And that single limbo, as it were - waiting for a major artist to say “yes” or using one artist’s interest in the song to entice another act to commit to making it a single - is where “The Middle” found itself back in early 2017. With some 20,000 new songs added to streaming services like Spotify every day, that means creators, who receive a cut from any public broadcast, be it radio, satellite or streams, are increasingly fighting to lock down a “single” – the song that will get the biggest push from the record company and stand the best chance of gaining smash status. A songwriter’s share of that track easily tops a seven-figure payout. By comparison, Ed Sheeran’s “Shape Of You,” the biggest song of 2017, has 1.7 billion streams on Spotify. Factor in other DSPs like Apple Music, and it’s already at $250,000. “The Middle,” as of this writing, had 236 million streams on the streaming service, which could net out $184,000 to the publishers - and that’s just for Spotify.
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The remaining (around $800) is allotted to the publishers, which then divide the earnings between their writers based on percentages of ownership (rates vary between paid and free streams). In simple math, a million streams on Spotify averages out to around $6,800 in revenue, the lion’s share of which ($6,000) goes to the master rights holder (the label).
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Where during the vinyl, tape and CD eras, songwriters angled to get just one “album cut” placed – and pocket royalties for their contributions commensurate with the full album’s sales (back when physical product was moving hundreds of thousands of units) - the streaming age means songs have to stand on their own. So why the many roadblocks just getting out the door?įor starters, the competition for hit songs is fierce these days.
“From the moment it was released you’d see and hear people walking around singing the song.” “It’s infectious,” says Amanda Berman Hill, SVP and Head of West Coast Writer Relations for Sony/ATV Music Publishing, Aarons’ publisher (Universal Music Publishing Group, BMG, and Kobalt also have a share of the song through contributions by DJ-producers Zedd and the duo Grey, Jordan Johnson and Lomax, and Stefan Johnson, respectively). The song’s ridiculously hooky chorus, with a spurned lover pleading to her significant other, “Why don’t you just meet me in the middle,” is about as close to a sure thing as pop bangers get.
Sure enough, almost as soon as the final version made its debut – on Grammy night during a Target commercial – spins, streams and syncs for “The Middle” shot up and have barely slowed since.
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