Why don't you ask them where the money inteded for artists is going? You know? The small insignificant companies of Sony, Warner Music, EMI that own the vast majority of music and own all the contracts?
They have also arbitrarily decided not to pay out if you fall below a certain threshold, which hits smaller artists as well. Of course part of the problem is that the pay out is so low, so if you don't have millions of streams it's not worth it.
That is the decision of artists to sign with a mega corp. Any tom dick or harry can create a Spotify account, load their warbling autotuned ditty written by themselves ( or AI ) on any theme, in any genre and wait for fame or fortune to appear or not. You can take your 70% or whatever the exact number is with no.middle man if you like.
Unfortunately the number of people producing music and the quantity of it is much higher than the number of people able to consume it. And culture is simply network effects. You listen to what your friends or family listen to. Thus there are only a small number of artists who make it big in a cultural sense.
And one of the cheat codes for cracking the cultural barrier is to use a mega corp to advertise for you but if course the devil takes his cut.
Anyway AI is coming for all these mega corps. If you haven't tried SUNO and many of you have it's amazing how convincingly it can crack specific Genres and churn out quality music. Call it slop if you like but the trajectory is obvious.
As a consumer you will get you own custom music feed singing songs about YOUR life or desired life and you will share those on your social media account and some of those will go viral most will die.
(a) you can’t directly upload to Spotify. You need an intermediary in the shape of a distributor. Whether that’s a label or a DIY platform like DistroKid.
(b) Spotify introduced a threshold of 1000 streams before they pay anything. This disincentivises low quality warbling autotuned ditties as they are unlikely to pass that threshold. (It’s more nuanced - you don’t just need 1000 streams from a handful of accounts as that could easily be gamed.)
(c) Suno and Udio have been forced into licensing deals with the major record companies. The real threat will be when we see an open sourced Qwen or DeepSeek style genAI for music creation.
There is a pretty interesting open source music AI named ACE-Step. Currently its quality is at about the Stable Diffusion 1.0 level, and they'll release a new version soon (hopefully in January).
That’s very interesting, thank you! Do you have any info on how it compares to Suno/Udio etc? I don’t know if you saw the news about Anna’s Archive having effectively scraped the majority of the Spotify library. It will be very interesting to see how this impacts on the next generation of generative models for music. Any thoughts there?
> Any tom dick or harry can create a Spotify account, load their warbling autotuned ditty written by themselves ( or AI ) on any theme, in any genre and wait for fame or fortune to appear or not
No, that's what they ran on when the general public could join on a referral basis. They called that "beta".
The technology was already proven, i.e. The Pirate Bay and other torrent networks had already been a success for years. What Spotify likely aimed to show was that they could grow very fast and that their growth was too good to just shut down, like the entertainment industry tried to do with TPB.
After they took in the entertainment oligarchs they cut out the warez and substituted with licensed material.
Not sure if it was called "beta" or "alpha" and "closed" is of course up to interpretation, but it was indeed by invitation. Swedish law at the time (still?) had a clause about permitting sharing copyrighted material within a limited circle, which I know Spotify engineers referred to as somewhat legitimising it. I also know for a fact that once the invite-only stage ended there was a major purge of content and I lost about half of my playlist content, which was the end of me having music "in the cloud". Still, this is nearly twenty years ago, so my memory could be foggy.
> The technology was already proven, i.e. The Pirate Bay and other torrent networks had already been a success for years.
Spotify showed that you could have a local-like experience with something backed by the cloud. BitTorrent had never really done that. The client wasn't that good, and you couldn't double click and hear a song in two seconds.
The way you said that made me think you might be remembering when it was partially P2P, but I don't remember the timeline, it was only used to save bandwidth costs, and they eventually dropped it because network operators didn't like it and CDNs became a thing.
Ek had been the CEO of µTorrent and they hired a person who had done research on Torrent technology at KTH RIT to help with the implementation. It was a proven technology that required relatively small adaptations.
They moved away from this architecture after the entertainment industry got involved. Sure, it was a cost issue until this point, but it also turned into a telemetry issue afterwards.
