A/B Test: Nessa Preppy’s Dual Release Reveals the Power of Strategy in Soca
Explicit vs. clean: How two simultaneous releases track audience behavior across the Caribbean, the U.S., and beyond.
Two weeks ago, Nessa Preppy released a pair of tracks that have become a real-time A/B test in Soca streaming.
Fuck Feelings and its clean counterpart No Feelings, both produced by Aaron Duncan and AdvoKit Productions as part of the No Rules Riddim, allowed listeners to respond to the same energy in two very different forms: one raw, one radio-ready. Across markets, the data tells a story about how audiences absorb, react to, and reward contrasting expressions from the same artist.
No Feelings moved first. On September 23, it debuted in the BVI on Apple Music (World) at #150, followed by Bermuda at #164 the next day, where it peaked at #71. By September 27, it reached Trinidad & Tobago at #177, rising to #147 by October 5. Belize joined the wave on October 2 at #195. This version, cleaner and accessible, captured a steady, radio-ready audience, the predictable baseline for the experiment.
Meanwhile, Fuck Feelings demonstrated the appetite for the unfiltered. It first charted in the BVI on September 24 at #154 and simultaneously debuted on the U.S. iTunes (World) chart at #70. Bermuda reacted strongly as well: debuting at #24 on September 24 and climbing to #3 by September 27, maintaining momentum for seven days before briefly dipping and returning at #96. Anguilla saw the track debut at #171 on September 25, later reemerging at #76. In Trinidad & Tobago, it appeared on September 27 at #173 and moved up to #135 by the weekend. Perhaps the most unexpected chart position came on September 30, when Fuck Feelings debuted at #55 on Apple Music’s Top 100 Songs in Israel. It’s a clear proof point that lyrics matter, and that a phrase as blunt as “fuck feelings” can carry global resonance. This isn’t just profanity; it’s sentiment, and the emotional weight of Fuck Feelings is connecting far beyond traditional Soca audiences.
What makes this release particularly astute, is that each track carries its own ISRC code. Spotify, Apple Music, and the broader streaming ecosystem treat them as separate products. From a business perspective, this doubles the potential revenue and streaming counts while allowing fans to engage with two distinct expressions of the same artist. One audience may prefer the clean, radio-ready version; another seeks the raw, unfiltered energy — both yielding data, streams, and insights.
Across markets, the explicit Fuck Feelings consistently outperforms its counterpart, but the dual-release strategy illustrates a modern approach to music: data, audience segmentation, and platform optimization are just as important as the music itself. For Nessa Preppy, Aaron Duncan and Kitwana Israel, this is a lesson in resonance, reach, and digital strategy, proving performance can and should measured not only on stage but also through analytics, streaming, and global response.
Listen to No Feelings, Fuck Feelings and more Nessa Preppy:
