Entertainment
Spotify CEO Daniel Ek Will Play a Major Role in AI’s Future in Audio. So What Has He Said About It?

Given the enormous stakes at play, when business leaders talk about AI, people listen.
In May, Dario Amodei, CEO of AI firm Anthropic — who stands to personally benefit from companies’ widespread adoption of his technology — gained widespread attention after he predicted that AI will wipe out half of all entry-level jobs within five years. And in music, Sony Music CEO Rob Stringer, in an annual presentation to investors, said the company is “going to do deals for new music AI products this year” and that it has “actively engaged with more than 800 companies” on various AI-related initiatives.
Perhaps most notable, at least on the music front, are the comments made about AI in various interviews given by Spotify CEO Daniel Ek in recent years. In them, he’s provided insights into how Spotify, the most valuable and important music platform in the world, approaches the technology. Ek’s comments carry weight: While generative AI platforms such as Suno and Udio have stirred the greatest amount of fear over AI’s ability to undermine human creativity, the largest music platforms will play a huge role in how both creators and listeners engage with it.
Understanding Spotify’s approach to AI doesn’t always require reading tea leaves. Some of its products that use AI are out in the open. For example, in 2023, the company launched two major products that utilize the technology: a personalized AI-powered DJ and a voice translation tool for podcasters that can translate recordings into other languages.
Still, given that the company’s attitudes and approaches to AI will affect Spotify’s 678 million monthly users and millions of creators, it’s worth examining Ek’s statements to see how Spotify intends to incorporate AI, embrace opportunities and address concerns. To that end, this author examined 10 podcast interviews, numerous online articles and a 2024 open letter Ek penned with Meta CEO Mark Zuckerberg to get a better sense of how he views the technology.
The one aspect about AI that Ek has talked about most often is its ability to help Spotify deliver to listeners the right audio — whether it’s music, a podcast or an audiobook — at a particular moment. He has described a mismatch between supply and demand, and how using new innovations can help better connect listeners and creators. Right now, Spotify users can search and find what they want 30% to 40% of the time, Ek told the New York Post in May, adding that he believes AI can improve that number. “So, we still have some ways to go before we’re at that point where we can just serve you that magical thing that you didn’t even know that you liked better than you can do yourself,” he explained.
Most germane to people reading this article, the interviews show that Ek has consistently voiced a respect for creators and a belief that AI should enhance creativity, not replace it. That may not reassure songwriters who are receiving fewer royalties after Spotify adopted a lower royalty rate afforded to bundles in the U.S. Ek’s stated respect for artists also contrasts with the criticism Spotify has attracted — as detailed in the book Mood Machine and news reports — for paying flat fees for music tagged with fake artist names and inserted into playlists in order to reduce its royalty obligations. (Spotify denied claims that it’s created fake artists.) But in his public comments, Ek’s support for creators doesn’t waver, and there’s no indication that Spotify will follow in the footsteps of Tencent Music Entertainment, which offers music-making generative AI tools — it incorporates Chinese AI company DeepSeek’s large language model — and allows users to upload the resulting songs to its QQ Music platform.
But AI can aid the creative process without stepping on creators’ rights, and Ek has talked with excitement about how AI tools can help lower barriers to entry and help musicians bring their visions to life. Although making music no longer requires learning and mastering an instrument, there’s still some technical know-how involved in producing music on digital audio workstations (DAWs). AI tools can reduce the complexity of DAWs and increase creators’ productivity. “We’re most likely going to have another order of magnitude of simplicity,” Ek said on the Acquired podcast in 2023.
At the same time, Ek admits there are some frightening potential applications for AI. In 2023, he told CBS Morning that AI can make experiences in every field “better and easier,” while admitting that the notion that AI will be smarter than any human is “daunting to think about what the consequences might be for humanity.” And despite the potential for AI to unleash untold amounts of creativity, Ek admits that the ultimate outcome for creators is difficult to ascertain. “We want real humans to make it as artists and creators, but what is creativity in the future with AI? I don’t know,” he said in May at an open house at Spotify’s Stockholm headquarters, according to AFP.
Just as lawmakers and music industry groups are pushing for legislation to protect artists’ names and likenesses, Ek has revealed concern about AI’s ability to replicate a musician’s voice. “Imagine if someone walked around claiming to be you, saying things that you’ve never said,” he told Jules Terpak in 2024. Spotify wouldn’t allow it on the platform without the artist’s permission, Ek said, citing Grimes — who launched a project in 2023 allowing fans to replicate her voice to use in their songs and evenly split the royalties — as an example of permissible use of an AI-generated name and likeness. “Of course, we will let her experiment, because she’s fine with it,” Ek said.
Now that Spotify is in the audiobook business, the company’s use of AI will impact a wider swath of creators than just musicians. As Ek told The New York Post, Spotify “can play a role” in getting more books converted into audiobooks using AI — specifically smaller authors who can’t afford the expense of hiring someone to read them. Such affordable text-to-voice tools already exist and are offered to authors who would otherwise be locked out of the audiobook market. It makes sense: Just as Spotify was built on providing listeners the long tail of music, it doesn’t want its audiobook selection to be limited to major titles. If Spotify builds or buys such a tool, it could vastly increase the number of audiobooks available to its listeners.
In the interview with CBS Morning, Ek quoted Microsoft co-founder Bill Gates to explain how he finds inspiration in innovation. “He says that the future is already here,” Ek said during the 40-minute talk. “It’s just not evenly distributed.” What Ek means is that he looks around the world, sees what others are doing with technology and then considers how he can bring those innovations to a wider audience. And as the CEO of the world’s largest and most influential audio streaming service, how he chooses to approach AI will go a long way in determining — for better or worse — how millions of people create, consume and profit from music, podcasts and audiobooks in the future.
Entertainment
Myke Towers & Quevedo Set Charts Ablaze With ‘Soleao’

Myke Towers and Quevedo propel “Soleo” to the top of Billboard’s Latin Airplay chart as the song jumps a spot to No. 1 on the list dated Aug. 9.
Their first collab, “Soleao” (which translates to “sunny” in English), was released May 20 on One World International/Warner Records/Warner Latina. It leads the way in its ninth chart week, after an 11% growth in audience impressions, to 9.1 million, across U.S. panel-contributing Latin radio stations in the tracking week of July 25-31, according to Luminate.
Towers claims his 15th Latin Airplay champ, and third consecutively of 2025, after one-week rulers “Otra Noche,” featuring Darell (February), and “Degenere,” featuring Benny Blanco (May).
Further, Towers adds to his satchel of wins as he accomplishes a third trio of No. 1s in a single year. Rewind to 2021, when (after landing two early chart-toppers, for that matter) the Puerto Rican delivered a streak of three straight No. 1s: “Bandido,” with Juhn; “Pareja del Año,” with Sebastián Yatra; and “Bésame,” with Luis Fonsi, that June, August and November, respectively. In 2024, Towers replicated the success with another trio of consecutive No. 1s: “Borracho y Loco,” with Yandel; “La Falda”; and “La Capi,” between that February and May.
Meanwhile, Quevedo makes a comeback to No. 1 on Latin Airplay. He previously led, for four weeks, with “Bzrp Music Sessions, Vol. 52,” with Bizarrap, in 2022.
Beyond its Latin Airplay coronation, “Soleao” likewise lifts 2-1 on Latin Pop Airplay. There, Towers tallies a third No. 1 and Quevedo, his first. Further, the song adds a second week atop Latin Rhythm Airplay.
Banda Carnaval Ignites Regional Mexican Airplay: Elsewhere on the Latin charts, Banda Carnaval secures its eighth No. 1 on Regional Mexican Airplay, and second of the year, as “Ya La Hice” bounds 9-1 with 6.6 million audience impressions, up 47%, in the tracking week. The act’s “Pude” led for a week in March.
“We are deeply grateful to our fans for taking ‘Ya La Hice’ to No. 1 on Billboard’s Regional Mexican Airplay chart,” Banda Carnaval tells Billboard. “This song represents a very special moment for us, and seeing it connect with people in this way fills us with pride and emotion. Thank you to everyone who has made it their own, to the composers for this great story, and to our team who continues to believe in our music. Let’s go all the way with Síganme Tirando!”
“Ya La Hice” earns Greatest Gainer honors, awarded to the song with the largest week-over-week increase in impressions at the format. Leading the charge during the tracking period are Univision stations, with standout support from KSCA-FM Los Angeles, KLNO-FM Dallas, and WOJO-FM Chicago.
Entertainment
Ice Cube’s ‘War of the Worlds’ Film Has a 0% Rating on ‘Rotten Tomatoes’ & Cube’s Son Is Weighing In

Ice Cube‘s latest movie is off to a slow start on review aggregator Rotten Tomatoes. According to 15 critics (and counting), War of the Worlds so far has a zero percent rating on the Tomatometer scale, while thousands of moviegoers have given it at 14 percent rating on the Popcornmeter.
One review in particular, from Variety‘s Peter Debruge knocked the film for essentially doubling as a commercial for Amazon, writing, “Even with a Prime subscription, you have to sit through two minutes of ads to watch 90 more of what amounts to a feature-length commercial for all things Amazon,” while another from The Telegraph‘s Ed Power wasn’t really into all the screen time Cube got, saying, “It is silly, shoddy and features far too much of rapper-turned-leading man Ice Cube staring at a computer screen while looking as if he’s working through a reasonably urgent digestive ailment.”
An adaptation of H. G. Wells’ classic 1898 novel The War of the Worlds, this version is an Amazon Prime production directed by Rich Lee and also starring Eva Longoria. Cube plays Will Radford, a surveillance expert at the Department of Homeland Security, and most of the movie takes place on his computer screen as he deals with a hacker and an alien invasion while trying to keep his family out of harm’s way.
The synopsis on Prime Video reads as follows: “A gargantuan invasion is coming with this fresh take on the legendary novel of the same name. Renowned actress Eva Longoria is joined by iconic rapper and actor Ice Cube, along with Michael O’Neill and Iman Benson, for a thrilling out-of-this-world adventure that is filled with present-day themes of technology, surveillance, and privacy.”
Cube’s son, actor O’Shea Jackson Jr., replied to a tweet on X of a video clip from the movie in which an Amazon Prime delivery person tells Cube’s character to cop a USB from Amazon, so he can deliver it via Prime Air with a drone. “I truly can’t believe this adaptation of War Of The Worlds is actually a real film with a real budget and Ice Cube is actually in it,” a fan posted, with Jackson replying that the movie was “Shot during the pandemic. Released 5 years later.”
Billboard has reached out to Ice Cube’s team for comment.
Entertainment
Cara Lewis Group Hires Ashley Ventura, Who Will Bring Bhad Bhabie & More to the Agency

Cara Lewis Group (CLG) has hired agent Ashley Ventura, who will bring her clients to the independent agency.
“CLG is an obvious fit for her talents,” said founder/CEO Cara Lewis in a statement. “The entire Cara Lewis Group team is thrilled to have her as a valued addition. We look forward to continuing our mantra of artist development, creating stars and long lasting careers.”
Ventura has worked as an agent in the hip-hop and R&B space for more than five years, previously working at MAC Agency. A press release announcing her hire described her as a “proven” leader and “one of the newest, most exciting agents in the industry.”
“I’m thrilled to be joining the Cara Lewis Group and to continue pushing culture forward alongside such a respected team,” added Ventura. “This new chapter marks an exciting step in my journey, and I’m looking forward to building with incredible artists and creating what’s next.”
Ventura will be bringing a number of talented artists to the CLG roster, including hip-hop icon French Montana and reality TV star and rapper Bhad Bhabie. Her other clients include Atlanta rapper Anycia, Bay Swag, Bktherula, Gashi, K Camp and Kentheman, all of whom are following her to CLG.
CLG’s roster currently includes Eminem, Travis Scott, Khalid, Don Toliver, Clipse, The Roots, Russ, Jill Scott, Ludacris, Ice Spice, BIA and Erykah Badu. Lewis is one of the most successful independent agents in hip-hop, having spent more than 20 years at William Morris as a partner, where she built the urban-pop division before joining CAA’s music department.
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