"In the Lonely Hour" could have reached the top spot in 17 of the first 28 weeks of 2014 - its first-week sales bested the debuts of The Black Keys' "Turn Blue" (164,000), Jack White's "Lazaretto" (138,000), Schoolboy Q's "Oxymoron" (139,000), Trey Songz's "Trigga" (105,000) and Sia's "1,000 Forms of Fear" (52,000), Coldplay's week-two tally of "Ghost Stories" (83,000) and 11 of the 13 weeks "Frozen" ruled.
However, Smith was beat by one of the world's most streamed artists. Del Rey's 2012 debut, Born to Die, was No. 1 globally in Spotify's "median ranking," measuring the popularity of all tracks on an album, and eighth in overall streaming activity. "Ultraviolence" is Spotify's top U.S. release so far in 2014, with 6.8 million streams in week one. Del Rey's manager Ben Mawson believes her streaming power comes from having a young fan base who first discovered "Video Games" online, creating a viral sensation. He equates radio play with downloads. "Lana is more about the Internet," says Mawson. "Streaming is a form of advertising, really."
As for Smith, his Billboard Hot 100 hit "Stay With Me" first became available on Spotify on July 12, with the full album arriving July 16 (it was streamed 256,000 times its first day), but he could win the long game. (Capitol would not comment.) Buoyed by strong reviews and growing radio play, "In the Lonely Hour" has sold 278,000 units in three weeks compared with 252,000 for "Ultraviolence." When individual tracks are factored - fans bought 2.5 million from "In the Lonely Hour" vs. 367,000 from "Ultraviolence" - Smith's edge is obvious, with track-equivalent albums of 533,000 to Del Rey's 289,000. And talk of Grammy nominations should carry Smith through the holidays and well into 2015. And with that: checkmate.