There were five contestants vying for the title during the two-hour finale, but only one took home the title. But don’t be surprised if it undergoes a bit of a remix ahead of season 11.After a memorable season, “The Voice” crowned its Season 22 winner on Tuesday, Dec. But it did hit the odd bum note, and viewers did drift away despite – or perhaps because of – the short run. When it’s all done and dusted, The Voice will still rank as one of the most successful shows of 2021. (The updated figures for the September 5 episode have now been released, and show the total audience rose to 2.006 million, which represents a 16 per cent decline from launch.) Or to put it more bluntly, The Voice shed almost one-quarter of its Sunday-night audience between launch and week five. That’s a total of 1.792 million a week out from the grand final. The continued strong showing in the first couple of weeks after the Games indicates that viewers liked the tweaks, and the new coaching line-up, and were enticed by what the show does best – sprinkling little human backstories with moments of truly impressive, if frequently overwrought, vocal performance.īut a closer look at the figures for Sunday nights – the strongest night of each week, and the only night the show screened in all six weeks – paints a slightly more complex picture.Īt the time of writing, the official VOZ figures for the week five semi-final on September 5 hadn’t been released, but preliminary figures show the Sunday episode had an overnight metro and regional audience of 1.616 million, with OzTam’s seven-day rolling report showing it had picked up another 176,000 viewers on BVOD as of Saturday. That strong debut no doubt owed plenty to the halo effect of the Olympic Games. So, did The Voice succeed this year on those terms? Well yes, but not without qualification. The overnight ratings figure for the finale – 1.383 million metro viewers for the winner announced segment and 1.292 million for the rest of the episode – show a big improvement on last year, when just 938,000 metro viewers tuned in to watch Guy Sebastian’s brother Chris crowned the winner (in defiance, some claimed, of the show’s own conditions, which prohibit anyone associated with the program from entering Nine later claimed that the fact he had previously been a contestant meant he qualified as an “all-star” and was thus exempt from such conditions). The truth of such claims is less important to the networks making them than is their efficacy in making us watch. Bella Taylor Smith was yet another product of the evangelical church movement (she’s a member of Hillsong) that has produced so many talent-show contestants (including Sebastian) over the past two decades.Īs for the six-part G-Nation, they seemed to be there only because Ora had mistakenly imagined she was on The X Factor and the world needed another girl group (she even tried perking her team up with a recorded message of support from Spice Girl Emma Bunton). Mick Harrington was the ordinary bloke who’d never had a singing lesson but was blessed with a voice of warmth and emotional richness, though not a lot by way of stage presence. That innovation was less popular with viewers, with some complaining it reduced their emotional investment in the competition enormously.īy the time we got to the final, which was recorded in Sydney’s Carriageworks in April, with four endings filmed (one for each potential winner), we had a fair representation of what this show is about. But Seven’s decision to commission a shorter show – dictated by budget, and perhaps a desire not to overstay the welcome of a format that Nine (publisher of this masthead) had dismissed as tired and expensive (admittedly, only after it had been outbid by its rival) – came at a cost, with coaches moving at warp speed from picking teams to culling them.
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