![]() ![]() ![]() We have more-or-less eradicated obscurity: even if something is too recherché for Spotify or Apple Music, the likelihood is that someone will have ripped it from somewhere – radio, tape, vinyl – and uploaded it to YouTube. As has frequently been pointed out, the rise of streaming in its multifarious forms essentially means the entire history of popular music is available, free, at the touch of a button. We live in a world where music has never been more abundant, or available. And it was partly because the unexpected success of Running Up That Hill seemed to say something about how we discover and consume music in 2022. That was partly because it was an extraordinary state of affairs: the upper reaches of the Global 200 are usually the sole province of what you might call the usual suspects – BTS, Bad Bunny, Adele, Drake et al – and not a world that plays host to tracks from critically acclaimed 37-year-old art-rock concept albums. It became a big news story, big enough that Bush – no one’s idea of an artist intent on hogging the media spotlight – was impelled to issue a couple of statements and give a rare interview. Something similar was happening wherever Stranger Things was available: by 18 June, three weeks after season four of Stranger Things premiered, Running Up That Hill was No 1 on Billboard’s Global 200 chart, which, as its name suggests, collects sales and streaming data from 200-plus countries. #DJ HOPPA INSTRUMENTALS SERIES#After it was used on the soundtrack of the Netflix sci-fi series Stranger Things, the streaming figures for Bush’s 1985 single rocketed by 9,900% in the US alone. E arlier this year, Kate Bush’s Running Up That Hill unexpectedly became the most popular song in the world. ![]()
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