The 2026 Spotify Loud & Clear Report reveals that streaming has fundamentally transformed the music industry by creating a growing middle class of career artists, with over 13,800 artists now generating $100,000+ annually from Spotify alone (up from 11,000 the previous year), and more than 1,500 artists earning over $1 million. This represents a shift from the traditional model where only a few superstars made significant money to an era where more artists can sustain themselves through streaming revenue, with 85% of artists hitting the $100K threshold debuting in the 2020s and 85% based outside the US, demonstrating that geography no longer defines opportunity in the modern music economy.
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The Spotify Report has dropped.. you'd be surprised.Hinzugefügt:
Uh but let's just kind of start with what the report is saying, right? So the takeaways, we analyzed the 2025 royalty data and these are the top 10 findings that stood out. So these are the the 10 things that Spotify feels like matters the most from all of the data that they've collected.
Uh so takeaway number one, the 11 billion growth engine. For another year, Spotify was the highest paying retailer globally, paying the music industry more than 11 billion in 2025. This brings total lifetime payouts to nearly 70 billion. So they pay out 11 billion dollars to artists, artist partners, so distro distributors, labels, um, and those types of companies, but they paid 70 billion in the entire lifetime of Spotify. Uh, so that number isn't just big, it's growing. In 2025, Spotify payouts increased by more than 10% year-over-year, more than double the rate of other music industry income sources, which grew closer to 4%. So Spotify saw a 10% increase in payout, meaning they paid more money out to artists. Uh, and they're paying out more than double of any of the other streaming platforms. So that means that they are saying that they pay more than Apple, Amazon, YouTube, whatever other thousands of of DSPs are out there, right? They're saying, "Hey, we pay all the most." These numbers reflect Spotify's central role in today's music economy. Not only as the largest platform for artists and the largest source of recorded music revenue, but also as the largest driver of the industry's continued growth. Hey, I'm going to be real. Like I said, bro, I've been keeping up with these reports every year since they came out. I feel like this the first time I kind of have seen Spotify popping their [ __ ] like this. So they out together saying like, "Hey man, before we get into this money conversation before everybody starts saying we should pay more, we pay y'all more than everybody else that y'all love so much."
I think that's funny. That's a good That's a good stat to set the tone with, man. I get I see the PR in it. So the new global class of 100K artists in 2025, there were more than 13,800 artists who generated at least $100,000 a year from Spotify alone. Nearly 1,400 more than last year. So last year it was around 1100 11,000 going on 12,000. This year we're approaching 14,000.
Artists who are making 100k just from Spotify. So I would assume that an artist is making 100k from Spotify, they're probably uh they probably have somewhere between I would think like 200k to maybe 400k monthly listeners.
Somewhere in that range. And if they're making 100k just from Spotify, that means that artist probably made I would ballpark 150 to 300k at least. You know what I'm saying? When you start to incorporate all of the other streaming platforms. So, they're saying that they're actually up in artists who were doing the streaming numbers to hit that goal to hit that number, right? In fact, there are now more artists generating over 100K annually from Spotify than were generating half that amount just five years ago. So, there are more artists today who generate $100,000 a year just from Spotify than they were generating 50,000 just five years ago.
Right? So, we can already see the picture they're trying to paint. They're trying to say, "Hey, we know things ain't been good. We know that uh there are a lot of artists who are saying that they're not making any money from us and they're not making any money because of us, but the numbers say otherwise. We're starting to create artists or be a a part of assisting artists to hitting 100K just from Spotify. Like I said, if an artist is making 100K just from Spotify, they're probably making, I would, like I said, at least 150, 300K, I would think, when you include all platforms. So, this is an artist who's making good money. You know what I'm saying? Artist is making great money.
Uh, where we at? This site shares a lot of big numbers that can sometimes feel abstract, but the growth we're reporting on is showing up in tangible ways. There are more artists generating over 100K a year from Spotify alone than we're getting stocked on record store shelves at the height of the CD era.
That's kind of foul. I ain't going to lie. So, they're saying there are more artists today who make $100,000 a year than there were even artists who were getting their music distributed at the height of the CD era. So, what are we talking about? Mid200s, uh, late 90s to to mid 2000s, which is interesting, right? Because they're saying, hey, we got 14,000 artists making this money, making this type of money. They didn't say double. They didn't really give a number. They just said more. What would we assume would be the amount of artists being put on shelves at that time? probably a couple hundred a year, something like that, right? Um, so a couple hundred, maybe low thousands of artists who were actually even getting a chance to make money off of a music off of music versus we fast forward 20, 30 years later and we're doing way more than that, who have a chance that has to make money. So, I ain't going to lie, if we're taking these these numbers at face value, which I am, I trust Spotify data at this point. And once again, I'm thinking about the ecosystem that the artist who's making this type of money is is kind of living in. I think I already see where this report is about to go. They about to hit us with the a is less superstars, less artists making millions and millions, maybe tens of millions of dollars, but we're actually creating more career artists. You know what I'm saying? I already see I already see where this is going. This isn't just about growth. It's momentum. And it's coming from all over the world. More than one in three artists at the 100K level today have increased their royalties 10fold in under a decade.
Eight and 10 artists who crossed the 100k threshold in 2022 have remained above the every year since. And of the artists who crossed 100k in royalties in 2025, a majority debuted in the in the 2020s and 85% are based outside the US.
That's interesting. So 85% of the artists debuted in 2020. So they're basically saying that most of the artists who hit this threshold are artists who really just started popping. What's that 2020 been like early Tik Tok era during that's during the pandemic, right? Yeah.
So, the vast majority of the artists who are hitting this came out of that era pretty much. And that makes sense. I think that it took a lot of legacy artists um and just older artists in general. It took them time to kind of like warm up to streaming platforms.
Actually, no. I that doesn't make sense to me. I'm just thinking about that, right? Well, I guess they said who cross. So, anybody that was kind of popping before would have been making more money than that. But I just think that's interesting, right? Like what were the artists who were grinding in 2017 2018?
I would have assumed that those would have been the artists that started popping in 2020. Well, it would still be a debut. Okay, I see what they're saying. I get I get I get what they're saying with this that they could have been the artist that was grinding beforehand, but they didn't get a breakthrough in terms of a song or some type of big streaming number until 2020.
2020. Okay, I see it now. I see it. But I think that the part that's the most interest interesting to me is more than one in three artists or 30% at the 100k level today have increased their royalties 10fold under a decade. Right?
So 10 years ago these are artists that were making 10k or less a year off of their streaming and within that decade were able to get themselves to 100k. And I think that this goes back to something I've heard a lot of the more modern music industry uh gurus and execs kind of say, right? It's probably going to take you about 7 to 10 years to really get stabilized and become sufficient in terms of the business of your artistry.
And I think that that stat is a is a quiet support of people who say that.
You know what I'm saying? And I've been a big uh a big advocate of that amount of time, right? Like whenever artists ask me, yo, how long does it take on average respon to get there? I say if you're lucky, three to five years. If you're not that lucky, 10 years. If you're kind of on par, like seven to 10 years, you know what I'm saying? And that's seven to 10 years of just like consistent pushing, grinding, growing.
You know what I'm saying? And then it seems like things break through for artists around that time. Apple and YouTube pays the most per stream, but artists who do good on Spotify regularly get more money. If that makes sense.
Yeah, that does make sense because I mean the the thing too and they have it at the top of the report on their first page, but for those that don't know, Spotify pays out based on a royalty pool. So your amount could change yeartoyear even if you got the same amount of streams, right? Like if you did a million streams in 2024, you could in theory make less money with a million streams in 2025 because there are now more artists who are in the pool in 2025 than there were in 2024. You know what I'm saying? So, I'm pretty sure that has a lot to do with it too, just kind of that sliding scale of numbers. Uh, but that does make sense, right? But I think, like I said, the this stat to me is saying something that I know we've been kind of predicting and talking about. The middle class of artists is growing out, right? You're going to see less artists who get into the game and become maybe a hundred million dollar a year artist or a billion dollar artist, right? But you're going to see more artists who are 50,000 a year artist, 100k year artist, right?
I think even like high six figures, you know what I'm saying? And that to me says that five years from now, if we just assumed that this number was growing, right? Let's just say five years from now, that could be 20 to 30,000 career artists, maybe about 20 to 50 superstars, if that [ __ ] right?
Maybe five to 10 superstars and then just kind of the artists who are trying to break through into that middle class.
That's where I see things going. That's where I see things going and it's about to be interesting. Uh, take away three million-dollar career. So, a decade ago, the very top artists on Spotify reached 10 million in annual royalties for the first time. Today, the 80 plus top artists each generate over 10 million annually from Spotify alone. So, it was a decade ago when the first artist ever on Spotify, the first artist ever was able to reach 10 million in annual royalties on Spotify. But today, the top 80 artists are doing what that one artist was doing just 10 years ago.
As global superstars have graduated to the $10 million level, a whole class of career artists have reached a $1 million level. In 2025, more than 1500 artists generated over $1 million in royalties from Spotify alone. So once again, if this is an artist that's making 1 million from Spotify, I would think that they're making at least three to five million with all the other platforms combined. Not bad. Many of them aren't household names and they may never trend globally. In fact, capturing just 1% of streams from 1% of listeners, a small fraction of a small fraction, is enough to earn 1 million in annual royalties from Spotify. So, if you get 1% of streams from just 1% of listeners on Spotify, you can make a million dollars a year.
It's kind of crazy. How many How many users does Spotify have off the top of their head?
761 million monthly active users globally. So if you can get 1% of the streams from one 1% of the people. So if you can get 1% of streams from 76 million people, you could be making a million dollars a year on Spotify, which is a big number, but probably not as crazy as I feel like. Actually, no. I ain't gonna lie to y'all, man. That's still a crazy number.
I ain't going to say. You know what I'm saying? So if you get half a percent of that, you could be making 500k a year.
The streaming era is a narrowing success to a few global stars. You don't need global ubiquity to build a meaningful career. More artists than ever are generating million-dollar incomes at scale. So once again, we see the narrative. We see the play they're going for here. They're telling us, "Hey man, we hear y'all out there in the East Streets and the artist community saying that we ain't making no money from Spotify." We want to show y'all that somebody out there is.
And they're making a lot of money from it. And you can too if you get over here and get to work.
The rising hundth artist, 100 thousandth artist in 2025, the 100,000th highest earning artist generated more than 7,300 in royalties from Spotify alone. So that's probably artists that made like what maybe 30 to 50k that year. In 2015, the artists in that same position generated about 350. That's more than a 20fold increase in just a decade. See, this is interesting, right? Because then they get into the data and the payouts of the smaller artists. So they're saying here we've built more millionaires who are artists today than the industry ever has in the entire history of the industry before we came into the game. But they're also saying here that hey even our small artists are ones who aren't making a lot of money are making more money today than the average artist who was just trying to start in 2015. So 2015 would have been right before the Soundcloud era. You know what I'm saying? Um, which actually that number is surprising to me because I'm thinking about what were the ways that artists had to make money digitally in 2015 cuz Soundcloud wasn't paying out, right? I guess you could have been making your YouTube money.
Spotify was just getting started. So, yeah, there would have been artists that that were making streaming money. So, I guess it was just streaming in general, right? This is before consumers really caught on to streaming and 2015 would have been in my opinion we'd have been coming right out of the the blog era basically watching the Soundcloud era start to warm up. So this is before the industry and independent artists for sure would definitely stream it. So the artists at that time would have still been trying to get on like the radio, you know what I'm saying? Trying to get like their videos on TV and stuff like that. And then just a year later, we start seeing, you know what I'm saying, the [ __ ] you know, Lil Yachties and Uzi's and stuff like that start to kind of bubble up on on Soundcloud. So, even the small artists are making more money today or have a higher chance to make a significant more significant more amount of money than an artist in the same position 10 11 years ago, right? So, in other words, it's not just the biggest artist making more. It's massive earning growth for artists at earlier stages of their career, too. Over the past five years, the artists at the 100,000 spot has seen their royalties grow much faster than the big biggest superstars, more than three times faster than the 10th ranked highest earning artists.
More and more artists are earning meaningful income on Spotify, and the baseline continues to increase. So, I think that I think that's interesting, right? And I I'm not going to lie, even in my own personal experience, I've I've started to see it to be true. One, it's just a big part of it, like there are more artists on Spotify, right? So, if you have more artists in general, you have more people who are using the platform, you're obviously ideally going to start to get more people who are making money from it. But I think that what Spotify is trying to do here, and this is what I think is interesting about this report so far. Usually this report, well I wouldn't say usually I would say historically they were kind of aiming the report at the higher level of the music industry, right? They were trying to make investors happy. They were trying to make their label partners happy.
They were trying to use the data to solve the problems of the biggest fish, right? And I've said this before about where I think Spotify falls and everything. I think that Spotify is trying to rebrand itself to cater more to the independent artist community. One kind of everybody is if we're being real, you know what I'm saying? Like the independent artist thing is is about to be the the next trend, bro. It's about to be like the protein hype. You know what I'm saying? Um, but I think too, bro, like I think Spotify is just tired of the [ __ ] that major labels have put them through. And they looking to build a new base of supporters. And if they're probably looking like, "Hey, man. five, ten years from now, our biggest uh supporters and the people that fight for us are the indie artists that got that are making, you know what I'm saying, a couple million a year and we can start to kind of loosen the range on some of these things we have with major labels.
I think that is what they're trying to do. You know what I'm saying? Do I think it'll happen? No. But I think that they're at least trying to build a goodwill um and ride a little bit of the hype of how much of a buzzword the indie community uh thing has kind of become.
But that's still interesting. The biggest takeaway is still more smaller artists are making money today than smaller artists 5 10 years ago. More than one in 10 artists generating over 100,000 annually on Spotify today were first playlisted on Fresh Finds. That's more than 1,600 artists whose Spotify helped break early and who have since gone on to build six figure careers.
So one in 10 artists that are making that 100K a year on Spotify were first ever playlisted on Fresh Finds. That's interesting. So I wonder where the other nine out of 10 were first playlisted, right? Because that would say a lot to me, right? So for those of you that don't know, Fresh Finds is a algorithmic playlist on Spotify, right? So it's it's data driven. There is no curator. There is no person behind anyone's fresh finds. It's just their algorithm doing its thing and recommending it to their users. Right? So one out of 10 who broke through were first ever playlisted on that playlist. That means the other nine out of 10 had to have been place it placed on editorials or or or or third party playlist because I'm thinking about if an artist start making this money last year and they were someone that's been building in the recent modern digital era, there's a very high chance that that artist has been on a third party playlist before. Like any artist that has been artisting since 2019, 2020 has probably put themselves on a third party playlist at some point.
That's what I think.
And the impact isn't just visibility. It translates into real money. Fresh finds artists collectively more collectively more than double their royalties in the year after being added compared to the year before. That pattern has held for every annual cohort since at least 2020.
Fresh Finds isn't just the playlist. For many artists, it's an early step toward a sustainable career.
This this is this is really important.
If you guys have been paying attention to playlist culture over the last, let's just say like four or five years ago or so, right? So, playlist culture, in my opinion, has taken one of the craziest hits in the last couple years. If you guys are someone that haven't been following me for a long time or following like me on the platform for a long time, you might not know I got my start in the industry and on this channel being coming from the playlist world, right? It's documented. You can go deep in the channel and see early videos where we were talking about playlisting and breaking it down. And there came a point where you could start to see the playlisting culture was becoming a lot for Spotify, right? There were starting to be a lot of polola rumors in the industry. Oh, this person paid this person 100k to be on no Most Necessary. Oh, there's a hidden cost to get on rap caviar. And I could imagine that as people like myself and other people who were talking out loud at that time started to talk more about playlist, they probably had more people from the outside. Well, I ain't going to say probably. They definitely had more people from even outside of the industry now trying to use them to break through, right? Playlist and culture became crazy, bro. I think playlist and culture is probably one of the most toxic things that ever happened to the music industry. I'm not going to even lie. And I ain't even been around for the whole music industry, but from what I've been able to see, bro, playlist and culture poisoned so many of our artist minds, man. Like, you know what I'm saying? And even and the people behind the artist, bro. Poison their minds. But around I want to say it might have been 2022 2023 they started rolling out a lot more algorithmic playlist right I think I want to say it's also when they in introduced the radio on Spotify and made it more algorithm heavy and you could see them starting to pull away from curated playlist culture. That was also around the time they started really really really cracking down on body streams and curators who were creating these body playlists. So they were like, "Hey, in order for us to clean up our reputation from an industry polo perspective, but then also from this whole body stream thing is only [ __ ] happening on our platform, right?" Which probably isn't true, but that's how everybody treated this how everybody treats the bot stream [ __ ] bro.
Everybody talks about it like it only happens on Spotify. And I think that for whatever reason, Spotify just had the most issues with it early on. They carried the burden of of of that that reputation, right? But around 2022, 2023, they start making the push towards having more algorithmic playlist and basically being like, "Hey, we don't want to be accused of having people on the platform who are biased and playing favorites and popping off whoever they want to pop off. We're going to let our algorithm decide based on listener and user behavior." And when I saw them making that push back then, I remember I remember when they changed the back end of the Spotify for artists uh dashboard that you can see right where you can see like your Spotify data and they started like including the data for the radios and they they still have it but it was like the early days where you know you could kind of break it down based on I wouldn't say it says something like editorial streams versus algorithmic streams.
Um, when they first started doing that, I was like, "Oh yeah, I already see where this [ __ ] about to go. This [ __ ] about to be game changing." So, the fact that they've kind of like stuck it out and actually like seriously, I think that them doing that is one of the things that helped to really slow down where playlist and culture was kind of headed to. You know what I'm saying? And I think that's a good thing. You know what I'm saying? I think once again I think playlist culture was one of the the worst things to happen to uh the the industry bro like in the independent artist uh the independent artist journey for sure bro it made it rough man and it made it rough to build artists man because it was hard to get people to be cool with just locking in around really realistic results like you would have artists who would say hey man I want to spend $1,000 to market my song and if I go spend this money on, let's say, some ads or something that's DTOC. Hey, I might only come out of it with a couple hundred to a couple thousand new fans or, you know, I might come out of it with a couple thousand streams, but if I go put $1,000 into this playlisting campaign, I might get half a million streams. You know what I'm saying? I might get a 100K, 150K, bro.
And it just started to really warp the minds of the artists who were doing it in my opinion because they became so focused on the top number. And then that culture is what's gotten us to this viewheavy, virheavy music industry culture today, bro. It's like I watched it all grow out. You know what I'm saying? Shit's kind of crazy. Uh, but I say to say, I think that more platforms, and I do think a lot of platforms have kind of really stepped away from the identity of having a lot of curators, people, or voice behind the company kind of picking people. I just don't think that consumers think that that's cool anymore. And I think the platforms have kind of noticed that. And so I like that they're all pushing to have more algorithmic playlists that push these artists out. You know what I'm saying?
The DIY path to an enduring career. In 2025, more than a third of artists generating 10K or more royalties from Spotify were DIY or started their careers as DIY, meaning they self-released their music through independent distributors.
That started as DIY Detail Matters. Many artists begin by self-releasing and building momentum on their own before later choosing to partner with a label as new opportunities arise. That shares even higher among newer generations.
Among artists that de debuted it debuted in the last decade, more than half of total royalties generated were by artists who are DIY or begin their careers as DIY. This is interesting, right?
So, one, they're saying that newer generations of artists are making more money out of the streaming pool than older generations, which once again to me that makes sense is more artists. So, it makes sense that they would make up more of the pie. Um, but among the artists that debuted in the last decade, more than half of total royalties generated were by artists who are DIY.
So, they're pretty much saying, and this goes back to what I was just saying a couple minutes ago, bro. Spotify got the data, man. They see where this indie [ __ ] is going. You know what I'm saying?
They've been seeing where it's going for a minute and I once again I think that the indie community is their way out of the label hell hole that kind of trapped themselves trapped themselves in. In 2025, more than 90% of DIY royalties went to artists who have been releasing music since before 2024. Artists building sustained careers, not one-off releases. DIY isn't just a permanent category of the music economy. is often the first step towards the first step toward long-term success.
So in 2025, more than 90% of DIY DIY royalties went to artists who have been releasing music since before 2024. So this is interesting, right? Unlike the other stat where they were saying that most of the artists who hit that 100k number came from or debuted within the last 5 years or so, five, six years.
They're saying that 90% of the royalties from these artists were artists that have been well actually what we in 20 they're doing in 2025. So basically, they're saying that most of their money came from artists, DIY artists who didn't get started that year, which I think is an interesting stat, kind of a weird stat, unless this is kind of to debunk the notion that someone can pop off and start making a lot of money quickly, right? They're basically saying like you guys may feel that way because you see, or this is how I'm interpreting it, you guys may see it that way because you may see one or two or three artists that seemingly come out of nowhere and started streaming a lot and making a lot of money, but the vast majority of our artists who were making money did not get started last year.
They've been building for at least two years. You know what I'm saying? Um, but I think that that goes back to the other number I was giving you guys where I think that if you're lucky, you'll get things cracking within three. If it's about average, it's going to take you five to seven. If you're a little unlucky, it's going to take you like 10.
You know what I'm saying?
Of consistent, dedicated growth. It's the best way to put it. Uh, 50% comes from abroad. So only two years after debuting debuting, artists already see more than half of their royalties come from outside of their home countries on average. So this is artists everywhere, right? When an artist de debuts about two years after they start to see their most of their royalties come from artists that are not where they at. So this goes back to something I think has been a a little dark secret in music for a long time. Most artists biggest fan base are not where they live at. You know what I'm saying? I think that the American music industry does a really good job of this strategy of of playing this strategy, right? But they'll have you popping in eight, nine, ten countries and those may be the places that are driving the majority of your streaming numbers, but then they'll play the press and the PR and the social cars within the US. So that way when we, the US audience, see them and then go look at these numbers, we just assume they're mostly coming from the US, right? Like we imagine like, okay, well, I know about Justin Bieber. Most of his streams are probably coming from here.
It's like, "No, bro. You go look at Justin Bieber. I think his biggest streaming country is like Indonesia or something like that." You know what I'm saying? You can actually look up YouTube has a really good way to see this, right? So, the YouTube music charts will let you see what country uh a particular artist is kind of popping in the most, right? So, I'm going just show this to y'all real quick and we'll get back we'll get back to the report. Like, if I come here and I look at Michael Jackson, Michael Jackson is an artist that is from the US, right?
from Indiana. Look at his top six top six places, right? Only one of them is is in the US and that's New York. And if you go look at almost any really big artist, right? Let's look at NBA Young Boy. Oh, damn. NBA Young Boy kind of broke it. Hold up.
Most of NBA Young Boys fans are in the US. All right, that's my fault, man. NBA Young Boy proved me wrong, man. He might be the wrong person. That's actually crazy. Most of NBA Young Boys fans are in the US. That's kind of funny, actually.
Drake is a little bit the same way, right? So, two out of his six countries are none US. So, still 30% of his audience on on YouTube at least is not even in the US. So, I've seen this for a while. There's been stories. I don't think there as many artists tell the story before, but I remember hearing Dave Blunt say that he got his first fan base in Mexico.
I want to say I remember seeing like J and Earth Gang popping in Amsterdam like really popping in Amsterdam before they started going crazy in the US. 6ix9ine has famously you know he started blowing up in Russia. So, it's one of those those those secrets of the industry where I think a lot more artists are or not even a secret anymore because it's on this report, but a lot of artists start off building a mass majority of their fan base in countries that they don't live in. And I think from the US perspective, it's kind of easier to see, right? Where we're usually thinking about the cost of things. So, the US is one of the most expensive countries to advertise to on almost any platform.
versus you advertise to somewhere like Brazil or India or South Africa or something. These are countries that are historically not even just cheaper than the US, but like way cheaper. You know what I'm saying? So, I can get it from the US industry's perspective where it's like, hey, we could build our artists in places that only require about 10% of the spin of what it would take to build them here. But I wonder what the psychology is for like other artists, right? Like if I'm an artist living in India, but I start popping in the US, it's going to actually be more expensive to continue growing my fan base in the US than it would be for me to continue growing my fan base in India. You can make the royalty argument of like, well, you know, they pay more uh they pay more on their royalty payout, so it may be more lucrative for me to have a bigger fan base there. But I would just love for someone who isn't in the the US music industry or doesn't work dayto-day in the US music industry to kind of break down their country's perspective when they start breaking out in other countries. You know what I'm saying?
Because I'm pretty sure like some of it is just the same like oh it's a strategy of like it's working over there so let's lean into it. Right? I live in India but they foc me in Ireland. Why not keep gassing up Ireland? But I would just love to hear somebody else in in in a different country's music industry talk about that. So not long ago, an artist success was often concentrated in just a few markets. Today, fans of every genre and language are distributed globally, and they can discover, stream, and support the music they love instantly.
The global listening is lifting artists in more markets to high six figure earning levels. In 2025, the artists who generated over half a million in Spotify royalties represent 75 different countries, up from 66 in just one year or just one year ago. At the $10,000 level, from more than 150 countries generated that much on Spotify. In today's music economy, geography no longer defines opportunity. Artists can build global careers from wherever they are, which I think is an amazing thing, right? You could be living in LA and be paying your bills in LA because you popping in Mexico, right? You could be living in Mexico and be paying your bills because you popping in France. You know what I'm saying? I think that that is probably as much [ __ ] as we kind of talk about the internet era of the music industry. I think that that's one of the most beautiful things, right? You can get to these people for free because back in the day, if you had woke up and been like, "Man, I want some fans in Japan." You gonna have to go to Japan.
You know what I'm saying? or find somebody you knew personally in Japan and put them on your street team or something like that. Now today, you can just be like, "Oh, I'm gonna run a Facebook ad to Japan and for a dollar a day by the end of the week." Now I got 50 Japan fans, Japanese fans. You know what I'm saying? Or I can build in Japan while building in France, while building in South Africa, while building in the US, while building in Sweden. And all I'm really doing is is taking 30 minutes out of my day to set up a couple ads, to set up a couple posts. You know what I'm saying?
Beautiful thing, man. Beautiful time we live in. Growth speaks many languages.
Today's biggest hits speak more languages than ever. In 2025, songs in 16 different languages reached Spotify's global top 50, more than double the number in 2020. This music isn't just breaking through on the charts, it's driving real revenue and growing fast.
Among genres generating over 50 million in Spotify royalties, some of the fastest growing in 2025 were Brazilian funk, K-pop, trap, Latino, urban Latino, and reggaone. What makes this moment so powerful is where it's coming from.
Artists creating in Portuguese, Korean, Spanish, and more. Often outside traditional industry hubs are building massive global audiences. Fans are choosing what to stream based on what they love, not where it's from. This this I think is interesting, right?
Because if y'all don't know, man, from a global perspective, I I want to say traditionally, US has kind of dominated, right? Um, going back to what I was saying a couple minutes ago, we pay the most amount of money on streams or we're at least one of the highest, if not number one. We're top three for sure.
And a lot of people, a lot of artists, even artists who aren't from the US, want to break into the US because of that, right? But if we're starting to see these other genres blow up and they're going to build these, they're going to basically strengthen the music industry economy of whatever country, you know what I'm saying, they're in.
That means that we could possibly see a world where artists don't feel like it's as important to blow up in the US as it used to be. And that could be interesting, man. A world where people don't see the the US as a as a gatekeeper to the music industry is gonna be an interesting industry. You know what I'm saying? But we've been seeing it for a long time. I mean, how long have we been seeing what like Afro beats dominate, you know what I'm saying? Um, and and the genres that kind of come out of it. How long have we been seeing Latin music dominate at this point? You know what I'm saying?
Like the writing has been on the wall.
2025 marked the largest annual music publishing payout in Spotify's history.
Over the past two years alone, Spotify paid approximately five billion to the publishers and the organizations representing songwriters. Publishing royalties from Spotify have grown dramatically up two and a halfx over the past five years. That growth reflects the global growth in streaming which is helping songs travel further and reach more listeners than ever before.
Streaming services are driving record-breaking revenues for songwriters and the publishers, pros and collecting societies that represent them. So, we're helping you guys make more money on the streaming side. We're helping you guys make more money on the publishing side.
It's going back to that same big stat, right? We helping y'all get more money.
By the first half of 2025, Spotify had driven 1 billion in gross concert ticket sales for artists. That total has now exceeded one and a half billion. In 2025, nearly 25% more artists use Spotify to reach fans with concert co with concert offers. And almost 40% of touring artists saw their total Spotify revenue grow at least 10% when ticket sales are added on top of their streaming royalties. The final impact of streaming doesn't stop with royalty royalties. It helps turn everyday listeners into ticket buyers surfacing nearby shows to real fans already streaming an artist music making it easy to act in the moment.
Great, great PR for a lot of the DTOC efforts that Spotify is making. You know what I'm saying? This is coming from the heart. Like I I I said this at the top of the stream and I I have always stood on this, bro. I think that Spotify is one of the best music marketing platforms. You know what I'm saying?
They give you the ability to reach people in the platform in a lot of ways that none of the other platforms are even thinking about. We may never get it. We ain't never getting something like this from like Apple or something.
You know what I'm saying? They don't care enough, bro. You know, it it is what it is. But I think what's interesting about this is that basically saying like, "Hey, Spotify listeners will spend money on the artist, right?
You can buy merch in Spotify. You can buy tickets in Spotify." And to me, this is a good number because it's proven that or I I I like to see that Spotify is trying to create a world where the streaming numbers can cross over to DTOC in a meaningful way because that has historically been one of the biggest, you know what I'm saying? Like the biggest critiques of the streaming era is that like, hey, we see these artists getting millions of streams, but we're not seeing those numbers or those people convert in any meaningful way. or they'll come listen to it because it's viral on TikTok, but the [ __ ] ain't about to leave the house and go watch you perform or or watch you do something. So, this is a number that combats that, right? Our people buy tickets and they spend money on the artist. So, this is interesting, man. I think this is a good a good report so far. So, payout see exactly how many artists are generating different levels of revenue each year. We believe in showing you the full picture. That's why we share a level of royalty data that no other streaming service publishes. They talking they [ __ ] I ain't mad at it.
Hold my fault, y'all. I'm about to sneeze.
Oh my god. God damn.
All right, I'm back. My fault, y'all.
But before I even I even dive into this part, like I said that this has probably been the most interesting part of my personal music industry journey, right?
Like I got in music probably around 2012 is when I consider my music industry to have like started, but I wouldn't say like I didn't really catch my stride until like 2018, 2019. You know what I'm saying?
um which was basically right at the start of the boom of the streaming era.
And I can definitely confidently say I know more artists today who live off of their music and live off of just the career of being an artist than I knew back then. You know what I'm saying?
Like back then every artist I knew was either making a lot of money or lying about making money.
That was it. There was like no real in between. today. I genuinely know like I know some artists like really making money. I know some artists making like good money. I know some artist making okay money. I know some artist is making a little bit of money. You know what I'm saying? I know some artist is making no money. You know what I'm saying? Like I feel like there's a whole spectrum of the industry that really didn't exist until recently. And I think that that's the coolest part about the report so far is that it's showing the middle class of music artists building out And it's showing like as we hear the conversation about there being less and less superstars or the possibility of less and less superstars, we're also seeing it that there is more and more possibility of being an artist and being okay in general.
I was talking to a a client of mine a couple weeks ago and I was telling him well he was telling me like his his son is like four or five years old or something like that and I was like bro it's crazy because when your son turns 16 17 18 and he comes to you and says hey dad I want to be a rapper or I want to be a music artist. I want to be a guitarist.
There's going to be so much more proof for him that is possible than what existed when we were kids. You know what I'm saying? Like I don't know how many of y'all I don't know at what point y'all as artists started to tell the people around you that you wanted to be an artist, but like really think about it, right? Think about the first time you told somebody you wanted to be an artist. Seriously. And think about how they they looked at you. You know what I'm saying? Like the average person's experience around that isn't usually that great. You know what I'm saying? Like I don't know too many people where they they told their mom, "Hey, I want to be a rapper." And your mom was like, "Oh, you go, baby. I got you. What you need a little studio time?
You need some money for beats?" Like I don't really hear that story too often.
You know what I'm saying?
But by the time like we become old, bro.
You know what I'm saying? Like by the time I'm like a 60, 70, 80 year old man, the idea of being a music artist and it being a career is not going to be like it's not going to be this crazy thing.
You know what I'm saying? And let's just say that 40 years from now there's a 100,000 people that exist that live comfortably as artists. You know what I'm saying? That would be crazy, bro.
How many doctors in the country?
You know what I'm saying? How many lawyers do we have, bro? Like, you know, it's going to start to be like almost like this highly specialized career in a sense. And I think that's kind of that we are the generation that gets to watch that, right? And I think that once again, by the time that we all become little old people, but our view of artists who get old is going to be so different.
Cuz like I think about when I was growing up, a lot of the artists you would hear about from yesterday year, if they weren't like currently hot, you know what I'm saying? You would just be hearing about them struggling or, you know, they're not making crazy money because the era they came up in was so performance and radio uh dependent. But like I said, 50 years from now when the artists we love today are Little Old Men, they still going to be collecting their their streaming royalties, their pub royalty because they've been hopefully more educated and had better teams. Um, but then that's going to also create a generation of kids who will be watching them and be feeling like, hey, I could become an artist and live good when I'm old. You know what I'm saying? I think one of the arguments that anybody's parent makes to them today is like, "Hey man, you know, the rappers I see from my generation, like they ain't living too good." But by the time we get old, bro, we could be like, "Hey, mom." Like, you know, I've been following Lil whoever for the last 30 years. And I mean, he seemed like he living a comfortable life as a old man. Man, I can't be mad at that. So, I think that is father we get to be a part of that and get to see that. There's a fresh finds playlist segment in the report. I got added into this playlist and after that I completely changed the genre and branding. Was it a mistake? So you got added into Fresh Finds. A song reveals got added in Fresh Finds. And you're saying shortly after you swapped up the branding of your Spotify page and you changed the genre of music that you made? Yeah, absolutely. Yeah, you kind of [ __ ] up. I ain't gonna lie to you because imagine like I don't know how drastic the change was, right? Like, did you go from being a a [ __ ] you know, Irish folk artist to being a drill rapper? You know what I'm saying? I don't know how extreme the switch up was, but let's just assume that the type of music you're making isn't isn't close to the type of music that you were making from the song for the song that got playlisted.
Just think about it from a consumer perspective, right? If I heard about you and your restaurant because I heard you have the best pizza in town, but when I get there, you trying to sell me hamburgers.
Some people might get the burgers. Some people going to leave because they came here expecting to get pizza. You know what I'm saying?
If I was listening to your song and I resonated with the fact that you were dark and and alone in the world like me, when I get to your page, it's all bright and bubbly and you got friends and [ __ ] and your pictures now the connection has been severed, right? I don't feel that way anymore. Or I feel like you kind of played me a little bit. Now, there is a chance that the song could be so strong that the people that come from that old song hear it and go like, "Oh, this is nothing like that, but I [ __ ] with this." There is always a chance of that. There are fans out there who do appreciate the versatility of an artist.
But I think that the vast majority of artists who are just finding you or fans who are just finding you, they're usually looking for like a vibe off of you. And then once they get to know you and like you more, um, then they become a lot more open to the other stuff you do. It's as drastic as it gets. From 90s top of hip hop to new kind of Oh, summer sun sh underground wave. Oh yeah, that's pretty drastic. I ain't gonna lie. I mean, so this what I would say, man. If that new direction is really the direction you want to go in, you're just going to kind of have to eat that L. You know what I'm saying? I think some of those people who find you on that playlist will like it, right? Let's just say you squeeze out 20 to 30%. Let's actually let's just assume worst case scenario. Let's say only 10% of the people who find you from that playlist like the new direction that you're going in. If this is really your new direction, you just got to kind of eat that and understand what comes with that. But then just keep building and you'll eventually get the new stuff placed. And it is going to take Spotify a little bit of time to kind of recategorize you within their algorithm and their data. So, you're going to have to be proactive about pushing outside data to Spotify to kind of expedite that process. You know what I'm saying? But yeah, but just eat there, bro. That's a problem that artists go through all the time, man.
They woke up one day and then they want to make Christian hip hop or something and they know that when they put it out, a good chunk of their audience might not like it. But they got to take the ones that do like it, work with them, and then continue finding people within their space that do like it. You know what I'm saying? So that's the problem that you have basically.
Do you feel like with all the oversaturation in music and music content, the music kind of lost its value in a sense? Like people don't care as much. I feel like new artists got to stop forcing the music to work.
Everything feels like a ad or promo all the time. See, there was just an interview I remember Will I am doing a couple years ago. It might have been like four or five years ago at this point. and he talked about how music historically has always been used to sell something something physical. And this is one of the first eras that we've ever lived in where it wasn't being used to sell something physical. You could argue maybe a phone, but not really. Right? I don't think people buy phones because they want to listen to music. You know what I'm saying? But they were using music to sell CDs, using music to sell vinyls, right? Using music to uh using CDs to get people to buy cars. And so I think that realistically music has never been valued as high as we think it has been.
I'm I'm not gonna lie to y'all. Like I think about when I was a kid, bro, like people were bootlegging CDs and selling CDs at the barber shop, bro. Those that was one and people were buying them.
I got so much music as a as a kid and teenager from the [ __ ] bootleg, man.
The neighborhood, bro. These were not people who would respect the music. They wanted to hear that new [ __ ] Snoop Dogg or TI or some [ __ ] and they was going to get that [ __ ] however they could. Sound familiar? Sounds like our generation of music listeners. But I guess I guess they were quiet about it, right? That's probably the difference is that I don't imagine like my mom was was walking around Linewire, bro. Great point. You know what I'm saying? [ __ ] had Line Wire, bro. I don't think that music consumers have really really really valued music like that in a long time. I think maybe the last time music got value for what it is probably was like the 70s like you know what I'm saying? I would argue when live instruments dominated popular music not were a part of but like dominated whereas like that was it. You know what I'm saying? So that's probably the last time it maybe was at its most valuable.
But I think that people have always valued the feeling that music gives them. People have always people always will value the place that music has within their life, which I think is very important. Um, and I think that while you could maybe make the argument that music is valued less, I think that the artist is valued more in a sense, right? Like y'all are the first generation of artists that can be that will be humanized by people. You know what I'm saying? People weren't humanizing artists historically, but people today they have a little bit more empathy for music artists. You know what I'm saying? Um people are more likely to kind of like give you the benefit of the doubt nowadays I think, right? Because people are like, "Oh, that's just a person.
It's like me." So, it's pros and cons that come with everything. You know what I'm saying?
And I I think music is like any art, right? As there are more people who do the art and there are more people who feel like they can find the art that they like within it anywhere, then yeah, it kind of the value of it goes down a little bit. But what do we do about that? You know what I'm saying? Do we go back to gatekeeping? Who can create music?
I guess I don't even know. You know what I'm saying? I don't even know when that was if I'm being real. I just kind of said that. But what do we do? Do we start gatekeeping who can create music?
You know, yeah. Lime Wine and Napster were the reason the industry had to pivot to DSPs to keep it profitable.
Rape raper stream is funny.
Yeah, that's true. And see, that's how streaming was first even kind of positioned to the industry, right? Like, hey, we're saving y'all from all of the thieving ass fans out there that were going to steal this [ __ ] anyway. This is grimy and dirty. arguably more grimy and dirty than music fans of today. Bro, I don't really hear the And once it goes back to perspective, right? A music fan in 1990 will have stolen your music, right? A music fan in 2026 will probably take your music and make an AI song with it. Which is worse?
Who do we hate more? You know what I'm saying?
But they're not stealing they're not stealing your [ __ ] You know what I'm saying?
So I don't know, man. I think that music fans have have always been been uh kind of shitty. You know what I'm saying?
They just got to pass for whatever. When you look back through the history books and you see them smiling in the concerts and [ __ ] in black and white, you like, "Oh, Suzie there looks like she love art." No, bro.
Susie was listening to that LP that her and her five cousins uh stole from Target one day out. You know what I'm saying? Or whatever grocery store was popping at the time.
You know what I'm saying? That's how they got that joint. That's what made them go to the concert and buy a ticket.
Do you think musicians and artists aren't really the hottest commodity anymore? Because everybody does music now. Streamers are bigger celebs than most artists now. YouTubers. That's an interesting question, man. I think that they aren't the hottest commodity because I think that other forms of entertainers or I want to say other forms, right? If we keep it to like YouTubers, Tik Tockers, let's just say content creators, right? Content creators have been the most relatable form of entertainment in the modern entertainment industry, right? Every other form of entertainment is almost sold on this position of I'm here because I'm special and that's what makes me different than you, if not better than you. Right? That's kind of that's that's that's the the thinking behind almost every other form of entertainment. film, TV, sports, music. That's historically what it's been. Content creator is built around an energy of I was I am like you, right?
Like I am you, you and so I think that that that form of entertainer is more attractive to the everyday person. Like, you know what I'm saying? Like, oh, you mean to tell me if I just take this phone I was going to buy anyway and I take a little bit of time to learn how to shoot and do lighting and edit, like I could blow the [ __ ] up and be a popping Tik Tocker or be a popping YouTuber or something, right? And the story that was used within music for a long time has been used in content creation, right? Music used to be seen as the get-rich quick scheme, and that still kind of is, right? I think that artists who don't know still look at music as a get-rich quick scheme, right?
Like the [ __ ] that just started rapping yesterday think he about to be lit by the end of the year. Little does he or she know it's about to be rough roads ahead for them. But they that dream is kind of so the content creators, right? Make the right video, use the right platform, you're out of here. And I think that as the content creator industry matures and they're gonna go through things that music and the music industry went through like years ago, you know what I'm saying? Um because that industry is literally being formed in real time like right in front of us. You guys are coming into an industry that have been established and has had the rules and [ __ ] for decades. But their industry is literally just got credited like five years ago. You know what I'm saying?
There's no right answers. There's no real blueprints to follow. They're figuring [ __ ] out in real time. And I think that that is attractive to people.
And when you start thinking about the kids that are growing up and watching that and just the cost and effort it takes to get into one versus the other.
Yeah, I can understand why I can understand why somebody may want to take that path more than music.
You're right. It's hella oversaturated.
But at the same time, once you find a niche target group, they value the art even more. That's facts. But I just think like the eb and flow changes, bro.
People people want to be what they feel like is hot at the time. You know what I'm saying? Um especially when we talk about like kids and stuff and then those kids eventually grow up and they do it and then there's kids that are looking at them and looking up to them and then the cycle repeats. But I mean I can imagine 20 30 years from now I can see the pendulum swinging because kids of that time might be looking at artists like man bro being an artist is so cool and like I don't know man the content creator thing is kind of overrated.
I want to be like them and then we'll watch it reset and go back to that. So, it's always es and flows, man. Spotify seems like it's still a necessary evil.
I hate donating my royalties to bigger artists. I feel that. I think that Spotify is a necessary evil. I ain't going to lie to y'all. Um, I've been seeing the growing trend of artists pulling their music off of DSPs and being like, "Hey, I'm just going to put my music on my website or I'm gonna put it on Patreon." or you know, you can only buy it from me physically, which I think sounds good on paper. But you at that point, at that point, you're fighting consumer behavior. And anytime is you versus consumer behavior.
Consumer behavior is always going to win. Not every fan wants to buy a CD.
Not every fan wants to support someone they just became a fan of. And I mean, I've been saying it throughout this stream, right? I genuinely do think that Spotify is one of the best music marketing platforms. Like it's one of the only platforms where music is the asset that you have to market. You know what I'm saying? And so when you find people on it, you know that they like the music is, you know, they didn't follow because your video was funny or because you had a bad [ __ ] in it, you know what I'm saying? It's like, oh no.
When they reacted to this playlist or this this this ad I ran over here is because they like the song. And so I think that artists should deprioritize Spotify within their ecosystem and how they kind of value everything, but I don't think they should completely remove it. You know what I'm saying?
Like you're you're just disconnecting yourself from so many potential fans at that point. I think use it, grow within it, collect from it where you can and how you can, and then when you finally have a big engaged enough fan base, then then pull the trigger if you still feel that way. You know what I'm saying? But don't disconnect yourself from the game before you even like got really got started in it. You know what I'm saying? That's my philosophy on it. It is a necessary evil. Streaming as a general is a necessary evil. The same way content corruption is a necessary evil, right?
All this stuff is necessary evils. And I think learn how to play the game.
Play the game until you have enough people that like you that you can start to do it your way. And then do it your way. You know what I'm saying?
just looked up the Spotify stock price I'm considering. What I see on social media is artists usually only promote music and get low engagement. Meanwhile, cat videos means relatable people that type of content gets more traction and attention.
I agree with that, man. I agree with that. I think it's changing.
I think that we're seeing more artists be better examples of what it's like to be an artist and a content creator. But I agree with you. I think most artists like making a piece of of music content might as well be you knocking on somebody door trying to sell a vacuum cleaner. Bro, that's how it is. Like when going back to understanding the way consumers see you guys and how we interact with y'all content when we see it on socials. When I see a artist post a music piece of content, I already know what you want from me. you want me to leave my cozy explore tab and my for you page and go over to Spotify, go over to Apple Music and stream it, bro. It's like I don't want to do that. You know what I'm saying? I don't want to be sold right now versus if you go do something funny if you go do something insightful, moving, educational, right? Like that might keep my attention long enough for me to get to the point of want to going to check you out or keep my attention long enough for me to get to know you.
and getting to know you may make me want to go check your music out. You know what I'm saying? Like, and all content creators go through it. That's kind of just the circle of life for all content creators. But it I think that artists who fight that just don't understand how people are moving on the internet. And I think that that is probably that's one of the most underrated skills you can build as an artist is is figuring out how to kind of maintain your consumer brain. You know what I'm saying? Like whenever you you start to think about something, take yourself as the artist out of it and then think about the situation again from a consumer perspective. So if you like, man, I want to take my music off Spotify. Might pull out like, well, [ __ ] I be listening to music on Apple Music. [ __ ] these [ __ ] I like I love such and such, but if bro woke up tomorrow and said he was pulling out his music from Apple, that might be the last time he get a stream from me. you you will start thinking it through from how you interact with stuff as a fan and then you'll start to see where like some of the gaps are. You know what I'm saying? So that's that's my advice always, bro. Keep the fan brain at the top of your mind. Always consider consumer behavior because anytime it's you versus consumer behavior, consumer behavior wins every single time. You know what I'm saying? There ain't been an artist yet that's been able to really beat it.
Nowadays, we don't really have it harder with social media. Everyone gets a chance at it. Before you had to have crazy connections and albums would cost hundreds of thousands. I agree.
I agree with that. I got number one for my sub genre on Band Camp, but the limited users are hurting at this point.
Wait, what you mean the limited users?
Like just genre like super super niche.
If you want an artist with a fulllength high quality project and a few high quality visuals, 2K followers, how would you go about rolling everything out to tell a pe story and make people care?
That's a really specific question, man.
I wonder who that's about.
Um, I would make I would first come up with a bigger story.
I would then figure out what songs on the project do I want to be connected to what part of the story. And then I will make high quality visuals to the songs that tie into that bigger story. And then I will make a couple of like low loweffort content pieces of me as the artist breaking down that story and how these things fit into it.
And then I would post all that stuff.
Well, you said rolling out. Yeah. And I would just post all that. But I would start like work it down like a movie, bro. What do you want the plot of the movie to be? What do you want the story to be about? And then Okay. If I'm saying that this is a story about a heartbroken man who who, you know, overcomes his past and and and comes out the other side better, then it's like, all right, well, which songs of my project do I feel like kind of fit at the beginning, middle, and end of the story? And then use that to guide the visual aspect of it. I think that's where I would start. That's a very nuanced question. I ain't going to lie.
Yeah, especially Gen Z, Alpha, their brains are different. They consume music and content way different than like Melinda. That's a big fact, bro. I be watching like my little cousins and [ __ ] like scroll YouTube. I like you ain't watch that video all the way, man. Like, damn, man. It's a content. I'm like, damn. At least let them get through the first 30 seconds. Nope.
So, when they become the adults, bro, and it's up to them to sustain you as a music artist. Hey, man. Good luck to y'all. Good luck to y'all. We got what?
Like, what we got? What's the oldest gen alpha right now? I'm probably like 11, 12, something like that. So, we we got like another five, six years before they enter the consumer base. Good luck, y'all.
That's all I can say.
That's the common strategy is tough on sale. One sale on Band Camp equals 10K streams, but there are so many people I meet who don't use it. I agree, man. And I I'll even admit, bro, like I've heard people singing the praises of Band Camp for years. For as long as I feel like for damn near as long as I've been in the music industry, bro. Band Cam had that came out in what, like 2013, 2014, something like that. Maybe even longer than that, bro. When did Band Cap release?
And I genuinely don't think that uh as many artists use it as like the more I learned about it. Oh, that [ __ ] came out in 2008. That's crazy. I ain't even know Band Camp has been around that long.
But I agree with that. I don't think as many artists are hip to Band Cap as as it should be. like I and I can't say good or bad things about it because if I'm being honest, I've never personally really taken the time out to go like deep dive into it and learn about it.
Like I always seen artists champion it and you know like I said I guess it has been around like my whole music career. You know what I'm saying? So I've always like known about it but I don't know. I think it's because it's not like a cool platform in a in like a cultural sense, right? Like everybody wants to be big on YouTube or Apple or Spotify because these are platforms that do cool things culturally and artists are always going to go to where cultural currency cultural currency is. You know what I'm saying? Y'all gonna always want to go after that thing.
Even though this less cool culturally thing may be a better, more viable option for you. It's interesting, man.
Y'all brains are different, man.
Uh but let's get back through the rest of this report. Man, I had some good questions. I appreciate that. We love an engaged audience. We love an audience with smart questions. You know what I'm saying? It makes my day. Uh, but let's get into this payout side because I think we still got a lot to kind of go through in terms of these artists on here making money. So, it says, "To date, Spotify has paid out nearly 70 billion artists, songwriters, and rights holders. We can click any dollar amount below to put the numbers in context and see how many artists worldwide generated at least that much on Spotify each year since 2017. Keep in mind, these figures are just one piece of the puzzle.
Spotify is one of many music streaming services that generated that generate revenue for the music industry and streaming makes up only a portion of all industry revenue. So that goes back to what I said. Don't remove it. Just dep prioritize it. Look at it as a piece of the bigger pop.
There are also physical sales, touring, merch, sync, and more. Spotify accounts for about 30% of global recorded music revenue revenue up from less than 15% in 2017. So, an artist making 10,000 on Spotify likely earned more than 30,000 across all recorded income sources. So, it's kind of like I was saying, they was making just 10K on Spotify, they probably making about 30 to 50K on everything else. You see what I'm saying? So, let's look at some of these numbers, man. Let's see how many artists are making 1,000 on Spotify. So since 2017, the number of recording artists whose catalog generated publishing royalties, recording and publishing royalties over $1,000 on Spotify also increased by 230%.
That's kind of crazy. So in 2017, 91,000 artists made $1,000 or more. In 2025, 300,000. That's a crazy jump. Looking good so far. Let's look at like numbers that will be more sustainable, right?
When could a person really start to live off the music? I I would say an artist making 5K a year is they're not living off that, right? But they they probably feel good. They starting to get a nice little confident boost. So in 2017 it was 36,000.
2025 127,000 and it's up 250% since 2017. RS making 10K a year at you locked in. Bro, the artist is making 10K. They they they taking this [ __ ] seriously, right? They starting to get some real momentum. So 23,000 in 2017, 81,100 in 2025, up 245%.
Then we get into like can kind of live off of it, right? So this artist, they ain't got to work a job. They're not about to be balling or nothing, right?
But if they don't want to work a job, they ain't got to work. They can focus on music full-time. So in 2017, 7,400 artists in 2025, 24,000 artists off of just Spotify. And actually on Actually, let me double back, right? Because I keep forgetting this is just Spotify. So artist is making 5K probably made like 8 to 15K on everything. And artists making 1K on Spotify probably made like 3 to 5K off of everything. Artists making 10K on Spotify. So this is where it's like you could you could live off of you're going to be struggling a little bit because they probably this is the artist that probably made like 20 to 30k, right? So the artist that made 50k is probably making I would assume like 80 to 130 150k including all platforms, right? So 24,000 artists are sending that sitting that income bucket, right?
So when we get to 100K, we looking at 4,300 artists in 2017, 2025, 13,000 artists in 2025. That's a stat they gave us at the top. So we're actively seeing once again, bro, a middle class of music artists grow right before our very eyes. Most artists want to be at the Drake and Taylor Swift level. How do you do something like that in 2026? Is it even possible anymore? Or are we in a new era? And that era of c is that era of celebrity status over? I think so. I don't think it's completely over, but I think it's dying. I think that moving forward, you will see very few superstars, but you'll start to see more micro niche stars, right? Like people who are stars within that community. You know what I'm saying? I think that's going to become the norm.
And I think it just depends on how you kind of view the game, right? If your goal was to be a mega ultra dre level artist, hey man, it's about to be rough for you for the next 10 to 20 years, right? I think that we might not even see that kind of a superstar again for like another 10 years. You know what I'm saying? Um yeah, I just don't think it's going to happen because everybody's attention is split in so many different directions.
You know what I'm saying? Like the reason it was so easy to create these singular superstars was because at at different points in history, all of culture was paying attention to a few like the same things pretty much, right?
Like there were very few things that commanded people's attention and everybody was paying attention to those things. Today, bro, like everything has a platform. Everything has a voice.
Everything has a space.
How do you get everybody to agree to and pay attention to the same thing long enough to create that type of entity?
You know what I'm saying?
I don't even know how you would do that today.
That was my weakness. Not investing in DSPs enough. This live stream is exactly what I need. Hey, I appreciate it, man.
You know what I'm saying? That's what I'm here for, man. To open some minds and expand some hearts. But I just once again like going through this report because I know sometimes it can be discouraging as an artist, especially if you are an artist who isn't making money yet. Um, you will hear a lot of people say there is no money in music. You can't make money in music artists. I'm telling y'all it's not true. You know what I'm saying? There are less people who are going to make tens and tens of millions of dollars on Spotify or just music in general. That's true. That I agree with. But an artist who is making $50,000 a year off of their music is making more money than the average artist like five 10 years ago, bro. Like you are a part of you are a part of history. You know what I'm saying?
How was a way to start that question?
How do we do it? That's what I'm saying, bro. Like I have no idea. I ain't going to lie to you. I have no idea how we ever get culture to go back to paying attention to the same things. I think that it would either be need to be a massive reset, like a cultural reset, or we wait until Gen Alpha becomes adults and they go start, you know, like that phase that like every generation kind of goes through where they like really idolize something about a previous generation. I think that our only real hope is that by the time they become teenagers and young adults that they're so upset or turned off by microniche culture that they start advocating for and fighting for a singular culture again. I think that if they were to do that, it could get back to it. You know what I'm saying? But we got to see, man. We got to let them grow up and develop their own brains and personalities and go into the world and we'll see where they go with it. But that's the only way I can see it happening. You know what I'm saying? Uh, so let's look at look through a couple more of these numbers. How many artists are making did we do 100k already? Oh yeah, we did 13,800. So 500k, 3,00 240 artists in 2025 versus 960 in 2017.
1 million plus 1,500 artists versus 460 in 2017.
2 million plus is 740 in 2025 versus 210 in 2017.
And 5 million plus is 230 artists versus 50 in 2017.
So more money across the board for more artists it looks like.
So we agree that's the ember right there. Oh, I feel 100%, bro. The ember for the hope of the next generation always lies within the kids of the current generation. You know what I'm saying? Cuz really, it's like, man, however they think and what they believe in, when they become the consumers who enter the marketplace, they are the ones that change [ __ ] I remember I remember in 2019 when Tik Tok first really started popping off.
Um, I remember Gary Vee doing either like a live stream or one of those talks and he was talking to this guy that was like, "I don't want to be on TikTok.
Like, I don't want to make the dances and do XYZ."
And I remember Gary Vee said it's easy to ignore them when they're the 14y old making stupid dances, but what happens in seven years when that 14y old is now the 21 year old who's getting ready to graduate college and get his first entry level job and now he's the customer base that you're trying to connect with and sell to. And I remember that didn't like really click for me back then. You know what I'm saying? But I had a conversation with an artist a couple weeks ago and that artist was like, "Man, bro, I've been watching you since I was 17, bro. I'm like 24 now." And I was like, "Damn, bro. I guess I have been like making content that long." You know what I'm saying? Like time flaws.
And that's what like I thought back to that video and I was like, "Oh [ __ ] this is what Gary Vee was talking about." You know what I'm saying? He was like a 16, 17 year old watching me at that time and he became an adult and when it was time for him to start making moves and doing stuff, he thought about me and that's when it clicked for me.
You know what I'm saying? That's when it started to make sense for me. This was just just this year. So, I think that that's how artists should be looking at it, too, bro. I know like it hurts to say like, "Oh, man. Like, we always got to kind of keep reinventing ourselves.
We're at the mercy of whatever the [ __ ] kids think are cool or are leaning into." But is that such a bad thing, bro? Like, if you can capture this person when they're 14, 15, 16, 17, 18, and they stay a fan of you for the rest of their life, was that not a good investment? Was that not a worthwhile conversion?
I think artists got to just show up every day now. Quality, quantity over quality is too much content. 37 million videos are uploaded a day to IG and Tik Tok. I agree, bro. Like cuz the hard part is getting a lot of like the hard part is bringing together quantity and quality. But I agree with you, man. I think that even attention economics have have changed, right? Like I was having this conversation with um I have a client right now who signed to an indie label and we were running some seeding campaigns and I was on the the phone with his marketing manager and the marketing manager just said something like, "Oh, I would expect this post to have done like 100k views out the gate, like you know, 20 30,000 likes." Something like that, right? Basically saying like, "Man, I thought this [ __ ] was going to hit." And I was like, "Man, for real, bro." Like it's hard to get a poster that like hit like right out the gate. Like it's very very few posts that hit [ __ ] 100K to a million views in the same day. I said, but if we were to go back and look at what these posts have done, you know what I'm saying? Let's say a week from now, a month from now, six months from now, we probably would see those numbers. And I had him do this exercise, right? I was like, "Bro, go to your TikTok and just scroll your TikTok and click on the first video that you see." And he clicked on it. I was like, "Look at the bottom of the video. When does it say that video came out?" And he's like, "Oh, it said it came out like two weeks ago or something like that."
I'm like, "Bro, this is where we at with content, bro. Most of these platforms are just serve. It's so much content on these platforms that they we're getting served old content. And as long as the platform feels like it's currently relevant and valuable, they going to push it to somebody." I say, "So, we need to be looking at these pieces of content and these posts less like these instant fire starters and more so like this is a seed that we feel confident enough to plant.
And we're going to see where it grows to and judge about how it grows over the next few weeks, maybe even months, rather than how it grew the day that we planted the seed." You know what I'm saying?
That's what content's got to, bro. Take some good [ __ ] put it out, and don't be so beholden to how it performs within the first like seven days of it. You know what I'm saying? That's how I feel.
That's where my head is at.
I'm building a new route collective.
We're starting off from scratch. I plan on having at least two months of video content. Start posting and doing ad bots. Target my sub genre. Play hell of shows. That sound like a plan to me, brother. That's a good plan if I ever done heard one. It's painful for artist ego to accept that it's not the old music industry anymore. Music only ain't cutting it. I agree, man. I get it, man.
Like y'all grew up on the old industry.
Y'all idolized that era, you know what I'm saying? Like it was cool watching them, you know what I'm saying? Do all the big [ __ ] I get it, man. You know, I completely understand. I grew up watching the same thing. And I was like, man, I would love to work with an artist that was buying a $10 million music.
That had to be a crazy experience, man.
Like, I think about like I think about like the me of that time, right? If I could go back in time and be a marketer, how would I have done? You know what I'm saying? or like who was the that era version of like us, you know what I'm saying? Like just this DIY guy that kind of worked his way into the space. I would love if I had a time machine, I'll go back and see, you know, but I bet it had to be fun, bro. Like, you know what I'm saying? You wake up, you coming in to work one day and they're like, "Oh, what's happening today?" Oh, uh, Jay-Z just rented a helicopter for his video.
We about to go check that out. Oh, [ __ ] Word. That's what's up.
I got lunch in 30. I can come check that out.
Where do hashtags really go? If you know where I'm coming from, hashtags don't matter as much in my opinion. Maybe even at all. I haven't I'm not going to lie to you. Like I've been super keeping up with the process of hashtags and everything, but from my personal testing with like our no labels page, they don't really do nothing, man.
the algorithms of the platforms have gotten really smart and they do the job that I think that hashtags historically did for content which was really kind of um like archiving the content on the back end and kind of categorizing it for people like now the algorithm just got their [ __ ] figured out so I ain't mad at it all right what they got on the process side in this section we break down how streaming royalties actually work from how revenue is generated to how it flows through the system to how artist royalties are calculated Hit it. How the money flow out. Let's watch this video.
Actually, no, I'm not doing that. I'm sorry. I don't want to get no views. We just going to read.
We just gonna read, guys, because I just thought about I'm going to clip this video later and put it up.
And I think I just gonna break down how uh publishing royalties work and recording royalties work, which y'all can watch it on your own time. I ain't going to lie. Oh, this is the chart I was talking about, right? All right, so they have this context chart. Streaming numbers in context. Here's how it works.
Artists get paid based on their share of total streams on Spotify. So, it goes back to that the royalty pool. Um, if your music accounts for 1% of all streams, you get roughly 1% of the royalty pool. That's what people mean when they talk about stream share. To make this real, in 2025, artists who accounted for one in every 1 million streams on Spotify generated over over $11,000 on average. Let's put streaming numbers into context. What might have been a lot of streams even five years ago looks pretty different today. In fact, more than 400,000 songs were streamed more than a million times in 2025 alone. It would take more than 2.5 years of non listening, non-stop listening to hear them all.
So, we can enter any monthly listening count or alltime stream count to estimate how many uh how each number compares with our artists on Spotify.
So, let's do some stuff, man. See, let's just say a track with a thousand streams on it.
So, a thousand streams, a thousand alltime streams will put you in the top 60 million tracks on Spotify.
Okay. All right. Interesting. What about an artist with 10,000 streams? Right.
So, a 10,000 alltime streams generator will put you in the top 24 24 million tracks on Spotify. That's a big jump.
Let's look at 100K.
Cuz I think stuff like this really puts these numbers in perspective. Like I think sometimes y'all artists may feel like you're the only one doing these numbers. But I'm telling you, bro, it's a lot of it's a lot of y'all out there, man. A lot of people to relate to. And sometimes you are also doing better than you think you are. Right? It says here, you have a 100,000 streams generated.
You will be in the top basically 7 million tracks on Spotify.
And if you are an artist with a million streams, this ain't just on one song, that's saying all time streams. You're in the top one and a half million songs on Spotify, right? So one and a half roughly 1.6 million songs on Spotify or Spotify profiles have hit a million alltime streams.
That's not a lot in the grand scheme of things. You know what I'm saying? Like compared to how many artists are, bro, that's not that's not that's a big accomplishment. I ain't even going to lie. And we take that the monthly listeners. If you're an artist that has I'm gonna do something different. Let's say if you're an artist with 100 monthly listeners.
So an artist with a 100 monthly listeners will be in the top 2.1 million artists on Spotify globally. So if there's [ __ ] 100 million artists. If you can just get to a 100 monthly listeners, you are already beating out like 90 million artists. If you're an artist with a thousand monthly listeners, now you're in the top 966,000.
If you're an artist with 10,000 monthly listeners, what's that put you at? You're in the top 350,000.
That's crazy, bro. Only 350,000 artists worldwide have 10,000 monthly listeners.
It's kind of crazy. So, if you're an artist with 100K, which 100K to me is what I consider to be like entry level mainstream. Like once an artist is consistently doing 100,000 monthly listeners, I'm like, "Oh yeah, you about to be on everybody's radar, the industry conversation's about to start happening." You know what I'm saying?
Like you good. So 92,000 artists globally have a 100,000 monthly listeners. That's kind of crazy, bro.
That's kind of crazy when you really think about it.
And I show that to show and to say once again, bro, like sometimes you are doing way better than you think you are. It might feel small for you. It might not be as sexy because you like, "Damn, I just hit 15,000 streams on my new track." And then you log on and you see, you know what I'm saying, [ __ ] Say cheese post about Drake hitting a billion streams. You're like, "Oh, damn. Now I feel bad." It's like, "No, bro. Like, that's Drake, but you still doing better than like 99% of artists, bro. Like, and I think that I don't know if knowing that will bring you guys peace, but I think it should. I ain't going to lie to you. It will bring me peace. Like, I wish we had this kind of data for like our space, like YouTubers. You know what I'm saying?
That'd be kind of far.
What's this last part? Policy road map.
I think we might have went through the whole the whole thing. Uh, policy road map. Maintaining the growth and resilience of music streaming. The music streaming landscape. Over the past 15 years, streaming has transformed the music industry, pulling audiences away from piracy. See, I told you that was going to pull it, bro. And we saved y'all from the Napster, the Napster criminals. Uh, and turning hundreds of millions of listeners into paying subscribers. In 2025, Spotify paid more than 11 billion in royalties to music rights holders. The largest single-year payout by any company in music history.
Today, Spotify's payouts represent more than 20% of the global music rights value.
That growth is translating into broader, more durable artist success. There are now more artists generating over 100,000 a year from Spotify alone than we're getting stocked on record store shelves at the height of the CD era. However, more remains to be done. Oh, is this just a map of what we just went through?
Oh, this is about all the stuff they want to fix. Okay, I'll give them that.
Throughout thoughtful policy developed by governments and partnership with industry stakeholders, we can build the progress already made to grow music royalties further and reduce inefficiencies in the music ecosystem.
This can benefit both artists and fans.
At Spotify, we believe policy can play a critical role in supporting a streaming economy that maximizes artists earning potential by expanding total music revenues and making sure more of that money reaches the creators and teams who earn it.
That belief informs our policy vision which focuses on two priorities today.
Strengthening the royalty infrastructure and expanding total music revenues.
So they want to improve metadata quality, promote transparency around the VA role CMOS play in songwriters royalty flow process, level up transparency on royalties across streaming. I told you, bro, this is them fighting the bot allegation. They sick of that [ __ ] man.
And I feel them, bro. Like the Spotify bot allegation isn't I mean the AI artist thing that they got caught for back in like 2018, 2019, that was them.
You know what I'm saying? I'm I I can't say it was. You know what I'm saying?
like, but I just feel like it was them, you know? Uh, but the culture as a whole wasn't started by them. You know what I'm saying? That was started by people using Spotify to build that culture. So, this them trying to fix their brand, man. Do a little PR. Tackle illegality first by going after piracy and fraudsters. Safeguard against AI misuse, which goes back into them giving the uh the blue checks for human artists, right? Preserve open digital markets and listeners choice. So that goes back to why they're going so much into algorithmic playlists over editorials and things like that and repurpose existing tax revenues to support additional credits. So hey, we ain't making no bread like that anyway. We going to take the money that we can make and put it back into helping y'all grow.
That's what they saying. You know what I'm saying? Take take with that what you will.
Collaboration and targeted reforms can grow the music industry royalty pot and improve how royalties flow, boosting transparency and ensuring earnings reach the right artists and songwriters.
Spotify will continue to share data and practical insights to support evidencebased polic Oh, my bad. To support evidence-based policy and long-term growth for creators and fans, and they got some additional resources.
So, that's a Spotify loud and clear report, y'all. Like I said, one of the, in my opinion, most insightful uh most impactful music industry reports that comes out every year.
They do a really good job of taking their data and using it to frame, I think, where modern music culture is kind of going.
And I think that that is something that if you are taking your career as an artist seriously, you will be forced to take streaming seriously at some point, especially if you're an artist that ever partners with somebody, even if you don't care about it, it's going to come up. And so I think that even if you are an artist yet that has hit these numbers that they're bragging about, that they're talking about, they're walking, watching us through, I will find a lot of uh joy in seeing that, hey, things are consistently growing. Every year we're seeing more and more career artists be born that may not be artists that we've heard of before, that have hit our bubble, have hit our ecosystem that we would recognize walking down the street, but they do exist. And I think that that's where the music industry is going. So many of you are going to become the types of artists where you can go to the grocery store and nobody in the grocery store may recognize you, but you might have just made $150,000 that year, right? And your fans might be all the way in Atlanta and in Austria for some reason. You know what I'm saying? That's that's where the music industry is going. Especially as the ind independent sector grows out and we start to see more and more artists blow up in places that don't have as crazy of a music industry infrastructure, right? We start to see more and more artists blow up who um aren't doing it like the traditional way that we felt like it had to be done.
It's going to be interesting, man. And I I I thank my lucky stars every day that I get to wake up and be a part of this music industry. I think it's fun.
Are music videos dead? I think so. I don't think music videos will ever really die.
I just think they're not the end all be all. I think that people would rather sometimes see like nine really high quality Tik Toks from you before they see just like one music video. You know what I'm saying?
It's a but but people are always going to care for and respect highquality visuals that tell a story. The format and the length of it may change, but people will always respect that.
It's a budget issue for me. high quality music videos are way more expensive than reals. Hey, I agree. I think that's the way it is for more creators and I think more people are more in tune with the lowquality stuff than the high quality stuff. So, also like we hit a good point of consumer behavior, right? People are willing to consume lowquality and I don't mean like low quality like it's like super shitty, but like it doesn't have to be like 4K movie quality content for somebody to consume it.
Why do the humans have to rustle more to prove we are human? Why can't we just show ID?
Spotify wants you to have a consistent number of listens per month to get the human check.
That's a good question, man. It's too new for me to be able to answer that. My guess I get saying why do y'all have to hustle more to prove it? I mean, my guess is that they will feel more confident that you are a real artist if they see signs of other things happening on platforms to get traffic over there. I don't know what that means completely yet. I ain't going to sit here and try to lie to you and come up with an answer yet because I think it's still so new that it's just so new, bro. I think that ask me that question again in like two months.
Let me watch it for a little bit. Let me study it. Let's see what else comes out of them trying to regulate and control that. You know what I'm saying? Let's see what the rest of their plays are.
I mean, Spotify wants you to have a consistent amount for everything. I think it just comes down to server space.
Like, I really think sometimes it's not any deeper than that. Like, they trying to save money and save some server space.
So, like, hey, if I got to use a little bit of this money on you because you ain't hit X, Y, and Z, that saves me money. That's what I think it is.
But y'all, this was a good call, man. I appreciate y'all for sitting through me listening to this report. I'm about to lock in and go make some videos so I can put some videos out this week. This stream is actually inspired two video ideas that I think I'm about to work on right now. And and I want you guys, I ain't never heard it before, but if y'all ever hear it, if anybody ever starts to say, "Hey man, I don't know if Corey all that smart." I want y'all to tell them, "Hey man, he once read to us live on stream and he didn't miss a beat." Every word was immaculate. Every sentence was articulate.
And I walked away from that stream with so much value and gain that I was immediately inspired to just get up and go get to work.
That's what I think. That's what I think y'all should tell people. Will not having the blue check hurt you in the algorithm? I don't think it's gotten that far yet. I think it's going to get there. I ain't gonna lie. But I don't think it's there yet. It's too new. Like it just happened like what, like two, three weeks ago? A month ago maybe.
That's why I say I think we need to watch what else they do as they move towards their regulatory practices of AI. Like let's see what the rest of the plays are. But I think that I don't think I think there will start to be special privileges for artists who have the blue check. But see, this is my thing with it, too, right? This is what I think is really interesting about Spotify's position on AI music. They're not removing it. They've come to recognize AI music as its own genre. I mean, so many platforms have, bro. You go to YouTube right now and find an AI music channel with hella fans of it. You know what I'm saying? They exist. They out there. Um, so that means, okay, we're gonna have to segregate it. We're gonna have to have something for the AI artist and something for the human artist, which means that eventually there will be resources that only the AI artists can get and then resources that only the human artists can get. and that there will probably be a combination of resources that both of those types of artists could take advantage of, but they still would be competing for listenership, right? Like a AI song and a human artist still probably going to be competing in a lot of the same algorithm, even if they do start to tailor algorithm specifically to people who want that.
Cuz I can imagine too that from a PR perspective, they're running with we're doing this so that human artists can hit people who only want to listen to human artists. But the part that I don't think is getting talked about is that they are also optimizing for AI fans who may only want to listen to AI music. And like I said, they exist, bro.
Like if you get outside the artist bubble, just go on to YouTube and type up type in like AI covers and look at some of those channels that post AI covers and read through the comments, bro. Like some people out here that really really [ __ ] with AI music. They love it.
So I think that to answer your question, I think eventually yes, it probably will start to hurt you or maybe like exclude you from certain things if you don't have it. But I don't think it's going to be anytime soon.
Like I would be surprised if they made that type of algorithmic change within the next six months. I'll be genuinely surprised about that.
I would be genuinely genuinely surprised about that.
All right y'all. Appreciate y'all. I'm about to go work on these videos. I will be back on stream. Look, I gotta figure out a stream schedule. I want to do this right.
Let's figure out what days, what times make sense for everybody. I'mma post something in the community tab tomorrow and do like a time poll and we're gonna start doing these streams a lot more consistently. I want to get back to doing my reaction streams. I want to get back to hopping on here and answering questions for y'all. Um, ideally as reports and these different industry resources come out that I feel like we can all learn from and just kind of conversate around, converse around, conversate, I don't know. I'll hop on these streams and we'll go through these as well. So, um, and of course, if you ever have something that you want to see me react to, you want to get my take on while I'm on stream, feel free to DM it to the No Labels Necessary Instagram page, or you can DM it to me directly at Cory the Savior. And if it's some [ __ ] that I think we could all learn from and we would enjoy it, then hey man, you know, we'll see it here and we'll tap into it. But appreciate y'all. Love y'all. Enjoy the rest of your day. Y'all be safe. And like I said, thank y'all because going through this, it gave me some ideas for some videos. So, I'm going to go work on those. I y'all. Peace.
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