In a historic gain, Spotify saw a record increase of 38 million monthly active users at the end of 2025.
According to the streamer’s fourth-quarter earnings report released Tuesday, the Sweden-based company reported an 11% increase in monthly active users, bringing the total to 751 million. It’s the biggest net add in the company’s history. There was similarly a 10% increase in paid subscribers, rising to 290 million. Spotify’s total revenue also topped $5.3 billion, up 7%.
The company credits much of last quarter’s success to what it says was its biggest Wrapped campaign yet, which engaged 300 million users globally and had 630 million shares in 56 different languages. Spotify also expanded and enhanced tech features globally, like adding music videos and more access to audiobooks, for both premium and free subscribers.
“Today, what we’ve really built is a technology platform for audio — and increasingly, for all the ways creators connect with audiences. And this identity will matter even more going forward,” said Daniel Ek, Spotify’s founder and executive chairman, in a press release.
“The next wave of technology shifts — AI, new interfaces, wearables, new ways of interacting with content — these will reshape how people discover and experience audio and media. The hard problems ahead — in music, in podcasts, in books, in video, in live, and in things we haven’t built yet — we’re going to keep building the technology to solve them.”
The company’s operating income rose 47% to $834 million. At the end of the fourth quarter, there were 7,323 full-time employees globally.
Spotify’s ad-supported revenue was down 4%, with the company looking at a partial “offset by softness in pricing” for its music advertising. Its podcasts’ expansion was led mostly by sponsorships. But the revenue was similarly “offset by optimization of our podcasting inventory.”
When the music streaming business model was first introduced, there was controversy about how much artists would earn from streams. But the company said independent artists and labels accounted for half of all royalties.
Founded in 2006, the company maintains a large presence in L.A.’s Arts District. Over the last two decades, it has become the world’s most popular audio streaming subscription service. Beyond its music library, it now reports having more than 530,000 video podcasts and over 500,000 audiobooks in English-language markets.
Starting this month, Spotify also raised its prices for premium users to $12.99. For the first quarter of 2026, the company expects an increase of 8 million monthly active users, bringing its total closer to 759 million users and a smaller, 3-million bump in paying users. The company projects total revenue to stay consistent at around $5.3 billion.
Mark Chapman is joined by T20 World Cup winner Tymal Mills, former England spinner Phil Tufnell and Chief Cricket Reporter Stephan Shemilt to discuss the opening few days of the World Cup.
The big news today is that Pakistan will play India in the Group match on Sunday after Pakistan’s government lifted their boycott with Bangladesh’s blessing. Wisden editor Lawrence Booth joins the panel to talk about the internal politics of world cricket.
England are off to a winning start, just, so what did we learn about Harry Brook’s captaincy?
And are the smaller nations catching the established powers in international cricket?
You can hear ball-by-ball commentary of every match of the T20 World Cup on BBC Sounds
During the summer of 1998, a 19-year-old rapper named Eve (formerly known as Eve of Destruction) received a phone call from her producer friend Scott Storch about an opportunity to hop on a record with the Roots.
The hip-hop band from Philadelphia, formed by Black Thought and Questlove, was bubbling at the time and Eve, a known battle rapper in the city, was excited to work together on a song called “You Got Me.”
After tweaking the verse that Black Thought, the band’s lead MC and co-founder, wrote for her, Eve laid down her vocals, rhyming the lyrics “Another lonely night? / It seems like I’m on the side, you only lovin’ your mic.”
“It was really exciting,” Eve said, while lounging on a couch in a Hollywood residence. The rapper, actor and fashion designer has been based in London for the last decade. “I think that was my most professional setting because they obviously were already signed.”
When the song, which is featured on the Roots’ career-defining “Things Fall Apart” album, was released in 1999, it was the first time the world heard Eve’s voice — but no one knew it was her. To her surprise, she wasn’t listed as a contributing artist on the track.
She was also surprised to find out that Jill Scott, a poet and rising neo-soul singer from Philadelphia who wrote and sang the initial hook, was replaced by Grammy-winning singer Erykah Badu. After receiving the wrong address for the shoot, Eve wasn’t featured in the music video either.
In 2000, the Roots and Badu won a Grammy for “You Got Me,” but because Eve wasn’t listed on the track, she didn’t receive an award. By this time, Eve was signed to Ruff Ryders and promoting her debut album “Let There Be Eve…Ruff Ryders’ First Lady” including her breakout single “Want Ya Want,” so although it hurt her feelings at the time, she moved past it, she said.
“There was no time to kind of go back and think about it,” said Eve, who opened up about the situation in her 2024 memoir “Who’s That Girl.” After years of seeing each other and even performing the song together, she and Questlove spoke about the matter for the first time when she made an appearance on his podcast and apologized to Eve for the oversight. “We were extremely inconsiderate, insular and uncommunicative with each other that things like that always spilled on the sidelines,” the drummer said on the podcast. (Questlove wasn’t available for comment further at the time of publication.)
(Allen J. Schaben/Los Angeles Times)
Last fall, Eve received another unexpected phone call — this time from the Recording Academy. After hearing Eve talk about the “You Got Me” situation on Ebro Darden’s podcast, the Recording Academy wanted to give her an award for her contributions to the track.
“They were like, ‘Listen, we didn’t even know about this situation at all until we heard the podcast,’” Eve recalled.
After 26 years, Eve was given a golden gramophone Thursday night during the Recording Academy Honors presented by the Black Music Collective in front of a star-studded audience. For her, the award feels like “validation in a way to that little girl, to little Eve,” she said. “She deserves that.”
She added, “Whatever is yours can’t miss you.”
Ahead of the ceremony, Eve spoke to The Times about coming up in the Philadelphia music scene as a teenager, what the “You Got Me” situation has taught her and what receiving this award means to her now. She also talked about the impact of her second studio album, “Scorpion,” which turns 25 this year, and what it was like to bring her toddler son on tour with her for the first time.
This interview has been lightly edited for length and clarity.
You grew up in West Philly at a time when so many future greats were coming up at once — the Roots, Jill Scott, Bilal and Scott Storch. When you were just a teenager, you were hanging out at studios with some of them and attending jam sessions at Questlove’s house. What did the energy in Philly feel like back then?
It was amazing because music was everywhere. I knew that I wanted it to be my life, so every weekend I was doing something. I should’ve been going to school, but I was going to the studio because I knew that I wanted music to be my life. And in Philly, there was always something going on whether it was a block party or a jam session or an open mic night. I was at everything.
Scott Storch was the person who called you about getting on the Roots’ “You Got Me” record. What was your reaction when you got that call?
When you are young, there’s that no fear thing. I remember being excited, of course, but also like, “Yes! I’m supposed to be here,” not from a cocky place but more affirmative. It was really exciting, but it was also very professional. I think that was my most professional setting because they obviously were already signed. I’d never been around that before, so I remember [being] like “This feels like the business.”
(Allen J. Schaben/Los Angeles Times)
You were around 19 or 20 at that time, right?
I must have been around 19 because I would’ve gotten signed and dropped [from Aftermath] when I was 18. [laughs]
At that time you were in between record deals, so it must have felt like a big opportunity.
Absolutely. You know what’s funny, I probably just took it for granted in the sense of like “Oh yeah, this is the start.” They are signed. It’s funny because I think back on the situation and I guess I thought it was gonna pop off from there. That’s why all the events that happened afterward were like “Ugh.”
Take me back to the day that you laid down your verse. Who was in the studio with you?
I’m pretty sure Black Thought and Jill [Scott] were there. Even if not the whole session, I don’t know if I’d come in if she’d finished or whatever, but I’m pretty sure she was there.
How did your verse come together?
I had this whole thing in my head, but Black Thought had a whole verse already. But then I was like, “I’m not gonna just say your verse.” Now, I have a writer sometimes, but back then, especially because I was a battle rapper, it was like I can’t say somebody else’s bars. That’s not real. So he had this whole thing and then I kind of tweaked it to make it feel and sound like me.
I had a lot of audacity back then. I really did. [laughs] Because most people would be like “Yeah, cool.” Also, I was like if I’m going to put my voice on this, I really want to feel like me. I have thought about this [situation] so much now, and I’m sure that also attributed to them being like, “We don’t need to reach out. We don’t need to make sure it’s OK” because the majority of it was written by him. Not that that’s an excuse because there is no excuse.
When was the first time that you realized you didn’t receive credit for the song? If I’m not mistaken, I think Jill Scott found out that her vocals were replaced by Erykah Badu after she heard it on the radio.
I think it was kind of the same thing. It all happened so fast like, “Oh, the song is out.” I probably heard it around the same time and thought “Oh, that’s not Jill. Oh, that’s Erykah Badu.” It was such a weird timeline because I did the song a year or a few months before, and then by the time I heard the song, I was living in Harlem and I was signed to Ruff Ryders.
The song went on to win a Grammy for rap performance by a duo or group in 2000, but because you weren’t credited, you didn’t receive an award. In your book, you talk about how this situation lined up with you being dropped from Aftermath Entertainment and moving back home from L.A. How did you deal with all of this emotionally?
I feel like I had a month that I was just [felt] — I don’t know if I’d call it depressed — deflated. I really felt like damn, this was it and now I’m back home. I was just in L.A. in a condo with a nice bank account. Now I’m back at my mom’s house in my pajamas and I gotta catch the bus. What the hell is happening to my life? [laughs] That was horrible so I was wrestling with my feelings and my sadness, but my mom was great. My mom has always been my rock. She was supportive and she [didn’t] tell me to get over it. She kind of just let me wallow in it, but [she was] positive as well like, “Maybe that wasn’t the time.” It was crazy, but I will say, I needed it. I’m happy that happened because I wouldn’t have the career I have now. Like going back to the Aftermath thing, if I had come out then, I wouldn’t have the career that I have now. I feel like I did need to be humbled because it was definitely the Philly attitude that got me fired, that got me dropped. [laughs] My name at the time was Eve of Destruction, my battle rap name, so it was the time that I sat with my feelings and I was like if I get this chance again who is it that I want to be as an artist? Who do I want to show the world? I didn’t want to take on a title. I was like I’m just going to show them myself. I’m going to show them Eve.
Some fans knew that you didn’t receive credit on this track, but others found out for the first time when you talked about it last year during an appearance on Ebro Darden’s podcast.
It’s crazy how many people are mad about it for me. I had friends who were like, “Girl, so what’s going to happen?” [laughs] But it is a funny thing. Why wasn’t I mad enough? Or was it — this is the over-analyzer [in me] — one of those moments where I just wanted to forget about it. Because, yeah, my feelings were definitely hurt if it was a fake address. Or did we get the address wrong? So maybe I was like, “I’ll just put it on the back burner,” but Ebro definitely did not. And you know what, I’m happy he didn’t because sometimes it takes for a person to be your champion or your cheerleader in certain things and I do appreciate it.
“You Got Me” is one of the Roots’ biggest songs to this day. Was it weird hearing it played everywhere when it first came out?
During that time I did not see them. It was very weird. That song had come out, I was doing my thing, but we ran in different circles hip-hop-wise. I guess we just never crossed paths. I never really saw them. I think they were on tour by then and I was with Ruff Ryders. We didn’t see each other until years later because we have performed that song now three times probably at separate points in my career, which is also weird. [laughs]
That is weird.
It’s weird. I don’t know what’s wrong.
Now, 26 years after “You Got Me” won a Grammy, you are finally receiving your award and honored at the Black Music Collective Recording Academy Honors. What was your reaction when you found out?
It was weird at first because the [academy] called a lot of different people. They called like four different people because they wouldn’t tell anybody why they wanted to talk to me. Finally, I think Swizz [Beatz] was probably the last person they called. Then we got on the phone and I remember I was having martinis in London. It was a FaceTime [call] and I was standing under a lamp. It was not professional on my side and I was trying real hard not to be tipsy. I was like, “This is so cool. Thank you, guys.” [laughs] My friend, who I was with, was like “What did you have to take a call for?” and I was like “Girllll.” So it was a fun night. I came home and told my husband, fell asleep and when I woke up, I completely forgot about it. Then my friend texted me and was like “Do you remember?” and I was like “Oh s—! Yeah!” It’s just such a cool thing and since then it’s been like “Wow.” They said, “We could send you the Grammy, but we’d like to give it to you.” It’s really nice. It’s a really interesting feeling because obviously it’s been so long, something that I thought I was done with, in a way, so it feels good.
What did they tell you exactly?
They were like “Listen, we didn’t even know about this situation at all until we heard the podcast.” It was the podcast that I did with Ebro when they were like “Oh nah.” Even Swizz was like “Sis, we gotta make this happen. That’s not cool.” And I was like “OK, cool.”
Does receiving this award now feel like reconciliation at all? Or maybe validation?
In a way, validation to that little girl, to little me. It sounds a bit cheesy, but she deserves that. It’s a great moment. I’m still wrapping my head around it in a way especially since I’ve been away from music for so long and for this to be happening like this is very cool.
(Allen J. Schaben/Los Angeles Times)
What have you learned or taken away from this situation?
I think I’m honestly still processing because I was joking, but kind of not, like I want to talk to my therapist about why I let this go. What was it? Why did I think, “Oh nah, it’s cool. We squashed it.” But it’s like no, this is bigger than that. But good s— comes to good people and I know for sure I definitely deserve it. [laughs]
In other exciting news, this March marks the 25th anniversary of your second album, “Scorpion.” What memories rush back to you when you think about that time of your life, living and working in Miami?
Oh my God. There’s so many. It was so fun. I remember the house we rented. I had one Yorkie, then I bought her a friend in Florida. It was silly s— that I remember and then just being in the studio day and night. Then the Marleys were on the other side. It was just a good time. I was fully in it. It was a lot of pressure because it was like “We gotta get this album done now.” It’s when I really think I felt the business of music in the sense of like, “We gotta meet these deadlines. We gotta get this album out,” which was stressful but I was still naive enough, I think, to still be having fun. I was going out. I met Trina. Trina is my girl. Overall, it was a really good time.
Between experimenting with new sounds, crossing genres with artists like Gwen Stefani, and making the theme red, “Scorpion” felt very intentional. Reflecting back, what did that era represent for you personally beyond the music?
I feel very lucky that Ruff Ryders always allowed me to artistically do what I wanted to do. They never said things like “Oh this might not work.” And even sonically, they weren’t the ones who were fighting back, it was more like executives and Interscope, but for me “Scorpion” means red. Red is a scorpion color. We gotta come out stinging, but I also want to show that I’ve grown, that I’ve matured and really show what my ear is. I felt really lucky that they didn’t fight me on it. They let me do exactly what I needed to do. It felt collaborative because that’s how Ruff Ryders worked anyway. There were people in and out of the studio all the time, but it made it good because sometimes a conversation led to a hook or a verse.
Last year you went on tour with Nelly, Ja Rule and Chingy, and you brought along your son. What was it like having him there with you, seeing you on stage?
It was grueling. I ain’t gone lie. It was amazing, but being on tour with a toddler is different. That being said, the reason I said yes to doing the tour is because he’s young enough that I can kind of tote him around, but he’s old enough that he can remember. Seeing him on the side of the stage was like “Oh, my little baby.” It was also fun. Like everybody on that tour had bangers, so even me performing or being backstage and hearing Ja or hearing Nelly or hearing Chingy, it was a good tour. The crowd showed up. It was a really cool tour too because in some places, it was like generations of people together like the kids and the moms, and then there were a lot of young people, and I was like “Oh, I love this.”
What else do you have coming up?
Listening to new music and discovering new artists. I am excited about this 25th anniversary because we are going to do some really fun stuff with it and we’re talking about some re-imaginings with it. Just touch some of the songs that people love and give it a bit of life. What else? I don’t know. I’m just “momming.” That’s my favorite thing right now. He’s getting so big. I cannot believe he’s about to be 4. Watching him grow is nice.
After Paul Dano came under unexpected fire from filmmaker Quentin Tarantino in December, the “There Will Be Blood” star received support from fellow artists including Daniel Day-Lewis and Ben Stiller. A month after the drama, he is now returning the love.
Dano finally publicly addressed Tarantino’s controversial comments at the Sundance Film Festival during a 20th anniversary screening of “Little Miss Sunshine.” Speaking to Variety, he said the groundswell of support “was really nice.”
Tarantino appeared on Bret Easton Ellis’ podcast in December to rank his top 10 films of the century. The “Django Unchained” and “Pulp Fiction” filmmaker placed Paul Thomas Anderson’s oil drama “There Will Be Blood” at No. 5 on his list, and said specifically Dano — not his performance — was the “big, giant flaw” in the Oscar-winning film. “There Will Be Blood” stars Dano as fiery preacher Eli Sunday and Day-Lewis as oil tycoon Daniel Plainview.
When the movie was released in 2007, former Times film critic Kenneth Turan praised Dano as “smoothly effective” and gifted. Clearly, Tarantino thought otherwise.
“He is weak sauce, man. He’s a weak sister,” Tarantino said, adding that he thought “Elvis” star Austin Butler (who was a teenager launching his career on Disney Channel and Nickelodeon when the movie came out) would have been a better actor for the part. “He’s just such a weak, weak, uninteresting guy,” he said.
Tarantino added: “You put [Day-Lewis] with the the weakest f— actor in SAG?”
A handful of Dano’s collaborators immediately defended him. “Escape at Dannemora” executive producer Stiller praised him as “brilliant” and Reese Witherspoon called her “Inherent Vice” co-star an “incredibly gifted, versatile actor” and a gentleman. Matt Reeves, Josh Gad, Alec Baldwin and Simu Liu also voiced their support for Dano, whose credits include Steven Speilberg’s Oscar-nominated “The Fabelmans,” Bong Joon Ho‘s “Okja” and Oscar-winning director duo Daniels’ (Daniel Kwan and Daniel Scheinert) “Swiss Army Man.”
“I was also incredibly grateful that the world spoke up for me so I didn’t have to,” Dano said at the Sundance screening.
Before Dano responded, though, Toni Collette (who played his mom in “Little Miss Sunshine”) chimed in, dismissing “that guy” Tarantino and speculating that “he must’ve been high.”
“It was just confusing. Who does that?,” she said, according to Variety. “Little Miss Sunshine” directors Jonathan Dayton and Valerie Faris also criticized Tarantino and praised their star.
During his podcast appearance in December, Tarantino also slammed Owen Wilson and scream king Matthew Lillard. In an interview with Entertainment Weekly published Wednesday, Lillard brushed off the shade and recalled the ensuing social media praise for his talents. “It was like living through your own wake,” Lillard told EW.
“All those R.I.P. emails or tweets and Instagram posts and TikToks, all of the things we see after somebody passes are so sweet,” he added. “And the reality is I just got to live through all of it firsthand — alive and kicking! I can’t imagine a more lovely reaction to what happened.”
KATIE Price has cancelled her podcast after her shock wedding to Lee Andrews and being told to ‘run a mile’ from her ‘swindler’ new husband by his ex.
New episodes of The Katie Price Show podcast – which the 47-year-old hosts with younger sister Sophie, 36 – drop every Thursday.
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Katie has cancelled this week’s episode of her podcastCredit: UnknownIt comes after she married ‘fantasist’ Lee Andrews in Dubai last weekendCredit: InstagramLee’s ex Alana has warned her to ‘run a mile’Credit: Unknown
But Katie’s sister Sophie took to social media to announce that an episode would not be dropping today.
“Hi guys, how are you all? I know you’ve all been chomping at the bit to find out what has been going on. All our DMs have been going off,” she began in her video address.
“Let’s just say, it’s been one hell of a week. We have done over a 100 episodes of the podcast which sounds absolutely nuts when it’s just me and Kate doing our b*s chat.
“We will back next week as normal and we will be able you guys on what’s been going on. It will be business as usual,” she signed off.
Ye, the provocative rapper formerly known as Kanye West, explains himself once again — this time in a full-page ad in Monday’s issue of the Wall Street Journal.
The Grammy-winning musician penned a lengthy apology in the advertisement, voicing regrets for his social media attacks on Jewish people and his public embracing of Nazism in recent years. He began his letter detailing injuries from a 2002 car accident, including a frontal-lobe injury he says led to his bipolar type-1 diagnosis. Ye wrote that, in the throes of the disorder, “I gravitated toward the most destructive symbol I could find, the swastika.”
He said: “I lost touch with reality. Things got worse the longer I ignored the problem. I said and did things I deeply regret.”
The “Power” and “I Love Kanye” musician, 48, has long had a history of stirring controversy, but notably began facing waves of scrutiny for embracing white supremacy, fawning over Adolf Hitler and threatening violence to Jewish people on social media in late 2022. Though his professional life seemed to take blows, West continued embracing Nazi symbolism in the following years, in 2025 selling a swastika-bearing T-shirt and releasing a single titled “Heil Hitler.” West had also allegedly told a former employee, who is Jewish, that he was a “Nazi” and compared himself to their leaderAdolf Hitler, according to a lawsuit filed last year.
“Some of the people I love the most, I treated the worst,” he continued. “You endured fear, confusion, humiliation, and the exhaustion of trying to love someone who was at times, unrecognizable. Looking back, I became detached from my true self.”
The musician said his disorder led him to moments of “poor judgment and reckless behavior,” some he said he can’t recall. The rapper said he is “committed to accountability, treatment, and meaningful change” and denied that he is “a Nazi or an antisemite.”
West also extended his apologies to the Black community, which he wrote is the “foundation of who I am.”
West (he legally changed his name to Ye in 2021) wrote that early last year he experienced a “four-month manic episode of psychotic, paranoid and impulsive behavior that destroyed my life.” He said there were moments during this episode when “I didn’t want to be here anymore.” West said after “hitting rock bottom” he began seeking help, with the encouragement of wife Bianca Censori. He said he also has since found solace in Reddit, where he said users shared their experiences with manic and depressive episodes.
West said he is moving forward with “much-needed clarity” reached by a routine of medication, therapy, exercise and “clean living.” He added that he is also focused on “positive, meaningful art” including music, clothing and other ventures “to help the world.” He said he is not seeking “sympathy, or a free pass,” but rather forgiveness and patience “as I find my way home.”
West previously opened up about his mental state last year, telling “The Download” podcast that he learned “it’s really a case of autism that I have.” At the time, he also told podcast host Justin Laboy that he had stopped taking his bipolar medication since learning it wasn’t the “right diagnosis.”
Days after his podcast interview, West fired off several antisemitic tweets that have since been deleted. In other posts, he also called for the release of Sean “Diddy” Combs amid the mogul’s sex trafficking case and declared his “dominion” over Censori. Following those posts, Ye returned to X (formerly Twitter) and thanked the app’s owner Elon Musk for giving him a platform.
“It has been very cathartic to use the world as a sounding board,” the rapper said at the time.
