The results are in, and according to Nielsen Music/MRC Data Post Malone‘s Hollywood’s Bleeding was the most successful album of 2019 in the US market. Combining streams with 357,000 album sales, the pop-rapper’s third LP hit an impressive 3.001 million equivalent album units.
These numbers lead to Hollywood Bleeding enjoying five straight weeks at the top of Billboard’s weekly top 200. As is expected in today’s market, the majority of the sales came from stream equivalent albums (SEA’s). 2.452 million SEA units to be precise, which translates to 3.371 billion on-demand audio streams in 2019.
Hollywood Bleeding also lead the charts for track equivalent albums (TEA’s) with 192,000, but in terms of album sales, it was fourth. Taylor Swift‘s lauded Lover sales went into seven figures with 1.085 million. Second place went to Billie Eilish‘s masterful debut WHEN WE ALL FALL ASLEEP WHERE DO WE GO?, with the soundtrack from Lady Gaga’s A Star Is Born coming in at third with 486,000 sales.
On the single front, the highest streamed song of the year was unsurprisingly Lil Nas X‘s “Old Town Road” with 2.5 billion on-demand streams. This number includes the figures from the remix featuring Billy Ray Cyrus as well as the other versions with RM of BTS, Young Thug and Mason Ramsey, and even Diplo‘s official remix.
The 2.5 billion figure represents yet another broken record attached to the hip-hop/country crossover as it is the first single to break 2 billion on-demand streams in a calendar year.
Of the singles with the most streams in 2019, the first runner up is over a billion streams behind “Old Town Road.” Post Malone & Swae Lee’s, “Sunflower” made for Spider-Man: Into the Spider-Verse came in just under 1.5 billion on-demand streams with Billie Eilish once again in the top three as her lead single “Bad Guy” raked in just under 1.3 billion streams.
Dexter’s Beat Laboratory is a weekly collection of songs from DA managing editor Robyn Dexter. With a taste that can only be described as eclectic—to say nothing of a name that lends itself to punnery—DA is happy to present a selection of tracks personally curated by Dexter for your listening pleasure.
Feint’s “Vagrant” is a drum ‘n’ bass classic. The late 2015 release with Veela thrilled Liquicity listeners upon its original debut, and it’s remained near and dear to Feint fans since then. Slovenian producer Smooth has put his own spin on the beloved track, refreshing it and giving fans a new angle from which to appreciate it.
AWOLTALK is helping lead the US drum ‘n’ bass scene, and he’s doing it in a big way. His most recent creation is a remix of chart-topping Billie Eilish and her song “Everything I Wanted.” He takes Eilish’s moody vocals and backs them with a racing rhythm that somehow complements the sonic atmosphere of the tune. It’s addicting.
Hot Date’s new EP is an adventure in all things funk. The three-track Lonely Heart compilation arrived on Dec. 3, comprised of an assortment of groovy elements that make it completely irresistible. The second track “So Good,” catches the listener’s ear with its funky leading melody and introduces mighty vocals to make it even more endearing.
Gareth Emery returns to Monstercat to deliver a collaboration with Kovic, “Somebody.” A delicate guitar melody kicks off the tune, and the singer’s moving voice showcases the heartfelt emotion behind the lyrics. Emery’s production is subdued in the verses but shines in the gorgeously atmospheric chorus.
Spanish producer Dosem follows up his recent EP with a tantalizing remix of Yotto‘s “Hyperlude.” The Anjunadeep release clocks in at more than six minutes, giving fans a chance to dive deep into the world Dosem’s creating in his rendition. It’s both dark and uplifting—a fine line that Dosem walks with style.
At just 17 years old, Billie Eilish has released Spotify’s most listened to album of the year, becoming the first female artist to ever claim the title. The California-based singer/songwriter amassed a walloping 6 billion streams for the year, and if her recent audio exposé “Everything I Wanted” is any indication, it seems like Eilish’s artistic discovery may be just beginning.
Spotify’s Most-Streamed Artist of 2019, however, goes to the universally adorned Post Malone, who leapfrogged his way to the head of the pack in the 12 weeks since the release of Hollywood’s Bleeding, the genre-bending vocalist’s third consecutive LP to seem destined for the upper echelon of critical acclaim. Streaming royalty Ariana Grande and Ed Sheeran take the third and fourth spots of most-streamed artists for the year (with Eilish nabbing second).
Drake has had a light year in terms of releases, but it’s still strange not to see the crowned King of The Stream making any of the yearly lists. Fear not though, as the Canadian rapper wears his crown comfortably atop the Decade’s Most Streamed Artists, below.
Billie Eilish‘s freshman LP, WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?, painted the breakout singer/songwriter as the antidote to the shimmery pop acts known to dominate the Top 40. With dark, grungy productions (masterminded by her brother Finneas O’Connell) and lyricism, an exemplar being her summer-defining single “Bad Guy,” Eilish quickly became the hard-shelled succubus that the pop world didn’t know it needed.
Eilish’s newest single “Everything I Wanted” shows the 17 year old drop the act, presenting listeners not with Billie Eilish the grunge-pop star, but with Billie Eilish the person. The soft-stepping tune is ultimately a tribute to her brother, with a personal statement alongside the release that reads,
“No matter what happens, we always have been and will be there to make it better.”
But “Everything I Wanted” goes a step further, offering a touch of transparency to Eilish’s meteoric rise to fame. Lyrics like “They called me weak / like I’m not just somebody’s daughter,” as well as an outro that repeats “If they knew what they said would go straight to my head / what would they say instead?” don’t only show the personal impact of becoming a household name, but add a new dimension of relatability to one of 2019’s breakout acts.
Its been 19 weeks since Lil Nas X claimed the number one spot atop the Billboard Hot 100. Let that sink in—five whole months. In that time, “Old Town Road” has seen a wild, celebrity cameo-filled music video alongside four remixes that kept it afloat, becoming the longest-leading song of all-time on the Hot 100.
However now, competition for the number one spot is back in business. Announced on August 19, Billie Eilish has earned her first number one spot on the chart with “Bad Guy” as well as a few other impressive milestones. Eilish spent nine weeks in the runner-up position, fueled by a standout remix featuring Justin Bieber, which is the longest for any song before reaching the top. What’s more—she not only trumped the longest-leading track’s reign, but she is also the first artist born in the 21st century to top the charts. Lil Nas X—born in 1999—came closest, and at 17 Eilish becomes the youngest artist at the summit since Lorde’s reign with “Royals” at the age of 16.
The country rapper hit Twitter to show Eilish some appreciation:
congratulations to billie eilish!! u deserve this!!
Billie Eilish paired up with her childhood idol, Justin Bieber, on a rework of her number two Billboard chart-topping track, “Bad Guy,” off her WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? debut album. Bieber offers the second verse, adding a contrast to Eilish’s “bad guy” persona. Throughout the verse, the Canadian superstar sings about sleeve tattoos, gold teeth, all of his ice, not holding back, not sleeping, and more in the bouncing cadence that Eilish ran with on the original.
The final verse falls into a heavier trap bead with poetic prose and ad libs from both vocalists. Eilish expressed her excitement on Instagram about the partnership, “JUSTIN BIEBER OUT NOWWW OMGFFFFGGG ANYTHING IS POSSIBLE MAN,” and further proving her passion is the artwork which is an old picture of Eilish in her room that’s covered in posters of him on the second verse of her song.
In May, the Toronto-born duo took to Twitter to announce a full collaborative project, confirming that “Rescue” featuring Dion Timmer and Delaney Jane would be included.
“Rescue is off an upcoming project we’re putting out where we collaborate with a lot of our friends and artists that we play in our sets. The project kind of embodies the type of feel we’re trying to create with our label Deadbeats,” they wrote.
As label heads, they’ve been commended for building a unique roster of creatives from all over the electronic and bass music spectrum, including 1788-L, BLU J, Grandtheft, and more. With the synergistic work that’s come out of their Deadbeats imprint of late, there’s a lot to look forward to in the upcoming album. The boys took to Twitter to confirm a 10-track remix package for “Lift You Up” will precede the project.
The guys are clearly hard at work, continuing to tour the globe well into Fall 2019. Fans can catch performances at Tomorrowland July 19, HQ2 Beachclub in Atlantic City July 28, Veld Music Festival in their hometown come August, with more dates to come.
Just over a week before the upcoming installment of Mad Decent Block Party, the label/event brand took to Facebook to confirm the festival’s imminent cancellation.
The rather nebulous announcement attributes the decision to “circumstances beyond our control,” hindering organizers from throwing the festival “the way that it was envisioned.” The hallowed annual event has been a longtime vessel for Mad Decent to show off its illustrious label roster, as well as gather extraneous, up-to-date talent from across the electronic/hip-hop continuum.
This year’s July 20-21 Block Party, pegged to land in Foxborough, Massachusetts, was scheduled to see scene staple performances from the likes of REZZ, Major Lazer (which includes Mad Decent label boss, Diplo himself), RL Grime, Zeds Dead, Billie Eilish, and more across the weekend. Per the announcement, Mad Decent will be issuing refunds to all ticket-holders on or before July 12.
With Diplo’s signature Mad Decent Block Party just a month away, fresh material from the EDM goliath’s very own dancehall collective, Major Lazer, serves as a warm welcome to the impending festival season.
In what started as a project to repackage reggae and dancehall to the dance music masses, the Diplo-led trio—which also sports the talents of Walshy Fire and Ape Drums—has blossomed into an auditory melting pot of cultures, fusing musical and visual inspirations from around the globe. Major Lazer’s new single, “Make It Hot,” does just this, finding common ground among Eastern and Latin sound palettes all within a trudging moombahton beat.
Rio de Janeiro’s very own Anitta supplies vocals, which not only puts a much-needed sheen on the amalgamation of sounds present, but slathers the summer-ready beat with Major Lazer’s patented brand of grinding EDM swag.
Hosted at the Gillette Stadium in Massachusetts on July 20 and 21, this year’s Mad Decent Block Party is headlined by Major Lazer, Billie Eilish, G-Eazy and Miguel. Tickets to the event can be found here.
Diplo, the DJ-turned-pizza-authority recently joined Barstool’s Dave Portnoy as the first electronic artist in over 600 episodes of Portnoy’s One Bite pizza reviews. In the episode, Diplo drops his review of an artisan pie from Sotto 13 in New York, while Portnoy does the same, between an anecdote involving Diplo, the cameraman and, unsurprisingly, a Sports Illustrated Swimsuit after party.
The ‘za reviews are topped with a taste of what’s to come at the Super Mega Ultra Giant Mad Decent Block Party Festival. Splayed across July 20-21 at the New England Patriots’ Gillette Stadium, this year’s outdoor party needs not an ounce of bolstering, with headliners like Billie Eilish, Miguel, and Major Lazer on the roster.
TLDR: Diplo’s final thoughts on the pizza: Mad Decent.
Tickets to the Mad Decent Block Party are available here.