Luke Combs took to Twitter final week to marketing campaign for his Oct. 23 launch “Eternally After All” to go No. 1 on the Billboard Sizzling 100. “Now we have an opportunity to be the No. 1 track on the Billboard Sizzling 100 chart,” he stated in a video tweet, encouraging his viewers to purchase the track on iTunes and Amazon. “We’re up towards some stiff competitors this week,” Combs stated, referring to different artists on the chart.
Goes No. 1 on the U.S. charts one thing artists ought to try for when making music?
The brief reply isn’t any. This damages the intent and high quality of music and the connection between an artist and their followers.
To preface his pleading, Combs started with, “I don’t do stuff like this so much,” swallowing his pleasure earlier than he indulged in his private agenda. Continually repeating “we” all through his thinly veiled ploy to debut at No. 1, Combs tried to reassure followers. “It’s not at all times concerning the numbers for me, it by no means has been,” he stated. Reasonably than concentrate on the influence that his track leaves on listeners, Combs could be the one one to reap the profit from this accomplishment; his followers are merely the means to get there.
This comes months after Justin Bieber took to Instagram posting a slideshow of photographs explaining how one can make his single “Yummy” go No. 1 on U.S. charts. Within the publish, Bieber inspired his followers to “create a playlist with ‘Yummy’ on repeat and stream it.” The publish additionally focused his worldwide followers, asking them to make use of a digital non-public community so they might depend their streams in the US. On condition that the Billboard Sizzling 100 ranks the recognition of songs in the US, pleading followers exterior of the nation to spice up gross sales is embarrassing.
Described as a “dead-on-arrival” by critics, “Yummy” was something however a success, but Bieber was desirous to earn his sixth No. 1 as his publish described the only as his “comeback.” The track debuted at No. 2, poetic justice for the overzealous strategy he took to get a No. 1. Positive, labels push for his or her artists to achieve success, however in relation to artists themselves selling strategies to cheat the system, calling this a “unhealthy look” could be an understatement.
When Combs returned to Twitter on Oct. 30 to inform followers that “we got here in second place” after studying his single wouldn’t debut at No. 1, karma struck once more. A No. 1 debut represents excessive success for a track that may high the charts with just one week of gross sales. Combs’ referral to his debut as a “second place” track successfully diminishes the benefit that this debut would usually have.
When artists begin competing for the No. 1 spot, their music feels much less natural and extra calculated for standing. A No. 1 hit earned naturally from widespread enjoyment is value way more than a track that made it to the highest because of a pitiful marketing campaign.