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Taylor Swift is wrong about Spotify

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Swift’s decision to pull her albums from Spotify doesn’t affect Spotify. It only affects music fans.

Swift says this is “old news.” Months before she pulled her songs from the streaming service last November, she wrote an op-ed in The Wall Street Journal in July explaining why she thinks streaming services like Spotify don’t properly value musicians’ creations.

Spotify, for the record, pays 70% of its revenue to labels, which amounted to roughly $1 billion in payouts last year. But that’s not how artists like Swift see it: When you break it down, labels actually get less than a penny per play, and that’s money going to the labels, not to the artists. So a label would still make less than $1 million off a single song, even if it’s played 100 million times, and the artist would see even less of that money.

It’s unclear how much money Swift actually made from Spotify, but as Buzzfeed pointed out last year, Swift never needed Spotify for the money. She makes most of her money from tours — her most recent one grossed a record $150 million at the box office, and Swift reportedly made $30 million in the first six months.

Of course, people have plenty of other options to listen to Swift’s music: They could buy the physical albums, which is profitable for the artist but not efficient for customers — nobody really listens to CDs anymore, they just import them to computers for later listening. They could also pursue other online outlets like iTunes, Beats Music, Rhapsody, and Pandora.

But Spotify isn’t going away anytime soon.

Even though iTunes has more credit cards on file, Spotify is widely recognized as the most important player in the space right now. Even Apple is jealous: the iPhone maker has reportedly attempted to persuade music labels from breaking ties with Spotify as it preps its own music streaming service.

Spotify gets music: It allows paid subscribers to endlessly binge on music at a reasonable price, similar to Netflix, but it also offers curated content and countless customization options, even for new albums. That’s great for customers who love music, and artists who want their work to be heard.

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Welcome

Welcome to our website! If you have any questions, don’t hesitate to contact us. We can be reached at 615.478.8011 or email at info@bondidesigns.com. Mostly this journal | blog will be about music, Nashville, and the things we love…

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Top Ten Spots To Hear Live Music in Music City

In Nashville, the live music actually starts when you arrive at the airport, where the Tootsie’s Orchid Lounge outpost employs talented performers to entertain those coming and going. That gives you just a taste of what’s in store on Broadway, where every doorway opens to belting sounds of country’s best tunes. In recent years, the city has become just as well known for other genres of music. From rock to jazz to alternative and everything in between, you will find the most artistic musicians in the world playing throughout the city. No matter what your taste, you can find an impressive performance at one of these venues.

10 The Basement
Owned by Mike Grimes, the man behind Grimey’s New & Pre-Loved Music, the Basement showcases live bands six to seven nights out of the week, usually with very reasonable cover charges. The venue is small and intimate, and the talent tends to be newer local or touring bands. ((615) 254-8006)

9 Grand Ole Opry
The top attraction in Music City, The Grand Ole Opry is an American icon. Known as “country’s most famous stage,” what began as a simple radio broadcast in 1925 is today a live-entertainment phenomenon. Providing world-famous entertainment for all ages, The Opry showcases both country music legends and up-and-coming stars. A one-of-a-kind experience, guests come for the memorable shows and unforgettable moments, and are offered a behind-the-scenes look at this famous show on the Opry tours. Each Friday and Saturday night, a backstage glimpse into new and old country history is available, and guests are sure to remember their “opry moments” long after the curtain is closed. (615-871-6779, 800-733-6779)

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Amos Lee | Mission Bell

Recorded in Arizona with Calexico’s Joey Burns producing, Amos Lee’s fourth studio album, 2011’s Mission Bell, finds the singer/songwriter in a thoughtful mood and once again wrapping his soulful folk numbers in country, blues, and soft rock. A ruminative, lazy summer day of an album, Mission Bell is not dissimilar to Lee’s last effort, 2008’s Last Days at the Lodge, but lacks the more contemporary R&B tracks that made Last Days a bit of a departure from Lee’s more granola leanings. Here listeners get the introspective leadoff track “El Camino” and the airy Steve Winwood-sounding ballad “Violin.” Similarly engaging is the jaunty mid-album anthem “Flower,” which is equal parts the Commodores’ “Easy” and Hall & Oates’ “She’s Gone.” It’s a brilliant, joyously melodic number with the only downside being that it only works to remind you how melodically dire the rest of the album is. Which isn’t to say Mission Bell is bad. On the contrary, there is a lot to admire here

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Ghost Stories by Coldplay

since we met Chris Martin 14 years ago, he’s been a trusted emotional shepherd, nudging us to hear the clanging bells, marvel at the stars, glow in the dark, obey our hearts. But what happens when he doesn’t have someone to write all those lush ballads for? 

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