Spotify Daily Mix

What if Spotify turned Daily Mix into a standalone product?

Implementing the obvious missing feature could point to a new product direction for Spotify.

 

About a month ago, Spotify introduced Daily Mix, a new set of playlists that lets you ‘rediscover’ your favourite music. It mixes past favourites with tracks you might like and its stated aim is to take the work out of organizing daily listening.

For years, Spotify has focused on creating better ‘lean back experiences’ that allow for more passive listening. A music tech product’s typical early adopters are people that are heavily invested in the process, but as they achieve greater market penetration, they need to target new audiences.

At first, Spotify focused on human curation and it remains a strong focus. More recently, after the Echo Nest acquisition, Spotify has chosen to give algorithms more play, such as through Discover Weekly and Release Radar, and now Daily Mix.

The obvious missing feature from Daily Mix, and much requested, is the ability to download tracks to your device through an offline sync feature.

Twitter users about Daily Mix

Their official explanation for it, frequent updates and large amounts of tracks, doesn’t really seem to add up. Many users offline sync large playlists that are regularly updated. If it’s an issue, then users just pick one or two favs of their Daily Mix playlists and sync them.

As I thought about it, it reminded me of what I envisioned Soundcloud’s future as a subscription service would be. Soundcloud’s current proposition of serving dead artists’ music alongside the brand, brand new for $10 / month, doesn’t make any sense and likely got forced upon them by labels taking a tough stand and impatient investors.

What I always thought Soundcloud would do, was simply to release an app that would allow users to offline sync their favourites and charge users about $2 to $4 a month. As Spotify’s reportedly in talks to acquire Soundcloud, perhaps Daily Mix can be their first step into launching more price points.

Let’s imagine Daily Mix as a spin-off.

 

New price point

Spotify’s in need of a new price point. On average, the monthly spend of Spotify’s new subscribers is $3.09, not $9.99. This is due to discounting. Spotify, and others, are having a difficult time bringing in the mainstream music consumer at $9.99 per month.

Spotify user price by Midia
From: The End of Freemium for Spotify?

Spinning off Daily Mix as a separate product for the mainstream consumer could provide those users with a limited, but focused experience and monetize them without discounting.

The price point is a great way to onboard users. A user may use Spotify’s main app in ad-supported mode, but pay for Daily Mix. They’ll get used to having a monthly payment in music. Meanwhile, if they want to hear more by a certain artist in their Daily Mix, they can tap the artist name and be directed to the main Spotify app.

Inside Spotify’s main app, they can work to upsell users to higher price points for additional functionality.

 

Moving beyond all-you-can-eat (AYCE)

The original proposition of music services was that if you pay $9.99 a month, you’ll get all the music out there… However, with streaming holdouts and exclusives, this doesn’t seem viable. Due to the original frame, consumers are sometimes unwilling to spend more on digital music.

Music services need to shift away from having users associate their payments exclusively with the content, and instead monetize functionality around music.

 

Cannibalisation?

There remains the question of cannibalisation. Part of Spotify’s users who currently pay $9.99 / month may actually find that a Daily Mix app serves them well enough and subsequently downgrade. This makes an app like Daily Mix tough to license.

There are precedents though. Apps like MTV Trax let users download & listen to the most popular hits on a daily basis and in some markets, like Spain, they charge around $1 / week.

MTV Trax screens

Alternatively, Spotify could wrap Daily Mix into some kind of trial, minimize functionality and hide the playlists to give it more of a radio feel, or work on the premium offer to be able to retain more premium subscribers, as well as upsell more effectively.

Another idea: expand Daily Mix with something not included in the main Spotify app, so that music aficionados can be convinced to spend some money on top of their $9.99.

 

Extra features for power users in $9.99

In a multi-app strategy, there are 3 things Spotify must do:

  • Make sure user conversion funnels for each app are functioning;
  • Make sure the lower tier apps don’t cannibalize the higher tier too much;
  • Optimize upsell funnels across its products.

Spotify likely needs it current feature set with Discover Weekly, Release Radar, Daily Mix and other features in order to onboard and retain users. Also, they don’t want to piss off subscribers, so they need to come up with product propositions that differ enough from the scope of the current product.

Some examples of features that could be sold at extra cost:

  • Buy Pacemaker and let Spotify create actual mixes for you;
  • Playlist creation games, eg. with friends or well-known artists;
  • Direct-to-artist subscriptions for exclusive content, interaction, discounts, etc. Think Apple Music Connect, done right.

Spotify Daily Mix screenshot

They’ll have to figure out the specifics out soon and work out a plan on how to counter cannibalisation. As more mid-tier price point music subscription apps are entering the market, Spotify will need to compete.

Who would you rather lose a customer to? Someone else’s app, or your own?

5 Big Ideas for the UK Association of Independent Music

The Association of Independent Music (AIM) recently put out a call for ‘big ideas’ to be discussed at their Annual General Meeting.

“The goal is to produce and publish by the end of this year a manifesto which sets out 10 big ideas to help the indie sector to thrive in the coming years.”

I’m not a member, but not shy to give a bit of unsolicited advice.

Here are my 5 big ideas:

Streaming exclusives

The indie sector needs to widely speak out against streaming exclusives. After years of hard work, we’re now sending music fans back to pirate services. Let’s keep working on sustainability, instead of sacrificing it for short-term gains.

  • Streaming exclusives may be making the music piracy problem even worse >>>
  • Why streaming exclusives are bad for the music business >>>
  • Spotify: Streaming exclusives are bad for artists and fans >>>
  • Why exclusives are terrible for fans, artists, and the streaming music business >>>

Startup license

Establish a framework which allows startups to quickly and flexibly license music from indie labels for a set duration. The prospect of spending years in licensing negotiations stops entrepreneurs and investors from supporting innovation the independent music sector desperately needs. Let’s remove the necessity to negotiate for the most common use cases.

  • The case for a startup license: why startup founders choose to ignore music copyright law >>>

Focus on dance

The Netherlands is stealing the UK’s spotlight as the centre of global dance music with events like Amsterdam Dance Event, major DJs, and a huge global dance event business. The UK has a rich history of dance music and is home to some of the best artist, clubs, and labels in the world. It needs an action plan to assert itself. With Sadiq Khan as London’s Mayor, there has never been a better time.

  • London Mayor Sadiq Khan is looking for the UK’s first night czar >>>

Refugees

Develop an initiative to help artists and aspiring musicians among the refugees arriving to the UK. They bring a unique cultural and musical perspective, which could blend into the UK’s rich multi-cultural musical tradition. They need material assistance in the form of access to equipment and instruments, as well as contacts in local radio stations, venues, etc. Besides the musical benefit, there is also the advantage of contributing to better assimilation of new arrivals.

New anti-piracy research

A research initiative looking into the return on investment of money spent on countering digital piracy. With countless anti-piracy companies popping up, it should help indie artists and labels determine whether their money’s best spent growing their fanbase and making more music. It’s important to know what anti-piracy methods pay off, and what’s just a way to use the threat of piracy to get musicians to pay up.

Foster my ideas

Since I’m not a member of AIM, I cannot officially submit these ideas. If you’re an AIM member and interested in fostering the streaming exclusives, dance music, or refugees idea, get in touch: bas@musicxtechxfuture.com

Use Facebook Messenger to Access Spotify Discover Weekly and Release Radar – in 4 Steps

A bot for Facebook Messenger lets you access your Spotify Release Radar and Discover Weekly playlists from inside Messenger. Since it currently lacks an interface, here are the steps to follow to get new music recommendations delivered to Messenger.

Discover Messenger

1. Add the bot

You can add the bot by clicking this link.

2. Sign in

Tell it you want to sign in, by typing sign in. Then login to Spotify & give the bot the necessary permissions.

3. Play something

You can now choose to play tracks on Spotify or get 30 second previews.

4. Extra commands

Got lost and want to bring back the playlist? Type current week. You’ll also be able to tell it playlist 1 week ago to get last week’s playlist, but first you’ll need to be using the bot for a while.


At the time of writing, there are still some bugs to iron out. If you run into any difficulties, you can contact the bot’s maker, Daniel Noshkin, on Twitter or on Product Hunt.

If you ever want to revoke the app’s access, you can find all apps that have access to your Spotify account in your settings.

Spotify’s strategy to become a habit-forming product

Last Friday, Spotify unveiled its newest feature: Release Radar – a personalized playlist of newly released music, updated every Friday. It’s reminiscent of Discover Weekly, but Release Radar’s recommendations are always newer tracks. My first impression is that it’s much more likely to recommend music from artists you’re already familiar with.

As Spotify keeps rolling out features like this, and competitors no doubt follow suit, the implications for the music business will be significant. Matt Ogle, who’s behind both of these playlists, revealed last March:

There are 2,000 artists for whom Discover Weekly is currently 80% of their streams, and something like five or six thousand for whom Discover Weekly is half of their streams.

But I’d like to zero in on Spotify’s product strategy and why features like Discover Weekly and Release Radar are so important for the service. It has everything to do with the power of habit.

Habit Loop Spotify

Discover Weekly creates a perfect habit loop. The routine is listening to your refreshed playlist. The reward is the release of good hormones due to interesting new finds, and perhaps the social currency of sharing. The cue, or trigger, is simply the fact that it’s Monday and the start of a new week.

On Sunday, another habit loop is triggered. To prevent losing newly discovered gems, users log on to save tracks from Discover Weekly to their playlists. Loss prevention is one of the strongest motivators.

Spotify Discover Weekly Habit chart

Spotify’s bet is that they can create another habit, focused on different days of the week, by releasing a new feature in the style of Discover Weekly. Being able to consistently drive traffic back to your product is great if you’re ad-supported, might help to convince free users to upgrade to premium, and helps premium users justify the recurring cost of their subscription.

Now, instead of 2, there will be 4 cues.

Spotify Discover Weekly + Release Radar chart

Friday is a great day for Release Radar for two reasons:

  1. Easy to remember: it’s the last day of the week and people have the weekend on their minds.
  2. Since last year, Friday is the global release day for new music.

Here are two hacks I made that bring some cool additional automation to the new Release Radar playlist:

Curious how Release Radar works? The wonderful folks at Hydric Media, who are behind the hit music app Wonder, created a free tool called Playground, which opens up all the different parameters of Spotify’s Echo Nest API powering the Discover Weekly and Release Radar playlists.

How has your Release Radar experience been? I’ll show you mine, if you show me yours. Send me a tweet: @basgras.

Are pay-per-stream royalties costing artists tens of thousands of dollars?

Is it fair that a 50-second song costs the same as a 20-minute composition? Back in the days of album-driven sales, track length didn’t matter much. If an album contains 50 tracks of 1 minute each (punk, grindcore), it would sell for roughly same price as an album with 3 tracks lasting 20 minutes each (post-rock, ambient).

Streaming services have changed this. Payouts occur on a per-stream basis. All songs treated equally. This means that if the amount paid per-stream is something like $0.005, Godspeed You! Black Emperor would make just 2 cents every time someone listens to Lift Your Skinny Fists Like Antennas to Heaven (runtime: 1h27m).

Royalty rates are variable and depend on total revenue vs total amount of plays. Spotify uses this formula:

spotify royalty formula

I took a look at Spotify’s top 50, since they publicly communicate the number of playbacks. Assuming a pay-per-stream rate of $0.005, which may differ from reality, I summed the total plays to understand the volume of the royalty pool and the cut each track would take. Then I took into account track lengths and compared the two. The difference for Spotify’s top hits runs into tens of thousands of dollars — per song.

streaming seconds winners

streaming seconds losers

If charts were based on time spent per song, rather than total number of plays per song, here are the biggest risers:

  • Drake “Controlla” (24 → 15)
  • Nick Jonas “Close” (32 → 23)
  • G-Eazy “Me, Myself & I” (35 → 26)

And the biggest fallers:

  • Mike Perry “The Ocean” (27 → 36)
  • Shawn Mendes “Treat You Better” (16 → 25)
  • Major Lazer “Light It Up (Remix)” (15 → 31)

Changes in accounting make a multi-million dollar difference

The top of Spotify’s global chart is not the most important area in terms of implications. The implications are greatest for artists and labels who produce music in genres that are structurally paid less per minute than other genres.

Spotify currently claims to have 100 million monthly active users. 30% of which are subscribers. They’re adding 1.8 million users per month. 80% of Spotify users use it multiple times a week, 25% use Spotify more than 20 days per month. It likely serves over a billion streams daily. Apple Music has13 million paying subscribers. Other services hold millions more of users. All streaming hours and hours of music each month. According to the IFPI, streaming revenues amounted to $2.9 billion in 2015.

Massive pies are being built that need to be split fairly. Music industry analyst Mark Mulligan recently uncovered that indie music’s global market share is closer to 38% rather than the 20% conventionally believed and added:

“This matters not for bragging rights but because in the digital marketplace, market share shapes the deals that are struck, with more market share translating into better terms. So a more accurate measure of share can help the independent sector compete on fairer terms.”

Debates need to occur about market share, pay-per-stream versus time-based royalties, and the way subscription payments are divided. Streaming services are not the ultimate deciders in this: they’re locked into pay-per-stream royalties with the industry through contracts with differing renewal or extension cycles. Therefore, these changes need wide coalitions to occur. It would also help to have a truly competitive music streaming market that nurtures models beyond the typical $10/month all-you-can-eat services.

Streaming is here to stay. It’s a necessary layer for a healthy music landscape. In this landscape, it’s currently very difficult for artists to practice autonomy over the pricing of their music. Two $20 albums of equal length receive completely different payments for the same amount of plays if their track counts differ.

Is that fair?

streaming rates table


Disclaimer: the royalty rate used in this article is based on an assumption and taken from a Billboard article dating back a year. In reality, royalties are slightly more complex eg. through subscribers’ streams counting heavier than ad-supported users’. Any total numbers resulting from using this assumption are therefore completely fictional.

However, even fictional numbers are useful in debating this. Whether the exact number per specific track is smaller or greater doesn’t matter. We’re still talking about how billions of dollars are distributed each year.

Hat tip to Cherie Hu for early feedback and sharing some data points.

Top image: Ocean of Sorrow, a work by Javad Alizadeh (CC/BY/SA).


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