Subsequently that is exactly what we have seen, and the fingerprints of Billboard 2012’s rules changes can be found all over malevolent trends in country music, including the rise of “Bro-Country,” the institution of rap and EDM elements in country in a widespread manner, and the continued struggles of the genre to support and develop female artists. And country music is not alone. The Billboard rap charts have seen similar homogenization, at least in part because of the new rules. Virtually every individual genre’s charts, and thus the music itself and how it’s manufactured and marketed, have been affected in fundamental ways by these changes. And it may about to get much worse.
Many of the changes Billboard made to their charts in October of 2012 were not only necessary, they were much past due. Rating consumer interactions such as streams on Spotify and plays on YouTube were important to give both consumers and industry professionals a better illustration of the importance and performance of a given track. The problematic change was a rule governing “crossover” material. It allowed artists such as Taylor Swift, Luke Bryan, and Florida Georgia Line to receive credit for radio play and other consumer activity in the pop world on the genre specific country charts. This restricted the ability for artists with no crossover appeal to be successful in their genre specific rankings, while artists that released rap remixes, or songs that appealed to pop radio as well as country to fare much greater.
But the October 2012 changes Billboard implemented didn’t fundamentally change the structure of the charts themselves. You still had an album chart, based off of how many cohesive albums—physical or digital—a given artist sold in a week period. You still had the airplay charts, which ranked songs specifically by how many spins DJ’s gave them across the country. And you had the Hot Songs chart, which now took into consideration crossover data, and a new suite of streaming and other consumer interaction data, but it was still the same fundamental chart meant to give a more broad picture of a song’s impact.
Now that all might change. Or at least, these traditional charts may be so significantly diminished in importance, they are rendered virtually insignificant, especially the album charts. And once again, with these chart changes could come fundamental musical changes from the industry to try and take advantage of these new metrics.
This new, sweeping system is currently being called the “Consumption Chart,” and it is presently being constructed by Billboard in conjunction with Nielsen SoundScan—the company that aggregates consumer data, including sales, streams, YouTube views, and other data that goes into building Billboard’s charts. Billboard and SoundScan are currently tweaking on the specifics of the new chart—one of which is how to aggregate streaming data, which is currently being tabulated by hand. Though there is no hard and fast date of when the Consumption Chart may be rolled out, the word from HITS Daily Double is that Billboard hopes to have it in place by the very beginning of next year so that when the new music ranking system starts, it can have an entire year to give a more cohesive picture to both consumers and industry.
One of the strange aspects about Billboard’s 2012 changes is since they happened in not just the middle of a year, but in the middle of a business quarter, it created a dirty data situation where the rules governing songs changed in the middle of the game. There was also little to no warning ahead of the changes being made. Billboard’s new rules came somewhat unexpectedly and were implemented immediately. Though indications are the roll out of the Consumption Chart will wait until the end of the year, especially since Billboard and SoundScan want to give themselves proper lead time to make sure their system is road tested and debugged before being debuted to the public, there’s no guarantee we may not wake up one morning and find that the way music is measured has been massively overhauled yet again.
What Is The Billboard Consumption Chart?
To put it simply, The Billboard Consumption Chart would be a combination of an album and a song chart. Instead of just considering physical album sales to gauge an album’s performance, the new chart would take song plays from streaming data and turn them into equivalent album sales. The idea is to bridge the gap between artists who receive a lot of streaming interaction but have marginal physical sales, and artists who have strong physical sales but don’t experience a lot of streaming activity. All indications are that Billboard hopes that this new Consumption Chart will become the industry standard for rating music.
According to HITS Daily Double:
The weekly chart will combine album and track sales with audio and video streams, assigning an equivalent-album value to each, as in the TEA metric, theoretically providing a more accurate and comprehensive representation of modern-day music consumption … Billboard’s album sales chart will remain in place, but most observers believe it will take on decreasing importance over time as the business acclimates itself to the new system … In some respects, the consumption chart will mirror the present sales charts in that sales and streaming tend to correlate, with certain exceptions … Overall, the most dramatic effect of the consumption chart will be to lengthen the tails of bona fide hits by measuring their aftermarket impact, potentially providing the labels with additional time in which to market these hits.
A mock up of the new chart was made last week, and the biggest takeaway was that albums for artists whose consumers mostly listen to songs on Spotify and YouTube instead of actually purchasing the album received a significant boost in the new metric by making “album equivalent” gains from the amount of streams and plays songs received. For example, the album Settle by the EDM duo Disclosure went from #213 on the album chart based purely off of sales, all the way up to #64 based off of these “album equivalent” streams and plays. That is a 149-spot difference just from the new Consumption Chart reporting method. Another example is Katy Perry’s album Prism, which moved from #61 to #16.
How The Consumption Chart Could Hurt Older and Independent Artists
What this all means is that artists who do well with physical album sales and digital downloads could be significantly diminished in this new system, while artists who primarily have their music heard through streaming methods will see a significant boost. This could immediately put older artists, and independent artists at a significant disadvantage.
Recently we have seen older country artists such as Willie Nelson, Johnny Cash, Dolly Parton, and Billy Joe Shaver set career chart records with their album releases because these artist’s older fan bases are one of the few demographics left that actually buy albums. But since these artist’s streaming footprint is significantly less, this new Consumption Chart would see them fare significantly worse compared to the current system.
Same could be said for many independent artists like Old Crow Medicine Show, Sturgill Simpson or Jason Isbell, whose fan bases are more likely to buy physical albums to help support the artist. These artists have seen significant boosts from chart performances recently, and this could go away under the new system. Artists who rely heavily on vinyl sales like Jack White could also see diminishing returns from the new charting system.
Since these charts are used to gauge the importance and impact an artist has in the marketplace, a diminishing of them on the charts could affect their overall sales, or their acknowledgement by the industry. Once again, just like Billboard’s 2012 chart rules, the new system very well may create even a greater discrepancy between the have’s and have not’s of music, and see more attention paid to the biggest artists, the biggest songs, and the biggest albums.
One big question for the Consumption Chart is if it takes into consideration the greater commitment a consumer shows by purchasing a physical album or downloading an entire copy instead of streaming an individual song or consuming it in a free environment such as YouTube. Does it also take into consideration that these physical and digital sales generally result in more revenue for the artist, the labels, and the industry as a whole? Where streaming is currently gutting the industry, physical sales are one of the the last bastions of revenue, including vinyl sales which are on the rapid increase.
Once again, certain changes are probably necessary to Billboard’s charts to take into consideration the new realities of consumer’s consumption habits when it comes to music. But it shouldn’t be at the expense of artists who are already struggling under the current system.
The good news is that this Consumption Chart has yet to be implemented, and so there is still time to understand what its impact might be and game plan for it, or even to influence the direction it might take before it is rolled out. This opportunity did not pose itself in 2012.
And as Billboard will probably point out, there’s no plans to put away the purely sales-based album chart. But many industry experts believe it will be significantly diminished under the new system. Some believe this new system could be dead on arrival, while others think it is necessary to keep Billboard’s relevance in the marketplace alive.
As HITS Daily Double asks, “In what ways will attempts be made to manipulate the new chart, and what new games will labels play in order to get a leg up on the competition? Will the consumption chart mean the end of the SoundScan-era emphasis on the first week of release, or will the majors figure out new ways to max out that total?”
Either way, if the changes made by Billboard in 2012 were any indication, the Consumption Chart could have a significant impact on music much beyond simply how it is measured.