Penalty for breaching competition law is four times higher than forecast as Brussels looks to send message to tech firms
Apple has been fined €1.8bn (£1.5bn) by the EU after an investigation found it had limited competition from music streaming services such as Spotify.
The fine is nearly four times higher than expected as the European Commission attempts to show it will act decisively on tech companies who abuse their dominant position in the market for online services.
Continue reading...Conspiracy theory songs claiming Covid-19 is fake and calling vaccine ‘poison’ are being actively promoted in Spotify playlists
Songs that claim Covid-19 is fake and describe the vaccines as “poison” are being actively promoted to Spotify users in playlists generated by its content recommendation engine.
Tracks found on the world’s largest music streaming service explicitly encourage people not to get vaccinated and say those who do are “slaves”, “sheep”, and victims of Satan. Others call for an uprising, urging listeners to “fight for your life”.
Continue reading...Streaming firm is facing a cocktail of crises, from culture wars to competition concerns
He was supposed to be Spotify’s biggest acquisition, one who would transform the music streaming company into a one-stop shop for all kinds of online audio.
But controversy over “misinformation” on Joe Rogan’s podcast precipitated a hellish week for the Swedish firm as high-profile boycotts, a social media backlash and a share price drop challenged the viability of its meteoric growth.
Continue reading...Podcast host apologises to streaming service, which has faced criticism over episodes featuring guests who shared Covid conspiracy theories
Joe Rogan has addressed controversy over his Spotify podcast, hours after the streaming service announced a plan to tackle the spread of Covid-19 misinformation.
In a 10-minute video posted to Instagram on Sunday night, the comedian and host pledged to “try harder to get people with differing opinions on” and “do my best to make sure I’ve researched these topics”.
Continue reading...In pulling his music from Spotify in protest at Joe Rogan’s Covid misinformation, the singer continues a life of political action – but unlike others, he doesn’t need to please the streaming giant
If you had been forced to predict which blue-chip American rock legend was going to suddenly pull their music off Spotify in protest at the streaming site hosting a far-right-friendly podcast that spreads medical misinformation, Neil Young would have been a very safe bet.
He is famously among the most ornery, uncompromising and capricious of said blue-chip legends. The years that produced his most famous work also played host to Young wilfully sabotaging his own commercial prospects in order to follow his muse (or, as he memorably put it, “heading for the ditch”); suddenly abandoning tours midway by directing his tour bus to pull off the motorway en route to the next show; whimsically declining to release a succession of completed albums; and incurring the wrath of his partners in Crosby, Stills, Nash & Young (CSNY) by removing their contributions from the master tapes of his songs before releasing them. He spent a substantial chunk of the 1980s making wildly uncommercial albums, apparently with the specific intention of annoying his record label, which ended up suing him for being unpredictable – it lost, perhaps because, as his labelmate Elton John put it, its lawsuit “felt a bit like suing Neil Young for being Neil Young”.
Continue reading...Hit songs can be a better investment than gold – and by snapping up the rights, Merck Mercuriadis has become the most disruptive force in music
Merck Mercuriadis had a good Christmas. On Christmas Day, the No 1 song in the UK was LadBaby’s Don’t Stop Me Eatin’, a novelty cover version of Journey’s 1981 soft-rock anthem Don’t Stop Believin’. It replaced Mariah Carey’s All I Want For Christmas Is You, which had topped the chart 26 years after its original release. Both songs are unkillable, evergreen hits, which are closing in on 1 billion Spotify streams apiece. Both songs are among the 61,000 owned, in whole or in part, by Mercuriadis’s investment company, Hipgnosis Songs Fund, and epitomise the thesis that has made the 57-year-old Canadian, in less than three years, the most disruptive force in the music business.
Put simply, Hipgnosis raises money from investors and spends it on acquiring the intellectual property rights to popular songs by people like Mark Ronson, Timbaland, Barry Manilow and Blondie. In a fast-growing market, what sets Hipgnosis apart from competitors is its founder’s bona fides as a veteran A&R man, manager and record label CEO. Like an old-school music mogul, Mercuriadis sells his brand by selling himself. Unlike those moguls, he’s a buff, teetotal vegan with spartan tastes. “The only material thing that I really care about is vinyl,” he says. “And Arsenal football club.” He looks rather like a rock-concert security guard: shaven head, burly torso, plain black T-shirt, hawkish gaze. Mark Ronson calls him “the smartest guy in the room”.
Continue reading...Stars follow Bob Dylan’s lead as streaming boom and Covid-19 upheaval fuels gold rush in song rights
Bob Dylan just made more than $300m (£227m) doing it, Dolly Parton says she might do the same, while the singer-songwriter David Crosby says he is being forced to do it. Musicians are queuing up for big paydays by selling the publishing rights to their songs, as the streaming boom and industry upheaval wrought by the Covid-19 pandemic redefines the economics of music.
Dylan’s surprise move this week to sell the publishing rights to his 600 songs, from Blowin’ in the Wind to Knockin’ on Heaven’s Door, was described by the buyer, Universal Music, as one of the most important deals of all time.
Continue reading...Streaming services expect rise in searches for the 70s pop-reggae genre, a staple of the blues parties that shaped UK music
One of the most memorable moments in Steve McQueen’s Lovers Rock – the latest film in his five-part anthology series Small Axe – comes when a room full of young revellers sing Janet Kay’s classic Silly Games with their eyes closed, lost in the music, as they imitate her signature falsetto.
A staple of the lovers rock genre, which emerged in the 70s and was a blend of pop, reggae and disco, Kay’s song is the centre piece of McQueen’s film, which is itself an ode to the house parties, or “blues”, that his auntie attended as a young woman.
Continue reading...‘We did it,’ Carey says, after streaming services finally help seasonal hit to top spot
It is perhaps the most cherished, euphoric and vocally impressive Christmas song of all time, but Mariah Carey’s All I Want for Christmas Is You had never reached the US No 1 spot – until now.
When it was released as part of an EP in 1994, US chart rules meant it couldn’t compete with singles. Later reclassified as a standalone song in 2000, it has been a seasonal fixture in the charts ever since – and after 25 years has finally reached No 1.
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