![]() ![]() You don’t have to look any further than the performance of all the major record labels. And similarly for podcasters, there’s a lot of room for people who are interested in having podcasts, that aren’t the top podcasters in the world.Īnd the idea that you’re able to globalize the platform in a way that music is crossing over all boundaries and borders, and similarly, we’re seeing that with podcasts - it’s really unifying the world. Because there’s a lot of room for artists who aren’t necessarily the top artists in the world. But I think really part of what Spotify is about is democratizing a form of distribution for artists in order for them to be able to experiment, create, and hopefully grow. That’s been pretty transparent: People know what we pay out, out of our revenue, to the artists and their labels. ![]() How much of that discussion informed what you’re doing today - both the way you talk to artists and what you’re doing for them? Dawn Ostroff There has been a long-running discussion with Spotify and creators/artists, back to its earliest days, where artists were complaining that they weren’t getting value out of Spotify but Spotify was getting value out of them. And also being able to communicate to creators the different tools, the different products that we have, to help and support them in our journey in terms of not only creation, but monetization, and of course reach. This was explaining that we’ve come a long way, we still have a long way to go, and where we are in the journey. ![]() When you think back to what Daniel ’s mission and vision was early on for Spotify, it was how do we connect millions of artists and creators with billions of users. ![]() For us, it was about being able to show where we’ve come from and where we’re planning on going for creators. Dawn OstroffĪctually, we’re trying to reach creators. Who is this event aimed at? It seemed reminiscent of all the streaming video launch events companies like Apple and HBO and Disney have done over the last year or so - kind of aimed at investors, but also for consumers. Here’s an edited transcript of our conversation: Peter Kafka And, specifically, how it’s responding to the challenges that come with being Joe Rogan’s employer. In theory, some of that may come back to the people who made the stuff in the first place.Īfter the event, I spoke with Spotify’s content boss Dawn Ostroff, a veteran of the magazine and TV business, about Spotify’s big-picture ambitions and how it is navigating the change from being a content distributor to a content owner. Spotify thinks it can make money by distributing that stuff to hundreds of millions of people through a combination of advertising and subscription dollars. And it’s also why it is working with Barack Obama the service just announced that Bruce Springsteen and the former president have a new Spotify podcast where they discuss “ modern manhood.”īut the main message behind a promotional event Spotify held Monday, where the company announced a slew of new products and several new podcasts, was aimed at a much larger group of musicians and podcasters who will never be Obama-level famous, or even a little bit famous: Spotify wants all of them uploading their content to Spotify. That’s why it spends most of its money on licensing deals with the big music labels, and why it paid a ton of money to sign podcast king Joe Rogan last summer. Spotify still wants the biggest stars in the world on its service. Now it is trying out a new identity: It wants normal people, not just people you’ve heard of, to start uploading songs and podcasts - and then it wants to make money getting those songs and podcasts out to many, many more people. Then it flirted, unsuccessfully, with becoming a video company, too. Spotify started out as a legal way to stream popular music. ![]()
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