The Sound of Discontent: Why a California Library Became Ground Zero for the Anti-Spotify Movement

In an unlikely setting—a library in Oakland, California—a movement to dismantle the modern music streaming model was born. The “Death to Spotify” talks, hosted at Bathers library, quickly became a focal point for a growing wave of discontent, uniting indie musicians, labels, DJs, and fans against the streaming behemoth. What began as a local reading group discussion has since captured international attention.
The organizers, Stephanie Dukich and Manasa Karthikeyan, are not professional musicians but describe themselves as being “really into sound.” Inspired by critical works like Liz Pelly’s Mood Machine and the recent artist boycotts, they wanted to create a space to discuss their community’s “relationship to streaming.” Their goal was to explore practical ways to disengage from a system they view as exploitative and culturally damaging.
The movement’s platform is clear: “down with algorithmic listening, down with royalty theft, down with AI-generated music.” These pillars address the primary grievances shared by many in the music community. They object to the minuscule payments that make it impossible for most artists to earn a living, the homogenized listening experience curated by algorithms, and the ethical controversies surrounding Spotify’s leadership.
This initiative highlights a crucial shift from passive complaint to active solution-building. The talks featured speakers from respected indie institutions like KEXP and Cherub Dream Records, who shared insights on how to “decentralize music discovery, production and listening.” The focus was on empowerment—teaching people how to take their files off the platform and support artists directly.
The rapid sell-out of the events and the flood of international inquiries prove that Dukich and Karthikeyan tapped into a deep well of frustration. The library, a traditional bastion of shared knowledge and culture, became the perfect incubator for a movement aimed at reclaiming music as a community-centered art form, rather than a corporate-controlled commodity.