Ben Beaumont-Thomas: Spotify's 'tip jar' is a slap in the face for musicians. It should pay them better (The Guardian)
Fans can now donate to their favourite artists via Spotify, but this feature is a tacit admission that the firm undervalues the musicians that make it viable.
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Spotify’s method of generating the premium subscriptions that will turn it a profit was canny: draw people in with an excellent user experience and relatively light advertising in the free version during its early years, then ramp up the advertising to near-intolerable levels and wait for users to cave in to spending a tenner a month. Many casual music fans are now spending money more regularly on music than they did in the download or CD era. But the nature of the exchange has utterly changed: people are not paying for music but for a lack of advertising. The music is available either way.
This is why the inclusion of the “tip jar” button is such a slap in the face for artists: it’s being initiated by the very service that helped to break the link between art and money. By paying royalties via both ad-funded and paid-for streams, Spotify has taken the onus off the consumer to pay the artist, and then, via low royalty payments, quietly eroded the monetary value in music that consumers and labels once propped up. The tip jar, while helping to replace lost touring earnings, is a tacit admission that artists are not being paid enough by the very service offering it – a similar admission was made by Amazon on Thursday in revealing that it paid £250,000 to a coronavirus hardship fund for authors.
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For consumers, Spotify’s staggeringly vast and high-quality library remains one of the greatest things to have ever happened in music, but it is nothing without the artists who add to that library every day. Maybe subscriptions should cost more – the competitiveness between the streaming companies has forced down the value of music, and this now perhaps needs correcting. That would require a recalibration of how we value music, and it would need Spotify and its competitors to lead it. For now, donate to your favourite musicians, buy their T-shirts, cherish their artistry, and never let the company that built an empire from their labour off the hook.
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Noah Yoo: How Artist Imposters and Fake Songs Sneak Onto Streaming Services (Pitchfork)
Ultimately, the problem at hand is greater than the risk of lost royalties. The prevalence of leaks on established streaming services has a significant impact on an artist’s sense of ownership over their life’s work. The lines become blurred as to whether something actually “exists” in an artist’s canon if they never gave permission for it to be released. So while diehards might feel a thrill, circumventing the system and listening to unreleased songs by their favorite musicians, the leaks ultimately hurt those same artists.
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Hazel Cills: Spotify's New Mute Feature Is a Patronizing Misstep (Jezebel)
There’s no easy institutional answer as to what to do with the music of men like R. Kelly, or XXXTentacion, or any other alleged abuser on a streaming platform like Spotify. While allowing users to answer that question on their own might seem like a great solution at first glance, it’s ultimately a lazy, patronizing copout for Spotify, one which allows the streaming giant to avoid answering for their role in promoting these artists.
Eric Harvey: How Smart Speakers Are Changing the Way We Listen to Music (Pitchfork)
Indeed, many of the most pressing issues of the streaming music economy—artist compensation, statistical transparency, sexism—remain untouched, if not deepened, by the rise of the smart speaker. Moreover, as Amazon, Apple, and Google continue to carve out their spaces in the voice marketplace, music consumers and musicians alike will continue to fight against the companies’ preferred walled-garden approach to exclusivity. And though there’s no real reason to sympathize with Tidal or Spotify, the idea that the smart speaker industry might become the exclusive province of massive firms with enough capital to experiment (and huge captive audiences to use as guinea pigs) is significant reason for pause, no matter how little one is interested in owning the devices. A world in which three of tech’s “frightful five” become the equivalent of the major labels, with exclusive holdings in hardware and software, and plenty of incentive to lock competitors’ products and content out of their systems, is a chilling idea, and not as far-fetched as it might seem.
Brand playlists are advertisements, even if Spotify strives to imbue them with so-called editorial integrity. Such uncompensated advertorial playlists are harmful in that they offer artists no option to opt-out, but also because they undercut what can sometimes be a valuable source of revenue for artists. If brands can align themselves with artists without having to pay specifically for individual tracks or artist appearances, what do we think they’ll do? Can we at least give people the option to sell out if they want?
Austin Powell: Inside the booming black market for Spotify playlists (Daily Dot)
A new type of Payola is taking place on Spotify, with artists using third-party services to get added to influential playlists, and the company is inadvertently paying for it.
Adam Pasick: The magic that makes Spotify’s Discover Weekly playlists so damn good (Quartz)
The main ingredient in Discover Weekly, it turns out, is other people. Spotify begins by looking at the 2 billion or so playlists created by its users—each one a reflection of some music fan’s tastes and sensibilities. Those human selections and groupings of songs form the core of Discover Weekly’s recommendations.
David Macias: Making Dollars: Clearing Up Spotify Payment Confusion (hypebot)
(UPDATED) By David Macias, president of Nashville based label services company Thirty Tigers. Much of the recent discourse about the music business reminds me of listening to partisan political commentators. Continue reading