Does the Hottest 100 need to change?

Taylor Swift, social media and the Triple J sound, Nick Sas does the numbers and calculates the Hottest 100 needs to change its format.

Now the dust has settled, the Taylor Swift debacle has come to an end - like it or loathe it - and Chet Faker has officially become one of the most popular independent Australian artists of all time, some home truths need to be spelt out about the Hottest 100.

In its 22nd incarnation, it is pretty safe to say the Hottest 100 does not represent the best songs of the year.

In truth, it never has - just look at 1998's winner, Pretty Fly for a White Guy, or the Tenants finishing third in 1999 with You S… Me to Tears.

But more than ever before, the poll seems to be rigged by a band's social-media presence, self-promotion, timing (eg being in the cool genre) and how willing Triple J has been to get behind your song.

Oh, and writing a good song seems to help, sort of.

This was flung into the spotlight in Perth two weeks ago when Sydney band the Griswolds, who finished at No. 28 with their rudimentary rock-pop song Beware of the Dog, implored the crowd, who were there for a Kooks concert, to vote for their song in the poll.

Is this what the Hottest 100 was created for?

Short answer: no.

It was designed to let Triple J listeners choose their favourite songs, without being badgered and guilt-tripped into doing so, and to get an idea of what everyone around the country loves.

I mean, who doesn't bloody love a list?

There were 2.09 million votes, or about 200,000 people voting - give or take a few multiple voters - in this year's count.

That is insane. And simply highlights how popular the countdown - and the station - has become and how good Triple J is at marketing it.

But in my previous incarnation as a business reporter, the truth always becomes a little clearer through one thing: the numbers.

So in light of this, analysis by _The Wire _- analysis being counting the songs and guessing their genre while dressed in a lab coat - found the following:

Of the 100 songs selected, 24 were "electronic" songs - electronic being of the Peking Duk or the Kite Street Tangle ilk.

Another nine were pure dance tracks; 21 were pop songs - some with electronic elements, others such as Meg Mac and Sia were more "traditional pop".

And 17 were hip-hop, most of those being Australian hip-hop. And the hardcore genre, or more rightly Amity Affliction and Rise Against, had five entries.

Most surprising was the lack of pure guitar or band entries - the traditional musical genre associated with Triple J and alternative music in general.

Only 24 guitar-based songs made the cut - tracks such as Delete by DMA's and the War on Drugs' Red Eyes.

You can take many a reading from this analysis but it does show one thing loud and clear: the kids love a beat, a synth and moody, crescendo-building female vocal with oohs and ahhs.

Another interesting element of this year's countdown was the proliferation of Australian artists - 59 were Australian. In 1996, 29 entries were Australian.

On one hand, that is awesome, and highlights how good the Australian music scene is at the moment.

On the other, it is no doubt partly a result of Australian bands urging their followers on Facebook, Twitter and by any other means to vote for their song.

The international artists generally don't do this.

Maybe it's time for Triple J to introduce an "Australian-only" hottest 100 for Australia Day - it makes sense, with the countdown being on Australia Day and all that - and a separate international countdown.

It will also save the Taylor Swift debacle from ever happening again.

When it comes to the crunch, the Hottest 100 is a great thing for Australian music, allowing up-and-coming bands to gain exposure they could only dream of.

But when it descends into a blatant popularity contest dependent upon savvy social-media marketing, something's wrong.

And in order for it to keep its status as a representation of the country's alternative music heartbeat, the format needs to change.