In other key European territories, it’s been a certified flop. It fell to No.68 the next week, and hasn’t been back inside the Top 70. Rise only reached No.25 on the Official Singles Chart in mid-July. In the UK, where streaming now makes up 80%+ of singles ‘sales’, even worse news. That’s especially disappointing considering that the song featured prominently during NBC’s US television coverage of the Olympics – one of the biggest syncs you could hope for in the market this summer. It only hit No.11 on the Billboard Hot 100, and has fallen away ever since. It took another week to get to Spotify.Īnd looking at the world’s charts Rise has, erm, not really risen. Rise was originally released worldwide as a windowed iTunes and Apple Music exclusive on July 15. That’s kind of the point.Īn empowering fist-pumper, it was clearly created with the Olympics in mind, and with no expense spared: the track was co-written with Savan Kotecha (One Direction/The Weekend/Justin Bieber) and produced by Ali Payami and Mr Guaranteed Hit himself, Max Martin.
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Perry’s big comeback single – her first for two years – is called Rise.
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That’s because the other bit – the bit that suggests Spotify is blackballing these artists on its top playlists – is completely true. Well, to be precise, Spotify says that the allegation of it burying search for Apple/Tidal-friendly artists is “unequivocally false“.
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The Swedish service has now hit back at the article, calling it “unequivocally false”. Spotify has done so, said the report, by excluding artists and tracks from its highly influential playlists, in addition to demoting them from search results. On Friday, Bloomberg ran a story which accused Spotify of actively ‘burying’ the promotion of stars who have windowed their music on Apple Music or Tidal. The past 72 hours have been especially fun in the world of streaming exclusives.