Locating Power in Platformization: Music Streaming Playlists and Curatorial Power (original) (raw)
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Platform pop: disentangling Spotify's intermediary role in the music industry
Information, Communication & Society, 2020
It has been widely recognized that platforms utilize their editorial capacity to transform the industries they intermediate. In this paper, we examine the intermediary role of the leading audio streaming platform – Spotify – on the recorded music industry. Spotify is often called the ‘new radio’ for the influence it has on breaking songs and artists, and for the role it plays in music discovery and consumption. Our purpose is to determine whether Spotify is leveling the playing field or entrenching hierarchies between major labels and independent labels. We attempt to answer this question through a longitudinal analysis of content owners (major labels or ‘indies’) and formats (albums, tracks, or playlists) promoted by Spotify through its global Twitter account: @Spotify. As a carefully curated venue for corporate speech @Spotify provides a window into continuities and changes in Spotify’s corporate strategy. By using @Spotify as a proxy through which to track patterns of promotion between the years 2012 and 2018, this paper offers a novel empirical examination of how Spotify is shaping the consumption of music, and in turn the structure of the recording industry. In doing so, we provide evidence for speculating about the future of the recorded music industry in a platform era.
2019
This article investigates the logics that underpin music curation, and particularly the work of music curators, working at digital music streaming platforms. Based on ethnographic research that combines participant observation and a set of interviews with key informants, the article questions the relationship between algorithmic and human curation and the specific workings of music curation as a form of platform gatekeeping. We argue that music streaming platforms in combining proprietary algorithms and human curators constitute the “new gatekeepers” in an industry previously dominated by human intermediaries such as radio programmers, journalists, and other experts. The paper suggests understanding this gatekeeping activity as a form of “algo-torial power”, that has the ability to set the ‘listening agendas’ of global music consumers.
Social Media + Society, 2019
This article investigates the logics that underpin music curation, and particularly the work of music curators, working at digital music streaming platforms. Based on ethnographic research that combines participant observation and a set of interviews with key informants, the article questions the relationship between algorithmic and human curation and the specific workings of music curation as a form of platform gatekeeping. We argue that music streaming platforms in combining proprietary algorithms and human curators constitute the "new gatekeepers" in an industry previously dominated by human intermediaries such as radio programmers, journalists, and other experts. The paper suggests understanding this gatekeeping activity as a form of "algo-torial power", that has the ability to set the 'listening agendas' of global music consumers.
Journal of Cultural Economy
Economic, cultural, social, and political life is being increasingly shaped by digital platforms including social networking sites (Facebook), streaming services (Netflix) and sharing platforms (AirBnB). While social scientists have tracked the rapid emergence of platforms and developed useful conceptualisations about what they are and how they operate, surprisingly little attention has been paid to the nature of platform competition or the experiences of users. To address these gaps, this paper focuses on the illustrative case of recorded music, where platforms, including Spotify and Apple Music, face intense competition due to similarities in price and content. Drawing on 42 semi-structured interviews, 20 app 'walk-alongs' with Spotify users and an analysis of 120 documents (industry reports, trade magazines, press releases and news articles), it demonstrates how the basis of competition has shifted from content, price and curation to the engineering of compelling experiences that harness the unique and interconnected affordances of platformisation. The paper nuances our understanding of the dynamic and contingent nature of platforms, the processes of datafication and curation underpinning their interventions in markets and everyday life, the geographies of these virtual distribution and consumption channels, and the ways in which users imagine, value, and experience music streaming platforms.
We examine two 'producer-oriented' audio distribution platforms, SoundCloud and Bandcamp, that have been important repositories for the hopes of musicians, commentators and audiences that digital technologies and cultural platforms might promote democratisation of the cultural industries, and we compare their achievements and limitations in this respect. We show that the emancipatory elements enshrined in SoundCloud's 'bottom-up' abundance are compromised by two elements that underpin the platform: the problematic 'culture of connectivity' of the social media systems to which it must remain integrally linked, and the systems of intellectual property that the firm has been increasingly compelled to enforce. By contrast, it seems that Bandcamp has been relatively stable in financial terms while being at odds with some key aspects of 'platformization', and we explore the possibility that some of the platform's apparent success may derive from how its key features makes it attractive to indie musicians and fans drawn to an independent ethos. Nevertheless, we argue, even while in some respects Bandcamp acts more effectively as an 'alternative' than does SoundCloud, the former is also congruent economically and discursively with how platforms capitalise on the activity of selfmanaging, self-auditing, specialist, worker-users.
Universal Spotification? The shifting meanings of “Spotify” as a model for the media industries
Popular Communication, 2020
Ever since the music streaming service Spotify was launched in 2008, it has been referred to as a model for an ongoing transformation of the media industries. Dozens of other technology startups have promised to deliver "a Spotify for books", "a Spotify for movies", "a Spotify for journalism" or even "a Spotify for art". Yet, most attempts to replicate the model has actually failed. Analyzing a large body of Swedish and US news articles from 2008-2018, this article demonstrates how the metaphor of "Spotify" has been filled with very different meaning. Not only has the early promises of relying on advertising to make consumption "free but legal" been discarded, in favor of subscription-based models. Another major trend in the development of streaming services, including Spotify, has been the shift toward curation and algorithmic recommendation systems, which has added new associations to the metaphor or "a Spotify for x".
Limits of the platform economy: digitalization and marketization in live music
Report to the Hans Boeckler Foundation, 2018
Online platforms have disrupted parts of the capitalist economy, with allegedly severe consequences in the world of work. It is difficult to assess the potential magnitude of this effect, however, because little is known about the conditions under which platforms take over any given market, industry or occupation. This study examines live music in Germany and the UK, where online platforms do not dominate, despite considerable digitalization of market intermediaries. We argue that the live music market frustrates online platforms because (1) assessments of value are qualitative; (2) the task is complex and contingent; and (3) the organizational field is fragmented. Digitalization has varying effects on the organization of work and exchange relationships between musicians, intermediaries and clients. We find that, as the degree of digitalization increases, matching services tend to work less as a workers' representative-which is traditionally the case for live music agents– and more as a force of marketization that disciplines workers by orchestrating price-based competition. 2
Music Platforms and the Optimization of Culture
Social Media + Society
Drawing on Mark Katz’s notion of phonographic effects—where musicians, during the advent of early recording technology, altered their style of play to be better captured by microphones—this article explores some of the “platform effects” that arise in the shift to platformization and how cultural goods and user practices are re-formatted in the process. In particular, I examine the case of the music streaming service Spotify to think through the variety of means, sonic, and otherwise, that artists, labels, and other platform stakeholders use to “optimize” music to respond to the pressures platformization creates. I develop a typology of strategies—sonic optimization, data optimization, and infrastructural optimization—to consider the creative and logistical challenges optimization poses for platforms, artists, and users alike. From creating playlist friendly songs to musical spam to artificial play counts, I use the blurry lines these cases create to explore the tensions between the...
Proceedings of the 51st Hawaii International Conference on System Sciences, 2018
Research on digital platform evolution is largely focused on how platform-owners leverage boundary resources to facilitate and control contributions from external developers to extend the functional diversity and scope of a digital device. However, our knowledge of the digital platforms that carve out their existence exclusively in the service layer of industry architectures, i.e. without proprietary device connections, is limited. The concept of digital service platforms directs attention to such platforms, the role of end-users as value co-creators, and devices as requisite, but not necessarily proprietary, distribution mechanisms for service. Based on a longitudinal case study of Spotify, this paper contributes by demonstrating that digital service platform evolution is characterized by specific architectural conditions that rationalize the use of boundary resources for extending scale rather than scope, and for resourcing and controlling not only developers but also end-users as a means to strategically adjust the evolutionary process.