Popular Rock Band Tops Albums Chart for First Time in 4 Years
Yahoo is using AI to generate takeaways from this article. This means the info may not always match what's in the article. Reporting mistakes helps us improve the experience.
Yahoo is using AI to generate takeaways from this article. This means the info may not always match what's in the article. Reporting mistakes helps us improve the experience. Generate Key Takeaways
A career milestone!
Swedish rock band Ghost landed the No. 1 spot on the all-genre-inclusive Billboard 200 albums chart with their sixth studio album, Skeletá.
'Skeletá' is the first album for any rock, hard rock, or alternative album to be on the list since AC/DC's Power Up in 2020.
Ghost was founded in 2006 by frontman Tobias Forge. Forge, 44, plays a number of different personas on stage, including Papa Emeritus and Cardinal Copia.
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The rest of the band members are referred to as 'Nameless Ghouls,' and have never revealed their identities.
Their studio albums consist of Opus Eponymous in 2010, Infestissumam in 2013, Meliora in 2015, Prequelle in 2018, Impera in 2022, and finally, Skeletá in 2025.
In 2015, Ghost won the Grammy Award for Best Metal Performance for their single 'Circle.'
Related: Legendary Rock Band Rereleases Hit Song Like You've Never Heard Before
Ghost is also known for their over-the-top, theatrical concerts. Speaking with Full Metal Jackie on her radio show, Forge revealed his most formative influencers when it comes to putting on a show.
"At some point in the 80s, I saw the film Let's Spend the Night Together. For a long time, that was one of my favorite things to watch because it was just so amazing. This absolutely awesome band playing a big stadium, and then like midway through the film, they just sort of switch and they're playing indoors in an arena. It was just like this great film, very influential," he recalled, per Loudwire
"That is by far the coolest staging I've seen in my entire life. That is still the pinnacle. Especially the Steel Wheels tour that they did in 1989, the fall and winter of 1989, that was the big tour of the U.S and I remember seeing videos from that," Forge continued. "I remember taping a show that was live from Barcelona, 1990. And I think I paused, freeze-framed the entire film through the entire film because I wanted to draw the stage because it was so cool."
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Yahoo
4 hours ago
- Yahoo
This movie ruined my career and ended my dating life. 30 years later, it's seeing a resurgence on Netflix.
William McNamara opens up to Yahoo about "Copycat" — the film that derailed his career — and how it's suddenly finding a new life 30 years later, thanks to Netflix. In high school and into college, I watched my VHS copy of 1988's Stealing Home approximately 876 times. William McNamara, with his tousled hair and Hollywood-approved cheekbones, played a teen whose relationship with his childhood babysitter defined his coming of age. Back then, McNamara was on a path to leading man status. The heartthrob graced the pages of fan magazines, made a movie with the Coreys (Feldman and Haim), shared the screen with rising star Reese Witherspoon and was cast as golden-age icon Montgomery Clift. He even dated Brooke Shields. Everything was coming up Billy — and then he sort of vanished. Blame Copycat — or at least he does. In the 1995 psychological thriller starring Sigourney Weaver and Holly Hunter, McNamara played a clean-cut sociopath. Perhaps too well. 'It ruined my career,' he tells Yahoo. 'I was on the leading man trajectory — the good guy roles. All of a sudden … casting agents said, 'No, I saw Billy in Copycat. He's too edgy. He's too dark. He's too comfortable in that role. There's no acting. That had to be him.' After that, the parts McNamara got offered changed, and his leading man status faded. It also killed his dating life. Women 'saw the movie, and my character disturbed them,' he says. So you can imagine the whiplash he felt when, 30 years later, Copycat landed on Netflix and rocketed to the platform's global Top 10 the week of June 16, charting in 46 countries. The film that derailed his career was suddenly back. Stunned by its resurgence, McNamara talks to Yahoo about the film's surprise second life, the toll it took on his career and his hope for another shot. The comeback McNamara had no idea the Jon Amiel-directed film landed on Netflix until his social media started blowing up in June. 'I was getting 100 new Instagram followers a day and all these [direct] messages,' he says. 'I go on IMDbPro's STARmeter, and usually I'm between 5,000 to 10,000, which is not bad for a '90s star, by the way. I was (No.) 165, above Angelina Jolie. I thought it was a mistake. Then a couple of people started texting: 'Hey, Copycat is trending.' The whole thing 'blew my mind,' he says of Copycat getting 6 million views in a week on the streaming service. It also 'tells me that I make an impression on people. I have a supporting role in Copycat. For that many people to look me up [says something]. They should give me another shot today.' The killer role that changed everything McNamara was cast against type as Peter Foley — a soft-spoken, button-down shirt-wearing guy who's secretly mimicking infamous murderers. 'I didn't suspect at all that I would be asked to do a serial killer role,' he says. 'I thought he was interested in me for the detective role [that went to] Dermot Mulroney.' At his two meetings with the director, he didn't read lines. They talked, which McNamara says felt more like 'a psychiatric tour of my life' than an audition. Finally, an offer followed. 'My agent at the time said, 'They want you to play the serial killer,'' he recalls. 'I was like, 'Really? I don't know if I could do that.' He said, 'This is an important film. … It's Warner Bros. You need to do this.' I thought, It seems difficult, but at the time, I was not a superstar. The money was very good, and [so was the opportunity to work] on a big studio movie with Sigourney and Holly and Dermot and Harry Connick Jr. … It was like, 'OK, I gotta do it. I gotta just figure this out.'' McNamara prepared extensively for the role, working with forensic psychiatrist Park Dietz, who consulted on the highest-profile criminal cases like Jeffrey Dahmer, and FBI profiler Robert Ressler, paying them out of his own pocket. 'I did an interesting, definitely unique portrayal of a serial killer, and everybody liked it,' he says. 'I got letters from Warner Bros. and [Regency Enterprises founder] Arnon Milchan, so it seemed everything was good and my career was taking off. Then I was walking through [L.A.'s] Westwood … and two UCLA girls recognized me: 'Hey, we just saw your movie.' I thought they meant Stealing Home, my big movie everybody recognized me from, but they said, 'No, Copycat.' It turns out they had participated in a test screening of the yet-to-be-released film. 'I said, 'How was the movie?' and they replied, 'Not too good. You didn't score well,' he says. He thought it was a joke until the next day, when his agent called. 'He said, 'I've got good news and bad news,'' McNamara says. 'Good news: They're not going to fire you. Bad news: Your movie didn't test well. But it's not just you. … They've hired Frank Darabont to rewrite the script, and you're going to reshoot for 21 days.' A surprise acting coach and men in black Being told reshoots are needed is something 'no actor wants to hear,' McNamara says. But, 'it wasn't really all my fault.' McNamara says he based his character on what he learned through his research, but his performance wasn't 'Hollywood' enough. 'Most serial killers are not movie stars or wildly entertaining people,' he says. 'They're cerebral and very introverted. It wouldn't be exciting to follow the real Jeffrey Dahmer around. You need Hannibal Lecter from The Silence of the Lambs. … It didn't translate. It was unique — nobody had done this particular portrayal of a serial killer — but it was not Hollywood. I learned that lesson.' Leading up to the reshoots, McNamara was feeling 'panicked.' His mentor, actor Roddy McDowall, offered to have 'my friend Tony coach you' on the script. 'Tony' turned out to be Anthony Hopkins. 'I brought all my research,' McNamara says. 'I handed it to [Hopkins], and he throws it away. He said, 'That got in your way. No more research. You want to keep it simple, stupid. We're going to memorize your lines backward and forward, and then we're just going to make it a joyous occasion. You're not a serial killer. This is a comedy, and you want to have fun.' It changed my whole perspective on acting.' While he was Hopkins-trained, the pressure was on. The first day back on the set, McNamara arrived, and there were seven or eight men in black suits with their arms crossed. ''They're here for you,'' he says Amiel told him of the FBI look-alikes who turned out to be studio execs, including then-Warner Bros. chairman Terry Semel. 'If you don't knock it out of the ballpark today, they have somebody waiting [to replace you].' McNamara delivered, but when the film was released to largely positive reviews, he immediately felt a shift in the roles he was offered. 'Before Copycat, I had done a lot of movies playing the leading man, the straight and narrow guy,' he says. 'My agent would [try to get me] edgier roles, and it was, 'No … he's too soft. He's too boy next door. He doesn't have any edge.'' When Copycat came out, 'All of a sudden, I'm not on the leading man track anymore because of this dark, edgy guy I played,' he says. 'I started being offered not B movies but [also] not A+ movies to play the bad guy. But for lots of money. I had two mortgages. I had a house on the beach in Malibu. I took the money, basically.' McNamara's career path veered from the high-profile good-guy leading man roles to more supporting turns in film and television. However, 'I continued to work,' he says. 'I work all the time. I'm very lucky.' His professional life wasn't his only disappointment. McNamara's romantic life suffered too. 'I was a single bachelor and did well with the girls back then,' he says. 'After Copycat came out, [it changed]. [I'd ask a woman], 'Hey, can I get your number?' And she's like, 'Yeah, um, I don't know. I just don't get a good vibe about you.'' He recalled telling his therapist, 'Something really weird is going on. Every girl is rejecting me. She said, 'Do you think it might be your role?'' They deduced that Copycat viewers didn't consciously recognize McNamara from the film because his role was supporting, but they subconsciously associated him with his creepy character who drugged drinks and kidnapped and tortured his victims. Luckily, he was able to turn the 'Billy McNamara charm' back around. (For the record, he's never married, but is currently in a relationship.) Coming soon: His dream role With new fans discovering his old movies, McNamara says he'd love to see Stealing Home, 'which didn't get the right amount of attention at the time,' and the 'zany and funny' 1994 film Chasers get their due. As for his future dream role, it's one 'I created for myself,' he says. McNamara wrote, directed and produced 10 episodes of The Trouble With Billy, a comedy series in which he also stars, about an exaggerated version of himself. It's about a former '90s heartthrob's quest to finance his dog's life-saving heart transplant. (McNamara's an animal activist, making headlines for his efforts.) The series, which is being shopped around, was created 'out of desperation because for years, I've always wanted to do comedy [but was told], 'You're not funny. You're a dramatic actor,'' he says. He's had fun leaning into the washed-up actor vibe. "[I was told], 'Don't ever show [the series] to a girl you're interested in because it portrays you in a very bad light, like a loser.' But I've never been homeless. I've never lived in my car. They don't do heart transplants on dogs. I have not been abducted by aliens,' he laughs. 'I'm proud of it. It's pretty good.' Solve the daily Crossword
Yahoo
8 hours ago
- Yahoo
Don't Want to Spend Big Bucks for a Surround-Sound System? These Soundbars Are a Great Alternative.
"Hearst Magazines and Yahoo may earn commission or revenue on some items through these links." A soundbar is a must-have sound upgrade for almost any new TV. Due to their ultra-thin design, today's television sets can't physically accommodate large speaker units, frequently falling short in delivering a sound that's worthy of the beautiful visuals they provide. High-quality speakers need space, which, unlike old-school sets whose tube screen made them double as large pieces of furniture, modern TVs don't offer. Thankfully, a soundbar bring better sound for your onscreen content. These products' multiple speaker units and wireless connectivity also make them great for enjoying audio content without powering up your TV. Because ultra-thin TVs have long been the standard for mainstream consumers, today's market is jam-packed with soundbars in all price points—from affordable to premium. Between form factors, hardware specs, and audio capabilities, there's a lot to consider. To help you find the best soundbar for your needs and budget, I spent months testing high-rated models from leading brands. The Best Soundbars in 2025 Best Overall: Sonos Arc Ultra Best Value: Klipsch Flexus CORE 200 Best Budget: Polk Audio Signa S2 Best Compact: Bose Smart Soundbar Best for Audiophiles: Sony Bravia Theater Bar 8 How I Tested Soundbars I've been testing audio gear, including soundbars, since 2011. To put the ones on this list through their paces, I spent weeks with each one as my primary source of home audio entertainment, connecting it to my TV. I streamed movies, series, and live sports, especially Dolby Atmos-enhanced content, from Netflix, Prime Video, Max, and Hulu, among other leading platforms. Of course, I also streamed an eclectic selection of music to every soundbar. In addition to scrutinizing the bass, treble, and mid-range audio capabilities of each product, I paid particular attention to its dialogue clarity. I looked for options to adjust both the sound and the voice delivery in each device. With all of the above in mind, enjoy better sound at home with one of the soundbars I vouch for Ultra $999.00 at The Sonos Arc Ultra—the audio brand's range-topping soundbar—is the best for most consumers, with exceptional audio performance across the board, straightforward setup, and intuitive controls. As a Sonos product, the Arc Ultra easily integrates into an existing setup of speakers from the same manufacturer. Better yet, linking the device to a Sonos Sub and a pair of rear Era 100 or Era 300 speakers can create a full surround sound system that rivals your local movie theater. Equipped with fourteen audio drivers, the Sonos Arc Ultra performed up to the heavy expectations set by its price tag. I was equally impressed by its powerful bass output, crisp treble, and dialogue clarity. I like that the soundbar can seamlessly connect to the excellent Sonos Ace headphones to deliver multi-dimensional sound without disturbing others. Using the app, I was also able to adjust the sound and treble intensity, as well as enhance the speech by choosing from four levels. Achieving the right placement for the speaker was intuitive as well. The Sonos app utilized my phone's built-in microphones to tailor the soundbar's sound for my living room. The process took only a couple of minutes. Sonos offers the Arc Ultra in black or white. The optional speakers for expanding the setup are available in matching CORE 200 $549.99 at The Klipsch Flexus CORE 200 is the best pick for buyers who want a soundbar for under $500. The product lacks Wi-Fi connectivity, unlike my pricier suggestions, which is a downside. Still, its agreeable price, stylish looks, and solid audio performance make it worthy of your attention. Sound-wise, the first thing that impressed me about the Klipsch Flexus CORE 200 was its thunderous bass, powered by a duo of 4-inch subwoofers. Their low-end output brought a welcome touch of excitement to any on-screen content, from films to video games, making it more engaging. Needless to say, I loved listening to bass-heavy downtempo tracks on the soundbar over a Bluetooth link. The Klipsch Connect companion app offers a robust selection of sound customization tools, including a graphic equalizer and an option to enhance scenes with dialogue. A night mode is also available, which tones down the bass to minimize disturbance to others. Given the low-end power of the Flexus CORE 200, the functionality is a welcome addition to its feature set. You can expand the Flexus CORE 200 into a surround sound system via an additional Klipsch subwoofer and surround sound speakers, all while keeping your budget in three-digit territory. The subwoofer features a 10-inch speaker that perfectly complements the soundbar's already powerful S2 $199.00 at The Polk Audio Signa S2 is the soundbar to get if you are looking for a TV audio upgrade on a tight budget. For roughly $200, it offers an impressively slim profile and great sound for the money. Unlike the rest of my picks, the affordably priced Signa S2 comes with a bundled wireless subwoofer, which adds value to the package. When it comes to audio performance, the Polk Audio Signa S2 predictably falls short compared to more expensive soundbars. The product lacks Dolby Atmos support and the upward-facing audio drivers required for a true spatial audio experience. That said, the device's four built-in audio drivers produce respectable, though less immersive, virtual surround sound that's infinitely more enjoyable than what other TVs' onboard speakers offer. The same goes for the entertaining bass rumble from the included subwoofer. I like the low-key design of the Polk Audio Signa S2 soundbar, as well as its compact and intuitive bundled remote control. The essential accessory's convenient buttons include dedicated keys for adjusting the bass and the voice Soundbar $549.00 at The Smart Soundbar by Bose is my top pick for small spaces. Measuring just a tad over 27 inches wide, the product has an impressively compact footprint without skimping on features and performance. Of course, the Smart Soundbar is also upgradeable into a surround sound system via an optional bass module and surround speakers. The device's five-speaker setup includes a pair of upward-facing units for multi-dimensional Dolby Atmos sound. Experiencing the latter while streaming enhanced content made me feel like I was using a bigger soundbar. Thanks to proprietary Bose technology, the soundbar made standard audio content sound more entertaining, if not quite as captivating as Dolby Atmos sound. In addition to impressing me with sound that belies its size, the Bose offering excelled at clearly reproducing scenes that included dialogue. Enabling a dedicated AI mode for voice enhancement in the Bose app helped significantly with this challenging task. The app also helped me customize the sound and connect more speakers to the Smart Soundbar. Another reason I recommend the Bose Smart Soundbar is its excellent set of wireless connectivity features. The Wi-Fi-enabled device can stream from any smartphone, computer, or tablet, thanks to Spotify Connect, Apple AirPlay 2, and Google Chromecast Theater Bar 8 $848.00 at Sony's Bravia Theater Bar 8 soundbar, in addition to providing cinema-grade sound to complement any TV, can also stream audio in lossless formats. This standout feature makes the product a particularly exciting upgrade option for audiophiles who plan to use their soundbar as a high-fidelity standalone speaker, rather than just an essential TV companion. The Bar 8 can even eke out more detail from lower-quality audio through sophisticated upscaling technology. Of all the soundbars I tested, the Sony Bravia Theater Bar 8 offered the highest level of detail, with 11 onboard speakers and spacial-mapping technology that mimics a surround-sound system setup. Plus, it was easy to optimize sound for my space via the app. Unsurprisingly, the Bravia Theater Bar 8 integrates particularly well with Sony's latest TVs. If you already own one, it's your best bet. Budget and space permitting, you can expand the Bar 8 into a surround sound system by adding a subwoofer and rear speakers. The pricier Sony Bravia Theater Bar 9 is an even better option for audiophiles. Its wider footprint and 13 integrated speakers bring an even more powerful sound that's worth the premium, especially if you set it up in a larger space. What to Consider Sound Dolby Atmos is the most important audio feature to look for in a soundbar. The spatial audio experience you'll get will make any Dolby Atmos-enhanced content you watch, from blockbuster movies to live sports, more lifelike. The audio standard is widely available on all streaming services, so don't skip it unless you are shopping on a super tight budget. Look for a soundbar with upward-facing audio drivers to get the best Dolby Atmos experience. Some lower-cost models can deliver virtual Dolby Atmos without the upward-firing speakers, but I really recommend spending a bit more to get a properly equipped option. The extra hardware makes a big difference. Speaking of hardware, the number of speakers a soundbar packs is also important to consider while shopping. More audio drivers naturally result in a bigger and more detailed sound with a wider soundstage. Don't settle for less than four audio drivers in a soundbar, even if you are shopping on a tight budget. The channel configuration of a soundbar, although undeniably technical, is also a crucial factor in making a purchasing decision. The essential spec is showcased via three numbers, separated by dots. The first number shows the number of front-facing speakers a soundbar has, the second one measures the downward-facing bass drivers, while the third displays the quantity of upward-facing units (if any). The more audio channels a soundbar has, the more immersive its sound will be. The channel count reflects the number of perceived directions the sound will reach you. Having experienced products across the price spectrum, I can confirm that more expensive soundbars with more audio channels sound noticeably more engaging. Size When not wall-mounted, soundbars should be placed right in front of a TV and underneath its screen, with the second option being the most commonly used setup among consumers. The width of a soundbar is particularly important in such scenarios, so be sure to measure your TV unit to confirm it fits before making a purchase. I learned the importance of this task the hard way a while back. Full-size soundbars measure around 50 inches in width, making them perfectly suitable for a big-screen TV with a 65-inch or larger panel, including 75- and 85-inch options. Smaller ones would suffice if your TV has a 55-inch or smaller screen, or you don't want to overspend on an upgrade. Connectivity HDMI is the default wired connectivity option for all soundbars, regardless of their price tag. Connecting them to a TV is as easy as plugging their bundled cable into its eARC HDMI connector. Fancier soundbars at higher price points feature HDMI 2.1 passthrough connectivity, which allows consumers to connect, say, a high-powered gaming console directly for a more enjoyable sound experience. Wi-Fi connectivity is mandatory for a high-end soundbar. It allows the product to stream higher-quality audio and link with other speakers in a multi-room setup. Soundbars with Wi-Fi also support Apple AirPlay 2 and/or Google Chromecast wireless protocols, making it super easy to stream audio from a phone, tablet, or computer. Additional Features A companion app is standard for most new soundbars. Only budget-friendly ones lack one, but their lower cost makes up for the omission. An app makes setting up a soundbar, customizing its sound, and keeping it up to date with updates easy. I prefer using an app to control a soundbar over a bundled remote control. The essential accessory is curiously not included with Sonos soundbars, but I didn't miss it. You Might Also Like The Do's and Don'ts of Using Painter's Tape The Best Portable BBQ Grills for Cooking Anywhere Can a Smart Watch Prolong Your Life?
Los Angeles Times
14 hours ago
- Los Angeles Times
Spotify boycott: Artists leave ‘garbage hole' platform after CEO invests in AI weapons
Greg Saunier already had reasons to be wary of Spotify. The founder of the acclaimed Bay Area band Deerhoof was well acquainted with the service's meager payouts to artists and songwriters, often estimated around $3 per thousand streams. He was unnerved by the service's splashy pivots into AI and podcasting, where right-wing, conspiracy-peddling hosts like Joe Rogan got multimillion-dollar contracts while working musicians struggled. But Saunier hit his breaking point in June, when Spotify's Chief Executive Daniel Ek announced that he'd led a funding round of nearly $700 million (through his personal investment firm, Prima Materia) into the European defense firm Helsing. That company, which Ek now chairs, specializes in AI software integrated into fighter aircraft like its HX-2 AI Strike Drone. 'Helsing is uniquely positioned with its AI leadership to deliver these critical capabilities in all-domain defence innovation,' Ek said in a statement about the funding round. In response, Deerhoof pulled its catalog from Spotify. 'Every time someone listens to our music on Spotify, does that mean another dollar siphoned off to make all that we've seen in Gaza more frequent and profitable?' Saunier said, in an interview with The Times. 'It didn't take us long to decide as a band that if Daniel Ek is going harder on AI warfare, we should get off Spotify. It's not even that big of a sacrifice in our case.' A small band yanking its catalog won't make much impact on Spotify's estimated quarterly revenues of $4.8 billion. But it seemed to inspire others: several influential acts subsequently left the service, lambasting Ek for investing his personal fortune into an AI weapons firm. Spotify did not return request for comment about Ek's Helsing investments. This small exodus is unlikely to sway Ek, or dislodge Spotify from dominating the record economy. But it may further sour young music fans on Spotify, as many are outraged about wars in Gaza and elsewhere. 'There must be hundreds of bands right now at least as big as ours who are thinking of leaving,' Saunier said. 'I thought we'd be fools not to leave, the risk would be in staying. How can you generate good feelings between fans when musical success is intimately associated with AI drones going around the globe murdering people?' Swedish mogul Ek, with an estimated wealth around $9 billion, may seem an unlikely new player in the global defense industry. But his interest in Helsing goes back to 2021, when Ek invested nearly $115 million from Prima Materia and joined the company's board. [Helsing, based in Germany, says it was founded to 'help protect our democratic values and open societies' and puts 'ethics at the core of defense technology development.'] With his investment, Ek joined tech moguls Jeff Bezos and Palmer Luckey in pivoting from nerdier cultural pursuits (like online bookselling and virtual reality) into defense. The Union of Musicians and Allied Workers said then that Ek's actions 'prove once again that Ek views Spotify and the wealth he has pillaged from artists merely as a means to further his own wealth.' A range of anti-Spotify protests followed later, like a songwriters' rally in West Hollywood in 2022 and a boycott of Spotify's 2025 Grammy party, after Spotify cut $150 million from songwriter royalties. Neil Young and Joni Mitchell pulled their catalogs in response to Rogan spreading misinformation about COVID-19. Yet eventually, both relented. 'Apple and Amazon have started serving the same disinformation podcast features I had opposed at Spotify,' Young said in a pithy note in 2022. 'I hope all you millions of Spotify users enjoy my songs! They will now all be there for you except for the full sound we created.' Ek's latest investment seems to have struck a nerve though, especially in the corners of music where Spotify slashed income to the point where artists have little to lose by leaving. After Deerhoof's announcement, the influential avant-garde band Xiu Xiu announced a similar move. 'We are currently working to take all of our music off of garbage hole violent armageddon portal Spotify,' they wrote. 'Please cancel your subscription.' The Amsterdam electronic label Kalahari Oyster Cult had similar reasoning: 'We don't want our music contributing to or benefiting a platform led by someone backing tools of war, surveillance and violence,' they posted. Most significantly, the Australian rock band King Gizzard & the Lizard Wizard — an enormously popular group that will headline the Hollywood Bowl Aug. 10. — said last week that it would pull its dozens of albums from Spotify as well. 'A PSA to those unaware: Spotify CEO Daniel Ek invests millions in AI military drone technology,' the band wrote, announcing its departure. 'We just removed our music from the platform. Can we put pressure on these Dr. Evil tech bros to do better?' 'We've been saying 'f— Spotify' for years. In our circle of musicians, that's what people say all the time for well-documented reasons,' the band's singer Stu Mackenzie said in an interview. 'I don't consider myself an activist, but this feels like a decision staying true to ourselves. We saw other bands we admire leaving, and we realized we don't want our music to be there right now.' Ek's moves with Prima Materia come as no surprise to Glenn McDonald, a former data analyst at Spotify who became well known for identifying trends in listener habits. McDonald was laid off in 2023, and has mixed feelings about the company's priorities today. It's both the arbiter of the record industry and a mercurial tech giant that only became profitable last year while spinning off enormous wealth for Ek. 'It's well documented that Spotify was only a music business because that was an open niche,' McDonald said. 'I'm never surprised by billionaires doing billionaire things. Google or Apple or Amazon investing in a company that did military technology wouldn't surprise me. Spotify subscribers should feel dismayed that this is happening, but not responsibility, because all the major streamers are about the same in moral corporate terms.' McDonald said the company's push toward Discovery Mode — where artists accept a lower royalty rate in exchange for better placement in its algorithm — added to the sense that Spotify is antagonistic to working artists' values. More recently, Spotify rankled progressives when it sponsored a Washington, D.C., brunch with Rogan and Ben Shapiro celebrating President Trump's return to the White House, and raised $150,000 for Trump's inauguration (Apple and Amazon also donated to the inauguration). While Ek's investments in Helsing are not directly tied to Spotify, the money does come from personal wealth built through his ownership of Spotify's stock. Fans are right to make a moral connection between them, McDonald said. 'Ek represents Spotify publicly, and thus its commitment to music. Him putting money into an AI drone company isn't representing that,' McDonald said. 'He can do whatever he wants with his money, but he is the face of a company as controversial and culturally important as Spotify. So yeah, people want to hold him to a less neutral standard.' For artists looking to leave the service, the actual process of getting off Spotify varies. For King Gizzard, which releases its catalog on its own record labels, it was easy to remove everything quickly. Deerhoof and Xiu Xiu needed time to clear the move with several labels and former band members who receive royalties. Being a smaller, autonomous band enabled Saunier to act according to his values, even at the cost of some meaningful slice of income. He has considered that, by torching his band's relationship with Spotify, Deerhoof's music could slip from away from some fans. 'Everyone I know hates Spotify, but we've been conditioned to believe that there is no other option,' he said. 'But underground music is filled with so many beautiful examples of a mom-and-pop business mentality. I don't need to dominate the world, I don't need to be Taylor Swift to be counted as a success. I don't need a global reach, I just need to provide myself a good life.' Yet the only artists that might genuinely sway Ek's investments would be ones with a global reach on the caliber of Swift. She has pulled her catalog from Spotify before, in 2014 just after releasing her smash album '1989.' 'Music is art, and art is important and rare. Important, rare things are valuable. Valuable things should be paid for,' she said, before eventually returning to Spotify in 2017. It's hard to imagine her, or other comparable pop acts, taking a similar stand today, especially as the major labels' fortunes are so bound up in Spotify revenues. Spotify reported a $10 billion payout to rights holders in 2024, roughly a quarter of the entire global recorded music business. Its stock has surged 120% over the last year, but in the second quarter of 2025, the firm missed earnings targets and dropped 11% this week, for the stock's worst day in two years. 'While I'm unhappy with where we are today, I remain confident in the ambitions we laid out for this business,' Ek said in an earnings call. This recent, small exodus most likely didn't contribute to that. But it might add to a creeping sense among young listeners that Spotify is not a morally-aligned place for fans to enjoy beloved songs. 'I actually think Spotify will eventually go the way of MySpace. It's just a get-rich-quick scheme that will pass, become uncool, one that had its day and is probably in decline,' Saunier said. 'They wrote an email to me seemingly to do face saving, which makes me think they're more desperate than we think.' Acts like Kneecap, Bob Vylan and others have been outspoken around the war on Gaza, at real risk to their careers — proof that young fans care deeply about these issues. While Ek would argue that Helsing helps Ukraine and Europe defend itself, others may not trust his judgment. 'Maybe it's silly to expect cultural or moral leadership from Daniel Ek, but I don't want it to be silly,' McDonald said. He thinks fans and artists can morally stay on Spotify, but hopes they build toward a more ethical record industry. 'It's hard to see what 'stay and fight' consists of, but if everyone leaves, nothing gets better,' he said. 'If we're going to get a better music business, it's going to come from somebody starting over from scratch without major labels, and somehow building to a point where we have enough leverage to change the power dynamic.' King Gizzard's Mackenzie looks forward to finding out how that might work. 'I don't expect Daniel Ek to pay attention to us, though it would be cool if he did,' Mackenzie said. 'We've made a lot of experimental moves in music and releasing records. People who listen to our music have been conditioned to have trust and faith to go on the ride together. I feel grateful to have that trust, and this feels like an experiment to me. Let's just go away from Spotify and see what happens.'
