There has been a change at the top. For months, Nuuk in Greenland held the crown as the place in the world where my music was listened to most on Spotify. It was a remarkable run and, for a while, I genuinely began to wonder whether I had accidentally become Greenland’s unofficial house musician. But all good things come to an end, and Nuuk has now been knocked off the top spot.

The new number one is Guwahati, India.

I have to admit, Guwahati sounds exactly like the sort of place where I should be unexpectedly popular. We have moved from the frozen north, through the upside-down world of the Antipodeans, and now arrived somewhere altogether more exotic-sounding. I knew very little about Guwahati before Spotify informed me that people there were listening to my music in significant numbers, but I now feel a strong and entirely unjustified connection with the place.

Somewhere in Guwahati, people are apparently pressing play on Sean Kearns songs, and that is enough for me to start imagining scenes of wild celebration. Traffic brought to a standstill, crowds gathering, people leaning from balconies, perhaps even somebody waving a badly printed photograph of me while another person desperately tries to explain who I am. They’ll be dancing in the streets of Guwahati. Possibly. At the very least, somebody there has found the play button.

The great mystery, of course, is how this happens. I am sitting in North Wales writing and recording songs, putting them onto Spotify and then discovering that they have somehow travelled thousands of miles to a city in India that I had never previously expected to feature prominently in my musical career. That is one of the genuinely wonderful things about streaming. There are plenty of reasons to complain about what streaming pays musicians, and I have done my fair share of that, but it also does something extraordinary: it allows a song recorded at home to appear almost instantly anywhere in the world.

One month you are apparently big in Nuuk. Then Melbourne or Sydney starts making an appearance. Now Guwahati has decided it wants the number one spot. I am beginning to think my Spotify statistics are less like music analytics and more like a very unusual travel itinerary.

There is also something rather satisfying about the randomness of it all. I have never run a marketing campaign in Guwahati, never advertised there and certainly never stood in the city centre handing out flyers saying, “Have you considered listening to a middle-aged songwriter from Wales?” Yet somehow the music has reached people there anyway, which makes the whole thing feel both slightly ridiculous and rather wonderful.

So I would like to formally welcome Guwahati to the increasingly exclusive club of places where my music appears to be doing unexpectedly well. Nuuk, you had a magnificent run and you will always have a special place in my Spotify statistics. Australia, you made a strong contribution. But for now, the crown belongs to India, and more specifically to Guwahati.

I still have no idea why.

But if anybody asks where Sean Kearns is currently biggest, I can now say, with complete confidence and very little understanding: Guwahati.

And somewhere, surely, they are dancing in the streets.