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In recent years, you’ve doubtlessly felt some major shifts in the Western pop music scene. Of course, there has been the rise of reggaeton, fresh takes on pop-punk, edgy new grooves from London, and hit trends that originated on TikTok. While these are all fascinating movements, there’s another in the air — the meteoric rise of Asian artists.
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Since the late 2010s, listeners around the world have been reappraising music from Asia, and the development of streaming platforms has provided Asian music with an even greater presence. Special note should be taken of the presence of musician Hikaru Utada, who uses they/them pronouns and has drawn a great deal of interest for their rich catalog of songs, including “Somewhere Near Marseilles,” a club-like tune that deftly evokes the precarious emotional states people have been thrust into by the pandemic. In 2022, they released their latest album, BAD MODE, to the acclaim of music lovers everywhere.
Hikaru Utada is now known for their intriguing style, drawing the listener into a maze of fine, spiraling rhythms, working with producers such as Floating Points, A. G. Cook and Nariaki Obukuro on their new album. It’s important to remember, however, that long before they released songs like “Face My Fears” and “Simple and Clean,” which became well-known in the West due to their use in the Kingdom Hearts games, they had already created universally loved hits.
One of those was “First Love,” the topic of this column. “First Love” has become a hit song in many countries throughout Asia, taking the No. 1 and No. 2 spots on the Apple Music Daily Top 100 and Spotify Daily Rankings Hong Kong and Taiwan. It’s also rising rapidly through the charts in Korea and Indonesia, enjoying a passionate revival not only in Japan but across national borders. This rediscovery was sparked by the November release of the Netflix series First Love. The Netflix series was inspired by the interaction generated from the Hikaru Utada songs “First Love” and “Hatsukoi” and their maddening sense of heartache. The show has become a hit throughout Asia.
“First Love” was revealed to most of the world from the main stage at the Coachella Festival in 2022, but it first captivated Japanese listeners back in 1999. Even though Hikaru Utada was just 16 years old at the time, the song has been a continuing inspiration throughout the years. In that way, as well, the fate of the song resonates with the series First Love, whose story winds back and forth through the past and the present.
What has influenced the path of “First Love”? As is clear from the fact that the song has become a hit again throughout Asia, 23 years after its initial release, it’s clear that “First Love” possesses a certain kind of universality.
Its structure is extremely simple — just piano, bass, drums, and acoustic guitar. This format brings out Utada’s vocals to their fullest. Their vocal performance, which demonstrated a highly refined expressive sensibility despite the song being one of their debut-era releases, can be enjoyed to its fullest on “First Love (A Cappella Mix),” included on the exclusive limited-edition 7-inch single. Their vocals, like a tightrope walker that sways with the music but never falls, are nothing less than breathtaking.
Special attention should be paid to their use of breath. Throughout the song, they use an unusual breath approach, but only for the verse. The floating opening of the song begins, “Saigo no kiss wa, tobacco no flavor ga shita, nigakute setsunai kaori” (“Our last kiss was the flavor of cigarettes, A bitter taste”). They take a breath between “sa” and “igo,” and then again before “kiss,” expressing the fluttering, flustered feelings of love. However, although they pause midway through the word “tobacco,” they don’t take a breath. There’s a momentary silence, one in which even their breathing is stopped, deftly expressing time coming to a halt during a kiss. In the second verse, “Tachidomaru jikan ga ugokidaso to shiteru, wasurerarenai koto bakari” (“Time, standing still, is about to start moving, So many things I don’t want to forget”), the lyrics are accompanied by surprising, bold breath usage. Time, which was stopped for a moment by a kiss, starts up again, along with their breath. Utada uses an “a-i-o” rhyme pattern in both verses (“saigo” and “tachido”), but there’s a crucial difference between them. This deliberate use of breath is also reflected in the newly released Dolby Atmos version, “First Love (2022 Mix).”
A lot has been said about how “First Love” demonstrates unique vocal timing, with pauses where they would not normally be found in Japanese, along with novel uses of breath as an instrument. However, what’s truly notable, more than the methods themselves, are the way that Utada interwove their use of breath with the lyrics to create a sensation of time coming to a standstill during a kiss tinged with a hint of the smell of a cigarette, or the sadness that comes with time starting again when you realize that love has ended. It is because these feelings are shared by people throughout time, we have — unforgettable experiences that are hard to put into words. “First Love” uses breath to breathe new life into emotions that have had an indelible impact on us but have dissipated with time. This is bound to become a universal, or perhaps invariable, artistic technique that will become part of the common language of music, transcending time and borders.
—This article by Tsuya-chan first appeared on Billboard Japan
Official HIGE DANdism’s “Subtitle” continues to steadily extend its record at No. 1 on the Billboard Japan Hot 100, dated Jan. 11, now at 10 weeks with only one more to go to tie the record for longest-leading hit.
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The all-time record for most weeks at No. 1 on the Japan Hot 100 is 11 weeks, held by Gen Hoshino’s “Koi.” HIGE DAN’s current hit dominated three metrics of the chart’s methodology when it ruled the song chart last week — streaming, downloads, and radio airplay — and is down to one this week (streaming). While “Subtitle” continues to hold for the sixth consecutive week at No. 1 on the Japan song chart, total points for the song is down by about 2,000 on the latest list, so it remains to be seen whether it can catch up with Hoshino’s smash hit from 2016 on the next.
Solo music producer Vaundy made a splash nationwide on the year-end live music extravaganza, the 73rd NHK Kohaku Uta Gassen, and the effects are showing on the charts. The 22-year-old singer-songwriter currently charts eight songs on the Japan Hot 100: “Kaiju no Hanauta” (No. 3), “Odoriko” (No. 30), “CHAINSAW BLOOD” (No. 42), “Fukakouryoku” (No. 46), “napori” (No. 72), “Tokyo Flash” (No. 80), “Hanauranai” (No. 95), and “Koikaze ni Nosete” (No. 97). These tracks increased points in streaming, downloads, video views, and karaoke, indicating that his performance of “Kaiju no Hanauta” on the historic music program left a strong impression and spilled over to other songs in his catalog. The young artist also performed “Omokage (produced by Vaundy)” with star singers milet, Aimer, and Lilas Ikuta on the program, which also boosted this track from No. 84 to No. 20 this week.
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, YouTube and GYAO! video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from Jan. 2 to Jan. 8, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Raye ascends the U.K. singles chart for the very first time with “Escapism,” while Taylor Swift snags another albums chart crown.
A teary Raye celebrated her spectacular result on social media. It’s a moment that carries extra significance for an artist who, in 2021, publicly cut ties with her major label after claiming she’d been shelved and overlooked for years.
Released through Human Re Sources, J. Erving’s distribution and artist services company, “Escapism” is one of several singles Raye has dropped in recent months ahead of her upcoming debut album My 21st Century Blues, alongside “Hard Out Here,” “Black Mascara” and “The Thrill Is Gone.”
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The most-streamed song for the latest chart U.K. chart week, with 5.6 million streams, “Escapism,” featuring U.S. rapper 070 Shake, is Raye’s tenth top 40 single, and first U.K. top 10 as lead artist.
Meanwhile, SZA lands her first solo top 10 in the U.K. (and third overall) with “Kill Bill” (up 32-4 via RCA/Top Dawg), while Bugzy Malone and TeeDee also earn their first spot in the top 10, as “Out of Nowhere” (BSomebody) lifts 38-9.
The Christmas music exodus is in full force, which powers a string of singles to new peaks on the latest chart, published Jan. 6. They include Lewis Capaldi’s “Pointless” (up 60-15 via Vertigo); Tiesto & Tate McRae’s “10:35” (up 80-18 via Atlantic/Ministry of Sound); Lady Gaga’s Born This Way-era recording “Bloody Mary (up 74-22 via Interscope); which is powered by a viral TikTok dance sensation inspired by Wednesday star Jenna Ortega; and Australian singer-songwriter Dean Lewis’s tear-jerker “How Do I Say Goodbye” (up 86-23 via Universal Music Australia).
Over on the national albums survey, Swift secures the first No. 1 for 2023 with Midnights.
By racking-up four non-consecutive weeks at the top, Midnights surpasses Swift’s 2020 effort folklore as her longest reigning LP in the U.K.
Brits love the U.S. pop star in 2023 just as much as they did in 2022. Midnights is one of five Swift studio albums in the top 40 — folklore (No. 22), 1989 (No. 24), Lover (No. 35) and Reputation (No. 40).
Mobile Suit Gundam: The Witch From Mercury, the first Gundam animated TV series in roughly seven years, has just drawn to a close. For the first time in the franchise’s history, the protagonist was a woman, and the show generated a lot of buzz for the new directions it was taking Gundam, such as including elements of school life and inter-corporate war.
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The show’s writer, Ichiro Ohkouchi (also responsible for Planetes, Code Geass: Lelouch of the Rebellion, SK8 the Infinity, and more) was asked to “create a Gundam series that could be enjoyed by newcomers to the franchise, including young viewers.” This, he explains, is why he added new elements to the anime. “I’m not all that young myself, so I thought if I merely tried to match the story’s sensibilities to those of young people, I’d end up missing the mark. Instead of simply lowering the target age, I expanded it — up, down, left, right — with the hope of making a series that would also be appealing to younger viewers. Traditionally, Gundam is mainly about tragedy, battles, and wars, but this new series also involved school life, society, and romance.”
However, he couldn’t turn his back on the traditions of the franchise, which began in 1979. “I wanted to create something that was true to Gundam. I added new elements to the excellent foundation established by previous Gundam shows. However, that also made it hard to control the amount of information involved. Maintaining balance was a struggle.” Ohkouchi did this out of respect for Gundam fans and for the traditions of the franchise. “The reason Gundam is so famous is that countless people have created an uninterrupted chain of works that feature the things that make the franchise great. I couldn’t just ignore that and make something totally different.” “One thing I can say is that one of the central elements is a certain hard-edged tone. When the first Mobile Suit Gundam came out, most of the new series’ viewers hadn’t even been born yet. Viewers knew many people who had lived through war themselves, and so war was still something that still felt real and familiar. When I thought about what fighting meant to today’s generations, I thought ‘companies.’ People experience factional struggles, they get called to oppressive meetings and harassed by superiors. I thought I could use those kinds of battlefields to create something that wasn’t all that divorced from modern audiences.”
Matching the desires of the series’ creator to share Gundam with even more people by expanding its audience, YOASOBI (a musical duo known for producing songs inspired by novels) wrote the show’s opening song, “The Blessing.” YOASOBI consists of two artists, Ayase and ikura. It was formed in 2019, and its debut song, “Yoru ni Kakeru,” took first place in Billboard JAPAN’s 2020 “Hot 100” year-end song chart.
YOASOBI’s Ayase recalls, “Honestly, there was a lot of pressure. However, I wanted to create a great song that would live up to those high expectations. At first, I had these ideas for concepts that I thought would be interesting, but ultimately I decided to make a powerful, straightforward song that reflected my image of Gundam.”
ikura added, “It’s the opening theme, so you hear it every episode. That’s why we talked about making a song that you could interpret in different ways as the story progressed. We hoped to make a song that would remain fresh, with new things to discover each time you listened to it, instead of just keeping the impression it made when you first heard it.”
Each of YOASOBI’s songs is based on a novel. “The Blessing” is based on Cradle Planet, a novel by Ohkouchi. “When I first heard their song,” says Ohkouchi, “I was amazed. The novel isn’t a happy one, so the song they wrote could have ended out like a witch’s curse, but their imagination led them to come up a response in the form of ‘The Blessing.’”
Cradle Planet is written from the point of view of the Gundam Aerial, the mobile suit piloted by the show’s protagonist, Suletta Mercury. Ohkouchi explains why: “Suletta starts out unaware of what’s really going on, so I thought that a song based on a novel about her would end up being really vague. Writing about the adults around her would result in a song that doesn’t really match the series. The show is about Gundam, so I thought ‘Why not make a Gundam the protagonist?’ I proposed writing about how Suletta would look from the perspective of the Gundam, and they took up my idea.”
The name The Witch from Mercury conjures to mind images of “curses” and “spells.” Ayase talked about the creation process that led them to “The Blessing.” “At first, I was just kind of thinking, ‘What’s the opposite of a curse?’ I’m not sure if it would be a blessing, but reading through the novel and other materials, there were these different situations involving people encouraging and supporting each other, which, I felt, threw the curses into sharper relief. I always struggle with naming songs when we finish them, but this time the process went surprisingly smoothly. ‘Curse’ is such a strong word, but at the same time it’s commonplace, something you can feel in all kinds of places. ‘The Blessing’ is, of course, about the world of The Witch from Mercury, but I also think it connects, in a way, to actual society.”
In the past, vocalist ikura has decided on delicate singing nuances before going into recording, but this time was different. “I didn’t think too hard about it, but instead read the novel, listened to the music, and then decided to throw in all the power I felt from them. The lyrics are powerful even compared to other YOASOBI songs, and I’m singing about really sweeping themes, so I thought that instead of trying to load the lyrics with my own delicately detailed emotions, it would be better to sing the words as they are written, expressing the feelings I had when reading the story.” “Suletta is doing her best to survive in the environment she is thrust into, but that’s a curse placed on her by her mother. She doesn’t realize this, but her partner, the Aerial, knows all about it. At the end of the novel, when Suletta chooses to confront her situation head-on instead of fleeing, the Aerial tells her ‘I’m here with you.’ I hope that the Aerial’s kindness and Suletta’s power come through in the song.”
When Ohkouchi heard the song, he says, “I was moved at how accurately the image of the original novel was retained, and how it was opened up to make the song.” At the same time, he also points out how the lyrics can be interpreted differently after watching each episode. The song itself changes as the story progresses.
“That’s what we focused on the most,” explains Ayase. “The season consists of 12 episodes. I wanted viewers to listen to the opening every time, without skipping it. I wanted to make it a song that developed along with the heroine, so that it felt different as the story went along, and its emotional impact flowed with the story.”
“I’m amazed that they were able to write it that way,” says Ohkouchi. “Originally, it’s a song about Suletta, but, for example, after you watch episode 7, it becomes a song about Miorine. Then, at some point, it becomes a song of encouragement for the audience. It’s wonderful how its range of interpretations blossoms like that. When you try something new, at some point you’ll be tempted to give up. If ‘The Blessing’ springs to mind at a time like this, it’ll inspire you to keep pushing forward.”
—This interview by Takuto Ueda first appeared on Billboard Japan.
It’s a New Year, Christmas songs perform their disappearing act for another time, and “Unholy” is back on top in Australia.
Sam Smith and Kim Petras’ global hit lifts 13-1 on the ARIA Chart, published Jan. 6, for its fifth non-consecutive week at No. 1.
The 2023 rebirth of “Unholy” (Capitol/EMI) closely follows the announcement that Petras will headline Sydney WorldPride’s closing concert, Rainbow Republic, on March 5, and comes ahead of Smith’s intimate performance at McLaren Vale’s d’Arenberg Cube in Adelaide.
“Unholy” leads a fresh top 10 on the ARIA Singles Chart, as Xmas tunes tumble out of sight.
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SZA‘s “Kill Bill” (RCA/Sony) vaults 12-2, while former leader “I’m Good (Blue)” (Warner) by David Guetta and Bebe Rexha leaps 25-3.
Meanwhile, British singer and songwriter Raye enjoys a new chart peak with “Escapism” (Orchard), up 26-7. “Escapism,” which represents a new, independent era for the rising artist, was the top single on the midweek U.K. chart.
Following the publication of ARIA’s year-end charts, which saw Harry Styles’ “As It Was” (Columbia/Sony) coming in at No. 1 for 2022, the Harry’s House number is once again on the rise. “As It Was” lifts 34-9 on the weekly survey.
Just one single makes its debut in the top 40 on the new chart, Dutch DJ Tiesto’s collaboration with Canadian singer-songwriter Tate McRae, “10:35” (Sony/Warner). It’s new at No. 24.
The top album for 2022, ARIA reported earlier in the week, is Taylor Swift’s Midnights (Universal). Swift’s tenth and latest studio album holds at No. 1 on the latest ARIA Chart, for its ninth non-consecutive week at the summit. It’s one of five Swift albums currently in the top 40.
Harry Styles really did own the keys to 2022. The British pop singer’s third studio album Harry’s House was the biggest LP of the year in the U.K., according to new data published by the Official Charts Company.
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The ex-One Direction singer leads the year-end albums survey with Harry’s House, which shifted north of 460,000 U.K. chart units over the year, including 160,000 sales (150,000 physical and 10,000 downloads), the OCC reports.
Harry’s House logged six non-consecutive weeks atop the Official U.K. Albums Chart in 2022, more than any other album, and the lead single from it, “As It Was,” tops the U.K.’s year-end singles survey.
Compatriot Ed Sheeran comes in at No. 2 on the year-end albums list with = (Equals), which snaffled upwards of 433,000 U.K. chart units during the calendar year. Sheeran has made a career habit of racking up big numbers. In November, the OCC announced all four of his solo studio albums — (Plus), x (Multiply), ÷ (Divide) and = (Equals) — had spent a total of at least a year inside the Official Albums Chart top 10.
Completing the 2022 podium is Taylor Swift’s Midnights, which, in less than three months, captured more than 417,000 U.K. chart sales, including 217,000 sales (206,000 physical copies and11,000 downloads). Midnights got away to a particularly explosive start. First-week U.K. chart sales exceeded 204,000, more than double her previous best, 2014’s 1989 (90,300 chart units).
It’s hard to keep a good thing down. That’s certainly the case with ABBA and Queen’s barnstorming career retrospective albums. ABBA Gold became the first album in U.K. chart history to log 1,000 weeks on the chart, a feat it achieved in July 2021. It’s still going strong. Powered by the ABBA Voyage virtual residency in London, the LP appears at No. 10 on the year-end U.K. chart. Indeed, Gold improves 20-13 on the latest Official U.K. Albums Chart, doing so in its 1,078 week.
Queen’s 1981 release Greatest Hits reached the 1,000-week milestone on the U.K. chart in 2022, and it finished the year in 11th place on the year-end tally. Greatest Hits is the best-selling album in U.K. recorded music history, shifting more than seven million combined units.
Music streaming reached new heights in 2022, the BPI reports. Across digital and physical formats, the equivalent of 166 million albums were streamed or purchased during the year, up 4.3% on 2021.
Official Top 40 biggest albums of 2022
Harry’s House, Harry Styles
=, Ed Sheeran
Midnights, Taylor Swift
The Highlights, The Weeknd
Sour, Olivia Rodrigo
Curtain Call – The Hits, Eminem
Diamonds, Elton John
50 Years – Don’t Stop, Fleetwood Mac
Between Us, Little Mix
Gold – Greatest Hits, ABBA
In the year that saw King Charles ascend the throne, it was Harry Styles who was crowned on the U.K. charts.
The pop superstar rules 2022’s year-end singles and albums charts, with “As It Was” and its parent, Harry’s House, respectively, according to new data published by the Official Charts Company.
Released in April 2022, “As It Was” reigned over the Official U.K. Singles Chart for 10 weeks, and went on to shift 1.57 million combined units, the OCC reports.
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“As It Was” also finished the year as the most-streamed song in the U.K., with more than 180.9 million audio and video streams, and it was the best-seller across combined physical and digital formats, raking-in 65,000 units.
The former One Direction singer leads an all-British sweep of the top 10 tracks of 2022 in the U.K. — a first in the 50-plus year history of the year-end singles chart.
Coming in at No. 2 on the Official Top 40 Biggest Singles of 2022 is Ed Sheeran “Bad Habits,” with 1.18 million chart units. “Bad Habits” was the No. 1 song in the U.K. in 2021.
Afrobeats star Fireboy DML lands at No. 3 with “Peru” (featuring Sheeran), BRITs Rising Star nominee Cat Burns is at No. 4 with “Go,” and Sheeran completes the top 5 with “Shivers.”
2022 was a remarkable year for Kate Bush and her 1985 song “Running Up That Hill (A Deal With God)” which roared off the back of Netflix’ Stranger Things, in which is was synced to several pivotal moments. The song was embraced a new generation as it finally reached No. 1, some 37 years after its release. As it completed the path to the top, Bush broke a trio of records, including the longest journey a single to reach No. 1 in the U.K.
Also, notes the OCC, LadBaby bagged the fastest-selling single in its first week based on pure sales, “Food Aid,” which pulled-in more than 59,000 first-week sales. The charity fund-raising single was the most-downloaded song of the year, and a record-breaker, as it delivered the husband-and-wife Hoyle duo a fifth consecutive Christmas No. 1.
The OCC’s year-end reports are published as the BPI announces 159 billion music tracks were streamed in the U.K. last year, a new record which represents a 8.2% gain on 2021, and more than double the volume from five years ago.
Official Top 40 biggest songs of 2022
“As It Was,” Harry Styles
“Bad Habits,” Ed Sheeran
“Peru,” Fireboy DML & Ed Sheeran
“Go,” Cat Burns
“Shivers,” Ed Sheeran
“Running Up That Hill (A Deal With God),” Kate Bush
“Heat Waves,” Glass Animals
“Where Are You Now,” Lost Frequencies/Calum Scott
“Afraid To Feel,” LF System
“Seventeen Going Under,” Sam Fender
Australia was Harry’s House in 2022, as Harry Styles locked up the best-selling single and the No. 2 album, according to year-end data published by ARIA.
The former One Direction star leads the ARIA Top 100 Singles Chart with “As It Was” (via Columbia/Sony Music), which racked up five platinum certifications following its April 1 release.
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Its parent LP, Harry’s House, Styles’ third successive solo No. 1 on the ARIA Albums Chart, spawns three of the top 50 tracks for 2022, and finishes at No. 2 on the year-end albums tally. Styles confirmed his popularity when he won most popular international artist at the 2022 ARIA Awards, a fan-voted category.
The best-selling album, according to ARIA, is Taylor Swift’s Midnights (Universal), which chalked up the biggest single sales cycle of any LP in 2022 and scooped a record nine of the top 10 singles in its first week. Also, Midnights was the year’s best-selling LP on wax.
Both Midnights and Harry’s House are platinum certified (for 70,000 combined units).
U.S. and international acts dominate the year-end tallies.
The top-ranked homegrown album is the Kid LAROI’s F*ck Love (Over You), which finished 2022 at No. 21, after landing at No. 3 on the 2021 year-end survey. The Sydney-raised, Los Angeles-based singer and rapper also scores three singles in the top 100 for 2022, led by “Stay” (Columbia/Sony) featuring Justin Bieber at No. 3 (“Stay” finished 2021 at No. 2).
Also, Pnau’s award-winning remix of “Cold Heart” (via Warner/Universal) featuring Elton John and Dua Lipa finishes 2022 at No. 4 (“Cold Heart” finished 2021 at No. 13).
The year in music will be remembered by the stranger things done by Kate Bush’s 1985 song “Running Up That Hill (Deal With God)” (via Warner), which caught fire on sales charts around the globe. Powered by Netflix’ Stranger Things, the single logged nine weeks at No. 1 on the ARIA Singles Chart, more than any other song in 2022, and arrives at No. 11 on ARIA’s year-end tally.
ARIA 2022 Top 5 Albums
Taylor Swift – MidnightsHarry Styles – Harry’s HouseThe Weeknd – The HighlightsOlivia Rodrigo – SourEd Sheeran – =
ARIA 2022 Top 5 Singles
Harry Styles – “As It Was”Glass Animals – “Heat Waves”The Kid Laroi & Justin Bieber – “Stay”Elton John & Dua Lipa – “Cold Heart (PNAU Remix)”Ed Sheeran – “Bad Habits”
ARIA 2022 Top 5 Vinyl Albums
Taylor Swift – MidnightsHarry Styles – Harry’s HouseSpacey Jane – Here Comes EverybodyArctic Monkeys – AMEd Sheeran – =
BRISBANE, Australia — It’s closing time for Sanity, the once-great Australian music retail specialist which confirmed it would close all its bricks-and-mortar stores in the coming months.
In a statement issued Wednesday (Jan. 4), Sanity announced plans to close its remaining 50 stores by the end of April 2023, in line with the lease expiry of each outlet.
It’s a sad end to a music and entertainment chain which, like so many brands in the business of racking physical soundcarriers, has been left behind as consumers move to streaming platforms.
“With our customer shifting to digital for their visual and music content consumption, and with diminishing physical content available to sell to our customer, it has made it impossible to continue with our physical stores,” explains Sanity CEO and owner Ray Itaoui.
Despite the “challenging and ever evolving entertainment landscape,” the Sanity business has “prospered and remained successful for many years, quite an achievement in the fast-changing retail space,” Itaoui adds.
Founded by retail guru Brett Blundy, Sanity began life in 1980 with just one store. The retailer grew to become Australia’s leading music and retail chain, a status which has later challenged by JB Hi-Fi.
With Blundy at the helm, his Brazin company entered the U.K. in the early 2000s with the purchase of 77 Our Price branded stores from Virgin Group. The experiment ended in 2003 when Brazin sold its 118 Sanity Entertainment U.K. stores to an investment firm for an estimated £12 million ($16.67 million).
A consortium led by Itaoui acquired the business from Brett Blundy Retail Capital (BBRC) in 2009, when the Sanity chain boasted 238 stores across Australia, including Sanity and the domestic branches of U.K. High Street brands Virgin and HMV.
In the late 2000s, Sanity launched what it claimed was Australia’s first online music subscription service, LoadIt, at a time when the business had an estimated 23%-25% share of Australia’s physical music retail market. LoadIt shut down in early 2009.
Digital platforms, and streaming, in particular, is how Australians consume music in the 2020s.
The recorded music market in these parts expanded by 4.4% to A$565.8 million ($421 million) in 2021, for the third successive year of growth, according to trade body ARIA. Subscription services, contributed $377 million ($281 million) that year, up 4.1% from A$317 million ($236 million) in 2020.
Sanity’s online business will continue to operate, and the team is currently working to dispatch all over-the-counter orders, including pre-orders.
“There is so much to be proud of,” adds Itaoui. The Sanity brand “became synonymous with the go-to place to get anything that mattered in the world of music: from vinyl, to CDs and DVDs, hardware, accessories, and of course face to face advice on everything musical.”
If 2022 was the year of Taylor Swift in the U.K., the New Year appears much the same as Swift’s Midnights (EMI) takes pole position on the midweek chart.
Based on data published by the Official Charts Company, Midnights is on track for the first No. 1 of 2023, and land a fourth non-consecutive week at the summit.
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If it keeps its momentum, the OCC notes, Midnights will eclipse Swift’s 2020 LP Folklore to become her longest-reigning album in the U.K.
Meanwhile, SZA’s sophomore album SOS (RCA/Top Dawg) is set to lift 8-2, and the Weeknd’s career retrospective The Highlights (Republic Records/XO) could bounce 15-4 following the release of “Nothing Is Lost (You Give Me Strength),” the Canadian R&B singer’s single from Avatar: The Way of Water. The Highlights is one of five greatest hits compilations impacting the top 10s, a list that includes sets by Elton John, ABBA, Eminem and Fleetwood mac.
Also, Eurovision contestant Sam Ryder’s former chart-topper There’s Nothing But Space, Man! (Parlophone) is on the up following the BBC’s Sam Ryder Rocks New Year’s Eve TV special.
The start of a New Year is typically a slow time for new releases. 2023 is no different, as modern-day pop classics (Ed Sheeran’s ‘Divide‘, Olivia Rodrigo’s Sour), and compilations (Oasis’ Time Flies, George Michael’s Twenty Five, Elvis Presley’s ELV1S – 30 Number 1 Hits, Michael Jackson’s Number Ones) ready for a top 40 return.
Finally, the release of Kasi Lemmons’ Whitney Houston biopic I Wanna Dance With Somebody is giving a lift to the 2012 best-of collection, I Will Always Love You. It’s on track to return at No. 14, for what would be a new peak. The Arista album has a U.K. chart best position of No. 27.