CRS In Action: Differences Between Country And Pop Single Life Cycles
February 9, 2016 at 3:46 PM (PT)
Differences between Country and Pop song cycles and programming styles were never more evident than during the late afternoon CRS 2016 panel, “THE STORY OF THE TORTOISE AND THE HARE.” iHEARTMEDIA SVP/Programming and KIIS/LOS ANGELES PD JOHN IVEY said a song will typically spend six to eight weeks on the station before it possibly moves out – and if the song is not testing well after averaging 100-150 spins a week during that time, his format will move on to the next single.
And that philosophy works for ATLANTIC EVP/PROMOTION JOHN BOULOS, who said if the song is not a hit and does not show sales and SHAZAM activity, they too will move on, often counseling with Pop programmers as to what single may be more successful. That’s the difference between a song-driven versus artist-driven format, added CBS RADIO/MIAMI VP/Programming ROB MORRIS, who handles both Country and Top 40, programming WKIS and WPOW, respectively.
CURB NASHVILLE artist LEE BRICE acknowledged that as a singer/songwriter, he does take into consideration how long a single can last. “Some artists just want a hit, and that’s their thing,” said BRICE, who holds the distinction of writing the fastest-ever add-to-#1 peak at Country with the GARTH BROOKS performed "More Than A Memory" and performing the slowest-ever – as “Love Like Crazy” spent 57 weeks on the Country chart before peaking on top.
The subject of add dates and #1 songs was also discussed. The push of “most-added” status is virtually non-existent in Pop, with the exception, as BOULOS explained, “A manager who may still be living in 1988.” Additionally, BOULOS said he considers a song by PARAMORE that peaked at #2 a complete success, having seen the song drive sales and touring numbers for the band. Also not a thing at Pop radio: #1 single push weeks, with cooperation among competing labels to jockey for all artists to hit their goal. “I don’t care about other label friends getting a #1," said BOULOS. “You want everybody to do well, but you have to drive your artist.” IVEY also hinted a greater communication about what songs labels will send them with conversations that include the artist, and sometimes bring in company PDs.