New Adele album poised to shatter record: Report

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 the iTunes number one in 106 out of 119 countries, sold 300,000 copies in the UK on its first day alone when it was released on Friday, one of the biggest first-day totals of all time.

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. 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.

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. The figures one again secure Adele’s place among the 1% of artists who can reliably sell albums in big numbers – along with Ed Sheeran and Sam Smith – contrasted with 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. 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 physical 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.

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 means 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 think tank 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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