Tag: comedy

‘I’m Glad My Mom Died’ Bestselling Author Jennette McCurdy Talks Inspiration and Audiobooks

December 11, 2023

As a teen actor, Jennette McCurdy found success when she landed a breakout role on a hit series. She went on to star in several other shows and films, and while she has since retired from acting, she’s found another creative outlet: writing.

In 2022 Jennette released her memoir, I’m Glad My Mom Died. The book details her time as a child actor and the difficult relationship she had with her mother. It was met with critical acclaim, instantly hitting #1 on The New York Times bestseller list where it remained for over 60 weeks.

Audiobook lovers can now pull up Spotify and hear the tales straight from the star in her self-narrated memoir. To celebrate the recent launch of our audiobooks offering for Spotify Premium users in the U.S., U.K., and Canada, For the Record caught up with Jennette to learn more about what she loves about audiobooks and where she finds inspiration.

 

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First, let’s talk about your work. What inspires your writing?

So much of my inspiration comes from personal experience, regardless of whether I’m writing fiction or nonfiction. Nonfiction is obviously going to be personal, but fiction really comes from the same place. It has to matter to me deeply, on a visceral level, in order for me to be as passionate and connected to it. I need it to be in order for me to see a project through for however many months or years it winds up taking. A lot of inspiration also comes from relationships. I’ll be exploring family relationships for the rest of my life.

You narrate the audiobook of I’m Glad My Mom Died. What do you love about audiobooks?

I love that audiobooks add an extra dimension to books. Sometimes, if I really like a book, I’ll then listen to the audiobook to see what, maybe, I didn’t get just through reading. Or understand “How did this person interpret it differently?” I think the delivery of a book says a lot about how somebody interpreted the book.

Is there an audiobook you’ve particularly enjoyed recently?

I listened to Fireworks Every Night recently.

Is there a fictional book character you resonate with?

Honestly, the protagonist, C.C., from Fireworks Every Night. I really resonate with her in a lot of different ways. She came from a lot of dysfunction and she really works to overcome that dysfunction and trauma in the best way that she could, and kind of breaks through it. And the book was written really beautifully.

 

Spotify Premium users in the U.S., U.K., and Australia can now enjoy over 200,000 audiobooks available as part of Spotify Premium subscriptions. Check out Jennette’s memoir and more on Spotify.

 

John Mulaney Slows It Down and Soaks in the Laughs Coming off of ‘Baby J’

October 20, 2023

John Mulaney had only been working in comedy for five years when he landed a role as a writer at Saturday Night Live in 2008. “Hilariously, I felt seasoned when I got to SNL,” he told For the Record. And he may well have been—after four hysterical years, John left the show and went on to create his own stand-up tours, TV series (Big Mouth), and the Broadway show Oh, Hello. He’s renowned for his wit and one-liners, which are what make his most recent special, Baby J, so peculiar and compelling. 

“Baby J” is a “wide-ranging conversation” on John’s life over the past three-plus years following a drug intervention 20 comedian friends held for him. Full of winding stories and recollections, it’s a fast-paced, full-throttle hour full of laughter with a fair bit of cringe. The show is available for streaming on Netflix and the album is available on Spotify. 

John’s an avid lover of audio and is conscientious about the medium as it relates to comedy. He’s also a podcast aficionado, which is how he discovers some of his favorite New York haunted places stories, and a music fan. He recently created a Spotify mixtape featuring the early Sun Ra song “Dreaming,” Television’s “Days,” and Bo Diddley’s “Say Man” that John wants to claim as “the first diss track ever.” 

For the Record had the opportunity to sit down with the comedian for another wide-ranging conversation. 

You spent more than four years working on Saturday Night Live. What are a few of the lessons you learned while writing for the show? 

The biggest thing I learned is that sometimes you have to burn the furniture, which means that if you have a really good idea and you’re saving it for a couple of weeks from now and you’re faced with a show that looks a little light or a host that you’re having trouble coming up with ideas for, sometimes you have to use your best idea right then and there and not save it for the future.

You have to make decisions. When you write a sketch at Saturday Night Live, you’re the producer of it. You’re in charge of the sets, the costumes, the look of it, any pre-tapes, any special effects. And you have a couple hours, max, to make most of the decisions on a sketch, because then you have to get into the actual doing of it. 

This has played out in other career aspects. Just make decisions—you might make the wrong one. What seems to unnerve other people and what seems to shake the confidence of something is when you can’t make decisions. If someone asks you, “This one or that one?” just say, “That one!” You might be wrong, but you have to move forward. A lot of things die on the vine of indecision.

Who are some of your biggest comedic influences and inspirations?

Comedian Taylor Negron. He passed away close to 10 years ago, but he had a monologue he did for The Moth, and it’s about how he had a pet monkey as a kid. It’s really slow. There’s a real presence he has, and a real pace that I love. He even steps back from the microphone during laughs in a way that I’ve always liked. But I’m trying not to rush through things as much, which is what I did for the first 20 or so years. 

But I think about Taylor a lot onstage. His pace has a real warmth to it. I think much less about drawing inspiration from people’s material or their point of view. Just stage presence stuff. That’s always been a little more interesting to me.

That seems to be apparent in your latest work. In your earlier stand-up specials, your bits are often no longer than two minutes. Meanwhile, your Baby J stories consistently clock in over five minutes. Was this an intentional style shift? 

The New in Town special I did for Comedy Central a handful of years ago had a mix of one-minute jokes and then one pretty long story at the end. I followed a model of having these very concise tracks—a way to talk fast if you’re listening while driving and it comes up on shuffle—and then less snappy, big chunks.

And then with Baby J, I found I wanted to string together as many moments as I could per track, because I’ve found that people have a memory for what joke went into what joke. People say, “Wait I remember he went into something else from that!” So if they’re on shuffle, the moments feel cut off. So I tried to keep as much stuff married to each other as possible, to keep all the jokes that were the same orbit as each other together. 

It’s interesting to hear you talk about the way you’ve thought about your work in audio versus filmed. Why do you find it beneficial to have your shows on multiple types of streaming platforms?

There were two things that really marked when I was lucky enough for my career to take off. One was when the New in Town special went to Netflix. The other was when I started to become the second-most-played Pandora station when people would search, say, Jim Gaffigan. And it happened with a few other very big comics at the time. And I just found that a lot of people were listening to the first couple albums that I had because of that. And they were hearing them on shuffle. And I thought, Oh, any of these tracks could be the absolute first introduction someone has to me. Each of these has to talk fast. 

There’s a tendency on comedy albums to shorten laughs after tracks. But to me, I was like, no, I need that person who’s hearing me for the first time to go, “Oh that joke killed. What was that again?” 

Baby J is a departure from some of your previous work when it comes to subject matter. What’s the role of comedy in tackling difficult topics? 

I don’t think about it. All I thought in this one was, I’m looking to make the funniest special possible, and these are the topics. And these are the parts of my life I’m going to share. I did not want to lean on the pregnant pause of “Isn’t this serious?” That bored me, personally. And I wanted to make a really joke-heavy, funny, big production special with this material. I didn’t think the way I presented it was dark; that wasn’t what I was trying to do. I want to get every laugh out of this. I could take out the interesting, eccentric details and make ya just sob. 

In the special, you talk about the most haunted place in New York. What’s the appeal? 

I’ve read a lot about haunted New York, so all my picks are heavily influenced by lists that are online. That vacuum cleaner store on 14th between 5th and 6th, I heard about that on a podcast called The Bowery Boys. It was a boarding house—some heavy poltergeist things happened there. Also, there’s a restaurant called One If By Land—it’s voted the number five most romantic restaurant in the world—and it’s also heavily haunted. People have felt a hand brush the back of their head; people’s jewelry has been snatched off. Really dates back to Olde New York. 

I also just got a tour of the abandoned prison in Joliet, Illinois. When it closed in 2002, it was a max security prison, but when it first opened it was for those convicted of property crimes. Over time, some of Chicagoland’s worst murderers were imprisoned there. I was there touring it, as one does on a Sunday afternoon before a show. And while walking around death row, I thought, This is a heavy place. Why do I always seek these places out? I have a show to do. We’re about to go to lunch. This is a lot of ghost weight to take on.

What’s one of your favorite comedy moments of all time?

Examine Doctors from Nichols & May. There’s a moment in the last track in the album—it’s an outtake of them not being able to get through a bit because they’re laughing so hard. It’s one of my favorite things that’s ever been recorded. It’s just ridiculous and it’s very 1950s, but it’s amazing watching two people who are making each other laugh that hard. I haven’t heard a lot of recordings that really capture what it’s like when you and a friend are making each other laugh so hard. It’s the best. I would like that turned on when I’m dying, if I’m in a hospice situation. 

Spotify is expanding into Audiobooks. Have you listened to anything good lately? 

I listened to Philip Norman’s biography of John Lennon this week while I was traveling. I’m a huge Beatles fan, as billions of people are. Bizarrely, I think so much more about Paul and George’s contribution, but it was really John’s band. It was interesting to think about his career as the leader of the group until about ’66, ’67. Then how he developed an insecurity over his output versus Paul’s. It kind of highlighted a career lull that I can relate to, where you’re killing it, and then you’re not anymore—in your own eyes. And maybe someone else is carrying the workload. And that’s fine, because you just carried it. But it’s not fun because you want to stay at the top of your game. But I can see how huge a power shift in a group like that would be. I just found it really interesting. It’s always interesting to get into the humanity of someone. 

What can fans look forward to?

I plan about three months into the future. I’ll be doing stand-up.  And I’m working on a couple of things. So they’ll be able to expect . . . talking a little slower.

Watch or listen to Baby J, then stream John’s mixtape on Spotify.

Spotify Announces New Original Podcast with Trevor Noah, Launching Later this Year

June 20, 2023

Trevor Noah is one of the most successful comedians in the world and author of the New York Times best-seller Born a Crime: Stories from a South African Childhood. Now he’s bringing his sharp insights to the world of audio with his new Spotify Original Podcast. 

“It’s really exciting to be joining Spotify on a fun new adventure where we’ll engage in interesting and meaningful conversations with some of the world’s most fascinating people,”  says Trevor. “We’ll also probably fix every single issue humankind has ever faced so you definitely want to join us for every episode”

The weekly podcast will blend Trevor’s signature humor and razor-sharp wit with his global perspective to deliver a unique take on the hottest and most captivating topics of the moment. Launching later this year, the series will also feature in-depth and freewheeling conversations between Trevor and some of the most influential and interesting figures around the world. The new original series will be available on numerous platforms and sees Trevor joining Spotify in partnership like many of the most popular podcast creators in the world including Alex Cooper, Louis Theroux, Emma Chamberlain, Dax Shepard, Markiplier, Drew Afualo, Lena Situations, and more.

“Spotify is the ultimate audio destination, and partnering with Trevor Noah, one of the world’s most brilliant and distinctive voices, will make for captivating storytelling that will delight our more than 100 million podcast listeners around the world,” says Julie McNamara Spotify VP, Head of Global Podcast Studios. “We are excited to collaborate with Trevor to create an original podcast that seamlessly combines his unique humor, insightful commentary, and consummate interview skills on a global scale.”

Trevor revealed this news during a conversation with Spotify co-founder and CEO Daniel Ek at Spotify Beach from the Cannes Lions Festival of Creativity in France. In addition to his announcement, Trevor and Daniel discussed navigating different mediums to forge a deeper connection with audiences and how creators can effectively leverage new technologies in an ever-evolving media landscape.

Keep It Light Media Joins Megaphone, and ‘Parenting Hell’ Becomes a Spotify Exclusive

November 8, 2022

a photo of the parenting hell hosts sitting against a wall with toys thrown about

Since 2015, Megaphone has been at the forefront of innovation as one of the world’s leading podcast publishing platforms. Now, Spotify’s Megaphone is expanding with the addition of podcast network Keep it Light Media. 

This partnership means that the podcast network, home to popular shows like Alan Carr’s ‘Life’s A Beach’ and Wolf and Owl, will have its podcasts hosted on Megaphone, and distributed on and off Spotify. Its shows will become part of the Spotify Audience Network, our audio-first advertising marketplace that allows advertisers of all sizes to connect with listeners across a broad range of content on and off Spotify using audience-based targeting tools.

“We are delighted that Keep It Light Media has chosen Megaphone by Spotify as its podcast platform of choice,” shared Chelsea Bradbury, Head of U.K. Publisher Partnerships for Megaphone. “With our differentiated offering for podcast publishers, we’re more than excited to be able to work with Keep It Light Media and its incredible podcast catalog to help grow its business and unlock more advertiser demand.”

Along with this new partnership, Spotify is excited to announce that the Keep It Light Media podcast Parenting Hell, from comedians Rob Beckett and Josh Widdicombe, will become exclusive to Spotify. The show has resonated with listeners, amassing more than 55 million downloads since its launch in 2020. Episodes find Rob and Josh offering funny, relatable takes on their misadventures in parenting. “The best thing about podcasts for comedy is that it’s far more personal and far more immediate than television or radio or all these other things,” explained Josh. “And that’s because you’re actively deciding to put it on, and it feels like a personal experience with the people [hosting].” 

With this new partnership, Parenting Hell will be shared with the millions of listeners who come to Spotify for their podcasts. “Spotify has studios we can use in town, which is really helpful, rather than rickety offices that we do in other jobs,” said Rob. “So it’s enabled us to prioritize it and make sure that it comes out every Friday, every Tuesday, without fail. Plus, it’s free and there’s no paywall. So that really excited us about joining up.”

Check out the latest episode of Parenting Hell below. 

Spotify Fans in South Korea Can Now Enjoy More Than 4 Million Podcasts From Local and Global Creators

October 19, 2022

Lead image of shows included in Spotify Korea's podcast launch

In just under two years, Spotify has established itself as a destination for Korean music fans and artists through playlists like K-Pop ON! (온) and KrOWN. Now we want to do the same for podcasts. 

Starting today, Spotify Korea listeners will have access to more than 4 million podcasts worldwide. This includes global podcasts like TED Talks Daily, TED Business, BBC’s Global News Podcast, and the New York Times’ The Daily; Spotify Originals like Batman Unburied, Kim Kardashian’s The System, and Meghan Markle’s Archetypes; and Spotify Exclusives like Myths Of The World and Alex Cooper’s Call Her Daddy.

We’re also launching a podcast hub exclusively for South Korean listeners. This one-stop destination can help Spotify Korea listeners find the perfect podcast through personalized playlists and spotlights on local content. Some of the regional podcasts the hub will highlight include Confidentiality by Vivo (comedy), Leestar Radio (sports), Sun Kim’s Relentless World History (educational), Weird Mysterious Stories by Braden (true crime), Daebak Show by Eric Nam (music), Check It Out (arts & entertainment), The Psychiatrists (lifestyle & health), Intelligence Play by Jiyoon Kim (news & politics), Two Women in Talk (story), and more. 

In addition to providing new content for listeners, we’ve also localized our podcast creation tool, Anchor, in Korean. This will make it easier for Korean creators to openly record, edit, and distribute podcasts to Spotify and other services in minutes—all for free.

To learn more about what all this means for the South Korean podcast market, For the Record spoke with four of South Korea’s renowned creators: Eun-i Song, Eric Nam, Jaekuk Lee, and the Leestar Team.


Eun-i Song

Eun-i Song is the founder and CEO of Content Lab VIVO, as well as Media Lab Seesaw, a content creation and management company. She is also a household name in South Korea, where she is highly acclaimed as a comedian and for her pioneering content creation and distribution work with VIVO. Her podcast, Song Eun-i and Kim Sook’s Confidentiality, is now available on Spotify.

What do you like most about podcasts?

Since podcasts are not organized by broadcasting companies and do not require a large amount of production costs, the fact that anyone can create their own program is the biggest attraction. From the producer’s perspective, podcasts provide room to take risks with ideas that could not be done in broadcast, allowing for more diverse and creative content. 

How do you think the podcast market and listenership has changed since 2015, when your show, Song Eun-i and Kim Sook’s Confidentiality, first launched?

Photo of Eun-i Song posing against a white backdrop

Eun-i Song

When our podcast, Song Eun-i and Kim Sook’s Confidentiality, first started, the majority of popular podcasts were focused on politics. Now it seems like podcast genres are branching out to include entertainment, economy, and self help–related content. Similarly, the podcast market is increasingly looking at the older generations—who are familiar with radio culture and political content—and has expanded to include content pioneers who are bringing a diversity of content that hasn’t been given much podcast attention in the past.

Looking at the local entertainment industry in general, what kind of topics or content for audio/podcast services do you expect to gather popularity in the future?

I think the biggest advantage of audio and podcast content is that it allows people to multitask. I’ve heard that the listeners of our podcast like to do so while commuting, working in the office, doing design work, or working in the hospital. And now more audio content such as audio dramas and audio movies are in active production, and a lot of entertainment audio content with broadcasters is in the works. Listeners are selecting and enjoying content according to their individual tastes, and their preferences are constantly changing. Podcasts have also diversified alongside listeners’ tastes, and I hope that eclectic, genre-defying content will be introduced in the near future. 

With Spotify’s opening up of podcasts to listeners in South Korea, what are your expectations for Spotify?

If a variety of different worldwide content flows through a global podcast platform such as Spotify to South Korea, the range of choices for local listeners will expand and I think the overall pie of the industry will also increase. I expect the podcast market to grow bigger and attract more creators as the demand grows.


Eric Nam

Spotify podcast cover art for the Daebak Show

A multitalented veteran in the entertainment industry with fans around the world, Eric Nam is an ever-evolving artist, a singer-songwriter, a K-Pop artist, a CEO, and a podcaster. His globally popular podcast, Daebak Show, is now available on Spotify.

You introduced K-Pop as a genre and its artists through your Daebak Show. Was there a specific reason as to why you started the podcast?

Originally, I wanted to create content for international K-Pop fans because they give so much love to Korea and to K-Pop artists. After meeting English-speaking K-Pop fans, I thought it might be a more accessible way for fans to hear behind-the-scenes stories, learn more about Korean music and culture, and also get to know some of their favorite artists through stories and interviews they’ve never heard before. In addition, I’ve always wanted to host my own talk show of sorts, perhaps because of my background in interviewing. We thought that putting a podcast together would be a great way to start without overcomplicating the process.

Portrait of Eric Nam posing in front of a mirror

Eric Nam

What’s one tip you’d share about Spotify’s podcast creation tool as a podcast creator yourself?

Spotify is such an amazing platform, particularly for international reach, and it provides incredible analytics so you can track where your content gets the most engagement. 

With Spotify’s opening up of podcasts to listeners in South Korea, what are your expectations for Spotify?

I’m very excited for Spotify to finally be launching their podcast service in Korea because I’m personally a huge fan of the format. They’re engaging, entertaining, and educational in so many ways. I hope that Spotify users will be able to find not only their favorite songs, but also their favorite podcasts on the platform, and that they give Daebak Show a listen! Please follow us! 

What are some of your favorite podcasts, apart from your Daebak Show?

The Daily by the NYTimes, The Tablo Podcast, and Smartless.


Jaekuk Lee (of Momocon)

Spotify podcast cover art for Sun Kim's Relentless World History

Jaekuk Lee is the general manager and founding member of web and audio content company Momocon (an abbreviation of ‘more than mobile contents”). As an award-winning broadcast writer, he has extensive experience in the South Korean broadcasting industry, including radio. Momocon’s podcast, Sun Kim’s Relentless World History, is now available on Spotify.

What do you like most about podcasts?

I wish I could answer this with the local meme that says “faster than others, different from others” as podcasts provide way faster and more accurate content than radio broadcasts. In addition to allowing listeners to multitask, they are more accessible and offer more diversified information—even compared to video content.

You’ve previously produced numerous memorable podcasts. As a producer, what do you think is the most important factor podcasters should consider when creating a show?

Headshot of Jaekuk Lee Smiling

Jaekuk Lee

I have experimented a lot with podcast content and come to the conclusion that “fun” is the most important factor. After all, entertainment takes up consumers’ time, and I do not think anything without fun can appeal to them. Whether the content is historical, therapeutic, or informational, there must be something “fun” . . . followed by the content’s objective.

You made a big hit with the show Sun Kim’s Relentless World History. How did you come across creating short-form audio content on history?

Everyone loves history-based content, but this is especially true for Koreans. The way history can be interpreted in many different ways also makes it a great topic for discussion. Based on my past experiences as a radio writer, breaking news that would wake people up and short stories that are easy to understand are effective for morning broadcasts. Meanwhile, somewhat comfortable, longer stories that don’t need clear understanding are suitable for nighttime broadcasts to put listeners to sleep. I produced Sun Kim’s Relentless World History with hopes to provide a segment of history that is fun and easy to approach on the way to and from work. I believe that an interpretation of history could also become meme-worthy if it is fun.

In terms of content format and genre, what innovative trends do you think podcasters need to pay attention to moving forward?

I would say audio dramas and audio movies. Sound is the first form of entertainment humans encounter, and we have cultivated our imagination by listening to our parents’ voices in the womb. While the podcast market has grown through informative content so far, it should take a bigger step toward drama and storytelling through audio. While video content about astronauts on Mars would have to show Mars through the lens, an audio drama could let one’s imagination loose with the simple statement that an astronaut has arrived on Mars.

With Spotify’s opening up of podcasts to listeners in South Korea, what are your expectations for Spotify?

I’m hoping that people can be in touch with a wide range of genres and formats, which can, in turn, activate our national podcast industry. I’m thinking that global podcasts that scored a hit worldwide—in particular, audio dramas and documentaries—will actively flow in through Spotify, giving listeners more variety and fun. I hope it will be an opportunity for creative people to try more diverse things.


The Leestar Team

Spotify podcast cover art for Leestar Radio

Jongyoon Park and Jooheon Lee, known together as the Leestar Team, are CEOs of the new-media company Lab Choo Jong Yoon. The pair is famous for their soccer-focused video and podcast content, which has attracted a fan base of hardcore sports fans in South Korea. Their podcast, Leestar Radio, is now available on Spotify.

You have achieved success in the sports podcasting world with the rare distinction of having worked as a professional commentator and caster in the past. Could you tell us more about the state of sports podcasting in South Korea?

Photo of Leestar Team members Jongyoon Park eating a corndog and Jeonhoon Lee smiling and holding a keyboard like a guitar

The Leestar Team

The sports sector makes up a relatively small portion of the podcast market. Generally, politics, culture, and entertainment are the dominant genres, and they seem to be preferred by listeners because they are easily relatable. Meanwhile, sports podcasts are often found and listened to by those who are specifically interested in sports. This niche allows sports podcasts to secure a fixed fan base.

What do you like most about podcasts?

Podcasts have a more relaxed vibe compared to regular radio programs. Also, people can listen to podcasts at any time and pause them whenever they want, unlike radio. Moreover, anyone can record and share their podcast content with others.

팟캐스트 서비스 오픈 기념, 스포티파이가 선보이는 한국 크리에이터들과의 인터뷰

October 19, 2022

Lead image of shows included in Spotify Korea's podcast launch

스포티파이는 지난해 2월 선보인 음원 스트리밍 서비스에 이어 바로 오늘, 한국에 팟캐스트 서비스를 시작했습니다. 이제 국내 스포티파이 청취자들은 8천만개 이상의 음원과 더불어 전 세계 4백만 개 이상의 글로벌 팟캐스트 카탈로그를 이용할 수 있게 됐습니다.

한국 팟캐스트 서비스 개시에 따라 스포티파이는 국내 청취자들을 위한 팟캐스트 허브를 추가했으며, 이를 통해 다채로운 주제 및 카테고리별 손쉬운 프로그램 탐색이 가능해졌습니다. 지금 바로 팟캐스트 허브에서 다음과 같이 다양한 콘텐츠를 만나볼 수 있습니다.

뿐만 아니라 크리에이터들을 위해 스포티파이가 보유한 세계 최대 팟캐스트 제작 및 유통 플랫폼인 ‘앵커(Anchor)’의 한국어 서비스 역시 지원됩니다. 앵커는 쉽고 빠르게 팟캐스트를 제작하고 편집하여 다양한 플랫폼에 배포할 수 있도록 해줄 뿐만 아니라, 청취자에 대한 데이터와 인사이트도 제공합니다. 앵커의 이 모든 기능은 무료로 누구나 자유롭게 사용할 수 있습니다.

스포티파이의 팟캐스트 서비스 개시가 한국 팟캐스트 시장에 어떤 의미를 가져오고, 또 어떤 영향을 미칠까요? 이에 대해 자세한 이야기를 나누기 위해 한국의 인기 팟캐스트 크리에이터이자 다양한 분야에서 활발히 활동 중인 송은이, 에릭 남, 모모콘 이재국 본부장, 그리고 이스타팀(박종훈, 이주헌 랩추종윤 공동 대표이사)과 인터뷰를 진행했습니다. 이들의 이야기를 확인해 보세요!


송은이

Spotify podcast cover art for confidentiality

송은이는 콘텐츠 제작사 ‘컨텐츠랩 비보’와 매니지먼트사 ‘미디어랩 시소’의 대표다. 한국에서 인기 코미디언으로 명성을 이어가고 있으며, ‘컨텐츠랩 비보’를 설립하여 콘텐츠 제작 및 배포를 선도한 선구자로도 높은 평가를 받고 있다. 송은이가 진행하는 ‘송은이 김숙의 비밀보장’은 스포티파이에서 청취할 수 있다. 

팟캐스트의 매력이 무엇이라고 생각하시나요?

팟캐스트는 방송사에 편성되어 있지 않고, 비교적 큰 제작비가 들지 않아 사실상 누구나 본인의 방송을 만들수 있는 것이 가장 큰 매력이라고 생각합니다. 제작자 입장에서는 방송에서 하지 못했던 새로운 아이디어를 시도해 볼 수 있어 더 다양하고 기발한 콘텐츠들이 나올 수 있는 것 같습니다. 

2015년 ‘비밀보장’을 시작한 이후 2022년 현재까지 팟캐스트 시장과 청취자가 어떻게 변화했나요?

Portrait of Eun-i Song posing against a white backdrop

Eun-i Song

2015년 송은이 김숙의 비밀보장을 시작할 당시 인기 팟캐스트는 대부분 정치나 시사 콘텐츠였던 데 반해, 현재는 예능, 경제, 자기개발 등 장르가 다양화되는 추세인 것 같습니다. 청취자 또한 초기에는 정치 콘텐츠와 라디오 문화에 익숙한 일부 기성세대들이었다면 현재는 영상, 책, SNS 등 주류 문화뿐만 아니라 아직 주목받지 않은 새롭고 다양한 것을 찾아 나서는 콘텐츠 선구자들로 확장된 것 같고요.

앞으로 어떤 주제의 오디오 콘텐츠 및 팟캐스트가 인기를 끌 것이라고 예상하시나요?

팟캐스트를 비롯한 오디오 콘텐츠의 이점은 청취를 하면서 다른 일을 할 수 있는 것 아닐까 싶습니다. 실제로 비밀보장 청취자들도 운전이나 출퇴근하는 이동시간을 활용하거나 업무 중에도 팟캐스트를 듣는 것으로 알고 있습니다. 현재 오디오 드라마나 오디오 영화의 제작도 활발해졌고, 방송인을 섭외한 예능형 오디오 콘텐츠도 많이 만들어지고 있습니다. 

많은 사람들이 각자 취향에 따라 콘텐츠를 선별하여 즐기고 있고 취향이 다양화되고 있기도 합니다. 팟캐스트 또한 한 가지 장르에 치우치지 않고 더욱 다채로운 콘텐츠가 많이 나오면 좋겠다는 생각입니다.

스포티파이의 국내 팟캐스트 서비스 시작에 따라 기대하는 점이 있나요?

스포티파이와 같은 글로벌 팟캐스트 플랫폼을 통해 다양한 글로벌 콘텐츠가 유입되면 팟캐스트 콘텐츠 이용자로서 선택의 폭이 넓어지고, 이로 인해 이용자 파이도 늘어나지 않을까 싶습니다. 수요 증가에 따라 팟캐스트 시장이 더 커지고 크리에이터도 더 많아지길 기대합니다.


에릭 남

에릭 남은 아티스트, 싱어송라이터, CEO이자 팟캐스트 크리에이터로 활동 중이다. 다재다능한 면모로 전 세계 팬들의 사랑을 받는 에릭 남의 팟캐스트 ‘대박쇼’는 스포티파이에서 들을 수 있다.

‘대박쇼’에서 다양한 K팝 음악과 아티스트를 소개하셨는데, K팝 위주의 토크쇼를 진행하게 된 계기나 이유가 무엇인가요?

글로벌 K팝 팬들이 한국과 K팝 아티스트들에게 너무나도 큰 관심을 보이고 사랑을 주기 때문에 그들을 위한 콘텐츠를 만들고 싶었습니다. 그러던 중 영어권의 K팝 팬들과 만나게 됐고, 이들에게 팟캐스트가 K팝 업계의 비하인드 스토리를 듣고, 한국의 음악과 문화를 배우고, 또 새로운 이야기와 인터뷰를 통해 좋아하는 아티스트에 대해 더 알아갈 수 있는 통로가 될 수 있겠다는 생각이 들었습니다. 저는 인터뷰 진행 경험이 있기도 해 항상 저만의 토크쇼를 진행하고 싶기도 했죠. 팟캐스트 제작은 이 모든 것을 이루기 위한 가장 좋은 수단이라고 생각했습니다.

Photo of Eric Nam posing in front of a mirror

Eric Nam

팟캐스트 크리에이터로서 스포티파이의 팟캐스트 제작 툴의 활용법이나 팁이 있다면 공유해 주세요.

스포티파이는 자신의 팟캐스트 콘텐츠가 어디에서 가장 인기를 얻고 있는지 등 청취자에 대한 분석 데이터를 제공해주는 훌륭한 플랫폼으로, 특히 글로벌 청취자 확보에 매우 유용합니다. 

스포티파이의 국내 팟캐스트 서비스 시작에 따라 기대하는 점이 있나요?

스포티파이 플랫폼의 열렬한 팬으로서 스포티파이가 드디어 한국에 팟캐스트 서비스를 시작했다니 너무 기쁩니다. 스포티파이의 팟캐스트는 다방면으로 매력적이고 흥미롭고 또 배울 점이 많이 있습니다. 스포티파이 청취자들이 스포티파이에서 좋아하는 음악뿐만 아니라 팟캐스트도 찾아보고, ‘대박쇼’도 들어봐 주시길 바랍니다. 저희 팟캐스트도 팔로우 해주세요!

본인의 ‘대박쇼’ 외에 좋아하는 팟캐스트를 소개해 주세요.

The Daily by NYTimes, 에픽하이 타블로의 The Tablo Podcast, Smartless 등이 있습니다. 


이재국

Spotify podcast cover art for Sun Kim's Relentless World History

뉴미디어 예능 및 오디오 콘텐츠 제작사 모모콘(More than Mobile Contents)의 창립 멤버인 이재국 본부장은 라디오 및 방송 작가로 활동하며 한국 방송 업계에서 명성을 쌓았다. 모모콘의 팟캐스트 콘텐츠 ‘썬킴의 세계사 완전정복’은 스포티파이에서 만나볼 수 있다.

팟캐스트의 매력이 무엇이라고 생각하시나요?

“누구보다 빠르게, 남들과는 다르게” 요즘 유행하는 밈으로 대답을 대신할 수 있을 것 같습니다. 팟캐스트는 지상파 라디오 방송과 비교했을 때 콘텐츠 속도와 정확도 면에서 압도적입니다. 동영상과 달리 멀티태스킹이 가능할 뿐만 아니라, 훨씬 편하고 다양한 정보를 얻을 수 있다는 점도 큰 매력이라고 생각합니다.

훌륭하고도 다채로운 팟캐스트를 다수 제작한 제작자의 관점에서 팟캐스터가 프로그램을 만들 때 가장 중요하게 고려해야 할 점이 있을까요?

Headshot of Jaekuk Lee smiling

Jaekuk Lee

그동안 콘텐츠에 대한 다양한 시도를 많이 해봤는데 역시 가장 중요한 건 재미인것 같습니다. 엔터테인먼트는 결국 소비자의 시간을 뺏는 건데 재미가 없으면 그 무엇도 소비자에게 다가가지 못합니다. 역사, 힐링, 정보 등 무엇을 전달하든 결국 콘텐츠에 있어 제일 먼저 고려해야 할 건 “재미”고, 그 다음은 왜 만들어야 하는지라는 “목적”이라고 생각합니다.

‘썬킴의 세계사 완전정복’이 크게 히트했는데, 숏폼 오디오 역사 콘텐츠를 만들게 된 배경은 무엇인가요?

역사는 모두가 좋아하고 특히 우리나라 사람들이 좋아하는 콘텐츠입니다. 역사에 대한 해석도 다양하기 때문에 다른 사람들과 토론하기에도 좋은 아이템입니다. 저는 라디오 작가를 오랫동안 했는데 아침 방송에서는 잠이 깰만한 소식을 한번에 알아들을 수 있게 단문으로 쓰는 것이 효과적입니다. 반면 심야 라디오에서는 마음 편한 이야기를 무슨 말인지 정확히 잘 몰라도 되는 장문으로 써야 청취자들이 편하게 잠자리에 들 수 있습니다. “썬킴의 세계사 완전정복”은 출퇴근길에 쉽고 재밌게 접할 수 있는 역사 이야기 한 토막을 제공하겠다는 취지에서 제작하게 됐습니다. 재밌게 만들면 역사에 대한 해석도 “밈”이 될 수 있으니까요.

콘텐츠 형식이나 장르 면에서 앞으로 팟캐스터들이 눈여겨봐야 할 혁신적인 트렌드가 있을까요?

오디오 드라마와 오디오 영화라고 생각합니다. 소리는 인간이 최초로 접하게 되는 엔터테인먼트로 우리는 뱃속에서부터 부모님의 목소리를 들으며 상상력을 키워왔습니다. 팟캐스트 시장이 그동안 정보 콘텐츠로 많은 발전을 했다면 이제는 오디오로 전하는 무궁무진한 드라마와 스토리텔링의 세계로 또 한번 발전해야 한다고 생각합니다. 비디오는 화성에 간 사람을 촬영해서 보여줘야 하지만 오디오 드라마는 “나는 지금 화성에 도착했다”는 한마디로 무한한 상상력을 응집시킬 수 있습니다. 

스포티파이의 국내 팟캐스트 서비스 시작에 따라 기대하는 점이 있나요?

청취자들이 다양한 장르와 형식의 콘텐츠를 접할 수 있길 바라고, 그 덕분에 한국 팟캐스트 시장도 활성화 됐으면 하는 바람입니다. 특히 오디오 드라마나 다큐멘터리 등 글로벌 히트를 기록한 팟캐스트가 적극적으로 유입되어 청취자들에게 다채로운 재미를 주고, 창작하는 사람들에게는 더 다양한 시도를 할 수 있는 계기가 됐으면 좋겠습니다.


이스타 팀

Spotify cover art for the Leestar Radio podcast

‘이스타 팀’으로 알려진 박종윤과 이주헌은 뉴미디어 회사 랩추종윤의 공동 대표로, 축구를 주제로 한 영상 및 팟캐스트를 제작하여 한국 스포츠 팬들의 마음을 사로잡았다. 이스타 팀의 팟캐스트 ‘이스타 라디오’는 스포티파이에서 만나볼 수 있다.

전문 해설위원과 캐스터라는 인터넷 방송에서 보기 드문 조합으로 팟캐스트에 진출해 스포츠 분야 청취율 1위를 달성하기도 했는데, 한국 시장 내 스포츠 팟캐스트 현황에 대해 설명해 주세요.

Image of Leestar Team members eating a corndog and holding a keyboard

The Leestar Team

전체 팟캐스트 시장에서 스포츠 분야는 비교적 낮은 비율을 차지하고 있습니다. 기본적으로 팟캐스트는 정치, 교양, 예능 분야의 비중이 높은데 누가 들어도 쉽게 공감할 수 있는 주제이기 때문에 더 많이 선호된다고 보여집니다. 물론 스포츠 팟캐스트는 스포츠에 관심 있는 사람들이 찾아서 듣는 경우가 많고, 이는 곧 고정적인 팬층을 확보할 수 있다는 강점으로 연결됩니다.

팟캐스트만의 매력이 무엇이라고 생각하시나요?

팟캐스트에서는 일반적인 라디오 프로그램보다 자유롭고 편한 분위기를 접할 수 있습니다. 또한 라디오와는 달리 내가 원하는 시간에 원하는 방송을 들을 수 있고, 중간에 잠시 멈출 수도 있고요. 누구나 녹음해서 본인의 방송을 남들과 쉽게 공유할 수 있는 것 역시 큰 장점이라 생각합니다.

Netflix and Mo Amer’s “MO” Crosses Cultures With Comedy, Care, and Music

September 14, 2022

Mo Amer sitting in a car and looking out the open window

When Mo Amer set out to make a comedy TV series about his experience as a Palestinian refugee in Texas, he wished to represent his family and his culture in a way that he had never seen done before on mainstream U.S. television. In the process of doing just that, he also created a musical love letter to the Houston suburb of Alief and to everyone who has ever had to leave home.  

In the Netflix show MO, which debuted last month, the titular character straddles the line between two cultures, three languages, and a pending asylum request while hustling to support his Palestinian family. He navigates the stereotypes and intricacies of a story of displacement with both the sensitivity and humor befitting his stand-up comedy career. 

Accompanying the show is the MO Official Playlist, which amplifies the series’ multicultural and multifaceted themes. It features artists from Palestine and the Palestinian diaspora such as Chilean-Palestinian singer and Spotify RADAR–featured artist Elyanna, and DAM, the first Palestinian hip-hop group. It also incorporates a track from Palestinian American Sammy Shiblaq. Also, highlighted: hip-hop luminary Common, chopped and screwed originator DJ Screw, and regional Mexican duo Los 2 de la S.

“All of the songs that are on there, they are Mo,” Suhel Nafar, the show’s music supervisor, told For the Record in a co-interview with Mo. “If there’s an app one day where people walk and they have a soundtrack all the time around them, that would be this playlist for Mo.” 

Why was it important for you to tell this story—your family’s story? 

Mo: I’ve never seen, first of all, a Palestinian family on American television—nor have I seen an immigrant refugee story ever told in this perspective, from something as grounded in comedy. We have this idea of what a refugee, an immigrant, looks like based on the mainstream news, which is people on boats, fleeing. But we never get the details, the story of what happens after. If you actually survive and get to a new country to explore a new life, you don’t ever really see what the struggles look like there. There’s so much effort that goes into it, not just to survive, but to adjust to a completely different structure, to try to feel seen and to feel like an equal to the person next to you. 

I was really meticulous with this. It’s really, really important not to be over the top with anything. But it’s just like cooking a dish. It has to have the right balance of heat, sweetness, texture—this is the same kind of thing that goes into making a TV show. I wasn’t going to let anything slip by. And it was such an important story that’s never been done before in American television. And it’s such a huge responsibility, such a weight on my shoulders. And I take that very, very seriously. 

What were the types of music you considered for the soundtrack of this show?

Mo: Well, it’s something that I had to dig into myself, since a lot of the show is based off of my life story and grounded in that. What do I listen to? What does my playlist look like? I’m a little bit Palestinian folk music, a little modern Arabic music, but also a lot of hip-hop, a lot of chopped and screwed—I’m from Houston. I am a little bit jazz. I’m a little bit rock and roll, but I’m a little bit country. Suhel and I share the same cultural backgrounds and ethnic backgrounds, and he understood that I had so much to carry that I needed someone that I can just trust in my corner that knows me so well. 

Suhel: It’s definitely a match as I’m also from a Palestinian background; I was born and raised in Palestine and immigrated to the U.S. nine years ago. Hearing Mo’s story, that he learned English through comedy, resonated, as I’m a person that learned English through hip-hop music. So we really found this matching in our stories. For me, it wasn’t just curating for Mo, it’s for everyone who’s going to feel attached to Mo. So the soundtrack represents Black culture in Texas with hip-hop and chopped and screwed, Latin culture with regional Mexican, and Arab culture with traditional hip-hop and Arabic Pop. And if I want to go back to food—because we both love food—the way I would see it, it’s like a food truck in the U.S. that would be selling al pastor. So it looks like shawarma wrapped in a tortilla—and that’s the sound.

We also incorporated some producers like Idrissi and Ramoon, who are really dope producers from Morocco that have produced for people globally. Having that sound in there was really important. Discovery was important as well—we really wanted this to be an opportunity to not just put the big names, not just put the traditional stuff, but also put the new and upcoming artists to get people to go to Spotify, to search for that song after watching. 

Hip-hop may differ across languages and cultures, but so many elements of it remain consistent. What is the power and impact of hip-hop to you? 

Mo: Hip-hop, to me, is the voice of a struggle, the voice of overcoming struggle, and the idea of coming from nothing and assessing your environment, being honest and true to it. It’s poetry as well when it’s done the right way. It has a lot of depth and it’s so layered and sophisticated when done right. And it’s something that I just clung to when I was a kid. And then when chopped and screwed started making its sound in Houston, I was just blown away by it, because once it has a particular melody as it slows down, it puts you in a completely different state. It just slowed down everything in a really special way. So I have a lot of admiration for hip-hop and what it is and what it stands for.

Why do you think non-Palestinians or non-Arabs should experience this show? 

Suhel: The character of Mo in the show, a lot of it, about 90 percent, is what he’s like outside the show too. And what he’s representing—it’s not Arab culture. It’s not Houson culture. It’s not Latino culture or Nigerian culture. It’s a third culture. 

You know, when immigrants or refugee immigrants move to a new place in the world and all those cultures start mixing up, it creates a new culture. It’s the third culture. This is what we call it here, in the diaspora. So you could be a Latino and feel like Mo represents you because you’re feeling that experience of being from a different land. And this third culture concept is what blurs the differences between all of us. And that’s what’s beautiful about Mo in his comedy, in his show, in his storytelling, and in his choices of who he works with in front of the screen and behind the scenes. 

Fall in love with MO through the show’s official playlist, only on Spotify.

‘Sounds Like A Cult’ Podcast Gets Its Own Fervent Following as It Rises in the Charts

February 24, 2022

With more than 3.2 million podcasts on Spotify, it’s impossible for listeners to know every show that drops. Fortunately for fans, our Podcast Editorial team is here to help. They follow the trends, listen to new episodes, and determine what shows should be recommended to Spotify users across a variety of genres. By highlighting different shows and topics—such as true crime—the team gives podcast creators a way to build new audiences while helping listeners discover a new binge.

So when Sounds Like A Cult was placed in the coveted spot on Spotify’s main podcast page, it was thus propelled into the earbuds of new listeners.

Cohosted by Isa Medina and Amanda Montell, Sounds Like A Cult offers a humorous take on the true crime genre as each episode examines modern-day “cults.” From cheerleading to astrology, they analyze what it is about the topics, people, and companies that results in such a loyal fanbase. And it seems that the creators struck a chord with listeners because their show soon made its way onto Spotify’s Top 50 charts and even ranked in the top 10 in the Comedy category. 

Fans have been craving more from Isa and Amanda, so Spotify worked with the duo to create a new curated playlist called The “Cults” We All Follow. The collection features some of their favorite episodes across a variety of podcasts, giving listeners who love Sounds Like A Cult new shows to check out. For the Record recently spoke with the hosts to learn more.

What gave you the idea for this podcast?

The podcast initially stemmed from Amanda’s book Cultish. There were so many fascinating “cults” from pop culture and the zeitgeist that didn’t make it into the book, and we wanted to explore them in a fun and conversational, but still insightful, way. We were inspired by the juicy-meets-bantery format of “cult-followed” podcasts like My Favorite Murder and Be There In Five, so Isa’s hilarity combined with Amanda’s nerdiness felt like the perfect way to cover the “cults” we all follow!

When it comes to the people and things who are at the center of these “cult” groups, are there any shared characteristics or qualities that lend themselves to this level of fan worship?

You can’t earnestly compare the “cults” of Trader Joe’s (which happens to be our favorite cult that we’ve covered) and The Bachelor franchise to flat earthers and multilevel marketing schemers, but that’s why we have our three cult categories—Live Your Life, Watch Your Back, and Get the F*ck Out—which we use to classify the “cult” of the week at the end of every episode. 

As a broad generalization, though, what these different groups offer is the promise of belonging, ritual, and meaning, which are fundamental human drives that a lot of us find ourselves sorely lacking during this turbulent time in history. Some groups mostly deliver on their promises, but some become powerful by way of deception and exploitation. We genuinely hope these conversations make people feel better equipped to engage in life’s “cultiness” the healthy way. That’s why our sign-off at the end of every episode says, “Stay culty . . . but not too culty!”

How has working with Spotify helped you broaden your audience reach?

Spotify is the perfect platform for us. The core Spotify listener seems savvy and curious, and that’s exactly the type of listener who vibes with our show. We would not be where we are today without Spotify’s support. Almost 90% of our listenership comes from Spotify.

How was having your podcast featured on Spotify’s “True Crime Scene” section on the main podcast page impactful?

The Spotify true crime feature was vital for us. True crime fans are always thirsting for new pods, but it’s becoming harder to find ones that add something new to the mix—not to mention, in these tough cultural times, we don’t always want to listen to a pod that’s going to make us feel worse! We basically made this show for Spotify’s true crime listener demo, and Spotify’s audiences really trust their playlists, so getting that exposure was like lightning in a bottle for us.

After the Spotify feature, we saw a significant uptick in streams and shares on social media. Appearing in this section seems to have caused a word-of-mouth snowball effect, and we’re so grateful for it.

What are some ways you’ve seen success with the podcast? 

Sounds Like A Cult wound up on Spotify’s Top 50 charts (and Top 10 in the Comedy category), and after gaining some traction, we were able to sign with the podcast network All Things Comedy to receive production help and actually start earning revenue from the pod! Up until a couple weeks ago, we just made the whole thing on our own in our bedrooms for free. We’ve also seen a flood of new followers engaging with us on social media. Our listeners are so engaged, constantly messaging us and recommending episode topics.

You recently announced that the podcast is moving to a weekly format. What factored into the decision to release episodes more frequently?

The least we can do for our supportive listeners (or “culties,” as we call them) is to use these new resources to deliver the show weekly! Our team agrees it’s also just better for the growth of the podcast not to have long mid-season breaks. Consistency is everything.

Can you tell us about the curated playlist you made for Spotify? What podcasts made the list?

We wanted to curate a diverse mix of episodes from shows that you might not think of as “cult” podcasts but that comment on the cultiness and scaminess in various corners of everyday life in a smart, entertaining way.

 

All you “culties” out there, are you ready for more? Check out what shows made it onto Isa and Amanda’s The “Cults” We All Follow playlist.

 

Women Bring Their Own Perspectives to Podcasts in Indonesia

November 19, 2021

It’s no surprise that there continues to be a strong demand for podcasts around the world. The intimate medium offers a way for hosts to directly connect with listeners about topics that are most important to them. This format is an especially captivating way for those with underrepresented voices to tell their own stories, on their own terms. In Indonesia, where the podcast community is quickly growing, Spotify is working with female creators to ensure they have a seat at the mic and are supported on the platform.

Podcasts provide a new outlet for women to share their perspectives of the world. As Indonesian creator Nadhifa Allya Tsana (also known as Tsana) explains, “Podcasts break the limits, boundaries, and rules that exist in traditional formats, all of which have played a part in suppressing females’ voices for decades. But podcasts are different. They are limitless—the creators can decide when, what, and even how long they want to discuss a topic that is meaningful to them.”

With 38 million streams, Tsana’s Spotify Exclusive podcast, Rintik Sedu (which in English translates to “sadness”), is the most streamed solo-hosted podcast in the country. Since January 2021, the show has held the number one spot on the Spotify Indonesia Charts, demonstrating the captivating hold the host, and her podcast, has on the Indonesian audience. But Tsana’s success doesn’t stop at one show. She’s expanded her presence with the teen romance-driven Spotify Original podcast Kuas, Kanvas dan Bulan Kesepian (Brushes, Canvas and Lonely Moon). Season two of the show recently launched in October 2021.

“Tsana’s unique view and gentle approach to storytelling has really resonated with her listeners,” shares Carl Zuzarte, Head of Studios for Spotify Southeast Asia. “She is paving the way for other female creators to express themselves through podcasts. Today, we see more female listeners and creators getting inspired and exploring their creativity through podcasting.” 

In response to the growing demand for relatable content that features strong female voices, Spotify is excited to announce five new Indonesian-language, female-led Spotify Original & Exclusive podcasts now available on the platform. 

NKCTHI: Surat dari Awan

This scripted fiction podcast features Indonesian actress Rachel Amanda in the lead and is based on the bestselling book and film Nanti Kita Cerita Tentang Hari Ini (NKCTHI). With two new episodes a week, the Spotify Original podcast explores the wonders and challenges of the lead character’s growth toward womanhood. 

Bisik-Bisik Senada

Talk show Bisik-Bisik Senada is a Spotify Original podcast hosted by three talented singers: Fatin Shidqia, Ghea Indrawari, and Ayuenstar. The women explore their life experiences, passion for singing, and perspectives on navigating life in the modern world.

HYPEBESTIE

Personalities Sarra Tobing, Canti Tachril, and Hadi Sylvester come together to discuss their views on love, life, and relationships as Gen Zers and millennials in this Spotify Original podcast. 

Happy Go Go

Spotify Original podcast Happy Go Go is hosted by up-and-coming comedians Mimin and Kimau, who are joined by actress Siva Aprilia. The show gives listeners a fresh perspective on life and wellness. 

Cape Mikir with Jebung

This show, which is exclusive to Spotify, is hosted by popular Indonesian singer Jebung. Episodes bring listeners into her world, where she discusses a variety of topics that pique her interest.

It’s No Joke—Comedy Podcasts in Spanish Are Delighting Listeners Across Chile, Spain, and Mexico

August 6, 2021

Looking for a laugh? Search no further than the podcast section in your Spotify app. The comedy genre is seeing a steady rise on Spotify—according to Wrapped 2020, it was the second-most-popular genre on the platform globally. And in a few Spanish-speaking countries, such as Chile, Spain, and Mexico, the genre has risen in popularity to claim the number one slot. 

Whether standup, scripted, or surreal, Spanish-language comedy podcasts have brought listeners levity and joy throughout the past year and will likely continue to do so well into the future. We dove into some of the Spanish-language podcasts sending fans into fits of laughter. 

Comedy Across Chile

Every day, there are more and more comedy podcasts or creators aiming to make Chileans smile on Spotify. In podcasts, comedians have found an alternative route to portray humorous or cringe-worthy situations and fill listeners with laughter. As such, comedy podcasts are the most-listened-to genre in Chile, with more than 50% of Chilean listeners enjoying Spotify’s funniest podcasts.

According to a Spotify report, Chileans consume more than 89,000 hours of comedy content each day. This fascination can be seen in the growth of the genre as well, which has increased by an average of 842% year after year since 2017. The listeners themselves tend to skew younger—people under 30 years of age represent 57% of the genre’s audience.

“The growth of the comedy genre in Chile is really surprising,” said Javier Piñol, Director of Spotify Studios for Latin America and U.S. LatinX. “We have seen how audiences have grown exponentially since 2017 to date and have consolidated the genre as the most listened to in the country. From Spotify we always seek to enhance and make visible the talent that exists in the country and take creators to new frontiers. Comedians are truly having a moment in podcasting on Spotify.”

Some of the podcasts taking Chilean comedy to those new frontiers are: Tomás va a Morir, Weona que Creici, Tripulación Cohete, Palomoza contesta, Oye Ñaña, Clase básica, Mis últimas tres neuronas, Chimbamigos, Lucas y Socías, una vez más and Con la ayuda de mis amikas. 

Smiling in Spain

Thousands of miles away, Spaniards took to comedy podcasts in an entirely new way throughout the past year and a half. The comedy podcast genre, which is the most listened to in Spain, has seen its consumption grow by 186% since the beginning of lockdown in 2020. 

This increase follows a consistent interest in comedy podcasts across age groups. In Spain, they appeal most to both 18-24-year-olds and people over 55. The genre is followed by society, culture, entertainment, well-being, and lifestyle shows. 

“After the outbreak of the pandemic, many of us took refuge in comedy podcasts in search of distraction and a good time in the company of audio,” said Eduardo Alonso, Head of Studios for Southern and Eastern Europe at Spotify. “This trend will undoubtedly continue in the rest of 2021: From January to June alone, we have observed that listening to comedy podcasts continues to grow by more than 28% in Spain.”

Spanish comedy podcast aficionados can pay particular attention to El bar de Los Broder Tolquin, a new Spotify original podcast starring and directed by Raúl Cimas and Javier Coronas that premiered in June. The podcast comes out of an usual backstory: In 2010, Spanish police launched an investigation to dismantle a dangerous gang. To do this, they placed hidden microphones at a modest bar in Madrid. Coincidentally, this was the very same bar where comics Javier Coronas, Raúl Cimas, El Pirata, and a very colorful group of patrons spent their evenings. After the investigation, all the leftover conversations and chats that were recorded came to light—leading to the comical surrealist show. 

Amused Around Mexico 

Comedy has been the most popular podcast category on Spotify in Mexico as well. A few titles consistently top podcast charts, with the top spot usually a toss-up between La Cotorrisa, a weekly ramble with longtime friends Ricardo Pérez and Slobotzky, and Leyendas Legendarias, a satirical humorous exploration of true crime stories, conspiracy theories, and paranormal phenomena hosted by José Antonio Badía and Eduardo Espinosa in a similar style as the American Last Podcast On The Left. 

Mexico has a booming stand-up comedy scene, and even though the pandemic forced a retreat from live venues over the past year, fans turned to familiar voices like Fran Hevia and Juan Carlos Escalante in El Super Show está Genial. To further explore this scene, last summer Spotify launched Toma 1, an original podcast boasting conversations with some of the biggest names from the stage, hosted by Raúl Campos, a renowned producer of comedy specials. Over 36 episodes, the series gives a unique glimpse of what drives comedians, from impressions master Paco de Miguel to Ana Julia Yeyé (who was also featured in the Spotify Original podcast Coming Out Emociones Compartidas show). 

Get joking with Con la ayuda de mis amikas, a Spanish-language comedy podcast where the two hosts analyze the week’s internet trends to help each other with their social media. 

No Es Chiste —Podcasts de comedia en español entretienen a audiencias en Chile, España y México

August 6, 2021

¿Quieres reírte un poco? No busques más y revisa la sección de ‘podcast’ en tu aplicación de Spotify. El género de comedia está experimentando un creciente aumento en Spotify, según Wrapped 2020, fue el segundo género más popular en la plataforma a nivel global. En algunos países como Chile, España y México el género ha llegado a alcanzar el primer lugar entre los más escuchados.  

Ya sea como standup, con guión o simplemente narraciones surreales, los podcast en español han brindado distracción y alegría durante el año pasado, y probablemente seguirán haciéndolo en el futuro. Exploramos algunos de estos hilarantes podcasts en español. 

Comedia A lo Largo de Chile 

Cada día hay más y más podcasts de comedia o creadores que apuntan a hacer que los chilenos sonrían en Spotify. En los podcasts los humoristas han encontrado una nueva vía para reflejar situaciones divertidas o embarazosas que contagian de risa a los oyentes. De esta forma, los podcasts de comedia se han convertido en el género más escuchado en el país, con más del 50% de los oyentes chilenos disfrutando de los los podcasts más divertidos de Spotify.

Según un reporte de Spotify, los chilenos consumen más de 89,000 horas de contenido de comedia cada día. Esta fascinación puede ser vista también en el crecimiento que ha tenido el género, el cual ha aumentado en un promedio de 842% año tras año desde 2017. Los oyentes tienden a tener un sesgo hacia el segmento más joven —las personas de menos de 30% representan el 57% de las escuchas del género.

“El crecimiento del género de comedia en Chile es realmente sorprendente,” dijo Javier Piñol Director de Spotify Studios para Latinoamérica y EEUU LatinX. “Hemos visto cómo las audiencias han crecido exponencialmente desde 2017 a la fecha y han consolidado el género como el más escuchado en el país. Desde Spotify siempre hemos buscado potenciar y darle visibilidad al talento que existe en el país llevando a los creadores a nuevas fronteras. La comedia realmente está teniendo un momento estelar en podcasting en Spotify.

Algunos de los podcasts que llevan a la comedia chilena a esas nuevas fronteras son: Tomás va a Morir, Weona que Creici, Con la ayuda de mis amikas, Tripulación Cohete, Palomoza contesta, Oye Ñaña, Clase básica, Mis últimas tres neuronas, Chimbamigos, y  Lucas y Socías, una vez más..

Riendo en España

A cientos de miles de kilómetros de distancia, los españoles tomaron los podcasts de comedia de una manera completamente nueva durante el último año y medio. El género de los podcasts de comedia, que es el más escuchado en España, ha visto crecer su consumo un 186% desde el inicio del confinamiento en 2020.

Este aumento sigue un interés constante en los podcasts de comedia en todos los grupos de edad. En España, atraen tanto a jóvenes de 18 a 24 años como a mayores de 55. Al género le siguen los shows de sociedad, cultura, entretenimiento, bienestar y estilo de vida.

“Después del estallido de la pandemia, muchos de nosotros nos refugiamos en los podcasts de comedia en busca de distracción y pasar un buen rato en compañía de audio”, dijo Eduardo Alonso, director de Studios para Europa del Este y del Sur en Spotify. Indudablemente continuará en el resto de 2021: solo de enero a junio, hemos observado que la escucha de podcasts de comedia sigue creciendo en más de un 28% en España.

Los aficionados a los podcasts de comedia en español pueden prestar especial atención a El bar de Los Broder Tolquin, un nuevo podcast original de Spotify protagonizado y dirigido por Raúl Cimas y Javier Coronas que salió en junio. El podcast surge de una historia de fondo habitual: en 2010, la policía española inició una investigación para desmantelar una banda peligrosa. Para ello, colocaron micrófonos ocultos en un modesto bar de Madrid. Casualmente, este era el mismo bar donde pasaban sus veladas los cómicos Javier Coronas, Raúl Cimas, El Pirata y un grupo muy pintoresco. Después de la investigación, salieron a la luz todas las conversaciones y chats sobrantes que se grabaron, lo que dio lugar al espectáculo cómico y totalmente surrealista.

Divirtiéndose en México 

La comedia también ha sido la categoría de podcast más popular en Spotify en México. Unas cuántas listas han copado consistentemente las cimas de los podcasts musicales, usualmente disputadas por “La Cotorrisa”, una entretenida y difusa conversación semanal con los amigos de toda la vida, Ricardo Pérez y Slobotzky, además de “Leyendas Legendarias”, una exploración de tipo sátira humorística de historias de crímenes de la vida real, conspiraciones, y actividades paranormales, presentado por José Antonio Badía y Eduardo Espinosa, en un estilo similar al americano “Last Podcast on The Left”. 

La escena del stand-up comedy va en auge en México, y aunque la pandemia los ha obligado a retirarse de las presentaciones en vivo, durante el año pasado los fanáticos se volcaron hacia voces similares como Fran Hevia y Juan Carlos Escalante en “El Súper Show está Genial”. Para explorar más esta escena, el verano pasado Spotify lanzó “Toma 1”, un podcast original de conversaciones con algunos de los nombres más grandes del escenario, presentado por Raúl Campos, un reconocido productor de especiales de comedia. Durante 36 episodios, la serie otorga una visión única de lo que impulsa a los comediantes, desde las impresiones del maestro Paco de Miguel, hasta Ana Julia Yeyé (quien también fue destacada en el podcast original de Spotify “Coming Out Emociones Compartidas”.)

 Diviértete escuchando “Con la ayuda de mis amikas”, un podcast de comedia en español, donde dos presentadoras analizan las tendencias de la semana en internet, para ayudarse entre ellas con sus redes sociales. 

Laugh Along to Three New Comedy Podcasts Coming to Spotify

April 1, 2021

In a year where people have come to expect the unexpected, comedy podcasts can provide a welcome respite with laughter and lighthearted listening. 

Spotify has three new podcasts for those looking for their next dose of humor. Read on for a little about each one, as well as a short Q&A with the creators, guests, and hosts who are responsible for the laughs. Get ready to chuckle.

The Sketch Factor is a scripted sketch comedy podcast produced by Radio Point, and hosted by Fred Armisen, who’s known for his work on the television shows Portlandia and Documentary Now! In this series, Armisen plays Xandor Szavost, an inventor, philanthropist, and billionaire who is using his fortune to finance a sketch comedy competition for his own amusement. At three to five minutes each, episodes are short and perfect for a quick comedy hit. For the Record caught up with the show’s cast member and comedian, Seaton Smith.

What’s the best April Fools’ prank you’ve ever been a part of?

Seaton: God, I hate pranks. One time I was late to a show, and my friend and his girl got there early and were bored. So, as a prank, he had his girlfriend call me and tell me that he started a fight with the bouncer and the police were there holding him down, and I had to hurry up and get there. It WAS funny. It just wasn’t the easiest thing to laugh at.

What would you say is the main difference between audio-only comedy, like what’s in this podcast, and comedy with a visual component?

Seaton: Comedy you just listen to is fun because it hits you differently. Visually, I need all of your attention, and if I lose your attention for a second, then the comedy is hurt. But with audio, you can go do other things and still be all into it. It’s like we’re in your mind as you go about your day.

The podcast Flameout, produced by Treefort Media, brings together comedians to unravel the biggest business success stories gone wrong. The stories feature insider interviews and juicy revelations that include comedic and unfiltered opinions on the business flameouts. We chatted with Michael Ian Black, Baron Vaughn, Atsuko Okatsuka, and Abbi Crutchfield, who all take a turn as show hosts.

Why do you think comedy has been so important over the last year?

Abbi: Comedy has been a release valve for all of my pent-up frustration—fear, anger, despair—during the past year. It wasn’t easy to adjust to virtual performances, but it was always a relief to do a show and connect with people. I thought it might be the new way for everyone to enjoy comedy (So convenient! No commute! No drunken fights!), but now with the vaccine, it seems more like a dystopian version of comedy. There is no substitute for live performance, as Milli Vanilli will tell you. 

What’s the best April Fools’ prank you’ve ever been a part of?

Michael: I faked my own death for 10 years, April 1, 2003 to April 1, 2013. Joke ended up being on me, though, because my wife remarried and started a new family in my absence. So that was kind of a bummer. 

Atsuko: I’ve never been a part of an April Fools’ prank because that would insinuate I had friends. Ha—it’s okay I’ve coped with it. Instead, I’ve been the subject of an April Fools’ prank, where a bunch of rich popular girls from school put shaving cream all over my car and wrapped it up with toilet paper. My car was parked in front of my uncle’s house. Because I was living in his garage. As an undocumented kid. Yay America!

What would you say is the main difference between audio-only comedy, like what’s in this podcast, and comedy with a visual component?

Baron: Listening to someone without seeing the speaker or any other visual component requires an entirely different level of focus. Not relying on visual cues means tuning into things like tone, inflection, and rhythm. You get a different sense of how someone talks. Those are things that are usually natural, but there are ways to play with that with intention. That, however, is for another April Fools’.

Nosy Neighbors is a new podcast featuring comedians Candice Thompson (previously a writer/correspondent on Lights Out with David Spade) and Chinedu Unaka (who will be featured on the upcoming season of Insecure). In each episode, the cohosts highlight the wildest neighbor stories of the week, dissecting and analyzing those involved, settling disputes, unpacking petty posts on local forums, and celebrating good neighborly behavior. The series includes call-ins from fellow comedians who share their own tales of notable neighbors. Both Candice and Chinedu answered a few questions for us.

Why do you think comedy has been so important over the last year?

Candice: Man . . . comedy should’ve made it onto Time Magazine’s Most Influential People of the Year list for 2020. We all would have lost our minds without it. Every comedian was an essential worker last year. Putting out online content became something I know I started doing more of to entertain other people, because I know they were looking for literally any reason to laugh, but I also did it for my own sanity. I had always thought of comedy as a career, but last year it felt like it became a charitable donation. I’m going to see if I can write it off on my taxes. 

What’s the best April Fools’ prank you’ve ever been a part of?

Candice: I’ve never been a huge prank person, but I do recall being on the receiving end of a prank in college when my best friend told me he’d gotten someone pregnant. We were so “ride or die” I was mentally preparing to drop out of college to help him raise the baby. I was like, “I can learn to breastfeed. How hard can it be?” That prank was stressful.

Chinedu: Me and my college friend Anthony bought a bunch of bike locks and locked everyone in our dormitory’s bikes together early morning before their classes. We locked our own bikes up in the mess too—because we’re not amateurs.

What would you say is the main difference between audio-only comedy, like what’s in this podcast, and comedy with a visual component?

Chinedu: Pajamas. You can be in your pajamas, it’s lovely. 

 

Want more? Listen to all three podcasts, now available on Spotify.