
If you are a frequent user of Spotify, you are probably familiar with the ad in which the Spotify announcer says “Piracy is so last year. Every time you use Spotify, you can feel good knowing you are supporting your favorite artists.” If you haven’t heard this ad, you will; it comes on about once every two hours.
Spotify is an amazing service, offering free access to potentially every recording ever made. It’s the closest thing to what Napster used to be, but where finding a tune on Napster was totally dependent on who was online at a given time, Spotify’s entire library is 100% there 100% of the time — and it’s legal. It’s about as revolutionary as anything has ever been, but it’s a young company, and its bold claims of supporting artists deserve thorough scrutiny. Does listening to music on Spotify really support the artists you listen to? Is it really better for rightsholders than piracy?
The short answer: No. Not yet.
To give you an idea of Spotify’s payout compared with other services, here’s the revenue report for Friend in the Head, a song my band released last April.
Since my band doesn’t have a record label or any other stakeholder taking a cut of the revenue, we receive the entire payout from each service:
iTunes (UK/EU) ~$1.22 / sale
iTunes (US) ~$.76 / sale
eMusic $.40 / sale
Rhapsody $.01 / stream
Spotify $.00378 / stream
So if you lived in the US and purchased a copy of Friend in the Head on iTunes for 99 cents, we would have received about 77% of the sale. This could add up pretty quickly; had we sold 9,900 copies of our song over that six-month period, we would have received a check for about $7600 from iTunes.
Spotify has a completely different business model and payout system: each time someone streamed the song from Spotify instead of purchasing it outright, we got less than four tenths of one cent. That means that someone would have to stream our song two hundred times in order for my band to have received the same 76-cent payout as a single purchase on iTunes. This does not add up in any meaningful way until you get into the hundreds of thousands of streams, although it is a marked improvement over the way artists were initially compensated by Spotify (Lady Gaga received $167 after her song “Poker Face” hit 1 million streams on Spotify in 2009, or 1.67 thousandths of a cent per stream.)
When confronted about their business model, Spotify vigorously refutes the idea that they are anything other than the next great revenue source for artists. In a recent interview, a Spotify spokesperson said “Spotify is now generating serious revenues for rights holders; since our launch just three years ago, we have paid over $100 million to labels and publishers, who, in turn, pass this on to the artists, composers and authors they represent. Indeed, a top Swedish music executive was recently quoted as saying that Spotify is currently the biggest single revenue source for the music industry in Scandinavia.”
This sounds pretty, but there’s a serious disconnect here between what they say and what I see when I look at the revenue report and see that my band makes twice as much from one iTunes sale as we do from 103 Spotify spins. Paying artists $.0038 for one spin on an ad-supported service is no grounds for Spotify telling their listeners that they are better supporting their favorite artists by listening to them on Spotify instead of pirating their music, especially when their revenue growth is reportedly exponential and their CEO is apparently rolling in it.
To keep using the Friend in the Head example: If 103 people had pirated Friend in the Head instead of streaming it through Spotify, those 103 people would possess a digital copy of the song, which means there are dozens of ways they could pass it along to others. They could burn it to CD and could email it to their friends; They could listen to it using any audio player, in any setting, and could easily transfer it between devices; They could convert it to any format, they could add it to a video, they could sample it, they could make it their ringtone, they could play it as house music at a theater or club, and they could broadcast it on their radio show. By listening to Friend in the Head in Spotify instead of pirating it, those 103 people could have shared the tune with other Spotify users and their Facebook friends, and could have added it to their Spotify playlists, but there’s not much else they could have done that would help the song reach new people since music on Spotify can’t leave the Spotify application.
Don’t take this as me being bitter. Spotify represents the future of music consumption. We are a culture of convenience, and nothing is more convenient than immediate, cost-free access to every song you’ve ever wanted to hear. But Spotify should not be advertising their support for artists when it takes nearly 300 streams of a song for one member of a band to be able to buy a cup of coffee at a bodega. Until Spotify’s business model is reworked, it should be seen as just another free music service, like Napster and Grooveshark before it, and the best way to support your favorite artists is to purchase their music at full-price – especially their self-released material - and go to their shows when they’re in town.
Dan Reitz lives in Brooklyn, NY. For the record, he still uses Spotify.
