starts slow, but which features an excellent vocal interplay with featured artist Laleh. “Welcome to the Show” made an initial dent at iTunes, but unfortunately failed to catch on radio — so far.
Then Adam dropped the deliciously catchy “Can’t Go Home” with Steve Aoki & Felix Jaehn. Felix Jaehn was, of course, one of the geniuses behind the #1 Song of the Summer last year, Omi’s “Cheerleader.”
Now, Adam has sent shockwaves through his global fanbase with a new pop masterpiece which he pairs with none other than his good friend, Kesha. “Spin the Bottle,” the first new music from Kesha since her (key) featured role on Pitbull’s 2013 #1, “Timber,” was, of course, an instant success, reaching #1 on the global iTunes chart within hours of its release this morning.
iTunes data scraped by kworb.net.
ORIGINS OF THE SONG
Adam was really there for Kesha during the lawsuit. Kesha thought it would be fun to record music together, and lo and behold, someone was waiting in the wings with a killer song. Next thing you know, we have a beat drop!!!
How can this be? I thought Kesha was mired in a lawsuit and couldn’t release new music?
Unfortunately, Kesha is still mired in litigation IN THE UNITED STATES. BUT, due to some clever lawyering, Kesha was able to find a loophole that allowed her to release new music INTERNATIONALLY.
Unfortunately for US fans, this means that the song is only available via seedy torrent sites and the like. BUT, for those lucky few Glamberts in select markets overseas where this song IS available, this song is THE FREAKING BOMB, and you have our undying jealousy.
BUT NOT TO FEAR — Kesha’s team has assured us that they are currently in negotiations to get this song released in the US. It is only a matter of time before Greedy Dr. Luke agrees to take a paycheck for what is sure to be a HUGE HIT!!!
Purchase “Welcome to the Show”: http://smarturl.it/adam.wtts
Stream “Welcome to the Show”: https://www.youtube.com/watch?v=z73fSxKpYmA …
Follow Adam Lambert and find his music:
Official Store: http://smarturl.it/adam.d2c
Adam Lambert began a string of cryptic tweets yesterday that appear to be hinting at new music. Finally, he revealed this TEASER for a new single, “Welcome to the Show,” featuring Laleh, to premiere during his final American Idol performance this Thursday.
From Adam’s press release, we know that the song is brand new, having been recorded during an off day while he was on tour. The track was produced by hitmaker Max Martin, and co-written with Ali Payami and featured artist Laleh (who wrote three tracks on Demi Lovato’s recent Confident album).
It is fully confirmed that Adam will be performing the new single this Thursday on Idol. The song will also be released to iTunes for download on the same day.
Adam Lambert’s string of cryptic tweets:
Meghan Trainor‘s new song “No” has been blasting up the radio airplay chart about as quickly as is humanly possible. It gains another 8.391 million audience impressions today for a weekly running total of 62.299 million in its first week (#22).
Meanwhile, “No” has just been overtaken atop iTunes by Ariana Grande‘s new single, “Dangerous Woman,” which is reputedly far more appreciated by fans than was her recent pseudo-hit “Focus” (pseudo because strong early radio airplay reversed sharply when the first Callout reports revealed its deep unpopularity, but the song’s high budget and pristine music video–notice the extraordinary star contact lenses in this post’s featured image–still pulled out nearly 1/2 billion views and adds millions of new views/day, long after the song faded off of radio airplay charts).
“Dangerous Woman” is currently selling at nearly twice the rate of the #2 song on iTunes (and still rising), leading to the possibility of a top five debut on the Hot 100, depending on how streaming and radio airplay shape up.
What I’m watching: 1) Will “Dangerous Woman” or “No” ultimately be the bigger hit? 2) Just how much early radio airplay will “Dangerous Woman” ultimately get? 3) Will Who Is Fancy‘s “Boys Like You,” which features BOTH Ariana AND Meghan Trainor, be this year’s Song of the Summer once they start promoting it to radio?
Kelly Clarkson‘s “Piece by Piece,” after debuting at #8 on the Billboard Hot 100 after an emotional performance on the final season of American Idol, is starting to take off during a second run at radio. The track pulled in 8.149 million audience impressions from Adult Pop and Adult Contemporary radio stations during the running week (+418,000 today), as it nears Pop radio’s top 40. Second week sales are dropping about 50% to 98,000 for the week ending 3/10.
Adam Lambert Speaking of American Idol, the greatest-earning alumnus of 2015 will be performing next week for “a very special final performance.” “Ghost Town,” the lead single from Adam’s latest album, The Original High, actually has more Youtube views than the lead singles from the latest albums of Kelly Clarkson and Carrie Underwood, and on Spotify it has done even better, at 118 million streams. Adam Lambert is in the middle of his The Original High Tour.
What I’m Watching: Is Adam about to unveil title track “The Original High” as the set’s next single (as I have argued he should)? If so, will it go over a fraction as well as just did Kelly Clarkson’s “Piece By Piece?”
Sia‘s “Cheap Thrills” debuts on Pop radio today with 1.463 million running weekly audience impressions. Week over week (US) sales are steady at 7,000/week, as are Spotify streams at about 416,000/day. The lyric video continues to post steady gains.
Rihanna reaches a new peak of #3 on radio with “Work” (145.73 million running weekly audience impressions, +1.858 million today). With substantial leads, at 181.358 million and 201.788 million, respectively, it is unclear that Rihanna’s song will maintain sufficient steam to continue rising past Twenty One Pilot’s “Stressed Out” or Justin Bieber’s “Love Yourself.” It depends on how high Rihanna’s song is going to rise before peaking, and on how fast the former two songs fall.
Rihanna concurrently extends a record stay of non-American artists atop the Hot 100 (Rihanna is from Barbados; featured artist, Drake, is from Canada).
“Work“‘s music video crosses 100 million views today, after just over two weeks, as it continues to pull in over 4 million views/day.
Selena Gomez‘s “Hands to Myself” slides #11 to #15 on the Hot 100 this week, with an overall points decline featuring a 6% sales slide from 41,000 to 38,000, despite continued steady gains at radio. The song rises #10 – #9 this week with 98.385 million running weekly audience impressions (+1.056 million today). It is also expected to overtake two more songs within about one week, if current trends hold. It seems doubtful, however, that “Hands to Myself” will continue rising long enough to match the #3 and #4 radio peaks of earlier Revival singles “Same Old Love” and “Good for You,” respectively. I forecast a peak of either #6 or #7 for “Hands to Myself,” with the edge to #7.
Lady Gaga‘s “Til It Happens to You” has finally debuted at #95 on the Hot 100, based largely on the strength of a sales bump after her emotional Oscars performance. “Til It Happens to You” sold about 26,000 copies after peaking at #8 on iTunes (higher than Sam Smith’s “Writing’s On The Wall,” which won the award for which “Til It Happens to You” was nominated).
Taylor Swift‘s “New Romantics” appears to be slowing down WAY EARLY, before even reaching the top 40 on radio songs. Basically all of Taylor Swift’s singles peaked with 170+ million audience impressions until “Out of the Woods” peaked early at #18 with only 68.848 million audience impressions, never even passing immediately preceding single “Wildest Dreams.”
“New Romantics” has only 36.144 million audience impressions at #62, and it’s daily gain has already dropped below 1 million. In fact, “Wildest Dreams” (now two singles ago) is still getting almost 70 million audience impressions at #17 after peaking with just over 180 million.
Interestingly enough, “Style,” which is the only song prior to “Wildest Dreams” to have a lower radio peak, actually retains the highest continuing radio airplay of the album’s first four singles, by a good margin.
Current running weekly radio airplay of Taylor Swift 1989 singles:
- (5th, #5 Hot 100 peak) “Wildest Dreams,” #17, 68.098m, -572,000 today, peak: 180.290m.
- (7th, #71) “New Romantics,” #62, 36.577m, +778,000 today, peak: 36.577m.
- (3rd, #7) “Style,” #86, 25.567m, +47,000 today, peak: 178.862m.
- (2nd, #1) “Blank Space,” #104, 20.181m, +98,000 today, peak 198.131m.
- (1st, #1) “Shake It Off,”#109, 17.950m, -195,000 today, peak: 195.501m.
- (4th, #1) “Bad Blood,” #125, 14.879m, +56,000 today, peak: 195.179m.
- (6th, #18*) “Out of the Woods,” #297, 5.305m, -284,000 today, peak: 68.848m.
*”Out of the Woods” peaked at #18 based on sales when it was released as a promotional single prior to the release of 1989. It never surpassed this rank when it was released as a radio single.
What I’m Watching: What happens when TS releases a music video for “New Romantics?” Does she even bother?
Nearly one year after the lead single from Adam Lambert’s The Original High was released, “Ghost Town” has definitively obtained the status of “international hit.”
“Ghost Town” today passed the 115m spotify streaming threshold, but that is just one more egg in its success basket.
Last month, the RIAA certified “Ghost Town” gold, representing 500,000 sales or sale-equivalents in the United States. “Ghost Town” has also been certified gold in Germany, platinum in Denmark, double-platinum in Australia, Poland, and Sweden, and triple-platinum in the Netherlands, collectively representing sales or sale equivalents of at least 1,110,000 units worldwide.
“Ghost Town” ranked as one of the top 50 year-end singles in Australia, Germany, the Netherlands, and Poland, lead by a #13 year-end finish in Poland. “Ghost Town” charted in the top 100 of singles charts of at least 20 countries worldwide, including notable peaks of #2 (for 2 weeks) in Australia, #1 in Poland, #11 in Germany, and #64 in the United States.
“Ghost Town”‘s music video has earned 59.5m views, and is still getting about 150,000 views/day.
Forbes recently named Adam Lambert as the top-earning American Idol alum of 2015, with a presumed salary of over $10,000,000.
Adam Lambert recently admitted insuring his voice for $48,000,000.
Adam Lambert was recently drafted to star in Fox’s remake of the cult classic, The Rocky Horror Picture Show.
… And the list goes on.
“Ghost Town”‘s Success is All the More Meaningful Because of the Background it was Set Against
After blowing audiences away and coming in a close second on his season of American Idol, Adam found more commercial success with his debut album than did that season’s winner, as For Your Entertainment sold almost 900,000 copies in the United States and over 2,000,000 copies worldwide, and spawned the #10 US hit, “Whataya Want From Me,” and the #30 US hit, “If I Had You.”
Although his second studio album, 2012’s Trespassing, was critically acclaimed and managed to become the first album by an openly gay male artist to hit #1 on the Billboard 200 when it debuted in a slow week, lead single “Better than I Know Myself” failed to chart for more than a single week on the Hot 100 at #76 (due to its initial sales bump). Not spurred by a strong single, album sales quickly evaporated. Second single, “Never Close Our Eyes,” peaked at #10 on the Bubbling Under chart.
After Trespassing, it looked as though Adam Lambert was falling into the same trap that had ensnared many prior alumni of American Idol. They enjoy a moment in the spotlight, but once its gone, they fade into obscurity, vocal talent be damned.
“Ghost Town”‘s #64 peak on the Hot 100 may not superficially LOOK that much better than “Better Than I Know Myself”‘s #76 peak, but it was not driven by the initial buzz sales bump. “Better Than I Know Myself”‘s sustained, radio-driven peak was below the bottom of the Hot 100. By contrast, “Ghost Town” spent months rising through the ranks of the Hot 100 before reaching its peak. “Ghost Town” also reached a level of international success not seen since “Whataya Want From Me” and “If I Had You.”
In fact, “Ghost Town” outperformed “If I Had You” in Austria, Germany, and The Netherlands, and it outperformed ALL of his previous releases in Australia.
Best of all? “Ghost Town” has now amassed BOTH more YouTube and Spotify streams (worldwide) than ANY of his prior hits, and, in the case of Spotify, “Ghost Town” has more streams than all his prior singles PUT TOGETHER.
Adam Lambert should get to work ASAP promoting “The Original High” to pop radio soon, so that it will have time to build airplay in time to be a legit summer 2016 hit.