The Spotify Dilemma: Damned if We Do Damned if We Don't
In the run-up to self-releasing an albumI’ve been “due-ing” all the DIY diligence required — registering copyrights, collecting meta data, taking new photos, tidying up my website, etc… Ari Herstand’s blog has been a more than helpful tool. (If you’re due-ing diligence too, I highly recommend it.) That said, the multi-tasking can be overwhelming.
Soon I’ll be choosing a distribution service that will upload my material to all platforms…Apple, Amazon, Spotify — the last being a music lover’s favorite as user friendliness goes. Spotify has become what Kleenex is to tissues. Heinz to ketchup. Tampax to ....
Thing is though, Spotify sucks when it comes to paying copyright owners (and they’d pay us less if they could). They claim to be a champion for creators — buttering us up with Secret Genius Awards while at the same time appealing a court ruling that would increase a songwriter’s share of a stream.
But even though most recording artists would agree they can’tsurvive without Spotify few want to speak out about the inequities for fear of losing their favorability on playlists or perhaps being removed completely…even though they’re more than aware the hand that feeds them is feeding them less and less every day.
Of course there are exceptions: Benj Pasek and Justin Paul,Nile Rodgers, Babyface, Teddy Geiger, Cirkut, Greg Kurstin, (some of whom have been nominated for Secret Genius Awards themselves), are demanding that Spotify drop their appeal — reminding them,
“WE all create the ONE thing you sell…songs.”
Exactly. Without songs Spotify wouldn’t be a business.
And then there’s Esthero who inserted a message to her fans in the middle of “Gimme Some Time” (on Spotify) letting them know what a bad actor they are. Good for her!
But where are the performers who dominate the tippy top of the charts or the break out artists who are vying for a spot on New Music Friday? It’s awfully quiet out there. But I get why they hesitate. It’s a more complicated dilemma than whether to manufacture CDs or hand out download cards.
As for me, how can I upload my forthcoming album to Spotify when I’ve made it my business to shame them? I’d be a hypocrite wouldn’t I? Then again, it’s not like they’ll be chomping at the bit to add me! My stuff might just sit up there and collect digital dust. So it’s occurred to me that maybe I should try to do it without them.
During my first meeting with my new team of gals who are helping me navigate this DIY journey, I spilled — told them what I was thinking of doing…or not doing. I watched their faces. Honestly, I thought they were going to shut their laptops and head for the door.
To my surprise Kristin got it! She said it would be an authentic move. In fact, she would ask our distributor if it was even possible to upload music to all platforms except forSpotify. Maybe we’d even offer 🍎Music (a much better actor) an exclusive. I doubt they’d bite but I like her enthusiasm and I like the way she thinks!
Truth is with no label muscle behind me my best shot at exposure is through film and TV placements. If I have tasty cinematic recognizable re-imagined tracks (past hits I wrote for or with iconic artists) what’s stopping an open-minded music supervisor from trying out a new perspective in context?
“Ok then,” I thought. I would forgo Spotify. I was feeling brave. All set to Norma Rae it. Yes I was! Until a few days ago when I attended an industry conference and chatted with some music supervisors and editors who told me they usually look for and find synch material right from…that’s right…Spotify playlists. Sigh.
I’m damned if I do damned if I don’t.
What’s an independent post mid-life songwriter/creators’ rights advocate supposed to do? I have a hard decision to make: cave in or put my money where my mouth is.
I’m just having a bit of a hard time finding my mouth. 🙄
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