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*** Danielle Bradbery Fan Thread 2.0***


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made a couple of Danielle Signatures, use if you want

From "Mean" to Queen in so many ways. And the best is yet to come!

https://twitter.com/DBradbery/status/1316841778029506562   "Sway" is certified gold!!!   😍   EDIT: "Sway" is Danielle's 2nd GOLD single. Her debut single, "The Heart of Di

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Yes, it's already in Spotify for me here in Calgary, too. The melody is lovely and obviously Danielle's voice is just divine. I heard her do it live a while back, may have been acoustic, I am not sure, now, but the arrangement and production on the single is wonderful, suits it so well. Nice rythm tracks on it, too. Bit like tater crisps, one listen isn't enough. 😁 The Dobro is a really nice touch ❗

Edited by Drew1903
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I updated the OP with the GIMH info 

 

---------------

 

 

Latest Release: "Girls In My Hometown"
Release Date: 09/25/20

Available Now: Stream/Buy

 

Y6XknGi.png

 

 

 

 

I've listened to the song several times already. It is a very sad song, for me. I love the melody and the lyrics cuts through. 

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Sometimes artists just say "single" as a catchall term for releasing songs, even if they don't get sent to radio. I think they plan to focus on NHIE until it loses momentum and then move on to the next single, which would hopefully be this one. 

 

I think it's an excellent song and in theory would do well on radio, but at the end of the day, she needs a better radio team. It doesn't really matter how good a song is these days, there's plenty of trash that gets played simply because it's by an A-lister or the artist just has a really good team backing them up. None of her singles since THOD have really performed all that well. In theory Goodbye Summer with Thomas Rhett should have done a ton better than it did but just barely managed to crack the top 40 despite featuring an A-lister.

 

There's no other explanation in my mind for why artists who have been in the industry as long as she has or even less that also came from singing shows have managed to score #1s but not her. It can't all be because of radio's dislike of females either. Gabby Barrett came off a singing show as well and managed to score a #1 song with her debut single. Scotty McCreery has been in the business for about 10 years, also came from a singing show, and could be described as more traditionally leaning country, yet he had 3 consecutive #1s off his last record. Once he moved to a smaller label I think his radio team was able to focus a lot more on pushing his stuff. Probably the same deal with Gabby. 

 

Danielle's stuff is good but sadly I don't see her getting anywhere on the radio anytime soon until she gets a better radio team.

 

She also easily could have nabbed a spot on this year's ACM's to perform NHIE but every time an award show comes around it seems like she only comes to sit in the audience and walk the carpet. Even if she just got a slot to present that'd still be something. But it seems like her team doesn't advocate very well for her when it comes to award show appearances either. 

Edited by BogoGog24
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56 minutes ago, BogoGog24 said:

Sometimes artists just say "single" as a catchall term for releasing songs, even if they don't get sent to radio. I think they plan to focus on NHIE until it loses momentum and then move on to the next single, which would hopefully be this one. 

 

I think it's an excellent song and in theory would do well on radio, but at the end of the day, she needs a better radio team. It doesn't really matter how good a song is these days, there's plenty of trash that gets played simply because it's by an A-lister or the artist just has a really good team backing them up. None of her singles since THOD have really performed all that well. In theory Goodbye Summer with Thomas Rhett should have done a ton better than it did but just barely managed to crack the top 40 despite featuring an A-lister.

 

There's no other explanation in my mind for why artists who have been in the industry as long as she has or even less that also came from singing shows have managed to score #1s but not her. It can't all be because of radio's dislike of females either. Gabby Barrett came off a singing show as well and managed to score a #1 song with her debut single. Scotty McCreery has been in the business for about 10 years, also came from a singing show, and could be described as more traditionally leaning country, yet he had 3 consecutive #1s off his last record. Once he moved to a smaller label I think his radio team was able to focus a lot more on pushing his stuff. Probably the same deal with Gabby. 

 

Danielle's stuff is good but sadly I don't see her getting anywhere on the radio anytime soon until she gets a better radio team.

 

She also easily could have nabbed a spot on this year's ACM's to perform NHIE but every time an award show comes around it seems like she only comes to sit in the audience and walk the carpet. Even if she just got a slot to present that'd still be something. But it seems like her team doesn't advocate very well for her when it comes to award show appearances either. 

I understand all your points, and I also feel the same way. I want the best for Danielle, so if a better radio team is needed, I’m open to her getting a new one. 😊👍

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I have bit my tongue for a long time. I think Danielle hurts her radio potential by not putting out something up tempo and more danceable. Terrific writing, astonishing vocals, sometime, also, needs a high energy release. Anyway, that's been my thought for a while, to be candid. Not sure about the adjectives I used, but you likely catch what I mean 🤞

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You all know that I'm a big fan of Danielle too, but to be honest, there's still no song from her that when I first heard, I know that it should be a radio hit. Don't get me wrong, her songs are beautiful but nothing screams radio hit for me yet at first listen. Most of the songs are grower, not instant. Other than The Heart of Dixie, her biggest bet is still Never Have I Ever so I hope they will stick into that. Also, there are a lot of factors in getting a hit, other than having a good radio team (i'm not saying her team is good either), which is very subjective. A major one is sales and streaming. Her songs unfortunately do not sell and stream well. Goodbye Summer stalled on radio because it's streaming and selling poorly compared to its radio chart position. NHIE's streaming numbers are actually bad. This is why they've been posting a lot of videos on her youtube like the fashion ones with NHIE as background music - because it will count on her NHIE streams. Also the reason why they have a couple of versions there already from studio acoustic, acoustic performance, stairwell session etc. High sales and streams aren't a guarantee of a hit, but you'll have a better leverage in promoting your song to radio. Gabby had a hit with I Hope because that song is a huge streaming hit. Scotty, even though radio took a while before giving him radio hits, has always been selling really well and having huge tours compared to his radio position.

 

It's really tough for a female to breakthrough on country radio, so females need to work way harder than males, unfortunately. DB and her team needs stronger songs and more opportunities for her to perform so her songs will have more audience. That's why it's important that we buy and stream, and we share her music because as fans, that is only what we can control. And I agree when someone said she needs more upbeat songs. It's very obvious when I watch her live shows (full band not acoustic) back to back with other singers like in festivals. IDBWM are all mid-slow, even Sway is not uptempo.

 

With that said, let's stream the current single NHIE. Vote only on important polls - those will give her guaranteed radio spins, music video plays, and more exposure. 😊

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Great write-up, @almondbee :thumbs:

 

And thanks for the reminder to stream and vote. NHIE fell down outside Top 3 on the CMT 12-pack countdown this week. Maybe #teamDanielle forgot to vote? :unsure:

 

NHIE is still the official single at this time, and dozens of stations are playing it. We need to encourage more airplay by streaming the song, and getting it back on top of CMT Countdown again. oNghnm5.gif

 

Vote on CMT 12 Pack Countdown

 

Radio Requesting Links

 

Stream on Spotify, Apple Music, YouTube, Pandora, Tidal, etc

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7 hours ago, BogoGog24 said:

Sometimes artists just say "single" as a catchall term for releasing songs, even if they don't get sent to radio. I think they plan to focus on NHIE until it loses momentum and then move on to the next single, which would hopefully be this one. 

 

I think it's an excellent song and in theory would do well on radio, but at the end of the day, she needs a better radio team. It doesn't really matter how good a song is these days, there's plenty of trash that gets played simply because it's by an A-lister or the artist just has a really good team backing them up. None of her singles since THOD have really performed all that well. In theory Goodbye Summer with Thomas Rhett should have done a ton better than it did but just barely managed to crack the top 40 despite featuring an A-lister.

 

There's no other explanation in my mind for why artists who have been in the industry as long as she has or even less that also came from singing shows have managed to score #1s but not her. It can't all be because of radio's dislike of females either. Gabby Barrett came off a singing show as well and managed to score a #1 song with her debut single. Scotty McCreery has been in the business for about 10 years, also came from a singing show, and could be described as more traditionally leaning country, yet he had 3 consecutive #1s off his last record. Once he moved to a smaller label I think his radio team was able to focus a lot more on pushing his stuff. Probably the same deal with Gabby. 

 

Danielle's stuff is good but sadly I don't see her getting anywhere on the radio anytime soon until she gets a better radio team.

 

She also easily could have nabbed a spot on this year's ACM's to perform NHIE but every time an award show comes around it seems like she only comes to sit in the audience and walk the carpet. Even if she just got a slot to present that'd still be something. But it seems like her team doesn't advocate very well for her when it comes to award show appearances either. 

A good radio team generally helps. Here's the thing: BMLG, Broken Bow, & the 3 major labels in country all have about 10 people per radio team which many times also work on the other label imprints. All these labels combined with imprints have about 25 acts on their roster. That means potentially that radio team could be pushing 10+ singles at the same time for the label & its imprints.

 

There was an article in the country publications about the rise of indie labels specifically Triple Tigers, Big Loud, & Black River. These 3 indie labels have had a lot of success breaking out & establishing their artists on radio. The article credited these labels with having experienced staff (many came from major labels). They all have about the same amount of staff on their radio team as major labels, BMLG, & Broken Bow for way less artists. Most indie labels don't have big radio teams. That's what makes these 3 indies different, but also probably why they're successful. Triple Tigers only has 3 artists on their roster. The other 2 mentioned indie labels still only have about 10 on their roster. With a capable & successful radio team for all 3 indies, when a roster artist is releasing a new single they basically all get good & specialized treatment from the label. On big rosters, obviously your A-listers get special treatment. But I think sometimes they don't really try to breakout or establish everyone on their roster. Unfortunately, I got the feeling years ago that was the case with Danielle.

 

I do think that some of Danielle's singles haven't sounded like they would have become radio hits. However, I still think the biggest potential (no pun intended) for a radio hit was "Potential." I still think that should have been a single.

Edited by ptebwwong
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It all boils down from everything being a business. You put your resources on the ones you think will give you the most revenue, and unfortunately that's not what Danielle's position in BMLG currently. That doesn't mean they don't try. The bigger artists on BMLG actually covers the losses from the resources invested on their smaller artists. That's just how it works so it will actually be better for the label as a whole to have everyone succeed somehow. Everyone I know who follows the genre and BMLG closely are actually amazed that they still have Danielle on her label. BMLG drops their female artists a lot. A number of them do not even get to release an album. They are somehow trying, and atleast see something on her still.

 

A smaller record label can of course, focus much more because there will be only a few artists, and there is a larger chance that they will see you as the one who will bring in the revenue, so they will invest more resources to you. But, even a smaller label or indie route cannot guarantee a hit. For every Kelsea Ballerini who became a hit star on a smaller label, there are a lot of artists that these labels were not able to break through, also. 

 

Best route the way I see it, is to build your following regardless of the label, before considering transferring to a smaller one. Scotty can easily transfer from a big label who did not care for him that much, to an indie label where he is their prized artist, because his touring numbers are crazy high for someone who doesn't have that much success on radio. Some other artists are getting TV promotions, brand partnerships, touring slots, and great Spotify playlisting which helps a lot - which is not controlled by the record label most of the time, but the artist management. This is why I am actually happy that Danielle transferred to another artist management now, for a change. I hope when the pandemic ends, they will be able to set her up to better tours as she is lagging on that aspect compared to even less popular females. 

Edited by almondbee
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11 hours ago, Drew1903 said:

I agree regarding Potential

i think everyone worries about a radio hit, and i am not knowledgeable to know what makes good radio. but in my opinion all her team's attempts at radio hits have made much lesser songs released that what was really good on each one of her albums. It's a crime to me that Sway and Goodbye Summer were emphasized over Potential and Human Diary or Laying Low. And it was true in the first album as well.  I love DB's ballads and her long notes (remember her Voice repertoire?) and great voice.  I don't listen to radio at all so i cannot judge. I also don't think her song writing is competitive with many of the young talents out there even tho they all use similar co-writers.  Girls In My Hometown is very listenable, but doesn't have any gotcha moments to make you want to listen if you're not already a fan. It's not as well done as Carrie's similar exercise for I Ain't in Checotah Anymore either in verses or composition.  Just my opinion of course. If I were advising her, i would look long and hard at her release for Charlie's Angels for ways to embellish her sound if you're not going to stick to country. 

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We all have songs that Danielle wrote and performed, which we wish are pushed more or released. 

 

On the debut album, I wished these songs would have been promoted or pushed to radio

 

  • I Will Never Forget You
  • Daughter of a Workin' Man

 

In the second era, I love the following DB written songs:

 

  • Mama Was A Liar
  • Potential
  • Room for Two
  • Shot of Whiskey

 

Glad that Potential made the album, but I wish it was the 2nd single from IDBWM. Potential >>>>> WI for me.

 

Still hoping that MWAL, RFT and SOW would be released at some point. oNghnm5.gif

 

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The thing is just because a song is good does not necessarily mean it would do well on the radio/make a good radio single. I think Potential would have done well because it has a big chorus, but the other ballads like Laying Low or Human Diary for example, I don't think are what you can consider to be "radio friendly." Sway and Goodbye Summer were chosen as singles because they are radio-friendly, not necessarily because they're better songs. It's hard to make a ballad become a hit unless it's from an A-lister, otherwise it needs to be more like a power ballad like Jesus Take the Wheel or something like that, something with a big, soaring chorus.

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30 minutes ago, BogoGog24 said:

The thing is just because a song is good does not necessarily mean it would do well on the radio/make a good radio single. I think Potential would have done well because it has a big chorus, but the other ballads like Laying Low or Human Diary for example, I don't think are what you can consider to be "radio friendly." Sway and Goodbye Summer were chosen as singles because they are radio-friendly, not necessarily because they're better songs. It's hard to make a ballad become a hit unless it's from an A-lister, otherwise it needs to be more like a power ballad like Jesus Take the Wheel or something like that, something with a big, soaring chorus.

i rest my case. very radio friendly and total commercial meh. Without Worth It being released, DB would have gotten no recognition from her second album...that she deserves. my bet is release good songs and the rest will come...Was true for Musgraves and as an artist i would live with those results. I mean, really, is Sway something to hang your hat on?

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From the debut album, Talk About Love is the song that I think should have been a radio single, and a better follow up to THOD than YIA. That song sounds great when I play with singles from other artists. Young In America can go 3rd. For the second album, I agree with Potential. That song is the best song in the album for me (followed by Worth It), and her best chance yet for a ballad radio single. Worth It is also a good song,  so I don't agree that they've pitted WI and Room For Two to each other, to get one slot in the album, while they can remove another song like Messy. Room For Two should've been released, and definitely a radio single. Sway is not a strong song, but it sounds great on the radio so I kind of understood why they chose that. My only problem in there is that was a lead single to promote the album, but it sounds way different than the album.

 

Danielle needs an uptempo song for her concerts. I hope they get to have one soon so they'll have more energy in her performances. For a single, midtempo is still the best bet, but they need a song with a stronger melody. Never Have I Ever has good verses but it has a weak chorus.  NHIE is a grower though, so I still think it can perform in the charts better in the next few months. 

Edited by almondbee
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Well, I like Never Have I Ever, but I don't see the song going anywhere on streams. It's currently streaming poorly, and they don't seem like they want to do something about it. I was looking the general country playlists on Spotify, and NHIE wasn't in any of them. She is not a major artist, so her team has to expose her to the people.

 

Forgive my english, but it's not my maternal language.

 

Btw, earlier today, NHIE was charting on Apple Music US:

 

Never Have I Ever

 

Apple Music:
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