This statistic illustrates the share of Americans who listened to Jazz and Blues. As of September 2024, ** percent of 18 - 29 year old consumers do so in the U.S. This is according to exclusive results from the Consumer Insights Global survey which shows that ** percent of 30 - 49 year old customers also fall into this category.Statista Consumer Insights offer you all results of our exclusive Statista surveys, based on more than ********* interviews.

In Italy, from 2013 to 2019, the audience expenditure of jazz music concerts fluctuated. It reached its peak in 2015, when it amounted to roughly **** million euros before decreasing to **** million euros in 2019. However, its most drastic drop was recorded in 2020 when most concerts and events were cancelled to limit the impact of the COVID-19 pandemic outbreak.

We present the DTL1000 dataset, which was created in the “Dig That Lick” project and covers the history of recorded jazz with a sample of 1,750 improvisations extracted from 1,060 audio tracks. The dataset contains a mixture of collected (editorial metadata), manually annotated (structure, style), and automatically generated (main melody transcriptions of solos) data describing the recordings. The motivation for creating this dataset was the study of patterns in jazz improvisation, but there are many other applications for this resource. The accompanying paper presents the dataset creation process, data structure and contents with descriptive statistics and discusses the origin and process of the annotations, as well as general use cases and specifically the case of pattern analysis. These components and their combinations enable a number of use cases for jazz studies as well as algorithm development for music analysis. The DTL1000 dataset provides a rich resource for a variety of disciplines, and constitutes a contribution to a field where large datasets with rich annotations are scarce.The recorded legacy of jazz spans a century and provides a vast corpus of data documenting its development. Recent advances in digital signal processing and data analysis technologies enable automatic recognition of musical structures and their linkage through metadata to historical and social context. Automatic metadata extraction and aggregation give unprecedented access to large collections, fostering new interdisciplinary research opportunities. This project aims to develop innovative technological and music-analytical methods to gain fresh insight into jazz history by bringing together renowned scholars and results from several high-profile projects. Musicologists and computer scientists will together create a deeper and more comprehensive understanding of jazz in its social and cultural context. We exemplify our methods via a full cycle of analysis of melodic patterns, or "licks", from audio recordings to an aesthetically contextualised and historically situated understanding. The study of jazz requires insights from, and feeds knowledge back into, African American Studies, Anthropology, Art History, Literary Studies, Music, Philosophy, Political Science, and Sociology. A thorough analysis of a century's worth of jazz recordings, and the practices the music entails, is now possible thanks to recent advances in the computational analysis of audio content, or Music Information Retrieval (MIR), and to progress in processing large datasets and information management with Semantic Web technologies. The former enables the automatic description of audio recordings in terms of high-level or structural musical aspects, and the latter allows such analyses to be linked to discographic metadata, distributed over multiple sites, describing performers and composers, listeners, performance venues, and production and consumption factors, and general historic, cultural and geographic information from external resources. These technologies can now facilitate access to large collections by researchers from the many disciplines interested in the evolution of musical expression.

This dataset is associated with the paper “Trade-offs in Coordination Strategies for Duet Jazz Performances Subject to Network Delay and Jitter” and includes recordings of improvisations by jazz duos over a network. The related paper is published in Music Perception and is accessible at doi:10.1525/mp.2024.42.1.48

Introduction:

This dataset includes data from approximately four hours of live, improvised musical duo performances over a simulated network environment collected in Cambridge, United Kingdom between April-July 2022 as part of a doctoral research project. Data includes audio and video recordings of 130 individual performances, biometric data, and subjective evaluations and comments from the musicians. The primary aim of the project was to collect data via a novel performance capture and manipulation system for use in the empirical modelling of ensemble coordination strategies during networked music-making. This analysis is reported in Cheston, Cross, and Harrison (2023), "Trade-offs in Coordination Strategies for Networked Jazz Performances". Please refer to this publication for full details on the data collection procedure. Our codebook is hosted on GitHub and, in conjunction with this dataset, can be used to reproduce the analysis contained in the article.

The ten musicians shown in these recordings were recruited for their expertise in jazz improvisation. They were grouped into five duos consisting each of one pianist and drummer, with no musician performing in more than one duo. Participants were instructed to improvise together over a standard twelve-bar blues musical structure, but following a formula which required them to provide a clear and unambiguous pulse of continuous quarter notes. Varying amounts of network latency and jitter were simulated for each performance, consisting respectively of the minimum amount of delay applied to the live feedback a musician heard from their partner and the degree that this delay varied. The amount of latency and jitter applied to the performance is summarised in the file or directory name for each performance and is described in detail in the above publication. Note that latency and jitter conditions were presented in a random order for each duo.

Data collected includes:

• audio recordings for each performance, with and without delay, collected via direct line-in (MIDI, WAV).
• video recordings, collected via high-quality webcams (MKV, AVI).
• streams of the quarter note pulse provided by each musician in a performance (MIDI).
• muxed audio-visual recordings of both participants in each performance (MP4)
• accelerometer and photoplethysmography streams, collected from arm-worn devices (TXT, duos 3-5 only)
• questionnaire responses from performers, evaluating each condition (XLSX)
• ratings of performance quality from an unbiased sample of listeners, collected during an online perceptual study (CSV)

Repository structure:

NB: please see this section of the code documentation website for a full description of how to recreate the analyses and models created in the paper.

The files data.zip and data.z0* contain all data collected from the study, APART from the perceptual study stimuli & results. To open these files, download the data.zip file and all the corresponding volumes ending in .z0 and open the data.zip file using a tool for opening multi-part zip files, such as WinRAR. Do not try to open the files ending in .z0, otherwise you may get a message about the data being corrupted. Inside data.zip, you'll see the following folders and files:

• avmanip_output: the raw MIDI, audio, and video output from each performance
  • the subfolders are organised with a single folder per participant duo, experimental block, and condition.
  • avmanip_output\trial_1\Block 1\Condition 1 - 23 05 relates to the performance of the first duo of participants in the first session of the experiment, in the first condition they encountered, with 23ms of latency and 0.5x jitter.
• midi_bpm_cleaning: the cleaned MIDI files (quarter note onset positions)
  • the subfolders are organised similarly to the avmanip_output folder, using the same conventions.
• muxed_performances: the combined audio-video .mp4 files from each performance
  • these files are labelled in the format: duo_session_latency_jitter_keysfmt_drumsfmt.
  • muxed_performances\kdelay_ddelay\d1_s1_l23_j00_kdelay_ddelay.mp4 relates to the performance of the first duo of participants in the first session of the experiment, in the first condition they encountered, with 23ms of latency and 0.5x jitter, and with latency and jitter applied to both keys and drummer.
  • for more information on recreating these videos, see the linked section of the code documentation website.
• questionnaire_anonymized: the anonymized questionnaire responses given by participants, also contained in the supplementary material of the associated paper (see preprint).

Alongside data.zip and the data.z0* archives, there are two further loose files, Database View Participant - Dashboard.csv, Database View SuccessTrial - Dashboard.csv, which are the anonymized demographic and response data from the perceptual experiment, and one loose archive folder perceptual_study_videos.rar, which contains the stimuli used in the perceptual experiment.

To reproduce the analysis from the paper, all files should be unzipped into the \data\raw directory of the code repository created after cloning this from GitHub. For more detail and instructions on installation, see the section of the code documentation website linked here.

Usage:

These recordings of live, improvised duo performances are unattributed and anonymised as agreed with participants at the point of data collection. The musicians involved received a one-off, fixed payment for their time and had their travel expenses reimbursed, with funding provided by Cambridge Digital Humanities (project page). All participants consented to the use of their recordings for projects by the current authors and for these recordings to be shared with interested members of the music psychology community, with the intention of furthering academic research. The musicians did not intend that the recordings be used for commercial, artistic, or entertainment purposes, and such use is not permitted.

Citation:

If you use this dataset in your research, please cite the paper it relates to:

@article{10.1525/mp.2024.42.1.48,
  author = {Cheston, Huw and Cross, Ian and Harrison, Peter M. C.},
  title = "{Trade-offs in Coordination Strategies for Duet Jazz Performances Subject to Network Delay and Jitter}",
  journal = {Music Perception},
  volume = {42},
  number = {1},
  pages = {48-72},
  year = {2024},
  month = {09},
  issn = {0730-7829},
  doi = {10.1525/mp.2024.42.1.48},
  url = {https://doi.org/10.1525/mp.2024.42.1.48},
  eprint = {https://online.ucpress.edu/mp/article-pdf/42/1/48/833292/mp.2024.42.1.48.pdf},
}

Contact:

Huw Cheston - @huwcheston - hwc31@cam.ac.uk

In 2018, hip-hop and rap music accounted for 21.7 percent of total music consumption in the United States, more than double the percentage of R&B music sales. Other highly popular genres included pop and rock music, whereas just 1.1 percent of all music sold in the U.S. in 2018 was jazz.

Why are some genres more popular than others? 

Whilst music is a highly subjective medium in terms of the listener’s taste and preferences, the top genres in terms of consumption tend not to fluctuate heavily. The catchiness and familiarity of pop music is appealing to a wide range of music fans. Pop songs tend to be easy to listen to and remember, usually feature simple, snappy lyrics to avoid polarizing listeners, making pop overall less divisive than other genres because it is designed to generate mass appeal.

Conversely, religious music by its very nature is a niche genre in that it encompasses, describes or advocates certain beliefs, giving it the equal ability to alienate some listeners while appealing enormously to others, depending on their religious stance.

The hit genre of 2018 was hip-hop and rap, a music style notorious for its tendency to divide listeners. Singer Drake arguably influenced sales within the genre that year, with ‘Scorpion’ topping the list of best-selling albums in the United States based on total streams and ‘Scary Hours’ also making the top ten. Drake came tenth in the list of most successful music tours in North America, with revenue from his live concerts amounting to 79 million U.S. dollars, and second in the ranking was Jay-Z and Beyoncé with 166.4 million dollars in revenue, artists whose music is also strongly aligned with the rap and hip-hop genre.

Other artists in the genre who achieved significant influence in 2018 include Kendrick Lamar, Childish Gambino, Cardi B, Travis Scott and Post Malone, many of whom released songs that year which garnered hundreds of millions of audio streams. The sheer amount of hip-hop and rap music flooding the music industry has had a profound effect on the genre’s popularity, and musicians in the category tend to be prolific songwriters and active social media users. Equally, artists in the genre are arguably passionate about creating music which challenges social norms in a way that rock music has always been famous for.

In Italy, during 2019, the greatest number of admissions and the highest attendance of jazz music concerts was reported in July. In particular, in this month, there were over *** thousand admissions and an audience of over ** thousand.

Blues Harps Market Outlook

The global blues harps market size was valued at approximately USD 200 million in 2023 and is expected to reach around USD 320 million by 2032, growing at a compound annual growth rate (CAGR) of 5.2% during the forecast period. This growth is primarily driven by the increasing popularity of blues music and its influence across various music genres. The resurgence of interest in traditional and folk music, coupled with the global expansion of music festivals, has significantly contributed to the growing demand for blues harps. Additionally, the rising trend of musical education and the incorporation of musical instruments in educational curriculums have further bolstered this market's growth potential.

One of the major growth factors propelling the blues harps market is the deep-rooted cultural significance and historical legacy of blues music, which continues to captivate new generations. The blues genre, with its expressive and emotive allure, has seen a revival among musicians and enthusiasts alike. This resurgence is not only limited to traditional blues but also extends to its fusion with other musical styles, such as rock, jazz, and folk. The versatility and compact size of blues harps make them an accessible entry point for new musicians, thereby driving their demand in both amateur and professional circles. As more artists experiment with blending sounds, the demand for blues harps as a foundational instrument continues to rise.

Technological advancements and innovations in manufacturing processes have also played a crucial role in driving the blues harps market's growth. Modern manufacturing techniques have improved the quality and durability of blues harps, making them more appealing to a wider audience. The use of advanced materials has enabled manufacturers to produce harps that offer superior sound quality and enhanced playability. Moreover, the growing trend of customization and personalization in musical instruments has led to the availability of blues harps that cater to specific musician preferences, further fueling market growth. These advancements have made it possible for musicians to explore new soundscapes and push the boundaries of traditional blues music.

Another critical growth factor is the increasing number of live performances and music festivals around the globe, which provide a platform for blues musicians to showcase their talents. These events not only promote the blues genre but also encourage budding musicians to learn and master the blues harp. With the rising popularity of these events, there is a growing demand for high-quality blues harps that can deliver exceptional sound in live settings. Additionally, the proliferation of online music platforms and social media has enabled musicians to reach a wider audience, thereby increasing the visibility and appeal of blues harps to a global demographic.

Regionally, the blues harps market is witnessing significant growth across various parts of the world. North America, with its rich blues heritage, remains a dominant market, driven by the presence of numerous music festivals and a strong base of professional musicians. Europe is also experiencing a notable increase in demand, as blues music gains traction among diverse audiences. In the Asia Pacific region, the market is expanding rapidly due to the growing interest in Western music and the increasing number of music enthusiasts. The Middle East & Africa and Latin America are also showing promising growth, supported by the rising influence of global music trends and the increasing accessibility of musical instruments.

Product Type Analysis

The blues harps market is segmented into various product types, including diatonic, chromatic, tremolo, and others. Diatonic harps are the most popular type, known for their simple design and iconic bluesy sound, which makes them a favorite among blues musicians and beginners alike. These harps are designed to be played in a specific key, which allows musicians to produce the distinctive bending notes that are integral to blues music. The affordability and ease of learning associated with diatonic harps have made them a staple in many musical settings, further driving their demand in the market.

Chromatic harps, on the other hand, offer a broader range of notes and are equipped with a button-activated slide mechanism that allows musicians to play all the notes of the chromatic scale. These harps are favored by jazz musicians and those seeking to explore a wider musical repertoire. Although they are generally more expensive than diatonic harps, their versatilit

Data on the distribution of streamed music consumption in the United States showed that rock music accounted for ** percent of all on-demand audio and video streams in 2021. The leading genre by streams was, as is almost always the case, R&B and hip-hop. Most streamed artists The demand for streamed audio content is growing year by year, and in 2021, the number of paid music streaming subscribers in the United States exceeded ** million. So which musicians are topping the digital charts? Based on the most recent data, The Weeknd, Justin Bieber, and Ed Sheeran were the top artists on Spotify based on monthly listeners in 2022. The top-10 ranking was visibly dominated by pop singers and bands that year, although Doja Cat and Eminem were the acts that amassed the largest monthly audience within the R&B and hip-hop genre. Keeping it classical A closer look at the distribution of music consumption in the U.S. by genre and format reveals that fans of jazz, rock, and classical music were among the most likely to listen to artists via physical formats. Between ** and ** percent of surveyed respondents stated that they listened to these genres via physical albums, which was above the industry average. One reason for this sense of audio nostalgia could be that these genres are particularly popular with listeners from older, less tech-savvy generations.

The global acoustic saxophone market, valued at $209.5 million in 2025, is projected to experience steady growth, driven by a Compound Annual Growth Rate (CAGR) of 5.2% from 2025 to 2033. This growth is fueled by several key factors. The enduring popularity of jazz and classical music, coupled with increasing participation in school band programs, sustains demand for acoustic saxophones. Furthermore, a rising interest in learning musical instruments, particularly among younger demographics, contributes to market expansion. The presence of established brands like Conn Selmer, Yamaha, and Yanagisawa, along with emerging players, fosters competition and innovation, resulting in a diverse range of instruments catering to various skill levels and budgets. However, the market faces challenges such as the increasing popularity of digital alternatives and the relatively high cost of high-quality acoustic saxophones, which can limit accessibility for some aspiring musicians. Despite these restraints, the market's positive trajectory is anticipated to continue. The growing availability of online music education resources and the rise of online instrument retailers are expanding market reach. Furthermore, ongoing innovation in saxophone design and manufacturing—including improvements in materials and sound quality—contributes to sustained consumer interest. The market segmentation, though not specified, likely includes professional, student, and beginner-level instruments, each with its own price point and target audience. Geographical distribution is expected to be skewed toward developed regions with strong musical traditions and established music education systems, although emerging markets in Asia and South America may show increasing adoption rates in the forecast period. Overall, the acoustic saxophone market presents a stable investment opportunity with potential for continued growth driven by enduring demand and sustained industry innovation.

According to Cognitive Market Research, the global music festival market is valued at USD 2158.2 million in 2024 and is expected to grow at a CAGR of 24.00% from 2024 to 2031.

In 2024 North America held the major market of over 40% global revenue share; market size was USD 863.28 million and will increase by an annual compound growth rate (CAGR) of 22.2% up to 2031.
More than 30% of the global market size of USD 647.46 million still came from Europe.
Asia Pacific accounted for a market of around 23% global revenue share with the 2024 market size reaching USD 496.39 million. Growth at this compound annual growth rate (CAGR) will take it up over time to 26.0% between 2024 and 2031
By market share in 2024 Latin America amounted to more than 5% of the total revenue, market size was USD 107.91 million and it will expand annual growth rate CAGR by 23.4% over 2024-2031.
Although holding a much smaller share in 2024 Middle East and Africa was still worth around 2% of the total revenue. The market size was USD 43.16 million and will increase by an expected annual compound growth rate (CAGR) in at 23.7%.
The part predicting the highest market-share-gains in the music festival market is ticket sales.

Market Dynamics of Music festival market

Key Drivers for Music festival market

Rising Demand for Live Music Experiences Driving Attendance Surge

The growing demand for live music experiences is fueling impressive rises in the number of people attending music festivals, insiders say. In an era of digital content creation, real-world immersive experiences and authenticity are what audiences yearn for. This is something that music festivals just happen to supply. For fans, these gatherings afford a unique opportunity to meet face-to-face with their favourite artists, enjoy diverse musical performances and soak up a festive atmosphere. Then, too, music festivals as social get gatherings and cultural events gained further numbers. As social media propagates these festivals, stirring the pot through spin and excitement, this desire to be part of a shared community experience continues driving sales for concert tickets and festival organizer revenue growth.

Expanding Music Genre Diversity Catering to Diverse Audience Preferences

With the increasing variety of music genres represented at festivals, another important factor driving growth in the festival market comes into play. The pre-established and sometimes exclusive terrain of rock or pop has given way to generations of organizers keen to sample any sound, including electronic music (EDM), hip hop, jazz and world music among others. This democratization attracts audiences from different socio-economic brackets, ethnic backgrounds and regions around the world. So a broad and multifaceted offering appeals to a larger concert-going public that appreciates costlier lines but which as yet has no name. This enables festival organizers to take advantage of the niche market and promotes an atmosphere welcoming all musical tastes, driving ticket sales in the end to better enjoy events for everyone.

Restraint Factor for the Music Festival Market

Complex Planning and Permitting Requirements: Organizing large-scale music festivals necessitates the acquisition of numerous permits, licenses, and collaboration with various authorities. This process encompasses crowd control, health and safety measures, and traffic management, rendering the execution of events both time-consuming and resource-intensive.

Challenging Regulatory Landscape: Festival organizers are required to navigate a complex array of local regulations, which include noise limitations, environmental guidelines, and differing licensing requirements. These legal intricacies heighten administrative responsibilities and expose organizers to potential financial penalties if compliance is not meticulously maintained.

Unpredictable Disruptions and External Risks: Festivals are particularly susceptible to unexpected challenges such as adverse weather conditions, political instability, or public health crises like the COVID-19 pandemic. Such factors can lead to abrupt cancellations, financial setbacks, and diminished consumer trust.

Rising Insurance and Security Costs: In light of increasing concerns regarding crowd safety, threats of terrorism, and liability matters, insurance costs for music festivals have escalated. Organizers are also compelled to allocate greater re...

According to a study carried out by Deezer in May 2018, the most popular genre among Americans was rock music, with 56.8 percent of respondents stating that they were currently listening to music within this genre as of the date of survey. Pop and country music were the second and third most popular genres respectively, and 20.2 percent of respondents said they preferred jazz.

The appeal of rock and pop music

The broad appeal of rock and pop music can in part be attributed to how both genres often blend seamlessly into one another and influence other music styles. Heavy rock bands like Led Zeppelin and AC/DC are often more divisive than melodic rock groups like Bon Jovi or Genesis, just like pop music which strays into R&B territory or is better associated with hip hop or EDM. Each have their appeal to fans with different tastes, and the versatility of rock and pop (and music which combines the two) allows such music to reach adults of all ages and backgrounds.

Rock albums also account for the majority of vinyl album sales in the United States, with pop albums ranking second. However, although the resurgence of vinyl has to a certain extent been reliant on the rock genre, this is not the case when it comes to digital music consumption. Rap and hip hop accounted for 22.8 percent of music video streams in the U.S. in 2018, whereas for rock music videos the share was just 7.1 percent. Rock fared similarly when it came to audio streams, once again losing out to rap and hip hop. Taking such data into consideration, it would seem that rock music fans are generally more drawn to traditional formats and are less inclined to enjoy their music via streaming platforms.

Violas Market Outlook

The global market size for violas was valued at approximately USD 1.2 billion in 2023 and is projected to reach USD 2.1 billion by 2032, growing at a compound annual growth rate (CAGR) of 6.1% during the forecast period. The increasing interest in classical music and the rising popularity of string ensembles among both professional and amateur musicians are key drivers propelling the growth of the violas market. Additionally, the expansion of music education programs and increased accessibility to high-quality musical instruments have further fueled market growth.

The growing interest in classical music has been a significant factor driving the viola market. As orchestras and chamber music ensembles feature violas prominently, interest in learning the instrument is rising among music students. This trend is further supported by the increasing number of music festivals and competitions that highlight string instruments like violas, which encourage both young and seasoned musicians to explore and invest in these instruments. Additionally, the increasing availability of music scholarships and grants for aspiring musicians has also spurred demand for violas, as more students can afford quality instruments and private lessons.

Technological advancements have also played a crucial role in the development of the violas market. The production of violas has seen improvements in terms of materials used and craftsmanship techniques, resulting in instruments that offer better sound quality and durability. Innovative features in electric violas, such as digital effects and amplification options, have also attracted musicians who are eager to experiment with new sounds. Furthermore, the integration of online learning platforms and virtual music lessons has made it easier for individuals to learn the viola, thus expanding the market base to include a broader audience interested in picking up the instrument as a hobby or a professional pursuit.

Additionally, the growing cultural exchange and globalization have led to an increased appreciation for diverse musical genres and instruments, including the viola. Musicians are increasingly incorporating violas into various musical styles beyond classical, such as jazz, folk, and contemporary popular music, which broadens the instrument's appeal. This diversification in application has opened up new opportunities for viola manufacturers to market their products to non-traditional segments, thereby expanding their consumer base.

Regionally, Asia Pacific is expected to witness the highest growth rate in the viola market. The region's large population, coupled with increasing disposable incomes and a burgeoning interest in Western classical music, are primary contributors to this growth. Additionally, countries like China and India are investing significantly in music education, which is anticipated to further drive demand for violas. In contrast, North America and Europe continue to hold substantial shares of the market due to their long-standing traditions in classical music and well-established infrastructures supporting music education and performance.

Product Type Analysis

The viola market can be segmented into acoustic violas and electric violas, each catering to different preferences and needs of musicians. Acoustic violas, known for their rich, warm sound, remain the most popular choice among classical musicians and educational institutions. They are traditionally crafted from quality woods such as maple and spruce, and their construction emphasizes sound projection and tonal quality. The demand for acoustic violas is particularly strong among professional musicians and students, who often seek high-quality instruments that can produce nuanced performances suitable for orchestras and solo recitals.

On the other hand, electric violas are gaining popularity due to their versatility and the unique opportunities they offer in terms of sound modulation and amplification. These instruments appeal to musicians interested in exploring various genres beyond classical music, such as rock, jazz, and experimental music. Electric violas often come equipped with built-in pickups and electronic features that allow for integration with amplifiers and effects pedals, offering a range of sound possibilities that are unattainable with traditional acoustic violas. This broadens the market to include musicians who wish to blend classical string techniques with contemporary music styles.

The rise of electric violas has also been supported by advancements in digital technology that

Physical albums accounted for less than ** percent of music consumption in the United States in 2021. While fans of jazz or rock music were most likely to listen to artists via physical formats, the vast majority of listeners across all genres enjoyed their favorite tracks through on-demand streaming services. Stream it, just stream it A closer look at the distribution of streamed music consumption reveals that R&B and hip-hop is the most streamed music genre in the United States. Roughly ** percent of all streams came from this genre in 2021, which can at least partially be explained by its popularity among young and digitally savvy listeners. The overall demand for streamed audio content is growing rapidly each year, and in 2021, the number of paid music streaming subscribers in the U.S. surpassed a record ** million. That same year, nearly one trillion music streams were amassed in the United States alone, signaling a bright future for services like Spotify or Amazon Music. So which artists were audiences listening to? Most popular songs In 2021, "Levitating" by Dua Lipa was the most popular song in the U.S. based on audio streams. The track from her second studio album "Future Nostalgia" was streamed a total of *** million times while also ranking among the top three best-selling digital music singles worldwide. Looking at the artists with the most streams overall that year, Olivia Rodrigo topped the charts with a combined **** billion streams for her songs "drivers license" and "good 4 u".

The leading radio station in Detroit in ************ was WRIF-FM. In that month, the station had a rating of ***, which means that *** percent of radio listeners in Detroit tuned into RIF-FM for at least five minutes in each quarter hour period.

A regular features in the top ten, WRIF-FM (rock) is owned by Beasley Broadcast Group, the owner of multiple radio stations across the United States. Detroit’s top radio stations also include sports, country and adult contemporary formats, suggesting a diverse radio audience.

Radio and diversity

Despite often struggling to compete with non-traditional media, radio undeniably has a lot to offer the consumer. Data shows that radio appeals to listeners of all ages, with younger generations preferring rock, rhythmic and top 40 stations and older adults making up the audience share for the likes of jazz, gospel and news/talk formats. Equally, the audience share for country radio stations as well as classic rock and Christian formats varied less across age groups.

Whilst radio offers variety in its content, the same is not true of its workforce. Calls for greater diversity in employment have grown louder and louder in recent years, but the vast majority of the radio news workforce in the U.S. is still Caucasian, with just tiny percentages of African American, Hispanic, Asian American and Native Americans employed in the industry. This is also the case with radio news directors. There is also a strong gender bias in the radio industry – female review writers for radio are in the minority, more so than in other media outlets.