Ladytron Fan Account engagement report
@Lady_FanAccount - 278K followers on X
Measured over 41 original posts from a 30-day window, last computed on October 26, 2026.
Engagement
A typical post picks up 713 interactions against 278K followers, an engagement rate of 0.256%. Measured over 41 original posts, its engagement rate beats 75% of 20,444 tracked accounts of a similar size. Comparing inside a size band matters here: engagement rate falls as accounts grow, so a raw rate would mostly just re-measure the follower count. Posts are seen about 17K times each, and 4.30% of those impressions turn into an interaction. That is about 5.96% of the follower count, which is the gap between an audience on paper and an audience in a timeline. Posting runs at about 1.4 post a day over the last 30 days, though only 23% of days saw any activity at all. Most posts go out around 00:00 UTC, and Sunday is the busiest day of the week. Of the 41 posts sampled, 100% carry an image or video. The account's strongest tracked post pulled 5.0K interactions, about 7.0x its own typical post.
Measured over 41 original posts from a 30-day window, last computed on October 26, 2026.
Compared with accounts its own size
Ladytron Fan Account's engagement rate beats 75% of the tracked X accounts closest to it in follower count (20,444 accounts, accounts of similar size (decile 9 of 10)). A percentile is spread evenly by construction, so 50 really is the middle of that group and 90 really is its top tenth.
On engagement per impression rather than per follower it beats 84% of the same group. When those two numbers disagree, the gap is about how far its posts travel rather than how people react to them.
Where this sits in the catalog
At 0.256%, Ladytron Fan Account sits above the 50th percentile of the 205,261 accounts in this comparison. That places it in the above the median band, which runs 0.143% to 0.678%.
Show the percentile table
| Percentile | Engagement rate |
|---|---|
| 10th percentile | 0.004% |
| 25th percentile | 0.024% |
| 50th percentile | 0.143% |
| 75th percentile | 0.678% |
| 90th percentile | 2.55% |
| 99th percentile | 82.4% |
This ruler is the whole measured catalog, not a size-matched group: it shows where the raw rate falls across every account we can measure, all of which are large. For a like-for-like comparison, read the size-band percentile above instead. See how the bands are built
Posting timing
This account posts most often around 00:00 UTC, and Sunday is its busiest day of the week. The bars below are the catalog-wide pattern, with this account's own busiest slot marked. They do not show how this account performs at each hour: we keep one aggregate per account, not one per hour, so that measurement does not exist in our data.
Show engagement by hour posted, utc as a table
| Hour (UTC) | Vs author median | Posts |
|---|---|---|
| 00:00 UTC | -1% | 89K |
| 01:00 UTC | -2% | 90K |
| 02:00 UTC | -3% | 88K |
| 03:00 UTC | -4% | 94K |
| 04:00 UTC | -5% | 76K |
| 05:00 UTC | -4% | 75K |
| 06:00 UTC | -5% | 86K |
| 07:00 UTC | -5% | 93K |
| 08:00 UTC | -4% | 108K |
| 09:00 UTC | -4% | 124K |
| 10:00 UTC | -3% | 129K |
| 11:00 UTC | -3% | 141K |
| 12:00 UTC | -3% | 154K |
| 13:00 UTC | -3% | 167K |
| 14:00 UTC | -4% | 173K |
| 15:00 UTC | -2% | 176K |
| 16:00 UTC | -3% | 171K |
| 17:00 UTC | -3% | 159K |
| 18:00 UTC | -2% | 149K |
| 19:00 UTC | -2% | 141K |
| 20:00 UTC | -1% | 131K |
| 21:00 UTC | 0% | 116K |
| 22:00 UTC | -2% | 100K |
| 23:00 UTC | -1% | 90K |
Show engagement by day of week as a table
| Day | Vs author median | Posts |
|---|---|---|
| Sunday | +5% | 393K |
| Monday | +1% | 483K |
| Tuesday | -2% | 520K |
| Wednesday | -3% | 472K |
| Thursday | -2% | 430K |
| Friday | -3% | 447K |
| Saturday | +2% | 393K |
Formats this account uses
Its own posting mix on the left, and what each of those formats does across every account we track on the right. Only formats where the effect clears our publish test appear here, so an empty row is a format we could not measure rather than one that does nothing.
| Format | This account | Catalog effect | 95% interval | Accounts behind it |
|---|---|---|---|---|
| Image or video | 100% of posts | +111% | +108% to +115% | 34K |
| Outbound link | 2% of posts | -41% | -42% to -40% | 32K |
| Typical length | - | +15% | +14% to +16% | 32K |
- 100% of this account's sampled posts carry an image or video. Across the catalog, posts with an image or video run 111% above the same accounts' other posts.
- 2% of its posts carry a link off X. Across the catalog, posts with an outbound link run 41% below the same accounts' other posts.
- Its average post runs 721 characters, which falls in the over 280 characters band. Across the catalog, posts over 280 characters run 15% above the same accounts' other posts.
These are catalog-wide differences applied to this account's own posting mix, not a measurement of how each format performs for this account specifically. We keep one median per account, not one per format per account, so the second thing is not something this data can tell you.
Best tweets
- Oct 23, 20267.0x their median
Released in 1996 as the second single from Mellon Collie and the Infinite Sadness, “1979” became the Smashing Pumpkins' biggest American hit, reaching No. 12 on the Billboard Hot 100 and No. 1 on both the Modern Rock Tracks and Mainstream Rock Tracks charts. The album was eventually certified 10× Platinum in the United States. “1979” was almost left off the album: producer Flood gave Corgan a final deadline to complete the unfinished song or remove it from the record. Corgan went home, finished the lyrics that night, and returned the next day with a new demo that convinced Flood to keep it. Billy Corgan wrote the track as a nostalgic reflection on adolescence and the transition into adulthood. Although the title refers specifically to the year Corgan was 12, the song is less a literal autobiography than an idealised reflection on what it felt like to be young.
- Sep 18, 20264.5x their median
“Back in Black” was written by Angus Young, Malcolm Young and Brian Johnson as a tribute to AC/DC's former lead singer Bon Scott, who died in February 1980. Rather than creating a mournful song, the band wanted to celebrate Scott's life with something powerful and triumphant. The track became the title song of AC/DC's seventh studio album, produced by Robert John “Mutt” Lange and released later that year. Although “Back in Black” was not initially a major singles-chart hit in the US, the album became a monumental commercial success and eventually one of the best-selling albums in music history. The title track has since become one of AC/DC's most recognisable songs and one of the defining anthems ofrock. Malcolm Young originally used the famous opening guitar riff as a warm-up exercise before it evolved into the foundation of the song.
- Sep 18, 20263.8x their median
“Dreams” is one of Fleetwood Mac’s greatest achievements: deceptively simple, effortlessly elegant, and emotionally devastating all at once. Built around Stevie Nicks’ hypnotic writing and one of the most iconic grooves in the band’s catalog, the song turns heartbreak into something strangely weightless and beautiful. It remains the band’s only #1 on the Billboard Hot 100.
- Aug 31, 20263.7x their median
“Pet Sematary” is from Ramones’s 1989 album Brain Drain. Written by Dee Dee Ramone, the song was inspired by Stephen King’s novel Pet Sematary and written for the 1989 film adaptation. It became one of the band's biggest commercial successes, reaching #4 on Billboard's Modern Rock Tracks chart and becoming one of the Ramones' best-known songs. The song came about after Stephen King, a longtime Ramones fan, invited the band to his home in Maine while they were on tour. According to the story, Dee Dee Ramone read an advance copy of the novel overnight and wrote the song the following day. The film's success helped introduce the Ramones to a broader audience.
- Sep 17, 20263.6x their median
“The Chain” is from Fleetwood Mac’s 1977 masterpiece Rumours. The only track on the album credited to all five members, it is famous for its dramatic build-up and John McVie’s iconic bassline. Despite never being released as a single, the song became one of the band's signature recordings and even reached the UK Singles Chart (#94) in 2021 following a resurgence in popularity on streaming platforms and social media. The band pieced the track together from different demos recorded during the emotionally turbulent Rumours sessions, with the famous bass-driven finale bringing the composition together. That closing section later became famous as the long-running theme for BBC Formula One coverage from 1978 to 1996 and again from 2009 to 2015.
- Sep 5, 20263.6x their median
When Boney M. became one of the first Western pop groups to perform in the Soviet Union in 1978, the authorities prohibited the band from performing "Rasputin", considering its portrayal of the Russian mystic irreverent and its lyrics ("lover of the Russian queen" and "Russia's greatest love machine") too provocative. Despite the ban, the song became enormously popular through unofficial recordings, sparking renewed interest in the historical figure of Rasputin among Soviet audiences. Although Bobby Farrell became the face of Boney M. with his energetic dancing and charismatic stage presence, most of the male vocals on the group's studio recordings were actually performed by producer Frank Farian, who used Farrell primarily as the group's live frontman.
- Oct 24, 20263.4x their median
"The Power of Love" was written for Back to the Future (1985) after Robert Zemeckis, Steven Spielberg and Bob Gale approached Huey Lewis about providing a song for the film. Lewis initially resisted because he did not want to write a song called "Back to the Future," so the filmmakers told him that he could simply submit the next song he and the band wrote. That song became "The Power of Love", Lewis also made a cameo in the film as the audition judge who rejects Marty McFly's band, telling them they are "just too darn loud." The track became Huey Lewis and the News' biggest hit and their first No. 1 on the Billboard Hot 100 in 1985. It also earned an Academy Award nomination for Best Original Song. The version Marty performs during the school audition is actually an early demo of the song rather than the finished single, making the scene an unusual piece of music history.
- Sep 20, 20263.1x their median
"Hurt" is not an original song by Johnny Cash. Written by Trent Reznor for Nine Inch Nails' 1994 album The Downward Spiral, the song was later reinterpreted by Cash for his 2002 album American IV: The Man Comes Around. Producer Rick Rubin had to encourage him several times before he finally agreed to record it. The iconic video, directed by Mark Romanek, was filmed at the House of Cash, Johnny's personal museum. By then, the 71-year-old singer was already in poor health, with failing eyesight and noticeable tremors. June Carter Cash appears throughout the video, which was filmed in February 2003 just a few months before her death in May and Johnny's own passing in September. Deeply moved by the reinterpretation, Trent Reznor famously said, "That song isn't mine anymore." Today, it is widely considered one of the greatest cover versions ever recorded.
- Sep 6, 20263.0x their median
“Come On Eileen” is from Dexys Midnight Runners’ 1982 album Too-Rye-Ay. The Celtic-influenced pop classic became a massive global phenomenon, reaching #1 on both the UK Singles Chart and the US Billboard Hot 100, where it famously knocked The Rolling Stones’ "Start Me Up" off the top spot. The track gradually accelerates throughout its running time, culminating in a frenetic finale that mirrors the escalating passion of the lyrics. To mark a drastic artistic reinvention, Rowland replaced the band's brass-driven sound with fiddles and Celtic folk influences, adopting a rural Irish aesthetic featuring denim overalls. Though initially shocking to critics, the look became permanently etched in pop culture history thanks to the song's heavy MTV rotation.
- Sep 4, 20262.9x their median
“Party All the Time” began after comedy legend Richard Pryor made a $100,000 bet with Eddie Murphy, challenging him to record a serious music album with no jokes. Murphy teamed up with his friend Rick James, who wrote and produced the track. The two ended up snowed in together for about two weeks at James’s estate in Orchard Park as a result of the so-called “Six-Pack Blizzard,” a historic storm that dumped over 33 inches of snow on the region in 1985. The song far exceeded expectations and became one of the biggest crossover hits of 1985. The track is from Eddie Murphy's 1985 debut album, "How Could It Be." Written and produced by Rick James, the synth-funk anthem became an unexpected commercial success, reaching #2 on the Billboard Hot 100 where it stayed for three weeks, kept off the top spot by Lionel Richie's "Say You, Say Me", and also charting internationally. Despite Murphy's fame as a comedian, the song proved he could also score a legitimate pop hit. Despite being widely remembered today as an '80s novelty, Murphy took the project seriously. He continued returning to music over the years, including reggae-influenced material more recently, such as the 2013 single "Red Light," featuring Snoop Dogg (then known as Snoop Lion).
Ranked by total interactions across everything we have tracked for this account, which is a longer history than the 30-day window the rates above use. The multiple compares each post to this account's own median.
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Reading these numbers
A typical post picks up 713 interactions against 278K followers, an engagement rate of 0.256%. Measured over 41 original posts, its engagement rate beats 75% of 20,444 tracked accounts of a similar size. Comparing inside a size band matters here: engagement rate falls as accounts grow, so a raw rate would mostly just re-measure the follower count. Posts are seen about 17K times each, and 4.30% of those impressions turn into an interaction. That is about 5.96% of the follower count, which is the gap between an audience on paper and an audience in a timeline. Posting runs at about 1.4 post a day over the last 30 days, though only 23% of days saw any activity at all. Most posts go out around 00:00 UTC, and Sunday is the busiest day of the week. Of the 41 posts sampled, 100% carry an image or video. The account's strongest tracked post pulled 5.0K interactions, about 7.0x its own typical post.
- What is Ladytron Fan Account's engagement rate on X?
- Ladytron Fan Account (@Lady_FanAccount) has an engagement rate of 0.256%, based on the median interactions across 41 original posts from the last 30 days against 278,273 followers. Replies, reposts and quote-posts of other people are excluded from that sample.
- Is that a good engagement rate?
- At 0.256%, Ladytron Fan Account sits above the 50th percentile of the 205,261 accounts in this comparison. Those comparison accounts are all large ones, because our scanning cadence is weighted towards big accounts, so this is a ranking among peers of similar scale rather than a ranking across X.
- Does @Lady_FanAccount have real engagement?
- Its engagement rate beats 75% of the tracked X accounts closest to it in follower count (20,444 accounts), which puts it in the top quarter for its size group. Ranking inside a size band matters because engagement rate falls as accounts grow, so a raw rate would mostly re-measure the follower count. It is a starting point for a look at follower quality, not a verdict on it.
- When does @Lady_FanAccount post?
- Most posts go out around 00:00 UTC, and Sunday is its busiest day, at roughly 1.37 posts per day across the measured window.