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In 2022, about 57,000 artists earned more than $10,000 in royalties from Spotify, the company disclosed Wednesday (March 8) in the latest report published to Loud & Clear, a microsite that provides transparency into the amounts Spotify pays to creators on its platform.
That works out to just 0.6% of artists on Spotify making at least $10,000 in royalties. But using Spotify’s narrow definition of “professional or professionally aspiring” artists, more than a quarter of that group earned more than $10,000 on the platform in 2022.
How did Spotify get to that figure? Of the 9 million artists who have uploaded music to Spotify, 3.4 million have published 10 or more songs. From that group, only 213,000 artists average at least 10,000 monthly listeners, an amount Spotify calls “the beginning of an audience.” For context, newcomer Peyton Parrish, the No. 99 artist on Billboard’s Artist 100 chart, has 1.26 million monthly listeners on Spotify. There were 57,000 artists with at least 120,000 monthly listeners in 2022, according to Loud & Clear.
A similar data point came from Spotify’s integration with Songkick, Ticketmaster and other ticketing platforms: In 2022, 189,000 artists had at least one ticketed concert or event. Spotify says that “demonstrat[es] professional activity outside streaming.”
The number of artists making at least $10,000 on Spotify increased 144%, up from 23,400 in 2017. The upper echelon of Spotify payouts grew at about the same rate: 1,060 artists made more than $1 million in royalties in 2022, a 130% increase from 460 in 2017.
But the growth in the number of artists hitting these mile markers hasn’t kept pace with the overall growth of the platform. From 2017 to 2022, Spotify’s subscriber base grew 189% to 205 million, the number of ad-supported monthly active users rose 217% to 295 million and total revenues (which now includes some podcast advertising) increased 187% to 11.72 billion euros ($12.4 billion).
BLACKPINK keeps on taking over the music scene. The four-piece girl group is officially the most-streamed female band on Spotify, according to a report by Guinness World Records on Wednesday (March 8).
Their songs have an incredible 8,880,030,049 individual streams.
The newest accomplishment is just the latest milestone for the quartet of Lisa, Jennie, Rosé, and Jisoo, who have been collecting history-making firsts throughout their careers. Four years after becoming the first K-pop girl group to play Coachella, the festival announced in 2023 that BLACKPINK would be returning to headline the annual music event, making the quartet the first Asian act to do so. The group is set to headline on April 15 and 22.
BLACKPINK also debuted atop the Billboard 200 dated Oct. 1 (released Sept. 25) with their sophomore album Born Pink. The eight-song set is the first by an all-female group to top the all-genre chart since Danity Kane’s Welcome to the Dollhouse launched at No. 1 on the April 5, 2008, tally.
“It’s very surprising to us. All the records are the results of our fans, BLINKs, and their unconditional support,” Jennie told Grammy.com of their success in September 2020. “Every day we try to acknowledge how grateful we are, but more than the pressure, we are ready to give them back as much as they gave us. It just gives us more motivation to go further than we ever dreamed of.”
Spotify has announced the addition of new landing pages designed to help artists promote upcoming releases, including the option to add a pre-save button directly on Spotify.
Dubbed “Countdown Pages,” the new feature also allows artists to tease exclusive content, pre-order merchandise, preview track lists and add a timer counting down to release day all in one place. It was introduced at the company’s Stream On event in Los Angeles on Wednesday (March 8) by global head of artists partnerships and audience Joe Hadley and head of editorial Sulinna Ong, with help from the Jonas Brothers.
The pre-save feature is a long-awaited addition to the streaming platform. For years, artists have been creating their own campaigns via third-party pre-save services to get fans to save upcoming releases to their playlists before they’re released. Many believe that having impressive pre-save statistics can help artists, particularly DIY and emerging talent, receive better consideration for Spotify’s playlists given that a high amount of pre-saves likely indicates high demand.
With Spotify’s new in-house pre-save option, fans who use the feature will get a push notification when the release is out, urging them to come back to the app and stream it. According to Spotify’s own research, over 80% of pre-savers stream the song within its debut week, and the new push notifications may boost this conversion rate.
Beyond the Jonas Brothers, Spotify showed clips of other popular artists endorsing the new feature, including Jennifer Lopez, Karol G, Luke Combs and 6lack.
“There’s a disconnect between where music is being teased and where music is actually being streamed,” said Ong, likely referencing the increased popularity of teasing songs on TikTok. “The most powerful time to reach fans is when they’ve chosen to engage with music, like when they open up Spotify. That’s why we’ve built Countdown pages.”
The Countdown pages will also allow the artist to incorporate Clips — aka short vertical video messages, similar to Instagram and TikTok Stories — to promote upcoming releases. Though Clips are not new on Spotify, the feature was previously limited to specific playlists and top stars. Slated to open up to more artists this spring, Clips can be featured on both Countdown Pages and an artist’s Spotify profile.
Spotify officially announced that it has expanded access to Discovery Mode, a contentious program that gives artists the chance to gain more algorithmic exposure on the platform — through Spotify Radio and autoplay — in exchange for a lower royalty rate. The company made the announcement during its Stream On event on Wednesday (March 8), where CEO Daniel EK unveiled what he described as “an entirely new and updated Spotify experience.”
Artists or their teams can now easily enter tracks into Discovery Mode through the Spotify for Artists tool as long as their distributors are participating in the program. “While labels can continue to access Discovery Mode through our team, I’m excited that Discovery Mode is now available directly within Spotify for Artists today,” Joe Hadley, the streamer’s global head of artist partnerships and audience, said on Wednesday. “Now, thousands of independently distributed artists and labels have access to Discovery Mode.”
Managers who are eager to get their artists’ music in front of as many people as possible have been enthusiastic about Discovery Mode — telling Billboard it’s a “brilliant tool” that can yield “incredible results,” for example. On the other end of the spectrum, music industry trade organizations and members of Congress alike have denounced the program as a new digital form of payola that will eventually lead to an overall decrease in the amount of royalties flowing from Spotify to labels and artists. Several members of Congress also questioned Spotify about whether Discovery Mode meets guidelines set forth by the Federal Trade Commission, which notes that “disclosures of paid content” should be “clear and conspicuous.”
Spotify’s announcement about Discovery Mode’s expansion should not come as a surprise to much of the music industry — for several months, it’s been quietly emailing artists to tell them they can use the program through Spotify for Artists. “We’ve been in testing mode, but the results speak for themselves,” Hadley told the Stream On audience. “On average, we’ve seen users save Discovery Mode songs 50% more often, add them to playlists 44% more, and follow the artists 37% more. And that’s just what they see in the song’s first month of Discovery Mode use.”
The streaming service first announced that it was testing Discovery Mode towards the end of 2020. In a blog post at the time, Spotify said it developed the program in response to artists “tell[ing] us they want more opportunities to connect with new listeners.” Discovery Mode provides artists and labels a chance to “identify music that’s a priority for them, and our system will add that signal to the algorithm that determines personalized listening sessions.”
“To ensure the tool is accessible to artists at any stage of their careers, it won’t require any upfront budget,” Spotify wrote in its blog post. “Instead, labels or rights holders agree to be paid a promotional recording royalty rate for streams in personalized listening sessions where we provided this service.” Last year, managers told Billboard that the royalties they received on plays from Discovery Mode were 30% less than the royalties they received from plays elsewhere on Spotify.
In 2021, Representatives Jerry Nadler (D-NY) and Hank Johnson Jr. (D-GA) expressed their concerns about Discovery Mode, noting in a letter to Spotify that it could “set in motion a ‘race to the bottom’ in which artists and labels feel compelled to accept lower royalties as a necessary way to break through an extremely crowded and competitive music environment.” Last year, Reps. Yvette D. Clarke, Judy Chu and Tony Cardenas also wrote to Spotify, worrying that Discovery Mode “preys on unwitting” listeners who aren’t aware they’re being served a song thanks in part to a promotional program with a back-end cost.
Spotify has defended Discovery Mode by touting its impact on artists’ streams and pointing to supporters, including TuneCore and Terrace Martin, that offer positive testimonials about the program on the company’s website. “Artist and label teams have told [us] for years that they want more agency in reaching new listeners and driving meaningful connections on our platform,” Spotify said in a statement last year. “Discovery Mode, in its early phase, delivers just that.”
The streaming platform also offers artists access to another paid advertising program called Marquee, which shows users a full-screen recommendation for a new release. Spotify has touted Marquee’s bang-for-buck, writing last year that it “delivered 10x more Spotify listeners for every dollar spent on similar social ads” and “a 100% higher click-to-listen-rate, on average, than similar social ads.”
During the company’s Stream On event, it announced that Marquee, which had previously just been available to artists in the U.S., will expand to acts in the U.K. and Australia as well. “It’s one of the most effective tools out there to market new releases,” said Sulinna Ong, Spotify’s global head of editorial.
Spotify is launching a TikTok-like vertical-swiped homepage to its mobile app. Though Bloomberg leaked the news last week, the new homepage was officially unveiled by company executives at Spotify’s Stream On event Wednesday (March 8).
The new homepage — unveiled during the demonstration led by Spotify co-president/chief product officer/chief technology officer Gustav Soderstrom — will trade Spotify’s formerly static carousels of playlist and song recommendations in favor of a vertical, swipeable, video-based interactive feed which will automatically play previews of music, podcasts and audiobooks for users in hopes of helping them discover new content.
The top of the homepage will continue to boast a few quick links to help users instantly find their favorite podcasts, audiobooks and playlists.
“When I open my home screen, I won’t have to choose what I might be interested in just based on a cover art that I’ve never seen before, or an episode name I’ve never heard of,” said Soderstrom. “Instead, I can instantly hear the most interesting part of a song or an episode.”
The new video-centric feed, as well as other announcements at Stream On, represent a move away from positioning Spotify as a solely audio-focused company and toward creating a more audiovisual platform. As Spotify CEO Daniel Ek noted in his introduction, “In the past few years, people likely thought of Spotify as being the best destination for listening. But today, this evolution is really about bringing Spotify to life.”
Spotify has spent years trying to assert itself as the world leader in audio products, diversifying its offerings from music to exclusive podcasts, live audio and — most recently — audiobooks. But not all of these pushes have played out well for the company. At least six of its live audio programs, for example, were canceled after roughly a year.
The company began to offer more visuals in recent years to strong success, including adding video capabilities to some podcasts and its Canvas feature which lets artists showcase a looping video to accompany their songs. According to Spotify, songs that use Canvas are 145% more likely to get track shares, while listeners are 5% more likely to continue streaming them.
The Canvas feature will now play an even bigger role at Spotify, Soderstrom noted, as artists’ Canvases will now serve as the visual backdrop for audio previews on the app’s newly designed homepage.
The news of its more interactive, vertical homepage marks Spotify as the latest major tech company to seemingly take cues from TikTok. Instagram and YouTube have made pushes to popularize short-form, vertical video offerings on their sites in the last few years, while on the music side, apps like Discz, a swipeable music discovery service à la Tinder, have proven there’s an appetite for interactive music recommendations. SoundCloud followed suit this week as well, announcing a vertically-based Discover page that uses AI to power tailored recommendations.
Spotify is launching a R&B First Nights program to support and amplify the genre’s rising stars and connect them to their fans, Billboard can exclusively announce Wednesday (March 1).
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As part of R&B First Nights, Spotify will support four R&B up-and-comers’ live shows in U.S. cities, and invite their superfans to attend. The streaming service’s latest initiative is supported by Spotify’s Creator Equity Fund, which also recently supported the company’s GLOW program for LGBTQ artists.
Singer-songwriter Victoria Monét will kick off Spotify’s R&B First Nights in Los Angeles on March 31, while U.K. trio FLO will perform in Atlanta on April 13.
“To this day I’ve still never headlined my own show and it’s been a huge dream of mine, which is why this upcoming show with Spotify is so special and important to me!” says Monét in a statement to Billboard. “It’s more than a concert: It’s a celebration and kickoff to a new era of my music. Thank you so much to Spotify for what will be an unforgettable night in L.A.! My first headline show of many.”
Guys!!! Special announcement: My very first headlining show ever will be in LA on March 31st imma cry! 🥹 Come celebrate with me and let’s kick off the JAGUAR II era together. Tickets go on sale this Friday at 10AM PST. Hope to see you there 🤎Thank you @spotify @goldenvoice pic.twitter.com/FtK46cbtpl— Victoria Monét (@VictoriaMonet) February 28, 2023
Tickets for Monét’s L.A. show at the El Rey Theatre go on sale Friday, March 3, at 10 a.m. PT here.
“As Spotify continues its support of R&B globally by providing resources, visibility, and vehicles for storytelling, this series kicking off with Victoria Monét is just the beginning,” says Alaysia Sierra, head of R&B at Spotify, in a statement to Billboard. “R&B First Nights is a quarterly series in partnership with artists on their first-ever headlining show in select markets. A special moment for the artists (as a first can only happen once), but also one of the most memorable moments for a fan — we’re so excited to be giving this opportunity to R&B artists and fans. Since this is likely the first time many will be seeing their favorite artist live, we’ve been so intentional about who and where.”
Spotify is putting emerging U.S. songwriters under the RADAR.
The streaming giant this week launches RADAR Songwriter in the United States, its development program which promises a leg-up for its songwriter participants.
Grammy Award-winning songwriting and production team Beach Noise is the first U.S. act to join the program, which is activated following a soft launch last year in several international territories.
Hailing from Stockton and Los Angeles, Beach Noise is the trio of Matt Schaeffer, Johnny Kosich, and Jake Kosich. The creative team has worked with the likes of Kendrick Lamar, Bakar and Baby Keem, and is credited with producing and writing six of the tracks on Lamar’s Mr. Morale & The Big Steppers, which bowed at No. 1 on the Billboard 200 chart in 2022. One of those numbers was “The Heart Part 5,” which collected a brace of rap categories at the 2023 Grammy Awards.
Beach Noise and other songwriters selected for RADAR Songwriters should benefit from a raft of spotlights and promotional pushes across Spotify’s considerable network.
Those selected will appear on a bespoke cover of the RADAR Songwriters playlist (and their recent releases are added to the playlist); they’re featured in both local and global Spotify creative marketing campaigns; participants will receive promotion on Notable, Spotify’s home for songwriters and producers, by way of a dedicated blog post or interview and social support to amplify the news; and their recent releases will be included on the Noteable Releases Playlist.
Also, explains a rep for Spotify, songwriters tapped for the campaign will receive a dedicated “Written By” playlist that will should earn prominent placement in global spots featuring emerging talent such as RADAR and the Songwriters Hub.
Previous international rising talents celebrated by the program include Natali Noor (Sweden), Alessandro La Cava (Italy), Nathan Galante (Mexico), and Chiiild (Canada).
Spotify unveiled RADAR in March 2020, its global emerging artist program that unites the streaming service’s various domestic and international programs under a single name.
Through the pandemic, Spotify’s numbers continued to grow. According to its earning report published earlier this year, the Sweden-based business ended 2022 with 205 million paid subscribers, up 5% from 195 million in Q3. At the same time, Spotify’s total monthly active users (MAUs) reached 489 million, up 7% from 456 million in Q3.
The Weeknd reached a new high-water mark on Spotify this week.
“It’s official: On February 27, The Weeknd became the first artist in Spotify History to reach 100 Million monthly listeners,” the streaming service announced Monday (Feb. 27) via its official social media accounts on Twitter and Instagram.
For context on just how impressive 100 million monthly listeners is, other supernovas currently trail the artist otherwise known as Abel Tesfaye by tens of millions. As of press time, Drake sits at 68.6 million, Taylor Swift is garnering 80.3 million and even with the record-breaking success of current Billboard Hot 100 No. 1 hit “Flowers,” Miley Cyrus has 82.5 million.
The Weeknd’s latest streaming accomplishment comes just a few days after he dropped his new remix of “Die for You” with Ariana Grande. The duet version of the Starboy-era hit is the frequent collaborators’ fourth team-up following “Love Me Harder” (from 2014’s My Everything), “Off the Table” (from 2020’s Positions) and the pair’s 2021 remix of “Save Your Tears” (from After Hours).
Over the weekend, The Weeknd: Live at SoFi Stadium — the Canadian crooner’s new concert special filmed during last year’s After Hours ‘Til Dawn Tour — premiered on HBO Max. Earlier this month, he confirmed that the musical documentary would close out his album cycle for 2022’s Dawn FM, tweeting, “HBO concert will be the last piece of Dawn FM. I can see the horizon.”
Meanwhile, Tesfaye’s upcoming HBO drama The Idol, which he created with Euphoria visionary Sam Levinson and Reza Fahim, is set to premiere some time later this year co-starring Lily-Rose Depp, Troye Sivan, BLACKPINK’s Jennie and more.
Check out Spotify’s announcement of The Weeknd’s latest achievement below.
Max Cutler, Spotify‘s head of audio talk shows and partnerships, is departing to “return to his entrepreneurial roots,” according to the company. His exit is part of a broader reorganization at the streaming company’s podcast division, where Julie McNamara has been appointed to lead licensed exclusives in addition to her oversight of Spotify’s global podcast studios. Additionally, Bryan Thoensen will continue overseeing content partnerships for third-party creators while expanding both those efforts and his team, while Bill Simmons will now report to podcasting head Sahar Elhabashi; in addition to continuing to lead The Ringer, Simmons will partner with vp/global head of ads business & platform Lee Brown on podcast monetization across the Spotify portfolio. No layoffs are connected to these shifts, according to the company.
Stacey Tang and Glyn Aikins were named co-presidents of RCA UK; both have worked at the label since 2018, with Tang most recently serving as executive vp while Aikins was co-president of Sony Music’s Since 93, a label partnership with RCA. Tang was named to Billboard‘s International Power Players list last year.
Robin Godfrey-Cass joined Primary Wave Music to focus on catalog acquisitions for the publishing giant. Godfrey Cass has over 40 years of experience in the music industry, including as managing director at Warner/Chappell Music UK and Round Hill Carlin UK; founder of Crosstown Songs; and co-founder of Perfect Storm, which eventually sold to Reservoir.
Cathy Bauer was appointed to the newly created role of head of physical sales & marketing at ADA Worldwide. In the role, she will manage ADA’s global physical sales and marketing division “with a focus on growing partners’ businesses and establishing efficient and standardized processes,” according to a press release. Bauer will additionally be tasked with identifying growth and innovation opportunities for ADA’s artists and partners, including through direct-to-consumer initiatives. She reports to ADA Worldwide president Cat Kreidich. Bauer joins ADA from ABKCO Music & Records, where she served as vp of sales & marketing for nearly five years.
Concord promoted 12 staff members to vp and senior vp roles across multiple business areas: Carol Boldish to vp of production, Concord Label Group (Nashville); Tom Frank to vp of sync marketing, Concord Label Group (London); David Geer to vp of music & publications, Concord Theatricals (New York); Shane Guitar to vp of operations, Fearless Records (Los Angeles); Randy Linsey to vp of international marketing & sales, Craft Recordings (Los Angeles); Clare Maxwell to vp of marketing, Concord Label Group (London); Elysha Miracle to senior vp of rights data management (Nashville); Meredith O’Leary to vp of sync marketing, Concord Label Group (New York); Gary Paczosa to senior vp of A&R, Rounder Records (Nashville); Stephen Phillips to vp of sync, Concord Music Publishing (London); Kelly Voigt to senior vp of corporate communications (Nashville); and Marty Willard to senior vp of business & legal affairs (remote).
Parlophone Records announced several key promotions and hires, chiefly Jack Melhuish, who has been named GM. He will continue to oversee and develop campaigns for Parlophone’s roster while also taking on wider responsibilities at the label. Additionally, Arina Logacheva, Molly McNulty and Seb Smith have been hired as senior A&R managers while Jason Ngimbi was hired as junior A&R manager. Logacheva joins from Universal Music, McNulty comes from Kobalt Music Publishing, Smith comes from Believe Music and Ngimbi joins from BMG. Lastly, Grace O’Neill was promoted to head of radio while Sam Palm was promoted to head of the newly created insight department, where he will extend the work he’s been doing as streaming head by incorporating more robust audience data.
Marcus Wise was appointed CEO for the European region at Wise Music Group. Previously global head of media, the London-based executive will lead the company’s music publishing and recorded music interests across the continent. Additionally, Dave Holley was named Wise Music Group COO, also based in London.
Alexander Brose, former executive director and CEO of The Tianjin Juilliard School in China, will succeed Dr. Peter Simon as president/CEO of The Royal Conservatory of Music upon Simon’s retirement on Aug. 31, 2024. The transition will begin on Sept. 1, 2023, when Brose will assume the role of president designate and work closely alongside Simon leading up to his departure.
Allison Smith was promoted to vp of promotion at Big Machine/John Varvatos Records; she was previously national director of promotion. In her new role, Smith will continue cultivating relationships between rock radio and the Varvatos imprint’s roster, which includes Badflower, Ayron Jones, Starcrawler, The Struts and Violet Saturn. She can be reached at allison.smith@bmlg.net.
Samantha Steel was named COO at Triple 8 Management, where she will oversee operations, promote a positive company culture and vision and develop solutions for internal communications as well as growth potential for employees and clients. Steel first joined Triple 8 in 2017, when Good Time Inc., where she served as GM, was acquired by the company. She can be reached at Sam@Triple8Mgmt.com.
JukeJoint Foundation, a nonprofit designed to empower women of color in the music business, was launched by Fresh ‘N Sassy Productions and ENCORE Music Tech Solutions founder Janishia Jones out of Los Angeles. Current board members include Live Out L!ve CEO Candace Newman, Exceleration Music head of data strategy Britnee Foreman, Jammcard operations manager Katrina Lee and Mass Appeal head of finance Daphnee Pierre. The Foundation will help women of color forge key professional connections by providing access to music industry events, scholarships to assist in repaying student loan debt and grants to aid the launch of their own music businesses. It plans to open additional chapters in New York, Atlanta and Nashville.
Gail Berger was named senior vp and GM of automotive partnerships at SiriusXM, succeeding Rodney Pickett, who will retire at the end of the month. Reporting to chief commercial officer Joe Verbrugge, Berger will oversee the company’s automotive partnerships, automotive remarketing and automotive field operations teams responsible for growing SiriusXM’s presence in new and used vehicles. Berger, who has been with SiriusXM since 2012, was most recently senior vp of automotive remarketing.
Bryce Sherlow was promoted to A&R manager at Warner Chappell Music in Nashville, while Benji Amaefule was hired in the same role. Amaefule joins from media platform Country Central, where he served as head of artist and label partnerships; he also interviews Nashville artists and writers and reviews new music via his brand TheBenjiChord.
Drive Agency president/CEO Jessy Tolkan was appointed as chairperson of the board of directors at HeadCount, the nonpartisan, nonprofit voter registration organization that harnesses music, culture and digital media to increase voter turnout. She succeeds Peter Shapiro, who recently finished out his four-year term as chair but will keep a seat on the board.
Mary Beth O’Toole launched The Conduit Collaborative, a boutique public relations firm with locations in Los Angeles and Sacramento, Calif. The firm specializes in finding non-traditional pitch angles for clients, ranging from music artists to Washington lobbying firms. It offers a range of PR services, including tour press and red carpet services, and has already worked with the Janis Joplin estate, Universal Music and L.A. Live, among other clients. O’Toole can be reached at info@conduitcollab.com.
Sound Future Foundation, which harnesses the influence of the live event industry to further climate innovation, announced its new board of directors, including board chair Terah Lyons, who previously served as policy advisor to U.S. chief technology officer Megan Smith in President Obama’s Office of Science and Technology Policy and founding executive director of the global nonprofit Partnership on AI. The remainder of the new board includes treasurer Kelci Zile (sustainability partner, Madrona Ventura Labs); secretary Adam Brunner (senior planner & counsel, Wildstar Partners); Brandy Schultz (co-founder/chief marketing officer, Sound Future and founder of Adventure Nannies); Ashley O’Winter (co-founder/COO, Sound Future); Wesley Schultz (songwriter-producer-lead singer of The Lumineers); Sara Full (tour manager); Joe Atamian (senior vp, Wasserman Music); and Alex Bruford (founder/CEO/agent, ATC Live).
ASM Global appointed Leonie Patrick of the San Francisco Travel Association as GM for its San Francisco convention center the Moscone Center. “Her focus will be to actively create an international destination while driving a great value for live meetings and events that drive action within their communities,” said ASM Global executive vp of convention centers Dan Hoffend in a statement.
TAIT — a global group of designers, fabricators, engineers and innovators for live and location-based experiences — promoted Gemma Hodgson to chief commercial officer. Additionally, Jess Chalifoux has joined the company as vp of global business development. Chalifoux reports to Hodgson, who can be reached at gemma.guy@taittowers.com.
Sander Shalinsky was named legal counsel at SRG/ILS Group. In music, Shalinsky is best known for his work with The Weeknd and producer Bob Ezrin, among many other record labels, artists, publishers, managers and music executives.
Singer-songwriter Jewel co-founded Innerworld, a mental health platform that aims to “build the largest community in the metaverse for mental health support,” according to a press release. Jewel will serve as chief strategy officer, while founder Noah Robinson will serve as CEO.
CrossBorderWorks founder/CEO Vickie Nauman joined the advisory board of Web3 company Pixelynx, which develops new formats of music and experiences for the metaverse.
Spotify is experimenting with “token-enabled playlists,” meaning users in possession of non-fungible tokens (NFTs) can connect their wallets and listen to collections of music put together by the likes of Overlord (a company developing blockchain-based games) and KINGSHIP (Universal Music Group’s Bored Ape band). Android users in the United States, United Kingdom, Germany, Australia and New Zealand can now test the new feature.
“At Spotify, we routinely conduct a number of tests in an effort to improve our user experience,” a spokesperson for the streaming platform said in a statement. “Some of those end up paving the path for our broader user experience and others serve only as important learnings. We have no further news to share on future plans at this time.”
Spotify CEO Daniel Ek discussed blockchain technology — which enables the creation of unique digital files that are also uncopyable — on the Culture: Now Streaming podcast in 2019. “The most important thing is it will enable paying for things digitally in many of the places around the world where those kind of methods just doesn’t exist,” Ek said. “A service like Spotify, you can imagine what would happen by allowing users for instance to be able to pay artists directly. That can open up massive opportunities where all of a sudden, a user in Japan might pay a creator in Argentina. And that opens up huge opportunities for how we can further our mission.”
Last year, Spotify started allowing “a small group of artists [to] promote their existing third-party NFT offerings via their artist profiles,” according to a statement from the company. (At the time, Spotify reiterated that it “routinely conduct[s] a number of tests in an effort to improve artist and fan experiences” some of which “serve only as an important learning.”)
Steve Aoki and The Wombats were among those testing the feature, which was made available to Android users in the U.S.