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We examine what streaming looks like now and what it could look like in the future. Walker Lukens explains how Song Confessional has found success with streaming. And Lauren Bruno talks about a possible alternative to streaming that she wants to build called Prosper XO.
Learn more about the Living Wage for Musicians Act.
Check out Prosper XO’s surveys
Let us know what you think about the future of streaming.
Pause/Play is a listener-supported production of KUT & KUTX Studios in Austin, Texas.
You can help make this podcast happen by donating at supportthispodcast.org.
The full transcript of this episode of Pause/Play is available on the KUT & KUTX Studio website. The transcript is also available as subtitles or captions on some podcast apps.
Miles Bloxson: I’m Miles Bloxson,
Elizabeth McQueen: And I’m Elizabeth McQueen. And this is Pause Play the podcast about live music, why it matters and what comes next.
Miles Bloxson: This season we’re talking all about what the future might hold for Austin music.
Elizabeth McQueen: In episode one, we talked about how musicians might make a living by doing all the things. In episode two, we explored whether musicians really need social media moving forward, and in episode three we’re talking about streaming.
Miles Bloxson: Yeah. Most musicians use streaming services and also have their music on them, but when you ask artists if they make money from streaming music, you mostly get a response like this one from Carrie Rodriguez.
Elizabeth McQueen: When you’re looking at streaming, like, do you count it as any kind of like noticeable part of your income? I.
Carrie Rodriguez: Not at all. Zero. No. Mm-hmm. [00:01:00] Nope.
Miles Bloxson: So let’s talk about streaming in this current moment. First off, a lot of people stream music.
Elizabeth McQueen: Yeah. According to the International Federation of the Phonographic Industry, or IFPI in 2024, streaming made up 69% of worldwide recorded music sales.
Miles Bloxson: According to the Recording Industry Association of America, that number is even higher in the US where streaming makes up 84% of revenue from just recorded music alone.
Elizabeth McQueen: In 2014, the global music industry brought in just under $15 billion. That a statistic from the IFPI
Miles Bloxson: and in 2024 it was over $29 billion.
Elizabeth McQueen: But like we said, most musicians don’t see noticeable income from streaming and it’s not just Carrie.
Miles Bloxson: In some of our earlier episodes, you heard from Tribe Mafia. They’re an Austin group that has found a way to make money getting songs placed in movies and TV shows, also known as Sync licensing.
And they do have one song called Travel the [00:02:00] World that’s done well in streaming. It has over 250,000 streams on Spotify and they’ve seen some money from it.
Chinasa Broxton: Travel The world, it’s impressive. It’s like, okay, little 500, that’s not bad.
That’s not bad.
Miles Bloxson: That’s a flight.
Chinasa Broxton: Yeah, yeah, exactly. Yeah. But the other song is the like, what, three bucks, 10 cents bucks. Like, why’d you even send this? I don’t want this. You can keep that. It cost more money to send that than for us to get it. I, I don’t need that.
Elizabeth McQueen: We’ve talked before about how little artists make from streams,
Miles Bloxson: I mean, it’s pretty common knowledge that streams pay a third to a half a cent per stream.
Elizabeth McQueen: Yeah. I mean, we’ve used those numbers a lot in this podcast, but it wasn’t until I started researching things for this story that I found out that it’s actually way more complicated than that.
Miles streaming is not paid out on a per strain basis. Instead, streaming is paid out on a prorata basis.
Miles Bloxson: Prota Prorata, what does that [00:03:00] even mean?
Elizabeth McQueen: Okay, so the streaming service has take in money, right? And then they distribute this money based on how many song blah. Okay, so the streaming services take in money, right?
And then they distribute this money based on how many plays a song gets versus how many songs get played total. The streaming services call this stream share.
So say in one month, all Beyonce’s songs get 1% of all streams. On Spotify, her stream share would be 1%.
Miles Bloxson: So they take all the money they made in a month and give the Queen Bee just 1% of it.
Elizabeth McQueen: Well, not really. First. Streaming services take their cut of revenue. This can be anywhere between 30 to almost 50%.
Miles Bloxson: So Beyonce gets 1% of whatever is left after the streaming services take their cut?
Elizabeth McQueen: No.
Miles Bloxson: Oh my goodness.
Elizabeth McQueen: Okay. So you may remember from when we talked about this in previous episodes, but every time a song gets played, there are two royalties [00:04:00] paid. There’s a songwriting royalty paid to whoever wrote the song, and then there’s a mechanical royalty. This is paid to whoever owns the rights to the actual recorded version of this song streaming.
Streaming services don’t pay artists directly, like they don’t pay Beyonce directly. Instead, they pay intermediaries like labels or distributors or aggregators for mechanical royalties, and they pay performing rights.
Organizations like BMI, ASCAP or CSAC for songwriting royalties. And some streaming services like Spotify have deals with these labels and distributors that are super secret.
Liz Pelley wrote a great book about Spotify called Mood Machine, the Rise of Spotify, and the Cost of the Perfect Playlist. It goes super deep into all things Spotify. I highly recommend it. And she writes that there are often NDAs in place so that artists on a label don’t really even know what the labels deal with the streaming services looks like.
But it’s widely understood that major labels have really good deals, [00:05:00] at least with Spotify.
Miles Bloxson: So Beyonce’s on a major label, and she may not know how much money the label is getting for her music.
Elizabeth McQueen: Totally. Though I feel like Beyonce may have the clout to get to see that info, but mid-level artists on that label may not, but it gets more complicated.
Miles Bloxson: Does it?
Elizabeth McQueen: Oh yeah.
On the mechanical royalty side, the amount that gets paid out can also depend on the territory, like where in the world the song is being streamed from. And it depends on what kind of subscription the song is getting streamed from.
So if someone streams a song on Spotify free, it pays out differently than if they had a paid subscription to Spotify.
And check this out. Labels and distributors don’t just have deals in place with streaming services.
They also have deals in place with artists detailing how they’re gonna split the proceeds from any streaming.
So a label may offer an artist in advance to make a record, and they take all of the mechanical royalties from that record until they make back the [00:06:00] advance, and after they make back the advance, then they split those royalties with the artist. They also may ask for a share of the artist’s songwriting royalties as well.
Miles Bloxson: What about songwriting royalties?
Elizabeth McQueen: Well, according to BMI, songwriting royalties are calculated by a quote, unique royalty rate for each work, which is based upon the license fees collected from the service that performed the work in combination with the number of times each work streamed on the service.
Miles Bloxson: What does that even mean?
Elizabeth McQueen: It means it’s complicated,
Miles Bloxson: but a lot of artists in Austin are independent, which means they don’t have labels or publishers. So what do they do?
Elizabeth McQueen: So in order to get their music on streaming services and collect mechanical royalties, they have to make deals with digital distribution companies like Tune Core or Distro Kid.
All of those businesses charge something for those services, whether it’s a subscription fee or a portion of the mechanical royalties. And then in order to get paid songwriting royalties, they have to register with performing [00:07:00] rights organizations like BMI, ASCAP or csac.
Miles Bloxson: So if you’re an artist before you see any money, the streaming service calculates your stream share. And then after they take their cut, they pay out your royalties to a label or a distributor.
Or a publisher or aggregator based on a deal they made with that company. The details of which you may never know, and then the company gets their share of whatever amount of money you agreed on with them, and then you get your money.
Elizabeth McQueen: Yep. I mean, it’s simple to say streams pay a third of a penny per share, but the reality is so much more complicated.
Miles Bloxson: Elizabeth, my brain hurts
Elizabeth McQueen: mine too. Do you know how long it took me to write this part of the episode? I mean, honestly, it’s still like such an oversimplification of a really complex system that I bet there are people out there who think, I don’t even know what I’m talking about.
But the thing is like the point is it’s super opaque and hard to understand like [00:08:00] by design, and it can get even more complicated. Miles.
Miles Bloxson: How?
Elizabeth McQueen: Okay. So on Spotify, artists can opt into what’s called discovery mode. They can basically trade a lower royalty rate for the chance of their music being more discoverable. It basically boosts music in the algorithm. And Spotify recently started a policy where if a track doesn’t get a thousand streams in a 12 month period, then the artist isn’t gonna see any streaming income from that song at all.
Miles Bloxson: That’s crazy. I thought $0 was nothing. But this sounds a lot worse.
Elizabeth McQueen: Yeah, I mean, it’s wild. It’s like the music industry is growing and it’s mostly growing because of streaming, but because of the way streaming is monetized, a lot of artists don’t see much income and it’s super confusing to try and figure out how the money is even being distributed.
Miles Bloxson: Yeah. And most artists have streaming subscriptions, so I wonder how many artists don’t even [00:09:00] make enough money from streaming to cover those subscriptions.
Elizabeth McQueen: Whoa.
That’s actually a very heavy thought. Miles.
Miles Bloxson: But it’s not all doom and gloom. I mean, some people are making some money from streaming like Walker.
Walker Lukens: My name is Walker Lukins. I’m a musician, and I, uh, have a podcast as well.
Miles Bloxson: You’ve heard from Walker on this podcast before. And like he said, he has a podcast of his own, it’s called Song Confessional and KUT and KUTX studios distributes it.
The song Confessional podcast is part of a larger song confessional project that Walker and his friend Zach Catanzaro started.
Elizabeth McQueen: We’ll, let Walker tell you about it.
Walker Lukens: Song confessional. We collect anonymous stories. We call them confessions. We go to like events, music festivals, state fairs, all sorts of stuff. People hire us, we come, we set up. People come into our confessional trailer and it’s all anonymous and they tell us stories.
[00:10:00] Then me and the song Confessional Crew, we choose our favorite ones. We give them to songwriters and bands who then will write and record a song.
Elizabeth McQueen: So how many songs has song confessional put out?
Walker Lukens: I think like 75.
Elizabeth McQueen: And do you consider song confessional, like a label y?
Walker Lukens: Yeah. I mean, we didn’t set out to start a label. We just sort of fell into having one. But yeah, it’s, it’s, it’s a label. Yeah.
Elizabeth McQueen: And you’ve had a couple of songs that like really hit.
Mm-hmm. So could you tell people about that? Yeah, so we’ve had four songs kind of get into the next tier of streaming where they just have a natural, like, they have their own inertia. So like they, they get added to new playlists, not through any effort of our own.
They’re getting streamed by new people. You know, they’re just actually finding new [00:11:00] listeners regularly.
Miles Bloxson: How many streams have those songs gotten?
Walker Lukens: Um, probably like a hundred million streams if Whoa. Between a hundred.
Like all told, all to all the services, like between a hundred million. I mean, not each, I’m talking about all of them together between like a hundred and 150 million. That’s still a lot. Yeah. Yeah. That’s a lot. That’s like successful. Yeah, I mean, it’s, it’s not, it’s four of 75, it’s four different artists and it’s, it’s not, yeah, so it’s not the traditional thing.
Miles Bloxson: The song Confessional Track that’s Gotten the Most Streams is a song by Wild Child called Going In. This has over 43 million streams on Spotify,
Elizabeth McQueen: But like Walker said, not every song gets that amount of streams.
Walker Lukens: We took some confessions last March at Schultz Garden. We chose one, [00:12:00] we put it out, and then a bunch of people submitted songs. So our winner was, we chose this song to Sunglass Town by Brittany Binowski, who hadn’t really released any music prior to that.
She’s not, she’s like. Has not really done music with any seriousness for a couple years. It has, it came out March 1st, I think, and it has 8,000 streams.
Miles Bloxson: So song confessional songs get anywhere from 8,000 to 43 million streams and song confessional.
Elizabeth McQueen: and song confessional. The label has a deal with the artists who write the songs that they put out. They pay for the recording, so they take a hundred percent of the mechanical royalties until they cover the cost of that recording.
Then they split the mechanical royalties with the artist 50 50. The artist keeps 100% of the songwriting royalties.
Miles Bloxson: And song confessional also has a deal with the distributor.
Walker Lukens: The song confessional label uses a company called one RPM for distribution. And basically what that [00:13:00] means is, uh, we, they upload our music to all the streaming platforms and they actually even offer physical distribution too.
Elizabeth McQueen: One RPM gives song confessional in advance. Then one RPM takes a hundred percent of the income from the mechanical royalties until they recoup or get all the money back from that advance. After that one RPM takes 20% of the income from the mechanical royalties song confessional and the artist get their cut of the remaining 80%.
Miles Bloxson: And if Song, confessional song, and if the song, confessional song does well, like the Wild Child song, then everyone song Confessional the Artist and one RPM makes some money.
Elizabeth McQueen: So there is a way to make money streaming.
Walker Lukens: Yeah.
Elizabeth McQueen: Like through streaming y
Walker Lukens: Yeah, definitely.
Elizabeth McQueen: Walker told us he also makes streaming income from his own music and from music where he has a songwriting credit
Walker Lukens: Last year I made from Stream me personally, so not song confession, not business, but just me. I made [00:14:00] like probably like 15 grand.
so that’s songs that I wrote, songs that I wrote with other people, and songs that I released or covers, I released.
So you could buy a car with that.
Miles Bloxson: and Walker. He sees the issues with streaming, but he also sees the benefits of it.
Elizabeth McQueen: There’s this general sense that streaming is like. Not great for artists. Yeah. But you and I, you and I have talked about it. Yeah.
And you have kind of like a more complex, you have more complex thoughts, I feel like. Yeah.
Walker Lukens: I mean, I don’t think it’s fair to say it’s not good for the artists. Uh, it’s, yeah. I don’t, I don’t think that’s fair. It’s not that simple one, because artists are also consumers. And for consumers streaming rules, we have everything at our fingertips.
And if you’re an [00:15:00] artist, you are a consumer and you’re inspired by what you hear. So to say that it’s all bad is like, is being a little, it’s, there’s a little cognitive dissonance there. ’cause I’m like, I don’t know anyone who doesn’t listen to streaming.
I mean, I, I think in that way, streaming is amazing.
And to say that it’s not an incredible resource, it’s really wild. Uh, I also think that. The music industry has always sucked. It’s always been bad. We’ve always been getting taken advantage of. You know, the, my favorite little quote is, I saw Ian Mackay give a talk from Fugazi, and he just said, music is water.
Like we’re talking about the container, we just sell you the container.
Elizabeth McQueen: Walker made it clear that he’s not totally pro streaming. He knows that the way people get paid for streaming is not great, but he thinks there’s a way to make things. Right.
Walker Lukens: I mean, that part, I, it’s [00:16:00] the fix is simple, right? We have no protections for musicians and the streaming rate should be higher. It’s just that simple in terms of the fix to, to the streaming services.
Like there should just be a national law and it should go up to a penny or whatever, you know?
Elizabeth McQueen: Actually, there was a bill introduced in 2024 by Rashida TB and Jamal Bowman in the US House of Representatives.
It’s called the Living Wage for Musicians Act. It was developed in collaboration with the United musicians and allied workers, and it proposes to pay artists a minimum of a penny per stream
Miles Bloxson: According to the United Musicians and Allied Workers website, this would be paid for by an additional subscription fee and a 10% levy on non-subscription revenue.
Elizabeth McQueen: We’ll have the link in the show notes if you wanna learn more about this possible solution.
Miles Bloxson: Coming up after the break, we’ll hear from one Austin artist who wants to build an alternative to streaming platforms.
Elizabeth McQueen: Welcome back to Pause. Play a podcast about live music, [00:17:00] why it matters, and what comes next.
In this episode, we’re looking at the future of streaming.
Miles Bloxson: Before the break, we heard about a bill that would raise streaming revenue to a penny per stream.
Elizabeth McQueen: And now we’re gonna hear from one Austin artist who’s hoping to build an alternative to streaming services as we know them. Meet Lauren.
Lauren Bruno: Hi, I am Lauren Bruno.
I am an artist, a nonprofit director of $3 shows and the founder of Prosper xo.
Elizabeth McQueen: Lauren moved here in 2009 after graduating from Berkeley College of Music, and she came here like so many people do to play live music.
Miles Bloxson: She arrived here with an eight piece band called Polly Sky, and soon after a friend of the band suffered a tragedy.
Lauren Bruno: When I moved here, there Was a band called Bankrupt in the Borrowers. They went through a house fire and their trumpet player, John Petti, passed away in the house fire.
And you know, the band that I was [00:18:00] with, we, we knew at that time we wanted to start an organization that connected the arts community with the social issues community. We were just trying to figure out how that was gonna begin. And then this house fire happened and they needed to raise funds for the funeral and they wanted to support Sims Foundation.
And so it all came together and our backyard. And we had our first, um, $3 show, which is the organization that I have been directing for a really long time.
Miles Bloxson: $3 shows is a nonprofit that $3 shows is a nonprofit that throws shows where the entry fee is only $3.
Each show raises money for a different Austin nonprofit.
Elizabeth McQueen: Lauren played with Polly Sky for a while and then she started another band called Les Rav
Lauren Bruno: I did find some success in performing. But to be honest, I always found myself spending more money than making money.
Miles Bloxson: She did find success in sync licensing,
Lauren Bruno: The main way to be [00:19:00] honest, that I, I made money in my career as a musician, was getting my music into film and video games.
but. I did reach a point where it was not sustainable. Right. Entirely.
Elizabeth McQueen: When Lauren came to town in 2009, streaming was in its infancy. Most people made CDs and sold them at shows or through a distributor, and I was making records in 2009 and making money with recorded music.
It was just easier to wrap your head around. Most artists in Austin are independent, meaning they’re not signed to labels and they put out music by themselves.
and the math, it was like simple. So say it took $10,000 to record a record, you know, pay for studio time, pay the band, pay the graphic designer and say each CD costs you $2 to reproduce.
And say you sold your CDs at your shows for $10, maybe you got $5 from a distributor. So you could calculate more or less how many CDs you would need to sell to make your money [00:20:00] back. It was like kind of easy addition and then division, do a little math and you knew you had to sell around 1500 records to make your money back.
Miles Bloxson: That is so much easier than trying to figure out this streaming thing.
Elizabeth McQueen: Yeah, I know. And to be clear, a lot of times people did not make their money back, but they had a sense of how it all worked. And you know, now that’s not the case.
Miles Bloxson: and there’s more,
Elizabeth McQueen: do either of, you know, how many songs a day are uploaded to streaming services?
Miles Bloxson: Oof. I maybe like 3000. We should find that out.
Elizabeth McQueen: I do know the answer to this, you guys. I’m so excited. It’s 99,000. Oh wow. A day. Oh my God. I just got the chills. I did not know. That’s statistic.
Oh my gosh. So almost a hundred thousand songs are uploaded to streaming services a day.
Miles Bloxson: So when you put out music, you’re competing with a huge amount of other [00:21:00] music.
Elizabeth McQueen: and like we talked about earlier, when it’s all said and done, artists make about a third to a half of a penny per stream.
Lauren Bruno: To even make minimum wage, you have to have 800. Thousand streams a month
Elizabeth McQueen: And there was something else that bothered Lauren about how we do streaming,
Lauren Bruno: I started learning about streaming and the reality of data.
So something we didn’t touch on yet is that, you know, when an artist uploads their music to a platform like Spotify, you know, Spotify owns 95% of that data and what they use that data for in, in simple terms, the granular raw data is to incur more revenue, uh, through sponsorship and add placement. , And that granular data holds a lot of power because that’s all about your audience as an artist.
I mean, down to, you know, location and emails and just behavior and mood. And, you know, [00:22:00] Spotify has most of that on lock.
Elizabeth McQueen: But artists don’t have access to all that data. Spotify for artists lets them see some of it in broad strokes, but the majority of that granular data isn’t available to artists.
Miles Bloxson: So if you’re an artist with music on a streaming platform, you are like one small part of this huge amount of music that’s being released and it’s hard to make much money on your music and you don’t even have full access to your own data.
It’s understandable that so many artists feel discouraged.
Elizabeth McQueen: And Lauren, she felt like she wanted to do something about it.
Lauren Bruno: I was led to a place also just in terms of seeing what the industry was experiencing. You know, artists giving up, friends of mine, giving up, uh, friends of mine, taking their lives, you know, really hearing at the ground level that this was no longer a sustainable path.
And, and seeing it, [00:23:00] you know, in my friends.
But it just reached a point when I started learning more about the realities of where the industry is at, and then hearing that statistic that 61% of musicians in America are living below the poverty line.
I knew enough where it was just like, I can’t not do anything,
There’s a lot going on in the industry that society doesn’t really know, but also artists themselves aren’t really aware of. So for me, it began as in that mind frame of I, I called Prosper XO a movement, right?
Because first and foremost what I feel is most important is, again, education and listening. So, you know, and then the whole, the whole aspect of the technology is we came to a point where it, we need to build tools, solutions, we need to go towards solutions because we could talk about this all day long, but if we’re not going towards solutions, you know.
Where were we gonna be left at?
Elizabeth McQueen: That’s [00:24:00] why a couple of months ago, the idea of Prosper XO was born.
Miles Bloxson: Lauren said that she sees Prosper XO as an artist centered tool. And there are a couple of different things that Lauren wants to accomplish with Prosper xo.
First off, she wants to look into other ways of getting money into the hands of musicians.
Lauren Bruno: When I was working with the $3 shows, what I was seeing that was really incredible was, sponsors wanting to directly sponsor artists. So for $3 shows in our sponsorship deck, we had that as an option as. A sponsor just directly sponsoring an artist.
Elizabeth McQueen: So Prosper XO could be a tool that connects artists with local sponsors.
Lauren Bruno: I mean, we all know how supportive and like loving the local business here in Austin is of, of supporting artists.
Miles Bloxson: And Prosper XO could also be a way for musicians to have more access to their own data and to reframe how they think of data.
Lauren Bruno: The data [00:25:00] is important, but first party data is different from third party data, right?
So all of this data that’s on these platforms, it’s called third party data, right? And most of it has to do with the granular, raw numbers, but first party data. A lot of it can be about like, an artist likes to work with mental health organizations or their lyrics, or, there’s so much in the world of data that you can learn about an artist and look at it in a different perspective.
That is even more valuable than numbers.
Elizabeth McQueen: And Lauren Envisions legal help as a part of Prosper XO as well.
Lauren Bruno: The other piece too was within this tool that we’re building is we could put everybody together, but if they’re not protected,
what is it gonna matter? So there’s a legal aspect to all of it
Miles Bloxson: Prosper is only at the very beginning of their journey and they’ve done some things that you can check out.
Sarah: So we just released open letters to the global music industry and the [00:26:00] Austin Music Industry, uh, and to artists.
Elizabeth McQueen: You can read those on their website. There’s a link in the show notes.
Lauren Bruno: And then we also released our surveys. They’re really about listening and learning about what artists are experiencing, not just artists, brands, industry, fans, community.
Um, they’re really short, but it’s, it. Again, we wanna start with listening.
Miles Bloxson: We’ll have the links to the surveys on the show notes page as well. And they’re gathering people together in real life.
Lauren Bruno: All of this is online, right? We think it’s very important to remain in person too. And continue the conversation in that way. So we started these monthly meetups that will be happening at Capital Factory and those, you know, we want for networking, we want to start conversations with people that are already really active in building resources or already have made steps towards solution and change.
Elizabeth McQueen: Lauren told us she [00:27:00] sees Prosper XO being built out in five stages.
Lauren Bruno: You know, phase five, I’d like to build an alternative to Spotify. Spotify, I realize the name. Let’s collaborate. Let’s build a better alternative together.
Miles Bloxson: It’s not clear what will happen next, but maybe Lauren and the team at Prosper XL will make something that works better for artists.
Lauren Bruno: Think for me it was like, these platforms have us all in a choke hold. It’s time to create something different, that really gives more empowerment and equity to the artist, because here’s the thing, , without the artist, where would these platforms be? You know? And so it really was that moment where I was like, okay, like.
It’s time to build the solution. And we’re gonna start taking steps towards that.
Elizabeth McQueen: we wanna thank Lauren and Walker and Carrie and Tribe Mafia for talking to us about streaming and after all of this miles, what do you [00:28:00] think about the future of streaming?
Miles Bloxson: Ah, I’m so conflicted, Elizabeth because I literally use streaming every single day. I mean, I pretty much, I think I’m signed up for almost every single platform, which I need to go check my account for that, but that’s neither here nor there. But I still feel like as the consumer, I’m getting the better deal than the artist.
I’m consuming their music on a daily basis. They’re setting my frequency every time I get in my car when I’m out and about with my friends, and we’re using our Bluetooth speakers and we can, we have access to all of this music at our very fingertips, but the artist is not getting paid the amount of money that they should for what I’m consuming.
So I just wish that we had something out there that was, you know, better for them to make a living and to continue making music.
Elizabeth McQueen: I totally agree. I mean, like you said, I also use streaming all the time, and I agree with Walker that from an artist’s perspective, having access to so much music, so much [00:29:00] inspiration is like a great thing.
But yeah, these platforms are just better for consumers than they are for creators. And I also kind of have this hunger for something else. I think if there was an alternative out there, I would definitely use it. Something that treated artists better. Right now there’s really not, you know, other than just like not using streaming at all.
But I really hope that in the future there is a platform that treats artists a lot better than these platforms do.
In the next episode we’ll be talking about AI and music and we wanna hear from you, how do you feel about AI and music?
Miles Bloxson: You can head on over to our Instagram pauses, play pod and DM us and let us know.
Elizabeth McQueen: we’ll DM you back and you may make it in the episode.
This transcript was transcribed by AI, and lightly edited by a human. Accuracy may vary. This text may be revised in the future.
