Adele’s ’25’ set to break one-week US album sales record

22 Nov 2015 | Author: | No comments yet »

Adele may set new album sales record with ’25′: Billboard.

The British songbird — one of two chart-topping singers this year who pointedly snubbed streaming platforms by not releasing her new project on Spotify or Apple Music — is poised to set a new one week Nielsen era album sales record, Billboard reports.

The album, 25, which shot to No 1 in the iTunes chart in 106 out of 119 countries, sold 300,000 copies in the UK alone when it was released on Friday, one of the biggest first-day totals of all time.The British singer-songwriter, who soared to fame after the release of her debut album 19 in 2008, has since landed an astonishing 10 Grammys, four Brit awards, an Oscar and a Golden Globe.Adele is still surfing the wave of her own success with 21, by far the biggest album of the 21st century in Britain, with sales of 4.7 million in just under five years. According to the gatekeeper of music industry statistics, Adele’s ’25’ album is on track to sell at least 2.5 million in its first week, after barely one day of being in full release. Now back in the charts, 21 may soon surpass Sgt Pepper’s Lonely Hearts Club Band, the most popular album from the most popular group of all, which has sold 5.1 million copies in Britain in nearly 50 years.

The success of 25 follows in the wake of that of the first album single, Hello, which went platinum and has become the UK’s fastest selling song of the year. Hayes, who spent several days with Adele in London while she was recording 25, says the young woman she got to know is incredibly hard on herself and felt immense pressure to succeed after taking several years off. “She basically disappeared for about three years by her own choice after the album 21,” Hayes told news.com.au. “In that time she’s had a child and just really wanted to take time out … In isolation, these figures are impressive, but against the backdrop of massively declining album sales over the past five years, such predictions are unprecedented for an album released in 2015.

I just think she felt very overwhelmed.” Adele’s years away from the spotlight coincided with an operation to remove a benign polyp on her vocal cords in 2011. The next year she made a spectacular comeback, winning an Oscar for her Bond theme song, Skyfall. “Adele has struck success from the get-go and even she finds it hard to believe.

Yet more, including Damon Albarn and Phil Collins, were tried and ditched: if Adele needs new material for her break-up songs, these two are doing their best to provide it. She feels the pressure because she was so successful so early, she felt pressure to maintain great work and so that’s why she felt so very nervous about releasing this album, she was just so worried that it wasn’t going to be up to everybody’s expectations.” “She’s the kind of artist who likes to try to maintain her authenticity. She likes to feel real, for want of a better expression, and that means she was quite uncomfortable with celebrity, so she quite deliberately took time out,” the TV presenter said. “She’s been in the business now, full blown, for seven years or so but it’s been enough for her to realise what is important to her and I think being a celebrity is probably the last thing that she wants to be. The figures secure Adele’s place, along with Ed Sheeran and Sam Smith, among the 1% of artists who can reliably sell albums in big numbers, in contrast to the 99% lower down the charts whose sales are in freefall.

It tries to rhyme ‘everything’ with ‘healing’ and ‘side’ with ‘times’, and Adele keeps calling her ex on his home line while also wondering where he is living. While music industry experts argue that this “superstar artist economy” has always existed to some extent, the changing trends in music platforms and consumption have widened the gap more than ever. The international superstar serves up an exclusive performance on 60 Minutes tonight, performing a previously-unheard song from her new album — a Tobias Jesso Jr. collaboration called When We Were Young. Yet the industry analyst Mark Mulligan said that the market was very different to fours years ago when Adele released 21, and predicted it would be a struggle to overtake it in terms of long-term album sales, particularly CDs.

Mulligan said: “The important thing that Adele did with 21 was she managed to get lots of fading music buyers back out of the woodwork and buying albums. She isn’t somebody at this point that just believes that she’s so good that it’s impossible for people not to want to listen to her music, so it is an extraordinary journey that she’s on and it’s been a whirlwind.”

Mulligan also stressed that while several people have claimed that 25 will be the record that “saves the music industry”, even if it is a blockbuster, it will be “swimming against the tide”. “It will be atypical,” he said. “It’s not a reflection of where the industry is going, and just because we have one big successful album sale it doesn’t mean everybody’s going to start buying albums again. Send My Love (To Your New Lover), co-written with Max Martin, is a repetitive pop ditty which confirms that if there’s one person who doesn’t need a Swedish hit machine, it’s Adele.

However, Keith Harris, chair of Music Tank, an industry thinktank and information hub, predicted that this would not be a permanent decision and that Adele was only creating a window to boost album sales. Unlike Swift, whose predominately young fans are the biggest consumers of music through streaming services, many of Adele’s fans are from older generations who still purchase music both in physical and digital formats. Adele showed a talent for covers with Bob Dylan’s Make You Feel My Love, but there are no old songs here, just a pile of old titles, from Lionel Richie’s Hello to Little Boots’s Remedy. The democratisation of music, where anyone in a bedroom or any indie label can put music online and upload it on to streaming services – bypassing all music industry gatekeepers – has led to what Mulligan called an overabundance of “filler drivel”, which was too overwhelming to those seeking out music.

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