ATLANTA MARKET SUMMARY
If I were to launch a NEW CCM station in Atlanta today, this would be my introductory playlist, not based on guessing in any capacity, but based on actual already existing market exposure, formulated by tracking existing market airplay, the ratio of local airplay to sales, in market video and audio streaming and if it exists for the market, TUNE IN and TUNE OUT percentages of specific titles, utilizing tools like MScore and BuzzAngle, which now has Shazam data for each market, including CCM’s Top Shazam’d songs for each market.
Because the cream rises to the Top, I create this chart based on separate columns for all of the data explained above, giving points for the Top 15 in any column. Notice, this chart is not too far from the CCM weekly chart you’ve grown to trust, except that Moneyball exposes songs that portions of your audience already know and LOVE.
When a song shows up in the Top 10 on this chart, it indicates that adding it to your playlist will be right on time to meet the songs’ already existing exposure that began getting traction before radio airplay.
So, the stand out song on the Atlanta chart this week is Hillsong United’s “So Will I,” not yet getting airplay at one of the CCMs in the market and getting little exposure at the other.
This chart clearly shows the pre-existing exposure of this song is already greater from outside influences than radio itself. If I launched a station in Atlanta today, this would be the title that gave my station the most legitimacy to new listeners trying me out for the first time.
One song doesn’t have the power to turn listeners into P1’s, but when you begin exposing these songs at the right time, while your competition sleeps, you will develop a consistency that propels your playlist to be stronger, earlier, playing less titles that end up not making it.
Ultimately, this is the key in programming radio, and always has been. When you add a new song, you want that song to go through all the categories from NEW, eventually to POWER or HEAVY, minimizing the songs you add that don’t end up making it.
The next great opportunity in ATL is Fear Is A Liar from Zach Williams, while both stations are giving great exposure, the song is clearly further along than the present airplay, so my new station would play this song at greater frequency.
I would join WVFJ on the TobyMac “I Just Need You” airplay, and lastly, I would add Elevation Worship’s “Do It Again,” in a light and new rotation, as I see the early indicators that made so many other songs go the distance.
While I don’t share the columns that create the totals on this chart, I will gladly share this information with ATL programmers, and for you, I will do this exercise specifically for your market as well.
-email Rob Wagman at firstname.lastname@example.org
MONEYBALL MARKET METHODOLOGY
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.