Spotify may delay IPO to 2018 as it rethinks licensing deals
techcrunch.com
techcrunch.com
Spotify has postponed the inevitable by granting shares of the corp to the companies they license music from. However, the time will come when the larger institutions want their money back and it's not going end pretty. They need to reduce their liabilities and reduce headcount ASAP.
Then there's the myriad of obvious gaps in features that should be there.
1. You can 'Heart' a track in 'Daily Mix', but you can't un-'Heart' it.
1b. If you accidentally dislike an artist in daily mix, you can't undo that, so that artist won't play anymore.
2. You can like an artist for a certain Radio (and remove the like in the playlist 'liked by radio') but you can't remove an 'unlike'.
3. You can have either a public playlist controlled by you, or a collaborative playlist that's secret. Why not a public collaborative playlist for which I can select which users can edit it?
With most of the above issues there's one overarching thing: counter-intuitivity. You can often do an action (heart, like, etc.), and do so by tapping or clicking on something, but tapping or clicking on the same thing doesn't undo the action (probably because you can't undo the action).. and wouldn't you want to have your friends be able to see/follow your playlist that you built with that one Techno-listening buddy without granting them all editing rights?
I still like Spotify because you have the largest library and are available on the most platforms (Windows/Linux/macOS/Chromecast/Sonos/Digt.Amplifiers/PS4), but its a choice of 'sucks the least' rather than 'is the best'.
Personally, I've been creating individual playlists for every artist I care about, organized in folders by genre, since those tools were always lacking. So when I ran into the aforementioned limit, I just un-saved all the tracks and went back to solely using playlists.
A few months ago I considered switching to Apple Music, which does this stuff correctly, but nobody has made a migration tool that works.
(Apple Music also has several features Spotify ought to have had a long time ago. A sane distinction between composer and performer for classical music is one. Another is the completely seamless syncing of downloaded music — purchased, encoded or whatever — between all devices. Spotify only supports "offline sync" if you have Spotify open on the machine that has the files.)
1. Tap the More Options button in the navbar of a playlist
2. Tap Edit
3. Tap the Delete icon next to any of the tracks and tap Delete to confirm
sounds like a ship that rats would start deserting, and I know what I'd do if I were in that situation (spend as much as possible on short term perks, and cashout at the earliest opportunity).
I would also like to hear how you know about these financial incentives for VPs, I guess as a newish employee I am not privy to this sort of info or am not in the right backchannels :(
Remove the numbers immediately if you want to stay an anonymous
They have tons of data on user tastes, owning and operating a studio is cheap compared to licensing fees, so why not try to predict tastes (like Netflix), aggressively sign unheard of artists, and A|B test the hell out of the homepage with promoting different ones?
Apple has very deep coffers, which we have seen with the exclusive content they have acquired. Competing there seems like a loser's game.
Remember when people used to (and still do sometimes) complain about Netflix not having some specific movie they wanted to watch at the moment?
They'd have to either acquire this or build it from scratch. That takes time.
Spotify owns a powerful platform with tons of data about user preferences, they are not completely powerless to flip things on their head and have some say about what is popular.
It does seem like Netflix's playbook would be more difficult to copy for music, but still an interesting prospect to consider.
All they do is buy shows/movies from other studios. It would be similar to when Kanye West having the Life of Pablo exclusively on Tidal for a period of time. Exclusivity is important and Spotify does have albums and live performances that are not sold anywhere currently. Maybe they should do a better job of showcasing this.
I'm perfectly happy paying for media. But if something isn't readily available, I'll probably end up pirating it or never listen to it.
When I think of dark patterns I think of misleading ways to get a customers information where not applicable. I don't see how it's a dark pattern if I can't watch Game of Thrones on Showtime or Orange is the New Black on Hulu.
Why is retaining rights over content creation a bad thing? Is it a dark pattern to have companies pay for licenses or copyright fees?
They could also work with older bands that have long split to do a "reunion" exclusive to Spotify, ala Gilmore Girls.
There are also sources of mostly independent music. I've listened to Digitally Imported for years. As much as it may not be good for listeners like me, I think they'd make a great acquisition play for Spotify.
Some good points have been made as pros and cons, but in my mind something different needs to be done.
Edit: See the http://pledgemusic.com acquisition of http://noisetrade.com and http://set.fm nearly a year ago; no idea how it's working out for them though!
For the reference, Bandcamp is growing quite well.
I do not think Spotify should be trying to actually produce their own content in the way Netflix does, but I certainly do think there is scope to disrupt the traditional "music label" by helping to promote these independent artists, both online and in terms of tours, merchandise, etc.
I already find a lot of this via Discover Weekly, so it doesn't seem like a huge jump. The key is recognising that the era of pop music is over, just as the days when 50% of the nation would tune in to the same TV programme are over (with the possible exception of certain sporting events). Music is heading away from supergroups on labels like Sony BMG and promoted on MTV, towards a larger number of micro-brands serving individual tastes more closely.
Edit: I should add that it's also important to recognise the social aspect of music: what people listen to in clubs etc. This is where being on a label (currently) matters over just being on Bandcamp.
Any data to support this because from where I'm sitting, although the music industry is changing, the one place it isn't is as the top. I don't see the market for a small number of superstars owning the top 40 ever disappearing.
And while the record labels continue to pull in profits, there's no comparison between a top artist today compared to the 80s or 90s.
Top earners in 2013 each made about $30-$40m [1]. Michael Jackson in a good year made about as much the current top 10 combined [2], and still managed to make $160m in 2013 despite being dead [3].
[1] http://www.billboard.com/articles/list/5930326/music-s-top-4...
[2] https://www.forbes.com/pictures/geeg45eggig/michael-jacksons...
[3] http://www.telegraph.co.uk/culture/music/michael-jackson/104...
1. Comparing it financially true although I don't think that's fair as the economics of the industry are completely different, not because people are indulging in indie acts more but because music is cheaper generally.
2. I'm not a fan of Top 40 type music but I often look at the charts and it's always the same few people there (Rihanna, Major Lazer, Calvin Harris, Drake etc.). If you go to most clubs the music you hear is generally the Top 40.
So although the returns financially are less I think it's more because people are paying less, not because they are spreading the money around to more artists.
Because, unlike Netflix, that would be a huge increase in the amount Spotify pays to license their product.
Spotify is sunk. I just wish they would go under faster so that we could get something that might actually have, you know, a business model.
I always feel like that they avoid special effects and CGI on purpose in the Netflix series.
It is way to obvious that they want to save money there. Even if it means that the story (line) and world building looks and feels wrong.
The 'exclusive' content Apple Music does is very different to Netflix. It's just an exclusive publishing deal for a short period of time. They don't own the content. I don't think there is a deal possible that would convince an artist to sell their content to one company (e.g. Spotify). Consumers aren't going to change services to hear your music, what happens to your music when Spotify eventually dies or disappears as the medium changes again, and what about your die hard fans who want to give you lots of money by purchasing vinyl or other physical copies at shows?
"Investors, according to the Wall Street Journal, will be able to convert the debt into Spotify shares at a 20 percent discount if the company has a public offering in the next year, with that discount rising two and a half percent every six months Spotify doesn’t go public.
Until then, Spotify will also pay a five percent interest rate on the debt. That’s an amazing investment for those who were given the opportunity to make it — five percent on their money up front, and a huge discount on stock when Spotify goes public. Essentially, if Spotify doesn’t immediately go under, they stand to make a lot of money on their initial investment no matter what happens."
I don't understand your logic; it's not "when spotty goes public"; it's "if Spotify goes public".
If, say, Spotify doesn't go public (yet) and goes down after X years, they will have received 5X% of their investment back in interests, and will have the rights to buy lots of by then worthless Spotify shares at an enormous discount. For X < 10, I don't see that as making money at all; X = 10 might sort-of break even.
I think Spotify had to give them those share options to get that 5% interest rate because investing in Spotify is risky.
They won't dump it into the open market on opening day.
And considering that Amazon, Google, and Microsoft all have their own streaming services, I don't see anywhere for Spotify to go when they fail.
See Square IPo for reference, as well as Spotify's terms discussed in this article.