CSPC: P!nk Popularity Analysis

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Streaming Sales

Streaming is made up of two families – audio and video. Our CSPC methodology now includes both to better reflect the real popularity of each track. The main source of data for each avenue is respectively Spotify and YouTube. As detailed in the Fixing Log article, Spotify represents 132 million of the 212 million users of streaming platforms, while YouTube is pretty much the only video platform generating some revenue for the industry. Below is the equivalence set on the aforementioned article:

Audio Stream – 1500 plays equal 1 album unit
Video Stream – 11,750 views equal 1 album unit

Equivalent Albums Sales = 212/132 * Spotify streams / 1500 + YouTube views / 11750

Streaming Part 1

For someone of her status, and as someone who continues to release relevant music, streams from Can’t Take Me Home‘s songs are relatively weak. The 3 leading songs only combine for 21 million streams on Spotify, while the other songs average less than one million. Those streams are worth 38,000 equivalent album sales.

Songs of M!ssundaztood are clearly much bigger. Four songs crack 20 million on Spotify with both Just Like a Pill and Get the Party Started on 50 million a piece.  The former has been growing more and more with time and is now rated as one of the most memorable tunes of P!nk. However, its songs only combine for 267 million YouTube plays. The total is 193,000 equivalent album sales.

15 thoughts on “CSPC: P!nk Popularity Analysis”

  1. I actually like Pink…….she’s got a soulful voice and her choice of pop song’s is great compared to other divas of the 21st century

    1. Hi Pedro,

      I suggest you to read the page 2 to understand the concept. The Greatest Hits is distributed into “Other releases” sales among her studio albums, its own sales are listed page 23.

  2. Good career! Her GH album’s stats are impressive.

    You should update Beyoncé & Rihanna since they’re two of the artists whose recent changes in the CSPC methodology will impact the most.

  3. Britney only had a big peak, but she has sold about forty percent more than Pink. And they debuted at the same time. There are no excuses. Britney’s success is far superior in spite of the fact that she has not kept up so well as Pink (although the reasons are obvious and she had a lot more potential). In addition, without Britney there would have been no anti Britney: Pink, Avril … Her impact will always be greater than any girl of his generation, who appeared thanks to her. None of her generation can boast that if they had not existed in the industry, the industry would be different. She, yes. Definitely.

      1. Gus, respect to P!nk for her longevity, but Britney’s imprint remains on P!nk and Avril Lavigne, two artists whose careers were propelled by being anti-Britney’s during the 2000s decade and it has no choice but to be acknowledged.

        1. Not sure why my comment was down-voted.

          P!nk, Amy Lee of Evanescence and Avril Lavigne (and perhaps others) became anti-Britney’s through either their own music or their marketing. They’re the ones who wrote about Britney. Not Britney. It’s already imprinted on their music.

          Same with all the literature of at the time from the critics. You can’t go back in time and change it.

          It’s worth being brought up as Pitchfork and other losers try to go back in time to pathetically overrate Destiny’s Child to boost Beyonce’s legacy.

  4. Great article as always! P!nk’s career consistency is amazing, although I’d disagree that “Try This” did decently. I feel like it was actually a huge bomb, I mean, selling 2.8 million pure/3.8 million CSPC in 2003 right after such a big era like “Missundaztood” was quite terrible. You recently mentioned that Britney’s “Blackout” was unsuccessful (despite having 4.4 million CSPC and being released during a weaker period for album sales), so you can imagine how much of a flop “Try This” was.

    Of course though, I’m not denying that she’s had a great career regardless. Most acts have a flop album/era every now and then, and it’s amazing that she managed to recover with “I’m Not Dead”, plus 3/4 other successful releases.

    Her greatest hits album did amazing numbers! I assume it must be the biggest greatest hits album of the 2010s decade?

    She’s not really a successful streaming act(which is fine considering not many pre-2005 acts are), but her digital sales are quite good.

  5. Regarding her overall career sales, it’s weird how she’s so massive in countries like the UK, Australia, New Zealand and Germany, where she has extraordinary results and completely overshadows her peers, but in other countries like Spain, Italy, Japan, Brazil, Finland, Norway, Belgium, Mexico, South Korea, Taiwan, Thailand etc she’s actually very, very weak! Dare I say, her sales in France are not that great either, but still good of course. I’d argue that her success is very Anglophone-based (with the exception of German speaking countries, as well as the Netherlands and France).

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