spotify – Pertinent Observations

This year on Spotify

I’m rather disappointed with my end-of-year Spotify report this year. I mean, I know it’s automated analytics, and no human has really verified it, etc. but there are some basics that the algorithm failed to cover.

The first few slides of my “annual report” told me that my listening changed by seasons. That in January to March, my favourite artists were Black Sabbath and Pink Floyd, and from April to June they were Becky Hill and Meduza. And that from July onwards it was Sigala.

Now, there was a life-changing event that happened in late March which Spotify knows about, but failed to acknowledge in the report – I moved from the UK to India. And in India, Spotify’s inventory is far smaller than it is in the UK. So some of the bands I used to listen to heavily in the UK, like Black Sabbath, went off my playlist in India. My daughter’s lullaby playlist, which is the most consumed music for me, moved from Spotify to Amazon Music (and more recently to Apple Music).

The other thing with my Spotify use-case is that it’s not just me who listens to it. I share the account with my wife and daughter, and while I know that Spotify has an algorithm for filtering out kid stuff, I’m surprised it didn’t figure out that two people are sharing this account (and pitched us a family subscription).

According to the report, these are the most listened to genres in 2019:

Now there are two clear classes of genres here. I’m surprised that Spotify failed to pick it out. Moreover, the devices associated with my account that play Rock or Power Metal are disjoint from the devices that play Pop, EDM or House. It’s almost like Spotify didn’t want to admit that people share accounts.

Then some three slides on my podcast listening for the year, when I’ve overall listened to five hours of podcasts using Spotify. If I, a human, were building this report, I would have dropped this section citing insufficient data, rather than wasting three slides with analytics that simply don’t make sense.

I see the importance of this segment in Spotify’s report, since they want to focus more on podcasts (being an “audio company” rather than a “music company”), but maybe something in the report to encourage me to use Spotify for more podcasts (maybe recommending Spotify’s exclusive podcasts that I might like, be it based on limited data?) might have helped.

Finally, take a look at my our most played songs in 2019.

It looks like my daughter’s sleeping playlist threaded with my wife’s favourite songs (after a point the latter dominate). “My songs” are nowhere to be found – I have to go all the way down to number 23 to find Judas Priest’s cover of Diamonds and Rust. I mean I know I’ve been diversifying the kind of music that I listen to, while my wife listens to pretty much the same stuff over and over again!

In any case, automated analytics is all fine, but there are some not-so-edge cases where the reports that it generates is obviously bad. Hopefully the people at Spotify will figure this out and use more intelligence in producing next year’s report!

More On Direct Listings

Regular long-time readers of this blog might know that I’m not a big fan of IPO pops (I’ve written about them at least four times so far: one, two, three and four). You can think of this as Number Five, though this is specifically about Direct Listings.

In case you don’t have patience to click through and read my posts, what is the big deal about direct listings? And what is the problem with traditional IPOs? To put it simply, companies looking to raise capital through IPOs are playing a one-time game (you only do an IPO once), while companies that are investing in them are playing a repeated game (they participate in pretty much every IPO that comes on the market – ok may be not WeWork).

This means that investment banks, which stand between the buyer and the seller in such cases, have an incentive to structure the deal to favour the (repeated) buyers, and they price the IPO conservatively. This means that when the company actually lists on the market, it usually does so at a price higher than the IPO price, resulting in a quick win for the IPO investors.

This is injurious for the original investors in the company (founders, VCs, employees) since they are “leaving money on the table”. A pop of 10-20% is considered fair game (a price for the uncertainty on how the market will react to the IPO), but when MakeMyTrip lists 60% higher, or Beyond Meat lists 160% up, it is a significant loss to the early shareholders.

Over the last few months (possibly after the Beyond Meat IPO), Silicon Valley has woken up to this problem of the IPO pop, and suggested that the middleman (equity capital markets divisions of investment banks) be disintermediated from the IPO process. And their vehicle of choice for disintermediation is the direct listing.

A direct listing is what it is. Rather than raising fresh capital from the market, the company picks an auspicious date and declares that on that date its stock will list on the exchanges. The opening auction in the exchange on that day sets what is effectively the IPO price, and the company is public just like that.

Spotify was among the first well-known companies in recent times to do a direct listing, when it went public in 2018. Earlier this year, Slack did a direct listing as well. Here is Benchmark Capital’s Bill Gurley (a venture capitalist) on the benefits of a direct listing.

Direct Listing is all well and good when a company doesn’t have to raise capital. The question is how do you go public while at the same time raising capital (which is what a traditional IPO does)? Slack and Spotify were able to do the direct listing because they didn’t want capital from the IPOs – they just wanted to offer liquidity to their investors.

The New York Stock Exchange thinks it can be done, and has proposed a product where companies can use the opening daily auction to price the new shares being offered. There are issues, of course, about things like supply of shares, lock-ups, price support and so on, but the NYSE thinks this can be done.

NYSE’s President Stacey Cunningham recently appeared on the a16z podcast (again run by a VC, notice!) and spoke eloquently about the benefits of direct listing.

The SEC (stock regulator in the US) isn’t very happy with the proposal, and rejected it. Traditional bankers are not happy with the NYSE’s proposal, either, and continue to find problems with it (my main source of this angst is Matt Levine, who is a former ECM Banker and who thus has solid reasons as to why ECM Bankers should exist). In any case, the NYSE has refiled its proposal.

So what is the deal with direct listings?

In a way, you can think about them as a way to simply disintermediate the market. The ECM Banker, after all, is a middleman who stands between the buyer (IPO investor) and seller (company raising capital), helping them come up with a smooth deal, for a fee. The process has been set for about 40 years now, and has become so stable that the sellers think it has become unfair to them. And so there is the backlash.

Until now, the sellers were all independent entities with their own set of investors, and so they were unable to coordinate and express their displeasure with the IPO process. The buyers, on the other hand, play the game repeatedly, and can thus coordinate among themselves and with the middlemen to give themselves a sweet deal.

The development in this decade is that the same set of VC investors invest in a large number of go-to-public companies, and so suddenly you have sellers who are present across deals, and that has changed the game in a sense. And so direct listings are on every tech or investing podcast.

Among the things I wrote in my book (which came out a bit over two years ago) is that one important role that middlemen play is to reduce uncertainty and volatility in the market.

One concern with direct listings is that there can be a wide variation in the valuations by different players in the market, and the opening auction is not an efficient enough process to resolves all these variations. The thing with the Spotify and Slack listings was that there was a broad consensus on the valuation of these companies (more in line with public company valuations), a set of investors who wanted to get in and a set of investors who wanted to get out. And so it all went smoothly.

But what do you do with something like WeWork? The problem with private market valuations is that with players like SoftBank, they can be well divorced from market realities. In WeWork’s case, the range of IPO valuations that came up differed by an order of magnitude. And that kind of difference is not usually reconcilable in one normal opening auction (imagine a bid of 8 billion and an ask of 69 billion, and other numbers somewhere in between) without massive volatility going forward. In that sense, the attempted traditional IPO did a good job of understanding demand and supply and just declaring “no deal”. “No deal” is usually not an option when you do a direct listing.

OK I’ve written a lot I know (this is already 2X the length of my usual blog posts), so what do I really think about IPOs? I think all this talk about direct listings will shift the market ever so slightly in favour of the sellers. Companies will follow a mixed strategy – well known companies (consumer brands, mostly) with stable valuations will go for direct listings. Less well known companies, or those with unstable valuations will go for IPOs.

And in the latter case, I predict that we will move closer to a Dutch auction (like what Google did) among the investors rather than the manual allocation process that ECM bankers indulge in nowadays. It will have the benefit of large blocks being traded at time zero, at a price considered fair by everyone, and hopefully low volatility.

Lullabies and walled gardens

There’s still a bit of walled gardens going on in the device and voice control space. About two years ago, in London, we acquired an Amazon Echo, and found that Alexa voice assistant could be used to play songs through either Spotify or Amazon Music, but not through Apple Music, which we then used.

And so, we got rid of Apple Music and took a subscription to Spotify. And among the things we would make Alexa do was to play the daughter’s lullabies on Spotify. And that is how, at the age of two, Berry spoke her first complete sentence, “Alexa, use Spotify to play Iron Man by Black Sabbath”.

We don’t have that Echo any more, and as a household are in a complete “apple ecosystem” as far as devices are concerned. Two Macs, two iPhones, an iPad and now a pair of AirPods. However, we had quite got used to Spotify and its playlists and its machine learning, and even though the India catalogue is nowhere as good as the one in the UK, we continued our subscription.

However, bands such as Black Sabbath, Led Zeppelin and Iron Maiden are critical for us, not least because their songs are part of the daughter’s sleeping portfolio. So we need something other than Spotify. And then we discovered that in India, Amazon Prime Music comes bundled with the Amazon Prime membership. And so we created the daughter’s sleeping playlist there, and started using it for bands not available on Spotify.

It was an uncomfortable arrangement, not least because Amazon Music is a terrible software product. Since family subscriptions are still not a thing with Spotify India, during periods of deep work the wife and I would fight over who would get Spotify and who had to make do with Amazon Music.

And then there is voice. Being in a complete Apple EcoSystem now, we found that Siri couldn’t control Spotify or Amazon Music, and for seamless voice experience (especially given I use it in car, using Apple Carplay) we needed Apple Music. And given how painful Amazon Music is to use, I thought spending ?149 a month on Apple Music Family Subscription is worth it, and took the subscription yesterday.

Since then I’ve been happily using it using voice control on all devices. Except until an hour back when I was putting the daughter to sleep. She requested for “baby has he”, which is her way of saying she wants Iron Man by Rockabye Baby (rather than by Black Sabbath). And so I held down the home button of the iPad and barked “play lullaby renditions of Black Sabbath”.

I don’t know what Siri interpreted (this is a standard command I’d been giving it back in the day when I used to exclusively use Apple Music), but rather than playing Lullaby Renditions of Black Sabbath, it played some “holy lullabies”, basically lullaby versions of some Christian songs. I tried changing but the daughter insisted that I let it be.

And so she kept twisting and turning in her bed, not going to sleep. I soon lost patience. Abandoning voice, I opened the iPad and switched from Apple Music to Spotify, where I knew the Rockabye Baby album was open (from last night – we hardly use the iPad otherwise nowadays), and started playing that.

Before Iron Man was halfway through, the daughter was fast asleep.

Taking Intelligence For Granted

There was a point in time when the use of artificial intelligence or machine learning or any other kind of intelligence in a product was a source of competitive advantage and differentiation. Nowadays, however, many people have got so spoiled by the use of intelligence in many products they use that it has become more of a hygiene factor.

Take this morning’s post, for example. One way to look at it is that Spotify with its customisation algorithms and recommendations has spoiled me so much that I find Amazon’s pushing of Indian music irritating (Amazon’s approach can be called as “naive customisation”, where they push Indian music to me only because I’m based in India, and not learn further based on my preferences).

Had I not been exposed to the more intelligent customisation that Spotify offers, I might have found Amazon’s naive customisation interesting. However, Spotify’s degree of customisation has spoilt me so much that Amazon is simply inadequate.

This expectation of intelligence goes beyond product and service classes. When we get used to Spotify recommending music we like based on our preferences, we hold Netflix’s recommendation algorithm to a higher standard. We question why the Flipkart homepage is not customised to us based on our previous shopping. Or why Google Maps doesn’t learn that some of us don’t like driving through small roads when we can help it.

That customers take intelligence for granted nowadays means that businesses have to invest more in offering this intelligence. Easy-to-use data analysis and machine learning packages mean that at least some part of an industry uses intelligence in at least some form (even if they might do it badly in case they fail to throw human intelligence into the mix!).

So if you are in the business of selling to end customers, keep in mind that they are used to seeing intelligence everywhere around them, and whether they state it or not, they expect it from you.

Amazon and Sony Liv

Amazon is pretty bad at design of products they’re not pioneers in. They’ve built a great shopping engine (25 years ago) and a great cloud service (15 years ago), but these were both things they were pioneers in.

Amazon being Amazon, however, they have a compulsive need to be in pretty much every industry, and so they’ve launched clones of lots of other businesses. However, their product design in these is far from optimal, and the user experience is generally very underwhelming.

Prime Video has a worse user experience than Netflix. The search function is much worse. The machine learning (for recommendations) isn’t great. The X-ray is good, but overall I don’t have as pleasant a time watching Prime as I do with Netflix.

However, the degree to which Prime Video is worse than Netflix is far far smaller than the degree to which Amazon Music is worse than Spotify. The only thing going for Amazon Music (which I only use because it comes free with my prime delivery membership in India) is that they have inventory.

Spotify in India has been unable to secure rights to a lot of classic rock and metal bands, such as Iron Maiden and Black Sabbath and Led Zeppelin and Dream Theater. And these form a heavy part of my routine listening. And so I’m forced to use Amazon Music (Apple Music has these bands as well, but I have to pay extra for that).

The product (Amazon Music) is atrocious. The learning is next to nothing. After five months of using the service to exclusively listen to Classic Rock and Heavy Metal, and zero Indian music, the home page still recommends to me Bollywood, Punjabi and Tamil stuff! History is not properly maintained. Getting to the album or playlist (the less said about playlists on Amazon, the better) I want takes way too much more effort than it does on Spotify.

In other words, the only thing that keeps Amazon going in businesses they’re not pioneers in is inventory – Prime Video works because it has movies and shows other streaming services don’t have. Amazon Music is used because it has music that Spotify doesn’t.

I figured it is a similar case with Sony Liv, Sony’s streaming service in India. They sit on a bunch of lucrative monopolies, such as rights to broadcasting Test cricket in a lot of countries (all three Test series being played right now are on Sony, for example), Champions League football and so on. Beyond that it’s an atrocity to watch them.

I remember missing a goal in the Liverpool-Porto Champions League quarterfinal because of a temporary power cut. There was no way in the broadcast to go back and see the goal. If I by mistake pause for a couple of seconds, I’m forever behind “live” (unless I refresh). Yesterday during the classic Ashes Test, the app simply gave up when I tried to load the game.

The product is atrocious (actually more atrocious than Amazon Music), but people are forced to use it only because they have a monopoly on content. And in that way, it is similar to Amazon, which can get away with atrocious products only because they have the inventory!

I’m glad the Premier League is on Hotstar, which is mostly a pleasure to watch! (actually back in the day when I had cable TV, the star sports bouquet had significantly superior production values to the sony-zee-ten bouquet)

Voice assistants and traditional retail

Traditionally, retail was an over-the-counter activity. There was a physical counter between the buyer and the seller, and the buyer would demand what he wanted, and the shopkeeper would hand it over to him. This form of retail gave greater power to the shopkeeper, which meant that brands could practice what can be described as “push marketing”.

Most of the marketing effort would be spent in selling to the shopkeeper and then providing him sufficient incentives to sell it on to the customer. In most cases the customer didn’t have that much of a choice. She would ask for “salt”, for example, and the shopkeeper would give her the brand of salt that benefited him the most to sell.

Sometimes some brands would provide sufficient incentives to the shopkeeper to ensure that similar products from competing brands wouldn’t be stocked at all, ensuring that the customer faced a higher cost of getting those products (going to another shops) if they desired it. Occasionally, such strategies would backfire (a client with extremely strong brand preferences would eschew the shopkeeper who wouldn’t stock these brands). Mostly they worked.

The invention of the supermarket (sometime in the late 1800s, if I remember my research for my book correctly – it followed the concept of set prices) changed the dynamics a little bit. In this scenario, while the retailer continues to do the “shortlisting”, the ultimate decision is in the hands of the customer, who will pick her favourite among the brands on display.

This increases the significance of branding in the minds of the customer. The strongest incentives to retailers won’t work (unless they result in competing brands being wiped out from the shelves – but that comes with a risk) if the customer has a preference for a competing product. At best the retailer can offer these higher-incentive brands better shelf space (eye level as opposed to ankle level, for example).

However, even in traditional over-the-counter retail, branding matters to an extent when there is choice (as I had detailed in an earlier post written several years ago). This is in the instance where the shopkeeper asks the customer which brand she wants, and the customer has to make the choice “blind” without knowing what exactly is available.

I’m reminded of this issue of branding and traditional retail as I try to navigate the Alexa voice assistant. Nowadays there are two ways in which I play music using Spotify – one is the “direct method” from the phone or computer, where I search for a song, a list gets thrown up and I can select which one to play. The other is through Alexa, where I ask for a song and the assistant immediately starts playing it.

With popular songs where there exists a dominant version, using the phone and Alexa give identical results (though there are exceptions to this as well – when I ask Alexa to play Black Sabbath’s Iron Man, it plays the live version which is a bit off). However, when you are looking for songs that have multiple interpretations, you implicitly let Alexa make the decision for you, like a shopkeeper in traditional retail.

So, for example, most popular nursery rhymes have been covered by several groups. Some do the job well, singing the rhymes in the most dominant tunes, and using the most popular versions of the lyrics. Other mangle the tunes, and even the lyrics (like this Indian YouTube channel called Chuchu TV has changed the story of Jack and Jill, to give a “moral” to the story. I’m sure as a teenager you had changed the lyrics of Jack and Jill as well :P).

And in this situation you want more control over which version is played. For most songs I prefer the Little Baby Bum version, while for some others I prefer the Nursery Rhymes 123 version, but there is no “rule”. And this makes it complicate to order songs via Alexa.

More importantly, if you are a music publisher, the usage of Alexa to play on Spotify means that you might be willing to give Spotify greater incentives so that your version of a song comes up on top when a user searches for it.

And when you factor in advertising and concepts such as “paid search” into the picture, the fact that the voice assistants dictate your choices makes the situation very complicated indeed.

I wonder if there’s a good solution to this problem.

Songs for sleeping

As I write this, Berry is fast asleep next to me. It took a long time, and a fair amount of effort, to get her to sleep, as has become the routine everyday. Finally, she fell asleep as Pink Floyd’s Comfortably Numb was playing. This was no coincidence. This is part of a careful sleeping routine I’ve developed over the last month.

It started with a bit of what I can describe as “reinforcement learning”. We were on the way to the airport sometime last month and Berry was getting cranky in the cab, so I started singing to her. On a whim I started singing Pink Floyd songs (maybe because I know the lyrics of a lot of them). She passed out halfway through Wish You Were Here. A couple of hours later on the flight, she felt drowsy during the same song, and then slept when I started singing Comfortably Numb.

So every time I found that she would sleep to a particular song, I started singing that the next time I was putting her to sleep. Obviously it didn’t work like that – her falling asleep was a random event, which I chose to infer was a cause of my singing. And I’m someone who gives lectures on not mistaking correlation for causation.

Singing got tiring, so soon enough I had created a playlist. The playlist to which she invariably falls asleep every day nowadays is called “lullabies“.

Here is what it looks like.

Now, you might just think that it’s a random list of Pink Floyd songs, with one LedZep song thrown in. It’s not. The songs have all been carefully selected.

The first set of songs have been chosen because they are heavy on lyrics, don’t have long instrumentals and are easy to sing along to. These are songs that play when Berry is about to fall asleep, and I sing them while patting her. And invariably she falls asleep during this time.

The next few songs are long soothing songs, that will keep her asleep until she gets into deep sleep. As I write this, Atom Heart Mother is playing.

But getting Berry to sleep is not easy. I don’t start the evening with these lullabies – they come in only when I know that Berry is sufficiently sleepy and will sleep in the next 10-15 minutes (like the closer in Baseball). When she comes into the bedroom, I start with this playlist that I created a couple of months back, and which I had then named as “Berry’s Education“.

As you can see, Black Sabbath’s Iron Man heads this list. It is Berry’s favourite song. In fact, when she gets on to the bed, she says “has he lost his mind, appa”.

This playlist is not intended for sleeping, and I randomly choose a few songs to play. When Berry gets into the next stage of her slumber, where she is now ready to sleep, but not sleepy enough, she needs some lullabies. And it’s the time for Iron Man again, except this time it’s the version by RockaBye Baby.

This is the song she used to fall asleep to when she was a baby, from the time when she was barely a couple of days old. And from there I let the album play for a while until she is really ready to sleep. Which is when the lullabies playlist takes over.

As you might imagine, having multiple playlists is a pain. I normally use the kinda old iPad4 to play, and changing playlists means entering my passcode, going up one folder and then going into another playlist. You might wonder why I haven’t created one integrated playlist.

The reason is randomness, on two counts. The amount of time Berry takes to pass each stage of sleepiness is variable. So I don’t know how long I will have to play each kind of music. Also, she is moody and the way she reacts to each kind of music is a bit random. So I need to switch back and forth between the kinds of music, and so having multiple playlists is better.

On good days, I will have my phone with me, which makes it easier to switch playlists (one hand operation, touch ID to login etc) – though it’s invariably the iPad that plays the music.

So as you might have figured out, putting babies to sleep is not an easy task, which is why I’m sharing my method with you, in the hope that it might help you. What do you do to make your baby sleep?

Direct listing

So it seems like Swedish music streaming company Spotify is going to do a “direct listing” on the markets. Here is Felix Salmon on why that’s a good move for the company. And in this newsletter, Matt Levine (a former Equity Capital Markets banker) talks about why it’s not.

In a traditional IPO, a company raises money from the “public” in exchange for fresh shares. A few existing shareholders usually cash out at the time of the IPO (offering their shares in addition to the new ones that the company is issuing), but IPOs are primarily a capital raising exercise for the company.

Now, pricing an IPO is tricky business since the company hasn’t been traded yet, and so a company has to enlist investment bankers who, using their experience and investor relations, will “price” the IPO and take care of distributing the fresh stock to new investors. Bankers also typically “underwrite” the IPO, by guaranteeing to buy at the IPO price in case investor demand is low (this almost never happens – pricing is done keeping in mind what investors are willing to pay). I’ve written several posts on this blog on IPO pricing, and here’s the latest (with links to all previous posts on the topic).

In a “direct listing”, no new shares of the company are issued, the stock gets listed on an exchange. It is up to existing shareholders (including employees) to sell stock in order to create action on the exchange. In that sense, it is not a capital raising exercise, but more of an opportunity for shareholders to cash out.

The problem with direct listing is that it can take a while for the market to price the company. When there is an IPO, and shares are allotted to investors, a large number of these allottees want to trade the stock on the day it is listed, and that creates activity in the stock, and an opportunity for the market to express its opinion on the value of the company.

In case of a direct listing, since it’s only a bunch of insiders who have stock to sell, trading volumes in the first few days might be low, and it takes time for the real value to get discovered. There is also a chance that the stock might be highly volatile until this price is discovered (all an IPO does is to compress this time rather significantly).

One reason why Spotify is doing a direct listing is because it doesn’t need new capital – only an avenue to let existing shareholders cash out. The other reason is that the company recently raised capital, and there appears to be a consensus that the valuation at which it was raised – $13 billion – is fair.

Since the company raised capital only recently, the price at which this round of capital was raised will be anchored in the minds of investors, both existing and prospective. Existing shareholders will expect to cash out their shares at a price that leads to this valuation, and new investors will use this valuation as an anchor to place their initial bids. As a result, it is unlikely that the volatility in the stock in initial days of trading will be as high as analysts expect.

In one sense, by announcing it will go public soon after raising its last round of private investment, what Spotify has done is to decouple its capital raising process from the going public process, but keeping them close enough that the price anchor effects are not lost. If things go well (stock volatility is low in initial days), the company might just be setting a trend!