Soon there will be other names like Tauren Wells and For King & Country that ride to the top of the charts as you're witnessing Lauren Daigle doing market to market, for two very good reasons.One being that the music cycles, which I first heard of years ago from a gentleman by the name of George Burns, but not the actor/comedian who played God in the 70's movies with John Denver, but one of the smartest radio people I have ever come across; then followed up brilliantly with clarity and consistency from multi-award winning consultant Guy Zapoleon. When the music cycle sits in the state of doldrums, which it is in, you will see your audience gravitating to songs of substance when they show up, because the rest of what they are consuming is cotton candy.The problem with this cycle is this.who can see what songs have that penetration power?I promise I'm not bragging, but I have always had that gift.
It was what launched WFBC, B93.7 in Greenville during the mid-90's when corporations all but gave up on the Top 40 format, but a little sound started by Toad The Wet Sprocket and the Gin Blossoms cracked the door open for bigger things to come and then Hootie and the Blowfish exploded onto the scene, the Goo Goo Dolls, Third Eye Blind and so many others. Tauren Wells opens for Lionel Richie-Mariah Carey TourAnd it wasn't just happening to artists with guitars, as it was during this time that rhythm artists like EnVogue and TLC, who had been around since the early 90's were about to experience success beyond their wildest dreams, opening the door for the temporary but explosive hits from Mo Ken Stef, and then the stability for years to come with Destiny's Child and others. All of this going on while, at the same time, Celine Dion and songs from the soundtrack of Titanic were topping charts everywhere. It would have been hard to keep the format straight except for the fact that you didn't have to. All of this could live together.When I launched WIBT (The Beat) in Charlotte in 2004, our format was at the end of the success of the above cycle and 98 Degrees, NSync and the Backstreet Boys were no longer on the menu for the appetite of America. It was time to reset, dig in and look to what could take us to the next stage. Diva Makes A DifferenceMariah Carey had a lot to do with that moment, in an important time when she was no longer with Columbia, but was trying something new with Def Jam.
I specifically recall a track that got blown off by most of the industry that worked like a charm in Charlotte, 'It's Like That,' produced by Jermaine Dupri with Fatman Scoop ad-libbing like he can and making it a massive hit that got missed. It was number one in Charlotte in sales and research for almost two months. It maxed out around #20 on the charts nationally and honestly, most of the reason was that Columbia was working as hard against that song, as Def Jam was for that song, but then something miraculously bigger happened next, and even that took a while to connect, but not in Charlotte as we added it out of the box as Erik Olesen can attest. 'We Belong Together,' was released and the same drag-your-feet mentality was happening, but this one would be Titanic-esque in its unsinkable massiveness; the soundtrack, not the ship, of course, and Mariah would succeed outside of the confines of Columbia setting a clearer path to what was to come in the pop format.And now, Lauren Daigle surprised the music industry with the crossing over of a mega-hit from an unlikely format with 'You Say.' It wasn't a surprise to me, in fact I wrote about this very song months before this day would come, in an article published October 2nd in All Access.
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