More and more people are accusing Spotify of artificially inflating their listeners. There is no way to check the numbers.

The doubts about the listening figures that Spotify handles They have always been there, but they have increased in recent times, when the possibility has been put on the table that some of their most listened to artists are actually the result of bot farms. At the moment there is nothing firm on the table, but we do have something indisputable: between this and the artists fleeing in a pack Spotify is going through one of the biggest reputational crises in its history. The demand. In early November 2025, rapper RBX, Snoop Dogg’s cousin, filed a class-action lawsuit against Spotify in California that has opened an uncomfortable debate for the music industry. streaming. According to the court document, between January 2022 and September 2025 an unspecified but “substantial” amount of the almost 37 billion views accumulated by Drake on the platform they would have been generated by botsautomated accounts (who listen to Drake 23 hours a day, something implausible) and traffic from, for example, Türkiye, masked with a VPN. Drake is not to blame. The Canadian artist not listed as accused (the lawsuit points exclusively to Spotify), but it appears to be an indirect beneficiary of this ecosystem where supervision is, to put it mildly, very relaxed. What is relevant is not whether Drake knew about these anomalies or not, but rather an issue that, if revealed as true, would reach the level of structural embezzlement: transparency about listening on Spotify is practically zero. How Spotify (doesn’t) work. The main problem with Spotify’s system lies in the opacity that surrounds its systems to detect fraud. The company has never publicly explained the exact thresholds that trigger its alarms, nor the criteria that distinguish an organic spike in activity from artificial manipulation. This lack of transparency generates detailed situations in this article: while emerging artists see their income blocked by a few thousand reproductions considered suspicious, statistical anomalies of colossal dimensions can persist for years. A lot of fraud. An analysis held in France in 2023 estimated that between 1% and 3% of all streams in the country were fraudulent. If these percentages were extrapolated globally, the losses would exceed $510 million. But Beatdapp, a company specialized in detecting fraud in streaming, dramatically raised that estimate in 2024: at least 10% of all reproductions would be artificial, which implies annual losses of between 2,000 and 3,000 million dollars. Other cases. These demands are not born in a vacuum. During 2024 and 2025, several cases have confirmed that the manipulation of streams and opaque commercial influence are common problems at Spotify. For example, in 2025, the Turkish Competition Authority opened a formal investigation against Spotify for alleged anti-competitive practices. The trigger was allegations from several top Turkish artists that certain performers were getting disproportionate visibility in exchange for direct payments to Spotify editors, all combined with the use of bots to artificially inflate national chart positions. Spotify has launched an internal investigation in what is the first case of editorial corruption reported by relevant artists. On the other hand, in September 2024, a 52-year-old musician living in North Carolina was accused of artificial inflation of streams through AI. Specifically, up to $10 million in fraudulent royalties through hundreds of thousands of songs created with AI that it played with up to 10,000 bot accounts. Smith strategically dispersed the fake wiretaps among tens of thousands of topics to prevent any of them from accumulating suspicious numbers. Spotify admits the fraud operated for years undetected. Header | Amber on Flickr / Alexander Shatov in Unsplash

In Spain a book is published every six minutes. It is the symptom of a bubble that does not stop inflating

When talking about the health of the editorial industry in Spain, publication figures are usually used to justify the good condition that the book business lives. However, rapid accounts lead to thinking perhaps just the opposite: excess launches may be hypertrophy the bookstores, which are suffocated by a series of very uninjury side effects. How much is published? The Latest public data from the Ministry of Culture They speak of 92,000 books a year with ISBN, that is, more than 250 books a day. Every minute, six books. And that telling only the launches with legal deposit, that is, we do not count the self -edge (last year, it was around the three newspapers … By author) For platforms as widespread as Amazon. That do not count as part of the editorial cake but add thousands of potential titles per month to the mountain of slopes of the troubled readers. Success is what is sought. Why so much novelty? There are a number of reasons that make up a very complex ecosystem to explain this production overdose. On the one hand, it is an editorial strategy for compensate for the fall in sales by book: except Bestsellers And specific successes, the books sell less, the runs are lower and the publishers multiply their offer to cushion it. From there comes a constant publication and search of that new success that supplies the previous one. The fact that Increase global income Although the runs fall, it is proof that The strategy works. Oihan Iturbide, former Editor, counted in the jump that “the editorial industry looks more like a fast food chain than a restaurant with a good homemade menu: the key is in volume, not in quality.” Many are. On the other hand, there is the proliferation of new publishers: In 2024Spain had approximately 3,160 active publishers. It does not imply a very notable change with respect to previous years (comparable to 2016, and notoriously less than 3,564 of 2009, year with Spain in a very different economic context). Of these, only about 2,000 publishers launch more than 10 titles per year, and only 13 exceed 700 annual titles. Is it a note of diversity and vitality of the sector? Yes. But also of the enormous contrast between the large Spanish editorial groups (Planet and Penguin Random House, more Santillana in the educational field) and the rest: According to the Federation of the Editors Guildthree out of four books come from these groups. The distribution fish. This overproduction atmosphere (Rubén Hernández, by Errata Naturae, Talk about those 92,000 books per year “One third is returned to the darkness of the stores and is probably guillotine”) is contaminated with the complex distribution system in Spain. This is also Hernández: “The publisher publishes with a price (…) of 10 euros and it is sent to the distributor. The bookseller buys it with a discount close to 35%, from which he obtains his benefit, and pays 6.5 euros to the distributor, which stays 2 euros and pays the remaining 4.5 euros, that he does not pay him, but offers him a loan. “ The snowball continues to grow: “In turn, the distributor claims to the editor of his 4.5 euros, which he does not pay him, so he contracts a debt. And to reimburse it, the editor has no choice but to invest the 4.5 euros he has won (but he must) in another book that, after arriving at the bookseller, activates his credit, while the distributor enters another 2 euros. Book, the editor and the bookseller receive debts or credits. A vitiated system very similar to a bubble that continues to grow without brake. Are all bad news? No: the evidence that it is published too much allows publishers to realize that The situation can become unsustainable. Possible solutions to Very vicious system of returns in bookstores. The excess of supply is not bad in itself, unless it leads to overproduction and atibor the system until it is bursting. It is obvious that six books per minute are too many, but … who is the first to start with the cuts? Header | Photo of Pierre Bamin in Unspash In Xataka | Adult books are therapeutic. But behind there is a framework of demands, plagiarism and complaints

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