Tag: q&a

Podcast Q&A and Polls Help Creators Talk to Fans Where They Are

May 24, 2023

Looking back, it’s clear the early days of podcasting were uncharted territory. Avid listeners would finish an episode and engage with each other elsewhere—on, say, a Reddit forum or Discord channel—but rarely with the podcast host. There was a desire for deeper conversations, but there wasn’t a channel. For podcasters, this disconnect kept them from the community interaction they needed to sustain momentum for their show. 

In 2019, when Spotify founder and CEO Daniel Ek announced that podcasts and podcasting would be the next phase of growth for the company, it was an opportunity to reimagine the future of podcasting by making a historically one-sided medium more engaging and dynamic for both listeners and hosts. So, as we grew our podcast offerings, Spotify was also able to expand capabilities for creators with the acquisition of Anchor—the world’s biggest podcast hosting platform—which has since become Spotify for Podcasters. In fall 2021, we launched Q&A and polls. 

“Podcasting can be two-way; it can be interactive. It can be a format that helps people connect with each other, instead of just one-way broadcasting,” says Maya Prohovnik, VP and Head of Podcast Product at Spotify. “As Spotify has become the number one audio listening platform in the world, as we’ve gotten a critical mass of listeners and creators in one place, it’s allowed us to really innovate and add these new ways to interact over audio.” 

Q&A and polls enable creators to incorporate a level of engagement by asking questions or soliciting voted responses. The tools allow podcasters to directly communicate with fans in a way that’s more personal. And since we enabled these features for all creators on our new Spotify for Podcasters platform, we’ve seen the number of podcasters who use them more than double.

“The creator response has been really strong, and it’s growing fast,” says Alex Yamamoto, a Product Marketing Manager in Spotify’s Podcast Mission who is focused on Creator Growth tools. “For the creators who are using it, it’s a way for them to get closer with their audiences. A lot of the creators we’ve seen have taken it in different directions. Some want to hear personal stories from their fans, others look for debate-like conversations. In general, it’s about getting people talking.”

Jump-starting conversations

In December of 2021, a few months after the features rolled out, Sapphire Sandolo, host of Stories with Sapphire, started experimenting and saw fans engaging almost immediately. “Before, you had to go off the thing that you were listening to the podcast to. You couldn’t interact right then and there,” she shares with For the Record. “I think that’s why people are really drawn to it. It keeps you there. You don’t have to go find where the discussions are happening.” 

Sapphire Sandolo

Sapphire was quick to adopt the features and has been using them in creative ways ever since. Since Stories with Sapphire focuses on encounters with the supernatural in cultures around the world, her engagement with these tools focuses on normalizing the topics she covers. “With the type of content that I do, people usually listen to paranormal stories because they have also experienced things, or they like to talk about paranormal stuff. Because of that, when I ask people, ‘Have you experienced something similar?’ people start chiming in because they most likely have,” she explains. 

Crafting the perfect question can be daunting, so our product team added a default question, “What did you think about this episode?” to all shows. With this addition, listeners and creators alike can experience and see the benefits from the Q&A capabilities—and get the conversation started. 

“The default Q&A helps people and it starts getting listeners engaged and using the tool,” says Chris Larson, a Product Manager for our podcast fan engagement features. “But where we really see benefits is when the creators put it in their own voice and customize it, either to their podcast category or to a specific show, or they ask about future shows and shape the direction of where they want to go. So, we’re trying to encourage more of that. We’ve learned from creators that that’s been really valuable. We look at the data and we see that it gets a lot more listener responses and there’s more engagement there when it’s been customized in their own voice.”  

For example, Teenager Therapy, a show hosted by a handful of Gen Z friends who try to normalize conversations around the harder topics within their lives, asks listeners to share their own personal stories. Gimlet’s Science Vs podcast, which takes on hot topics in science and health, asks listeners questions about their prior knowledge on a subject. And head to Stories with Sapphire for a deep cut: “What is your relationship with death?” 

In their own hands

Prior to the development of these tools, podcasters found other creative ways to generate two-way conversations. Smaller shows, in particular, were able to utilize voice memos and other alternatives to mimic call-in radio shows. “Some found workarounds maybe five or 10 years ago—it started being really popular to use a Google Voice number,” remembers Maya. “So people could call in, which is awesome, but it was not easy to set up. It was a lot of work for the fans and a lot of work for the creators—you had to listen to voicemails, export them, edit them. It was really cool to start to see that happening, but still really high friction.”

Beyond those who chose to call in, podcasters weren’t able to solicit feedback from fans. Now, Maya, who hosts a handful of podcasts herself, uses the Spotify for Podcasters fan engagement tools to crowdsource ideas for guests and topics and content. 

For Alex, keeping these features conveniently available on the Spotify environment—where listeners already are—also means that control and decision-making remain in the hands of the creators. “The power is really with the creators. They can initiate, engage with fans in what they see as the most positive and creative way,” he says. “The most creative Q&A and polls come from hosts who inherently understand the connection they have with their fans—and they’re the ones who see more listeners engage on Spotify. The beauty of the product is that it accentuates the connection a host already has with their fan base.” 

The tools also enable hosts to build community among their listeners.

“One of my main goals with my podcast is to normalize the paranormal,” says Sapphire.” A lot of the time, people don’t like to share their experiences because they think people will think they’re crazy. I want to create a space where people know they’re safe. I think that’s why people are more comfortable opening up when it comes to my show. They know other people who listen are going to be just as open.” 

A question for the future

As more creators start to use the tools and see the benefits of interactivity, the Spotify team is able to incorporate creator needs to help push conversations even further. “The things we’re committed to for the current functionality are just making sure we improve all the existing ways that creators are interacting with their audiences, and improve discoverability,” says Chris. “We want to close the feedback loop so that when creators do get feedback on their episodes, they’re notified in a timely manner and can actually engage. Because we know that for listeners, if they’re not getting feedback from the creators, it feels like fans are shouting into a black box. We want to encourage creators to start giving listeners that reinforcement.”

Alex’s tip to creators? Mention these new features in the episode intros and the show notes. “The best source of discovery of the feature for listeners is when the creator calls it out,” he says. 

And there’s always more to learn and experiment with. Sapphire, an early adopter of Q&A and polls, recently started using Spotify for Podcasters for analytics. After publishing two video podcasts, she noticed the number of people responding to her questions doubled. 

For Sapphire and Maya, podcasting incorporates an element of magic. “The world is a lot more magical than we give it credit sometimes,” Sapphire says. “We lose a lot of our sense of that as we grow older, but there’s always room for paranormal and room for magic.”  

“I really find it magical to be able to express myself and tell stories, and I really want everyone to be able to do that,” Maya explains. “So, I hope that’s what we keep seeing. It’s so easy to make a podcast on your phone and with all the developments we’re seeing in creator tools. I can’t even imagine where we’re gonna be in a couple years. As the barriers for creation become even lower, we’re going to see more experimenting and finding new, novel things to do with the medium. I’m really excited for Spotify to become the place that fans and creators think of when they think about connecting with each other.”

Celebrate Country Legend Willie Nelson’s 90th Birthday With New Spotify Singles

April 28, 2023

cover art for the three artists participating in the willie nelson spotify singles

Often spotted with a bandana on his head and a guitar in his hands, Willie Nelson remains one of the most recognized and respected country musicians. Since the 1960s, the Texan has been active, performing hits like “On the Road Again,” appearing on the silver screen in films like The Dukes of Hazzard, and advocating for the causes most important to him. 

April 29 marks the renowned star’s 90th birthday, and our Spotify Singles program is celebrating the milestone occasion. In partnership with Luck Reunion, a group of artists visited Nelson’s iconic home studio—Pedernales Recording Studio—to cover one of their favorite hits from the legend.

“Luck Presents is honored to have collaborated with and to have hosted the Spotify Singles team to capture these amazing Luck family artists paying homage to our landlord and godfather for his 90th birthday,” said Matt Bizer, CEO, Luck Reunion. “From Margo’s ballad rendition of ‘Hands on the Wheel’ and Sierra’s incredible take on ‘Seven Spanish Angels,’ to the powerful, soulful, and fun new gospel take on ‘Whiskey River’ by The War And Treaty—they are all a treat to hear. We hope this can become a new tradition.” 

For the Record caught up with the artists to learn more about their experiences creating these new tracks.

Margo Price covers “Hands on the Wheel”

Grammy Best New Artist nominee Margo Price uses her music to weigh in on a range of societal topics, from the gender wage gap to the plight of the American farmer and substance abuse. The singer-songwriter has seen critical acclaim for her work, which includes four studio albums since 2016.

What was it like recording at the Pedernales Recording Studio?

It’s one of my favorite studios to record in. This was my second time recording there, and there’s just a magic about the studio and the beautiful hillside country that surrounds it.

Why did you choose “Hands on the Wheel”?

“Hands on the Wheel” has always been one of my favorite songs, and Red Headed Stranger is one of the best albums ever conceived. The opening lyrics seem so relevant for today’s times. 

What do you hope Willie’s reaction will be? 

I hope he digs it! I tried to preserve the rooted feeling and keep it simple and stripped down so the focus on the poetry and lyrics wouldn’t be lost. 

How did you reimagine the track?

Honestly, I didn’t do much, because if it’s not broken, why fix it? I changed the key and moved it up into my register, but I kept it acoustic and open with lots of space for the words and instruments to breathe. My husband, Jeremy, played guitar, and I enlisted two of Willie Nelson’s bandmates for the session. His longtime harmonica player, Mickey Raphael, added his magic touch, and Willie’s son, Micah Nelson, aka Particle Kid, added an acoustic guitar lead and a beautiful harmony. 

What was it like collaborating with Micah? Did the experience bring out a different side to your music or creativity?

Micah is a genius—and I truly mean that. I have always loved singing, touring, and recording with him. His vocals added so much, and so did his acoustic playing! He has his father’s touch but a sound all his own.

If you could pick another artist to cover one of your tracks, who would it be? Is there a song you’d have in mind?

Great question! I really love the band The Linda Lindas. I would love to hear them cover my song “Been to The Mountain.”

 

The War And Treaty cover “Whiskey River”

Michael Trotter Jr. and Tanya Trotter are the husband-and-wife duo behind The War And Treaty. Their musical style of soul, gospel, and country helped them nab a nomination for Duo of the Year at this year’s Academy of Country Music Awards.

What was it like recording at Luck Reunion/Pedernales Studio?

Historic. 

Why did you choose “Whiskey River”?

We loved the original version and the clever lyrics Johnny Bush wrote.

What do you hope Willie’s reaction will be?

We hope he doesn’t say, “Who messed up my song?” Ha!

How did you reimagine the original?

We thought that we could add to it by putting a rock kind of swamp country energy to the song. Our sound is a mixture of gospel, country, and soul and we wanted the listener to feel that.

What does this version give fans that perhaps the original didn’t?

A little more energy and two voices on lead.

If you could pick another artist to cover one of your tracks, who would it be? Is there a song you’d have in mind?

Jennifer Hudson singing “Have You A Heart” would be epic.

 

In addition to the tracks from Margo and The War And Treaty, Sierra Ferrell, a singer-songwriter from West Virginia, also brought her signature fusion of country, gypsy, and folk to Nelson’s track “Seven Spanish Angels.” You can check that out below.

 

For more tracks from the country music legend, check out our Happy 90th Willie Nelson playlist.

Spotify Hosts Summits in Germany To Bring Creators and Industry Professionals Together

April 24, 2023

a group of participants standing on stage at the all ears summit

Last week, hundreds of artists, publishers, creators, and individuals working in the audio industry met up in Germany for Spotify’s All Ears Podcast Summit and All Music Friday Summit. The events offered a chance for attendees to hear from experts in their fields and gain insights on reaching larger audiences across podcasting and music.

Welcoming the podcast industry to Wilhelm Hallen

The 2023 All Ears Podcast Summit made history as the largest-ever podcast event in Germany. Experts from production, marketing, publishing, and advertising presented, shared advice, and connected. The conference, which spanned five stages at the Wilhelm Hallen conference center, included panels, interviews, workshops, and live podcast recordings.  

For the Record had the chance to talk to Saruul Krause-Jentsch, Spotify’s Head of Podcast in Germany, who shared more about the summit. 

“Podcasts are an important audio entertainment medium in Germany, about which, in which, and with which there is a lot of discussion,” she noted. “We generally take great pleasure in exchanging ideas with all our partners, creators, and competitors. Spotify is the most important podcast pioneer in Germany, not only because of our great content, but also because of the technology and tools we have available for creators. This event helps guide the conversation of the future of podcasting while also sharing more about our creator-focused mission with Spotify for Podcasters.” 

NPR Host Ari Shapiro Goes Beyond the Airwaves With His Memoir, ‘The Best Strangers in the World: Stories From a Life Spent Listening’

March 20, 2023

photo credit: Victor Jeffreys

As one of the hosts of NPR’s flagship program, All Things Considered, Ari Shapiro has a voice that’s instantly recognizable to many radio listeners in the United States. Since 2015, Ari has shared heartwarming and heart-wrenching stories on the show, which is one of the most listened-to news programs in the country. In 2020, the format expanded with Consider This, a 15-minute, six-times-weekly podcast—also hosted by Ari.

But journalism is just his day job.

Ari is also a singer, performer, and speaker. He moonlights as a vocalist with the band Pink Martini, and joined forces with actor Alan Cumming for a stage show called Och & Oy! A Considered Cabaret. Now, the award-winning reporter and former White House correspondent is adding author to his resume.

The North Dakota native’s memoir, The Best Strangers in the World: Stories From a Life Spent Listening, hits shelves this week. In the book, Ari not only details his experiences reporting stories around the world, but also reflects on his upbringing in Portland, Oregon.

Ari created a playlist exclusively for Spotify that’s the perfect accompaniment to his memoir. From The B-52’s to the New York Philharmonic, the curation is as varied as the tales that come to life on his pages. We caught up with the host-performer-author to learn more about the inspiration for his book, and the ideas behind the playlist.

What made you decide to write a memoir? 

Covering the news every day sometimes feels like sprinting on a treadmill, where if you pause to look at the hot guy walking by, you will fall on the floor. And so, I’ve never been a person who nostalgically looks back at my favorite conversations and stories I’ve told. But I realized that after more than 20 years as a journalist, some of those stories, and some of those people, have sort of snagged on me as they flew by in the current, and changed the person I am—not just as a journalist, not just a storyteller, but as a human. 

In a way, this book is a memoir told through the stories of others. It covers a really wide range, from going on Air Force One with the president to being in warzones to singing with a band at the Hollywood Bowl. But, ultimately, I think of the book as kind of an answer to a question that I get from friends a lot, which is “How do you stay optimistic in the face of everything?” And the answer is the stories that are in these chapters.

How did your experience as a journalist impact your story?

Being a journalist has certainly attuned me to the finer details, so I feel like I can take someone along and tell a story that hopefully transports them and sticks with them. But the thing that made it really challenging is—as a journalist—stories are not supposed to be about me. I’m never supposed to be the focus.

So switching gears and telling stories that are fundamentally about me was unfamiliar and scary and foreign and definitely a learning curve. And as I look back at the drafts of these chapters and the way they evolved, that’s the biggest change that I see: learning how to write about myself in a way that doesn’t feel like a betrayal to who I am as a journalist.

Can you share a story from your book?

I have to tell you about the first time I ever sang with a band. For my debut performance, I was a singer with a band called Pink Martini, a little orchestra from Portland, Oregon, with more than a dozen members. In 2009, they asked if I would record a song for an album they were working on. After, the band leader, Thomas Lauderdale, said, “Well we need to find a time for you to perform this live with us. So why don’t you come to the Hollywood Bowl?” 

Now, the Hollywood Bowl seats 18,000 people. But what made it the most terrifying was not the size of the audience. It’s that backstage, before you walk out in front of those thousands of cheering people, you see all these huge, framed, black-and-white photos of the legends who have performed there over the decades. There’s Aretha Franklin; there’s The Beatles; there’s Judy Garland—all pictured on the stage you are about to stand on. And then the time comes, and you walk out in the footsteps of those giants and the spotlight follows your path. 

It is so exhilarating because as a radio reporter, it doesn’t matter how many millions of people might be listening to any given story I do. It’s a very intimate conversation between me and the one person who happens to be hearing it. But with a live performance, everybody is sharing that experience collectively, at the same time. There is something so electric about live music because it only ever happens once in that particular way. And so, to be a part of that is a thrill unlike anything I’ve ever experienced in journalism.

What was the experience like reading your story aloud for your audiobook?

First of all, I loved recording my audiobook because my comfort zone is telling stories. That’s what I do every day, and so, in some ways, recording the audiobook felt much more easy, comfortable, and familiar than writing the book. But it’s exhausting to speak aloud for hours on end. Even though I host a two-hour daily news program, I’m not talking for most of it. I read an introduction to a reporter’s piece and then I sit quietly for four minutes. Or if I’m doing an interview, I ask someone a question and then sit quietly while they answer. By the end of the day of audiobook recording, I could barely talk to my husband. I have so much admiration for people who do this professionally.

You created a musical playlist for your memoir. How did you pick the songs?

Above all, I wanted the playlist to feel optimistic and joyful because that’s what I want people to walk away from the book feeling. Even though the book takes you to warzones and refugee crises, the book is full of people who give me hope. It’s also global because the book is global. So there’s a track from the South African trumpet player Hugh Masekela, and a track from the Japanese singer Saori Yuki.

The playlist begins with a song that I hope sets the tone for everything else, which is “Roam” by The B-52’s. I think that’s the best road trip song ever written. And I want to give people the feeling that we’re going somewhere exciting. It’s gonna be fun, and it’s gonna be an adventure.

There is also a healthy dose of Queer camp because that is part of who I am, and there are songs that take me back to specific moments. It includes an obscure ’90s cover of “Total Eclipse Of The Heart” by Nicki French. The summer I came out of the closet, that was the track that was playing in the gay club every single weekend. I also included the overture to Candide, which was the song that my husband and I walked down the aisle to at our wedding.

What do you think continues to attract listeners to talk formats like a radio show or podcast?

One of NPR’s founding mothers, Susan Stamberg, has a quote I love, which is “The pictures are better on the radio.” There is something about the human voice that is so personal and intimate. It engages the brain and bypasses the preconceived notions we might have about the person who’s talking, and allows us to have an experience that feels more personal than printed words on the page or talking heads on a TV broadcast. 

How have the people you’ve met over the years and the experiences you’ve had influenced you?

Musically, I have been so lucky to collaborate with people who are curious and omnivorous. Pink Martini records in dozens of languages, with collaborators ranging from the great Mexican ranchera singer Chavela Vargas to the great grandchildren of Maria and Captain von Trapp. So being able to travel with Pink Martini to Morocco and Hungary and Lebanon and France and sing in all these different languages helps me appreciate something that my parents taught me from a very young age: The more you know about the world, the more interesting life becomes. And there’s something very subtle and powerful about music. 

With everything that I do—whether it’s journalism, singing with Pink Martini, writing this book, or performing with Alan Cumming—my goal is to help people see the world through the eyes of someone else. My goal is to help people break out of their bubbles and build empathy and increase understanding. Music is one of the most powerful tools I know that can do that.

The chapters in this book that are not about music still contain a piece of that. I hope they increase curiosity and empathy, and allow readers to experience all these different people and places, and see the similarities and connections we all share.

 

If you’re interested in hearing Ari tell his stories in person, check out the details of his book tour here. In the meantime, listen to the playlist Ari made to complement his memoir, below.

 

New Spotify for Podcasters Brings the Best of Spotify to All Creators

March 8, 2023

Spotify for Podcasters

Empowering creators is central to everything we do at Spotify. We’ve long been building the tools that podcasters need to tell their stories and grow their audiences, but until now, they’ve been split across multiple, separate platforms, including Anchor and Spotify for Podcasters. For creators who just want a simple way to take advantage of everything Spotify has to offer, it’s been too complicated. That ends now.

Today at Stream On, we announced that we’re combining our tools into a single, convenient, one-stop shop: Spotify for Podcasters. 

This makes for a significantly easier experience for every podcaster already on Spotify, and further, it opens up the opportunity for even more creators to find success—no matter how they choose to manage their podcast.

Making features available to all podcasters

Previously, our most innovative features were limited to Anchor users exclusively. But we’re building the new Spotify for Podcasters in a way that offers more open access to innovation. As a result, all Spotify for Podcasters users—including those not hosting their content with us—will find access to Q&A and Poll functionality in their dashboards.

And stay tuned for even more features to become available for non-hosted users in the future: We’re starting to open up access to video podcasts for more creators. You can sign up for more information at spotify.com/video.

New Spotify for Podcasters capabilities

Starting today, when all creators sign up or log in to Spotify for Podcasters, they’ll find a dashboard with everything they need to make, manage, and level up their show, including:

  • The ability to upload and publish episodes (for users hosting their show with Spotify for Podcasters)
  • Interactive features like Q&A and Polls
  • Advanced analytics to track a show’s growth, including streaming numbers and audience demographic data

Additionally, Spotify for Podcasters offers free hosting. And for those users whose podcast is hosted on Spotify for Podcasters, they also have access to recording and editing tools, video uploading, and monetization features.

Brand-new Spotify features for podcasts

Today, we also unveiled a number of new Spotify features that will help listeners better discover and engage with creators’ work. Look out for: 

  • Podcast previews, which enable listeners to sample a show right in their Home feed.
  • Creators can now add Podcast Chapters to their episodes by including time stamps in their episode descriptions. These allow listeners to browse through an episode by topic or section.
  • Creators can apply to participate in Spotify Labs, a global series of workshops that will provide opportunities to create in our world-class production studios, learn from Spotify experts, and connect with fellow podcasters and artists. 
  • Plus, we’re launching a new space for educational podcasting content—complete with growth tips, comprehensive how-to guides, advice from fellow creators, and more. 

Imagine Anchor’s powerful, all-in-one podcasting tools combined with Spotify for Podcasters’ advanced insights and analytics, all available with interactive features. And imagine it’s free and in every market where Spotify is live. 

Now stop imagining. That’s the new Spotify for Podcasters.

Find out more at Spotify for Podcasters. 

Songwriter Jin Jin Gets Collaborative at Spotify’s Riffs and Runs Sessions

February 7, 2023

It takes just the right amount of creativity, collaboration, and inspiration to write a powerful song. And Jin Jin knows quite a bit about that. The British songwriter has seen success writing hit tracks like “Hold My Hand” by Jess Glynne and “You Don’t Know Me” from Jax Jones.

And recently, Jin Jin put her skills to work at Spotify’s Riffs and Runs sessions. The intimate two-day event was a series of songwriting sessions focused specifically on R&B, and it provided a chance for Black songwriters, producers, and artists to come together and connect in a setting where they felt inspired to collaborate. 

The sessions took place at the iconic Metropolis Studios in London and were attended by both established and emerging talent. Production legend Rodney “Darkchild” Jerkins—famous for hits such as “Say My Name,” “The Boy Is Mine,” and “It’s Not Right But It’s Okay”—and ThankGod4Cody, known for producing some of SZA’s hits, worked with artists and songwriters, like Jin Jin, to get the creative juices flowing.

The creators met in the studio, where they first got to know each other over coffee and snacks. After building a rapport, the next step was to determine a concept and start on chords. Then, the magic happened.

For the Record caught up with Jin Jin to learn more about her Riffs and Runs experience, and to get a look behind the scenes at how she collaborates with others to create songs fans love.

Can you tell us about your Riffs and Runs session?

This was the first time that I’ve been involved in the Riffs and Runs sessions. I’ve done other Spotify camps before, but this one was particularly special because it was throwing different artists, producers, and writers in the room and they were all from different places and different cultures. 

It was brilliant—I really enjoyed it. Metropolis Studios, in Chiswick, is an amazing venue and it’s a really creative space. I was working with ThankGod4Cody, and I also worked with two artists Bellah and Äyanna. They’re both amazing vocalists, so that was a treat. For this session, we all wrote it together, and then it ended up being Äyanna who laid down the first verse, and then Bellah laid down the second verse. And then they both sang the chorus.

What was the song you wrote about?

It had bad b*tch energy. The general story was, they thought that a relationship was gonna go one way. But then, it went another way because both people in the relationship have different perspectives. So it’s an example of women calling a guy out.

What was your favorite part of the Riffs and Runs experience?

My favorite part is when you’re getting to know each other and you’re in the very early stages of creation. It’s where everyone’s a little bit nervous, but really open to each other’s ideas, and you don’t know what you’re gonna make. So it’s pretty nerve-racking as well, but it gets rid of any ego in the room. It’s like, this is a fresh idea, and we don’t know if we’ll be able to make an amazing song but everybody’s there, you know, new to the experience and to that day. 

What’s the secret to a successful collaboration with others while working on a new piece?

I think it’s kind of almost like forgetting what you’ve done before. If you’ve ever had any success or any previous [track] release, just forget about that because the past doesn’t really matter. All that matters is what you create on the day, with these new people—if you’ve got synergy, if you can build a nice relationship with them, and if you can find some sort of common ground and way to communicate so that you can make an amazing song. I think that it’s super important to be open, you know. Somebody might have a different musical style than you, or be from a different background, or be into different things, but maybe that’s their story. 

Is there a particular songwriter who inspires you, or whom you admire?

Oh there’s a lot of different ones. A current, more mainstream, newer writer I love is Tems. She’s amazing at writing and an amazing artist as well—I really love her sentiments. I love the fact that she operates in the Afrobeat world, and her songwriting is beautiful. 

What do you think is your biggest challenge as a songwriter?

I think the biggest challenge is, sometimes, you can get pigeonholed into a certain genre. Or, a lot of people are just holding on to what you did before, sort of thing. I also think it’s a challenge to not fall into a safe space for yourself as a songwriter. It’s really important to keep pushing yourself as well and try new things.

What advice do you have for aspiring songwriters?

To just keep exploring. Try and reach out to as many other songwriters and producers as you can and collaborate as much as you can. Also, listen to genres of music that you wouldn’t necessarily listen to. So if you’re in the space where you only make, like, drill or trap, then maybe listen to some rock music. Listen to some country music. Listen to lots of different genres because as a songwriter, it’s important to understand and appreciate other genres as well.

What represents a successful songwriting session to you?

I think, obviously, coming out with a song that you absolutely love is important, but then if you don’t come up with the song, that’s fine as well. I think it’s about the relationships and the future possibilities of creating music with these newfound colleagues.

 

Check out the video to learn more about the Riffs and Runs experience.

 

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Get more of Jin Jin by listening to some of the songs she’s written in the playlist below. 

Marie Rönn, Global Group Creative Director, Works Across Spotify To Bring Wrapped 2022 to Life

November 30, 2022

When you open your 2022 Spotify Wrapped, you’ll notice multicolored and multilayered graphics that are as multidimensional as your listening habits. The team behind Wrapped is just as expansive, with data scientists and engineers, copywriters, designers, music and podcast editors, and more. Uniting it all is Marie Rönn, Global Group Creative Director at Spotify. Throughout the year, she and her team ideate on concepts and collaborates with other teams to bring the project to life. 

Ahead of 2022 Wrapped, For the Record chatted with Marie to learn all about her work on the creative campaign. 

Wrapped has become a bit of a cultural phenomenon, with people anticipating its launch all year. When do you start thinking about the campaign? 

We’ve all started thinking about next year’s Wrapped already—before this year’s Wrapped is even over. Officially, I would say I get involved in conversations in March or April. That’s when we start thinking about the brief and working with the creative strategists. This past year we managed to brief writers, art directors, and designers to have them start thinking about both the design and the platform and all of that fun stuff by the end of May. 

What were some of the considerations for Wrapped this year?

We wanted to open the door to more of a joyous every day. To make sure we captured this new energy that has come out of people emerging from their bubbles and being able to meet up again. And so that’s something we were excited to dig into—to be a little bit more playful and irreverent. To have a bit of fun and encourage people to have fun as well. For the campaign, we wanted to invite people not just to get Wrapped, but to play it.

For the data stories, we asked ourselves, “What are people craving?” They want to know about their audio listening for the year, and tap into what is interesting about it—on a more emotional level. And that’s what we explored as we were starting to ideate. We had a lot of ideas—not all of them were feasible—but we worked super closely with the product team and others before landing on a couple of new data stories for this year that really tap into the more emotional side of listening. 

How did that thinking translate into the new data stories for this year, your Listening Personalities and your Audio Day? 

For the Listening Personalities, we were toying with the idea of how we would be able to talk about what your year-in-listening says about your music tastes. And so our team had all sorts of fun ideas of what we could tell about musical taste in terms of how you listen. The beautiful thing was that when we brought our ideas to the product team, they had already been thinking about a very similar concept, and had done tons of research into it. Great minds and teams came together to collaborate closely. Making sure that the Listening Personalities weren’t just for fun, but that they were insightful for listeners. 

For the Audio Day, again, we had great synergy with the product team. We wanted to get more into moods and aesthetics and move away from genres. Genres don’t give you the nuance of what type of mood you’re in, so what we wanted to do there was to try to tell you a little bit about your musical mood throughout the year. What was your musical mood when you listened in the morning versus in the evening, or at night? The inspiration was to just give people a little bit more of a meaningful experience. Genres go deep, but they’re not the only factor in the way we listen. 

Something that’s also new this year is that we added the day that you streamed your most-listened-to song the most. Peppering in a bit of fun and just a little more specific data for you to look back and think, “What was I doing that day?” Hopefully, people enjoy reminiscing. 

What’s one thing you hope fans walk away with after seeing their 2022 Wrapped? 

Hopefully they discover something about their listening that perhaps was a surprise. And that it also inspires them to keep discovering new music. Like, sure, we give you your year in review, but we also want to inspire you to keep the discovery going. 

We did something new this year to this effect: On your Wrapped playlist are your 100 songs you listened to the most. But this year, we also included one song you didn’t listen to. A playful surprise to encourage you to keep exploring.

Head to our Wrapped story hub to learn more about the new data stories for 2022.

Author Colleen Hoover Takes Us on a Journey With a Playlist Inspired by Her New Book, ‘It Starts With Us’

October 18, 2022

graphic art depiction of the cover of "it starts with us" by colleen hoover

You can’t pin author Colleen Hoover to a specific genre. The Texas native is responsible for both suspense thrillers like Verity and heart-wrenching romances like Reminders of Him. Readers never quite know what story will unfold through the pages. In 2016, Colleen published It Ends With Us, a romance novel that introduced readers to the lives of Lily, Ryle, and Atlas. Fans followed Lily’s journey of love and loss, from Maine to Massachusetts. Now, six years later, her story continues.

Photo credit: Chad Griffiths

Colleen wasn’t planning to write a sequel to the best-selling book, but requests from readers made her realize she wasn’t quite done. And today, fans can get their hands on the next installment of the story: It Starts With Us. As a bonus, Colleen created a Spotify playlist that incorporates songs that stuck with her as she worked on the novel and built onto the lives of Lily and Atlas. For the Record had a chance to chat with Colleen about her work, her playlist, and audiobooks.

Do you listen to music while writing? Does it help you get into a certain mindset?

I actually can’t listen to anything at all while I’m writing. In fact, if there’s any noise, even the sound of a clock, I have to remove the batteries. Yet music is what inspires books and characters for me, and gets me into the mood to write. And yes, I definitely have to listen to songs that I feel fit with the story. For example, “Bride & Groom” by The Airborne Toxic Event was a big one for me when I would pump myself up to write All Your Perfects. 

Is the music you listened to for It Starts With Us the same as It Ends With Us?

I tend to be a creature of habit when it comes to music. If I want to get into a certain mood, I use music for that. And for me, I’m almost always searching for sad music. 

How did you approach picking the songs on this playlist?

After writing It Ends With Us, I had a lot of readers who would send me songs that remind them of the book. I almost always go listen to the song to see how they interpret the book and the characters. A lot of those songs have stuck with me, so I chose them. Some songs I chose because they are common recommendations, like several of Taylor Swift’s songs. 

Can you tell us about a few of the songs and what they mean to you or your characters?

“She Dreams of Boston” by Erick Baker was actually written specifically for Lily. Erick and I met because I had reached out to him years ago regarding his music and hopefully collaborating on something. He was on board immediately and wrote such a perfect song for Lily’s character. 

As for Atlas, I feel like “All For A Woman” by The Airborne Toxic Event is a good fit for him. He just has so much love for Lily, and that song bleeds heartache. 

I’d go back to X Ambassadors for Ryle’s character. The song “HISTORY” is my anthem for Lily to Ryle. I imagine him hearing it and being full of guilt and regret, but knowing there’s nothing he can do to get her back. 

Can you share how The Avett Brothers inspired you to write?

I found their music at a time when I felt lost inspirationally. I had young kids; I worked full time; I was in college. I was going through the motions of being a wife and a mom and an employee, and had absolutely no time for myself. I think I was losing myself, not because I wasn’t happy—because I was—but because I wasn’t spending time nourishing my artistic side. That’s when I found their music. 

Their lyrics spoke to me, and the passion they had when they played made me jealous. I used to have passion like that, and until I saw them play live, I didn’t realize how much I missed being passionate about life and using my imagination. Their music reignited my love for my hobby, and I think that’s a beautiful thing when one artist’s art can remind another artist how important it is to make time for what feeds your soul. After attending my first concert of theirs, I immediately went home and started writing. I’ll always be grateful to their music for that, and to every artist in any area who continues to create. 

Your new book, It Starts With Us, begins right where It Ends With Us left off. Why did you decide to continue with the story of Lily and Atlas?

I honestly never thought I’d continue with their story. I always received pleas for more It Ends With Us, but I thought that was because people wanted Ryle to be redeemed, and I’ll never go that route. But when more people began to read the book and make videos on social media, I’d watch these videos and see them begging firsthand for more Atlas. I love Atlas, so the requests from readers, combined with a storyline that was slowly beginning to build for him, ultimately sparked an idea that I finally felt would be good enough to create a book out of. I may not have intended to write this sequel, but I couldn’t be more excited that I did. 

If Lily and Atlas had a song, what would it be?

Definitely “If It’s The Beaches” by The Avett Brothers. I feel like Atlas would give Lily the world if he could, and that is such a beautiful love song. It always reminds me of the two of them when I hear it. 

For audiobook lovers, how do you think having someone read aloud your words changes the experience for the listener?

If it’s done right and the reader feels that the voice fits the character, I feel like it gives it an entirely extra dimension. Audiobooks breathe a little more life into the story for me. I’m a huge movie lover. Watching movies is my second-favorite pastime after reading, so for me, audiobooks are a way to bridge the gap and enjoy the best of both worlds.  

What aspect of audiobooks do you like, and when do you turn to them in favor of reading from the page?

I love audiobooks! I do a lot of driving and long road trips, so my favorite time to listen to them is when I’m alone in the car for long stretches of time. It makes the trip go by so quickly, especially when it’s an engrossing story.

 

Let music accompany you along the pages of the upcoming It Starts With Us by listening to Colleen’s playlist below.

The Creative Minds Behind Netflix’s ‘Do Revenge’ Reveal How Its Soundtrack Set the Tone for the Entire Film

September 16, 2022

According to the latest Netflix movie, revenge is a dish best served by others. Coming out on September 16, Do Revenge follows two students at a posh high school who form an unlikely friendship as they plot to avenge each other’s tormentors. As fans follow the pair, they’re accompanied by a pop punk soundtrack that includes a mix of ’90s nostalgia and new releases from some of today’s biggest and emerging stars.

For the Record caught up with the movie’s director and cowriter, Jennifer Kaytin Robinson, and music supervisor, Rob Lowry, to hear more about the film and the process behind soundtracking the dark comedy.

What are three words you’d use to describe the vibe of the film Do Revenge?

Jennifer Kaytin Robinson: Twisted. Fun. Camp.

How important is music when thinking through a film and its soundtrack/score?

Jenn: The most important. I think as a writer and director, I can’t create something without knowing what music is going to soundtrack each moment. And so, for me, a scene doesn’t really work until I know what is going there.

I write music into all of my screenplays. So there were a couple little drops that stayed in the film that were in the original script. And if they didn’t stay in the film, I would say that we found something similar in vibe. That vibe was always kind of present and set throughout the film, even from the script process.

Rob Lowry: I think there were like 40 songs scripted into the film. We started talking about music like a year before they shot the film.

Jenn: Rob and I had kind of a running playlist of ’90s songs, and we kind of went back and forth. And, you know, when I was writing, I would be like, “What about this here?” Or “What about this there?” We were in conversation about how the music was going to soundtrack and emotionally drive the film because so much of the film energetically is modulated through the music.

Jennifer Kaytin Robinson standing and posing looking directly at the camera. She is wearing a white crop top and shiny pants

So how do you approach picking which songs make the soundtrack?

Jenn: It’s a lot of trial and error. I like to get the film clean of all music, and then I’ll just sit there with the film open and open Spotify and play things in a really rough way underneath the scene. And I’ll be able to kind of tell, “Oh, this will work” or “Oh, this won’t work.” And then it’s just trial and error, having the editor cut in the songs. And then Rob and I discuss things like, “What do we think about this?” “How do we feel?”

Rob: Yeah, it’s interesting to see how much stuff stays the same and how much some stuff changes from the script stage. How much it evolves from even the first cut to pivoting several times. But then I feel like, there’s probably five to seven really big needle drop moments that I feel like once we kind of found them, it’s like unlocking the puzzle, and then everything else kind of fell into place. Just because there’s so much music, but it all feels super cohesive, even though some of it’s from different eras or different types of genres.

Jenn: They all had a sonic kind of identity in that pop punk space. And we knew that was kind of like the North Star in which we wanted to find other things around it. We wanted the soundtrack to feel cohesive. Something that’s important to me is, if you listen to the soundtrack on its own, I want it to tell a story. And I think if you look at the soundtrack and you look at the track titles, all of that stuff was important to me in considering and putting together the kind of musical story of the film. I wanted the music to feel like an extension of the film, of the story of Drea and Eleanor’s arcs.

What type of emotions do you want to evoke in fans as they listen to the music?

Jenn: I think it’s a weirdly emotional, nostalgic soundtrack. I think that there are two kinds of access points to the soundtrack. One is nostalgia and one is discovery. I think for millennials, there is discovery in the Gen Z tracks and then there’s a lot of nostalgia in the ’90s. And then for Gen Z, there’s discovery in the ’90s stuff. And there’s a lot of, like, not nostalgia but familiarity in the kind of stuff that we did that more Gen Z will recognize. I feel like that is the beauty of the soundtrack.

The two main characters come together from two different worlds. Was there a musical style or a genre you wanted to evoke for each one? 

Jenn: Rather than each of them having a sound, I think it was more focused on them having a sound together. The music that we open the film with, let’s say the Hayley Kiyoko and the Robyn song, was intentional in knowing that we were setting up the soundtrack to be both [nostalgia and discovery]. I knew we needed a current song and we needed a ’90s song in that first set piece. And we wanted it to be that bright, fun pop. So we focused on that rather than it necessarily being like one vibe for each of them. But as you follow the arc of the film, in general, I would say you can see where the music kind of twists and gets darker. And it’s still bright, fun pop, but it’s a song called “Bitter Bitch.” I think [the soundtrack] is about finding those songs that arc and change with the emotional story that we’re telling.

If you could pick an anthem for Eleanor (Maya Hawke) and Drea (Camila Mendes) what would it be?

Jenn: I feel like Eleanor is Taylor Swift’s Reputation album.

Rob: She’s in a Reputation era for sure.

Jenn: But emotionally, I think that Eleanor contains multitudes, just like Taylor. And then Drea would be like Olivia Rodrigo’s Sour.

Rob: Yeah. Because I feel that’s the overlap in the Venn diagram and where the two characters find each other: the Sour and Reputation albums.

What’s your favorite song on the soundtrack? 

Rob Lowry posing looking directly at the camera and smiling. He is wearing a blue chambray shirt.

Jenn: All of them. Hole‘s “Celebrity Skin” was a song that was written in the script from the very beginning. I saw it in the edit and I was like, “This has to be in the movie. It’s a non-negotiable.” We never tried any other song.

Rob: Same with Olivia Rodigo’s “brutal.”

Jenn: Oh yeah. I shot that scene with Drea sitting and crying at her desk while listening to “brutal” in my headphones. I was watching the scene and timing it into the big drop in the song.

Rob: Every time I’ve watched the film, I’m like, “Oh, this is my favorite moment.” And then you’re like, “Oh, no, no, no, this is.” “Oh, wait, this is my favorite song.” Because it’s just wall to wall, but it doesn’t feel like it’s hitting you over the head because every song complements each scene. Harvey Danger’s “Flagpole Sitta” is definitely one of my favorites.

Jenn: I will say Juliana Madrid is my favorite discovery moment. I don’t want to jinx it, but I hope that Juliana has a Lizzo break moment. I love that song “Pretend.” I think it’s so perfect in that moment. And the only other song I had that kind of reaction to in terms of hearing it and knowing that it w

as perfect for the film was “Happier Than Ever.” That was the other song that, when I put it under the film, I saw that sequence come to life when soundtracked by that Billie Eilish song. I was just texting Rob in all caps. And I was like, “Oh my God, it’s perfect. It’s amazing. I can’t wait for you to see it.”

Rob: And then with Maude Latour, she did a cover of “Kids in America,” and to be able to work with her and tailor the song specifically to this sequence . . . that is the same thing we did with this remix that we did for Chloe Adams and “Dead to Me.” Getting to rework these songs specifically to the cut . . . they just both turned out so well and they’re such big moments in the film.

Are there any other dark comedies/high school films that have an iconic soundtrack that you love?

Jenn: I think a lot of the touchstones for this movie have iconic soundtracks: Cruel Intentions, Ten Things I Hate About You, Clueless. Those were the soundtracks that at least I grew up loving and kind of owning and listening to over and over again and wearing out. And when we were putting together this film, we wanted to pay homage to those soundtracks and for this to be an updated version of what we grew up with.

Rob: I also love Ten Things I Hate About You and Can’t Hardly Wait. Jenn and I always say that we’re musical soulmates, and I think we have the exact same taste. So it always feels like we’re inside each other’s heads. This was two years of sharing our favorite music with each other. It was a really lovely experience.

Jenn: We’re also soulmates in a detrimental way because we will be the only two people that like something, but we have really loud voices in a situation. Everyone else is like, “Guys this doesn’t work.” It was very funny to see the downside of our soulmate-ness. Ninety-nine percent of the time it’s really great. But if the song doesn’t work and we both like it, it’s also such a hilarious disaster.

Are you ready for a double dose of nostalgia and discovery? In addition to the Do Revenge official playlist, which is available on our Netflix hub, Eleanor and Drea have also taken over Netflix’s most PLAYED. Hit play below to start streaming even more of their favorite pop punk hits from the past and present:

Country Crossover Icon Shania Twain Is Spotify’s EQUAL Ambassador of the Month

September 15, 2022

“Man! I Feel Like A Woman!” “Any Man of Mine.” “You’re Still The One.” The list of hit singles from country legend Shania Twain goes on and on. And while the Canadian star grew up singing and performing in the ’80s, she really hit her stride in the ’90s when she released three albums that introduced her bold and unapologetic persona to the world.

Shania’s success is unparalleled. She has won five Grammy Awards, sold over 100 million records, and accumulated over 1 billion streams across her Spotify catalog—making her not only the best-selling female artist in country music, but one of the best-selling artists of all time. 

Shania took her career to new heights in 1997 when she released Come On Over, a genre-spanning album that attracted a global fan base and proved she was a pop force to be reckoned with. But even after the release of her Greatest Hits album, Shania continues to push boundaries with her music. This year the singer released the track “Not Just A Girl” as well as a compilation album that is a companion to her new Netflix documentary, Not Just A Girl.

Shania’s boundary-breaking attitude makes her the perfect Ambassador of the Month for Spotify’s EQUAL Global Music Program. EQUAL aims to combat gender disparity in the music industry by amplifying and celebrating the work of women creators around the world. Fans can find Shania’s new song on this month’s EQUAL Global playlist. 

For the Record caught up with the superstar to learn more about what inspires her and how she’d like to see greater gender equity in the music industry. 

The artists who have most inspired me are _____.

Especially as a kid, artists like Dolly Parton and Tanya Tucker. I thought I could maybe be the next Tanya Tucker, in fact. I really learned a lot of my songwriting from Dolly Parton. Olivia Newton-John was a big inspiration for me. Gladys Knight always being the biggest, most beautiful voice I thought I’d ever heard. When I got into my teens, I started to really draw most of my inspiration from rock singers. I was a big Heart fan. I was getting into the big hair and lots of hairspray. Annie Lennox was one of my absolute favorite singers for her range. I thought it was incredible. And she had such a strong, yet feminine face and such an eye for fashion and her own personal styling. So, I guess my influences evolved as I got older. I started to really get inspired by some of the new, more recent voices as I was especially regaining my own voice after a struggle with it. So I was really targeting the higher voices like Ariana Grande and Sia, with her punch and her power. So in more recent years, I’ve been focusing on the voices that have the most flex and agility, just from my own vocal training. 

One piece of advice I’d give other women artists is _____.

Don’t be a follower. If you really plan on being a leader, then it’s probably not a good idea to get into the habit of following what other people are doing, what other artists are doing stylistically. Just be your own boss.

One way I’d like to see greater gender equity in the music industry is _____.

Acceptance . . . more unity. Music is very uniting. We just need to be celebrating music, regardless of our gender. It’s the artist’s responsibility to put their best foot forward. So it’s not because of your gender that you should be accepted, it’s because of your greatness. But then we, as an audience and as streamers, have to give artists that door. Even if we have to kick the door down, the door still has to be there. So give us a chance to get out there to the fans and let the public decide.

A few up-and-coming women artists I’m excited to watch are _____.

Mickey Guyton—I think you’re incredible. I love your personality and I think you’re going to be around for a really long time. I look forward to everything that you have coming up next. I’m also a big cheerleader for Tiera Kennedy because, Tiera, I believed in you right from the beginning. So just keep it going. Keep those great songs coming; keep songwriting. There’s so many fabulous women that are just in front of you. I mean, Brandi Carlile is one of the best female songwriters I think I’ve ever known. So keep looking to these other great songwriters in front of you, and I look forward to seeing more of you.

My girl-power anthem is _____.

Is this, like, a trick question or something? Cause I know I have at least a dozen or more . . . but I’m going to say right now, in my spirit, it’s “Roar” by Katy Perry.

Hear Shania’s new hit, as well as songs from other women artists, on our EQUAL Global playlist. 

RADAR Global Artist Ayra Starr Is Ready To Bring Her Fierce Yet Soothing Brand of Afrosoul to the World

September 15, 2022

Since its launch in 2020, RADAR has served as Spotify’s program to showcase emerging artists from all around the world, supporting them and taking their talents to the global musical stage. Now RADAR Global has returned with our latest featured artist, Afrosoul sensation Ayra Starr.

Born in Benin, in West Africa, Ayra was raised between its beach city, Cotonou, and the cultural hub of Lagos, Nigeria. The self-proclaimed celestial being says it’s this mix of cultures that inspires her global approach to music, art, and life. It also helped that she grew up with a music-loving family and began cowriting music with her brother Dami at the age of 10.

Ayra announced herself to the world in 2021 with her self-titled five-track EP, Ayra Starr, which featured the breakout single “Away.” Soon after, her critically acclaimed debut studio album 19 & Dangerous was released. Its lead single, “Bloody Samaritan,” has been streamed more than 30 million times on Spotify to date. 

But the success didn’t stop there. This year, the young artist has reached international audiences by collaborating with Skip Marley on his single “Jane,” as well as Manny Norté, Stalk Ashley, and Tiana Major9 on “Worth My While.”

And for all her hard work, Ayra is now enjoying the recognition that follows: She’s the second-most-nominated artist at the Headies Awards, Africa’s premier music awards, and has a 2022 BET Award nomination for Best New International Act under her belt.

For the Record sat down with Ayra to talk about music, her family, and more.

What are you looking forward to most as Spotify’s latest RADAR artist?

I am really looking forward to being discovered by new people who will find different meanings in my songs. You know, different people need different things at different times of their life, and that’s what music does—it helps fans connect on a deeper level. As an artist, it’s such a surreal feeling to know that there are people out there discovering my music and relating to my lyrics. It’s so beautiful. With RADAR, I am excited for my music to reach new audiences and to be shared on a global platform.

For new fans, how would you describe your sound?

I’d describe it as soothing but fierce yet soulful.

Who have been some of your biggest musical inspirations?

Rihanna, Lijadu Sisters, 2Baba, Nicki Minaj, and a host of others.

You have a pretty musically inclined family. How have they influenced your career?

Oh, in almost every aspect. Having a family with a musical background gave me the confidence to soar and discover my love for the art of music. They encouraged me to pursue my dreams and helped me to navigate my career early on.

Growing up between Benin and Nigeria must have brought with it some vastly different experiences from a cultural and personal standpoint. How has that played a role in your music?

There’s nothing better than having a broad perspective when making music. Coming from a family that’s deeply rooted in different cultures gave me the opportunity to view the world through more than one lens and contributed to my sound.

What message do you want listeners to take away from your music?

I think my music conveys the fact that I am not scared to spread my wings wide, and I would love for listeners to feel like that too. Bet on yourself and never back down. Keep going.

Do you have any advice for other emerging artists?

Know who you are, know your worth, and do you respectfully but unapologetically.

Check out Ayra Starr along with other emerging international talent on the RADAR Global playlist.

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.