Adele out here breaking records

[Hammer]

all her songs are the same. so boring

 

[Icantspell]

GOATDELE ​

 

[Roaden Polynice]

This is a girl from the UK. Ain't no privilage. I think it's harder for a girl from London to blow in US music than a black artist.

Adele is just brilliant and extremely likeable. People just fell in love with the idea of the purity of it too. No collabs, chubby chic who's just a brilliant writer and singer. Her songs really move people emotionally too.

There's a lot of good singers but writers? Nah. Most these singing girls got writers

This song was the blow up. I won't admit to tearing up to it

She's trash.

Decent voice that isn't emotive. I know you stan everything in the music world, but at least get your facts straight. She has co-writers on nearly all her songs, and she worked with some of the best songwriters and producers in music at the moment for 25. Max Martin has a song on there ffs

 

[TEH]

I was told that no one can sell albums anymore in this day and age.

 

[WickedGames]

Estelle attacks 'blindness to black talent'



Estelle attacks 'blindness to black talent'

Estelle Lets It Rip On Adele and Duffy: “Is There Not a Single Black Person Singing Soul?”



Estelle Lets It Rip On Adele and Duffy: “Is There Not a Single Black Person Singing Soul?”

Estelle is trash compared to Adele and Amy.
In every way.

I never got into Duffy. We don't even love Estelle in the uk like that. She out in New York speaking with an American accent, doing Collabs with Rick Ross but nobody from home.

Artists like FKA Twigs though. Talent on talent and will have the success to go with

 

[WickedGames]

She's trash.

Decent voice that isn't emotive. I know you stan everything in the music world, but at least get your facts straight. She has co-writers on nearly all her songs, and she worked with some of the best songwriters and producers in music at the moment for 25. Max Martin has a song on there ffs

I stopped reading at she's trash.

 

[WickedGames]

Makes me cringe people will be moaning about how big somebody but guarantee they bootleg the album of the person who they think should have their spot

 

[3rdWorld]

She also had 'good' songs that were well written, arranged and produced..thats really what caught my attention.
Black song writing leaves a lot to be desired these days, lets be honest.

But my favorite female English appropriator is

 

[IllmaticDelta]

Estelle is trash compared to Adele and Amy.
In every way.

I agree but she had a point...even going back the 80's, black UK Soul/R&B based singers never blew like that outside of sade and even then, some UK posters in another thread she's not even appreciated in the UK.

I never got into Duffy. We don't even love Estelle in the uk like that. She out in New York speaking with an American accent, doing Collabs with Rick Ross but nobody from home.

IDK...I never really checked for estelle like that

Artists like FKA Twigs though. Talent on talent and will have the success to go with

She's having zero impact in the USA compared to even the likes of Sam Smith and Hozier

 

[IllmaticDelta]

I was told that no one can sell albums anymore in this day and age.

They don't...didn't you read the articles I posted? She's along with Taylor Swift are anomalies



4 numbers that explain Adele's total dominance of the music industry

As prophesied in the book of Pop Music Revelations, Adele's 25 is out and has fully taken over the world. And there's nothing any leaks can do about it.

The comeback album emerges four years after 21, her last release, which smashed records, garnered numerous awards, and sponsored countless breakup recoveries. However anxious Adele's fans were for new music, though, they can't possibly rival the music industry's excitement over her return. The internet introduced myriad ways to listen and own music — not all of them legal — but Adele's soulful torch songs have buoyed her beyond the industry's reduced expectations.

To explain what, exactly, that means, here are four major numbers that make Adele such a formidable artist.

11.2 million: Number of 21 albums sold in the United States
When you factor in the rest of the world, 21 sold more than 30 million albums.

There are a few things that make these numbers notable. First and foremost, buying actual albums has become an anomaly — yet Adele managed to sell almost as many albums in 2011 as fellow belter Celine Dion did for her smash hit album Falling Into You in 1996.

But Dion recorded in an era when albums that sold that many copies were far more common. (There were three by women artists alone in 1995, for instance.) That's no longer true now. If you take into account the rise of streaming (which isn't counted in album sales), Adele's numbers would far surpass Dion's.

Adele still dominates when you stack her up against her contemporaries. Taylor Swift, for example, sold 3.66 million copies of 1989 in the USlast year. In 2011 alone, Adele sold over 2 million more, with 5.82 million.

The easiest explanation for Adele's success in album sales is that, quite simply, her fan base is not just broader but older. "A lot of her following is older than Taylor Swift's," Rolling Stone editor Anthony DeCurtis recently told USA Today, "and they are people who will buy a CD or download a record," as opposed to listening on Spotify or another streaming service.

4 numbers that explain Adele's total dominance of the music industry

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Why Streaming Doesn’t Really Matter For Adele

The outstanding success of Adele’s single ‘Hello’ has stoked up the already eager debate around whether Adele’s forthcoming ‘25’ album is going to be a success. Indeed some are asking whether it is going to ‘save the industry’. One of the aspects that is getting a lot of attention is whether the album is going to be held back from some or all of the streaming services. The parallels with Taylor Swift’s ‘1989’ are clear, especially because both Swift and Adele are strong album artists, which is an increasingly rare commodity these days. But the similarities do not go much further. In fact the two artists have dramatically different audience profiles which is why streaming plays a very different role for Adele than it does for Swift.

Lapsed Music Buyers Were Key To the Success Of ‘21’

Adele’s ’21’ was a stand out success, selling 30 million copies globally. Core to ‘21’s commercial success was that the album touched so many people and in doing so pulled lapsed and infrequent music buyers out of the woodwork. The question is whether the feat can be repeated? In many respects it looks a tall ask. We’re 4 years on since the launch of ‘21’ and the music world has changed. Music sales revenue (downloads and CDs) have fallen by a quarter while streaming revenues have tripled. And the problem with pulling lapsed and infrequent buyers out of the woodwork is that they have receded even further 4 years on. In fact a chunk of them are gone for good as buyers.


buyer streamer overlap
But beneath the headline numbers the picture is more nuanced (see graphic). Looking at mid-year 2015 consumer data from the US we can see that music buyers (i.e. CD buyers and download buyers) are still a largely distinct group from free streamers (excluding YouTube). While this may seem counter intuitive it is in fact evidence of the twin speed music consumer landscape that is emerging. This is why ‘Hello’ was both a streaming success (the 2nd fastest Vevo video to reach 100m views) and a sales success (the first ever song to sell a million downloads in one week in the US). These are two largely distinct groups of consumers.

Streaming A Non-Issue?

As a reader of this blog you probably live much or most of your music life digitally, but for vast swathes of the population, including many music buyers, this is simply not the case. Given that the mainstream audience was so key to ‘21’s success we can make a sensible assumption that many of these will also fall into the 27% of consumers that buy music but do not stream. The implication is thus that being on streaming really is not that big of a deal for ‘25’ one way or the other. Whereas Taylor Swift’s audience is young and streams avidly, Adele’s is not. That is not to say there aren’t young Adele fans, of course there are, but they are a far smaller portion of Adele’s fan base than Swift’s.


60% of 16-24 year olds stream while just 20% buy CDs. Compare that to 40-50 year olds where 34% stream and 43% buy CDs. These are dramatically different audiences which require dramatically different strategies. Audio streaming is unlikely to be a major factor either way for Adele, neither in terms of lost sales nor revenue. Unless of course she ‘does a Jazy-Z‘ or ‘does a U2’ and takes a big fat cheque from Apple to appear exclusively on Apple Music. But I’d like to think she’d like to think she’d have the confidence of earning sales the real way.

The Importance Of The Digitally Engaged Super Fan

What unites Swift and Adele is that they are both mass market album artists and as such are something of a historical anomaly. Swift bucked the trend by making an album targeted at Digital Natives shift more than 8 million units. Adele will likely also buck the trend. But paradoxically, considering the above data, in some ways it will be a harder task for Adele. Swift has a very tightly defined, super engaged fan base that identifies itself with her. Adele’s fanbase is more amorphous and pragmatic. You don’t get ‘Adelle-ettes’. Swift was able to mobilise her fanbase into music buying action like a presidential candidate with a passionate grassroots following and big donors. The importance of digitally engaged super fans is the secret sauce of success for digital era creators. It is the exact same dynamic that ensured UK YouTuber Joe Sugg was able to leverage his fanbase to give his debut book ‘Codename Evie’ the biggest 1st week sales for graphic novel EVER in the UK this year.

If Adele and her team do pull off a sales success with ‘25’ they will owe a debt of gratitude to that 27% of consumers. While the odds are against it being quite as big as ‘21’ (simply because the market is smaller) it still has every chance of being a milestone event that will out perform everything else. But do not mistake that for this being ‘Adele saves the music industry’. Album sales are declining. Success from Taylor Swift and Adele are (welcome) throwbacks and they are most certainly not a glimpse into the future.

Why Streaming Doesn’t Really Matter For Adele | M{2e}

 

[hex]

I said a while ago when you guys started fawning over a suburban Canadian Jew rapping simp anthems with a faux-Southern accent, that it was a slippery slope. Since then we've had Iggy Azalea, Slim Jesus, and now multiple Adele threads in The Booth.

This is the direction you set shyt in, now you gotta see it through to it's completion.

Fred.

 

[L. Deezy]

Real singers winning

 

[Peak]

I don't get what people see and hear in her. I've tried to get into it but I can't. Like KRIT said, "if it don't touch my soul, then I can't listen to it..."

Well Adele clearly touched KRIT's soul. He sampled her on Hometown Hero.

 

[Dominic Brehetto]

Waits for @Napoleon to come in and tell us how the album and singles arent "hitting" like that


Leave your basement sometime this year ahkmed

 

[avon barksdale]