DECEMBER 2017 | THEMUSICNETWORK.COM … ‘Chameleon’ finishing ... January and February. 2018 is going to be BIG for her. ... who has been on the cusp of full-blown pop fame for

DECEMBER 2017 | THEMUSICNETWORK.COM AUSTRALIAN MUSIC INDUSTRY YEARLY

REPORT

Expectations for commerical radio in Australia were high, but 2017 delivered. Last

year’s Sia/Flume heroics on the Hot 100 was never going to be an easy act to follow. However, 13 unique #1 singles, a three-way tie for most weeks spent at #1, and two record-breaking chart debuts later, the highlights and headlines are countless. Despite Taylor Swift’s dramatic reappearing act and Luis Fonsi’s Latin takeover, there is no denying the anomalous last 12 months in the life of Ed Sheeran.

It was certainly a year to remember for the English hitmaker. The simultaneous

release of ‘Castle On The Hill’ and ‘Shape Of You’

in January proved to us that radio is

willing to put all their eggs in

one basket for two well-

deserving songs. In this case, the calibre of both singles simply could

not be ignored, installing both tracks in the Top 3 on the yearly chart.

‘Something Just Like This', the collaborative banger between The Chainsmokers and Coldplay, accumulated 3067 total chart points after debuting at #13 in March, making it TMN’s top radio single of 2017. The track spent seven weeks in pole position, 11 weeks in the Top 3, and has remained an immovable force in the chart ever since.

2017 had more Top 10 debuts than any other term in the chart’s 21-year history. Harry Styles smashed the Hot 100 debut record in April with ‘Sign Of The Times’, only to have it plucked away from him three weeks later by none other than Taylor Swift’s ‘Look What You Made Me Do’. Other Top 10 debut singles consisted of Katy Perry’s ‘Chained To The Rhythm’ (#8), Lorde’s ‘Green Light’ (#9) and P!NK’s ‘What About Us’ (#9), raising the overall tally to five for the year.

The twists and turns didn’t stop there. Commercial radio and country music never saw eye-to-eye in Australia prior to 2017. It took two exceptional

alternative artists Amy Shark and Vance Joy.

Speaking of Aussies, 2017 didn’t quite match-up to last year’s unprecedented flurry of local airplay. With no fresh commercial singles from either Sia or Flume - both of which claimed #1 and #2 on last year’s yearly chart - the highest charting Australian act for 2017 is PNAU with commercial breakthrough single ‘Chameleon’ finishing up at #25.

songs from country crossover stars Sam Hunt and Morgan Evans to change all of that. Country’s profile in Australia is now stronger than ever before with both ‘Body Like A Back Road’ and ‘Kiss Somebody’ featuring on the yearly Hot 100 chart after peaking at #5 and #30 respectively.

New arrivals to the commercial arena Post Malone, Rag‘n’Bone Man and independent act Lauv also had their time in the sun this year. And who can forget the One Direction boys? Seasoned artists in their own right, 2017 was the year Harry, Niall, ZAYN, Liam and Louis grew out of their boy band personas and developed into unique, radio-made solo artists. Collectively, they spent seven weeks at #1 shared between Payne’s ‘Strip That Down ft. Quavo and Horan’s ‘Slow Hands’.

Shawn Mendes’ ‘There’s Nothing Holdin’ Me Back’ places at #5 and was the top performer across most state and territory charts. Once again, Tasmania is a decided outlier across radio; its penchant for genres outside of standard pop radio quotas notably benefited Australian

Morgan Bain

Paul HarrisSony Music A&R Executive

“He’s a 22-year-old singer-songwriter from Perth, who was introduced to me by Drapht. I think he’s got one of the most incredible voices in the country at the moment, and his songwriting is heart-wrenching.”

18 ARTISTS TO WATCH IN 2018

Muki

Craig HawkerHead of A&R / Creative at Sony/ATV

“Super talented pop artist and songwriter who is fast becoming an in-demand collaborator, having recently worked with Japanese Wallpaper, Tigerilla, Paces, DNA, and Styalz Fuego. Look out for her debut EP next year and all its Day-Glo brilliance.”

Billie Ellish

Michael ChuggExecutive Chairman at Chugg Entertainment

“She’s only 16, but she performs like she’s been doing it forever. Massive triple j airplay and sold-out Australian dates earlier this year. She’s back for Laneway and sideshows in January and February. 2018 is going to be BIG for her.”

Some of the industry’s big names handpick the singers and songwriters they think will make it big in 2018

Morgan Bain


“He’s a 22-year-old singer-songwriter from Perth, who was introduced to me by Drapht. I think he’s got one of the most incredible voices in the country at the moment, and his songwriting is heart-wrenching.”

18 ARTISTS TO WATCH IN 2018

Muki

Craig HawkerHead of A&R / Creative at Sony/ATV

“Super talented pop artist and songwriter who is fast becoming an in-demand collaborator, having recently worked with Japanese Wallpaper, Tigerilla, Paces, DNA, and Styalz Fuego. Look out for her debut EP next year and all its Day-Glo brilliance.”

Billie Ellish


“She’s only 16, but she performs like she’s been doing it forever. Massive triple j airplay and sold-out Australian dates earlier this year. She’s back for Laneway and sideshows in January and February. 2018 is going to be BIG for her.”

Some of the industry’s big names handpick the singers and songwriters they think will make it big in 2018

“One of the best singer-songwriters I’ve ever come across, this young New Zealander is going to take the world by storm in 2018. I’m a sucker for a great melody and lyric, and every single song she writes is perfection. We listen to her every day in the office and the only thing that frustrates us is that nobody else can enjoy these songs yet! One to watch for sure.”

Alexander Biggs

Matt TannerHead of Creative Services at Native Tongue

“His signature evocative and ethereal songwriting is seeping into consciousness with radio spins around the world. New music in the early new year will see him touring locally and abroad throughout 2018.”

Robinson

Lucy Rose

WinterbourneArwen CursonVP Creative at Universal Music Publishing


Michael TaylorManaging Director at UMA

“Lucy has been around for a little while, but is one of those artists that just keeps getting better and better. She’s sublime, I think it will be really interesting to watch her progression in 2018.”

Bebe Rexha

Brad McNicolMusic Director at KIIS Sydney and Melbourne

“She’s an excellent songwriter with an incredibly infectious voice, who has been on the cusp of full-blown pop fame for a couple of years. Her collaboration with Florida Georgia Line on ‘Meant To Be’ looks to be the springboard to greater solo success in 2018.”

“The Central Coast duo are currently recording their debut album with producer Andy Mak (Vera Blue) at a studio in Byron Bay owned by Grammy producer/mixer Nick Didia and Bernard Fanning. Donnie Borzestowski (Gang Of Youths drummer) plays drums and percussion across the full album. It’s next level and going to knock a lot of socks off!”

Tank and theBangas


“These guys are a collective from New Orleans, and are one of the most high-energy hip-hop/soul acts around. They’ve won a bunch of awards, their live show is off the chain and they’re going to be out here in March.”

Fossa Beats

Julia Michaels

Kita Alexander, E^ST and Jordie Ireland

Ruel


Nova Network’s Kent ‘Smallzy’ Small


Dynamic local trio of

Arwen CursonVP Creative at Universal Music Publishing

“This young Melbourne producer already has runs on the board with spins in BBC1 and Beats 1, a release on Mad Decent, and recent collabs with Atlanta’s FKi 1st, Tigerilla and Nicole Millar. Expect some big production credits in 2018.”

“Her song 'Issues' was big this year.. 2018 will be the year she becomes a household name. Having written some of the biggest pop bangers of the last two years, 2018 will be the year she sets herself up!”

“Locally it’s exciting to see emerging artists like these starting to break through. All three have come through with the musical goods right at the back-end of this year, so 2018 is shaping up to be a strong one for this young Aussie trio.”

“I am so excited about this young man. At just 15, Ruel has the potential to be one of Australia’s biggest exports. We’ve been working with him for a while now so it’s been a thrill to see the reaction since his debut single, ‘Don’t Tell Me’ was unleashed on the world. The track has already been picked up by Apple and Beats By Dre for a global ad campaign, and there is so much more to come. 2018 is going to be massive for Ruel!”

Tank and theBangas


“These guys are a collective from New Orleans, and are one of the most high-energy hip-hop/soul acts around. They’ve won a bunch of awards, their live show is off the chain and they’re going to be out here in March.”

Fossa Beats

Julia Michaels

Kita Alexander, E^ST and Jordie Ireland

Ruel


Nova Network’s Kent ‘Smallzy’ Small


Dynamic local trio of


“This young Melbourne producer already has runs on the board with spins in BBC1 and Beats 1, a release on Mad Decent, and recent collabs with Atlanta’s FKi 1st, Tigerilla and Nicole Millar. Expect some big production credits in 2018.”

“Her song 'Issues' was big this year.. 2018 will be the year she becomes a household name. Having written some of the biggest pop bangers of the last two years, 2018 will be the year she sets herself up!”

“Locally it’s exciting to see emerging artists like these starting to break through. All three have come through with the musical goods right at the back-end of this year, so 2018 is shaping up to be a strong one for this young Aussie trio.”

“I am so excited about this young man. At just 15, Ruel has the potential to be one of Australia’s biggest exports. We’ve been working with him for a while now so it’s been a thrill to see the reaction since his debut single, ‘Don’t Tell Me’ was unleashed on the world. The track has already been picked up by Apple and Beats By Dre for a global ad campaign, and there is so much more to come. 2018 is going to be massive for Ruel!”

Eliott

Michael Taylor Managing Director at UMA

“This 21-year-old young woman from country Victoria is leaving everyone stunned by her raw lyrics and haunting melody. Jack Grace is producing, adding the electronic elements driving the beats and sonics. This one is going to be a special one!”

Lime Cordiale


“A Chugg Music artist, their debut album Permanent Vacation debuted at #1 on the AIR 100% Indie Album charts, they sold out shows in Brisbane, Sydney and Melbourne on their recent national tour, and Spotify listeners are currently 100,000 per month (double that of three months ago!)”

Odette

Haiku Hands

Superorganism




“Odette recently hit the ground running with her debut single, ‘Watch Me Read You.’ The album (due 2018) is exquisite, her voice is inimitable and every performance is flawless. She gives me goosebumps every time she performs.”

“They’re like Beastie Boys meets The Spice Girls. Brilliant, attitude laden, feisty girl-pop. They played the most fun live shows I saw in 2017.”

“London-based and made up of with members from Australia, New Zealand, the UK and Japan, they are going to be huge 2018. Try and get their track ‘Something For Your M.I.N.D.’ out of your head.”

A fter last year’s much-trumpeted confirmation that the global recorded music industry had indeed

made a financial turn-around, 2017 displayed a confidence and vitality from the sector.

Label executives started to take risks, base salaries at top jobs began to drift north of $1 million, and R&D remained higher than most other sectors.

This was the year where the recorded music industry begun to set up for a golden period, with the return after two decades of financial investors and a trickle-down of revenue to all levels of the ecosystem.

Everyone is watching to see how the Spotify IPO goes in early 2018. If it works, there’ll be a goldrush. If it doesn’t, well… it will definitely be shaping the market either way.

What also underscored through 2017 is that the rising Millennial generation – native to technology, used only to 24/7 clicks and bemusedly impervious to legal and moral arguments about the correct use of music – has re-shaped how music is created, marketed, and distributed.

It’s not a bad thing, of course.

In the first six months, the Recording Industry Association of America (RIAA) estimated retail revenue was US$4 billion, up over 17% from the same period in 2016.

Revenue from streaming accounted for 62% of that, while that from digital radio services such as Pandora rose 21% to $493 million.

The good news for the RIAA was that paid subscriptions showed the most dramatic growth - from $474,000 in the first half of 2015 to $1.7 million so far this financial year, an uptick of 258% in just two years.

In September, the IFPI’s Connecting With Music report revealed that 45% of global fans are listening through a licensed audio service (up from 37% in 2016).

Younger people are more engaged with music than ever before, with 85% of the 13-15 age group uses a streaming service - proving that music streaming could soon turn into a cradle-to-grave business.This is because Millennials are being offered the musical world on a platter: a choice of 400 million tracks at their fingertips, and the streaming services such as Spotify and Apple Music elbowing each other out of the way to give listeners services and features that •

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DON’T STREAM IT’S OVER

2017: The year that the music biz addressed what

Millennials wantedBY CHRISTIE ELIEZER

a solution to them could go a long way to solving the problem and unlocking revenue streams.

An answer to the latter could lie in the gaming industry.

For instance, the power of gaming personalities generates direct subscriptions, huge sponsorship dollars, brand partnerships (which provide exclusive offers for the personality’s followers) and fan donations - all innovative business models which quite happily use the gamer’s obsession to relieve her or him of their money.

Donors have their names read out online and get VIP treatment from personalities, whether engaging them in conversation, giving them advice, or playing a song - all of which gives them bragging rights with other gamers.

Gamers can buy new items within the platform, such as clothes for the characters or alternate soundtracks (both of which made League of Legends $1 billion a year). Video games also offer virtual vanity goods which can be unlocked by special achievement or payment, limited edition items which have to be won, daily quests which bring fans back time and time again, and season passes which provide additional content after the game has already been released.

In the same vein, virtual albums and interactive videos are fast becoming commonplace, led by some particularly inventive and exhilarating work from Childish Gambino and Bjork.

In terms of a similar free-form gaming release used in music, Kanye West’s The Life of Pablo continued to attract amendments long after it was released. When he cut out the Sia verse on ‘Wolves’, fans took to social media to protest – and he put it back in.

confirm how the younger consumers see themselves – VIPs and trend setters.

This activity also highlights the two major battles the music industry faces in 2018 – the value gap and copyright infringement. And the first is something that Millennials don’t care about, although they are part of the problem.

Figures show that 85% of YouTube visitors use the site for music each month (which translates to an estimated 1.3 billion views), and 76% of visitors use it for music already known to them.

According to the IFPI, upload to video services accounts for the majority of on-demand service time, yet they “do not return fair value to the music community”.

Which is even more concerning, given YouTube alone accounts for 46% of all time spent listening to on-demand music.

As for copyright infringement, 40% of consumers admit they access unlicensed music.

Stream ripping is the main culprit, accounting for 35% of this figure (and rising as high as 53% in the 16-24 demographic).

Analysts say that the most effective way to address this is to understand why Millennials do infringe copyright. And studies keep coming back to the same reasons and excuses - it’s too costly, they don’t like to pay, they can’t access content in their region, complex payment systems, and they only want to use the music once.

Each of these will obviously have a strong and valid counter-argument from the music industry, but understanding the reasons and finding

Millennials have disrupted the live music experience, but for the greater good.

As TMN reported last month, major stadiums in America are spending millions of dollars changing their designs to cater for this totally different mindset.

Promoters have to work around the fact that Millennial music fans are buying their gig tickets at the last minute and often from secondary ticketing sources.

Gametime, a US-based start up secondary ticketing service with a large Millennial base (up to 75%), reported that more than half of their customers buy event tickets the week before and event, and 30% make a purchase on the same day.

This is a trend that will grow in Australia as more state governments, led by NSW and Victoria, bring in laws forbidding resales at over 10% of the original price.

The smarter Australian promoters and venues have already responded, increasing their advertising spend and offering more incentives for Early Bird tickets.

They’ve also worked out that tapping into the Millennials’ individualistic mindset – “I’m a VIP!

I’m a trendsetter! I’m a star!” – by giving special and personalised privileges to those who spend the most, works out effectively.

More VIP moments and personalised service, and greater interaction with promoters on social media sees us saying goodbye the socialist we-are-all-equal dream at festivals, hello to Animal Farm!

On a simple level, Australian festivals are increasingly catering to younger attendees wanting to play a greater role in an event by allowing fans to curate at least one stage at their events.

More and more organisers are asking fans what kind of non-music experiences they want, whether it be a Bondi beach bar set up in the middle of an outback event, wider food offerings or more artist activations.

Technology has moved live events beyond fan-friendly apps, RFID bracelets and standing next to the performer onstage to virtual reality, augmented reality and holograms. Storytelling is not just through the music but tapping into other mediums and sensory loads.

These are expensive, but this is where corporate sponsors will be happy to help out, thanks to the days where a sponsor just bangs •

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2017: The year that the music biz addressed what

Millennials wantedBY CHRISTIE ELIEZER

that “democratises” the live music experience?

Fans no longer have to be at the disadvantage of not being in the “right” city where major acts play all the time, or losing out to bots when getting tickets or having the right amount of disposable income at the right time to score a ticket.

Those waving the flag for concert streaming also offer incentives to those who stream from home, like “going backstage” with the act before the show, or viewing the crowd from the stage.

The other concern is for the venues themselves. In Australia, thankfully some positive initiatives were on the move through 2017 to protect venues.

Following on from Melbourne’s lead, cities such as Sydney and Perth are now looking at the possibility of introducing the Agent of Change guidelines against hungry property developers and serial noise complainants.

An increasing amount of cities are starting to see live music’s future as part of an overall picture that includes economics, housing, tourism, transport, education and brand image - and it’s a shift that could become commonplace.

Live music venues are banding together to look at long-term sustainability, rather than living month-to-month in a sector that is evolving faster than ever before.

The dilemma venues face is the near future is resisting plans where cashed-up donors can buy a venue simply to ensure that it can continue to showcase music, and instead have them run by the people who know what their audiences want.

on a logo being long gone.

In Australia we saw the first examples of brands sponsoring festivals and concerts having a greater relationship with the artists, especially the ones who represent what they say.

We will continue to see a drift away from sponsoring large across-the-board events with mainstream audiences, to something more niche and with an amplified community feeling. This is already commonplace in the United States where live music sponsorship spend is $1.4 billion a year.

Early surveys of Millennials found that they are attracted to brands which support causes. Andin 2017, nothing was more obvious that festivals and concerts creating that greater sense of community, and for which social and political causes bind them even more.

We can also expect to see some great art emerging in the next four or five years.

While there is also the argument that streaming only encourages frothy music for minds with short attention spans (and that’s what music will be over the next few years), let’s keep that for another conversation altogether.

As the Australian “festival season” becomes a 12-month affair and more niche entrants enter the market, festivals will have to work harder to draw new audiences. The opportunity is huge.

The elephant in the room is how threats to public safety at events in Manchester and Las Vegas this year will lead to heightened security at arenas and clubs in the long run. Will it accelerate the moves to increase concert streaming, an initiative that has been tagged as something

HOT 100 MARKET SHARE

Universal Music Australia As the world's biggest record company, Universal leads the industry for radio airplay share in Australia, scoring just under 40% of the market. Highlights of the year include Shawn Mendes’ ‘There’s Nothing Holdin’ Me Back’ and Lorde’s ‘Green Light’, both of which fall inside the Top 10. Lady Gaga proved to be quite the sleeper in 2017. Despite ‘The Cure’ never entering the Top 10 on the Hot 100, radio faithfully carried the song throughout the year, keeping it in the chart for 34 weeks straight. The distribution power of UMA is also a big factor that came into play. For example, Liam Payne and Niall Horan's smash singles ‘Strip That Down’ and ‘Slow Hands’ are both distributed through the Universal-owned EMI, as is etcetc’s Jax Jones and PNAU. The Hot 40 market share tells an even clearer story. Nearly half of the market has rights ownership or distribution ties to UMA (45%).

HOT 100

39.73%

HOT 40

44.63%

Warner Music Australia It would be wrong to say that Ed Sheeran single-handedly carried Warner through the year. While the main storyline undoubtedly remains with Sheeran, names such as Bruno Mars, Rita Ora, Charlie Puth, Clean Bandit and Kaleo all chipped in to achieve one of WMA’s strongest yearly results yet. The label really upped its game at commercial, garnering a staggering 12% increase on the Hot 40 market share from 2016. WMA holds 60% of the Top 5 courtesy of Sheeran’s ‘Castle On The Hill’ and ‘Shape Of You’, as well as Bruno’s Mars’ ‘That’s What I Like’. Kaleo’s hugely successful rock hit ‘Way Down We Go’ also deserves a special mention, claiming #11 on the year-end chart.

HOT 100

23.18%

HOT 40

30.24%

Sony Music Entertainment It was a bittersweet year for Sony at radio. On one hand, SME claims the #1 single of 2017 with The Chainsmokers & Coldplay’s ‘Something Just Like This’. However, you have to cast your eye beyond the Top 10 to find the label’s next entry - another single courtesy of The Chainsmokers (‘Paris’) at #15. Sony occupy 32% of the Hot 100 and a far less impressive 19% of the Hot 40. The reason for this discrepancy lies in the release schedule. A good portion of Sony’s strongest releases of the year were picked up by radio in the second half of 2017 - Camila Cabello’s ‘Havana’ ft. Young Thug, ZAYN’s ‘Dusk Till Dawn’ ft. Sia, Khalid’s ‘Young, Dumb & Broke’, and a pair of commanding singles from P!NK.

HOT 100

31.82%

HOT 40

19.15%

EMI With a far smaller scope of artists than the big-three majors, EMI take the wins of 2017 with one eye on 2018 as their roster continues to flourish. The Universal-owned label captured 10% of the Hot 40 and just under 9% of the Hot 100, seeing a small gain on the Hot 40 of less than 1%. EMI reaped the rewards of adding One Direction artists Liam Payne and Niall Horan to its ranks in 2017. The label bagged a Top 10 single (Horan’s ‘Slow Hands’) and another entry in the Top 20 (Payne’s ‘Strip That Down’). With EMI heavyweights Katy Perry and Flume (through Future Classic) failing to make a significant impact this year, Jonas Blue’s ‘Mama’ ft. William Singe and Jon Bellion’s ‘All Time Low’ admirably picked up the slack.

HOT 100

8.65%

HOT 40

10.24%

Andy Grammer was by the far the strongest artist across the independent labels in 2017. The Mushroom signing was a force to be reckoned with at the start of 2017, peaking at #3 in February and staying in the chart for the entire duration of the year. That helped Mushroom to a 4% cut of the Hot 40. Inertia relied solely on last year’s releases from Adele to achieve 2% share of the Hot 100. Both ‘Water Under The Bridge’ and ‘Send My Love (To Your New Lover)’ made the year-end chart at #26 and #92 respectively, while the tracks received an extra boost thanks to her Australian tour in March. The label will have to come to terms with the departure of prized artist Sia to Atlantic/Warner in August - a loss that will take some time to recoup.

HOT 100

1.66%

HOT 40

1.83%

Independents

HOT 100

2.97%

HOT 40

4.15%

HOT 100 AUSTRALIAN

HOT 100 ALTERNATIVE

1 ChameleonPNAU | ETC/UMA

2 StrangerPeking Duk | SME

3 WavesDean Lewis | UMA

4 Call On MeStarley | TINT/UMA

5 Cheap ThrillsSia | INERTIA

6 Never Be Like YouFlume | FC/EMI

7 PapercutsIlly | ONETWO/WMA

8 AdoreAmy Shark | SME

9 Fallin'Jessica Mauboy | SME

10 In My BloodThe Veronicas | SME

1 Pay The ManFoster The People | SME

2 The ManThe Killers | UMA

3 Green LightLorde | UMA

4 What Can I Do If The Fire Goes Out?Gang Of Youths | SME

5 Same SameWinston Surfshirt | IND

6 You're In Love With A PsychoKasabian | SME

7 Fake MagicPeking Duk | SME

8 HistoryCosmo's Midnight | SME

9 Never StartMiddle Kids | EMI

10 Fool's GoldJack River | MUSHROOM

TMN HOT 100

1

Something Just Like ThisThe Chainsmokers & Coldplay | SME

2

Castle On The HIllEd Sheeran | WMA

3

Shape Of YouEd Sheeran | WMA

4

That's What I LikeBruno Mars | WMA

5

There's Nothing Holdin' Me BackShawn Mendes | UMA

6

Green LightLorde | UMA

7

Fresh EyesAndy Grammer | MUSHROOM

8

IssuesJulia Michaels | UMA

9

Slow HandsNiall Horan | EMI

10

Galway GirlEd Sheeran | WMA

COUNTRY CONTEMPORARY ROCK

1 Body Like A Back RoadSam Hunt | UMA

2 My Break Up AnthemCaitlyn Shadbolt | UMA

3 Start OverO'Shea | SME

4 LegendsKelsea Ballerini | SME

5 Sun Don't Let Me DownKeith Urban | EMI

6 Kiss SomebodyMorgan Evans | WMA

7 They Don't Know Jason Aldean | SME

8 Outback Club ReunionLee Kernaghan | UMA

9 Everybody Wants To Take My MoneyJasmine Rae | UMA

10 Dirt RichJodie Direen | UMA

1 Still BreathingGreen Day | WMA

2 Dark NecessitiesRed Hot Chili Peppers | WMA

3 ReverendKings Of Leon | SME

4 Way Down We GoKalevo | WMA

5 HumanRag'n'Bone Man | SMEcvvv

6 HoopsThe Rubens | MUSHROOM

7 EmpireBirds Of Tokyo | EMI

8 BraceBirds Of Tokyo | EMI

9 Keep On RunningThe Living End | UMA

10 Song #3Stone Sour | WMA

DANCE URBAN

1 Something Just Like ThisThe Chainsmokers & Coldplay | SME



4 You Don't Know Me Jax Jones | UMA

5 StayZedd & Alessia Cara | UMA

6 StarvingHailee Steinfeld & Grey | UMA

7 ParisThe Chainsmokers | SME

8 It Ain't MeKygo & Selena Gomez | SME

9 Rockabye Clean Bandit | WMA

10 Cheap Thrills Sia | INERTIA

1 Scars To Your BeautifulAlessia Cara | UMA

2 I Feel It ComingThe Weeknd | UMA

3 24K MagicBruno Mars | UMA

4 That's What I LikeBruno Mars | UMA

5 Can't Feel My FaceThe Weeknd | UMA

6 StarboyThe Weeknd | UMA

7 Uptown FunkBruno Mars | UMA

8 PapercutsIlly | ONETWO/WMA

9 One DanceDrake | UMA

10 I'm The OneDJ Khaled | SME/UMA

11 Way Down We GoKaleo | WMA

12 StayZedd & Alessia Cara | UMA

13 The CureLady Gaga | UMA

14 MamaJonas Blue | EMI

15 ParisThe Chainsmokers | SME

16 Strip That DownLiam Payne | EMI

17 Your SongRIta Ora | WMA

18 TouchLittle Mix | SME

19 You Don't Know Me Jax Jones | ETC/UMA

20 Scars To Your BeautifulAlessia Cara | UMA

21 ThunderImagine Dragons | UMA

22 AttentionCharlie Puth | WMA

23 It Ain't Me Kygo & Selena Gomez | SME



26 Water Under The BridgeAdele | INERTIA

27 SymphonyClean Bandit | WMA

28 CapsizeFrenship | SME

29 No PromisesCheat Codes | WMA

30Scared To Be LonelyMartin Garrix & Dua Lipa | SME

TMN HOT 100

SPOTIFY AU ITUNES AU

SHAZAM AU

1 Shape Of YouEd Sheeran | WMA

2 RedboneChildish Gambino | MUSHROOM

3 CongratulationsPost Malone | UMA

4 Say You Won't Let GoJames Arthur | SME

5 Castle On The HillEd Sheeran | WMA

6 Humble.Kendrick Lamar | UMA


8 CloserThe Chainsmokers | SME

9 Galway GirlEd Sheeran | WMA


1 Way Down We Go Kaleo | WMA


3 You Don't Know MeJax Jones | ETC/UMA



6 There's Nothing Holdin' Me BackShawn Mendes | UMA


8 IssuesJulia Michaels | UMA

9 Young, Dumb & Broke Khalid | SME

10 Scared To Be LonelyMartin Garrix & Dua Lipa | SME


2 Castle On The HillEd Sheeran | WMA


4 Galway GirlEd Sheeran | WMA


6 Despacito (Remix)Luis Fonsi & Daddy Yankee | UMA


8 Slow HandsNiall Horan | EMI


10 PerfectEd Seeran | WMA

31 I Don't Wanna Live ForeverZAYN & Taylor Swift | UMA

32 I Feel It ComingThe Weeknd | UMA

33 I'm The OneDJ Khaled | UMA/SME

34 Sign Of The TimesHarry Styles | SME

35 FeelsCalvin Harris | SME

36 Fallin'Jessica Mauboy | SME

37 24K MagicBruno Mars | WMA



40 Can't Stop The FeelingJustin Timberlake | SME

41 GloriousMacklemore | WMA

42Despacito (Remix)Luis Fonsi & Daddy Yankee | UMA

43 Don't LeaveSnakehips & MØ | SME


45 UnforgettableFrench Montana | SME

46 PrayingKesha | SME

47 HumanRag'n'Bone Man | SME

48 Love Me NowJohn Legend | SME

49 Wild ThoughtsDJ Khaled | SME

50 Sun Comes UpRudimental | WMA

TMN HOT 100

NOVA SPINS

HIT SPINS

TRIPLE M SPINSTRIPLE J SPINS


2 That's What I Like Bruno Mars | WMA


4 Slow HandsNiall Horan | EMI

5 IssuesJulia Michaels | UMA


2 MamaJonas Blue | EMI

3 Strip That DownLiam Payne | EMI

4 That's What I LikeBruno Mars | WMA


1 Still BreathingGreen Day | WMA

2 ReverendKings Of Leon | SME

3 Way Down We GoKaleo | WMA

4 HumanRag'n'Bone Man | SME

5 Dark NecessitiesRed Hot Chili Peppers | WMA

1 HistoryCosmo's Midnight | SME

2 Fire That BurnsCirca Waves | EMI

3 Pure LuckNinajirachi | iND

4 CanyonsClubfeet | UMA

5 RecallThe Money War | EMI

KIIS SPINS



3 That's What I Like Bruno Mars | WMA

4 Water Under The BridgeAdele | INERTIA


51 Say You Won't Let GoJames Arthur | SME

52 All Time LowJon Bellion | EMI

53 What About UsP!NK | SME

54 Most GirlsHailee Steinfeld | UMA

55 Sorry Not SorryDemi Lovato | UMA

56 2UDavid Guetta | WMA

57 New RulesDua Lipa | WMA

58 Chained To The RhythmKaty Perry | EMI

59 RockabyeClean Bandit | WMA

60FriendsJustin Bieber & Bloodpop® | UMA

61 P.Y.T (Pretty Young Thing)John Gibbons | SME

62 Dancing On My OwnCalum Scott | EMI


64 MalibuMiley Cyrus | SME

65 Pretty Girl (Remix)Maggie Lindemann | WMA

66 Shout Out To My ExLittle Mix | SME

67 Feel It StillPortugal. The Man | WMA

68RedboneChildish Gambino | MUSHROOM

69 I Like Me BetterLauv | IND

70 SlideCalvin Harris | SME

71 Young, Dumb & BrokeKhalid | SME

72 Play That SongTrain | SME

73 StarboyThe Weeknd | UMA

74 Too Good At GoobyesSam Smith | EMI

75 Without YouAvicii | UMA

TMN HOT 100

AMRAP REGIONAL

1 Firewood & CandlesPaul Kelly | EMI

2 Hold It TogetherDan Sultan | MUSHROOM

3 KingdomDan Sultan | MUSHROOM

4 Real Life BabyCookin' On 3 Burners | INERTIA

5 100 DegreesLittle WIse | IND

AMRAP METRO

1 ParalyzedBatpiss | IND

2 Time For LoveThe Pink Tiles | IND

3 Regional EchoJen Cloher | IND

4 Skinny Bitches Miss Blanks | IND

5 InstamaticBiscotti | IND

76 StarvingHailee Steinfeld & Grey | UMA

77 Dusk Till DawnZAYN | SME

78 Lay It On MeVance Joy | MUSHROOM

79 SexualNeiked | UMA

80 Bad LiarSelena Gomez | UMA

81 Fake MagicPeking Duk | SME

82 CloserThe Chainsmokers | SME

83 What Lovers DoMaroon 5 | UMA

84 Don't Wanna KnowMaroon 5 | UMA

85 Let Me Love YouDJ Snake | UMA

86 PerfectEd Sheeran | WMA

87 HavanaCamila Cabello | SME

88 1-800-273-8255Logic | UMA

89 Subeme La Radio (Remix)Enrique Iglesias | SME

90 Now Or NeverHalsey | EMI

91 Good Old DaysMacklemore | WMA

92Send My Love(To Your New Lover)Adele | INERTIA

93 Kiss SomebodyMorgan Evans | WMA

94 PassionfruitDrake | UMA

95 ...Ready For It?Taylor Swift | UMA

96 I Would LikeZara Larsson | SME

97 Too Much To AskNiall Horan | EMI

98 rockstarPost Malone | UMA

99Mi GenteJ Balvin & Willy William | UMA

100Let Me GoHailee Steinfeld & Alesso | UMA

AIR RADIOPLAY

1 Fire And The FloodVance Joy | MUSHROOM



4 The GreatestSia | INERTIA


6 MomentsBliss N Eso | MUSHROOM

7 RiptideVance Joy | MUSHROOM

8 GeronimoSheppard | CHUGG/MGM

9 Keep Me CrazySheppard | CHUGG/MGM


1 MomentsBliss N Eso | MUSHROOM

2 Fire And The FloodVance Joy | MUSHROOM


4 RiptideVance Joy | MUSHROOM


6 The GreatestSia | INERTIA

7 ChandelierSia | INERTIA


9 Move Your BodySia | INERTIA

10 GeronimoSheppard | CHUGG/MGM

AIR SINGLES

TMN HOT 100

Documents

DECEMBER 2017 | THEMUSICNETWORK.COM … ‘Chameleon’ finishing ... January and February. 2018 is going to be BIG for her. ... who has been on the cusp of full-blown pop fame for