Fraud streaming, also known as artificial or bot streaming, involves illegitimate plays that do not reflect genuine listener activity. Here’s what fraud streaming is, how it happens and how artists can avoid it.

A fraud stream is an illegitimate play of music on a streaming service. Also known as artificial streaming, bot streaming or fraudulent streaming, it refers to plays that do not reflect genuine listener activity.

Fraudulent streams can be generated in several ways, including automated bots, click farms, and deceptive third-party promotion services. In some cases, an artist may knowingly attempt to boost their own streams, while in others, fraudulent activity may be carried out by a third party without the artist fully understanding how their music is being promoted.

Whatever the cause, streaming services take fraudulent activity seriously and may take action when illegitimate streams are detected.

‘Pay for Play’ services

A number of services online promise artists increased streams, playlist placements or a specific number of plays in exchange for payment. While not every music promotion service is illegitimate, artists should be extremely cautious of services that guarantee results.

Services promising a certain number of streams may use artificial methods to generate plays. This can include bots, click farms and other deceptive practices that do not reflect genuine listener activity.

Even if a promotion service claims that its streams are “real” or “genuine”, there is no guarantee that the activity is legitimate. Paying for guaranteed streams or playlist placements can put your music at risk.

If fraudulent streaming is detected, illegitimate revenue may be blocked, while revenue from genuine streams may still be earned in some cases. The affected release may also be removed from streaming services. Repeat offenders may face further action, including the closure of their distribution account.

If you’re considering using a music promotion service, make sure to research it carefully before paying for its services.

How to avoid fraud streaming

The best way to avoid fraud streaming is to focus on genuine audience growth and avoid any services that promise guaranteed streams, plays or playlist placements.

You should never attempt to artificially boost your own streams or pay someone else to do so. Be cautious when working with third-party promotion services and make sure you understand how they plan to promote your music.

It’s also important to remember that fraud streaming is not always carried out directly by the artist. If you notice unusual or suspicious activity on your music, acting early may help you identify where the streams are coming from and prevent further issues.

At RouteNote, fraud streaming is taken seriously by both us and our partner stores. If you’d like to learn more about protecting your music, read our guide on how to avoid artificial or fraudulent streaming.

If your release has already been flagged, you can also find out more about what an FSA or fraud streaming claim means.

Check out our blog for advice on how you can organically boost your music’s performance and promote your releases.

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Transatlantic folk duo Our Atlantic Roots return with “Fly Mr Owl”, an uplifting, nature-inspired song that invites listeners to step away from the rush of modern life and rediscover the beauty of simply slowing down.

It’s easy to get caught up in the modern rat race. There’s always somewhere to be, something to finish and another notification demanding attention. But what if we simply stopped for a moment?

With their latest single “Fly Mr Owl”, transatlantic duo Our Atlantic Roots offer a gentle and joyful reminder that nature doesn’t work to our schedule, and perhaps we don’t always need to either.

Inspired by the quiet rhythms of the natural world, “Fly Mr Owl” draws a parallel between the effortless swoop of an owl and the steady growth of a blooming magnolia tree. Neither is rushing. Neither is worrying about what comes next. Yet both are doing exactly what they need to do.

It’s a simple idea, but one that feels particularly relevant in a world that rarely seems to slow down.

Musically, the track captures that same sense of wonder and freedom, pairing poetic songwriting with cinematic instrumentation and the duo’s signature vocal harmonies. The result is a warm, uplifting listen that feels equally at home on a woodland walk, a mountain adventure or a quiet moment of reflection.

“Fly Mr Owl” is rooted in observation, encouraging listeners to look around and notice the small, beautiful details that can easily disappear when life becomes too busy.

From watching wildlife to seeing a tree change with the seasons, the song celebrates the idea that growth doesn’t have to be rushed.

That makes it a natural fit for playlists centred around nature, adventure, hiking, mindfulness, reflection and outdoor exploration.

There’s an inviting sense of movement to the track, too. Rather than feeling like an escape from life, “Fly Mr Owl” feels like a reminder to experience it more fully.

For anyone who has ever needed an excuse to put their phone away, head outside and see where the path leads, this might just be the soundtrack.

Hailing from opposite sides of the Atlantic, Our Atlantic Roots bring together their shared love of folk and country music with a cinematic approach to songwriting.

The transatlantic duo are known for combining poetic lyrics, captivating instrumentation and tight vocal harmonies, creating songs that feel both intimate and expansive.

Their music is deeply connected to a sense of place and adventure. Think misty mountain hikes, quiet forest trails, open roads and late nights around a cabin campfire.

But beneath the atmospheric instrumentation is an optimistic heart.

Our Atlantic Roots’ songwriting consistently carries a sense of hope, using storytelling and imagery to explore the natural world, human connection and the everyday moments that make life meaningful.

“Fly Mr Owl” fits naturally into that world while offering perhaps their clearest invitation yet to simply slow down and look around.

At its heart, “Fly Mr Owl” isn’t telling listeners to abandon ambition or stop moving forward.

It’s asking something much simpler: what might we notice if we weren’t always in such a hurry?

The owl still flies. The magnolia still blooms. The seasons still change.

Everything keeps moving, just not at the frantic pace we sometimes expect from ourselves.

With its joyful atmosphere, rich harmonies and celebration of the natural world, “Fly Mr Owl” is a timely reminder that there can be just as much adventure in slowing down as there is in moving forward.

For Our Atlantic Roots, it’s another step in their journey of creating music that encourages listeners to get outside, explore, reflect and find a little more wonder in the world around them.

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UK musicians are still facing extra costs, paperwork and barriers when touring Europe, with MPs warning that little has changed since their recommendations earlier this year. Here’s what the latest Brexit touring update means for independent artists and labels.

For UK musicians, touring Europe after Brexit has been a complicated business for years. Now, MPs are warning that the situation still isn’t improving quickly enough.

The Culture, Media and Sport Committee has criticised the Government’s response to its recommendations on EU touring, saying it is “alarmed” by the lack of progress in tackling the barriers facing touring artists.

That comes just days after new Government-commissioned research found that reduced UK touring activity in the EU between 2022 and 2024 was associated with £208 million in lost UK economic value and 2,490 full-time equivalent jobs across the touring sectors studied.

For independent artists, the numbers point to a bigger issue: Brexit touring barriers aren’t just a headache for major touring productions. They can directly affect whether an emerging artist can afford to take their music abroad at all.

What’s happening with Brexit touring for UK artists?

The latest development comes from the UK Parliament’s Culture, Media and Sport Committee, which published its response to the Government’s response on 4 September 2026.

Earlier this year, MPs investigated the problems facing UK performers touring in the EU. Their June report highlighted three major areas of difficulty:

• Cross-border travel and work, including different visa and work permit rules
• Moving goods, including instruments, equipment and merchandise
• Transport and logistics, including restrictions affecting touring vehicles and crews

The committee called on the Government to work with the EU and individual member states to find practical solutions.

It also recommended measures that could be taken in the UK, including better support and guidance for artists navigating the increasingly complicated rules.

But according to the committee, there hasn’t been enough progress.

Dame Caroline Dinenage MP, chair of the committee, said the Government’s own research reinforced the concerns raised by MPs and that it was “disappointing” that there had been no “tangible progress” despite the recommendations.

That’s a pretty strong message, especially when the Government’s own research is now putting some numbers behind the problem.

The cost of Brexit touring is bigger than paperwork

It’s easy to think of Brexit touring barriers as an annoying bit of admin. Fill in a form, sort out a permit, get your carnet and carry on.

For independent artists, it isn’t always that simple.

Every additional requirement can mean another cost. And when you’re already trying to make a tour work financially, small expenses can quickly add up.

The Government’s new research, carried out by Ipsos and Nordicity, looked at the economic impact of the UK’s exit from the EU on touring between 2022 and 2024.

It estimates that UK music artists and promoters experienced a loss of £180.2 million in GVA and more than 2,050 full-time equivalent jobs when direct, indirect and induced effects are included. The research estimates £81.6 million of direct GVA was lost in music, with 690 direct FTE jobs affected.

The researchers also found that smaller-scale live music was particularly affected.

And this is where the findings matter for independent artists.

A major international act might have a management team, accountants, lawyers and tour managers to handle international paperwork. An emerging artist heading to Europe in a van with a few bandmates probably doesn’t.

The Government research itself notes that the impacts fall disproportionately on freelancers and SMEs that don’t have the same in-house administrative capacity.

In other words: the bigger your team and budget, the easier it can be to absorb the complexity.

For everyone else, it can be the difference between a profitable tour and a loss.

Kate Nash’s £26,000 touring loss highlights the problem

The financial consequences have already been discussed in Parliament.

During the committee’s evidence session, musician and actress Kate Nash told MPs that while touring Europe had previously been profitable, her most recent EU run resulted in a loss of around £26,000.

That’s not just a story about one artist.

The committee heard evidence about younger and emerging performers being particularly affected, as well as the knock-on impact on working-class talent and touring crews.

If international touring becomes something only established artists can realistically afford, the industry risks losing an important part of the artist development pipeline.

Touring isn’t simply about selling tickets.

For an independent artist, playing shows in another country can mean finding new fans, building relationships with promoters, testing new material, selling merchandise, growing streaming audiences and creating opportunities for future releases.

Take away the ability to tour affordably and you potentially take away several routes to growth at once.

What about visas and work permits?

One of the biggest frustrations for UK artists is that there isn’t one simple “EU touring visa”.

The rules can vary between countries, meaning artists and their teams have to work out what applies to each destination on their itinerary.

British citizens can still travel to the EU under the Schengen short-stay rules, but visa-free travel isn’t the same thing as having unrestricted permission to work.

As the parliamentary committee explains, UK citizens are generally subject to the 90 days in any 180-day period Schengen limit, while paid performances and other professional activities can be subject to additional national requirements.

That creates a particularly awkward situation for touring artists.

Your passport might get you into a country. It doesn’t necessarily mean you’re cleared to perform there.

And if a tour takes in multiple countries, you’re suddenly dealing with a patchwork of regulations rather than one straightforward set of rules.

Carnets, customs and the cost of taking your gear abroad

Then there’s the equipment.

Musicians don’t travel light. Instruments, amplifiers, microphones, production equipment, merchandise and other professional goods can all create additional customs considerations when travelling between the UK and EU.

ATA carnets are one part of that picture.

The parliamentary committee recommended that the Government look at ways to reduce the upfront costs associated with carnets for cultural touring.

According to Complete Music Update’s reporting on the Government response, ministers currently have no plans to subsidise carnets or introduce a Government-backed guarantee or insurance scheme.

For an independent act, that matters.

A tour might already involve petrol, accommodation, crew, venue costs, rehearsal space, promotion and potentially low ticket margins. Adding another layer of upfront costs makes the maths harder.

And that’s before something goes wrong at the border.

MPs also wanted a touring advice hub

One of the more practical recommendations from the committee was the creation of a dedicated cultural touring advice hub.

The idea is pretty simple: instead of artists having to hunt across different Government websites and industry organisations for information about visas, social security, customs, transport and other touring requirements, there would be a central place to find reliable guidance.

The committee said artists and industry bodies currently have to navigate information from multiple sources, with different rules applying across EU member states.

The Government’s response, however, points towards improving and updating existing online guidance rather than creating the dedicated hub MPs requested.

For artists planning a European tour, that’s a fairly important distinction.

Knowing where to find the information is one thing. Having a clear, authoritative resource designed specifically around touring musicians is another.

The Government also rejected a return to Creative Europe

Touring isn’t the only issue.

The committee recommended that the UK re-engage with Creative Europe and its proposed successor, AgoraEU, arguing that participation could help UK creatives access funding, partnerships and international opportunities.

The Government has said it has no plans to rejoin Creative Europe.

The committee says withdrawal from the programme has affected more than funding. Witnesses also highlighted lost opportunities for cultural collaboration and for emerging UK talent to build international relationships.

For independent musicians, those networks can be hugely valuable.

International careers aren’t built solely through touring. Showcases, collaborations, funding opportunities, festivals, creative partnerships and relationships with overseas industry professionals can all help an artist expand beyond their home market.

That makes the wider question bigger than simply: “Can I get a gig in France?”

It’s about how easy it is for British artists to participate in Europe’s wider music ecosystem.

So, is touring Europe still worth it for independent artists?

Yes, but the business case needs more careful planning than it did before Brexit.

The latest news isn’t a reason to abandon European audiences. If anything, it highlights why artists need to be strategic about how they build international careers.

The Government’s research suggests that there is still a significant economic and cultural relationship between UK artists and European audiences. It estimates that reduced UK musician touring activity between 2022 and 2024 was associated with more than £1 billion in lost GVA across the EU member states included in the research, alongside significant employment impacts.

That’s a lot of lost activity on both sides.

European audiences still want UK music. UK artists still want to reach European audiences.

The problem is getting from one to the other without the costs and administration making the whole thing unworkable.

What can independent artists do right now?

While artists can’t control Government negotiations, there are ways to make an international strategy more resilient.

1. Do the maths before booking the tour

Don’t look only at ticket income.

Factor in transport, accommodation, crew, visas or permits where applicable, customs requirements, insurance, taxes, merchandise logistics and potential delays.

A tour that looks profitable on paper can quickly change once international costs are included.

2. Consider fewer, stronger dates

For some independent artists, a smaller run of well-planned European shows could make more sense than trying to cover a huge number of countries.

Look at where your existing listeners are.

Your streaming data, social media analytics and fan engagement can help identify cities or countries where there’s already an audience for your music.

That way, you’re not simply touring Europe. You’re touring where there’s a reason to believe your audience is waiting.

3. Build your digital audience alongside your live one

This is particularly important when physical touring becomes harder.

Your music can still travel even when your van can’t.

Getting your releases onto Spotify, Apple Music, YouTube Music, Deezer and other platforms gives international listeners a way to discover you without you needing to physically be in their city.

With RouteNote, independent artists and labels can distribute music to major streaming services and digital stores, helping you build an audience internationally while you work out where touring makes financial sense.

Explore RouteNote music distribution

4. Use streaming data to guide your touring plans

If you suddenly notice a growing audience in Germany, France or the Netherlands, that’s useful information.

It doesn’t automatically mean you should book a European tour tomorrow. But it can be the starting point for researching promoters, venues, festivals and potential partners in that market.

Your online audience can become a data point for your offline strategy.

5. Keep an eye on the rules

The biggest lesson from the current situation is that international touring admin can’t really be an afterthought anymore.

Rules can change, and requirements differ between countries.

Before confirming dates, check the latest official guidance for every country on your itinerary — including requirements for your crew, equipment and merchandise.

The bigger picture for UK independent music

There’s a bigger concern underneath all of this.

If touring becomes significantly more expensive and complicated, emerging artists could have fewer opportunities to develop internationally.

That’s potentially bad news for the whole music industry.

Artists need opportunities to grow. Crews need work. Promoters need exciting new acts. Venues need audiences. Fans want to discover artists from other countries.

When one part of that ecosystem becomes harder to access, the effects spread.

That’s why the parliamentary committee’s comments matter.

The MPs aren’t simply asking for artists to have an easier time at the border. They’re arguing that the UK has a valuable creative export and that the current system is making it unnecessarily difficult for that export to reach audiences.

The Government’s own research now backs up the scale of the economic impact.

And yet, as of September 2026, the committee says it still hasn’t seen the “tangible progress” it was looking for.

What happens next?

The committee says it will continue monitoring the situation, including the outcome of the next UK-EU summit.

That summit could become an important moment for UK touring artists, particularly if negotiations move beyond broad commitments towards practical changes around visas, short-term touring, customs and transport.

For now, though, the message to independent artists is fairly straightforward.

Don’t write off Europe, but don’t underestimate the cost of getting there either.

Build your audience digitally. Use your data to identify promising markets. Plan international shows carefully. Allow extra time and budget for administration. And keep watching for changes to the rules.

Brexit may have changed the route to European audiences, but it hasn’t removed the demand for UK music.

For independent artists, the opportunity is still there. The challenge is finding a sustainable way to reach it.

Release your music for FREE with RouteNote!

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Spain’s recorded music market is continuing its strong run of growth, with revenues rising 11.6% year-on-year in the first half of 2026.

According to new figures from Spanish music industry body PROMUSICAE, the market generated €181.4 million in wholesale revenue between January and June. At retail value, the market was worth €321.6 million.

The latest figures highlight the continued importance of streaming to Spain’s music industry, while vinyl is also enjoying another significant surge.

Streaming remains the driving force

Digital music accounted for the vast majority of Spain’s recorded music revenue in H1 2026. PROMUSICAE reports that the digital market generated €160.5 million, up 10.5% compared with the first half of 2025. That represented 88.5% of the total market.

Streaming made up almost all of that digital revenue, generating €159.6 million after growing 10.8% year-on-year.

Paid subscriptions were particularly important. Subscription streaming generated €121 million during the first half of the year, an increase of 15.1% from H1 2025. That means subscriptions now account for 66.7% of Spain’s recorded music revenue and 75.4% of its digital market.

The growth is even more striking when looking further back. Subscription revenue has risen from €45.1 million in H1 2020 to €121 million in H1 2026, a 168.2% increase in just six years.

PROMUSICAE president Antonio Guisasola says Spain still has room for subscription adoption to grow, suggesting the market could have further potential as more listeners move towards paid streaming.

Spain’s music market is growing faster than some major markets

Spain’s 11.6% growth puts it ahead of several other major European and global music markets. 

For comparison, Germany’s recorded music market grew 5.4% year-on-year in the first half of 2026, according to German industry body BVMI. In the US, the RIAA reported wholesale recorded music revenue growth of 6.9% over the same period.

Spain’s growth also follows a particularly strong 2025 too. PROMUSICAE reported a 13.7% increase for the full year, taking the market to €409.5 million in industry value and back to revenue levels last seen in 2003.

Vinyl is growing too

Streaming might be powering the market, but physical music is far from disappearing.

Spain’s physical music market also grew 20.3% year-on-year in H1 2026, reaching €20.9 million. Vinyl was responsible for much of that growth. Revenue from vinyl increased 27.7% to €15.3 million, meaning the format now represents 73% of Spain’s physical music market.

CD revenue also increased, although at a much slower rate of 4.3%.

For artists and labels, the contrasting growth of streaming and vinyl shows that there is still value in both digital access and physical formats. Streaming can help artists reach new audiences globally, while vinyl can offer fans something tangible to collect. 

What does Spain’s growth mean for independent artists?

Spain’s growing music market presents another potential audience for independent artists.

Streaming means artists don’t need to be based in Spain to reach Spanish listeners. As music consumption becomes increasingly global, artists can find audiences in countries they may never have considered targeting. 

For independent artists, the takeaway is simple: don’t think of your audience as being limited by geography.

And thanks to distributors like RouteNote, you can share your music to major streaming platforms worldwide so your music can reach listeners wherever they are.

Spain’s music market still has room to grow

Spain’s latest figures point to a market that is firmly on an upward trajectory. With recorded music revenue growing by 11.6%, paid streaming continuing to expand and vinyl enjoying another strong year, there are plenty of positive signs for the industry.

For independent artists, it’s another reminder of the opportunities that exist beyond their home markets. As streaming continues to connect artists with listeners around the world, keeping your music available internationally can open the door to entirely new audiences. 

And with Spain’s music market continuing to grow, it could be a market worth keeping an eye on.

Distribute your music to major streaming platforms everywhere and reach listeners worldwide for free with RouteNote.

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Apple could be preparing a significant audio upgrade for its HomePod range.

Code discovered in the latest audioOS 27 beta reportedly points to support for connecting four full-sized HomePod speakers as a surround sound system, alongside a new feature called Party Mode. The features have not been announced by Apple, but the discovery suggests the company is exploring more advanced ways to use multiple HomePods together.

For everyday listeners, musicians and producers, the updates could make Apple’s smart speaker ecosystem a more interesting way to experience music and other audio around the home.

Four HomePods could create a surround sound setup

According to 9to5Mac, code found in audioOS 27 beta 8 references a configuration using four second-generation HomePods. Rather than simply playing the same audio from each speaker, the system appears designed to give each speaker a specific role.

The two front speakers would handle left and right channels, while the rear speakers would use more omnidirectional processing to spread sound around the listener. The system would also reportedly use calibration and synchronisation to account for where each speaker is positioned.

That could make a four-speaker HomePod setup considerably more sophisticated than simply placing several wireless speakers around a room.

The leaked code reportedly references processing for bass, EQ, synchronisation and calibrationoo, with the system able to adjust its treatment depending on the type of audio being played. Movies and other multichannel content could receive different processing from music, for example.

What could this mean for HomePod owners?

The biggest potential benefit is the ability to hear music in a more immersive environment without needing a traditional surround sound receiver and speaker setup.

For artists and producers, a HomePod system isn’t going to replace studio monitors or headphones for detailed mixing. However, it could become a useful secondary listening system for checking how a track translates to a typical home environment.

That is particularly relevant as spatial and immersive formats become more common. Apple already supports Spatial Audio on the second-generation HomePod, and the company’s current model uses computational audio and room sensing to adapt its sound to its surroundings.

A more capable multi-speaker system could give creators another way to experience immersive mixes after working on them in the studio.

It could also be useful for producers working from home. A pair of HomePods can already provide a convenient wireless listening setup, while four speakers could potentially offer a much wider sense of space without requiring a dedicated surround system.

Party Mode could be more useful for parties

The other notable discovery is Party Mode.

According to AppleInsider, the feature appears to be designed for stereo-paired HomePods, changing how they distribute sound around a room. Instead of concentrating the stereo image around one ideal listening position, Party Mode would spread the audio more evenly throughout the space.

That makes sense for its intended use. If you’re hosting a party, listeners will be moving around the room rather than sitting in one ideal spot between the speakers. Party Mode could therefore provide a more consistent, ambient listening experience across the space.

When are the new HomePod features set to arrive?

There is no confirmed release date for either feature. The code was discovered in audioOS 27 beta 8, but there is currently no indication that the four-speaker surround system or Party Mode will launch as part of the audioOS 27 release.

The timing could also depend on new hardware. According to 9to5Mac, the code references an unidentified speaker alongside the second-generation HomePod, while Apple is reportedly working on a new HomePod mini and testing a new full-sized HomePod.

For now, the features remain unconfirmed, but the development suggests Apple could be looking to make HomePod a more capable multi-speaker audio system.

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