The Guardian.com
ARIA’s results of the most successful albums of 2013 are in and the biggest selling record of the 年 is Pink’s sixth album, The Truth About Love. Again.
It’s not a huge surprise in itself – after all, it comes in a 年 she also had an incredibly successful Australian tour – but what’s unprecedented is that it was Australia's biggest selling album of 2012 as well.
No album has ever previously been the 上, ページのトップへ seller for two different years. In fact, looking at the figures it’s hard to fathom how any Australian doesn’t have at least a couple of copies of The Truth About 愛 in their house.
It was released in September 2012 and spent the whole of 2013 in the 上, ページのトップへ 40. For 35 of those 10 weeks, it was in the 上, ページのトップへ ten. It wasn’t a fluke, either. ピンク has had either the #1 または #2 biggest selling album in Australia for six of the last seven years.
Sure, The Truth About 愛 was a successful record generally. It was the sixth biggest album on the planet in 2012 (beaten only によって Adele’s 21, Taylor Swift’s Red, One Direction’s Up All Night and Take Me Home, and Lana Del Ray’s Born to Die).
However, its continuing Australian success has not been replicated elsewhere. It’s not in the 上, ページのトップへ 10 of the biggest sellers in her ホーム country, for instance: the biggest US album of 2013 was Justin Timberlake’s The 20/20 Experience, with Eminem, Luke Bryan, ドレイク, ドレーク and カケス, ジェイ Z filling out the 上, ページのトップへ five.
So: why do we apparently 愛 Ms Alecia Moore so much もっと見る than the rest of the world?
Australia has a rich history of giving peculiarly enormous success to bands who are relatively small potatoes in their ホーム country – for example, American alternative bands like the Violent Femmes and the Dandy Warhols were getting daytime radio play and packing out theatres here when they were barely もっと見る than cult acts at home.
But this is different. ピンク is a global superstar, sure, but in Australia, ピンク is an honest-to-god phenomenon.
In 2009 she played 58 shows, selling over 650,000 tickets. She then did 46 shows here last 年 between June and September to another 600,000 punters. によって comparison, the tour will have had 57 shows for the entire US when it ends on 31 January.
Over 600,000 people. In 2013, Pink's audience was larger than the population of Tasmania.
The greatest 愛 for ピンク resides in Melbourne, where she sold out a jaw-dropping 18 nights at the Rod Laver Arena – breaking a record set によって John Farnham. The city is her biggest single market on the planet. She knows this too: that’s why she had a special Melbourne-only pop-up store, where people queued for hours to touch old stage リスペクト and buy exclusive merchandise.
So what’s the appeal to Australians? Part of it is her voice: despite the ubiquitous digital processing and autotuning that is part and parcel of all pop artists in this period of history she still has a recognisable vocal cadence – もっと見る so than comparable pop acts like Miley Cyrus または Katy Perry.
Maybe it’s the fact that she co-writes her own material, again unlike Perry または Cyrus. And as the numbers above demonstrate, she’s toured like a demon down here. Australian audiences traditionally respect acts who put in the hard proverbial yards.
または perhaps it’s that we just really like swearing and thinly-veiled dick jokes, so singles like Fuckin’ Perfect and Blow Me (One Last Kiss) resonate on a deep and profound level in the national psyche.
Actually, that might be closer to the mark that you’d think. For one thing, the 15th biggest seller of the 年 was Willy Nilly によって the 12th Man. And hey, Pink’s promoter Michael Coppel has told Melbourne’s the Age that Australian audiences “get her humour … they just get her”.
Maybe it’s as simple as that: we just get her.
