Sabrina Carpenter lọ si Rihanna bi 5th Biggest Artist on Spotify, Sells Out "Short n' Sweet" Tour

Sabrina Carpenter ti o ti tẹsiwaju diẹ ninu ọpọlọpọ awọn akọkọ ti o ni ilọsiwaju Rihanna ti ṣe awọn akọkọ akọkọ akọkọ akọkọ akọkọ ni Spotify pẹlu diẹ ẹ sii ju 85.2 million akọkọ akọkọ. Aṣiṣe yii tun ni ailewu rẹ bi awọn akọkọ akọkọ akọkọ akọkọ akọkọ akọkọ akọkọ akọkọ akọkọ akọkọ akọkọ akọkọ akọkọ akọkọ akọkọ akọkọ akọkọ akọkọ akọkọ. Taylor Swift ati Billie Eilish<pfseg id="0">, eyi ti kọọkan gbọdọ diẹ sii ju 98 million oṣuwọn oṣuwọn oṣuwọn oṣuwọn oṣuwọn oṣuwọn oṣuwọn oṣuwọn oṣuwọn oṣuwọn oṣuwọn. Carpenter ni o wa ni aṣa lati lọ Post Malone, eyi ti o ni bayi ni 87.9 million oṣuwọn oṣuwọn oṣuwọn.

Awọn iyanu oṣuwọn ni Carpenterawọn olumulo orisun ni o wa ni o wa ni o wa ni o wa ni o wa ni iyanu ti awọn oniwe-ẹrọ rẹ "Espresso"and"Tọkasi O Fẹ." Tracks from her upcoming album "Short n' Sweet," scheduled for release on August 23, 2024, have not only captivated audiences but also driven significant engagement on streaming platforms. "Please Please Please" has secured the number two spot on the artist and song radios of Spotify's top 50 artists, sparking considerable discussion about the role of Spotify’s algorithms in Carpenter’s rapid ascent.

Adding to her accolades, "Tọkasi O Fẹ" reached the number one spot on the Billboard Hot 100, marking Sabrina Carpenterká akọkọ nọmba ọkan hit. Ọkan ninu Carpenterti a gbajumo lati wa ni nitori awọn label rẹ, Polydor Records, ti o le fi ọpọlọpọ ni Spotify ká Discovery Mode. Pẹlu Discovery Mode, awọn artists ati awọn labels gba awọn akọkọ songs, ati awọn Spotify ká eto fi o si awọn iroyin si awọn algorithms eyi ti o mu awọn playlists ti aṣayan. Awọn iṣowo aṣayan yẹ ki o le fi awọn ipo algorithmic ti awọn ọrọ rẹ lori kan orisirisi awọn playlists, lati rii daju awọn ọpọlọpọ julọ rẹ.

"Please Please Please" occurs the number two position in 100% of the top 50 Spotify Artist playlists tabi awọn iwe-aṣẹ rẹ. Ni ọpọlọpọ awọn ipo, "Espresso" ti a ri ni nọmba ninu awọn iwe-aṣẹ bi. "Please Please Please Please" ti a ti gba awọn iwe-aṣẹ ninu awọn iwe-aṣẹ bi 21 Savage, 50 Cent, ABBA, Adele, aespa, Amy Winehouse, Angele, Arctic Monkeys, Artemas, A$AP Rocky, AUDREY NUNA, Ava Max, BABYMONSTER, Bad Bunny, Bee Gees, Benson Boone, Beyonce, Billy Joel, BLACKPINK, Britney Spears, Bruno Mars, Cardi B, Christina Aguilera, Central Cee, Coldplay, Creedence Clearwater Revival, Daddy Yankee, David Guetta, Demi Lovato, Destiny’s Child, Doja Cat, Dolly Parton, Ed Sheeran, elise rose, Elton John, Eminem, Etta James, Fergie, FIFTY FIFTY, FKA twigs, FloyyMenor, Frank Sinatra, Future, Glass, Gunna, Gwen Stefani, Harry Styles, Hillary Duff, Hozier, Imagine Dragons, J Balvin, Jay-Z, Jeff Buckley, Jennifer Lopez, Joni Mitchell, Jorja Smith, Jung Kook, Justin Bieber, Kanye West, Karol G, Katy Perry, Kehlani, Kendrick Lamar, Khalid, Kylie Minogue, Lady Gaga, Lana Del Rey, Laufey, Lauryn Hill, LE SSERAFIM, Lil Nas X, Lily Allen, Macklemore, Mahmood, Marshmello, Maroon 5, Metro Boomin, Michael Buble, Michael Jackson, Miley Cyrus, Mitski, Myles Smith, Neon Trees, NewJeans, NSYNC, Olivia Rodrigo, One Direction, Paramore, Paul McCartney, Pitbull, Queen, Rauw Alejandro, Rob Grant, Royel Otis, Rvissian, Sam Smith, Saweetie, Selena Gomez, Sexyy Red, Shaboozey, Shakira, Sherine, Soulja Boy, Spice Girls, Suki Waterhouse, SZA, Tame Impala, Teddy Swims, THE ANXIETY, The Chainsmokers, The Kid Laroi, The Pussycat Dolls, The Ronettes, The Strokes, The Temptations, The Weeknd, Travis Scott, Troye Sivan, Tommy Richman, Tony Bennett, Tracy Chapman, Twenty One Pilots, Victoria Monet, and WILLOW, among others.

Aggressive promotion of Carpenter’s music has not gone unnoticed by Spotify users, who have taken to X/Twitter to voice their frustration. Users report that her songs frequently appear on their playlists and are often played automatically after their preferred tracks. One user noted that "PPP" played automatically after unrelated songs across all genres, even appearing in a playlist themed around "fart" sounds.

Some of the most notable reactions include: @joleena: "No matter what I’m listening to, as soon as the playlist or album ends, the second 'random' song will always be a Sabrina Carpenter song." @KarmaIsAFad: "Spotify keeps pushing Sabrina Carpenter on me like no, I don’t want to hear the song randomly after Cleo Sol." @icaruSYRE: "Spotify is shoving Espresso by Sabrina Carpenter down my throat with the DJ beta feature." Sentiments like these highlight a broader issue within the streaming industry: the balance between organic growth and algorithmic influence. Aggressive promotion of Carpenter’s singles raises questions about the fairness and transparency of music streaming platforms.

Concerns about potential payola practices have also been highlighted. Payola, the illegal practice of paying for song placements without disclosure, has been suggested as a possible factor in Carpenter's rapid rise. A Forbes article discussed the prevalence of payola within Spotify’s platform, suggesting that Carpenter’s sudden prominence might be driven more by financial investment than organic popularity.

On July 4th, Carpenter added another feather to her cap by announcing on Instagram that her entire "Short n' Sweet" tour has sold out. Her celebratory post, captioned, "and just like that you guys sold out the entire short n' sweet tour, espresso went #1 at the pop radio andddddd i slid down this slide :') thank you all so so much!!! i can't wait to see you on the road," has garnered significant attention and mixed reactions from her followers.

Some of the top-liked comments under her Instagram post reflect a spectrum of sentiments: @_michele_hadley: "Sabrina the tour is gonna be empty bc it's all bots and resale for 4x the price." @bearynahte: "uhmmm i think the bots got a lot of the tickets ilysm tho." @ddianalea: "Bots and scalpers sold it out girl not us." @karmen_elizabeth: "sabrina bots and scalpers sold out the tour, real fans won't be there :(" @nethra_kesanapalli: "girl that ticketmaster shit was not it." @brentbergbauer: "you mean the scalpers sold out the whole tour, and like 3% went to actual fans?" @akrl.na: "girl ur tickets were more than taylor how is that possible."

Carpenter’s swift rise on Spotify, particularly her recent overtaking of Rihanna, Ariana Grande, Drake, Dua Lipa, and Justin Bieber, underscores the dynamic nature of music streaming and the significant role algorithms play in an artist's visibility and success. Achieving such prominence with just a couple of singles highlights the evolving methods of music promotion and the potential for rapid fanbase expansion through strategic platform engagement.

However, the mixed reactions from her tour announcement also point to the challenges faced by artists in ensuring genuine fan access to live events. The issue of bots and scalpers securing a large portion of tickets has been a recurring problem in the industry, often leading to inflated resale prices and limited availability for real fans. The situation has prompted calls for more stringent measures to ensure fair ticket distribution and better fan experiences.