Anthrax and Pantera drummer Charlie Benante is an outspoken critic of Spotify‘s influence on the music industry. In a candid interview with The Irish Times, Benante expressed his disdain for the platform, declaring it to be a graveyard for music, remarking, “Spotify is where music goes to die,” highlighting that his presence on the platform is more a matter of necessity than choice.
Reflecting on the seismic shifts in the music industry since he and Anthrax first debuted, Benante bluntly stated, “There is no music industry.” He emphasized that while audiences continue to consume music, the landscape has transformed dramatically; people aren’t engaging with music in the same way they once did. He lamented, “It’s a different time now,” signifying a stark departure from past norms.
“Here’s a strange thing,” he added. “While I have seen people eating a little bit more healthy here and there, the industry of music was one of the things hit the worst and nobody did anything about it. They just let it happen.” Benante criticized the lack of support for artists during this evolution, pointing out a pervasive issue: “There was no protection, no nothing.” This lack of industry solidarity might explain why he prefers to limit his music releases rather than distributing his work for minimal or no compensation.
“I take music very seriously and what I do and what I write is very personal,” Benante emphasized. For him, it feels unjust when his art can be easily accessed without proper compensation, stating, “It is like I pay Amazon $12.99 a month and I can just go on Amazon and I can get whatever I want. It is basically stealing.” He doesn’t currently subscribe to Spotify, which he regards as detrimental to musicians: “I think it is where music goes to die.” Benante expressed a sense of frustration, saying they only maintain a presence on the platform because they have to comply with the industry’s demands, stating, “I’m tired of playing the game.”
As outrage against Spotify continues to resonate among artists, it’s worth noting that Benante isn’t alone in his sentiment. High-profile musicians like Avenged Sevenfold frontman M. Shadows, Twisted Sister frontman Dee Snider, and Iron Maiden frontman Bruce Dickinson have all voiced their grievances about the streaming giant and its impact on artists’ livelihoods.
Benante also shared his support for Metallica drummer Lars Ulrich regarding his pivotal legal battle with Napster in 2000, stating, “They were absolutely right about it.” He noted, “You see where it went,” reflecting on the subsequent fallout from unchecked music piracy. Benante reiterated the importance of protecting artistic integrity, defending Metallica‘s efforts by saying, “They were protecting their art, their intellectual property so that some asshole does not come along and take your art.” He urged listeners to recognize that artists deserve their due: “People don’t know anything about this. Until you have lived the way we live and do what we have done, then you can comment on it.”
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What are Charlie Benante’s main criticisms of Spotify in relation to artist compensation and the music industry?
**Interview with Charlie Benante: An Unfiltered Take on Spotify and the Music Industry**
**Interviewer**: Charlie, thank you for joining us today. You’ve been vocal about your criticism of Spotify. Can you elaborate on your perspective?
**Charlie Benante**: Thanks for having me. Honestly, Spotify feels like a graveyard for music to me. It’s where music goes to die. I’m on it because I have to be, but I don’t subscribe myself. I think the platform is detrimental to artists—it’s like a huge buffet where you can feast without paying what you should.
**Interviewer**: You mentioned in your recent interview with *The Irish Times* that “there is no music industry” anymore. Can you describe what you mean by that?
**Charlie Benante**: Well, the whole landscape has shifted dramatically since the days when I started with Anthrax. While people still listen to music, they don’t engage with it the way they used to. It’s a different time now, and unfortunately, the industry isn’t protecting its artists. There’s been a severe lack of support, and artists are left to fend for themselves.
**Interviewer**: You also touched on a broader cultural context—how people are changing their consumption habits in other areas but not music. What do you think explains that contrast?
**Charlie Benante**: That’s a strange thing, isn’t it? You see people being more mindful about what they eat, but when it comes to music, the shift has been devastating. Nobody really did anything to help artists adapt to this new world—we’re just expected to go along with it. It’s as if the protections that used to be in place have vanished.
**Interviewer**: In your interview, you highlighted how personal your music is to you. How does that tie into your feelings about fair compensation?
**Charlie Benante**: Exactly. I take my music very seriously; it’s personal for me. To see my art available with no real compensation feels unjust. It’s not just streaming; it’s about respect for the craft. I pay for services like Amazon to access what I want, and I feel like the same should apply to music. What’s happening now feels like stealing, and it undermines the hard work that goes into creating it.
**Interviewer**: Lastly, with all these challenges, do you think there’s a way forward for artists?
**Charlie Benante**: I hope there is, but it requires solidarity among artists and serious changes in how the industry operates. Until those shifts happen, we’re left navigating a pretty rocky terrain. We need to advocate for better systems that value art appropriately. That’s the only way I see hope for the future.
**Interviewer**: Thank you, Charlie, for sharing your insights. Your perspective is invaluable for understanding the current music landscape.
**Charlie Benante**: Thank you. I appreciate the opportunity to talk about these issues.