Discussion in 'Pop & Justice' started by kevinnnk, Apr 18, 2018.
I actually don't mind that list. High getting the attention it deserves, we love to see it!
The remix of WITHOUT YOU is one of biggest hits in years!
Miley’s showing some love for Sade - By your Side on her Insta today.
It’s one of my favourite songs, do I need a Miley version of it, not particularly… will I listen to it, probably!
On a side note, Can’t she just promote her own stuff? As much as it’s lovely hearing her do covers, it is becoming very boring.
Looking at Midnight Skys UK chart run, the UK ate that up! I mean it’s her best song so I’m not upset. Shame US radio just doesn’t seem to be here for Miley anymore.
UK radio will play a good song by a divisive artist whereas US radio (a huge over analysing data mess) think listeners will go 'Miley she's trouble' and change the station. Which is dumb.
The whole radio nonsense in the US is so ridiculous, I’ve never understood why what major radio stations play should have anything to do with a songs commercial success. It’s the reason why so many huge songs around the world fail in the US, the power of radio!
Looking good and feeling fine
I don't think radio programmers here think Miley's really divisive, though? Maybe just that her time has passed.
Why would her time have "passed" when she's making the best music of her career, scoring features on other artists' hit tracks and getting smashes of her own outside the US. Make it make sense.
I mean, her songs don't test well at all here in the US iirc (@Sanctuary is probably the best person to go to for that info), so I don't think it's necessarily wrong to say the view of Miley is that she's kind of Not That Girl, regardless of how well she may be doing internationally, who's song she's featured on, or how many times she goes viral for her covers.
US radio programmers are fickle. When you spend years sending them stuff that audiences don't want to listen to, they become hesitant to give your songs a chance. They'll give in if a song gains enough traction, but Midnight Sky didn't have much staying power after the first week. I think radio programmers have always had a weirdly hostile relationship with her going back to the Disney days. I think @Sanctuary wrote a whole post on it when she was assaulting us with Younger Now.
Miley kind of torpedoed her commercial career on her own, regardless of what US radio thinks of her.
And this is the part where we go over how Bangerz was her one shot at having a true imperial phase and then she decided to abandon it after scoring two #1 singles! And before anyone tries it, Adore You absolutely would have done better if its release wasn't so half-assed.
Regardless of what her Disney career looked like, Bangerz was setting her up for something bigger and she completely demolished it, so now she's seeing the repercussions (in the US at least).
I don't believe Midnight Sky ever debuted on public callouts for Top 40 radio, but it wouldn't be shocking if the song had a negative reception or, more importantly, not enough of a positive reception to counter-balance its performance elsewhere.
Its streaming in the US wasn't that impressive - it lost half of its streams on Spotify by after three weeks. And her fans will cite the positive Hot AC callout scores, but it did do well on Hot AC for a singer who had a more limited time on the format and whose last releases were, y'know, complete bombs. But Hot AC =/= Top 40.
Malibu had bad callout scores on Top 40 (never higher than 2nd last net positive).
The Mark Ronson collab did poorly as well (again, never higher than 2nd last - actually debuting dead last).
Mother's Daughter bombed.
Slide Away wasn't sent to US radio with the hope of Don't Call Me Angel instead taking off but not even Ariana, who has one of the best receptions on pop radio, could save the song from either Lana or Miley's Hot 100 poison, with the song debuting dead last after Thank U, Next and 7 Rings had both been Top 2 for Pop Score:
Exactly how many chances should radio programmers keep giving an artist to click with those who listen to their station after multiple bombs and poor performances? What are they to do when the songs are also not massive streaming hits? I just can't imagine viral tweets about a decade-old show hold more clout than audience reaction.
The way Slide Away would’ve been the best received of all her recent (albeit excellent) singles and it wasn’t even SENT to radio will forever sting.
Prisoner and Midnight Sky definitely feel more radio friendly than Slide Away, it just seems like the well had dried up. If the songs had stayed super high on streaming platforms (Prisoner debuted really well on US Spotify), radio would've probably kicked into shape.
Prisoner isn't bad but honestly it's sort of a nothing song. It's one of those songs that sounds like they wrote about a 1:25 of it and then just looped it. With no Dua feature it's not really worth a second glance as a single. Midnight Sky, Plastic Hearts, and Angels Like You were the really obvious singles on the album. I'd have only picked Prisoner after those 3 had gotten their chance to shine. Alas.
Honestly I still think a solo Bad Karma was single worthy. I never listen to the official one with Joan, but the solo leak still gets some rotation.
Seeing as there are a couple misspellings in the titles and all, they ought to have the wrong "Space" song in that best list, surely it should be this?
Even with minimal radio support, Midnight Sky is eligible for 2x Platinum in the US and the album isn’t too far off from Platinum as well. Not too shabby.
Plastic Hearts kinda repaired her image with the GP though, people welcomed the new direction Miley was going in (minus the covers, kii). Streams were also extremely stable by Miley’s standards, that is until the album was abandoned.
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