While the rise of streaming over the past five years has been well-documented, the changing listening habits among elementary-school-age kids is less clear. “It used to be that I’d record songs, collect them, then had time to figure out the sequence and release it.” Now, he said, “Every other day, I’m submitting a new song to record, then our video team is coming up with scenes for a new video and getting it shot quickly.” “It has changed drastically,” said Michael Anderson, Kidz Bop’s senior vice president of music, who has overseen the recording process since the series’ inception. The focus instead is on a constant flow of singles. The next one, the second of 2019, is due in November, but in 2020, for the first time since 2002, the company may only release one album.
“When we release ‘Kidz Bop 39,’ people go to Spotify and don’t necessarily listen to ‘Kidz Bop 39.’ They listen to the Kidz Bop catalog.”Īlthough Kidz Bop continues to release albums to streaming services and retail outlets, the pace has slowed. We’re not first-week-focused, first-month-focused or even album-focused,” he said. “The charts don’t reflect overall consumption for our brand properly. Zaraya contends that Kidz Bop’s recent Billboard dip doesn’t signal an accompanying dip in popularity. “We monitor them pretty closely, given their age.” “It works well because I know that it’s age-appropriate and not going to end up with curse words and such.” Now his daughters also listen through Apple Music playlists, but it’s almost always under the supervision of Boothroyd or his wife. “I was actually dismissive of the station, but the girls were like, ‘Oh, I’ve heard this song before! Daddy, don’t change it!’” said Boothroyd. That’s where Geoff Boothroyd and his daughters, Claire, 9, and Caitlyn, 7, first discovered the series. With CD players disappearing from those minivans, Kidz Bop debuted its own Sirius XM channel in 2014. A recent cover of Lil Nas X’s “Old Town Road” swaps “My life is a movie/Bull ridin’ and boobies/Cowboy hat from Gucci/Wrangler on my booty,” for “My life is a movie/Bull ridin’ and bougie/Cowboy hat from Gucci/Wrangler like on TV.” Kidz Bop albums became something parents and kids could agree on, ideal for the minivan’s CD player while the children sat in back, juice boxes in hand. Kidz Bop steers clear of risqué songs, and rewrites potentially offending lyrics. (Both left Kidz Bop last year, after Razor & Tie was absorbed by Concord Music.) The music played at these events tended toward either groan-inducing jingles aimed at younger children - think Barney or the Wiggles - or hits by the likes of Britney Spears or Eminem that frequently contained language and themes inappropriate for 8-year-olds. The Kidz Bop concept grew from Chenfeld’s and Balsam’s experiences ferrying their own elementary-school-age children to birthday parties. Can Kidz Bop surge again, or pivot - or is it going to become a fading relic of the CD era? Between 20, streaming grew from 35 percent to 75 percent of the music market in the United States. While Zaraya doesn’t see Kidz Bop as a compilation, the series’s chart struggles coincide with an overall sea change in how people consume music. “Compilations filled a need because they were portable, curated and a way to sample different artists without buying 10 albums. “One of the problems is the idea of a compilation is somewhat obsolete,” said Vickie Nauman, the founder of CrossBorderWorks, a music industry consulting group.
In fact, only three artists - the Beatles, the Rolling Stones and Barbra Streisand - have more Top 10 albums than the Kidz Bop Kids.
Kidz Bop has scored big with versions of songs like Mark Ronson and Bruno Mars’s “Uptown Funk,” Taylor Swift’s “Shake It Off” and Kelly Clarkson’s “Since U Been Gone.” Since 2001, more than 20 million Kidz Bop albums have been sold, and during a remarkable run between 20, the rotating crew of Kidz Bop Kids earned 22 Billboard Top 10 albums.
#New kidz bop kids series
They applied the strategy to Kidz Bop, and the lark became a startlingly successful, still-running series of albums. Two lawyers with a passion for music, Cliff Chenfeld and Craig Balsam, had formed Razor & Tie in 1990, initially selling compilations like “Monster Ballads” and “Those Fabulous ’70s” via direct-to-consumer television commercials that were themselves kitschy delights. The series began in 2001 as a lark: an album of current pop hits sung by tweens with sanitized, safe-for-all-ages lyrics. If anything, Zaraya was underselling Kidz Bop’s standing. “Kidz Bop is our Adele,” Zaraya told his lunch companion. At the time, Zaraya was also the president of Razor & Tie, the independent label that released Kidz Bop albums until 2018. Several years ago, Vic Zaraya, the president of the music brand Kidz Bop, was having lunch with a senior music industry executive.
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