Just back from a bit of time out in Zakynthos – much-needed sun, some swims, and a proper chance to stop for a while. I took Mood Machine with me – a book by Liz Pelly that digs into Spotify and how it’s reshaping the music industry. Its by far the biggest digital music platform in the world. It wasn’t the most relaxing holiday read, but it was definitely thought-provoking.
The gist of it is that Spotify pushes a certain kind of listening – mood playlists, algorithm-led recommendations, background music that’s designed not to stand out too much. They call it ‘lean back’ listening, and they actually promote this kind of passive, background playlist listening as a lifestyle choice – calm music for studying, ambient sounds for working, chilled beats for cooking dinner. It’s not about discovering artists so much as curating a vibe. The book makes the point that this approach side-lines musicians in favour of moods – the music becomes functional rather than personal, and the people behind it are often invisible. Instead of encouraging deeper engagement with albums or artistry, it all gets flattened into a stream of anonymous, interchangeable tracks that support the user’s activity, not the artist’s expression. It’s efficient, but it’s not exactly nourishing.
It’s made me think more carefully about how and where I share my music. Like a lot of artists, I’ve had moments of chasing the idea that something might land on a big playlist and suddenly take off – but the odds are slim, and even when it does happen, the impact is often short-lived. One of the biggest frustrations is that if a track does get picked up, it might reach a lot of ears, but I’ve got no way of knowing who those listeners are, or how to keep in touch with them. Spotify holds all of that data – so every time I release something new, I’m basically starting from scratch again. It’s a constant cycle of pushing things out into the void and hoping they stick. And it’s made me realise how much more I value the spaces where I can actually connect with people directly – like here.
What’s becoming clearer is how important real, personal connection is – far more than trying to game the system for a few extra streams. That’s why this newsletter matters to me. If you’re reading this, you’re part of something that feels a bit more direct and honest, and I really appreciate your support.
I’ll post a few holiday photos below (look out for the blank musical score inviting a composition written across the sky), but before I go just a quick heads-up on a couple of upcoming things too:
🎹 Thursday 20th June – back underground and in the dark in the Victoria Tunnel for a solo show. It’s a unique place to play – quiet, atmospheric, and always a bit special.
🎹 Thursday 4th July – hosting Paul Taylor at my studio at 36 Lime Street. Paul’s an amazing improvising pianist whose work is full of subtlety and surprises – I’m really looking forward to hearing what unfolds (more details about him coming soon)
Tickets for both of those shows are on sale now at https://www.ticketsource.co.uk/steve-luck-music
More soon – and thanks again for sticking with me.
Steve
