| ***
Ist ein junger australischer Singer-Songwriter, der mich hier zwischendurch etwas an Sam Smith erinnert, 3*… |
| ***
Average track. I can see this doing well though. |
| ****
Decent. |
| ***
▒ Word na 3x luisteren ook niet zo echt onderste boven van dit plaatje uit de herfst van 2015 door de nu inmiddels 19 jarige Australische zanger, producer, songschrijver en muzikant: "Joel Goncalves", alias: "Joel Adams" !!! Krap 3 sterren ☺!!! |
| ****
gut |
| ****
...das muss dieser junge Australier bestimmt nicht vielen Mädels sagen - niedliches Gesäusel -...+3.5 |
| ****
austauschbar - aber stört nicht weiters |
| ****
...aufgerundete vier... |
| ****
Möchte wetten, dass der Song auch in Europa zum Hit wird. Ein Hinhörer, dazu ist er noch ein hübscher junger Mann, der noch Unschuld, Unverbrauchtheit und Verträumtheit ausstrahlt mit seinen blauen Babyaugen. Das garantiert eine enorm wachsende weibliche Fanschar.<br>Das Video verleiht ihm noch den Avatar-Nimbus des Naturverstehers. <br>Der Song an sich, ist wirklich eine ziemlich durchschnittliche Ballade, die aber durch den beschwörenden Anfang punktet. |
| ****
En dan komt dit Australisch zangertje om de hoek kijken en scoort uit het niets een minihitje in ons land. Aardig popplaatje hoor, maar het wordt nergens echt catchy. Ik zie Joel Adams (wat overigens zijn moeders achternaam is; zijn Portugese geboortenaam Goncalves is volgens hem moeilijk te spellen en uit te spreken) vooralsnog geen potten en pannen breken. Misschien heb ik het mis, maar dan moet hij wel met iets veel beters komen dan dit. |
| ****
Goed uitziend knulletje, aardig plaatje |
| ******
Sounds very peaceful. Love the humming part. |
| ****
...gut... |
| ** I am fully aware I spent more time than anyone should researching this review.<br><br>Everything about this whole rollout is interesting, unusual or suspicious except for the song. That's just run-of-the-mill Sam Smith with the big 3 words replaced by another 3 words that mean the same thing.<br><br>What's odd is the way this song has been promoted. From what I know, Joel was a prettyboy teenager who auditioned for the Australian X Factor in 2012, and despite a fair amount of hype in his promo package + overwhelming judge support, didn't even make it past bootcamp. As is often the case there, he managed to amass about 1 million fans on Facebook before he even released his debut single because that's how that works. This debut single was released late last year and got a bit of a push on Australian radio becoming a minor chart hit, held back by the fact that as is often the case with radio-pushed songs, hardly anyone was streaming it.<br><br>Now, Joel is not signed to a major label, but by some sheer force of demand, found himself on pretty much all the top Spotify playlists that fit the bill (ie, not hip hop/dance). It is through this that the song has stormed to huge 'popularity', receiving more than 1 million streams a day for the last 2 months, reaching the top 50 in places like the US, the UK & Germany. This all kickstarted shortly after he did a quick promo tour in Sweden which of course is where Spotify was founded.<br><br>This success is bizarrely isolated. "Please Don't Go" has been played over 110 million times on Spotify, but only 32 million times on YouTube. That deficit is actually not very out of the ordinary, but 2 months ago according to his own social media post, it was 25 million on YouTube and 31 million on Spotify. Not only have the Spotify plays increased 10 times as fast in that period, but given the release date, the video has actually slowed down in gaining views, that's despite having subsequently charted in several countries since then. To add to this tale, a month ago he tweeted a poll suggesting that more people have discovered him from YouTube than Spotify https://twitter.com/JoelAdamsMusic/status/759082302047555584 Probably not true, but shows who is actually making an impact and isn't just a number. Funnily enough, his tweets in the last couple of months have been averaging less likes/RTs than before the song was 'a hit', though that's possibly because he retweets all praise currently.<br><br>What strikes me as odd about the whole thing is the general tone & attitude on display. It's not far off stuff I've seen before, artists getting their first hit are generally pretty excited about it and often do watch the way they climb up the ladder. I can't say I've seen anyone as attentative and blunt as Joel though. All his chart related social media posts have a weird tone about them, almost robotic. For someone who wrote and composed a song on his own, he sure uses 'we' a lot. I think what makes it more weird is the nature of the popularity. While not necessarily obscure otherwise, the success does feel contrived by way of being stuck on popular playlists and letting disengaged playlist shufflers do the work. It seems as if he knows this because he never tweeted asking people to stream the song at all between February and April, but did in May a few days before debuting in the Spotify top 200 in Sweden (it went straight in the top 120, as you do). Since then it's been a barrage of telling everyone to interact with the song in any way that pushes it up the charts, even if it's mostly disengaged people doing most of the legwork. A brief selection of things here http://i.imgur.com/9FIaHTr.png (side note: I really can't understand why anyone would market themselves as 'blue-eyed soul', which literally means a white person making soul music. I suppose it sounds more sophisticated).<br><br>What I get from the posts is that this is a weird example of trying to be popular, not by force of personality, but by way of artificial popularity. Because in a way, everyone has a trough, where they will not listen to anything unless it's at least a certain level of popular...or it's by their friends, whatever. If you don't think that's true, look at what you're listening to and I'm fairly certain that hundreds, if not thousands, if not hundreds of thousands of other people have listened to it, likely before you even did. Getting "Please Don't Go" up the charts is a way of making it reach people who won't reach themselves. Whether or not it's a success depends on how you look at it. Would you be happy if for every 500,000 people that listen to your song, about 100 pay money for it? Even the most recent winner of The Voice had a better ratio than that.<br><br>If you're reading this Joel or representatives (I wouldn't put it past them), know that you better have an ace up your sleeves. People don't come to shows to see the guy who tweets market research polls and chart updates for their equally personality-free song. You have an audience, so rather than just trying to slowly bolster it through whatever means necessary, cherish it and let it fluorish on word of mouth. Otherwise a dead-end will hit very soon when all the stats don't line up with demand. I still do not think very highly of the song. |
| ***
ganz ok... |
| ***
An empty and bland song. |
| ****
Finde ich jetzt wiederum gar nicht. Ein schöner Popsong, den ich in den Ferien auch einige Male am Radio gehört hatte. Wird wohl nicht der grosse Hit, aber schlechter als Shawn Mendes ist er auch nicht. Abgerundete 4. |
| ****
Geht noch in Ordnung.*4- |
| *****
Gefällt mir auf Anhieb. |
| ****
Bittersweet and ... yes, decent. |
| ****
Gefiel mir ganz gut und ich mag es heute auch noch :) |
| ****
<br>Optisch ist dieser Joel Everybody's Darling", aber musikalisch hat er hier nicht so viel drauf. Der Song war in UK nur #50, aber 21 Wochen in den Charts. 4- |
| ****
war eigentlich gar nicht so übel |
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