In 2014, the singles chart calculations changed. Originally intended to reflect the week’s most successful performer based on sales of CDs and even Radio performances, the decision was made to allocate due recognition to streaming services such as Spotify and iTunes.
Yet, according to Neil McCormick, The Telegraph’s music critic, the singles chart has served its purpose, and is no longer as meaningful as it once might have been. In his opinion: “It’s increasingly difficult to know what purpose they serve in a world where almost nobody buys singles any more.”
Citing musical fallings out in our cousins across the pond, McCormick then moves to dissecting the problem in the UK. According to the Official UK chart, the number one spot “is calculated by sales as well as both music and video streams, with a variable streaming ratio depending on whether the user has a free or paid subscription.” Under their system, one hundred paid streams are equivalent to 600 free streams.
Yet, McCormick notes, the system is prone to abuse. Ellie Goulding’s number one, covering Joni Mitchell’s River, was, according to McCormick, staggeringly impressive marketing on Amazon’s part, who placed the song and every playlist possible to ensure her win.
McCormick continues, querying the lack of relation between singles and albums charts. He believes that for albums: “fans are more likely to actively seek music out themselves, and spend dedicated time listening to it.”
Indeed, it is perhaps McCormick’s conclusion that is most telling of all. He writes: “The big question is whether anyone other than the artists themselves still has any reason to care.”
