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To TikTok, or not to TikTok, that is the question.
Plus, many more regarding the app’s instrumental role in making hits — and how an artist can participate in the process meaningfully — were addressed during “The Fight for Artistic Authenticity on TikTok” panel at SXSW 2023.
Moderated by Billboard‘s Lyndsey Havens, the panel featured experts Ash Stahl, CEO of TikTok-first creative studio Flighthouse; Alana Dolgin, head of influencer strategy at independent record label and influencer management company Homemade Projects; and Mekaila Morris, senior manager of creators & content at Interscope Records.
The conversation opened with stories of successful TikTok campaigns each panelist had worked on. Stahl remembered working on Surface‘s “Sunday Best,” the electro-pop duo’s vibrant 2019 track that became part of the first crop of TikTok smash hits the following year. “We had a team member just add in a little ad-lib at the beginning that was like, ‘2020 rewind’ and then just put this song at the end of it,” she said. “You can see this huge spike of millions of new listens on Spotify that, one year later, really reinvigorated the song.”
Dolgin described SAINt JHN‘s “Roses” (which was originally released in 2016 and later remixed by Kazakh producer Imanbek at the end of 2019) as being in the “first class of viral hits on TikTok” and mapped out the song’s trajectory to becoming a global anthem, starting in Russia and then spending $2,000 — “which obviously now we know is absolutely nothing in this space,” she said — to move it through the U.S. and ultimately around the world.
Dolgin explained that part of the artistic authenticity element on the platform is knowing when it’s not the right move to have the artist behind a trending song hop on TikTok and participate in whatever fanfare is elevating its exposure through UGC (user-generated content) and streams. “You don’t necessarily need to be on TikTok if you’re an artist. There’s so many songs that are going viral constantly that have nothing to do with the artist that when you try to bring the artist in it truly doesn’t make sense, I think it does more harm than good,” she said.
Having also had success working Cardi B’s “Up,” Dolgin added: “We use her voice all the time with ad-libs that go viral. Sure, she posts on TikTok sometimes, but she approves every sound snippet.”
Morris continued that thought, speaking about Machine Gun Kelly‘s 2022 single “Emo Girl,” featuring Willow, and how she worked closely with him to determine the most authentic ways for him to be on TikTok. “[With] taking the artists’ vision and learning how they want to represent themselves online, you have to understand the nature of the platform and what makes sense.”
Compared to labels’ close working relationships with artists, Stahl described Lighthouse as being “two degrees separated” from them. “I prefer working with artists that aren’t really looking to get on platform because it’s kind of difficult when we’re so separated,” she explained. “We’re not looking to make content, we’re looking to create success with music.”
“You can do both,” she continued. “You can find avenues to create really successful content, and sure, there might be a song that’s a really good fit for the platform as is, or you might need to throw in an ad-lib or make a little mash up. You can do that with the artists where it’s coming from their profile, or you can do that from finding an influencer that has a good fan base and have them launch the sound from their page or from the DSP release on platform.”
Stahl gave a compelling example. During the pandemic, she got her client — EDM producer Said the Sky, whom she’s been managing for the last nine years — to practice making TikTok videos. The result was a now-viral snippet (featuring an ad-lib that goes, “Wait, I can do that better,” followed by dubstep music), which, despite Said the Sky never wanting to officially distribute it, has now soundtracked more than 100,000 TikTok videos, according to Stahl.
When it comes to knowing when’s the right time to invest in a TikTok campaign, Morris discussed tapping into one’s intuition. She recalled how client Gracie Abrams‘ performance of “I Know It Won’t Work” on Jimmy Kimmel Live! went viral on TikTok. “Instead of focusing on what the single is for the project, it’s like, ‘Hey, we’re seeing internet culture touch this track and really, really resonate with it,” she said.
“If it’s moving, put f—nig money into it. That’s the best advice I could give to someone,” Stahl added. “Don’t be like, ‘Oh well, it’s already moving. We’ll just let it ride out.’ My advice would be if it’s moving, take full advantage. We know that it’s working in this specific niche or community on TikTok, let’s take that and try to do it in another niche, or let’s go find that community on a different platform and go for it again.”
From Dolgin’s perspective as someone who works exclusively with creators, it’s all about pairing the right influencers with song campaigns and “never about making the song go viral,” she said. “But, I will always guarantee that you’re getting the best influencers possible for the song and for the sound.”
Morris ultimately compared working in TikTok to working in stocks because of they’re constantly watching how songs and sounds are peaking and falling on the platform. “But you have to take the whole market into account,” she said. When it comes to forecasting trends regarding TikTok and the future of artists and their music on the platform, Stahl predicted there will be more “made by, made for TikTok” independent artists like JVKE who have no barrier to entry, while Dolgin said TikTok will champion specific creators and give them more resources to become successful like Alix Earle. Meanwhile, Morris explained how TikTok is culturally shifting to a more community-focused place.
“As genres start to merge as well, we’re going to start to lose these like clear identifiers, which is going to require people to really hone in on what they like and who they want to be and who they want to speak to,” she said. “And as more people get on TikTok, I think we’re going to have less of those big, big moments, but we’re going to have really valuable smaller moments within the communities with these artists, where they’re truly deeply connecting with people. Then it’s our job to bring those forward and become more consumable to the mainstream.”
Billboard’s parent company PMC is the largest shareholder of SXSW and its brands are official media partners of SXSW.
Lady Gaga originally released “Bloody Mary” way back in 2011, but it only cracked the Hot 100 for the first time this January. The revival was due in part to a sped-up remix that careened around TikTok, soundtracking videos of users pairing up the track with an eccentric dance sequence from Wednesday, Netflix’s hit Addams Family update.
The surprise success of “Bloody Mary” in altered form presented Matt Kelly, operations manager and on-air personality for WVAQ in Morgantown, West Virginia, with a dilemma. “What version do we play?” he asks.
“The original is 100 beats per minute — so slow, relative to the new version that people are more familiar with,” he explains. “The sped-up is 130 bpm, but I hated that it sounded like Alvin and the Chipmunks.”
So Kelly split the difference by making his own 120-bpm edit to play on the air. “It appeases the ear like it’s the sped-up version,” he says, “but I kept the pitch correction — so it sounds like Gaga, not Alvin.”
Homemade remixes, often sped-up or slowed-down, have been a hallmark of the TikTok era. In recent months, they’ve helped rejuvenate years-old songs from Lady Gaga and Miguel and driven swarms of listeners to newer releases from Lizzy McAlpine and Raye. In some ways, the music industry has adapted — it’s become common to see artists release official tempo-shifted versions of songs that have started to bubble back up, for example. Streaming platforms, including Spotify and Apple Music, have playlists dedicated to these releases; SiriusXM launched TikTok Radio, which program director Marie Steinbock envisions as “completely reflective of exactly what is trending on TikTok.”
But much remains the same: Even if a sped-up remix is ubiquitous on TikTok, the original version of the track tends to get most of the exposure. There are no sped-up remixes in Today’s Top Hits, the most followed playlist on Spotify, for example. And even when labels decide to promote revived songs to radio, they push the original, so that’s usually what saturates the airwaves. The Weeknd’s “Die For You” topped Billboard’s Radio Songs chart in February, more than six years after its release, with the normal-speed version earned the overwhelming majority of its plays.
Can sped-up renditions thrive in the wild, or do they function primarily within the confines of TikTok? Homemade remixes will only become more prevalent in years to come, thanks to platforms that make it so easy to futz with audio. (Meng Ru Kuok, CEO of music technology company BandLab, is fond of saying that they “think everyone is a creator, including fans.”) In this environment, will the industry continue to prioritize originals?
Right now, the dominant school of thought in the music industry is that the sped-up versions are effective… as a conduit to drive listeners back to the version the artist released. “The sped-up versions are more attached to the medium in which people are consuming them than they are the actual song itself,” one senior label executive says. Listeners “are discovering a song through the sped-up version, but they’re consuming the original.”
And even as more acts put out sped-up and slowed-down reworks, there’s still a sense that the original version remains the truest reflection of artists’ intentions. “That’s their art and their creativity — that’s what they want the world to hear,” says Rich McLaughlin, program director at WFUV and a former executive at Amazon Music. “I’m focused on what the artists want to release to the world. That’s what interests me.”
That said, McLaughlin continues, “From a radio programming perspective, I want to be open to playing songs that our listeners want to hear. If there’s a version of a song that comes out that adds a dimension to the original that’s unique and something that I think our listeners are going to like, of course I would be open to playing that.”
Some radio stations are already experimenting with playing alternate versions. Josh “Bru” Brubaker, a TikToker (4.5 million followers) and radio personality for Audacy, often plays a mix stitching together songs that are trending on TikTok after his Today’s Top 10 countdown. The in-house DJs adjust the tempos to nod to the version that’s being incorporated into short video clips.
Kelly has been evaluating songs for WVAQ on a case-by-case basis. While he sped up “Bloody Mary,” he prefers to play the original version of Raye’s “Escapism,” not the faster rendition popular on TikTok. “I think that one loses some of what makes it a great song when it’s the sped-up version,” he says.
What about Miguel’s “Sure Thing”? Originally a hit for the R&B singer in 2011, it returned to the Hot 100 earlier this year after a sped-up remix took off on TikTok and has now climbed to a new peak of No. 28. “That’s one where I might gravitate towards the sped-up version if we needed it, because listeners are going to recognize that from TikTok,” Kelly says. “I could see making an edit where we can keep the timbre of his voice, what makes Miguel Miguel, but speed it up.”
It’s likely that no one is playing more sped-up remixes on the air than SiriusXM’s TikTok Radio, which launched in 2021. Steinbock currently has around a dozen uptempo reworks in rotation. “This has been my life lately: A song will trend on TikTok, and it’s sped-up,” she says. “And then I have to wait and see if the label is going to put out an official version or not.”
In some situations — she points to Justine Skye’s “Collide” and SZA’s “Kill Bill” — “people are consuming both [versions] at kind of the same rate,” so she can play the original without fear of alienating listeners. But when it came to The Weeknd’s “Die For You” and Mariah Carey’s “It’s a Wrap,” she waited until the artists released official sped-up remixes. “It’s kind of a dance,” she says. “Is the audience going to recognize it when it’s not that TikTok remix?”
The current iteration of remixes — the sped-up and slowed-down versions that can serve as rocket fuel for TikTok trends — is unlikely to be the last one. Ebonie Smith, in-house engineer at Atlantic Records, thinks fan-made remixing is only going to become more sophisticated and widespread in the years to come. Young listeners are “already changing expectations around what is normal to hear,” she says, pointing to the popularity of sped-up songs. But “once young people are able to parse out each element of a song, and that becomes somewhat gamified, we’re going to see remixing like we’ve never seen before.”
Jessica Powell, CEO and co-founder of AudioShake, an A.I. music software company, expresses a similar sentiment. “We’re going to see the same shifts in audio that have happened in video and image,” she explains. “There will continue to be really professional uses of tools like Photoshop, but you also have the other end of it — me turning myself into a fish on Snapchat. That’s all coming to audio.”
If this proves to be the case, it’s likely that streaming services and radio stations will have to change their relationship with tempo-shifted remixes, or whatever else young listeners decide sounds good a few years from now. Steinbock will be ready. She recently made room in her rotation for McAlpine’s “Ceilings,” a love-drunk acoustic ballad. It came out roughly a year ago but exploded recently on TikTok thanks to a high-speed rework.
“We’re playing the normal one just because it’s so big,” she says. But “I’m just waiting for an official sped-up version.”
Last fall, the 25-year-old English singer Raye was on the hunt for her first U.S. hit after several years of U.K. chart success. Initially, the loping hip-hop soul single “Escapism” seemed to bring her no closer. After the first week, streams of the track started to fall, according to Luminate. But in mid-November, its trajectory dramatically reversed, leaping from 185,000 streams one week to 500,000 the next to over 6 million two weeks later. “Escapism” went on to peak at No. 22 on the Billboard Hot 100.
What happened? The burgeoning popularity of a homemade sped-up remix of “Escapism” that captivated TikTok users, spurring them to incorporate it into their videos and driving streams of the original. Raye’s label, Human Re Sources, responded by releasing an official uptempo rework of the single that has over 114 million streams on Spotify alone.
“I wish that I could sit here and say, ‘We were in our marketing meeting, we decided that we were going to do a sped-up version of this particular spot in the song, and that’s going to ignite all the rest of it,’ ” says J. Erving, a longtime music manager, founder of the artist services and distribution company Human Re Sources, and executive vp of creative development at Sony Music Entertainment. “The kids are taking control of the songs, and they’re determining what part of the record is sticky and what version of it is sticky.”
Those “sticky” versions — often just sped up or slowed down, or a pair of tracks mashed together — can spark streams. “These remixes can really create careers and reignite careers,” Universal Music Group vp of A&R strategy Nima Nasseri says. “They’re great mechanisms for growth. Every label is putting them out,” often releasing official versions of the remixes that trend on short-form video platforms.
Sped-up remixes also spurred recent chart surges for Miguel’s “Sure Thing” (actually a resurge, as it first charted over a decade ago), The Weeknd’s “Die for You,” Lady Gaga’s “Bloody Mary,” and Mariah Carey’s “It’s a Wrap,” as well as boosting streams for tracks like Lizzy McAlpine‘s “Ceilings.”
Remixes — extended for club play, shortened and punched up for radio — are nothing new. And listeners taking control has been a hallmark of the shift to digital, starting with YouTube fan covers in the 2000s and progressing in the streaming era to fan response helping labels determine what tracks to focus on for promotion.
The difference today is the extent to which power has shifted to social media users. The process, says Erving, is no longer about label executives and managers deciding “this is our single, insert remix producer here, add rapper here, this is going to be the thing — those days are over.” In fact, according to a major-label A&R executive, “it’s not about the recording anymore. It’s about what you’re offering the user base to say, ‘Hey, you’re an intelligent consumer. Here are the stems [individual audio components] for our songs. Do what you want to it.’”
“Is anything in its final form now?” one major-label marketing executive asks. “Or are we just putting out clay for fans to mold?”
Part of this change is technological — it has never been simpler to manipulate audio. “These [remixes] are being made easily by fans in real time on their computer or phones,” says RCA Records COO John Fleckenstein.
Many in the music industry believe this remixing activity is also part of a generational shift. “Gen Z in particular has been raised online alongside meme culture,” says Scott Plagenhoef, global head of music programming at Apple Music. “They’re accustomed to content that is repeated but manipulated, and music is no different.”
While it’s common to encounter both sped-up and slowed-down remixes on short-form video platforms, Plagenhoef says “sped-up remixes seem considerably more popular and prevalent than slowed-down ones” at the moment. “Sped-up songs allow for more of a track to be heard within the time constraints of a TikTok video and mirror the pace at which users consume content online,” he adds. Increasing tempo can also “make the songs better — it brings out a different emotion,” according to Josh “Bru” Brubaker, a TikToker (4.5 million followers) and radio personality for Audacy.
Many remixes don’t replace or distract fans from the original track — they draw attention to it. “From a discovery standpoint, we see a large amount of referral traffic make its way back to original tracks from remixes,” says Roneil Rumburg, co-founder/CEO of Audius, a blockchain-based streaming service. For example, the original of Raye’s “Escapism” (304 million streams) is significantly out-streaming its sped-up remix on Spotify.
Since discovery is increasingly difficult to engineer in a time of content overload, the music industry is encouraging fan experimentation with songs and aiding the creation of remixes. “There’s a whole community of TikTok DJs solely making these sounds to try to make them go viral because you get so much exposure,” Brubaker says. Labels and marketers say they sometimes pay these DJs anywhere from a few hundred dollars to $20,000 to remix and post songs.
Labels have also worked to get officially released sped-up remixes visibility on streaming services. UMG started the Spotify account Speed Radio to highlight its sped-up tracks, according to Nasseri; it has more than 9 million monthly listeners. Another account, sped up nightcore, does the same for Warner Music Group releases. (A WMG representative did not respond to requests for comment on this account.) “Anytime we get one of these remixes that has traction, we tag it with ‘Speed Radio,’ and it just amplifies the growth,” says Nasseri. “That’s a very valuable tool for artists to use.”
The streaming services have created playlists for these remixes as well. Spotify’s Sped Up Songs, launched last June, now has over 1 million followers. Apple Music recently unveiled Viral Remixed. “Over the past year, the DSP partners have been really helpful,” Nasseri says. “Casey Compernolle at Apple and Lizzy Szabo at Spotify are people we work with closely who have a great understanding of the remix space.”
Even as these remixes have helped create hits, not every artist wants to participate in this economy. “I completely respect if an artist chooses not to release a sped-up version if it doesn’t suit the song,” says Ian Quay, co-manager of Cults, who have a popular sped-up version of their song “Gilded Lily.”
But much of the stigma around tempo-shifted remixes seems to be fading. “Two years ago, I’d say 5% or 10% of artists were receptive to this,” Nasseri estimates. “Now it’s probably about 70%.” Meng Ru Kuok, CEO of music technology company BandLab, adds, “rights holders understand that this process is inevitable, and it’s one of the best ways to bring new life to tracks.”
While sped-up and slowed-down versions run wild on TikTok, they haven’t penetrated the mainstream — yet. “It still feels more specific to the short-form platforms right now than ‘I heard a great sped-up version at the club last night,’ ” says Fleckenstein.
But this could change. The rock duo Cafuné broke out with “Tek It”; the sped-up version now has more Spotify streams (143 million) than the original (137 million). Fleckenstein points to young RCA act Ari Abdul, who has enjoyed streaming success with the synthwave single “Babydoll.” “Sometimes the sped-up version is actually outperforming the original,” he says.
Will these tempo-shifted remixes eventually reach all the way to radio? “If it’s good enough,” Fleckenstein adds, “you never know.”
During one of the sessions for Emails I Can’t Send, Sabrina Carpenter’s 2022 album full of post-heartbreak contemplations, she hit a mental wall. “We were writing, and I was like, ‘This isn’t how I’m actually feeling right now,’ ” the singer recalls. “I had to get outside of my head.”
Over the next two hours, Carpenter and co-writer Steph Jones created “Nonsense,” a cheeky, sumptuous rhythmic-pop track about being so flustered around someone that she gets tongue-tied. But then she shrugged off the song, figuring it didn’t fit with the tone of the album, and nearly left it off the tracklist altogether.
“That laid-back approach,” she reflects now, “is what I think actually made it special.”
Much like Carpenter, 23, listeners didn’t immediately latch on to “Nonsense” — but since the July release of Emails, the song has turned into the album’s biggest hit. Late last year, a sped-up version went viral, prompting Carpenter to release an official accelerated take.
“There’s something addictive about hearing a song sped up,” she says. “It gives it new life and more energy.” She then uploaded a holiday version of “Nonsense” to streaming services, building toward its breakthrough in 2023, beginning with a highly choreographed performance on the Jan. 4 episode of Jimmy Kimmel Live!, as well as a TikTok dance routine pegged to the second verse.
The single has reached a No. 56 high on the Billboard Hot 100 and earned 77.2 million U.S. on-demand streams through March 2, according to Luminate. It has also given Carpenter — who released four albums on Hollywood Records before making her Island Records debut with Emails — her best-performing pop radio hit, with four weeks in the top 20 of the Pop Airplay chart.
There’s still more “Nonsense” to come: Carpenter announced a deluxe edition of Emails will be out next Friday (Mar. 17), one day after she kicks off her 2023 headlining tour, and confirms that a remix to the song with another artist is on the way. No matter how high the song climbs, Carpenter says that the unexpected reaction to it has been extremely gratifying.
“When you’re seen for things that feel so close to who you are at your deepest, darkest self,” Carpenter says, “it’s a beautiful thing.”
This story will appear in the March 11, 2023, issue of Billboard.
TikTok is facing a slew of class action lawsuits alleging it tracks and harvests troves of personal information on users through its in-app browser.
In the most recent suit filed on Wednesday, users allege TikTok has “secretly amassed massive amounts of highly invasive information and data by tracking their activities on third-party websites.” At least a dozen class actions have been filed since November alleging violations of the federal wiretap act, among other claims.
TikTok remains under fire by the government due to concerns that data it collects on American users can be leveraged by the Chinese government to advance its interests. The company could, for example, be forced to tweak its algorithm to boost content that undermines U.S. democratic institutions or muffles criticism of China and its allies, according to lawmakers. A bipartisan bill backed by the White House was introduced on Tuesday that would establish a unified process for reviewing and addressing technology that could be subject to foreign influence. Under the measure, Chinese parent company ByteDance could be forced to sell TikTok or the platform could be completely banned, though that would face significant hurdles.
The first suit, known as Recht v. TikTok, was filed in November. It was based on a report from Felix Krause, a software researcher who found that the company injects lines of code that commands the platform to copy user activity on external websites. Of the seven popular apps he tested — including Instagram, Snapchat, Amazon — he found that only TikTok monitored keystrokes.
The named plaintiff in the complaint, California resident Austin Recht, says he clicked on an ad to a third-party website, where he bought merchandise after he entered private data that included his credit card information. Tiktok “surreptitiously collected data associated” with his activity on the third-party site accessed through the platform’s in-app browser, according to the complaint.
The class actions detail how TikTok intercepts and harvests data. The in-app browser inserts code into the websites visited by users with the purpose of tracking “every detail about [their] activity,” Recht claims.
“In the case of online purchase transactions, this would include all of the details of the purchase, the name of the purchaser, their address, telephone number, credit card or bank information, usernames, passwords, dates of birth,” reads the complaint filed in California federal court.
The data isn’t limited to purchase information and extends to private information about users’ health, the suit alleges. When users click on a link to Planned Parenthood on TikTok, for example, their activity on the site is tracked and harvested. This could identify users looking for abortion services or those looking for information about gender identity, according to the suit.
TikTok has faced legal action for illegally harvesting user data. In 2020, it was sued for alleged violations of the Illinois Biometric Information Privacy Act, a state statute that prohibits private companies from collecting users biometric identifiers without first obtaining consent. It settled the litigation for $92 million.
In response to suits alleging violations of the Federal Wiretap Act, Tiktok has said that the purported class members are covered under the settlement for those who sued for violations of the Illinois privacy law because it “addressed all user data collected through the app.”
Though the plaintiffs in the suit don’t allege any injury, the Federal Wiretap Act doesn’t require proof of actual harm to recover monetary damages. The law prohibits the intentional interception of communications, which includes personal information.
Some of the suits also allege violations of state invasion of privacy and competition laws. A hearing has been set for March 30 on whether the litigation should be consolidated.
In California, TikTok could face massive damages if there’s a data leak. Under the California Consumer Privacy Act, companies that mishandle personal data face statutory damages ranging from $100 to $750 for each consumer per incident.
TikTok didn’t immediately respond to requests for comment.
This article originally appeared on THR.com.
Spotify unveiled a slew of new features and touted its commitment to music discovery in a sprawling, 90-minute Stream On presentation Wednesday (March 8). CEO Daniel Ek called it “the biggest” transformation the platform has gone through in a decade.
“We hear the same things again and again from the creator community,” Ek told the Stream On audience. “Get me closer to the fans, give me more ways to engage, and help me better monetize.” These three imperatives were the thread that connected the many, many initiatives Spotify extolled on Wednesday.
Vertical Feed, Previews and Pre-Saves
The most noticeable change designed to make Spotify “feel alive,” as Ek put it, was the introduction of the swipe-able vertical feed, which replaces the old static carousels of playlists and recommendations. The new feed is video-based, and it will play previews of music and other audio content, like podcasts and audiobooks, in what Spotify co-president Gustav Soderstrom called “a powerful new way to get that first listen.”
“When I open my homescreen, 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,” he added. “Instead, I can instantly hear the most interesting part of a song or an episode.”
If the new feed is meant to pique the interest of curious fans, the new pre-save feature allows artists to capitalize on fan interest months before a potential release. Artists have been using third-party technology to run pre-save campaigns for years, but Sulinna Ong, Spotify’s global head of editorial, suggested that Spotify’s pre-save function would resonate in a different way because it’s a dedicated listening service.
“There’s a disconnect between where music is being teased and where music is actually being streamed,” she noted, in what could be interpreted as a subtle shot at TikTok. “The most powerful time to reach fans is when they’ve chosen to engage with music, like when they open up Spotify.”
Fans who pre-save a release will be notified when the song or album comes out. Spotify’s data indicates that 80% of pre-savers return to the platform to stream the song or album during their debut week.
Statistics like these were sprinkled throughout Stream On by the platform’s executives. Sometimes they were testaments to Spotify’s enormous reach, with Ek noting at one point that the platform served more than 10 million creators and enjoyed more than half a billion listeners spread across 184 markets.
In other instances, the numbers served to illustrate the power of Spotify’s tools. “These days, Spotify recommendations drive close to half of all user streams,” Soderstrom said. “Each time your music gets played on a playlist like Release Radar, you receive, on average, three times more streams from that listener over the next six months. And when a listener decides to follow you, they listen to, on average, five times more of your music.”
This, he continued, sets Spotify apart from platforms that deliver “just a fleeting moment of viral fame,” in what sounded like another jab at TikTok.
Discovery Mode and Smart Shuffle
Interested in learning about the effectiveness of Discovery Mode, which allows artists to take a lower royalty rate in order to gain more algorithmic exposure on the platform? Spotify had some numbers to share.
“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,” said Joe Hadley, the streamer’s global head of artist partnerships and audience. “And that’s just what they see in the song’s first month of Discovery Mode use.” He hinted that the program was especially powerful for new artists by stating that “algorithmic recommendations” are responsible for one-third of all new artist discoveries on Spotify.
Those algorithmic recommendations also factor into Smart Shuffle, a new feature that augments user-created playlists with Spotify’s picks — all of which are informed by the listener’s history. Users often heavily stream these new playlists “for the first several months after creation,” Spotify wrote on its blog. “But over time they stream these playlists less frequently in favor of new music or mixes.” Smart Shuffle aims to “breathe new life” into those old collections of songs by “shuffling tracks and adding new, perfectly tailored suggestions.”
Marquee and Clips
Spotify also cited stats to demonstrate the impact of Marquee, which offers full-screen sponsored recommendations for new releases. “On average, Marquee is 10 times more cost effective at getting listeners to stream your music on Spotify than ads on the most popular social media platforms,” Ong said.
Another feature that Spotify rolled out to a wider user base through Spotify for Artists is called Clips, which lets artists add 30-second videos to their profiles. “We built Clips to give artists a platform that inspires fandom and long-term success, not quick hits of content that just tap into the latest meme,” Spotify explained in a video about the feature. “Clips… help drive metrics that really matter to your career, like saves, follows, and streams.”
Concert Listings and Fans First
Last summer, Spotify announced that it had joined forces with Ticketmaster, AXS and more on a new Live Events Feed that captures “most of the world’s concerts” in major markets. Executives reaffirmed the platform’s commitment to this initiative at Stream On. Ong said that Spotify listed over 840,000 shows last year and promised that, going forward, “personalized concert listings [will be] featured more prominently across the app.”
Hadley picked up the thread, noting the platform will also now surface an artist’s upcoming gigs in the app’s “Now Playing” view. “It’s one of the most powerful places to market your shows and will grab your listeners’ attention right when your music resonates most,” he said, adding that fans can now tap a button marked “Interested” for concert listings, which adds those shows to a personal gig calendar in the app’s Live Events feed.
On top of all this, Spotify announced that it would expand its Fans First program in the U.S., which will ensure that an artist’s top listeners “are first in line for merch exclusives and ticket pre-sales by sending them emails and notifications to let them know when they have special access,” said Ong.
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While he may not have a presence on social media Jay-Z doesn’t miss a beat. He sent flowers to an senior home who redid Rihanna’s Super Bowl performance.
As spotted on Bossip the residents at Arcadia Senior Living in Bowling Green, Kentucky got major respect from the legendary MC. It seems they were left very inspired viewing Rihanna’s game changing performance at the Super Bowl Half Time show. So much so they replicated her performance but gave it a more mature flair. They shared the clip on social media and the footage quickly went viral on TikTok. Their hilarious rendition eventually landed on Jay-Z’s radar prompting him to thank them with a spread of fresh florals.
WNKY spoke to some of the residents at the facility to detail how the idea came about. “My grandchildren and I watched and there were flips and flops and I was standing there thinking wow I wish I could do that…and then I did do that,” said Dora Martin. “I went to the doctor the other day and the nurses as soon as I walked in there, knew who I was”. The troop also made it clear that they were very flattered by Jay-Z’s gesture. “We thought about pressing them in a book but we haven’t got a big enough book,” said resident Ora Rampenthal.
You can view their rendition of Rihanna’s Super Bowl performance below which has been viewed over 30 million times, below.
In the latest bid by lawmakers to crack down on TikTok in the United States, on Tuesday (Mar. 7) a bipartisan group of senators introduced a new bill that would empower the White House to rein in the Chinese-owned video-sharing app.
Led by Sens. Mark A. Warner (D-Va.) and John Thune (R-S.D.) and co-sponsored by 10 others in the chamber, the RESTRICT Act would “comprehensively address the ongoing threat posed by technology from foreign adversaries” including China, Russia and Iran by authorizing the Department of Commerce — led by Commerce Secretary Gina Raimondo — “to review, prevent, and mitigate information communications and technology transactions” that are found to threaten U.S. national security, up to and including an outright ban, according to a press release.
The White House has also come out in support of the new bill, with U.S. national security advisor Jake Sullivan noting in a press release that the legislation “presents a systematic framework for addressing technology-based threats to the security and safety of Americans.”
Though TikTok is not named in the text of the RESTRICT Act, both Warner and Thune invoked the platform in their own statements on the legislation.
“Congress needs to stop taking a piecemeal approach when it comes to technology from adversarial nations that pose national security risks,” said Thune. “Our country needs a process in place to address these risks, which is why I’m pleased to work with Senator Warner to establish a holistic, methodical approach to address the threats posed by technology platforms — like TikTok — from foreign adversaries.”
A representative for TikTok did not immediately respond to Billboard‘s request for comment.
TikTok has been subject to increased scrutiny by the U.S. government recently over fears that national security and consumer privacy could be compromised by the platform, which is owned by Chinese company ByteDance. In December, President Joe Biden signed a bill that prohibits the use of the platform by nearly 4 million government employees on devices owned by its agencies, joining at least 27 state governments and several universities that have passed similar measures. And last month, the administration drew a sharp rebuke from the Chinese government after it gave all federal agencies just 30 days to wipe TikTok from government devices.
Tuesday’s Senate bill follows a separate one introduced in December by Sen. Marco Rubio (R-Fla.), Rep. Mike Gallagher (R-Wis.) and Rep. Raja Krishnamoorthi (D-Ill.) that would have required President Biden to use the International Emergency Economic Powers Act (IEEPA) to restrict U.S. citizens’ access to the app.
In the House on Wednesday (Mar. 1), another bill advanced out of committee that would direct the Treasury Secretary to prohibit Americans from engaging with TikTok and other entities found to be directed or influenced by the Chinese government — though it was criticized by Democrats who said it had not been properly vetted and could affect innocent U.S. businesses. That legislation would additionally empower the President to impose sanctions on TikTok and other companies tied to China.
TikTok has long attempted to assuage fears that the platform, owned by Chinese company ByteDance, has ties to the ruling Chinese Communist party and censors content critical of the Chinese government and other authoritarian regimes. In June, the company announced it had started routing U.S. user data to Oracle cloud servers located in the U.S., instituted audits of its algorithms and established a new department to solely manage U.S. user data for the platform.
The U.S. government has so far been undeterred. “We look forward to continue working with both Democrats and Republicans on this bill, and urge Congress to act quickly to send it to the President’s desk,” said Sullivan on Tuesday.
Concerns about TikTok have also been prevalent in other corners of the West, most prominently in Europe. In January, TikTok CEO Shou Zi Chew met with European Union officials over concerns about child safety and data privacy, among other matters. On Feb. 16, TikTok’s general manager of operations in Europe, Rich Waterworth, attempted to allay some of those concerns in a blog post where he noted that the company plans to establish two additional European data centers, citing a commitment “to keeping our European community and their data safe and secure.” He added that the company is “continuing to deliver against” a data governance strategy they set out for Europe last year, which includes plans to further reduce employee access to European data, minimize data flows outside Europe and store European user data locally.
Zi Chew is slated to appear before the House Committee on Energy and Commerce on March 23, when he’s expected to comment on TikTok’s data security and user privacy policies, the app’s impact on children and ties with the Chinese Communist Party.
North West continued her hot streak on TikTok over the weekend by tapping Ice Spice for help in making a viral video.
The clip posted Saturday depicts the rising rapper lip-syncing to a TikTok mash-up of her 2023 single “In Ha Mood” and The Buggles’ “Video Killed the Radio Star” as Kim Kardashian and Kanye West’s eldest daughter playfully raps along next to her. However, the TikTok fun didn’t end there. Two days later, North decided to double down on the video by dressing up as Ice Spice, complete with a curly red wig and her signature chain and re-create the moment — stitching together the original snippet with a friend for double the lip-sync madness.
In another video, North, her friends and Ice dance along to the song before Kardashian makes a quick cameo to blow the camera a kiss. A third features Ice Spice’s hit collab with PinkPantheress, “Boy’s a Liar, Pt. 2” — which has so far peaked at No. 3 on the Billboard Hot 100 — as the rapper raids Kardashian’s fridge with the girls to the lyrics, “And I can’t eat enough with you.”
It’s certainly no secret that North is a fan of the artist otherwise known as Isis Gaston after declaring the “Bikini Bottom” songstress was one of her favorites in a series of TikToks filmed late last month with Selena Gomez’s younger sister Gracie Teefey.
Check out North West’s adorable series of TikToks with Ice Spice below.
TikTok is one step closer to being effectively banned on mobile devices in the U.S, though an outright prohibition still faces significant hurdles.
A House committee voted along party lines on Wednesday to advance a bill to block U.S. activity on the popular Chinese-owned video app used by more than 100 million Americans. The measure was forced through by Republicans on the committee over opposition from Democrats, who said that the legislation has not been properly vetted and that it could ensnare U.S. businesses that don’t pose a national security risk.
Before the vote, it appeared that the gap between Democrats and Republicans over TikTok’s threat to the U.S. was diminishing. Democrats have increasingly been supporting measures to take action against the social media app, with the White House on Tuesday giving all federal agencies 30 days to delete the app from government devices and a member of the Senate Judiciary subcommittee on privacy calling for the separation of TikTok from its Chinese parent company. Wednesday’s vote in the House Foreign Affairs Committee represents a split between both sides in the severity and speed of measures that should be taken.
Democrats, for now, are on TikTok’s side concerning a national ban. That will have to change for the bill to pass the Senate.
“Everybody knows what TikTok is,” said committee Chair Michael McCaul, R-Texas, on Tuesday when the measure was being considered. “It’s too dangerous to be on our phones as members of Congress. In my judgment, it’s too dangerous to be on our childrens’ phones. That’s the whole point of this bill.”
The legislation directs the Treasury Secretary to issue a directive prohibiting Americans from engaging transactions with entities that could transfer sensitive personal data to entities directed or influenced by the Chinese government. It also empowers the President to impose sanctions on certain transactions relating to connected software applications controlled by entities that could facilitated China’s intelligence, censorship or surveillance activities, including efforts to steer U.S. policy and regulatory decisions. Under the bill, the president can waive certain sanctions and make a decision on whether TikTok or any of its affiliated companies meet the criteria for sanctions.
There’s no evidence that the Chinese government has demanded American user data from TikTok or parent company ByteDance or influenced the content users see on the platform.
In a statement, TikTok spokesperson Brooke Oberwetter said that a “U.S. ban on TikTok is a ban on the export of American culture and values to the billion-plus people who use our service worldwide.”
“We’re disappointed to see this rushed piece of legislation move forward, despite its considerable negative impact on the free speech rights of millions of Americans who use and love TikTok,” she added.
The bill could violate the First Amendment. In a letter sent on Monday, The American Civil Liberties Union detailed constitutional concerns with the measure.
“In a purported attempt to protect the data of U.S. persons from Chinese government acquisition, this legislation will instead limit Americans’ political discussion, artistic expression, free exchange of ideas — and even prevent people from posting cute animal videos and memes,” wrote ACLU federal policy director Christopher Anders. “While the ACLU’s opposition today rests on free speech harms, we note that with more time to review this legislation, we anticipate finding other sweeping implications.”
The ACLU also took issue with the legislation creating a loophole to the Berman Amendment, which removes the president’s authority to regulate the exchange of cultural goods between the U.S. and hostile nations. It said that the bill creates a “slippery slope” that could “leave U.S. residents without some of their favorite international books, movies, and artwork.”
TikTok in 2020 successfully argued that the former president’s effort to force a sale of the company to a U.S. firm violated the Berman Amendment.
In another case dealing with a ban on a Chinese-owned app because of national security concerns that same year, a federal judge blocked a government directive requiring Apple and Google to remove Tencent’s WeChat from their app stores. U.S. Magistrate Judge Laurel Beeler found that the order could infringe on users’ First Amendment rights by making the app unusable.
Anupam Chander, a professor of law and technology at Georgetown University, told The Hollywood Reporter that “there are other ways to protect American data than to ban an app because it is foreign-owned.”
“We shouldn’t borrow the Chinese strategy of banning foreign information apps like Twitter and Facebook,” he added. “Banning TikTok would prove the Chinese right in banning our apps. The strength of our democracy is its openness.”
The US Committee on Foreign Investment, which reviews business dealing that may be a threat to national security and is empowered to force TikTok to sell to a U.S. company, is currently reviewing ByteDance’s 2017 merger of TikTok and Musical.ly. In August, TikTok proposed to permit ByteDance to continue owning the app in a deal that would silo U.S. user data and restrict access by employees in China.
This article was originally published by The Hollywood Reporter.