Here’s another article about Spotify, a company that fascinates me. The Problem with Muzak starts by examining the mood playlists that feature prominently on the platform:
Spotify loves “chill” playlists: they’re the purest distillation of its ambition to turn all music into emotional wallpaper. They’re also tied to what its algorithm manipulates best: mood and affect. Note how the generically designed, nearly stock photo images attached to these playlists rely on the selfsame clickbait-y tactics of content farms, which are famous for attacking a reader’s basest human moods and instincts. Only here the goal is to fit music snugly into an emotional regulation capsule optimized for maximum clicks: “chill.out.brain,” “Ambient Chill,” “Chill Covers.” “Piano in the Background” is one of the most aptly titled; “in the background” could be added to the majority of Spotify playlists.
One independent label owner I spoke with has watched his records’ physical and digital sales decline week by week. He’s trying to play ball with the platform by pitching playlists, to varying effect. “The more vanilla the release, the better it works for Spotify. If it’s challenging music? Nah,” he says, telling me about all of the experimental, noise, and comparatively aggressive music on his label that goes unheard on the platform. “It leaves artists behind. If Spotify is just feeding easy music to everybody, where does the art form go? Is anybody going to be able to push boundaries and break through to a wide audience anymore?”
It goes on to excoriate the branded playlists and the idea that companies should need to “show the world what kind of music your brand likes to listen to while partying, driving, or enjoying a cup of coffee.”
It is absurd to suggest that a playlist created by Bacardi, Gatorade, BMW, or Victoria’s Secret could exist for any purpose other than the sale of its liquor, sports drinks, cars, or fancy lingerie. And this encouragement of a false sense of objectivity found on its Terms of Service is seen nowhere on its “Spotify for Brands” website, where it has published a series of articles luring corporations to the platform: “In the biggest game of the year, many of the ads feature music front and center, whether it’s a big hit like Eminem’s ‘Lose Yourself’ [Chrysler’s memorable 2011 spot] or an indie jam like Hundred Waters’ ‘Show Me Love’ [Coca-Cola’s 2015 spot],” the article explains, directly equating branded playlists to an expression of commercialism. “Using music effectively can also mean curating the perfect playlist that reflects the sound of your brand.”
Brand playlists are advertisements, even if Spotify strives to imbue them with so-called editorial integrity. Such uncompensated advertorial playlists are harmful in that they offer artists no option to opt-out, but also because they undercut what can sometimes be a valuable source of revenue for artists.