Are Pop Radio’s Top 10 Songs Performing Equally Well On The US Spotify and Apple Music Charts?

In one sense, pop radio is supposed to reflect the tastes of the masses. It is supposed to be a window into what music is resonating with mainstream listeners — and provide a soundtrack for the cultural moment. In another sense, pop radio should also amplify interest in key songs and artists. It should help solidify music within the zeitgeist, thus boosting its performance on digital platforms.

As a result, there should theoretically be overlap between what is doing well on the pop radio chart — and what is doing well on charts for platforms like US Spotify and US Apple Music. Headline Planet is thus pleased to revive this feature, in which we assess the real-time streaming performance of pop radio’s Top 10 songs.

Granted, there should be no expectation of a perfect correlation.

• Familiarity and comfort do shape radio taste, which means that it will naturally take longer for a song to enter the upper reaches of airplay charts (and potentially longer for it to depart). New releases, on the other hand, can and often do immediately chart prominently on streaming platforms.
  • Of course, some may question whether this needs to be the case. In an era where fans have instant access to the newest songs from every artist on the planet, does the traditionally lengthy radio campaign have the same merit? Could radio preserve its relevance by immediately going all-in on the newest and hottest songs (or, alternatively, by beating streaming to the punch on emerging artists)?
• Further, the music industry widely recognizes “pop” not simply as a shortening of “popular” but as an actual genre distinct from country, hip-hop, R&B, rock, etc. If pop radio programmers do not feel a particular streaming hit fits into this “pop genre,” they may not view it as a serious airplay candidate. In recognition of this reality, we are also including a breakdown of the Top 10 on Billboard’s Overall Radio Songs chart their corresponding streaming positions.
  • Of course, this ultimately raises a debate about whether the industry should embrace a more fluid definition of “pop.” If certain hip-hop and country artists, songs, or styles consistently dominate all-genre streaming charts, at what point do we question whether they — as opposed to the big Z100 hits of 10-15 years ago — better reflect mainstream musical preference? Keep in mind that the more “official” industry term for “pop” radio is Contemporary Hits Radio, which supports the idea that stations should play the biggest hits rather than the poppiest hits.
• In comparing radio to consumption charts, we also cannot ignore additional promotion, curation, and demand-generation factors. Strong radio promotions teams play an important role in securing airplay for the songs and artists they represent. Key playlist placement, meanwhile, contributes handsomely to streaming numbers.
  • Of course, radio should arguably account for these factors when building its playlists. If a song is clearly resonating on digital platforms, should it not receive airplay even without a strong radio promotions team? Alternatively, should radio consider (or even deduct) the impact of factors like Today’s Top Hits placement when assessing whether a “digital hit” deserves to become a radio one?
• Finally, we have to accept that the radio and streaming platforms do not necessarily attract the same audience or same behaviors; fellow streaming platforms Spotify and Apple can actually have significant discrepancies with each other. For that reason alone, it would be unreasonable to expect the pop, Spotify, and Apple charts to precisely align.
  • Of course, this invites a debate about whether platforms should be accepting or aspirational in their audience targeting. Should radio attempt to court “streaming users” with more ambitious programming? Should streaming better diversify the songs it features on key playlists? In essence, there is no reason that existing differences in demographic should 100% dictate airplay and playlist decisions.

Clearly, the radio vs. streaming dynamic is a complex one. There is, however, still value in assessing the existing overlap. We compare the three charts below.

It is worth clarifying that a low current Spotify or Apple Music position is not necessarily a condemnation of the song. In some cases, the song charted well on streaming platforms earlier in the year but had to wait for radio to catch up. By the time radio began offering significant airplay, the song had begun to fade from the digital limelight.

It is also worth noting that some of the biggest pop hits have already peaked at radio and are beginning to lose airplay. Holding them accountable for massive present streaming numbers would therefore be unfair (though this, too, could support an argument that radio should be faster to not only embrace but also let go of songs).

Top 10 at Pop Radio (building/real-time Mediabase chart for August 13-19 tracking period):
1) Taylor Swift – Cruel Summer
#2 US Spotify, #8 US Apple Music

2) Olivia Rodrigo – vampire
#9 US Spotify, #14 US Apple Music

3) Rema & Selena Gomez – Calm Down
#87 US Spotify, #92 US Apple Music

4) Miguel – Sure Thing
#77 US Spotify, #100 US Apple Music

5) Dua Lipa – Dance The Night
#13 US Spotify, #45 US Apple Music

6) SZA – Snooze
#47 US Spotify, #12 US Apple Music

7) Fifty Fifty – Cupid
#75 US Spotify, N/C US Apple Music

8) Taylor Swift – Karma
#35 US Spotify, #126 US Apple Music

9) Luke Combs – Fast Car
#14 US Spotify, #13 US Apple Music

10) Miley Cyrus – Flowers
#74 US Spotify, #106 US Apple Music

Top 10 Spotify performers not in the Top 10 at pop radio: Oliver Anthony Music’s “Rich Men North Of Richmond” (#1 Spotify, viral hit not charting at pop radio), Gunna’s “fukumean” (#3 Spotify, not charting at pop radio but big at urban and rhythmic), Olivia Rodrigo’s “bad idea right?” (#4 Spotify, new song that is approaching the Top 40 at pop radio), Morgan Wallen’s “Last Night” (#5 Spotify, peaked in the Top 5 at pop radio but no longer charting), Travis Scott & Drake’s “MELTDOWN” (#6 Spotify, not charting at pop radio but gaining traction at urban and rhythmic), Nicki Minaj, Ice Spice & Aqua’s “Barbie World” (#7 Spotify, #14 and rising at pop radio), Doja Cat’s “Paint The Town Red” (#8 Spotify, #20 and rising at pop radio), Billie Eilish’s “What Was I Made For?” (#10 Spotify, #26 and rising at pop radio)

Top 10 Apple Music performers not in the Top 10 at pop radio: Oliver Anthony Music’s “Rich Men North Of Richmond” (#1 Apple, viral hit not charting at pop radio), Gunna’s “fukumean” (#2 Apple, not charting at pop radio but big at urban and rhythmic), Travis Scott & Drake’s “MELTDOWN” (#3 Apple, not charting at pop radio but gaining traction at urban and rhythmic), Morgan Wallen’s “Last Night” (#4 Apple, peaked in the Top 5 at pop radio but no longer charting), Travis Scott’s “I KNOW (#5 Apple, not charting at pop radio), Travis Scott, SZA & Future’s “TELEKINESIS” (#6 Apple, not charting at pop radio), Karol G & Peso Pluma’s “QLONA” #7 Apple, new song but no indication of forthcoming pop airplay), Morgan Wallen’s “Thinkin’ Bout Me” (#9 Apple, not charting at pop radio but charting at country), Lil Durk & J. Cole’s “All My Life” (#10 Apple, #13 and rising at pop radio)

Because some view pop as a firm genre, they might disagree with comparing its Top 10 to the all-genre streaming charts. To honor this perspective, we also wanted to assess the streaming performance of the biggest hits on Billboard’s All-Genre Radio Songs chart.

Top 10 on Billboard Radio Songs (chart date August 19):

1) Rema & Selena Gomez – Calm Down
#87 US Spotify, #92 US Apple Music

2) Luke Combs – Fast Car
#14 US Spotify, #13 US Apple Music

3) Taylor Swift – Cruel Summer
#2 US Spotify, #8 US Apple Music

4) Miley Cyrus – Flowers
#74 US Spotify, #106 US Apple Music

5) SZA – Snooze
#47 US Spotify, #12 US Apple Music

6) Morgan Wallen – Last Night
#5 US Spotify, #4 US Apple Music

7) Taylor Swift – Karma
#35 US Spotify, #126 US Apple Music

8) Metro Boomin, The Weeknd & 21 Savage – Creepin’
#67 US Spotify, #199 US Apple Music

9) Olivia Rodrigo – vampire
#9 US Spotify, #14 US Apple Music

10) Lil Durk & J. Cole – All My Life
#37 US Spotify, #10 US Apple Music

There is slightly more overlap in this case (“Last Night” appears in the Top 10 on all three charts, and “All My Life” is a Radio Songs and Apple Top 10), but the conclusion from the pop chart still ultimately applies. The radio and streaming top tens are not significantly aligned.