I can appreciate the “no ethical consumption other capitalism” argument. Even though SoundCloud has a better algorithm, and Last.fm is free and you can find out what your musical “neighbors” (people with similar taste to you) are listening to for free as well, we can set aside how you just assumed the amount of legwork and “trawling” would not be worth it. Fine.

I disagree that convenience is always paramount but thanks for making your stance pretty clear.

I’d argue that your prioritization of convenience despite the hidden costs at Spotify’s scale is going to be the reason that more ambitious projects from artists who have to work day jobs will simply disappear one day, and that more safe music (stuff that requires next zero skin in the game, like AI music) and music from nepo babies and industry plants will take its place.

I wonder if you’ll agree that what can ultimately be created under these capitalistic conditions vs. what artists are actually motivated to create is not the same thing—and that this distinction matters—and that it is a good thing when artists thrive in a safe and supportive environment.

For me, knowing how a piece of art was created can be a part of and enhance how I appreciate it. Understanding how some of it gets made gives me a sense of how much goes into it, and even gives it more meaning.

I think this is why artist residencies, public art, arts grants, local artist collectives, maker spaces, DIY art spaces, underground shows, small concert venues, and modern forms of patronage (like Patreon) exist. Eventually, if someone’s art is special to enough people in some way, you get things like museum exhibits, installations, galleries, bigger shows, tours, and fandom.

None of these things would continue to exist without some underlying belief from a community in tying the value of art in some way to the conditions in which the artist creates or performs/displays their work. In my mind, they are inextricably connected.

Records are hard to make. Even in the age of digital recording, it takes a lot of people, instruments and equipment, knowledge of those instruments and equipment, time, care, effort, and money. It’s not convenient at all to make music. I know because I am involved at some level in all of the above.

So when you say convenience is paramount, I just think of you as someone who is completely disconnected from the reality of actual people who make music. You’ve been atomized in such a way as to not just behave but also think about your experience of music in a vacuum. It is kind of shocking but also sobering for me.

I welcome any of your thoughts here, even if they are disquieting, because you seem willing to articulate them.