Holly Valance’s new single, “Kiss Kiss (XX) My Arse,” has surged to the top of the iTunes charts following its release, a collaboration with Australian politician Pauline Hanson. The track, a reimagined version of Valance’s 2002 hit “Kiss Kiss,” features provocative lyrics targeting marginalized groups, including transgender individuals. Despite its chart-topping status on iTunes, industry experts caution that this achievement may not signify a substantial impact in the broader music landscape.
While the song currently holds the number one position on iTunes, this ranking reflects only digital purchases and not streaming activity on platforms such as Apple Music or Spotify. According to industry insiders, the number of downloads required to reach the iTunes chart can be quite low. One anonymous source suggested that as few as “a couple of hundred downloads” could propel a song onto the iTunes list, contrasting with the streaming charts where significantly higher numbers are necessary.
Radio presenter Kent “Smallzy” Small explained that achieving a top position in streaming charts often demands around 200,000 listens within a day, while iTunes may require around 5,000 purchases. He noted that the transparency of streaming data, like that provided by Spotify, is lacking in the iTunes system.
The release of “Kiss Kiss (XX) My Arse” coincides with the promotion of Hanson’s animated feature film, A Super Progressive Movie, which is being screened for one night in each capital city of Australia, and is also available for streaming as a one-off purchase through the film’s website. Following the announcement, the Facebook page for Pauline Hanson’s Please Explain urged followers to download Valance’s single, suggesting that if enough copies were sold, the song might be played on radio stations nationwide, including the prominent station Triple J.
Despite the call to action, radio stations are not obligated to play songs based solely on their iTunes rankings. The official ARIA weekly charts, which will be released on Friday, factor in digital and physical sales along with streaming data. ARIA confirmed that a single digital purchase is valued at the equivalent of 445 streams on ad-supported platforms or 200 streams on premium subscription services. This calculation emphasizes the difference in consumer intent between purchasing a song and merely streaming it.
Dr. Tim Byron, a music expert from the School of Psychology at the University of Wollongong, noted that shifting listener behavior makes it challenging for one-off songs to penetrate the official charts. Established mainstream artists often maintain their presence in the top 100 for extended periods, making it difficult for newer entries to gain traction.
The success of Valance’s single on iTunes appears to be a strategic move aimed at generating media attention rather than indicating a significant comeback in the music industry. Valance is not alone in this approach; following a recent social media stir involving Brooklyn Beckham‘s family drama, former Spice Girl Melanie Brown experienced a revival in the UK charts with her 2001 track “Not Such An Innocent Girl.” The surge in interest stemmed from fans rallying to support her amidst public scrutiny.
Dr. Byron referenced a historical example of a politically charged song achieving unexpected success in Australia. In 1991, Tomisla Ivcic’s anti-war song “Stop the War in Croatia” reached the top 10, bolstered by community support for medical aid in warzones. This illustrates how targeted campaigns can drive sales among specific audiences.
Small remarked that while Valance’s song may reflect a passionate fanbase, it does not necessarily represent broader mainstream tastes. He pointed out that chart manipulation tactics, such as bundling album sales with concert tickets, are not uncommon in the music industry. These practices aim to enhance publicity for artists and their songs.
As of now, “Kiss Kiss (XX) My Arse” is also charting outside of Australia, ranking 143rd in Ireland, 194th in the UK, and 9th in Qatar. Valance’s transformation from a former actor to a vocal right-wing commentator has drawn connections to the politics of figures such as Donald Trump and Nigel Farage.
While the potential for the song to be played on commercial radio exists, Dr. Byron cautioned that politically divisive tracks pose risks for radio stations, as they require listener retention through ad breaks. The provocative nature of Valance’s song may alienate a portion of the audience, impacting its commercial viability.
Ultimately, while the iTunes chart position is noteworthy, it may serve more as a publicity stunt than a sign of Valance’s enduring relevance in the music industry. Small concluded, “These chart positions are real, but what does it mean to the actual consumer? Not much at the end of the day.” Future chart performance will determine whether Valance’s resurgence is a fleeting moment or a sign of more lasting success in the competitive music landscape.
