Entertainment
Spotify Says More Artists Made More Money in More Languages in 2024, Per-Stream Rate a ‘Misconception’
Spotify released its annual Loud & Clear report on Wednesday (March 12), trumpeting the growing number of musicians earning robust royalty income from the platform, along with its users’ increasingly global listening patterns.
“The number of artists generating $10,000, $100,000, and $1 million dollars on Spotify alone has at least tripled since 2017,” says Sam Duboff, the platform’s global head of marketing and policy, music business.
And those artists are coming from a wider variety of countries. “Ten years ago, you probably had to be singing in English and maybe Spanish to have a really high ceiling,” Duboff adds. “Now we see eight languages where songs are generating $100 million a year [in royalties] just on Spotify” — not only English and Spanish, but also German, Portuguese, French, Japanese, Korean and Italian. In addition, “the majority of artists generating significant revenue on Spotify have the majority of their royalties coming from outside their home market.”
Perhaps more than past iterations of Loud & Clear, the latest report aimed to push back on popular complaints about the streaming era.
One frustration voiced frequently about streaming is that the platforms’ payouts have crippled most aspiring artists’ ability to build a career. Last year, for example, Reps. Rashida Tlaib (D-Mich.) and Jamaal Bowman (D-N.Y.) introduced the Living Wage for Musicians Act in the House of Representatives; the Union of Musicians and Allied Workers (UMAW), which helped draft the act, said it was necessary because “artists continue to be underpaid, misled and otherwise exploited by streaming platforms.” Across the Atlantic, members of the European Parliament also called on the music industry to explore “fairer models of streaming revenue allocation.”
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Spotify has a sunnier view of the streaming economy: Loud & Clear notes that “more artists than ever before are generating royalties at every career stage.” The company argues that much of the discontent with the modern music landscape stems from the fact that an unprecedented number of people are uploading music to streaming services, and “the sheer volume of uploaders means the fraction [of acts] who find success appears smaller over time.”
On Spotify, the number of artists making at least $10,000 grew nearly 8% in 2024, to 71,200, according to the platform’s data, while the number of acts making at least $100,000 from Spotify increased a similar percentage, rising to 12,500.
Those royalty-income brackets on Spotify grew faster than total music consumption in the U.S. last year (5.6%, according to Luminate) but not as fast as they did in 2023. “There are always fluctuations,” Duboff says. He is unconcerned by chatter about streaming growth tapering off, especially in the U.S. and Western Europe. “We still see a ton of growth in mature markets,” he says. “We also see a lot of really exciting growth in emerging markets.”
Another idea targeted by Loud & Clear as a “misconception”: the notion of per-stream payouts. “One of the top conversations we have with artists is about this perception of our per-stream rate,” Duboff explains. “The way you hear people on social media talk, you’d think every streaming service pays out based on per-stream rate.
“But no major streaming service pays out based on a fixed per-stream rate,” Duboff continues. “Every major streaming service pays out based on stream share,” meaning the royalty pool is divided up according to rights holders’ portion of total streams.
Duboff hopes that Loud & Clear can start to “demystify the idea of stream share” and “help artists think through the actual ways in which royalties are generated.” Though it’s possible that, even after thinking this through, acts might still advocate for alternative payout methods, like the user-centric model that was in vogue a couple of years ago. The Living Wage for Musicians Act proposed to fund additional royalty payments — one penny per stream partially generated by charging an extra fee for every streaming subscription — on top of the current payout system.
Spotify also hopes to change perceptions about its highest earners. “When I ask people what type of artist would be generating $1 million a year just from Spotify, the first assumption is it’s the biggest stars with the biggest hits,” Duboff says. “The second thing we hear a lot is, ‘It’s just a lot of legacy acts who were popular decades ago.’ The third is that it must be American, Canadian and Western European artists.”
Spotify’s data flies in the face of those assumptions, according to Duboff. For the second year in a row, 80% of the $1 million earners — close to 1,500 artists — never had a track crack Spotify’s Global Daily Top 50, he says, and more than half of them started their career after 2010. Plus, those acts sing or rap in 17 different languages.
With “momentum on Spotify, you have access to hundreds of millions of listeners all over the world,” Duboff adds, “and the revenue that they bring in.”
Jelly Roll made his WWE in-ring debut this weekend, and teamed up with Randy Orton to battle Drew McIntyre and Logan Paul at SummerSlam 2025. Jelly didn’t disappoint, as the brute country force rattled McIntyre and Paul with a series of slams and elbow drops, before ultimately falling short in his Saturday night (Aug. 2) WWE match.
Ahead of the match, Jelly introduced tag partner Orton and performed his entrance theme song, “Voices,” electrifying the MetLife Stadium crowd in East Rutherford, N.J.
Kicking off the match against Paul, Jelly impressed early. Not only did he deliver some offense, including an impressive shoulder tackle on Paul, but he absorbed a flurry of attacks. The defining moment came when Paul sent Jelly crashing through the announcer’s table with a high-flying splash. Despite the setback, a hobbled Jelly Roll delivered a clinical performance: first chokeslamming Paul before issuing a punishing bodyslam. But Paul had the last laugh, connecting with a frog splash and scoring the 1-2-3.
Jelly, a lifelong wrestling fan, trained rigorously at WWE’s Performance Center ahead of his match, which contributed to his 230-pound weight loss.
“This is about belief — believing in myself — and wanting to selfishly be a part of a beautiful moment,” Jelly said earlier this week in an interview with WWE’s Jackie Redmond. “I love this business. I just wanna bring value. I’m not here to take nothing away. I’m not here to take nobody’s spot. I want to bring value. I think this is one of the greatest ages of storytelling I’ve seen in wrestling this decade.”
See clips of Jelly’s SummerSlam in-ring debut below.
A few hundred people gathered Friday (Aug. 1) to name a tiny San Francisco street after legendary Grateful Dead guitarist Jerry Garcia on what would have been his 83rd birthday, and as part of a citywide celebration to mark the band’s 60th anniversary.
Harrington Street, which is one block long, will also be called “Jerry Garcia Street.” Garcia died in 1995, but the band’s popularity has only grown as younger generations discover the Dead’s improvisational music, which blended rock, blues, folk and other styles.
Garcia spent part of his childhood in a modest home in the city’s diverse Excelsior neighborhood. He lived with his grandparents after the death of his father, Jose Ramon “Joe” Garcia.
“I hope that you all get a chance to enjoy the music, dance, hug, smile,” said daughter Trixie Garcia, growing emotional during her brief remarks. “Cherish what’s valuable, what’s significant in life.”
Tens of thousands of fans are in San Francisco to commemorate the Grateful Dead’s 60th anniversary with concerts and other activities throughout the city.
The latest iteration of the band, Dead & Company, with original Grateful Dead members Bob Weir and Mickey Hart, play Golden Gate Park’s Polo Field for three days this weekend (beginning with Friday’s show), with an estimated 60,000 attendees expected each day.
Formed in 1965, the Grateful Dead played often and for free in their early years while living in a cheap Victorian home in the Haight-Ashbury neighborhood. The band later became a significant part of 1967’s Summer of Love, and the Grateful Dead has become synonymous with San Francisco and its bohemian counterculture.
On Friday, fans in rainbow tie-dye and Grateful Dead T-shirts whooped and cheered as the sign was unveiled. Nonfans with shopping bags and some using walking canes maneuvered around the crowd on what was for them just another foggy day in the working-class neighborhood.
Afterward, devotees peeled off to pose for photos in front of Garcia’s childhood home.
Jared Yankee, 23, got the crowd to join him in singing “Happy Birthday.” Yankee said he flew in from Rhode Island for the shows. He got into the music about a decade ago.
“It’s a human thing,” he said of his impromptu singing. “I figure everyone knows the words to ‘Happy Birthday.’”
Entertainment
Fans Choose Mariah The Scientist & Kali Uchis’ ‘Is It a Crime’ as This Week’s Favorite New Music
“Is It a Crime,” the new duet from Mariah The Scientist and Kali Uchis, tops this week’s fan-voted music poll.
Music fans voted in a poll published Friday (Aug. 1) on Billboard, choosing the pair’s fresh collaboration as their favorite new release of the past week.
“Is It a Crime” rose above a plethora of new releases — among them, songs from hitmakers like Demi Lovato, Chappell Roan, Reneé Rapp and more. Mariah and Kali’s collab track topped the poll by a landslide, bringing in more than 57% of the vote.
“Is It a Crime,” a slow jam that has the two artists singing about the return of a past love — and defending the relationship if anyone’s got anything to say about it — dropped on July 31, with spicy, jail-themed single art. (“very intentional, very grown woman,” Uchis commented of their shoot on Instagram.)
The chorus of the song says it all: “And so what? I fell, you fell in love a couple times/ Tell me, what’s it to ya? Tell me, is it a crime/ To fall, to fall in love, in love a couple times?/ Tell me, what’s it to ya? Tell me, is it a crime to fall?”
Among the new releases trailing behind “Is It a Crime” on this week’s poll are Demi Lovato’s “Fast,” coming in with 17% of the vote; Chappell Roan’s “The Subway,” with 16% of the vote, and Reneé Rapp’s “Bite Me,” with 2% of the vote.
See the final results of this week’s poll below.
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