It then collects quantitative data on the presentation of music via a Norwegian service (WiMP/Tidal) and qualitative findings from interviews with consumers about their experiences with music streaming. It examines the provisions for exploration through streaming, pointing to automated algorithms and human curation as key devices. This article argues that the possibility of musical discovery is essential to these services’ distribution model. In essence, streaming services offer subscribers access to vast databases of music, and offer artists new means of exposure and sources of revenue. In Norway, streaming represented 88 percent of digital music revenues in 2014, as opposed to 23 percent globally. Streaming services for music are growing worldwide, and the Nordic countries are leading the way. The positive value of ‘forward’ is critically examined with feminist theory and the failed music lis-tening moments are discussed in terms of emotion and space.
The article is based on autoethnographic material of mobile music streaming in public and concludes that a forward movement shaped by happiness is one desired result of mobile music streaming. More specifi-cally it discusses what can happen when mobile media technology is used to listen to music in public space and it investigates the interconnectedness of bodies, mu-sic, technology and space. Music listening while moving through public space has previously been studied as a way of creat-ing a private auditory bubble for the individual (Bull 2000 Cahir & Werner 2013) and in this article feminist theory on emotion (Ahmed 2010) and space (Massey 2005) is employed in order to understand mobile music streaming. And within feminist theory materiality, affect and emotions have been de-scribed as central for experienced subjectivity (Ahmed 2012). The importance of understanding gender, space and mobility as co-constructed in public space has been emphasized by feminist researchers (Massey 2005 Hanson 2010). Thus, the book itself became an intervention into the ethics and legal frameworks of corporate behavior. The authors' innovative digital methods earned them a stern letter from Spotify accusing them of violating its terms of use the company later threatened their research funding.
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Spotify Teardown combines interviews, participant observations, and other analyses of Spotify's “front end” with experimental, covert investigations of its “back end.” The authors engaged in a series of interventions, which include establishing a record label for research purposes, intercepting network traffic with packet sniffers, and web-scraping corporate materials.
Spotify was originally praised as an innovative digital platform but increasingly resembles a media company in need of regulation, raising questions about the ways in which such cultural content as songs, books, and films are now typically made available online. Spotify has been hailed as the solution to illicit downloading, but it began as a partly illicit enterprise that grew out of the Swedish file-sharing community. Borrowing the notion of “teardown” from reverse-engineering processes, in this book a team of five researchers have playfully disassembled Spotify's product and the way it is commonly understood. Spotify Teardown contests the tired claim that digital culture thrives on disruption. Yet such disruption always comes at a price. Spotify provides a streaming service that has been welcomed as disrupting the world of music.
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