Moneyball Chart Market Spotlight – Chicago

Published On April 5, 2018 » 189 Views» Feature Chart


If I were to launch a CCM this week in Chicago, this chart would indicate greatly what my top songs would look like.  What I find most intriguing, and honestly, impressive, is that the Top 3 Moneyball songs, also happen to be the Top 3 songs at K-Love this week.

This is an indicator that K-Love with their most spun songs are actually highly serving the desires of the audience in and around Chicago, as KLOVE’s airplay alone could not get a song to Top 10 on the Moneyball chart; that is what makes this chart powerful, is that OTHER indicators, sales, streaming, shazam results, specific to Chicago is what is driving the bulk of these results, not so much radio airplay, although it is an indicator.  Add Tauren in there as well, and KLove has 4 of the same Top 5 as the Moneyball Chart does.

Shine FM’s most played song, Cory Asbury’s “Reckless Love,” is perfectly placed and played in Chicago at the Top spot, and the indicators also say it should be #1. Where Shine and KLove are close in airplay is with TobyMac, Crowder, Tauren Wells and Cory in the Top 10, Feliz and Natalie outside of the Top 10, and knowing where the similarities are, also sheds light on where the opportunities are.

No question, with MercyMe’s “I Can Only Imagine,” doing so well at the box office, and this song selling Top 10 Nationwide, not just in our format, but overall, this is an opportunity, with increased airplay to increase cume in this time, and potentially even TSL, and yes I’d be playing this song like a current, and both versions.  This song is an EVENT song, but neither Shine or KLove is treating it in that manner.

Hillsong Worship’s ‘Beautiful Name’ has been sent to pasture by both Shine and KLove, although sales and streaming continue to show desire in that market.  Moneyball’s strength is not only finding the songs that are the hits now, but it is also about holding onto songs that aren’t yet ready to go to recurrent or gold, and Beautiful Name leaves a great opportunity.

You can see a similar circumstance with Elevation Worship’s “Altar,” looking as if continued greater exposure could actually work in the favor of the station willing to hold and continue playing at that frequency.

Then, finally, Shine’s airplay on Death Was Arrested, while their 45th most played song, it has created Top 10 sales in Chicago, and Top 15 online streams, which indicates that this song is a tool, that would rule in favor of the station that chose to ride it to the top.

Lastly, Kari Jobe’s “Forever,” is oddly ranked in the Top 25 in Chicago, showing up in sales and streaming and shazams, which is not some aberration or coincidence, but a sign that it never got its proper exposure in the market, and that there is a real audience thirsting for it.

This is not the ONLY market where Kari Jobe has shown up in this fashion with this song.  If it were, I might have dismissed it, even on this chart.

For this weeks national Moneyball Chart go here.


The Moneyball method is much more effective on the local market level, than it is on the National level, as the strength of Moneyball is to separate markets by their specific activity.

The Moneyball methodology doesn’t create an aggressive chart that is ahead of the market’s appetite, instead it simply highlights the titles that have traction based on several local city measurements from market airplay, sales, streams, and if available, Shazams, revealing present tastes, not future tastes.

The difference between the Moneyball Chart and a consumption chart is that Consumption Charts are positioned from the perspective of the record label, breaking down the many different angles that the end user is consuming their music from.

Moneyball is created from the perspective of the potential listener and the data is calculated based on a song’s existing market exposure.  This exposure or awareness of a certain title sometimes exists in the market,  even before the song begins getting airplay on the local stations.  Worship titles like ‘Oceans,’ ‘O Come To The Altar’ and others may get a spark from worship in a local church first, then being undeniable in local reaction for radio to not give those titles airplay.

Email Rob Wagman

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