A few fans

[Nickname]

Pet Shop Boys have recently passed 2 million followers on Spotify and 1 million followers on YouTube! Thanks to everyone who’s been listening to our music. xx

[petshopgrrl]

Nice! Has anyone been keeping track of how many more listeners have been added since the Nonetheless songs started coming out? It seems like there's been a lot of people discovering PSB recently (or rediscovering them *ahem* )

[Nickname]

Nice! Has anyone been keeping track of how many more listeners have been added since the Nonetheless songs started coming out? It seems like there's been a lot of people discovering PSB recently (or rediscovering them *ahem* )

I don't think they had been gaining many fans with Nonetheless, specially outside UK. The success of Nonetheless was to show British people that PSB are still on the music business together and make many old fans and some casual people think why they loved them when they were younger. It didn't happened since "Yes".

[innerxsanctum]

Nice! Has anyone been keeping track of how many more listeners have been added since the Nonetheless songs started coming out? It seems like there's been a lot of people discovering PSB recently (or rediscovering them *ahem* )

I don't think they had been gaining many fans with Nonetheless, specially outside UK. The success of Nonetheless was to show British people that PSB are still on the music business together and make many old fans and some casual people why they loved them when they were younger. It didn't happened since "Yes".

Hard disagree, for a couple of reasons:

- Minimal chances of gaining older fans: The likelihood of attracting new older fans is quite slim since that demographic was their target audience for decades. To truly assess whether they've gained new fans since Nonetheless came out, you need to focus on the younger demographic they're now trying to appeal to, as Angela mentioned, those under 30 years old.

People in that age group don't typically use Facebook or forums like this one. Instead, they frequent platforms like Tumblr, TikTok, sometimes Twitter, and maybe Instagram. The likelihood of encountering that demographic depends heavily on your algorithm. This disconnect makes it hard for older fans to fully appreciate how many new fans exist since they don't use the same apps or share similar algorithms with younger fans.

That said, there's clear evidence of growth. Before Nonetheless, PSB had 6.5 million monthly listeners on Spotify, and now they have 7,369,837. If you look further back to December 2020, they had only 4,666,923 monthly listeners. This steady increase strongly suggests the addition of new fans, including younger ones.

- The success of Nonetheless wasn’t about British recognition: I don't think the success of Nonetheless was aimed at reminding British audiences that PSB are “still a thing.” If that had been the goal, their lack of a BRIT nomination shows that the British public didn't really respond in that way. Spotify listener data tells a different story. As of today, the cities with the most listeners are:
• Santiago, Chile (209,026)
• São Paulo, Brazil (144,730)
• Mexico City, Mexico (129,682)
• London, UK (113,373)
• Buenos Aires, Argentina (82,144)

As the Boys themselves have mentioned, their demographic in South America is much younger than in Europe. This is largely because PSB became huge in Latin America during the Very era, not during their Imperial phase. Additionally, Nonetheless received notable international promotion. For example: Warner Japan with the album launch party that included a special video message from PSB for their Japanese fans; Warner Chile actively promoted the album online; Warner Spain collaborated with Los 40 Classic to host a listening party, etc.

All of that show a clear attempt to engage with younger and more international audiences, rather than focusing solely on British recognition.

[telys]

Nice! Has anyone been keeping track of how many more listeners have been added since the Nonetheless songs started coming out? It seems like there's been a lot of people discovering PSB recently (or rediscovering them *ahem* )

I don't think they had been gaining many fans with Nonetheless, specially outside UK. The success of Nonetheless was to show British people that PSB are still on the music business together and make many old fans and some casual people why they loved them when they were younger. It didn't happened since "Yes".

Hard disagree, for a couple of reasons:

- Minimal chances of gaining older fans: The likelihood of attracting new older fans is quite slim since that demographic was their target audience for decades. To truly assess whether they've gained new fans since Nonetheless came out, you need to focus on the younger demographic they're now trying to appeal to, as Angela mentioned, those under 30 years old.

People in that age group don't typically use Facebook or forums like this one. Instead, they frequent platforms like Tumblr, TikTok, sometimes Twitter, and maybe Instagram. The likelihood of encountering that demographic depends heavily on your algorithm. This disconnect makes it hard for older fans to fully appreciate how many new fans exist since they don't use the same apps or share similar algorithms with younger fans.

That said, there's clear evidence of growth. Before Nonetheless, PSB had 6.5 million monthly listeners on Spotify, and now they have 7,369,837. If you look further back to December 2020, they had only 4,666,923 monthly listeners. This steady increase strongly suggests the addition of new fans, including younger ones.

- The success of Nonetheless wasn’t about British recognition: I don't think the success of Nonetheless was aimed at reminding British audiences that PSB are “still a thing.” If that had been the goal, their lack of a BRIT nomination shows that the British public didn't really respond in that way. Spotify listener data tells a different story. As of today, the cities with the most listeners are:
• Santiago, Chile (209,026)
• São Paulo, Brazil (144,730)
• Mexico City, Mexico (129,682)
• London, UK (113,373)
• Buenos Aires, Argentina (82,144)

As the Boys themselves have mentioned, their demographic in South America is much younger than in Europe. This is largely because PSB became huge in Latin America during the Very era, not during their Imperial phase. Additionally, Nonetheless received notable international promotion. For example: Warner Japan with the album launch party that included a special video message from PSB for their Japanese fans; Warner Chile actively promoted the album online; Warner Spain collaborated with Los 40 Classic to host a listening party, etc.

All of that show a clear attempt to engage with younger and more international audiences, rather than focusing solely on British recognition.

I love it when the forum goes scholar. This science level of fandom is where we should always be. Sociology through the lens of PSB fandom.

[Nickname]

Nice! Has anyone been keeping track of how many more listeners have been added since the Nonetheless songs started coming out? It seems like there's been a lot of people discovering PSB recently (or rediscovering them *ahem* )

I don't think they had been gaining many fans with Nonetheless, specially outside UK. The success of Nonetheless was to show British people that PSB are still on the music business together and make many old fans and some casual people think why they loved them when they were younger. It didn't happened since "Yes".

Hard disagree, for a couple of reasons:

- Minimal chances of gaining older fans: The likelihood of attracting new older fans is quite slim since that demographic was their target audience for decades. To truly assess whether they've gained new fans since Nonetheless came out, you need to focus on the younger demographic they're now trying to appeal to, as Angela mentioned, those under 30 years old.

People in that age group don't typically use Facebook or forums like this one. Instead, they frequent platforms like Tumblr, TikTok, sometimes Twitter, and maybe Instagram. The likelihood of encountering that demographic depends heavily on your algorithm. This disconnect makes it hard for older fans to fully appreciate how many new fans exist since they don't use the same apps or share similar algorithms with younger fans.

That said, there's clear evidence of growth. Before Nonetheless, PSB had 6.5 million monthly listeners on Spotify, and now they have 7,369,837. If you look further back to December 2020, they had only 4,666,923 monthly listeners. This steady increase strongly suggests the addition of new fans, including younger ones.

- The success of Nonetheless wasn’t about British recognition: I don't think the success of Nonetheless was aimed at reminding British audiences that PSB are “still a thing.” If that had been the goal, their lack of a BRIT nomination shows that the British public didn't really respond in that way. Spotify listener data tells a different story. As of today, the cities with the most listeners are:
• Santiago, Chile (209,026)
• São Paulo, Brazil (144,730)
• Mexico City, Mexico (129,682)
• London, UK (113,373)
• Buenos Aires, Argentina (82,144)

As the Boys themselves have mentioned, their demographic in South America is much younger than in Europe. This is largely because PSB became huge in Latin America during the Very era, not during their Imperial phase. Additionally, Nonetheless received notable international promotion. For example: Warner Japan with the album launch party that included a special video message from PSB for their Japanese fans; Warner Chile actively promoted the album online; Warner Spain collaborated with Los 40 Classic to host a listening party, etc.

All of that show a clear attempt to engage with younger and more international audiences, rather than focusing solely on British recognition.

In Spain, one concert from Dreamland on a Galician festival was broadcast on Spanish TV and the best selling album of PSB in South America was Bilingual according to Chris. I don't think the lack of Brits nomination means something. They big exposure of PSB was in UK, not particulary amazing in the rest of the world apart from interviews on press.

[innerxsanctum]

I don't think they had been gaining many fans with Nonetheless, specially outside UK. The success of Nonetheless was to show British people that PSB are still on the music business together and make many old fans and some casual people think why they loved them when they were younger. It didn't happened since "Yes".

Hard disagree, for a couple of reasons:

- Minimal chances of gaining older fans: The likelihood of attracting new older fans is quite slim since that demographic was their target audience for decades. To truly assess whether they've gained new fans since Nonetheless came out, you need to focus on the younger demographic they're now trying to appeal to, as Angela mentioned, those under 30 years old.

People in that age group don't typically use Facebook or forums like this one. Instead, they frequent platforms like Tumblr, TikTok, sometimes Twitter, and maybe Instagram. The likelihood of encountering that demographic depends heavily on your algorithm. This disconnect makes it hard for older fans to fully appreciate how many new fans exist since they don't use the same apps or share similar algorithms with younger fans.

That said, there's clear evidence of growth. Before Nonetheless, PSB had 6.5 million monthly listeners on Spotify, and now they have 7,369,837. If you look further back to December 2020, they had only 4,666,923 monthly listeners. This steady increase strongly suggests the addition of new fans, including younger ones.

- The success of Nonetheless wasn’t about British recognition: I don't think the success of Nonetheless was aimed at reminding British audiences that PSB are “still a thing.” If that had been the goal, their lack of a BRIT nomination shows that the British public didn't really respond in that way. Spotify listener data tells a different story. As of today, the cities with the most listeners are:
• Santiago, Chile (209,026)
• São Paulo, Brazil (144,730)
• Mexico City, Mexico (129,682)
• London, UK (113,373)
• Buenos Aires, Argentina (82,144)

As the Boys themselves have mentioned, their demographic in South America is much younger than in Europe. This is largely because PSB became huge in Latin America during the Very era, not during their Imperial phase. Additionally, Nonetheless received notable international promotion. For example: Warner Japan with the album launch party that included a special video message from PSB for their Japanese fans; Warner Chile actively promoted the album online; Warner Spain collaborated with Los 40 Classic to host a listening party, etc.

All of that show a clear attempt to engage with younger and more international audiences, rather than focusing solely on British recognition.

In Spain, one concert from Dreamland on a Galician festival was broadcasted on Spanish TV and the best selling album of PSB in South America was Bilingual according to Chris. I don't think the lack of Brits nomination means something. They big exposure of PSB was in UK, not particulary amazing in the rest of the world apart from interviews on press.

I'll reply to each statement in order:

- I know O Son do Camiño was broadcast on Spanish TV. A lot of international Petheads managed to watch it live because we organized streaming parties, something no local fans decided to help us with. Besides that, both Brazil and Argentina also had livestreams for their respective shows. That's international reach and significant exposure.

- Why does it matter that Bilingual was the best-selling album in Latin America? We're talking about Nonetheless: the lead-up to the era, the era itself and the aftermath. What happened 30 years ago is irrelevant to what's happening now. I only mentioned the Very era as an example to highlight how South America's audience is younger compared to Europe's, nothing more.

- You don't think pop being swept under the rug for the big categories means anything? Some of the groups nominated have zero international reach or influence whatsoever, but they're there because they play rock. The Boys had an amazing year (an amazing period since lockdown ended, actually), and they were ignored again by their own country. Sorry, but to me, that absolutely means something.

- Of course they prioritized the UK market, those are the numbers that count for the charts (which you seem to care about a lot). Albums bought in Japan, Peru, Mexico, Australia, etc., don't count unless they're purchased through a UK store (like the Official Store). That doesn't mean they didn't heavily promote the album outside the UK. I've already mentioned some examples of Warner promoting the album, but beyond that, they gave interviews to Brazil, Chile, Argentina, Australia, Belgium, France, Germany, the USA, and Spain, and those are just off the top of my head. That's promo.

If you don't think that's significant exposure outside the UK, then that's a you problem. But why bother giving interviews to local media worldwide if the end goal wasn't to sell albums internationally?

[Nickname]

Hard disagree, for a couple of reasons:

- Minimal chances of gaining older fans: The likelihood of attracting new older fans is quite slim since that demographic was their target audience for decades. To truly assess whether they've gained new fans since Nonetheless came out, you need to focus on the younger demographic they're now trying to appeal to, as Angela mentioned, those under 30 years old.

People in that age group don't typically use Facebook or forums like this one. Instead, they frequent platforms like Tumblr, TikTok, sometimes Twitter, and maybe Instagram. The likelihood of encountering that demographic depends heavily on your algorithm. This disconnect makes it hard for older fans to fully appreciate how many new fans exist since they don't use the same apps or share similar algorithms with younger fans.

That said, there's clear evidence of growth. Before Nonetheless, PSB had 6.5 million monthly listeners on Spotify, and now they have 7,369,837. If you look further back to December 2020, they had only 4,666,923 monthly listeners. This steady increase strongly suggests the addition of new fans, including younger ones.

- The success of Nonetheless wasn’t about British recognition: I don't think the success of Nonetheless was aimed at reminding British audiences that PSB are “still a thing.” If that had been the goal, their lack of a BRIT nomination shows that the British public didn't really respond in that way. Spotify listener data tells a different story. As of today, the cities with the most listeners are:
• Santiago, Chile (209,026)
• São Paulo, Brazil (144,730)
• Mexico City, Mexico (129,682)
• London, UK (113,373)
• Buenos Aires, Argentina (82,144)

As the Boys themselves have mentioned, their demographic in South America is much younger than in Europe. This is largely because PSB became huge in Latin America during the Very era, not during their Imperial phase. Additionally, Nonetheless received notable international promotion. For example: Warner Japan with the album launch party that included a special video message from PSB for their Japanese fans; Warner Chile actively promoted the album online; Warner Spain collaborated with Los 40 Classic to host a listening party, etc.

All of that show a clear attempt to engage with younger and more international audiences, rather than focusing solely on British recognition.

In Spain, one concert from Dreamland on a Galician festival was broadcast on Spanish TV and the best selling album of PSB in South America was Bilingual according to Chris. I don't think the lack of Brits nomination means something. They big exposure of PSB was in UK, not particulary amazing in the rest of the world apart from interviews on press.

I'll reply to each statement in order:

- I know O Son do Camiño was broadcast on Spanish TV. A lot of international Petheads managed to watch it live because we organized streaming parties, something no local fans decided to help us with. Besides that, both Brazil and Argentina also had livestreams for their respective shows. That's international reach and significant exposure.

- Why does it matter that Bilingual was the best-selling album in Latin America? We're talking about Nonetheless: the lead-up to the era, the era itself and the aftermath. What happened 30 years ago is irrelevant to what's happening now. I only mentioned the Very era as an example to highlight how South America's audience is younger compared to Europe's, nothing more.

- You don't think pop being swept under the rug for the big categories means anything? Some of the groups nominated have zero international reach or influence whatsoever, but they're there because they play rock. The Boys had an amazing year (an amazing period since lockdown ended, actually), and they were ignored again by their own country. Sorry, but to me, that absolutely means something.

- Of course they prioritized the UK market, those are the numbers that count for the charts (which you seem to care about a lot). Albums bought in Japan, Peru, Mexico, Australia, etc., don't count unless they're purchased through a UK store (like the Official Store). That doesn't mean they didn't heavily promote the album outside the UK. I've already mentioned some examples of Warner promoting the album, but beyond that, they gave interviews to Brazil, Chile, Argentina, Australia, Belgium, France, Germany, the USA, and Spain, and those are just off the top of my head. That's promo.

If you don't think that's significant exposure outside the UK, then that's a you problem. But why bother giving interviews to local media worldwide if the end goal wasn't to sell albums internationally?

I think Nonetheless didn't even appear on the Top 40 of Media Traffic at least one week. I think previous albums could get that goal.

[innerxsanctum]

In Spain, one concert from Dreamland on a Galician festival was broadcast on Spanish TV and the best selling album of PSB in South America was Bilingual according to Chris. I don't think the lack of Brits nomination means something. They big exposure of PSB was in UK, not particulary amazing in the rest of the world apart from interviews on press.

I'll reply to each statement in order:

- I know O Son do Camiño was broadcast on Spanish TV. A lot of international Petheads managed to watch it live because we organized streaming parties, something no local fans decided to help us with. Besides that, both Brazil and Argentina also had livestreams for their respective shows. That's international reach and significant exposure.

- Why does it matter that Bilingual was the best-selling album in Latin America? We're talking about Nonetheless: the lead-up to the era, the era itself and the aftermath. What happened 30 years ago is irrelevant to what's happening now. I only mentioned the Very era as an example to highlight how South America's audience is younger compared to Europe's, nothing more.

- You don't think pop being swept under the rug for the big categories means anything? Some of the groups nominated have zero international reach or influence whatsoever, but they're there because they play rock. The Boys had an amazing year (an amazing period since lockdown ended, actually), and they were ignored again by their own country. Sorry, but to me, that absolutely means something.

- Of course they prioritized the UK market, those are the numbers that count for the charts (which you seem to care about a lot). Albums bought in Japan, Peru, Mexico, Australia, etc., don't count unless they're purchased through a UK store (like the Official Store). That doesn't mean they didn't heavily promote the album outside the UK. I've already mentioned some examples of Warner promoting the album, but beyond that, they gave interviews to Brazil, Chile, Argentina, Australia, Belgium, France, Germany, the USA, and Spain, and those are just off the top of my head. That's promo.

If you don't think that's significant exposure outside the UK, then that's a you problem. But why bother giving interviews to local media worldwide if the end goal wasn't to sell albums internationally?

I think Nonetheless didn't even appear on the Top 40 of Media Traffic at least one week. I think previous albums could get that goal.

You made a statement, I responded with arguments that directly contradicted it. Instead of addressing my points, you replied with something off-topic and failed to provide a single reason to support your claims. I'm not interested in opinions or assumptions, I'm presenting data and facts about things that have happened or are currently happening. I expect the same level of commitment and well-founded arguments in return.

I looked up the media traffic chart you mentioned, and you're telling me you expected them to compete against… The Weeknd, five Taylor Swift albums, and a bunch of other mainstream, highly popular artists within the age bracket that consumes the most music? The Cure made it onto the list when their album dropped, but that was inevitable, there was significant anticipation after such a long hiatus, regardless of the album's quality.

Quick advice: if you want the Boys to achieve more success, appear more on the charts, and gain greater mainstream recognition, then take action—especially in your own country. Organize with other fans, reach out to their record label to ask how you can help as a fan, plan bulk purchases, or collaborate with a local fan club (if there's one) to coordinate efforts. You can't wish for them to compete on the same level as Beyoncé, Ariana Grande, or Olivia Rodrigo (other names from the media traffic list you mentioned) while doing absolutely nothing to support them actively.

[PSBForTheMasses]

I always thought Introspective was the best selling album in South America. Didn't they top the best selling album lists in Brazil in 1988 along with South Africa? How come is Bilingual the best selling album when it barely entered top 15 even in Spain, which shows musical trends similar to Latin America? What am I missing here?

[Nickname]

I'll reply to each statement in order:

- I know O Son do Camiño was broadcast on Spanish TV. A lot of international Petheads managed to watch it live because we organized streaming parties, something no local fans decided to help us with. Besides that, both Brazil and Argentina also had livestreams for their respective shows. That's international reach and significant exposure.

- Why does it matter that Bilingual was the best-selling album in Latin America? We're talking about Nonetheless: the lead-up to the era, the era itself and the aftermath. What happened 30 years ago is irrelevant to what's happening now. I only mentioned the Very era as an example to highlight how South America's audience is younger compared to Europe's, nothing more.

- You don't think pop being swept under the rug for the big categories means anything? Some of the groups nominated have zero international reach or influence whatsoever, but they're there because they play rock. The Boys had an amazing year (an amazing period since lockdown ended, actually), and they were ignored again by their own country. Sorry, but to me, that absolutely means something.

- Of course they prioritized the UK market, those are the numbers that count for the charts (which you seem to care about a lot). Albums bought in Japan, Peru, Mexico, Australia, etc., don't count unless they're purchased through a UK store (like the Official Store). That doesn't mean they didn't heavily promote the album outside the UK. I've already mentioned some examples of Warner promoting the album, but beyond that, they gave interviews to Brazil, Chile, Argentina, Australia, Belgium, France, Germany, the USA, and Spain, and those are just off the top of my head. That's promo.

If you don't think that's significant exposure outside the UK, then that's a you problem. But why bother giving interviews to local media worldwide if the end goal wasn't to sell albums internationally?

I think Nonetheless didn't even appear on the Top 40 of Media Traffic at least one week. I think previous albums could get that goal.

.

I looked up the media traffic chart you mentioned, and you're telling me you expected them to compete against… The Weeknd, five Taylor Swift albums, and a bunch of other mainstream, highly popular artists within the age bracket that consumes the most music? The Cure made it onto the list when their album dropped, but that was inevitable, there was significant anticipation after such a long hiatus, regardless of the album's quality.

I expected a Top 40 only one week like previous albums from PSB but it looks too much.