Spotify’s Got Another Artist Relations Issue: Joe Rogan

Remember when Spotify bought Joe Rogan’s podcast and signed him to deliver futures? Big money, big press release. Big chuckles in some quarters, why? Welcome to the world of artist relations, Mr. Ek.

Here’s a suggestion. When you sign an artist who you know is controversial going in, expect…you know…controversy. Is that really so hard to figure out? And understand that whatever that artist does, their brand is potentially going to be wrapped around your brand.

In Spotify’s case, there are plenty of controversial recording artists who have been distributed by Spotify. None of that has blown back on Spotify. In Joe Rogan’s case, however, Spotify is essentially the label. Remember all that guff from Daniel Ek about middlemen and gatekeepers? Well, guess what? Spotify is ostensibly Joe Rogan’s gatekeeper, but nobody told Joe Rogan. Which is problem #1 for Daniel Ek.

I seriously doubt that Mr. Rogan gives a hoot what Mr. Ek or any of his employees think of Mr. Rogan. I’m not a listener, so I have no idea how genuine the outrage is, but even if it is the most genuine outrage, Daniel Ek signed up for this. Daniel Ek paid lots of the shareholders’ money for this. Daniel Ek has the company’s governance structure rigged so he’s both president for life and also controls the board. Which is problem #2 for Daniel Ek–he brought this on himself.

So here’s a little unsolicited advice. When your artist comes to you with a recording that you simply cannot bring yourself to release, what you don’t do is tell them to change it. What you don’t do is censor them. That is, as we say in the trade, a chickenshit move. And I don’t care which or how many employees are offended.

What you do is you offer the artist one of two options, both of which are financially painful but ethically healing. First, you have a frank conversation with the artist where you explain that you are not putting out their record but you respect their right to say what they want to say. And if you don’t actually believe that, then you are in the wrong business and you have problem #3.

Then you tell the artist, I will let you go and you don’t owe me anything. This is the clean break option.

If the artist doesn’t want to leave–and notice that money has not come into the conversation and isn’t going to–you tell them they are free to take the record somewhere else and Godspeed and you’ll work with them on their next record. You want nothing more than to preserve your relationship with the artist whether on or off the label. You should want this because if you thought highly enough of them to sign them in the first place, and if they thought highly enough of you to sign with you in the first place, then that relationship is what matters, not the cash.

The cash is rarely significant and soon will be forgotten…well, you’ll definitely take grief from the bean counters, but screw them. What people remember is how you conducted yourself in the situation. That’s what matters.

And that is what seems to be lost on Mr. Ek. Be honest–are you surprised?

@Lucas_Shaw: Spotify Loses Joe Budden, Company’s First Big Podcasting Star

Budden says Spotify used him as a guinea pig for this larger strategy, and accused the company of not supporting him. “Spotify never cared about this podcast individually,” he said on his latest podcast. “Spotify only cared about our contribution to the platform.”

Read the post on Bloomberg

@ArjunKharpal: Chinese tech giant [and Spotify partner] Tencent reportedly surveilled foreign users of WeChat to help censorship at home

[Editor Charlie sez, what data does Tencent scrape for listeners to the Tibetan Freedom Concert...oh, right, that’s not available.]

Chinese internet giant Tencent has reportedly been surveilling content posted by foreign users on its wildly popular messaging service WeChat in order to help it refine censorship on its platform at home.

WeChat has over 1 billion users globally. It is the most popular messaging app in China and ingrained in daily life, allowing people to do everything from making payments to hailing taxis.

Surveillance and censorship of social media and messaging platforms in China is commonplace. Companies that run such services often remove or block content that is likely to offend Beijing.

But Citizen Lab, a research center that is part of the University of Toronto, said in a report published Thursday, that “documents and images shared among non-China-registered accounts are subject to content surveillance and are used to build up the database WeChat uses to censor China-registered accounts.”

Read the post on CNBC

Spotify Continues Profiting from Human Misery

In case you missed it, the creator’s loss is Spotify’s gain.  No, today is different than usual, because this time Spotify’s gain is not just tied to the misery of artists and songwriters, it’s actually tied to the whole world.  According to TechCrunch:

The coronavirus may be decimating some corners of the economy, but the impact on the digital music, as evidenced by the world’s biggest music streaming company, appears to be minimal. Today Spotify reported its earnings for Q1 with revenues of €1.848 billion ($2 billion at today’s rates) and an inching into a positive net income of $1 million. Monthly active users (not total subscribers) now stand at 286 million, with paid (premium) users at 130 million and ad-supported monthly active users at 163 million. Ad-supported users are growing at a slightly higher rate at the moment, at 32% versus 31%, Spotify said.

So far today, SPOT is up $16 a share, which means Daniel Ek made roughly $656,000,000 today alone.  And that doesn’t count the warrants.

So the bubbly is flowing at World Trade Center or wherever the Spotify elites are hiding out.

Just like at your house, right?

Do they care about your problems?

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@overlordror: Testament Frontman — “Spotify is Making Billions Out of Our Music”

Testament frontman Chuck Billy recently shared some depressing thoughts on  Spotify and music streaming in general.

The band joined music streaming platforms despite believing that artist royalty payments are too low. During an interview on Underground Australia, Billy was asked to share his thoughts on the digital age. The answer was mostly a tale of gradually giving in after years of sinking monetization on digital platforms.  

Read the post on Digital Music News