Moneyball Market Spotlight-Seattle

Published On May 2, 2018 » 295 Views» Feature Chart


If I were to launch a new CCM in Seattle today, while it wouldn’t be impossible to find a lane, it would take a while to gain ground with new audience by the way both KLove and KCMS are programmed.

While that is a compliment to the marketplace, KLove is more of the aggressor, while KCMS wields a playlist heavily weighted with recurrents.

There is a slight opportunity with Hillsong Worship’s “So Will I,” the only song in the Top 5 on the Moneyball Chart that isn’t in either stations’ heavy rotation.  Depending on the new station’s categories, this could be an opportunity for separation, although I believe with one song, it would be subtle at best.

As we’re seeing nationwide with sales of MercyMe’s I Can Only Imagine, still outselling many mainstream singles coast to coast, this song is still an EVENT song, in tandem with the movie, and even if used for short time as a gimmick, or a tool to fulfill current curiosity, this leaves a potential opportunity.

There are two places on this chart where Moneyball, KCMS and KLove agree, and that is on Cory Asbury’s “Reckless Love,” as a heavy, and then around number 20, Elevation Worship’s “Do It Again.”  

While MercyMe’s “Grace Got You,” has in short time found its way at the top of many station’s research, this is a rare occasion where amplified rotations would meet the need of the audience, and be right on time, instead of, as many stations fear, it being too soon.

The last opportunity comes in the area of knowing how long to keep a song in a current rotation, and based on local sales, consumption, streaming and research, there is good indication that Hillsong Worship’s What A Beautiful Name still has much life on the song, which does not equal with current market airplay.

Mosaic MSC’s “Tremble,” would also deserve a shot, in a medium rotation.

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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