The Grammy’s Drive Sales Gains For Winners
The 2017 Grammy Awards generated instant sales gains for the songs performed on CBS’ Feb. 12 broadcast, according to Nielsen Music. The tunes performed on the show scored a 207 percent gain in download sales in the United States on the day of the show, according to initial sales reports by Nielsen. Combined, the tunes performed on the awards (as well as the original versions of songs treated to cover renditions) sold more than 178,000 downloads on Feb. 12 (up from 58,000 the previous day).
This year’s Grammy Awards racked up 26.05 million TV viewers according to Nielsen -- up 4 percent compared to last year’s shindig (24.93 million).
"This immediate and impressive reaction proves the unparalleled power of the Grammy Awards to reach a wide audience and engage fans," says David Bakula, Senior VP of Global Product Leadership and Industry Insights for Nielsen Music.
Adele’s “Hello,” which opened this year’s show, scored a 255 percent sales bump (rising to 6,000 sold on Sunday, vs. a little less than 2,000 on Saturday), while George Michael’s “Fastlove” -- which was performed in tribute to Michael, by Adele -- was up 5,367 percent to 2,000 downloads (up from a negligible figure on Saturday). “Fastlove” was Michael’s final hit on the Billboard Hot 100 chart, reaching No. 8 in 1996. He died on Dec. 25, 2016.
“Hello” won the Grammy Awards for record of the year, song of the year and best pop solo performance. “Hello” spent 10 weeks atop the Hot 100, and was the lead single from her blockbuster 25 album, which took home the Grammy Awards for album of the year and best pop vocal album.
Beyoncé, meanwhile, treated the Grammy Awards to a performance of two songs from her Grammy Award-winning Lemonade album: “Love Drought” and “Sandcastles.” The songs tallied sales increases of 1,217 percent and 958 percent, respectively (rising to about 2,000 downloads sold, each, on Sunday).
Lemonade won the award for best urban contemporary album. Beyoncé won an additional Grammy for best music video for “Formation.”
Overall, the songs on the Lemonade album sold 21,000 downloads on Sunday (up from 11,000 on Saturday), while the album itself sold 4,000 copies on Sunday (up from 1,000 on Saturday). Meanwhile, Adele’s 25 saw its tracks sell a total of 19,000 on Sunday (vs. 9,000 on Saturday), and the album on its own sold 4,000 (vs. 2,000 on Saturday).
Other big performance gainers on Sunday include Katy Perry’s new single “Chained to the Rhythm,” featuring Skip Marley, which rose 128 percent to 24,000 sold (up from 10,000 a day earlier). The song was released on Feb. 10, and Perry gave the song’s premiere performance on the Grammy stage.
Ed Sheeran’s “Shape Of You” (which was also performed on NBC’s Saturday Night Live on Feb. 11), zoomed by 87 percent to 46,000 downloads, while Bruno Mars’ current single “That’s What I Like” claimed a 354 percent rise to 23,000 downloads. The Weeknd’s “I Feel It Coming,” featuring Daft Punk, drew a 154 percent gain to 15,000 downloads, and Keith Urban’s “The Fighter,” featuring Carrie Underwood, jumped 896 percent to 12,000 sold. Lukas Graham’s “7 Years” and Kelsea Ballerini’s “Peter Pan,” which were performed together in a medley, rose by 793 percent (to 12,000) and 266 percent (to 4,000), respectively. Maren Morris’ “Once,” which was sung with Alicia Keys on stage, nabbed a big 7,430 percent sales gain (to 6,000 sold).
The four songs celebrated in a Bee Gees tribute on the show notched a 388 percent sales gain on Sunday. Collectively, “Stayin’ Alive,” “Tragedy,” “How Deep Is Your Love” and “Night Fever” sold 6,000 downloads -- up from a little more than 1,000 on Saturday.
Sturgill Simpson landed a big increase for his performed track “All Around You,” from his Grammy Award winning A Sailor’s Guide to Earth. The tune sold a little more than 2,000 downloads on the day of the Awards -- a gain of 9,772% compared to the previous day, when it sold essentially nothing.
Also rising: “Born Under a Bad Sign,” which was performed on stage by its songwriter William Bell, alongside Gary Clark, Jr. The combined sales of the original version of the track, performed by Albert King, and Bell’s 2016 cover version, were up by 4,430 percent to about 2,000 downloads sold.
Album Of The Year:
WINNER: 25 — Adele
Lemonade — Beyoncé
Purpose — Justin Bieber
Views — Drake
A Sailor's Guide To Earth — Sturgill Simpson
Record Of The Year:
WINNER: "Hello" — Adele
"Formation" — Beyoncé
"7 Years" — Lukas Graham
"Work" — Rihanna Featuring Drake
"Stressed Out" — Twenty One Pilots
Song Of The Year:
"Formation" — Khalif Brown, Asheton Hogan, Beyoncé Knowles & Michael L. Williams II, songwriters (Beyoncé)
WINNER: "Hello" — Adele Adkins & Greg Kurstin, songwriters (Adele)
"I Took A Pill In Ibiza" — Mike Posner, songwriter (Mike Posner)
"Love Yourself" — Justin Bieber, Benjamin Levin & Ed Sheeran, songwriters (Justin Bieber)
"7 Years" — Lukas Forchhammer, Stefan Forrest, Morten Pilegaard & Morten Ristorp, songwriters (Lukas Graham)
Best New Artist:
WINNER: Chance The Rapper
Best Pop Duo/Group Performance:
"Closer" — The Chainsmokers Featuring Halsey
"7 Years" — Lukas Graham
"Work" — Rihanna Featuring Drake
"Cheap Thrills" — Sia Featuring Sean Paul
WINNER: "Stressed Out" — Twenty One Pilots
Best Pop Vocal Album:
WINNER: 25 — Adele
Purpose — Justin Bieber
Dangerous Woman — Ariana Grande
Confident — Demi Lovato
This Is Acting — Sia
Best Pop Solo Performance:
WINNER: "Hello" — Adele
"Hold Up" — Beyonce
"Love Yourself" — Justin Bieber
"Piece By Piece (Idol Version)" — Kelly Clarkson
"Dangerous Woman" — Ariana Grande
Best Traditional Pop Vocal Album:
Cinema — Andrea Bocelli
Fallen Angels — Bob Dylan
Stages Live — Josh Groban
WINNER: Summertime: Willie Nelson Sings Gershwin — Willie Nelson
Encore: Movie Partners Sing Broadway — Barbra Streisand
DANCE/ELECTRONIC MUSIC FIELD
Best Dance Recording:
"Tearing Me Up" — Bob Moses
WINNER: "Don't Let Me Down" — The Chainsmokers featuring Daya
"Never Be Like You" — Flume featuring Kai
"Rinse & Repeat" — Riton featuring Kah-Lo
"Drinkee" — Sofi Tukker
Best Dance/Electronic Album:
WINNER: Skin — Flume
Electronica 1: The Time Machine — Jean-Michel Jarre
Epoch — Tycho
Barbara Barbara, We Face A Shining Future — Underworld
Louie Vega Starring…XXVIII — Louie Vega
Justin Timberlake and Other Longest-Leading Hits
Justin Timberlake's "Can't Stop the Feeling!" tops Billboard's Adult Contemporary chart (dated Feb. 25) for a 16th (nonconsecutive) week, becoming one of only 20 titles to have led for at least that long since the chart premiered in 1961.
The accolades continue to accumulate for "Feeling," which was released in May 2016 to promote the DreamWorks feature film Trolls, which opened in theaters in November. The track debuted at No. 1 on the Billboard Hot 100 dated May 28, becoming one of only 27 singles to date to launch at the summit.
On the latest Hot 100, the song spends its 40th week on the chart, at No. 25. Notably, with all of its weeks logged in the top 40 so far, "Feeling" is one of only eight singles in the Hot 100's 58-year history to spend its first 40 weeks or more in the region (an elite group led by Savage Garden's "Truly Madly Deeply": 52 weeks in 1997-98).
On Sunday (Feb. 12), "Feeling" won the Grammy Award for best song written for visual media. On Feb. 26, we'll find out if the track also wins an Academy Award for best original song.
In honor of "Feeling" becoming one of the 20 longest-leading AC hits of all time (with all of those smashes since the '90s, when the survey adopted Nielsen Music data), here is a look at the lofty company that Timberlake's hit joins:
The 20 Longest-Leading Adult Contemporary Hits
28 weeks at No. 1, "Drift Away," Uncle Kracker feat. Dobie Gray, June 7, 2003
22 weeks, "Hey, Soul Sister," Train, July 3, 2010
21 weeks, "Hello," Adele, Nov. 28, 2015
21 weeks, "Breakaway," Kelly Clarkson, March 12, 2005
21 weeks, "A New Day Has Come," Celine Dion, March 30, 2002
20 weeks, "Just the Way You Are," Bruno Mars, Feb. 5, 2011
19 weeks, "Thinking Out Loud," Ed Sheeran, March 21, 2015
19 weeks, "Somebody That I Used to Know," Gotye feat. Kimbra, Aug. 18, 2012
19 weeks, "Rolling in the Deep," Adele, July 2, 2011
19 weeks, "Bubbly," Colbie Caillat, Jan. 12, 2008
19 weeks, "Bad Day," Daniel Powter, May 13, 2006
19 weeks, "You'll Be in My Heart," Phil Collins, May 29, 1999
19 weeks, "Because You Loved Me," Celine Dion, March 30, 1996
18 weeks, "Lonely No More," Rob Thomas, Aug. 20, 2005
18 weeks, "Heaven," Los Lonely Boys, Oct. 2, 2004
17 weeks, "Breathe," Faith Hill, April 22, 2000
17 weeks, "I Knew I Loved You," Savage Garden, Dec. 25, 1999
16 weeks, "Can't Stop the Feeling!," Justin Timberlake, July 9, 2016
16 weeks, "I'm Yours," Jason Mraz, Feb. 14, 2009
16 weeks, "Waiting on the World to Change," John Mayer, Feb. 24, 2007
The Chainsmokers Dedicate Grammy Win To Fans
Love is in the air, and The Chainsmokers are crushin' heavy on all the fans. The pop-dance duo took home the golden Grammy statue for Best Dance Recording for their hit "Don't Let Me Down," and grateful doesn't begin to describe it.
"This is the highest honor any musician can have," The Chainsmokers wrote on Instagram. "We want to dedicate this to all our friends, family and most importantly our fans. Thank you for everything you've given us."
The duo also promised to be back in the studio bright and early this morning. Who knows, the guys could be writing a song about their love for you right now.
The Inside Story of Adele’s George Michael Tribute
If ever there was a love letter presented at the Grammys, it was Adele's tribute to George Michael on the 2017 edition, during which she performed his 1996 song "Fastlove."
As a fellow Brit who was enamored with his music, Adele explained backstage following her awards sweep that she was "about 10" years old when she first discovered "Fastlove" and "heard the vulnerability in that song."
Added Adele: "When the video came out for that, I was blown away by how hot he was. It’s actually quite exceptional how good-looking he was."
She connected with the lyrics, Adele noted, which reference promiscuity but also point to losing one's way.
An iconic figure in their native United Kingdom, George Michael's Christmas Day death "devastated" Adele, she said. "I actually had to go for a walk on my own and just breathe for a while."
So how did that swell of emotion turn into a musical and visual Grammy tribute? According to Adele, "[The family] didn’t want a tribute at first, and they came back and were very specific that it be me."
The show's executive producer Ken Ehrlich, who had worked with Michael a number of times in the past, confirms, "The dream was Adele -- we had to get it right."
Michael Lippman, Michael's longtime manager, also had a dream: Grammy host James Corden, whose "Carpool Karaoke" series was launched with Michael in the passenger seat, Adele, Beyoncé and Rihanna, each taking a song of a different tempo and era ("Freedom" and "One More Try," among them) in one giant Michael mash-up -- an idea that began to take root, says Ehrlich. But it became quickly evident "how passionate Adele was," Ehrlich adds, "and that she had a vision for what she wanted to do with it."
With her manager, Jonathan Dickins, inching the endeavor forward, and Columbia Records chief Rob Stringer, himself a longtime associate of Michael's, in full support, Hans Zimmer was recruited as the arranger and conductor for the performance. Within a week, he had a recorded orchestral track ready to go. The mastered version was furnished to Grammy producers only on Thursday, some 72 hours before the curtain went up.
Adele was incredibly hands-on when it came to how the performance would be presented, multiple Grammy insiders tell Billboard. "It was important to her and she was fully committed," says Ehrlich, who reveals that Adele collaborated with Michael representative David Austin on the images and video used as visuals for the performance. "They corresponded directly about changes or thoughts she had," he adds.
Columbia's Stringer, who worked with Michael on three albums while head of Sony U.K., also helped make the tribute a reality. "To anybody who's British, George is like royalty," he tells Billboard. "He's right up there with Elton John and Paul McCartney and Freddie Mercury. He was loved."
The incoming Sony Music CEO passed through Goring-on-Thames, where Michael last lived, while on a recent trip to England and was amazed by the "massive shrine" outside the late singer's home. "I was a massive fan," Stringer recalls. "In college, Wham! were a big group. What a remarkable talent. For all of his idiosyncrasies and his pain, people loved him in the U.K. His music was the soundtrack to all of us growing up. For a good 10 years, he was the biggest artist in the world."
Indeed, Adele said as much backstage following her show-stopping bow. "I found him to be one of the truest icons, because a lot of the time, with people who are at that globally known and famous, there tends to be… not a fakeness in a bad way, but they put on this massive bravado and alter-ego to protect themselves," she elaborated. "And he was very British. No matter where his career or love life took him, he always remained true to Britain and they gave him a hard f---ing time a lot of the time, but he still stayed loyal until the very end. ... I relate to that -- no matter how much I try to escape Britain sometimes, my roots are there. I took great comfort in him -- and the bigger my career got, in trying to remain myself.
"It was an honor."