Sam Duboff

Right. We need music to work as a standalone business. And our competitors don't. And I think that's one of the reasons you see us able to grow royalties faster than other streaming services have as a We are investing so much more in making the music experience new, innovating, trying to make sure that listeners love our service. And we aren't trying to sell hardware or shipment subscription.

Right. We need music to work as a standalone business. And our competitors don't. And I think that's one of the reasons you see us able to grow royalties faster than other streaming services have as a We are investing so much more in making the music experience new, innovating, trying to make sure that listeners love our service. And we aren't trying to sell hardware or shipment subscription.

Yeah, when I go to work every day, all people are doing is talking about music 24-7. Like everyone who works at Spotify is obsessed with music. We need music to work as a business. We're obsessed with innovating and new ways for listeners to experience music. And that's cause we're a standalone company that's focused on growing this business. And that's what makes it fun to work there.

Yeah, when I go to work every day, all people are doing is talking about music 24-7. Like everyone who works at Spotify is obsessed with music. We need music to work as a business. We're obsessed with innovating and new ways for listeners to experience music. And that's cause we're a standalone company that's focused on growing this business. And that's what makes it fun to work there.

And I think it's also one of the reasons we've been able to succeed.

And I think it's also one of the reasons we've been able to succeed.

these rights holders which for most cases is a music label but can also be um i believe it's like a distribution software like a distro like a lot of artists can um sign up for distributors they pay a few dollars a month that distributor sends the music to spotify and other streaming services and the artist gets 100 of the royalties interesting so in that situation we'll use distro kid as an example yeah spotify pays distro kid

these rights holders which for most cases is a music label but can also be um i believe it's like a distribution software like a distro like a lot of artists can um sign up for distributors they pay a few dollars a month that distributor sends the music to spotify and other streaming services and the artist gets 100 of the royalties interesting so in that situation we'll use distro kid as an example yeah spotify pays distro kid

district kid pays artists yeah that's right okay and in that case the artist is the rights holder because they're retaining yeah 100 right yeah it goes through these distributors who you know handle distributing it everywhere collecting the money lots of other tech stuff uh and so the artist is paying a subscription to them they get to collect all the money interesting um so yes spotify is never paying artists and songwriters directly ever at all in any case yep a label a distributor a publisher um and so on okay that is interesting yep um

district kid pays artists yeah that's right okay and in that case the artist is the rights holder because they're retaining yeah 100 right yeah it goes through these distributors who you know handle distributing it everywhere collecting the money lots of other tech stuff uh and so the artist is paying a subscription to them they get to collect all the money interesting um so yes spotify is never paying artists and songwriters directly ever at all in any case yep a label a distributor a publisher um and so on okay that is interesting yep um

That's right. We don't own any music. We don't deliver any music to Spotify. We don't pay any of those creators directly. It's always through a rights holder. Interesting. And that's true for every streaming service, not just us.

That's right. We don't own any music. We don't deliver any music to Spotify. We don't pay any of those creators directly. It's always through a rights holder. Interesting. And that's true for every streaming service, not just us.

Yeah.

Yeah.

Yeah, yeah. Generally, major labels take a bigger cut and you label somewhere in between. And then if you're self-releasing your music, it's all you.

Yeah, yeah. Generally, major labels take a bigger cut and you label somewhere in between. And then if you're self-releasing your music, it's all you.

Yeah, and basically that's the trade-off. You get all the big advance up front that can let you pursue your career in music. You're going to get this whole giant team around you helping you grow. And then, you know, you negotiate your terms up front. Yeah. Yeah, that math, you know. I think a lot of artists end up signing deals without totally knowing what that math is going to mean.

Yeah, and basically that's the trade-off. You get all the big advance up front that can let you pursue your career in music. You're going to get this whole giant team around you helping you grow. And then, you know, you negotiate your terms up front. Yeah. Yeah, that math, you know. I think a lot of artists end up signing deals without totally knowing what that math is going to mean.

And then later on they're wondering why they aren't seeing more money from streaming.

And then later on they're wondering why they aren't seeing more money from streaming.