Spotify paid over €34 million in music royalties in Belgium last year—an 11% increase from 2023—but artists and insiders say the platform still falls short of offering sustainable income for most musicians. While global payouts reached a record-breaking $10 billion in 2024, Belgium’s share remains just a small fraction, reflecting a complex and uneven streaming economy.
The numbers come from Spotify’s latest Loud & Clear transparency report, which, for the first time, breaks out figures for Belgium. Despite being the leading global music streaming platform, Spotify faces continued criticism for how it distributes earnings—especially among emerging artists. According to VI.BE, the Flemish support center for artists, very few musicians actually see significant returns.
“Being on Spotify is essential for visibility, but it’s rarely a reliable source of income—especially with the new threshold of 1,000 streams before earning even a cent,” says Lucas Declercq, an artist income advisor at VI.BE.
Streaming Doesn’t Mean Earning
Of the €34 million paid out in Belgium, much of it doesn’t go directly to artists. Royalties are first divided among record labels, publishers, and rights management agencies. Depending on contract terms, artists may receive only a slice of the final amount—after recouping costs for production, marketing, and even vinyl pressing. In many cases, the actual artist payout is split 50/50 at best.
Those who write, compose, and perform their own songs stand to earn more—but only marginally. The bulk of streaming income goes to major names like Damso, Stromae, Angèle, and global acts such as Lost Frequencies, whose tracks now exceed one billion streams.
To earn just €10,000 from Spotify, an artist needs a minimum of 2.5 million streams. Reaching €50,000? That requires at least 12.5 million streams. With Spotify paying roughly €0.003 to €0.005 gross per stream, the economics are daunting for smaller or independent acts.
Free Streaming Still Dominates
Despite the normalization of paid subscriptions in video streaming, music lags behind. Out of Spotify’s 675 million global users, only 263 million are paying subscribers. “Too many people still consume music for free,” Declercq points out. “We expect people to pay for Netflix, but not for the music they listen to daily.”
Belgium’s streaming behavior follows this trend. Many listeners still opt for free tiers, and Belgian music consumption remains relatively low. “Most Belgians listen to more international stars like Taylor Swift and Dua Lipa than to local talent,” adds Declercq. “That’s something we’re trying to change through campaigns like the Week of Belgian Music.”
Belgium’s Global Footprint
Interestingly, more than 80% of Belgian music royalties come from international listeners. Artists like Lost Frequencies, Dimitri Vegas & Like Mike, Stromae, and Angèle are gaining traction abroad, while local support lags.
One point of concern: Spotify currently lacks a dedicated curator for Belgian playlists. Instead, one person manages all Benelux curation. “We hope the new hire will give special attention to Belgian music,” says VI.BE. “A placement on a key playlist can make or break a song’s success.”
Advice for Artists
VI.BE urges emerging musicians not to rely solely on Spotify or any streaming platform. “Uploading music alone won’t pay the bills,” says Declercq. “Artists must invest in strong social media, quality live performances, and merchandise. Building a loyal fan base—online and offline—is still the best path to a sustainable career.”
As Spotify’s payouts increase worldwide, the gap between visibility and viability remains wide for most Belgian artists. The music may be louder and clearer than ever—but for many creators, the earnings are still on mute.