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Moving Toward a Music Solution for Podcasts

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I often talk to podcasters about music rights, but we never get anywhere. They want to know how to use recorded songs in their episodes. You think it would be easy — plenty of podcasts are using music and getting away with it. I suspect they’re just flying under the radar. Could fair use come into play? My friends’ podcasts could be considered informational, talking about the music and the artists behind the songs. But claiming fair use is a throw of the dice, and you need to be prepared to go to court if a cease-and-desist letter appears in your inbox. ‘Fair use’ is something that’s decided in a courtroom.

The problem is that there are no set guidelines for using music in podcasts. It’s a gray area, that ‘wild west’ that people bring up when discussing content rights on the internet. Podcasts are a combination of a download and an interactive stream — one or the other or both can happen. So the rights may fall closer to those of a song released to iTunes and Apple Music than licensed to a video or for radio play. On top of that, the usage is a derivative one. You’re incorporating — thus technically altering — someone else’s work in your podcast.

Right now, the solution is to locate and directly contact all of a song’s rights-holders. Easier said than done! Many songs, especially the popular ones, have multiple rights-holders to find. In my experience, Google won’t be much help. It’s the same process that a music supervisor goes through to license for a major motion picture. But, as we learned at the Podcast Movement conference in Orlando last week, 94% of podcasts have less than 5000 downloads per episode. These aren’t operations with the resources of a movie studio. Or the clout and money for that matter — imagine negotiating with a music publisher over a song for your fledgling comedy podcast.

So, yes, the Podcast Movement conference happened last week. And, with premeditated timing, an announcement was made right before the conference doors opened. The news offers a music solution for podcasters. Here’s an excerpt of the press release from SoundExchange:

SoundExchange today announced plans to collaborate with SourceAudio to provide a new solution for the rapidly growing podcast industry to secure music with fully integrated, global licenses. The collaboration would provide Podcastmusic.com, a digital music marketplace for podcasters, with access to SoundExchange’s vast membership of music creators and offer licensing for label and publisher-owned music. […] The service will launch in 2020. Participation in this service by publishers, labels, and other rights owners is on a voluntary basis.

SoundExchange is the rights organization designated by the US Congress to collect royalties on non-interactive digital streaming (such as from SiriusXM or Pandora in old school ‘station’ mode). As it’s the only US organization to handle this type of royalty stream, the catalog of recordings registered with SoundExchange is vast.

In 2017, SoundExchange acquired the Canadian mechanical rights society CMRRA which plays a part in this podcasting arrangement. SoundExchange’s inherent authority over non-interactive streaming doesn’t apply to podcast licensing. But the necessary clearance and royalty collection on the sound recording (mechanical or reproduction rights) is handled through CMRRA. The composition side, overseen by organizations like BMI and ASCAP, is cleared by direct license. The rights-holder opts-in through SoundExchange and grants direct licensing for podcasts.

The catalog will appear on SourceAudio‘s existing site PodcastMusic.com. Presently there is a database of ‘700,000 production and music bed tracks’ that will presumably sit next to recordings pre-cleared through SoundExchange. As SourceAudio is a private company, there have been grumblings about its collaboration with a congressionally mandated organization. I feel this warrants a discussion — undeniably this arrangement gives SourceAudio an upper hand on its competitors. Perhaps SoundExchange can expand this service to other companies that fit professional guidelines, giving the rights-holder an option of libraries to use.

Regardless, this is an exciting development and a massive improvement for podcasters navigating music rights. Recording artists and labels should be pleased, too — this opens a new revenue stream and licensing outlet.

I attended Podcast Movement and sat in on two panels that delved into the mechanics of this emerging podcast music service. A lot of the details are still being worked out. But I can start to see the full picture thanks to remarks by representatives of SourceAudio and SoundExchange and a pair of spirited audience Q&A sessions. Here’s some of what I learned:

  • The service is voluntary for SoundExchange members. All rights-holders — labels, publishers, artists — must opt-in. Prices can be set by rights-holders, which would allow those with high profile content to charge more. However, a $20 per license range is suggested to encourage more licensing frequency. A SourceAudio rep described the ideal model as “Walmart, not Neiman Marcus.”
  • A license will be for one usage in one podcast episode. The licensee will be limited to up to 90 seconds of the song. I assume a shorter usage will reduce the fee.1The fee will also be adjusted according to how many downloads you predict for the episode. There will be two license categories: bumper music, for going in and out of segments; and music used in an informational context, such as historical podcasts about the song or artist played.
  • If the podcaster wishes to license the full song or use the song repeatedly in a series (such as the podcast’s theme song), then the rights-holder(s) must be contacted directly. But fear not — the platform will provide a method of contact for all songs in the catalog. Also, songs in the SoundExchange library not opted-in for pre-cleared podcast licensing are listed as ‘unavailable.’ But a means of contact will be provided for direct negotiation and licensing. Handy. 2I asked if a rights-holder could create exclusions, such as ‘my music can’t be used in conspiracy theory-promoting podcasts.’ It seems there might be something like this in place, but the answer I received was vague.
  • After completing a license, the podcaster downloads the song. This song file will contain a special watermark. Upon the podcast’s completion, I believe the creator is required to upload the show to SourceAudio for verification.3If this is the case, it would be beneficial to integrate this delivery into major podcast distribution platforms. The music’s use in the podcast is tracked via watermark through arrangements with various podcast distribution networks. I imagine Google’s podcast platform plays a large part here as it’s inevitable that some form of Content ID is utilized.4Similarly, any license through the service will also apply to YouTube for ‘video’ streams of podcasts.
  • Though the licenses will be global,5How can one effectively territory-restrict a podcast, anyway? only songwriters registered with US-based PROs can participate at the service’s launch. This issue is probably because not all international PROs recognize direct licensing. The SourceAudio rep assured me the program would be expanded to non-US artists eventually, but there will be some confusion until then. US labels and publishers will be frustrated when they can’t submit songs registered by non-US writers to foreign PROs. Hopefully, this worldwide expansion starts rolling out soon after launch.
  • It appears spring 2020 is the launch target. But there will be a beta version going live any day now. In a smart move, SourceAudio will push well-known Christmas songs for the beta period. The seasonal content will accelerate the testing period as these Xmas licenses will appear in podcast episodes before the end of the year.
  • “Back In Black” was mentioned in passing a total of three times over the two panels. I’m wondering if there’s something in the works with AC/DC to publicize the song as a part of the launch.6This song doesn’t have a US-based writer or publisher so, if it does appear on the service, I wonder if the song’s relationship with ASCAP suffices?

I expect technical hiccups and continued grumbling about SoundExchange’s involvement in private industry. But I’m thrilled to see some clarity arriving in how music gets licensed in the rising rocket of the podcast market. The organizations promise monthly announcements and updates, so there’s more to reveal. Watch this space.

Visit www.podcastmusic.com/rights-holders to get involved as a podcaster or rights-holder.

Podcasts: Analog to Digital, Music Rights Brawls, and Imagining Utopia

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Damon Krukowski used to be in Galaxie 500 and is currently the first name in Damon & Naomi. He also spends a lot of time thinking philosophically about our cultural shift from analog to digital media. I briefly wrote about his brilliant Ways of Hearing podcast series here, and he recently followed that project with a book of the same name. It’s near the front of my reading queue. In the meantime, Damon appeared on the Madison, WI, public radio program A Public Affair to talk about the concepts of his book and podcast. That topic gives us much to chew on. I also enjoyed (and cringed at) the side-story of how Galaxie 500 had to bid on their master recordings in an auction.

Season two’s first episode of The Secret History Of The Future tackles the relationship between technology and music dating back to the invention of the phonograph. It turns out songwriters have been panicking about getting paid since the beginning of commercial sonic reproduction. Go figure. The podcast follows the prescient concerns of John Phillip Sousa (he’s a lot more fascinating than I would have guessed) to the freak-outs over digital sampling. And then there’s the more recent tug-of-war over The Verve’s “Bittersweet Symphony.” The hosts provide an excellent intro to music rights, delivered in a way that is entertaining and comprehensible to the novice.

Listen to “Rutger Bregman’s utopias, and mine” on Spreaker.

In the last paragraph of yesterday’s post, I wrote that “we need to imagine that better world to draw us closer to it.” This interview with Rutger Bregman on The Ezra Klein Show is all about that sentiment. Bregman wrote the book Utopia for Realists (also near the front of my reading queue) and speaks about accomplishing change by aiming for a shared paradise. His ideas are rosy and appear ludicrous to many — open borders! universal basic income! 15-hour workweek! — but he makes the case that any step toward these visions will improve our world. We need to foster hope and optimism in the face of despair and defeat — admittedly not an easy task right now. I strongly recommend this episode.

An Interview With Sync-Club Podcast

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Listen to “Rolling the Dice with Michael Donaldson | 001” on Spreaker.

Steven Cleveland — of the electronic band Ping Trace who I’ve worked with — has started a podcast titled Sync-Club. As I understand it, the podcast is Steven’s journey in better understanding the worlds of publishing, licensing, and synchronization with the listener along for the ride. The podcast will feature interviews with professionals working in synch as the knowledge gets dropped. It’s a great concept. The synch world could use some demystification from a learner’s point of view.

I’m honored to help launch this podcast by being the interviewee on the first episode. Steven and I have a fun and informative conversation. I go deep on a variety of licensing-related subjects, and towards the end, I reveal a few tactics for the best ways that an independent artist can reach out to music supervisors.

The podcast conversation is also like a taste of one of my consulting sessions. I cover similar ground with my label and artist clients. Interested? Send me a note.

One of my favorite riffs concerns how an artist should not overthink the synch market, falling into the trap of creating music that might be ‘great for licensing.’ Music your fans love will end up being the music that supervisors love, so don’t abandon both by writing music to some imagined spec. Here’s a transcription of this riff from the podcast, edited for clarity:

There is a market for creating music specifically with sync in mind, and that’s called library music. And if you want to make library music that’s fine if that’s your prerogative. But if you’re looking for something beyond that, then you still need to create the best music you can for your fans, your audience.

A music supervisor, a showrunner, or a director will want their project to be cool and distinctive. So they’re going to look for cool and distinctive music to match their perception of what the project should be. When you’re making music to spec or to what you think someone is going to want to hear, you’re not making distinctive music. It might sound cool, but it’s not going to be distinctive.

And another issue is I feel like the library music industry is in jeopardy because of AI music. Creating music to spec — for example, songs with glockenspiels and handclaps with the lyrics, “you can do it!” — is intentionally generic. But people make songs like these because they’re the kind of songs used in a lot of videos. It’s a race to the bottom, and nothing is going to be closer to the bottom and able to do spec better than a computer in two or three years.

I feel bad for people that are making a living in the library music industry because I think they’re the ones who are going to be hurt by this. But on the other hand, artists and bands with distinctive sounds and sticky stories — a story behind the band and who they are and what they’re about — are going to stand out in the synch world. Those kinds of bands may even see an increase in the money they’re making from synch as the field of distinctive, story-driven artists will actually narrow in a crowded marketplace.

You also have to think in terms of who music supervisors are when you’re pitching music. You have to put yourself in their shoes and understand where they come from. Music supervisors are music fans. That’s the reason they got into the profession. I was thinking earlier today about how a lot of newer executives in the record industry are tech people rather than music people. It’s almost like music supervision is the last area that’s entirely populated by music fans, and I don’t see that changing.

Your average music supervisor was in a band once, or they were a DJ on a college radio station or at a nightclub. They might have worked at a label or written about music professionally. When you realize that you better understand how to pitch your music. Music supervisors want to discover bands. They want to support a band that has a story that they connect with. And obviously, they also want a really good song that fits the project. But if you have a compelling story, then you have a greater chance of getting your song to them.

Check out Sync-Club’s website here, and be sure to subscribe to the podcast’s newsletter — and the podcast itself via your favorite listening platform — as I’m sure it will provide a wealth of useful information.

An Interview on the This Is Orlando Podcast

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I appeared on the This Is Orlando podcast, interviewed by the affable and capable Rob Coble. It was a terrific discussion and I was able to touch on many of my pet topics including:

• my beginnings with the Eighth Dimension collective
• the importance of the artist’s story and the ‘body of work’ mindset
• trading physical scarcity for streaming’s abundance
• how the diversity of Orlando’s music scene is its advantage and disadvantage
• social media as the hammer, not the house
• why I switched from the artist life to the music business life
• how I find new music and strive to listen with intention

Have a listen on the This Is Orlando page or via Overcast.FM (or download it in your preferred podcast app).

PS – Overcast’s new clip sharing feature is amazing. What a great idea. That above excerpt video won’t be the last you’ll see on this site, I’m sure.

What Am I Doing Now? (May 2019 Recap)

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  • I’m gearing up for a few days at MusicBiz 2019 in Nashville, starting on May 5. I’m expecting terrific panels, productive meetings, new contacts, seeing some old friends, and perhaps an announcement or two from my camp. If you are in Nashville for this conference, then feel free to drop me a line and let’s meet up.
  • The first Q-Burns Abstract Message release since 2011’s “Balearic Chainsaw” is out now on 8D Industries and it’s called AUDIOTOTEMPOLE. This is a special release, and it closes a loop of sorts. These are songs spanning the years. The one with ‘1997’ in the title is that old, and I completed the newest track three months ago. I think that I can now move on to new pastures, new sounds, new — and more frequent — Q-BAM releases.
  • Additionally, on the Q-Burns Abstract Message front, I’m breaking my DJ retirement for one night to play at the Phat N’ Jazzy 25th anniversary party. There are only a few things that would get me to DJ again and this party qualifies. Twenty-five years ago I had a weekly gig playing spacey trip hop records in the backroom of Phat N’ Jazzy at The Beach Club. It was my first residency, and it’s where I honed my DJ craft. I’d probably be in a different place today if the P’n’J crew didn’t trust me to command the backroom vibe. For the May 11 anniversary party I’ll be playing the tunes from that classic era, or at least the ones I still have on vinyl.
  • Consultancy: I’m currently working with Reza of Vexillary, Deepak of Hidden Recordings, and I’ll be advising Snax once again starting next week. A big thanks to my clients for being on board and receptive to some crazy (but effective!) ideas. I’m expanding the consultancy into special one-on-one workshops over the next couple months.
  • Soon you’ll hear me blabbing about music industry stuff on the This Is Orlando and Scotch and Good Conversation podcasts. I also did a long interview with the site MyMusicMoments that I feel good about. I’ll post links to all of these in the blog once they’re online.

Listening (music):

• Simon Scott – Below Sea Level
• Khotin – Beautiful You
• Mary Lattimore & Mac McCaughan – New Rain Duets
• Kankyō Ongaku: Japanese Ambient, Environmental & New Age Music 1980-1990
• Helado Negro – This Is How You Smile
• The 180 Gs – Commercial Album
• Revisited Sonic Youth’s Sister and Mission of Burma’s Vs. in a big way.

Listening (podcasts):

• Cherie Hu’s relatively new Water & Music podcast is great. Stellar music industry commentary. Check out the episode with Amber Horsburgh for starters.
• On Russell Brand’s Under The Skin, I enjoyed the conversations with Douglas Rushkoff and Derren Brown.
• Bob Lefsetz’s podcast is back, and the episode with Billy Bragg is a lot of fun. I especially enjoyed the history lesson on skiffle.
• John Livesay’s appearance on Big Questions With Cal Fussman was super-insightful on the topics of marketing and developing stories.

Watching:

• Cold War
• Free Solo (inspirational)
• Silent Light
• We finished The Americans. I was unsure for the first couple of seasons but we hung in there which paid off … the show got really good (as I’m sure you’ve heard).
• And, sure, we’re watching Game of Thrones. And Gay of Thrones.

Reading:

• Finished Bobby Fischer Goes To War which was fantastic, though it did wind down a bit mid-match (and 3/4 into the book) once it became apparent that Fischer would win. I wholeheartedly recommend it, though. One big complaint: the book mentions throughout that Bobby Fischer often listened to ‘rock n’ roll’ while preparing and practicing, but there’s no mention or clue as to the records of bands he liked. I want to know!
• I’m now halfway through Neal Stephenson’s Snow Crash after multiple people coincidentally recommended it to me over the same few weeks. Confession: this is the first fiction book I’ve read since 2001. No idea why I gave up on fiction, but I’ve meant to get back into it. So far so good — I’m enjoying Snow Crash, though I still am not sure what it is about the book (or me) that inspired various friends to point me to it.

Misc:

• I started using Focusmate over the past few weeks. I’m using it right now. It’s a game-changer — expect a blog post about this soon. In the meantime, here’s the article that convinced me to give Focusmate a try.
• Civic Minded 5, my favorite concert promoters, hosted the trio of Nels Cline/Larry Ochs/Gerald Cleaver a couple of weeks back. A mind-blowing show. There were two sets — the second half of set one was explosive and set two was at times drone-y and Krautrock-y. So good. Again, I’ve never been disappointed by a Civic Minded 5 show and am grateful they are here in Orlando. Your city should be jealous.

Hitting the Links: Screwed Twitter Coffee Attack

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In the previous incarnation of this blog, I did a thing called Hitting The Links, a sort of ‘what I’ve been reading’ link round-up. Now that we’re riding the blog train again I’m bringing it back, perhaps as a weekend staple. God knows I read a lot of things and some of it is interesting. These lists could go long, but I’m limiting this one to four fun items of note.

First up, there was an excellent article in Popula by Chris O’Connell profiling Houston’s Screwed Up Records and Tapes:

Screwed Up Records & Tapes is not a normal business. It’s a brick-and-mortar record store that sells neither records nor tapes, but rather CDs. These discs are all by a single artist, the late DJ Screw, the inventor of chopped and screwed music, who has been dead almost two decades. […]

This is perhaps the only record store in existence where no albums appear on the floor. You order one off the menu, by name or catalog number, and Big A slides back behind the glass and grabs it for you. You cannot take communion until you have cash—only cash—in hand. I start scanning the whiteboard, but my eyes glaze over.

I remember the first time I heard a ‘screwed’ mix (It may have even been a recording of DJ Screw). It was around 1994, and I’m driving through South Beach Miami. I heard about Miami’s then-thriving pirate radio scene and thought I’d check it out. I spun my radio dial to a bottom frequency, and there was this crazy station playing 45 RPM R&B records at 33 (and then probably pitched down -6 — at least — on the Technics). I had no idea what I was hearing. It was mesmerizing, and I listened to that station every time I rode in my car during that Miami stay.

Jon Ronson had a freewheeling — and often emotional — conversation with Russell Brand on the latter’s Under The Skin podcast. Jon Ronson is always interesting to listen to (I’m a fan). And If you only know of Russell Brand as the MTV-approved comedian/sometimes movie actor/Katy Perry ex, then you’ll be pleasantly surprised at how thoughtful his podcast is. Taken from this discussion, here’s Jon Ronson on what went wrong with Twitter:

The problem is that we fell in love with a new weapon too much. So it became a place where people could become very unselfconscious … a level playing field … at the core was a utopia. And then when somebody transgressed on the outside … we could hit them with a weapon we understood and they didn’t, which was social media shaming. And so we certainly found that we had power. Voiceless people had a voice and powerless people had power … then what happened is that we fell in love with our new power too much. And a day without shaming felt like a day treading water. So the parameters of what we considered shame-worthy grew wider and wider … and then as a result of that, what happened — and what is still happening — is that instead of seeing humans the way we ought to which is (as) a complicated mess of positive and negative character traits it’s a stage for constant artificial high drama where everybody’s either like a hero or a villain.

Next, David Moldawer, in his must-subscribe weekly newsletter, lays out ‘the coffee situation’:

It doesn’t have to be good coffee. It doesn’t matter if the people there even drink the coffee. However, if the coffee is plentiful, easily accessible, and constantly on offer, you can count on a constellation of other factors related to good work, from a serendipity-boosting layout to an appropriately stimulating but non-distracting acoustic environment. The space itself doesn’t have to be pretty or clean, but it will be conducive. The coffee situation tells you a lot. […]

I’m not telling you to decide on a publisher—or on any other collaboration—based on whether you’re offered a cup of joe as you walk in the door. And then another one when that one’s finished. But, come on, shouldn’t you?

I’ll close out with this great profile on Massive Attack in The Guardian. Check out the photo at the top of the article — no one does ‘morose’ like those guys. Banksy — oops I mean Robert del Naja — addresses one of my favorite topics, a resistance to nostalgia:

“I don’t think I’ve got a problem with nostalgia, because a lot of the time things are self-referential. When you’re working in the way we do, taking things from the past and making them new, making collages…” He pauses. “I stopped feeling nostalgia for the moment because I imagine myself looking back on it from the future, which really freaks me out. I get this vertigo where I’m not thinking about the past, I’m thinking about how I’m going to feel in 10 years’ time.” Nostalgia isn’t as good as it used to be, I joke. Del Naja rubs a hand forwards through his hair.

It’s a bummer that this Massive Attack Mezzanine tour is coming nowhere near our Orlando home base. I think Washington D.C. is the closest stop. Massive Attack, Elizabeth Frazier, Horace Andy, Adam Curtis … I’m equally a huge fan of each, and here they are on tour together (well, Curtis’s visuals in his case). Alas.

🔗→ The Screwtape Records
🔗→ Porn, Sadness & Madness (with Jon Ronson)
🔗→ the coffee situation
🔗→ Massive Attack: ‘I have total faith in the next generation’

Merzbow Inspires Podcast Reflections

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The Wire:

A new underground music podcast has set itself a mighty challenge: to listen to and discuss one-by-one the albums of Japanese noise godfather Merzbow. Each episode of Merzcast sees Greh Holger of Chondritic Sound and another musician or noise fan sit down together to absorb a particular album by Masami Akita and reflect on it afterwards. […]

The podcast episodes are lengthy and detailed, with the contributors breaking down the album track by track, dropping thoughts on equipment, effects, track titles and more. Pictures posted online show sheets of paper with notes on each track written during the listening sessions …

I love the idea of this podcast. Merzbow is a tough swallow for most and it might be a challenge to keep the podcast fresh over hundreds of brutal noise releases. I’ll check out at least a couple of episodes and am curious how it’ll shake out.

I’m intrigued by the idea of a podcast diving into a singular sonic oeuvre. I’m sure something like this has been done before but I think there are unexplored ways to combine the album-listening experience with the podcast format. Of course, there are music clearance issues to consider. But the podcast doesn’t have to actually contain the music. How about a podcast host telling the listener when to start an album at home, and then the discussion is edited to coincide with songs as they play in real time?

🔗→ New podcast Merzcast sets out to listen to the discography of Merzbow

Spotify’s Podcast Ambitions Are Clear

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Recode:

Not only has Spotify acquired Gimlet Media, a podcast producer and network, for around $230 million but it has also bought Anchor, a startup that makes it easier for people to record and distribute their own podcasts.

The company says it isn’t done — it says it has other podcast acquisitions in mind, and that it expects to spend up to $500 million on deals this year.

Engadget:

Spotify is taking the Netflix model, in short. As the company grows, it’s inevitable that established record labels will start charging higher licensing fees. Podcasts, however, is something that Spotify can buy and own as exclusive content. If it green-lights the right shows, it could pull users away from third-party podcast apps and then slowly persuade them to take out a premium subscription. Anchor, too, gives Spotify the potential to rapidly build a YouTube-style distribution network.

The Gimlet Media deal is a glimpse of where Spotify is headed, but, coupled with the Anchor acquisition, we’re seeing the platform’s transformation into a different kind of company. As Spotify co-founder and CEO Daniel Ek says in a press release, “These acquisitions will meaningfully accelerate our path to becoming the world’s leading audio platform …” Thus, it’s no longer a music platform.

🔗→ Spotify has bought two podcast startups and it wants to buy more
🔗→ Spotify finally made a profit and spent big on its podcast future

Spotify Strenghtens Podcast Hopes with Gimlet Media

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The Hollywood Reporter:

Spotify is in talks to acquire Gimlet Media, multiple sources tell The Hollywood Reporter, as it sets its sights on becoming a bigger player in the podcasting space.

The move by the music streaming giant signals just how seriously it is taking its push into other forms of audio entertainment. Spotify and Gimlet representatives declined to comment. […]

By acquiring Gimlet, Spotify would tap into a podcasting production powerhouse that has churned out such hits as Heavyweight, scripted series Homecoming and Reply All.

This is an interesting development and adds extra context to our earlier post regarding how Spotify can rebrand as an audio platform rather than solely a music platform. Gimlet is a smart company. I am sure they would not agree to this arrangement without assurance that Spotify will prioritize and enhance the podcast experience on the service.

The report notes that Gimlet owns its intellectual property (thus, the content of its hosted shows) which the company can leverage into film and television adaptations, among other possibilities. That adds an extra dimension to Spotify’s plans. One of those shows is StartUp, which, at times, documents the inner workings of Gimlet in real time. I’d love the network to add new Gimlet-related episodes that follow the progress of this Spotify deal.

By the way, I’m a fan of the Gimlet show Reply All. If you haven’t heard it yet, this episode about an Indian telephone scammer is fantastic.

🔗→ Spotify in Talks to Acquire Podcast Startup Gimlet Media

The Potential of a Podcast Platform

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I’m not convinced that podcasts are the lucrative road to ‘in the black’ that Spotify may be anticipating. But, writing for Hackernoon, David Abramovic makes a strong case that there are untapped rewards in the podcasting space. The platform merely needs to innovate:

Unlike other music streaming services, Spotify actually has podcasts and is focusing more and more on them, but they’re still heavily deprioritized. Perhaps not too strange, it is still a music streaming service. However, if Spotify wants to capture this massive, still-growing user base, it needs to figure out how to become an audio streaming service instead.

And because of the the current audio platforms being so flawed, the opportunity to become one is bigger than it will probably ever be. But to achieve this, Spotify needs to fix both the current flaws, and further create the new innovations that’s going to make up the audio platform of the future.

Abramovic suggests improvements to Spotify’s podcast infrastructure that are obvious but unimplemented. For example, playlists for podcasts — it’s such a no-brainer that it’s hard to believe not a single platform has jumped on the idea. Pandora is spending capital on a music genome-like engine for podcasts to aid discovery, but user-generated podcast playlists would be much more effective. Looking for podcasts with Seth Godin as a guest? How about the best podcasts with music marketing advice? Or a selection of inspiring podcasts to listen to first thing in the morning? Playlists!

I’m not sure how seriously Spotify will consider Abramovic’s proposals but, regardless, a service with similar features is inevitable (and can’t arrive soon enough). These ideas go beyond playlists and into treating the podcaster as a creator, with access to data, interactions with fans, and self-marketing opportunities. Perhaps as an ‘audio app,’ Spotify — or any other platform — embracing these improvements would extend more interactive and personalized features to its original creator class: the artists and musicians who built the service.

🔗 → I’ve Come From the Future to Save Spotify