State Champ Radio Retail
Vinyl releases from Noah Kahan, Olivia Rodrigo, Paramore, Pearl Jam and more were among the top-sellers from Record Store Day (RSD) 2024 in the United States, according to data tracking firm Luminate.
The annual independent record store celebration was held on April 20 this year and boasted a bevy of unique and limited-edition albums and singles (mostly vinyl pressings) created for the festivities. More than 350 titles were released for RSD 2024 at independent record stores across the United States.
Kahan does double-duty with both the top-selling RSD single and album, according to Luminate (see lists, below). The top-selling RSD-exclusive single was a joint effort from Kahan and Rodrigo: a two-song, 7-inch colored-vinyl. The single features Rodrigo’s cover of Kahan’s “Stick Season” and Kahan’s cover of Rodrigo’s “Lacy,” both recorded in the BBC Radio 1 Live Lounge. The top-selling RSD-exclusive album was a blue-colored vinyl pressing of Kahan’s 2021 sophomore album I Was/I Am.
The Nos. 2 to 5-biggest selling RSD-exclusive albums were: Paramore’s This Is Why / Re: This Is Why (double vinyl set, bone and ruby red-colored vinyl), Pearl Jam’s Dark Matter (on yellow and black ghostly-colored vinyl), Paramore’s Re: This Is Why (on ruby red-colored vinyl) and Talking Heads’ Live at WCOZ 77 (double vinyl). (Paramore was also the RSD 2024 Ambassador, following in the footsteps of such recent previous RSD Ambassadors as Jason Isbell and Amanda Shires (2023), Taylor Swift (2022), Fred Armisen (2021), Brandi Carlile (2020) and Pearl Jam (2019).
While most RSD 2024 titles had a fairly limited pressing — under 5,000 each — a few titles this year earned larger production runs (such as I Was/I Am and the Kahan/Rodrigo single, which each had a run of more than 30,000).
Top-Selling Record Store Day 2024 Exclusive Albums at Independent Record Stores in the U.S.Rank, Artist, Title1. Noah Kahan, I Was/I Am (blue-colored vinyl)2. Paramore, This Is Why / Re: This Is Why (Standard + Remix) (bone and ruby red-colored double vinyl)3. Pearl Jam, Dark Matter (yellow and black ghostly-colored vinyl)4. Paramore, Re: This Is Why (ruby red-colored vinyl)5. Talking Heads, Live at WCOZ 77 (double vinyl)6. The 1975, The 1975 Live at Gorilla (white-colored double vinyl)7. The Weeknd, Live at SoFi Stadium (triple vinyl)8. ATEEZ, The World EP.Fin: Will [X. Ver.] (clear or black-colored vinyl + 7-inch vinyl)9. Fleetwood Mac, Rumours (picture disc vinyl)10. David Bowie, Waiting in the Sky (Before the Starman Came to Earth) (vinyl)11. Wallows, Nothing Happens (5th Anniversary Edition) (aqua splatter and aqual with white splatter-colored double vinyl)12. Young Thug, Jeffery (vinyl)13. Team Sleep, Team Sleep (gold-colored double vinyl)14. Neil Young with Crazy Horse, Fuckin’ Up (clear-colored double vinyl)15. Ramones, The 1975 Sire Demos (vinyl)16. Gorillaz, Cracker Island (Deluxe Vinyl Version) (pink and magenta-colored double vinyl)17. The Replacements, Not Ready for Prime Time: Live at the Cabaret Metro, Chicago, IL, January 11, 1986 (double vinyl)18. Grateful Dead, Nightfall of Diamonds (180 gram four vinyl LP set)19. Soundtrack, Lost in Translation (Music From the Motion Picture Soundtrack [Deluxe Edition]) (double vinyl)20. The Cure, The Top (picture disc vinyl)21. Bill Evans, Everybody Digs Bill Evans (180 gram vinyl)22. Lil Uzi Vert, Luv Is Rage (vinyl)23. The Doors, Live at Konserthuset, Stockholm, September 20, 1968 (triple vinyl)24. Various Artists, South Park: The 25th Anniversary Concert (Towelie-Blue-colored triple vinyl)25. John Lennon, Mind Games EP (140 gram glow-in-the-dark-colored vinyl)Source: Luminate, for the week ending April 25, 2024
Top-Selling Record Store Day 2024 Exclusive Singles at Independent Record Stores in U.S.Rank, Artist, Title1. Olivia Rodrigo & Noah Kahan, Stick Season (Rodrigo) / Lacy (Kahan), Live from the BBC Radio 1 Live Lounge (7-inch colored vinyl)2. David Byrne & Paramore, Hard Times / Burning Down the House (12-inch vinyl)3. U2, Atomic City (Live at Sphere, Las Vegas) / Atomic City (Mike WiLL Made-It Remix) (10-inch transparent red-colored vinyl)4. 100 Gecs, Hey Big Man / Torture Me / Runaway (10-inch vinyl)5. Daft Punk, Something About Us / Veridis Quo / Voyager (Dominique Torti’s Wild Style Edit) (12-inch vinyl)6. The Beatles, She Loves You (3-inch vinyl)7. G.B.I., The Regulator (7-inch vinyl)8. Lil Peep, Star Shopping / Star Shopping (Live in London) / Star Shopping (Live in Belgium) (7-inch vinyl)9. Holly Humberstone/MUNA, Into Your Room (with MUNA) (7-inch vinyl)10. Chappell Roan, Pink Pony Club / Naked in Manhattan (7-inch baby pink-colored vinyl)Source: Luminate, for the week ending April 25, 2024
Luminate, which provides data to the Billboard charts, has signed a new partnership that will enable it to report more direct U.S. independent music retail data than ever before, the company announced Wednesday (April 24).
Under the partnership — which took effect Friday (April 19) and was jointly reached by the Coalition of Independent Music Stores, Alliance of Independent Media Stores and Department of Record Stores (who work together as Record Store Day) along with the Music Business Association — Luminate will collect independent physical music sales from StreetPulse, a music industry data provider that receives daily sales metrics directly from retailers. The data, which encompasses sales of CDs, vinyl and cassettes, will be incorporated into the physical sales data Luminate already collects directly from other stores.
To better recognize the impact of music sales at indie retail, Billboard has rebranded its Tastemaker Albums chart to Indie Store Album Sales. The weekly tally reflects top-selling titles at indie stores in the United States.
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The news follows Luminate’s controversial decision last year to retire the weighted data modeling it previously used to measure physical sales in the indie retail sector in an effort to increase the quality and accuracy of its sales metrics.
“I’d like to thank the coalitions, the retail stores, and Luminate for taking this issue seriously and working together to reach a deal,” said Portia Sabin, president of the Music Business Association, in a statement.
“Sometimes it takes a pinch to bring people together, and the industry response to the unweighting of physical data was perhaps necessary to highlight the importance of that data to our industry,” Sabin added. “I’d also like to thank so many people at the labels, distributors, and even individual artists for speaking out and helping us to reach an agreement, because whenever our industry comes together to achieve a common goal it is inspiring for our future.”
“This new partnership is the most significant development in the independent music retail industry since the creation of Record Store Day,” said Andrea Paschal of the Coalition of Independent Music Stores. “Our goal has always been to ensure comprehensive physical sales reporting, and bringing in data from StreetPulse, which collects actual sales from more U.S. indie retailers than ever before, will ensure that every purchase is cataloged and counted correctly.”
“Luminate is always working towards the goal of providing quality and accurate data to the industry,” added Chris Muratore, director of partnerships at Luminate. “We always strive to be a good partner to those across the many sectors of the music and entertainment industries, and we are happy to announce this new partnership in alignment with that mission and our values.”
Eddie Vedder of Pearl Jam, who served as Record Store Day ambassador in 2019, said in his own statement, “We truly love …the [independent] shops. They’ve always meant the world to us. When it gets to this time when you can help out the community and the community record stores, it’s a no brainer.”
Upon hearing about the new agreement, Pearl Jam also put out a statement from the full band: “For nearly as long as we’ve been a band, there’d been a system that worked. We’re just honored to play a part… so that our beloved record stores can again have a real seat at the table.”
“Comprehensive sales figures are crucial for everyone: for artists and their label partners, for Luminate to provide accurate marketplace reporting, and for independent retailers who rightly own and control their data and the subsequent insights,” said Hannah Carlen, marketing director at Secretly Group. “Physical retail remains strong and growing, and this deal will ensure that reality is reflected in sales and total consumption figures.”
Note: Luminate is an independently operated company owned by PME TopCo, a PMC subsidiary and joint venture between Penske Media Corporation and Eldridge. Billboard is an independently operated company owned by PME Holdings, a subsidiary of PME TopCo.
At many of the more than 1,500 independent record stores in the United States, vinyl sales have been growing at a healthy clip for almost a decade — up 14.2% across all retailers in 2023 alone, according to Billboard’s data provider, Luminate. So why did Luminate track 47.3% fewer vinyl sales in January and February than it did for the same months in 2023?
On its face, such a precipitous drop might appear troubling — and puzzling — given the surge of vinyl sales since the pandemic. In actuality, the decline is mostly a result of Luminate changing the decades-old methodology it had used since Billboard adopted SoundScan’s measurement system in 1991 to count sales at indie retail outlets — a change that Luminate had warned last year would make 2024’s vinyl sales numbers appear significantly lower. But some of the drop reflects a protest by independent retailers against that adjustment, which one indie community executive worries “may put a damper on one of the industry’s high-profile, feel-good stories.”
Frustrated by the methodology change, some of these indie stores have stopped reporting sales to Luminate, and the Coalition of Independent Music Stores (CIMS), the Record Store Day board, the Music Business Association and other organizations have launched an alternative chart to measure physical and vinyl sales.
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“There are consequences to every decision,” Music Business Association president Portia Sabin said in a statement.
Until the end of last year, Luminate extrapolated indie retailers’ physical album sales using a methodology that weighted actual sales by a small sample of independent stores — approximately 70 accounts totaling 140 storefronts, Billboard estimates — that represented 1,500 to 2,000 retailers of their ilk that are operating in the United States, according to label and distribution sources.
Last year, physical purchases such as vinyl and CDs at these independent retailers — even with weighting — accounted for less than 3% of total music consumption units in the United States.
Indie retailers say they don’t oppose more accurate measurement of their sales. Rather, they are incensed that Luminate stopped weighting sales just months before it plans to begin the beta phase of its upgraded Connect measurement platform, which it had designed to only count actual indie physical sales. (The final version of the enhanced platform is expected to launch in 2025.) They had wanted Luminate to delay the methodology change until it onboarded hundreds more indie music retailers to report their sales.
Until the Connect beta is launched, Luminate is basing indie physical sales solely on the actual sales retailers report, which due to the protest has been cut in half to about 33 accounts with 70 storefronts, Billboard estimates.
Indie stores say they are protesting because of concerns that they — as well as the indie labels and artists who rely on them for marketing — will lose influence if their sales suddenly appear significantly lower across the board.
Indie-label executives and their distributors say they, too, are worried about the methodology change because it might affect the marketing of developing artists. “We are extremely disappointed that Luminate chose to stop weighting indie retail sales without launching a serious program to enlist store reporting and to count the physical market,” Matador Records president Patrick Amory wrote in an email. “Independent labels and independent artists over index in physical, and especially at indie retail, and we need a level playing field with the majors to measure success. Luminate is penalizing serious, career-building, album-oriented artists on the charts. Their sales are not being counted. Their market share is being allotted to the majors. That is a disaster for independent musicians, labels and retailers.”
An additional concern is that smaller sales numbers and less weight on the Billboard charts, which are based on Luminate data, will “diminish the importance of the physical market to the music business ecosystem,” as four independent record store coalitions and indie retailing giant Amoeba Music put it in a statement issued in October.
The worry is that less music will be released in physical formats, which would financially hurt indie retailers. But a record label executive says given the booming demand for vinyl — a high-margin product for labels — those fears are unwarranted. “Right now,” says one major-label executive, “with the high prices that the growing vinyl format commands, labels are printing dollars with healthy profit margin.”
Indie retailers, many of them iconic local businesses that have served their communities for decades, have panicked ahead of big changes in the past. When the major record companies decided to change the official day for new music releases from Tuesday in the U.S. to a worldwide Friday street date in 2014, “indie stores told labels, ‘You are killing us,’” recalls the major-label executive. “And yet no stores disappeared in the aftermath of that change.”
Some chart mavens say the boycott could be a risky move. By intentionally shrinking their influence on Billboard’s charts, indie stores could drive fans — who, thanks to social media, are much more attuned to the metrics that determine chart positions — to start shopping at sites or stores where they know their purchases will benefit their favorite artist.
Artists and record labels hoping to climb Billboard’s charts, meanwhile, might opt to stage meet-and-greets and other in-store promotions at businesses that report their data, though plenty of acts and record companies still host such events in stores that don’t report to Luminate.
In response to the protest, Luminate says it’s working to lure back stores that stopped reporting and onboard a critical mass of indie merchants that have not reported their data before. Stores that have stopped reporting are now permitted to bypass Luminate’s standard four-week onboarding process if they commit to reporting data for at least a year. For the latter, Luminate offers an instructional video and a written guide to the process, although indie merchants say they have pressed for personalized assistance and simplified reporting requirements.
Luminate also recently hired respected veteran music data executive Chris Muratore as its director for partnerships. Muratore worked for 18 years in various positions at Luminate’s previous iteration, Nielsen SoundScan, and more recently founded Border City Media, the startup behind music consumption data tool BuzzAngle Music (now Alpha Data, and, like Luminate, a subsidiary of Billboard’s parent company, Penske Media Corporation). He will focus on building and maintaining relationships with the independent music retail sector “to ensure physical music sale data collection is as accurate and representative as possible,” according to the release announcing his appointment.
When Billboard began tabulating charts using SoundScan data in May 1991, mass merchant sales, such as those by chain stores and, later, internet or other mail-order operations — were based on actual sales. But the data company used weighted samples of independent store sales because not all stores back then had the point-of-sale (POS) technology, nor the capability to transmit store reports. So, to compensate, stores were assigned weighting depending on how many other non-reporting stores were in their DMA, or designated market area. But over the years, that process became more difficult, and less scientific, as thousands of stores closed, sources say.
Using data from a confidential Luminate report shown to labels, Billboard estimates that last year, the data platform counted each album scanned by 140 indie retailers as 8.54 physical albums. Based on that extrapolation, Luminate reported that an average of close to 72,000 physical album copies — vinyl and CDs — sold each week, totaling 31.9 million copies sold in indie stores for the year.
Overall, in 2023, U.S. physical sales totaled nearly 87 million copies, of which 49.6 million was vinyl while 36.8 million was CDs. Of that total, indie stores, when they were still weighted, accounted for 36.7% of sales; non-traditional, which includes internet, mail order, Christian retailers and stores like Urban Outfitters, comprised 41.5% of physical sales; mass merchants like Target and Walmart, 16.5%; and chains like Barnes & Noble, 5%. As a result of the methodology change and boycott, Luminate reported a 40.2% drop in total physical sales (including vinyl and CDs at indie shops, chains and big-box stores) for the first eight weeks of 2024 compared with the same period in 2023 — from 13.6 million albums to 8.1 million. Within that, indie store sales fell 95.4%, from 5.71 million albums when weighted last year, to 262,000 copies.
Meanwhile, the aforementioned unweighted average weekly physical sales of nearly 72,000 averaged reported by indie retailers from January to November 2023 are now averaging 27,000 per week for the first eight weeks of 2024 because of the stores that have stopped reporting to Luminate.
As part of its plans to calculate actual sales instead of extrapolating them from a weighted sample, Luminate revealed in October that it had identified 570 indie accounts — with, industry sources say, the aid of labels, distributors and store coalitions — that it wanted to add as reporters. But as of Dec. 19, with the change in methodology looming, Luminate’s Music Connect website indicated that only six more indie sales reporters had been added, with the indie account total growing from 72 to 78. After the apparent boycott began, that fell to 36 reporters, and as of Feb. 22, to 33 indie store reporters.
Some of the retailers that have stopped reporting to Luminate are now sending their numbers to music data analysis platform StreetPulse, which is tabulating the Indie Retail Top 50 published by Hits Daily Double. Sources familiar with the chart say approximately 82 accounts operating about 185 indie stores are providing sales data, and another 50 stores are reporting online sales only.
Indie stores that have switched to StreetPulse claim it is more user-friendly because “Luminate expects the store reporters to do all the work to prepare the data for ingestion,” says one source familiar with the situation. “That takes time and [requires] a system able to make the reports. Luminate expects an indie store owner, who may be a one-man operation, to have the technical capabilities and manpower of a chain like Target.”
The source says the StreetPulse system “is cloud-based and has already integrated all the preeminent POS systems like Square for Retail Free, Shopify Clover and even some of the legacy systems like Lightspeed and Fieldstack, so it’s much easier to report.”
CIMS and ThinkIndie Distribution executive director Andrea Paschal says she supports the alternative chart because she felt her organization was “brushed aside” by Luminate.
As this conflict continues, it’s worth noting that vinyl sales keep growing. Even if indie store vinyl counts were eliminated for the first eight weeks of this year and last, Luminate’s Connect system indicates that year-to-date vinyl sales for the other nonweighted store sectors — chain, mass merchants, internet/mail order/venues and nontraditional retail — are still up nearly 7%. And the vinyl sales bonanza Record Store Day that was launched by independent record stores in 2007 is slated for April 20, less than six weeks away.
A version of this story originally appeared in the March 9, 2024, issue of Billboard.
Paramore has been named ambassador for Record Store Day 2024.
The trio of Hayley Williams, Taylor York and Zac Farro took to social media on Saturday (Feb. 10) to announce the exciting news and note that the group is now “freshly independent” and ready to “continue to have a long career in the music industry.”
“After a long career in the music industry we have decided to announce that… we are going to continue to have a long career in the music industry (sorry for any inconvenience),” Paramore wrote on Instagram. “Our first order of business as a freshly independent Paramore is to shine a light on independent record stores — a vital part of our journey from music obsessed school friends to professional music makers. With that being said, we are humbled to be your Ambassadors for Record Store Day 2024. The timing feels kismet.”
Earlier this year, Paramore game some fans a scare after unexpectedly pulling out of numerous live performances, wiping their website and social media accounts, and teasing their “next era.” As previously reported, the band’s 20-year contract with Atlantic Records expired in December 2023 with This Is Why, allowing the act to become a free agent.
The group added on Saturday, “The discovery of music was always meant to be romantic. Indie record shops are some of the only spaces we’ve got that offer a tangible, tactile experience of music discovery. In this world that feels more disconnected and hostile than ever, it feels important to remain in touch (literally) with what inspires us, empowers us, or simply brings us joy. Thankfully, for all our sakes, there still survives among the chaos, the purity and radical simplicity of a great record store.”
This year’s Record Store Day is scheduled for April 20. Past ambassadors have included Taylor Swift, St. Vincent, Metallica, Pearl Jam and Jack White, among others.
Paramore won their first two Grammys at this year’s ceremony on Feb. 4. The group took home best rock album and best alternative music performance for This Is Why and its title track, respectively.
“First off, infinite thanks to our fans, our team and the voting academy for making This Is Why such a moment for us, 20 years into our career. Our band won two Grammys last night, sitting together in Zac’s living room, dressed in our regular clothes (yes, we saw the empty red carpet meme),” the trio wrote on Instagram. “Turns out, our win for best rock album was a historic feat as we are the first female-fronted band to every take home a trophy for this category. Ridiculous yet true! It’s an honor for Paramore to be a small but constant reminder for people to keep pushing these rock and alternative spaces to be more inclusive.”
They added, “Some of you will know that This Is Why was our last album for our deal with Atlantic Records. To finish anything well is something to be proud of. Thank you to anyone who supported the ethos of Paramore as much as the music.”
Paramore released their sixth studio album, This Is Why, in February of last year, scoring their highest-charting album in nearly a decade with a No. 2 debut on the Billboard 200. The album was the band’s first since After Laughter was released in May 2017; it debuted and peaked at No. 6. The band’s last album to go higher was its self-titled 2013 release, which debuted at No. 1 on the April 27, 2013-dated list.
See Paramore’s Record Store Day 2024 announcement on Instagram below.
With 110 million buyers, sellers, collectors and lurkers roaming through Discogs every year, the 23-year-old online music marketplace’s forum threads are not exactly full of emotional support. In one of the notoriously messy threads, users complain about the May 2023 increase in selling fees from 8–9%. “What a rip off,” goes one post.
In another forum, someone advises a seller contending with a buyer demanding a full refund: “People here need to have more balls when dealing with dopes. Grow a pair.” And another user simply writes: “Discogs has gone downhill. It’s really sad. I have loved this site for so long. It feels like bots are running it. AI is just going to make it worse.”
How does Discogs turn these passionate, semi-anonymous user criticisms into upgrades? Very carefully, according to Lloyd Starr, chief operating officer since May 1: “We’ve got millions of people on the platform every month now. It’s a lot harder to find the signal in that noise.”
To improve communication between Discogs and its users, the company’s executive leadership plans to spend 2024 rolling out initiatives to solicit user suggestions and make broad changes. The Discogs community remains angry about the fee increase — which applies to shipping costs, too — and the way the company suggested the “easiest thing” for sellers to do would be to increase their prices. In a “we can do better” post last month, founder and CEO Kevin Lewandowski announced a soon-to-be-created Community Advisory Board, for users to “bring feedback and ideas to Discogs and influence how the platform evolves.”
The advisory board, Starr suggests, will be the centerpiece of Discogs’ changes. In roughly late March, Discogs will solicit applications from users and appoint representatives from the “selling, contributing and collecting” communities, as Starr calls them, by early summer. “It’s more of a dynamic conversation than a one-way post on a forum,” he says.
Lewandowski and Starr have already begun their Discogs feedback-solicitation tour. The pair traveled to New York City together in mid-January to meet with power users, including Craig Kallman, chairman and CEO of Atlantic Records, who gave them a tour of his two million LPs. Starr won’t reveal exactly what these users suggested, but he outlines a broad plan for Discogs to use surveys, polls and live contests at record-selling events. “We really want the community to feel listened to and give them advice,” he says.
In addition, Discogs will roll out “25 in ’25,” an attempt to boost the company’s online database from 17 million listed items to 25 million by its 25th anniversary in November 2025. (As of 2019, the latest year in which Discogs released sales numbers, users sold 14.6 million items on the platform, including 11.6 million vinyl LPs.)
To help achieve 25 million, the company recently hired Brent Greissle, a longtime user who has personally added 50,000 entries to Discogs’ database, as principal of discography affairs, to oversee the project. Starr also hopes to expand the database’s “richness and diversity in culture,” tapping into Brazil’s record-store community, for example, through trips to Sao Paulo, like one Lewandowski recently took to visit the world’s biggest LP collector, Zero Freitas, who by some accounts owns over six million records.
As for technological changes, Lewandowski spells out plans to improve the log-in and checkout systems and want lists. “I wrote most of the code originally back in 2000. It had a major rewrite in 2004. Some of our current software goes back that far,” he says. “This enables us to do things faster and give the community things they’ve been asking us for.” Starr elaborates that Discogs has been working for years to upgrade order management, user authentication and fraud mitigation to bring the site up to Amazon-style e-commerce standards — but it’ll take more time. “We’ve got a little technical debt to resolve here,” he says.
Several Discogs users say they’re skeptical of broad changes coming from executive leadership, which they say hasn’t listened to their concerns. Jonathan Highfield, a longtime seller near Liverpool, England, complains that Greissle, a liaison between Discogs management and user forums, is too overloaded to respond effectively about slow-loading pages or difficulty searching for releases by genre, style or label. “If they’re listening, great, but the channel is too narrow for enough information to pass through,” Highfield says. “It makes people not want to use the site.”
And like many sellers, Kurt Walling, a semi-retired optician in Streetsboro, Ohio, who has been offloading portions of his personal collection via Discogs for years, remains upset about last year’s increase in selling fees. Of the imminent changes Starr is describing, Walling says: “My inclination is to think it’s corporate stuff. I don’t think it’s sincere.”
By way of response, Starr says, the last time Discogs changed its fees was 10 years ago, and since then, the company has been “absorbing the rising cost of salaries, the rising cost of enterprise software.” Plus, competitors like Amazon and eBay take a sales percentage out of every order, and Discogs is “doing the same thing.” While Discogs could have communicated the new fees more effectively to users, according to Starr, “I don’t think removing fees makes sense.”
And for all the discontent found on the Discogs forums, one user is satisfied with his experience: Kallman, who continues to use its database to help track Atlantic’s vast catalog of releases. “Crucial, rare, out-of-print recordings that might otherwise be at risk of being forgotten in the digital era are all preserved,” he says. “The database is the most valuable asset of Discogs, and they give it away for free. It’s a constant, evolving, living, breathing organism that continues to fine-tune to maintain the completeness of the platform.”
In 2023, Taylor Swift loomed so large in the world of vinyl albums, that one of every 15 vinyl albums sold in the U.S. was by the superstar.
Comparatively, in 2022, she accounted for one of every 25 vinyl albums sold.
Swift was the year’s top-selling act on vinyl for a third straight year, with 3.484 million copies sold across her catalog of albums, according to data tracking firm Luminate. The industry’s total vinyl album sales for 2023, across all artists in the U.S., finished at 49.61 million – up 14.2% from 43.46 million in 2022. 2023 marked the 18th consecutive year vinyl album sales grew in the U.S., and the largest year for vinyl album sales since Luminate began tracking data in 1991.
In 2023, Swift’s vinyl sales accounted for 7% of the industry’s total vinyl album sales.
Read more about the year-end numbers in the U.S. 2023 Luminate Year-End Music Report.
Swift’s vinyl sales were so big in 2023 that she sold more than the next seven-biggest-selling acts on vinyl last year. Lana Del Rey was the year’s No. 2-seller on vinyl, with 646,000 copies sold, followed by Tyler, the Creator (552,000), Travis Scott (474,000), Olivia Rodrigo (408,000), Kendrick Lamar (382,000), Metallica (378,000) and The Beatles (373,000). (To round out the top 10-selling acts on vinyl last year, Fleetwood Mac was No. 9, with 357,000, and Mac Miller was No. 10 with 354,000.)
The top-selling vinyl album of 2023 was Swift’s 1989 (Taylor’s Version) with 1.014 million sold. That marks the largest yearly sales total for a vinyl album, and the first vinyl set to sell a million in a calendar year, since Luminate began tracking sales in 1991. The set also scored the largest sales week for a vinyl set since 1991 when it debuted with 693,000 copies sold in its first week.
Swift has five of the top 10-selling vinyl albums of 2023, and the entire top three. (See list, below.)
TOP 10-SELLING VINYL ALBUMS OF 2023 IN U.S.1. Taylor Swift, 1989 (Taylor’s Version) (1.014 million)2. Taylor Swift, Speak Now (Taylor’s Version) (510,000)3. Taylor Swift, Midnights (492,000)4. Travis Scott, Utopia (373,000)5. Taylor Swift, Folklore (308,000)6. Olivia Rodrigo, Guts (267,000)7. Taylor Swift, Lover (256,000)8. Lana Del Rey, Did You Know That There’s a Tunnel Under Ocean Blvd (215,000)9. Fleetwood Mac, Rumours (206,000)10. Lana Del Rey, Born To Die (192,000)Source: Luminate, for the tracking period Dec. 30, 2022, through Dec. 28, 2023.
Vinyl album sales comprised 47.1% of all album sales in the U.S. in 2023 (49.61 million of 105.32 million). Vinyl LPs accounted for 57% of all physical album sold last year (49.61 million of 87 million). Both sums are Luminate-era records for vinyl’s share of the album sales market in the U.S.
For the third consecutive year, and the third year since Luminate began tracking sales in 1991, vinyl albums outsold CD albums in the U.S. Vinyl once again is the leading configuration for album purchases for the third year in a row. (Vinyl was the top-selling album configuration in 2023, followed by CDs and then digital download albums.)
Vinyl was the dominant configuration for album purchases in the U.S. up until the early 1980s. After that, cassettes took hold until the early ‘90s, when the CD configuration blossomed and remained king until 2021, when vinyl retook the top slot.
Luminate began tracking music sales in 1991 when the company was known as SoundScan. Luminate’s sales, streaming and airplay data is used to compile Billboard’s weekly charts. Luminate’s 2023 tracking year ran from Dec. 30, 2022, through Dec. 28, 2023. Luminate is an independently operated company and a subsidiary of PME TopCo, a joint venture between Penske Media Corporation and Eldridge. Billboard is an independently operated company owned by PME Holdings, a subsidiary of PME TopCo.
LONDON — Paid-for streaming revenues grew to a record high of £1.86 billion ($2.4 billion) in the United Kingdom last year, helping drive a 9.6% rise in overall music spending, according to year-end figures from the Digital Entertainment and Retail Association (ERA).
In 2023, British music fans spent a total of £2.2 billion ($2.8 billion) on music purchases via subscriptions to music streaming services like Spotify and Apple Music, and vinyl and CD purchases. That’s more-or-less equal to 2001’s total, the historic peak of the CD era, when U.K. music sales stood at just over £2.2 billion, reports ERA. When compared to 2019, the last full year pre-pandemic, music sales have climbed by almost 39% in the space of four years.
Driving the growth was a 9.8% year-on-year rise in subscription streaming revenues, while spending on physical formats was up 10.9% to £311 million ($395 million) the London-based organization says in its preliminary annual figures published on Tuesday (Jan. 9).
Breaking down physical music revenues, vinyl album sales grew 18% to £177 million with Taylor Swift’s 1989 (Taylor’s Version), The Rolling Stones’ Hackney Diamonds and Lana Del Rey’s Did You Know There’s A Tunnel Under Ocean Blvd among the year’s best-selling titles.
Despite CD sales falling 7% year-on-year in volume terms to 10.8 million units, revenue from the long-written-off format actually rose 2% in 2023 to £126 million ($160 million), marking the first increase in CD revenue in two decades.
ERA says the growth can be attributed to the format’s continued popularity among dedicated music fans, keen to buy their favorite artists in multiple and deluxe formats, as well as a rise in the number of Gen Z and Millennials buying CDs.
This Life by British pop group Take That was 2023’s top CD album in the U.K. with just over 127,000 units sold. Swift’s 1989 (Taylor’s Version) was the year’s second most popular CD release.
Streaming now makes up more than 88% of all music sales in the U.K., compared to 64% five years ago, with physical formats accounting for 9.4% of today’s market, according to labels trade body BPI, which released its year-end listening figures last week.
BPI reports that more than 179 billion music tracks were streamed in the U.K. in 2023, up 12.8% on the previous year’s total, with the equivalent of 182.8 million albums streamed or purchased in 2023 across digital and physical formats, up 10% on the previous 12 months.
In a statement, ERA CEO Kim Bayley said the year-end figures represented a “red letter day” for the U.K. music industry with the rise in revenues “a testament not just to the creativity of artists, but to the entrepreneurial drive of digital services and retailers.”
Although both ERA and BPI use Official Charts Company sales data as the basis for their reporting, the two organizations take different approaches to measuring the health of the recorded music business. ERA’s figures are based on retail spending in the U.K., whereas BPI’s measure music consumption levels. (ERA’s subscription streaming numbers are estimates based on information provided by digital services and label trade income reported to BPI). BPI and ERA are both due to publish their full annual reports later in the year.
Overall, revenues across the U.K. entertainment market – comprising of music, video and games retail sales – were up 7% on 2022’s total to a record high of £11.9 billion ($15.1 billion), marking the eleventh successive year of growth. Streaming and digital services accounted for almost 92% of entertainment revenue, reports ERA.
Of the three sectors, recorded music sales are in third place, trailing both games and video (comprising of video-on-demand subscription services such as Netflix and DVD sales), which totaled £4.7 billion ($6 billion) and £4.9 billion ($6.2 billion) respectively.
The U.K. is the world’s third biggest recorded music market behind the U.S. and Japan with sales of just under $1.7 billion in trade value, according to IFPI’s 2023 Global Music Report.
Luminate — which provides data to the Billboard charts — is proceeding with a previously announced plan to retire its weighted data modeling used to measure physical sales in the independent retail sector, according to a note sent Wednesday (Dec. 13) to industry partners and indie retailers.
The change will take effect Dec. 29, the first day of Luminate’s 2024 calendar; and will apply to both the U.S. and Canadian markets, which are measured separately within the Luminate system.
For over 30 years, Luminate and its predecessor companies have relied on sampling of independent stores to extrapolate sales of CDs, vinyl and cassettes for the entire U.S. marketplace.
According to the note to the industry on eliminating weighting, “the goal of this change is for us to present the most accurate data possible to the industry, which is always our primary goal.”
Luminate said that after discussions with all facets of the industry, including retailers, labels, distributors and industry bodies, it decided to proceed with its planned new way of counting indie store sector sales because there was “a consensus that the current weighted modeling should be retired.”
That “consensus” apparently is a new development because Billboard’s reporting over the last six weeks has so far found widespread industry resistance to Luminate’s planned changes for the indie sector.
Going forward, as of Jan. 29, Luminate will count only actual sales from indie stores without extrapolating to measure sales in the entire U.S. market. As of Nov. 15, Luminate stated that it already has 93% coverage of the total U.S. physical market; and was receiving data from 95% of U.S. independent retail stores that reach over 1,000 sales per week.
Luminate’s note says it will work with the entire music industry to find solutions that make the most sense collectively for all parties. Consequently, it said there is agreement that the industry should work to increase the number of retailers reporting sales to Luminate. The company says stores not already reporting its sales can learn more at luminatedata.com or email music.merchantservices@luminatedata.com.
Luminate said it would work with retailers and their point-of-sales systems to streamline the reporting processes; and will assign resources to liaise with indie stores to address questions and provide feedback.
Moreover, Luminate says it will share free weekly physical sales data to all indie reporting stores in the U.S. and Canada that will reflect the best-selling titles for only the indie store sector.
The Luminate note concluded that the data company is confident that its change to actual sales without weighting “is the best way for the industry to access the highest-quality data.”
Note: Luminate is an independently operated company owned by PME TopCo, a PMC subsidiary and joint venture between Penske Media Corporation and Eldridge. Billboard is an independently operated company owned by PME Holdings, a subsidiary of PME TopCo.
Ron and Angie Roloff, owners of Madison, Wis.-based record store Strictly Discs, have sold the business after 35 years.
Stepping in as the store’s new president/owner is Rick Stoner, who takes over following an 18-year marketing agency career. The Roloffs will continue in their day-to-day roles through the end of 2023 before assuming an advisory relationship with Strictly Discs starting next year as they transition into retirement.
“Angie and I are grateful to our staff and customers, who we’ve had the privilege to work with for 35 years,” said Ron in a statement.
Stoner has served in several vp-level leadership, business development and digital and event marketing roles at prominent consumer brands. He’s a 2006 University of Wisconsin-Madison graduate and a board member at Communications Arts Partners (CAPs), an alumni organization that supports the university’s communications arts department.
“I’ve been a Strictly Discs customer since I was a student here in Madison,” said Stoner in a statement. “I view the store as everything right about the culture of the Madison community and look forward to maintaining that presence. Entrepreneurship has long been a destination for me and my family. Owning Strictly Discs is a dream come true. I can’t wait to meet our dedicated and loyal customers and get to work with our team to grow the business.”
The acquisition includes nearly half a million records, carefully curated over close to four decades. The business will maintain an e-commerce presence, which Stoner views as a key area for growth initiatives such as a subscription-based record club as well as pop-up, event-based record stores.
In June 2024, Strictly Discs is slated to open a second retail location in nearby Cambridge, Wis. in a space that hosts the majority of the store’s inventory.
Several Strictly Discs employees will remain with the business following the transition. They include 14-year employee Evan Woodward, who leads the buying team and works the front counter, as well as assistant manager Mark Chaney. Joining the team are Dru Korab, a record collector, DJ, media production professional and Stoner’s college classmate who will step into a part-time operations role in addition to his minority investment in the business. Also holding a minority investment is Stoner’s friend Kyle Nakatsuji, founder/CEO of Clearcover, principal at American Family Ventures and a graduate of the University of Wisconsin-Madison Law School.
Opened in 1988, Strictly Discs was a subject of Billboard’s “In a Pandemic” series from 2020-2021. During this time, Angie discussed the challenges she and Ron faced and the creative solutions they employed at the store during the height of the COVID-19 pandemic.
Angie tells Billboard that an evaluation of Strictly Discs’ worth, performed during the pandemic, “planted the seed” that ultimately led her and Ron to sell the business. After listing it in early May, they were approached by Stoner in June; a letter of intent was signed in July. The deal finally closed on Oct. 31.
Starting next year, Ron will continue on with the store in an outside buying capacity, while Angie will serve as the “boots on the ground” for the Milwaukee-based Stoner when he’s not in Madison, she says. “We’re invested in his success because we’ve lent him money as part of this process,” Angie continues. “So we’re definitely not leaving and we’ll be available to him really in any capacity that he needs us for.”
Angie says Stoner brought a good mixture of knowing what made the business work while proposing solid ideas about where it could grow: “He already understood that the things that have made Strictly Discs successful are the people and the product and certainly the experience. I think he respects all of that, and he knows that there are areas that he wants to grow the business but he doesn’t want to fundamentally change what we’ve already done.”
At the heart of Strictly Discs’ more than three-decade run is a love story: Angie and Ron met at Strictly Discs in 1994, when Angie was a customer and Ron was working the front counter. In the years since, says Angie, the store has become their baby.
“We don’t have kids and so it’s kind of like Strictly Discs takes that place,” Angie says, adding that with both she and Ron being “super high-strung type A personalities,” even while on vacation, they would end up talking about the store. “That’s the part of it that I’m looking forward to having go away,” she says.
Greatest hits albums were once a key facet of the record business — a way for labels to repackage existing copyrights, for artists to make a statement about a body of commercial success and for consumers to get all their favorite hits by an artist in one collection.
The development of streaming hobbled that format. If a fan can create a playlist of all their favorite songs, why would they need to buy an album of those hits?
Best-of albums, though, are quietly hitting back — especially in the country format. MCA Nashville released Josh Turner’s Greatest Hits on Sept. 8, and Valory has Thomas Rhett’s 20 Number Ones scheduled for Sept. 29. Encore Music Group likewise issued Ricochet’s Then & Now on Aug. 18, with rerecordings of its four top 20 singles from the 1990s among the package’s 16 tracks.
“It’s kind of a milestone moment for me,” Turner says.
Indeed, in the old-school music business, hits albums carried a certain status. In their original, purest form, they signified that an artist had accrued enough successful individual titles that they could fill both sides of a vinyl release with familiar music. They sometimes expanded a fan base, too, as consumers who hadn’t necessarily kept tabs on a specific act suddenly recognized their accomplishments more fully.
“The greatest-hits aggregate, whether it’s physical or even just a digital collection, is kind of a marketing banner for the body of work,” says Fisher Entertainment Consulting founder Pete Fisher.
If the hits package has a throwback vibe, that’s appropriate since nostalgic vinyl is the format that’s most likely driving its return. Fans who want to hear the hits from the turntable at home can’t mix and match the songs for a 12-inch disc as they could on Spotify. The disc needs to be manufactured in a fixed order, and the best-of package offers real value.
“We’ve been selling a lot of vinyl on the road at my shows, so that’s a good sign to show that people really want the physical product,” Turner says. “Everybody’s familiar with the digital stuff now. Sometimes it’s kind of cool to just unplug and go to the record.”
There’s an irony to the development. Producers have been known to add programmed needle scratches to digital music to give it a ’60s or ’70s atmosphere. Avoiding those pops and crackles were one of the supposed benefits of shifting to CDs. The digital disc’s rise pretty much ended a 30-year reign for 12-inch pressings around the early 1990s. Now the sonic imperfections add a new dimension to several generations of music.
“Vinyls are making a comeback, and [they’re] making a comeback among the younger generation,” says Ricochet founder Heath Wright. “It’s the thing now.”
That shift is opening up new possibilities for most of the music from the last three decades as it appears on a warmer, less brittle configuration.
“It’ll be the first time I’ve heard Ricochet music on vinyl,” Wright says, anticipating the release of the band’s material on black and yellow plastic.
Plenty of recent hits projects marked the first time the songs were available in the format. Among the best-of collections unveiled in the last two years are Heads Carolina, Tails California: The Best of Jo Dee Messina, Luke Bryan’s #1’s Vol. 1 and Vol. 2 and a Justin Moore Greatest Hits originally offered in translucent red vinyl at Walmart. Much of Dolly Parton’s Diamonds & Rhinestones: The Greatest Hits Collection — including “Jolene,” “9 to 5” and “Coat of Many Colors” — was initially issued on vinyl back in the day.
But vinyl isn’t the only point. Digital service providers have created their own playlists dedicated to specific artists. However, that same act may prefer a different set of songs as a career overview, and the makeup of those titles on a hits compilation aren’t subject to revisions by DSP managers.
“It’s a nice way to roll up an era and curate the hits from a label-centric perspective for all time,” 615 Leverage + Strategy partner John Zarling says. “Apple constantly updates their Essentials playlists and prominently features those for every artist of note. But if you think about 10, 20 years removed, are those playlists going to properly document a specific era for an artist?”
Hits projects also give the act’s team a chance to elevate a song that was overlooked publicly. “Desperado,” for example, was never a charting single for The Eagles or Linda Ronstadt, but it rose in significance after being featured on both acts’ best-of compilations.
“Think about the songs that might have been important,” says Zarling, “but were never big chart successes, that because they were placed on greatest-hits records, it became a part of that artist’s repertoire.”
Plenty of artists who would have qualified for best-of albums in a previous era have never issued one during the last 20 years. That includes Brad Paisley, Cole Swindell, Taylor Swift, Chris Stapleton and Miranda Lambert. As the hits album hits back, a template has been established that makes a best-of compilation a good bet again.
In addition to making a statement about the act, it’s also a good way to enhance the experience with fans. Turner and Rhett are both offering special packages that combine hits albums with other merchandise. Rhett’s 20 Number Ones can be purchased in two different collectible versions, including one with an autographed box set with a booklet for $125. Turner’s Greatest Hits is available in several configurations, including signed copies and/or Turner-branded clothing for up to $185.
“That’s a trend that’s not going to go away,” Fisher suggests. “The entertainment industry as a whole is just continuing to try and find very high-touch experiences and high-quality products for that premium consumer. There’s profit opportunities with the superfan, and I don’t think they’re disappointed to pay that way. It’s a way they vote in support of their favorite artists.”
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