Britney Spears Tickets : Spears Was Credited With Leading The Revival Of Teen Pop

Britney Spears has sold over 100 million records worldwide, making her one of the best-selling music artists in the history of contemporary music. According to the Recording Industry Association of America (RIAA), she is the eighth top-selling female artist in the United States, with 33 million certified albums.

Spears is also recognized as the best-selling female artist of the first decade of the 21st century, as well as the fifth overall. She was ranked the 8th Artist of the 2000s by Billboard
In March 2011, Spears released her seventh studio album Femme Fatale.

Max Martin and Dr. Luke executive produced the album and the album's first single "Hold It Against Me". The single debuted at number-one on the Billboard Hot 100. This gave Spears her fourth number-one single on the chart, and made her only the second artist in history to have two consecutive singles debut at number-one, after Mariah Carey.

The album peaked at number one in the United States, Canada, and Australia and peaked inside the top ten on every other chart. The album's peak in the United States ties Britney for the third-most number ones among women with Mariah Carey and Janet Jackson.

In April 2011, Spears appeared in a remix to the song "S&M" by Rihanna after Rihanna asked her fans via Twitter who they wanted her to collaborate with. The song reached number one in the US in mid-April 2011, giving Britney her fifth number one on the chart.

Following her debut, Spears was credited with leading the revival of teen pop in the late 1990s. The Daily Yomiuri reported that "[m]usic critics have hailed her as the most gifted teenage pop idol for many years, but Spears has set her sights a little higher-she is aiming for the level of superstardom that has been achieved by Madonna and Janet Jackson."[130] Rolling Stone wrote: "Britney Spears carries on the classic archetype of the rock & roll teen queen, the dungaree doll, the angel baby who just has to make a scene."

Rami Yacoub who co-produced Spears's debut album with lyricist Max Martin, commented, "I know from Denniz Pop and Max's previous productions, when we do songs, there's kind of a nasal thing. With N' Sync and the Backstreet Boys, we had to push for that mid-nasal voice. When Britney did that, she got this kind of raspy, sexy voice."

Following the release of her debut album, Chuck Taylor of Billboard observed, "Spears has become a consummate performer, with snappy dance moves, a clearly real-albeit young-and funkdified voice ... "(You Drive Me) Crazy", her third single ... demonstrates Spears's own development, proving that the 17-year-old is finding her own vocal personality after so many months of steadfast practice."

Stephen Thomas Erlewine of Allmusic referred to her music as a "blend of infectious, rap-inflected dance-pop and smooth balladry."[134] Spears later commented, "With ...Baby One More Time, I didn't get to show my voice off. The songs were great, but they weren't very challenging".

Like other dance-oriented pop stars, it has been widely reported that Spears lip-syncs in concert. Author Gary Giddins wrote in his book Natural selection: Gary Giddins on comedy, film, music, and books (2006) that "among many other performers accused of moving their lips while a machine does the labor are Britney Spears, Luciano Pavarotti, Shania Twain, Beyonce, and Madonna."

Rashod D. Ollison of The Baltimore Sun observes: "Many pop stars ... feel they have no choice but to seek vocal enhancement. Since the advent of MTV and other video music channels, pop audiences have been fed elaborate videos thick with jaw-dropping effects, awesome choreography, fabulous clothes, marvelous bodies. And the same level of perfection is expected to extend beyond the video set to the concert stage.

So if Britney Spears, Janet Jackson or Madonna sounds shrill and flat without a backing track, fans won't pay up to $300 for a concert ticket." Giddins adds, "it was reported Britney Spears fans prefer her to lip-sync despite her denials of doing so (contradicted by her own director) because they expect flawless digitalization when they pay serious money for a concert."

Noting on the prevalence of lip-syncing, Los Angeles Daily News reported "in the context of a Britney Spears concert, does it really matter? Like a Vegas revue show, you don't go to hear the music, you go for the somewhat-ridiculous spectacle of it all".Similarly, Aline Mendelsohn of the Orlando Sentinel remarked: "Let's get one thing straight: A Britney Spears concert is not about the music ... you have to remember that it's about the sight, not the sound."

Critic Glenn Gamboa comments her concert tours are "like her life a massive money-making venture designed to play up her talents and distract from her shortcomings with a mix of techno-tinged sex appeal and disco-flavored flash. And, like her life, it is, more or less, a success.