April 4th, 2025, 10:58 AM
From Radio Insight:
I never want to schedule ?Hero? by Enrique Iglesias. It usually brings to mind 9/11, when it became a hit, often interspersed with audio from the tragedy. I am never quite sure whether to gradually slow down the radio station to keep the transition from being abrupt, or hope a jingle alone lets people forget they were just listening to ?Girls Just Want to Have Fun.?*
In general, the ?00s category is, if not the weakest moment of the hour on an AC station, the most challenging. For music and radio historians, the early ?00s don?t rankle quite as much as the beginning of previous decades. If you lived through the early ?80s or ?90s, you knew that Top 40 was down, but not likely out. Teen pop and Modern AC, twin pillars of Top 40?s comeback a few years ago, were essentially merged. Teen acts endured; they were just encouraged not to have fun.
Much of the early ?00s is wearing surprisingly well now ? back on the handful of ?90s/?00s throwback stations and in surprisingly deep CHR throwback categories. In that time, R&B, Hip-Hop, Linkin Park, and teen punk meant that CHR had something to play, if not necessarily something to own. But many of the highlights of the era aren?t the songs on AC.
When the ?00s roll around, you might hear ?Yeah? by Usher, or ?Here Without You? by 3 Doors Down, ?Family Affair? by Mary J. Blige or ?If You?re Gone? by Matchbox Twenty. ?Toxic? by Britney Spears or ?Bad Day? by Daniel Powter. ?Before He Cheats? by Carrie Underwood or ?I Hope You Dance? by Lee Ann Womack. It?s not that all of those aren?t songs people love that continue to earn their place on the radio. But half of them feel particularly savorless on a format increasingly imaged around ?feel good,? not just ?variety.?
Sometimes the contradictions are within the same artist?s catalog: ?Since U Been Gone? by Kelly Clarkson or ?Because of You.? ?This Love? by Maroon 5 or ?She Will Be Loved.? ?So What?? by Pink or ?Sober.? The Timbaland production can be ?Say It Right? by Nelly Furtado or ?Apologize? featuring OneRepublic.*
As TV and movie music supervisors start to exert their influence in the mid-?00s, you start to hear their contributions: ?How to Save a Life? by the Fray or ?Chasing Cars? by Snow Patrol. Those songs have hipper credentials and more passion ? if you haven?t thus far objected ?but people love these songs,? you probably are now. They?re easier to finesse than ?Hero.? If you played ?You?re Beautiful? by James Blunt 20 minutes earlier, they don?t feel different enough.
Depending on how your categories are structured (and if they?re chronological to begin with), your ?00s titles are likely helped by the transition from turgid pop to turbo-pop. To research music in the late ?00s/early ?10s was to see the always reliable ballads from Nickelback and Creed quickly evaporate over the course of a few tests, replaced by Katy Perry and Rihanna. For a moment, the music seemed to not just reflect an improved national mood but drive one.
Without disputing the legitimacy of individual songs, I feel the ?00s category dragging stations down more in my monitoring. Perhaps I?m encountering a station that swapped an ?80s position for a newer one, putting greater pressure on a category that didn?t feel deep to start with. Perhaps it?s also because some of those songs are making their way into Classic Hits. Or because they manage to come up near songs of even greater legitimacy but equal somberness from adjacent eras ? ?Iris? on one side, ?Someone Like You? on the other.*
If you find the ?00s category frustrating, it will likely morph as more of the rhythmic ?90s test in, perhaps helped by hearing those songs again elsewhere. Like ?No Scrubs? by TLC before it, ?1,2 Step? by Ciara won?t be a Mainstream AC record until it suddenly is. (Like ?No Scrubs? before it, some stations will probably play it with the rap ? some by choice, some by not knowing which version to add to the library.)
The ?00s could sound better on AC radio just by being better balanced. I?ve often thought that gold-based radio stations need not just tempo and energy codes for library titles, but also to take into account when songs are ?fun? or not. If you are of the belief that music scheduling should rely on rules or AI and less on a programmer?s individual judgment calls, I can tell you from recent listening that we aren?t there yet.*
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