Drake is smashing all streaming records with his new album "Scorpion"
The numbers are exorbitant in their size. Scorpion counted this Saturday, June 20, the day after the release of the album, a total of 170 million plays on Apple Music and 132 million on the Swedish platform Spotify. The latter has also announced that the new album from the Toronto native has been heard more than 10 million times in one hour.
The estimate of sales equivalents for the first week is between 870,000 and 920,000, with between 275,000 and 300,000 of these sales coming from physical sales. Given the expected estimates and the number of listening on streaming platforms, Scorpion could be officially certified platinum very quickly. This impressive performance also enabled Scorpion to generate $ 1.5 million in copyright revenue, and only on the day of release, according to London-based Music Business Worldwide. The success is absolutely total, as expected.
Drizzy's back! "Scorpion" - the most anticipated album of the year.
Drizzy isn't playing. #ScorpionSZN going strong @Drake 📈🦂 pic.twitter.com/tS0tMFT2cS
— Spotify (@Spotify) June 29, 2018
Neon can look like a celebration until you notice it’s flickering—still bright, still dancing, but threatening to go out between blinks. That’s the atmosphere Nique The Geek builds on “Losing You,” an upbeat contemporary R&B / pop-R&B record that smiles…
Waveendz’s “Bandz on the Side” arrives with the kind of polish that doesn’t need to announce itself. Tagged as contemporary R&B with hip-hop in its bloodstream, the single plays like a quiet victory lap…
SamTRax comes through with “Still,” a contemporary R&B cut that moves like it’s exhaling—steady, warm, and quietly stubborn. The Haitian American producer has been stacking credibility through collaborations with names such…
Psychic Fever from Exile Tribe waste no time on “Just Like Dat”—they let JP THE WAVY slide in first, rapping with that billboard-sized charisma before the chorus even has a chance to clear its throat. That sequencing matters: it turns the single into a moving…
Libby Ember’s “Let Me Go” lives in that quiet, bruise-colored space where a relationship isn’t exactly a relationship—more like a habit you keep feeding because the alternative is admitting you’ve been played in daylight. She frames the whole thing…
Hakim THE PHOENIX doesn’t sing on “Behind The Mask” like he’s trying to impress you—he sings like he’s trying to unclench you. That matters, because the song is basically a calm intervention for anyone trapped inside their own head…
A good late-night record doesn’t beg for attention—it just rearranges the room until your shoulders start moving on their own. Femi Jr and FAVE tap into that exact chemistry on “Focus,” a chilled Afrobeats cut laced with amapiano momentum…
A breakup rarely detonates; it more often erodes—daily, quietly, and with an almost administrative cruelty. Matt Burke captures that slow collapse on Blowing Up In Slow Motion, a folk-acoustic single that takes his earlier stripped version and rebuilds…
Memory’s funny like that: it doesn’t replay the person, it replays the version of you who stood there, pretending you didn’t care. Jade Hilton comes back after nearly a year away with Carolina Blue, a chill alt-pop single that keeps the emotions…
A riptide doesn’t announce itself with a roar; it whispers, then tugs—softly at first—until you realize you’ve been drifting for miles. That’s the emotional physics powering Baby, Don’t Drown In The Wave, a 12-song album…