{"id":40402,"date":"2026-10-05T12:05:32","date_gmt":"2026-10-05T12:05:32","guid":{"rendered":"https:\/\/playright.be\/?p=40402"},"modified":"2026-10-05T12:05:34","modified_gmt":"2026-10-05T12:05:34","slug":"le-playright-top-100-fete-son-premier-anniversaire-premier-bilan","status":"publish","type":"post","link":"https:\/\/playright.be\/fr\/le-playright-top-100-fete-son-premier-anniversaire-premier-bilan\/","title":{"rendered":"Le PlayRight top 100 f\u00eate son premier anniversaire : premier bilan\u00a0"},"content":{"rendered":"

En septembre 2025, PlayRight lançait son propre top 100 : deux classements hebdomadaires entièrement consacrés aux productions musicales belges, l’un pour la Flandre et l’autre pour la Belgique francophone. Le constat de départ : pas évident pour les artistes locaux·ales de se démarquer dans un univers du streaming où l’offre est presque illimitée. <\/p>\n\n\n\n

La scène musicale belge est très riche et diversifiée. Pourtant, cette créativité se reflète encore trop peu sur les plateformes de streaming, là où le public découvre aujourd’hui une grande partie de la musique. Sam Jaspers, collègue ayant contribué à la création du PlayRight top 100 et qui en assure le suivi chaque semaine, décrit ces plateformes comme « un océan infini de morceaux ». Le top 100 y sert de repère : une manière d’offrir un peu plus de visibilité à la musique belge dans toute sa diversité et de donner un coup de pouce aux artistes. <\/p>\n\n\n\n

Le paradoxe belge<\/strong> <\/p>\n\n\n\n

Les chiffres enregistrés après un an de PlayRight top 100 confirment, d’une part, le dynamisme et la diversité de notre scène musicale : 753 titres différents, interprétés par 458 artistes, ont intégré le classement flamand et en Belgique francophone, 655 titres de 426 artistes ont figuré dans le classement. <\/p>\n\n\n\n

Pop, hip-hop, dance, schlager, jazz, chanson et musiques alternatives s’y côtoient. Les classements mettent également en évidence la place importante de la musique dans les langues nationales : en Flandre, 43% des productions présentes dans le top 100 sont néerlandophones, tandis qu’en Belgique francophone, 48% des titres sont interprétés en français. <\/p>\n\n\n\n

D’autres chiffres révèlent une réalité plus inconfortable. Les artistes belges restent fortement sous-représenté·es sur Spotify : à peine 6,2% des titres les plus écoutés (le Spotify top 200 belge) sont issus d’artistes locaux·ales2<\/sup>. C’est nettement moins qu’en France où cette part atteint 62%, ou qu’aux Pays-Bas, où elle s’élève à 39%. <\/p>\n\n\n\n

Un autre chiffre est sans doute encore plus révélateur : en 2025, moins de 200 titres belges ont dépassé le million de streams sur Spotify, contre plus de 2 000 aux Pays-Bas. Un fossé considérable entre les deux pays voisins. <\/p>\n\n\n\n

PlayRight s’engage pour les artistes belges<\/strong> <\/p>\n\n\n\n

Le PlayRight top 100 ne se contente pas de mettre les talents en lumière. Il nourrit aussi un débat plus large sur la place de la musique belge dans l’environnement digital. Alors que les radios publiques sont soumises à des quotas<\/a> et à des obligations en matière de musique locale, les plateformes de streaming déterminent aujourd’hui, dans une large mesure, la manière dont la musique est recommandée et découverte. <\/p>\n\n\n\n

PlayRight plaide donc pour des engagements concrets en matière de découvrabilité. Il ne s’agit pas d’imposer au public ce qu’il doit écouter, mais d’attendre des plateformes qu’elles permettent à la musique belge d’être mieux repérée grâce à leurs outils de recommandation et de recherche. Les artistes locaux·ales doivent avoir une chance équitable d’être visibles dans un catalogue qui reste largement dominé par les intérêts internationaux, les algorithmes et les budgets marketing. <\/p>\n\n\n\n

Pour faire avancer ce dossier, une attention politique est indispensable. PlayRight échange à ce sujet avec les cabinets des ministres belges compétent·es et porte également la question au niveau européen. L’objectif est de créer un cadre qui encourage et, si nécessaire, oblige les plateformes de streaming à mieux soutenir la diversité culturelle et le répertoire national. <\/p>\n\n\n\n

La musique belge reste noyée par les plateformes – Le Soir<\/a> <\/p>\n\n\n\n

Christian Martin, président de PlayRight: « Les plateformes de streaming ont pris une partie de notre souveraineté culturelle » | L’Echo<\/a> <\/p>\n\n\n\n

PlayRight top 100 Belgique francophone<\/a> <\/p>\n\n\n\n

PlayRight top 100 Vlaanderen<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

En septembre 2025, PlayRight lan\u00e7ait son propre top 100 : deux classements hebdomadaires enti\u00e8rement consacr\u00e9s aux productions musicales belges, l\u2019un pour la Flandre et l\u2019autre pour la Belgique francophone. 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