Spotify will point to the amount it’s investing in its platform (more than €1.8bn on research and development between 2015 and 2019 alone according to its financial results, plus another €2.6bn on sales and marketing). Some musicians, like non-performing songwriters, simply don’t have some of the opportunities listed above. Earlier this week, we covered the IFPI’s latest figures for global recorded music revenues, which grew by 8.2% in 2019. If you don’t do it you are invisible. At the same time, labels (and label alternatives) are making their cases for their share of the revenue, and the good ones are proving their value. Anyway, the point is that these are post-payout calculations. Spotify is the lightning rod for this unrest, partly because it’s the biggest subscription service and the one most closely identified with the emergence of the music-streaming model; partly because memories are still fresh of it going public (current market cap: $27bn); and partly because its numbers (users, revenues, losses etc) are published every quarter. It’s been happening naturally, of course, as Spotify’s revenues have grown every year, but for the purposes of this debate, we’re talking about other ways to increase it. All of this is being driven by streaming (and particularly by paid streaming subscriptions), yet this growth is accompanied by a resurgence in unrest from the musicians whose work has made that growth possible. Napster pays even higher artist rates, but is not available in Australia where I live. Spotify’s market cap says that investors via the public equity market *think* that it will generate meaningful profits in the future, but history (especially the early 2000’s) is littered with companies that went out of business just a few years after having equity market caps suggesting that they’d one day be highly profitable. A lot of bands don't like to look at stats and just want to focus on song-writing. Still, in western developed countries, the $9.99 figure may be under pressure – to rise. For my own part, I am constantly discovering music online (old and new) that I have never heard before. To triple its payouts, it would either have to triple the percentage of its revenues that it pays out (to, er, 195%) or triple the size of the royalties pool itself. But if you’re calling for user-centric payouts as a solution for the royalties issue, you’ll need to come with some good ideas to cut through the industry politics. Most artists are doing Spotify for Artists wrong — and that dramatically reduces their chances of playlist inclusion. Which is not to say Tidal is the perfect model, just that it is at least a bit better. Yes, song-writing is obviously the most important, but knowing if you're connecting and what steps to take when you are connecting is just as important. What would it mean, for example, if a label was getting both a smaller share of the overall streaming royalties, and paying out a bigger share of what it does get to its artists? The contrast between these fears and the rosy industry figures is sharpened now, during the Covid-19 pandemic, with the live music industry having shut down entirely in many countries, with an anticipated hit to public performance royalties to come. Spotify and the like either have to address that fact and change … Which means that even if you never play Drake’s music, he’s getting 5% of your subscription. This is where people are listening, and as a fan as well as an artist I can totally understand why. Built for artists and their teams, Spotify for Artists helps you to understand your audience, manage your artist profile, and celebrate new releases and milestones. In its developed markets, Spotify has not raised the price of its standard subscription since it launched in 2008, even though some other digital services (Netflix is the frequent comparison) have done, without obviously suffering from customer rage. Why would labels give that up? Alongside the ‘$9.99 is too cheap’ discussion, though, there’s also still the chance to experiment with even cheaper subscriptions – often limited by catalogue, features and/or how many devices listeners can use – to bring even more of those billions of free listeners in to the paid music world. The user-centric model needs to be adopted and the subscription fees need to be increased based on usage. We may well continue to make music purely for the love of it, but that does not put dinner on the table. It is absolutely fantastic to be able to listen to whatever you like whenever you like. Offline syncing There’s no contradiction between musicians calling for change in the way the streaming economy works, while also working hard to create opportunities for themselves within the system as it stands. For a Spotify or Apple Music to bolt on its own version of Patreon and Twitch is hardly a simple tweak. i buy songs, upload them to spotify and use some strategies to get streams (legally) on my songs. Spotify is a great tool for independent artists to have more autonomy over their music careers without the help of a music label. Many pop artists grumble about infinitesimal royalties from Spotify and other streaming services. Along with the news of Spotify’s global expansion to 85 new markets, Spotify’s dashboard for artists will also expand to include support for 25 more languages. Spotify for Artists users that submit their “$cashtag” username as their Artist Fundraising Pick—and secure at least one contribution of any size through Spotify—will receive an extra $100 in their account from Cash App, until a collective total of $1 million has been contributed. This is a long-established debate in itself. Their findings were nuanced. Spotify ends their unlimited free service and they will have plenty of money to increase what they pay to artists. To explain it super-quickly: the current ‘pro rata’ system used by streaming services divides their royalty pool by each track’s share of streams in a given period. These music streaming services falsely believe that it is their success. This week, musician Tim Burgess (of the Charlatans, who’s also behind the excellent #TimsTwitterListeningParty co-listening movement) addressed Spotify directly on Twitter, suggesting that “we should look at how much you give to artists… It’s just not fair at the moment”. Yes, user-centric would redistribute some royalties from the biggest tracks and artists to those in the mid and long tail of the streaming catalogues. Apologies yes, it starts at 15% for digital music and 10% for merch, then the digital music share drops to 10% “as soon as you reach $5,000 USD in sales (and stays there, provided you’ve made at least $5,000 in the past 12 months)” according to Bandcamp – https://bandcamp.com/pricing, You haven’t talked about the most obvious solution: Spotify needs other revenue streams. These and other arguments about how streaming royalties are divided aren’t happening in a vacuum either. (Guy Fletcher, OBE: Former Chairman of PRS for music and co-founder NIM). Get Spotify Open Spotify You look like someone who appreciates good music. $9.99 a month is not the global standard, despite the regular conference-stage laments suggesting that it is. If the appeal is lost (or hadn’t happened in the first place) and Spotify was paying more like 70% of its revenues out again, is that still too low? The calculations required are complicated, but perfectly manageable for streaming services. Spotify, you’ve probably been told, is bad for artists. The labels literally charge users on Spotify et all for the access to their content just being there, otherwise there is no explanation as to why 5% of my suscription would go to Drake, I’m paying for the access to it, even though I never listen to it. In 2019 the recorded music industry enjoyed its fifth consecutive year of growth, taking it nearly back to its 2004 level. You can follow artists, which helps the recommendation system, but it's half-baked and is of limited use. Us small guys are never going to win a battle against the likes of Spotify. Step outside that row though. This, plus the #BrokenRecord campaign being built by fellow British musician Tom Gray (of Gomez, but also the boards of PRS for Music and the Ivors Academy) show that for all the positive industry figures, many musicians still see a big problem with streaming, but also potential to solve it. Critics will point to swanky offices and high salaries. Spotify … Nor does it mean that every smaller, independent artist would be a winner from the change: it depends on how intensely their fans stream them. The truth? Still, the body of experience and ideas for how artists can build sustainable careers for themselves in the streaming era is growing, and while some of it comes from friendly partners trying to synthesise and share that knowledge (plug: Music Ally is one of them) much of it comes from artists being as creative with technology and business as they are with their music. Subscription Services Pay Higher Rates Than Online Video, Online Radio, & Terrestrial Radio. Get access to Spotify for Artists. If Drake gets 5% of the streams, his rightsholders get 5% of the royalties. Average Spotify payout rates have also been steadily decreasing with time. You have an amazing thing – it just needs to be fairer#TimsTwitterListeningParty. India, CEO Daniel Ek... During its recent ‘Stream On’ event Spotify revealed plans to launch a new suite of personalised playlists as an expansion to its ‘Daily Mix’ family. Again, it’s a question, not an answer. Technology allows us to access our chosen music anywhere, any time and anyhow! But there’s also a backlash from some musicians who see it as a tacit admission by Spotify that its royalties are paltry, and an insulting device to push the responsibility onto fans. They and their teams are mastering mailing lists; serving their superfans; figuring out social marketing; being smarter with their merchandise; exploring new models like livestreaming; using tech and services to make sure their metadata is accurate and their royalties are collected; making clever use of the ‘on-platform’ creative and marketing tools of the streaming services… they’re taking control of their businesses and hustling to make the most of the current systems and structures. They’d be based on artists, genres and decades.... “There are elements of live listening that will eventually exist on Spotify too. Spotify has a good mix of major and indie artists, including Taylor Swift, who once had a notable falling out with Spotify over money that saw her remove her catalog from the service. Streaming royalties aren’t a single can of worms: they’re a mega chain of WormCanMart supermarkets having an annual worm-can opening festival. Verifying your artist profile is the most important thing you can do on Spotify. Spotify for Artists data has added exponential value to our engagement strategies and has guided us to know what we should double down on. Firstly, Spotify is not the only streaming service worth using. Get Spotify Open Spotify You look like someone who appreciates good music. In many ways, playlisting is the new radio. Listen to all your favourite artists on any device for free or try the Premium trial. However, the global management of copyright is woefully antiquated. That’s a bold statement, but it’s true. It is the largest and most popular subscription-based music streaming platform. One element of our lives remains completely unchanged – the need for MUSIC – We all seem to find that life is intolerable without it. I realize that digital downloads aren’t exactly what’s Will is proposing, but it shows unlimited streams for a flat subscription rate winning out with consumers over a la carte pricing. In the US, the Copyright Royalties Board sets the percentage that on-demand streaming services pay out in mechanical royalties to publishers (and thus songwriters), and those were due to rise from 10.5% of a service’s revenues to 15.1% by 2022. There’s no single playbook for success, and the competition in terms of the amount of music being released is ferocious, and daunting. Of course, some aspects of Spotify's social features aren't quite so good. After all, isn’t the current “pro-rata” system something that the services had to agree on in order for the labels to license the content? There are some sensible questions to be asked about how wisely Spotify spends its money, and also some blunt realities around the company’s value not just being in the music, but the technology it has invested in around it. There doesn’t seem to be much written about copyright owners of video content being unhappy with Netflix, for example, compared to music composers/performers? Spotify is very popular with big music brands to bedroom musicians. Zooming out: the IFPI says there were 341 million people using paid subscriptions at the end of 2019. Spotify, along with Amazon, Google and Pandora, appealed against those new rates, which sparked fury among the US publishing community, which sees it as evidence that Spotify will fight any attempt to get it to pay out a higher percentage of its revenues as royalties. That alone might be a helpful selling point when trying to encourage more people to sign up to subscriptions (see point 2). Subscription streaming – Netflix plus various other services – are winning out with consumers over paying a la carte for digital downloads or video on demand. It’s not a new complaint, but it might just be coming to a head soon in a battle where Spotify is just a bystander – it certainly won’t want to be the referee. These models can work brilliantly for some creators, but not all. The recent unrest around artist royalties has also seen a fair few mentions of ‘user-centric’ payouts as a possible solution. Spotify, like the music industry, is betting big on worldwide consumer behaviour catching up with Scandinavia. It should pay them better‘. They take 15% + Fees (ex: Paypal) from the artists I represent. It pays labels, distributors, publishers and collecting societies, and they then pay musicians. how? It’s also important, because many of the changes that might boost those earnings require the agreement of these companies before they can happen. C. It’s all about the pool – and how it’s divided. listeners prior to the end of October to qualify for the “Wrapped” report. Spotify’s conversion rate is actually pretty good: 45.5% of its listeners are on Spotify Premium, although that includes people on half-price student plans, and also members of family plans. This is the key question to focus on: how Spotify can increase the size of its royalties pool. United Kingdom, Music Ally is a Registered Learning Provider 10029483. But could the company up its payout rate from 65%? So, this is the only way to get music out to the audience now and we are stuck with it. They are just the plumbing. Although I’m not the first to mention it, for years artists have been advocating to end the unlimited free streaming service that has played a major role in Spotify’s dominance in the market. Music Ally Ltd., Holborn Studios, This site only works if JavaScript is enabled in your Browser A couple other data points also suggest that unlimited streaming for one price is here to stay: (1) We’ve seen flat rate streaming subscriptions eclipse digital downloads in the music marketplace with both of them available, and with digital downloads of course having a head start. However, under a user-centric model, the royalties from your monthly payment would only go to the tracks that you listened to. So if you want to support artists and still want a streaming service, ditch Spotify and find another like Tidal or Napster. Here are the two challenges. The debate is also about whether there are ways to divide that royalties pool that are ‘fairer’ for musicians – both before the money leaves Spotify, and after it arrives at their rightsholders. In some parts of the world, the percentages aren’t entirely within its control. The number one mistake: artists should be uploading tracks into Spotify for Artists at least seven days before it hits the platform. That’s why you’ll see these figures in the press, based on data that an artist or label has shared with them. How many more can be signed up in the next three years? More than 50,000 artists are using Spotify’s new ‘Artist Fundraising Pick‘ feature, which enables them to raise money from fans for themselves and their teams, or for charities. "Streaming suits catalogue but cannot work as a way of supporting new artists. The way Spotify and Apple Music pay artists is ... it still might not be a good idea. From Bandcamp’s recent revenue-share-waiving sales days to the bonds being forged between creators and fans on platforms like Patreon or Twitch, there are plenty of reminders right now that paying people because you give a shit about them and their work can be… wonderful. NIM has developed a unique economic ecosystem giving copyright owners the means to sustain and build their careers while getting properly paid to do so. In other words, it’s far from obvious that the music streaming business would support any meaningfully higher payout of revenue to rightsholders than the current level, since Spotify doesn’t currently make money with the existing payout ratio. Alex April 12, 2017 By this calculation Drake the most streamed artist on spotify has made just under 35 mil from spotify royalties. Artist rights group the Future of Music Coalition made an important point when it shared our story on Twitter: Remember, changes in gross revenues for any one income stream doesn’t tell you anything about distribution or about how individual workers (like musicians or songwriters) are faring. Another way to look at this, though, might be that ending the historical separation of streaming and fan-funding might be a good thing. It’s not a reason to give up on the idea, yet. You can use the Spotify artist app to really give you a step up on other bands. It’s an issue whose tensions go beyond ‘streaming services versus musicians’ into some of the long-simmering dynamics of the music industry – from dodgy artist deals to the splits between recordings and songs (compositions). (2) We’ve seen the same thing happen in video. Still, that leaves 163 million Spotify listeners who aren’t paying… yet. https://t.co/BXh4CdbZIl, — Future of Music Coalition (@future_of_music) May 4, 2020. What will persuade them? Do you feel it would have it’s place as a long term solution? Not random ads for car insurance – but targeted ads fans will want to hear – concert and new release announcements by bands they listen to (for instance). Listen to all your favourite artists on any device for free or try the Premium trial. If one streaming service can’t get a single-country recordings-only trial off the ground, what hope is there for global, industry-wide adoption any time soon? Check out the idea I posted in the Spotify forums, which would help musicians get in touch with fans while also generating more revenue for Spotify: https://community.spotify.com/t5/Live-Ideas/Let-Artists-filter-followers-by-Region-to-send-concert/idi-p/4941023. Being able to see that progress and reach in real time is invaluable. As a system, user-centric ‘feels’ fairer: your money goes to your favourite artists. Spotify will pay more when stronger artists negotiate for more. Spotify is like the mega-corporatized version that, technology-wise, wants to monopolize. For artists, getting on playlists is more important than ever. Spotify doesn’t pay out $0.00348 per stream, so it can’t suddenly decide to triple that to $0.01044. So to ask for a few dollars more each month in subscriptions should not be incredibly hard to do (Netflix seem to be managing to do this just fine). Give me a break,” he said. making money with Spotify for Artists. We and our partners use cookies to personalize your experience, to show you ads based on your interests, and for measurement and analytics purposes. but first, some baseline framing of the debate: Bar a now-closed experiment with direct uploads, Spotify doesn’t pay artists or songwriters directly. Has any work been done on comparing the financial performance of video and audio streaming companies. Should be noted too that Spotify is, yes, investing lots of money into its technology. That India is an extremely significant market for Spotify is evident in not only how much it fought to get there but also how often its performance in the country is mentioned during earnings calls. It’s a business decision on their end that bulks up their value to Wall Street where growth is everything. petitions calling for the company to triple its payouts “immediately”, Spotify’s ‘tip jar’ is a slap in the face for musicians. Not to mention the challenges of providing the expected content and access, and/or navigating the ‘asking for money’ requirements of tips-economy success? In the past, Spotify’s senior executives have tended to push back on this idea, but there was a small but significant shift in CEO Daniel Ek’s tone when asked about it last week during Spotify’s latest quarterly earnings call: he hinted that based on its tests in a few countries, Spotify is open to the idea “when the economy improves”. Let’s crack on with it. Yes, Spotify is that much more powerful. You can turn that into a per-stream rate, as an artist, by dividing your royalties by your number of streams. Finally, allowing companies like Spotify to continue using their current payment model is simply not acceptable. Why not 80% or even a Bandcamp-style 90%? The problem being, as with any alternative to a mainstream service, that it needs a network effect to happe for it to grow enough… Which is the hard part. Bleak, but true. We need more studies and, even better, actual commercial trials of the new model to understand how significant its impact would be. Other tensions are more… intractable. User-centric wouldn’t be a sudden cure for the royalties unrest, then. It can be tough, particularly when you’re not yet at the level of having a team to delegate any of this to. Spotify currently generates operating losses – they’ve narrowed, but it still loses money – which is a very pertinent point that’s not highlighted in what’s otherwise a very good article. Tom Gray recently gave an interview in which he proposed increasing it by 25%. Spotify sent an email last week to all artists registered for the Spotify for Artists program, with a link to “2019 Wrapped for Artists.” You need to be an artist with music on Spotify, but that’s it – the company even says you only needed three (!) I have tried a few and they all have good and bad points, but for now I have ditched Spotify and I am paying a family subscription for Tidal. Not sure how you got 90% for Bandcamp. If we make them the engine of a new music economy, there’ll be implications, and that’s something that needs – stop us if you’ve heard this one before – a lot more discussion. So while revenue is an important metric, it’s not a proxy for the health of the industry. Buy their CD’s, records, merchandise, etc, etc. Really interesting concept. Don’t expect it to be free, or soon there may be no new music to listen to. If it does, Spotify and its rivals will … You should imagine that functionality being available,” Spotify CEO Daniel Ek told Music Ally in February this year, when we asked... © Copyright Music Ally All rights reserved 2021 - Website designed and maintained by. The pilot has yet to launch. ‘Spotify should pay artists more’ is a good rallying call, but it’s not a solution until you address the question of ‘how?’ That’s a discussion based around several more questions, which we’ve presented below. More than 50,000 artists are using Spotify’s new ‘Artist Fundraising Pick‘ feature, which enables them to raise money from fans for themselves and their teams, or for charities. With the Tidal plan 6 people get unlimited music access for a lower price than Spotify and artists get paid roughly twice as much. NIM is not changing any existing business model, we are making royalties payment more efficient through disintermediation. Meanwhile, outside the recorded sector, publishers are also seeing their revenues grow, while collecting societies are regularly breaking their records for payouts. I feel like I’m working for you here. Spoiler: there is no right price: how much people will pay depends on where they are in the world; their personal financial status; and their level of engagement with music. Resulting in “More money, faster – to copyright owners…” In fact up to 45% more and 26 million times faster! This is really important: Spotify can’t triple the amount it ‘pays per-stream’ because that’s not how it pays out. And the smarter artists are taking a paltry paycheck from streaming and making it up on the road. It’s no Robin Hood-style ‘rob the majors to feed the indies’ dynamic though: the majors’ big back catalogues would benefit from the change. Publishers (and thus songwriters) get a much smaller share of streaming royalties than labels (and thus performers) do. To play this content, you'll need the Spotify app. But there’s also a backlash from some musicians who see it as a tacit admission by Spotify that its royalties are paltry, and an insulting device to push the responsibility onto fans. As we said, we’ve structured it as questions, because this article isn’t pretending to provide a set of neat answers. What’s more, these experiences can and will inform artists’ activism when they criticise streaming services or call for changes in the way royalties flow. All the tools you need to build your following and career on Spotify, all in one place. And more to make your music sound its best than ever that into a per-stream rate, an... To them unlimited music access for a lower price than Spotify and use strategies. Artists are taking a paltry paycheck from streaming and making it up other! 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