The Weeknd
Every measured song, ranked by the share of The Weeknd's own players who named it correctly — never compared to a different artist's catalogue. This is what a full Muzify roster report looks like for one artist.
Catalogue recognition
Share of The Weeknd's own players who named each song correctly. Thin marks show the 95% interval. Ranked within this artist only.
Recognition vs streams
For a global act this well-known, recognition tracks streaming popularity closely — there's little gap to close.
Starboy (feat. Daft Punk) — Spotify popularity 94, 96.6% of this artist's own players name it correctly (n=351). One Of The Girls — Spotify popularity 94, 90.1% of this artist's own players name it correctly (n=322). Both songs sit at the same Spotify popularity (94), yet actual recognition differs by 6.5 points — a small, ordinary spread for a catalogue this deep, not the kind of 20+ point outlier the flagship Michael Jackson stat shows.
Markets
How many times more this artist is played in a country than that artist's global share predicts. Bands only, never an exact player count — at least 20 distinct players stand behind every published cell.
Taste neighbours
Artists whose players overlap the most with The Weeknd's, learned from who plays whom.
Not enough distinct-listener overlap data yet to publish taste neighbours for an act this large — nearly every scene overlaps with The Weeknd's audience a little, which produces noise, not a signal. We'd rather show nothing than publish a guess.
One recommended experiment
With 93 of 100 songs already report-ready, the highest-leverage next step isn't the top 10 (streaming already prices those correctly) — it's identifying which of the remaining ~80 measured deep cuts already carries audience recognition ahead of its current streaming push, and using that list to prioritise a reissue or sync pitch before spending on discovery for songs listeners already know. This is a data-informed suggestion for where to look next, not a projection of streams, tickets, or campaign return — we don't have pilot evidence yet to back an outcome claim.
- First-exposure recognition isn't isolated yet — a returning player can meet a song again in a later session and score higher the second time (see the homepage FAQ).
- No link to streams, tickets, or campaign outcomes exists in this data — recognition is a leading signal, not a sales projection.
- Week-to-week demand spikes aren't yet attributed to a cause (release, playlist, promotion). Not guessed at here.
- This pull is from 2026-09-20; the homepage catalogue view may show a slightly different report-ready count on a different refresh night — both are real, just not the same minute.
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