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Press Play and Lean Back: Passive Listening and Platform Power on Nintendo’s Music Streaming Service

I remember long car rides as a kid in the early 2000s, headphones on, gazing out the window at the passing scenery while looping background music from The Legend of Zelda and Pokémon games on my Game Boy. After school, I’d occasionally throw the Super Smash Bros. Melee soundtrack on my Discman CD player, keeping me motivated while doing homework. Like many others, I found Nintendo’s music to be an effective accompaniment to everyday activities, a kind of functional listening long before streaming platforms like Spotify and YouTube made it trendy. Which raises the question: how has Nintendo adapted to the streaming age?

Unlike many other game publishers, Nintendo has conspicuously kept its music off streaming services—despite having some of the most recognizable soundtracks in video game history, such as Super Mario Bros., Donkey Kong, and Metroid. Instead, the company took a different direction by unveiling its own music streaming service in October 2024, aptly titled Nintendo Music. The platform, available to Nintendo Switch Online subscribers, showcases soundtracks spanning the company’s history, from 1980s NES titles to recent Nintendo Switch 2 releases.

In a listening landscape dominated by Spotify, Apple Music, and YouTube Music, Nintendo’s decision to launch its own proprietary streaming service makes it unique among video game companies. This move is idiosyncratic in a way that feels characteristically Nintendo, but it is also a bold bid to compete in the broader attention economy. By situating itself alongside, rather than within, the major music streaming services, Nintendo signals that its soundtracks are valuable cultural content worth curating and controlling directly.

Nintendo Music caters specifically to video game fans by including screenshots with each track, having a “Spoiler” filter that lets users block music from games they haven’t played, and making personalized recommendations based on each user’s play history. But perhaps most notable is its emphasis on background listening: through features like mood playlists and an “Extend” tool, video game music is explicitly framed as a companion for contexts like relaxing, working out, or doing household chores.

By repurposing game soundtracks as tools for everyday routines, Nintendo Music capitalizes on nostalgia and contemporary listening habits to deepen fan engagement and retain control over its brand—a strategic move from a company that is famously (over)protective of its intellectual property. More generally, it also reflects neoliberal logics in which music is woven into daily life to regulate mood and productivity, revealing the increasing reach of digital platforms over how we work, listen, and live.

Listening in Loops: Video Game Music in the Background

In advertisements for Nintendo Music, actors hum and sing along to famous video game tunes while carrying out their daily activities. “Whether you’re grocery shopping, straightening up at home, or getting some studying done, Nintendo Music can be the background sound to your everyday life,” the description to one video reads.

This marketing is strikingly similar to strategies by streaming services such as Spotify, which encourage listening to music in any and every context. Playlists based around specific moods or activities—like Spotify’s “Gym Hits,” “Intense Studying,” and “sad girl starter pack”—use music as a tool to manage listeners’ energy levels, focus, and emotions as they go about their lives. Anahid Kassabian’s concept of “ubiquitous listening” helps describe this phenomenon, showing how even passive, background engagement can shape listeners’ affects and experiences.

In many ways, video game music is ideal for the ubiquitous listening that streaming services promote. Game soundtracks are generally (though not always) designed for the background and are usually instrumental, setting the emotional tone of on-screen action, from serene soundscapes to intense boss battles. Unlike other multimedia soundtracks, such as film scores, much video game music is also composed to loop indefinitely, making it especially effective for sustained listening.

As Michiel Kamp demonstrates in Four Ways of Hearing Video Game Music, “background listening” is one of the main ways users experience video game soundtracks. He writes that “background music both in games and elsewhere requires us to be so attuned to it that it offers no experiential friction in need of interpreting, and through this it has the capacity to attune us to our environment, be it a mythical underworld full of dangers or a convenience store full of groceries” (2024, 175).

While Kamp primarily focuses on background listening while playing games, game music can attune listeners to moods, activities, or environments even when heard outside of gameplay. In fact, video games train us to listen in this way, using music to establish the appropriate affect for narrative events, settings, and characters. These immersive qualities have made video game music immensely popular on streaming services: soundtracks from games and franchises like Halo, Final Fantasy, The Elder Scrolls, Undertale, and Minecraft have collectively garnered over a billion streams on Spotify alone.

But Nintendo, by launching its own proprietary platform, trades streaming royalties and wider exposure for something arguably more valuable: the ability to control how and where fans experience its content.

Features in Focus: Nintendo Music’s Approach to Passive Listening

Nintendo Music’s features illustrate how the service adapts soundtracks for continuous, everyday listening. Perhaps most notable is the service’s unique Extend feature, which allows users to stretch the runtime of tracks up to 60 minutes. Described in the app as “the perfect accompaniment to studying or working,” this feature facilitates seamless background listening without the distraction of frequent track changes. So if you’ve ever wanted to loop the Wii Shop music for a full hour—and let’s be honest, who hasn’t—now you can.

Alongside complete soundtracks, Nintendo Music also foregrounds curated playlists, including those based around specific video game characters, themes, and moods. The “Powering Up” playlist features “up-tempo tracks to fill you with energy,” for example, while “Good Night” has “down-tempo tracks to help you drift into dreamland.” Screenshots for each track further immerse listeners, visually reinforcing the moods and environments the music is designed to evoke. On these playlists, Nintendo’s music is presented less as individual compositions and more as “vibes.”

Screenshot of Nintendo Music’s mood playlists

Packaging music around moods or vibes is not a neutral act. In Mood Machine: The Rise of Spotify and the Costs of the Perfect Playlist, Liz Pelly asserts that “organizing music by mood is a way to transform it into a new type of media product. It is about selling users not just on moods, but on the promise of the very concept that mood stabilization is something within their control. It’s a tactic for luring users to double click and start streaming” (2025, 40). Pelly’s observation underscores that mood-based playlists do more than entertain: they are a way for platforms to influence how listeners organize their time and attention.

Furthermore, Nintendo Music’s approach positions music not only as a creative or cultural artifact, but also as a commodified resource for self-regulation. This aligns with Eric Drott’s claim that streaming services often employ music as a “technology of social reproduction,” used to structure and maintain day-to-day existence. For Drott, this is “part of a broader tendency under neoliberal capitalism that prizes music, the arts, and culture not on account of their aesthetic worth but on account of their ‘expediency’ for other social, political, and economic ends” (2024, 197).

Many users still actively listen to their favourite Nintendo soundtracks on the platform, and there’s also nothing inherently wrong with background listening—it’s how much of this music was originally designed to be heard. However, presenting music as an aid to concentration, productivity, or mood regulation also risks repurposing soundtracks as a form of “neo-Muzak,” a vehicle for continuous consumption designed to keep listeners plugged into Nintendo’s broader product ecosystem.

Background Benefits: Nintendo’s Platform Power

Beyond guiding listening habits, Nintendo Music reinforces the company’s brand image of nostalgia, innovation, and family-friendly fun while increasing engagement with its intellectual property on its own terms. As a Nintendo spokesperson said in an interview with Nippon TV News, “To increase the number of people who have access to Nintendo IP, we believe that game music is an important and valuable form of content. Nintendo Music is a service that allows us to deliver this game music in a way that is uniquely Nintendo. . . . We hope that Nintendo Music will help you recall some of your favorite gaming experiences and think that it will also encourage people to play the games again” (translation by Nicholas Anderson).

Nintendo’s efforts to centralize its music are also likely, at least in part, a response to fans unofficially circulating soundtracks online. As part of a broader trend of functional music compilations (think lofi beats to study/relax to), YouTube hosts countless user-generated Nintendo music playlists designed for activities such as studying and sleeping. Despite Nintendo’s notoriety for issuing takedown notices over copyright infringement—including shutting down the massively popular YouTube video game music channel GilvaSunner in 2022—many of these unofficial videos and reuploads continue to accrue millions of views.

By providing an official home for soundtracks and its own contextual playlists, Nintendo Music is a subtle exercise in platform power, gating access to subscribers. It redirects listeners from other platforms, letting Nintendo control its content without diluting its brand on third-party services. Although Nintendo Music’s catalogue is currently slim—as of writing it has roughly 100 soundtracks—the company continues to trickle out new music most weeks, incentivizing listeners to keep coming back.

Nintendo Music promotes ongoing background listening not only to attract users who are already accustomed to mood and activity playlists, then, but also to keep them on the platform and connected to the company’s games and services. After all, every minute a listener spends on Nintendo Music looping David Wise’s “Aquatic Ambiance” from Donkey Kong Country is a minute they aren’t spending on YouTube, Spotify, or any other entertainment platform.

* * *

Video game music is, in many respects, perfectly suited for the streaming age. From the popularity of playlists to the ascent in ambient music, streaming services’ focus on passive listening aligns with the background function of video game soundtracks. As we’ve seen, Nintendo Music takes full advantage of this, using its marketing and features to bolster branding, solidify control over IP, and encourage engagement.

For many, Nintendo Music offers an enjoyable experience and a convenient way to stream nostalgic soundtracks. But the service also exposes how proprietary platforms concentrate power and leverage passive listening for ongoing consumption, reinforcing broader patterns where work and leisure become intertwined with corporate interests. By prompting users to integrate Nintendo’s music into their activities, the platform extends the reach of its games beyond the screen and into daily life.

Whether you’re listening to famed composer Koji Kondo or everyone’s favourite troubadour dog K.K. Slider, Nintendo’s message is clear: press play and lean back.

Featured Image: “Mario Kart” by MIKI Yoshihito (#mikiyoshihito), CC BY 2.0

Ryan Blakeley is Visiting Assistant Professor at Northeastern University and holds a PhD in Musicology from the Eastman School of Music. His research investigates how digital platforms like music streaming services are shaping creative practices, listening habits, and music industry power dynamics.

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Taters Gonna Tate. . .But Do Platforms Have to Platform?: Listening to the Manosphere

A white man holds a cigar in the center of the picture, his mouth is visible on the left edge of the picture, blowing smoke rings.

In March 2025, shortly after returning to the United States from Romania, where he and his brother Tristan had been held under house arrest for two years after being charged with human trafficking, rape, and forming a criminal group to sexually exploit women, the social media influencer and self-described misogynist Andrew Tate’s podcast, Pimping H**s Degree was removed from Spotify for violating that platform’s policies.

According to the technology media outlet 404 Media, which first reported the news, some Spotify employees had complained in an internal Slack channel about the availability of Tate’s shows on their platform. “Pretty vile that we’re hosting Andrew Tate’s content,” wrote one. “Happy Women’s History Month, everybody!” wrote another. A change.org petition to call on Spotify to remove harmful Andrew Tate content, meanwhile, received over 150,000 signatures.

When asked for comment by the U.K. Independent, a Spotify spokesperson clarified that they removed the content in question because it violated the company’s policies, not because of any internal employee discussion. These policies state, in part, that content hosted on the platform should not “promote violence, incite hatred, harass, bully, or engage in any other behavior that may place people at risk of serious physical harm or death.”

Still, there is a veritable fire hose of Tate content available on Spotify. A search for the name “Andrew Tate” on the platform yields upwards of 15 feeds (and a music account) associated with the pro kickboxer-turned-self-help guru, many of which seem to be updated on a sporadic basis or not at all. Apple Podcasts, meanwhile, features an equally wide spectrum of shows with titles like Tatecast, Tate Speech, Andrew Tate Motivation, and Tate Talk [Ed. Note: Normally there’d be links to this media–and the author has provided all of his sources, but we at SO! does not want to drive idle traffic to these sites or pingbacks to/from them. If you want to follow Andrew Salvati’s path, all these titles are readily findable with a quick cut-and-paste Google search.–JS]

With so many different feeds out there, wading into the Andrew Tate audio ecosystem can be a bewildering experience. There isn’t just one podcast; there’s a continuous unfolding of feeds populated by short clips of content pulled from other sources.

But this may be the point exactly.

Andrew Tate on Anything Goes With James English, CC BY 3.0 via Wikimedia Commons

As I learned from this article in the Guardian and these interviews with YouTuber and entrepreneur MrBeast (“MrBeast On Andrew Tate’s MARKETING” and “MrBeast Reveals Andrew Tate’s Strategy”), Tate achieved TikTok virality, in part, by encouraging fans to share clips of video podcast interviews – rather than the whole interview itself – on the platform.

“Now is the best time to do podcasts than ever before,” MrBeast said in one interview. “Now it’s like the clips are re-uploaded for months on months. It gets so many views outside of the actual podcast … I would call it the ‘Tate Model’ … Like I think if you’re an influencer, you should go on like a couple dozen podcasts. You should clip all the best parts and just put it on a folder and just give it to your fans. Like literally promote you for free.” Though it can be hard to tell exactly who uploaded a podcast to Spotify, it seems that something like this is happening on the platform – that fans of Tate are sharing their favorite clips of his interviews and monologues pulled from other sources.

In its “About” section, for instance, a Spotify feed called Andrew Tate Motivational Speech declares that “this is a mix of the most powerful motivational speeches I’ve found from Andrew Tate. He’s a 4 time [sic] kickboxing world champion and he’s been having a big impact on social media.” In another Spotify feed called Tate Therapy, posters are careful to note that they “do not represent Mr. Tate in any way. We simply love his message. So we put together some of his best speeches.”

Given that Spotify is increasingly a social media platform, rather than simply an audio streaming service–users can collaborate on playlists and see what their friends are listening to–it follows that this practice of clipping and sharing Tate content may potentially expand the influencer’s online footprint. It may also serve as insurance against the company’s attempts to remove content or completely deplatform Tate: surely Spotify can’t police all the feeds that it hosts

So, what is it that Andrew Tate is saying – and how is he saying it?

To get a sense of why he has been called the “King of Toxic Masculinity,” and a “divisive social media star,” I had a listen to several of the interviews and monologues posted to Andrew Tate Speech Daily on Apple Podcasts, which, of all of the Andrew Tate audio feeds, is the most consistently updated.

The first thing to take note of is his voice. It’s brisk and aggressive and carefully enunciated – it’s like he’s daring you to take issue with what he, an accomplished and eloquent man, is saying. Above all, listening to Tate feels like being spoken to like an inferior, because that is precisely what he preys on. His accent, moreover – now British, now American – is unique, lending itself to some unusual pronunciations that can be considered as a part of his system of authority and charm.

One of Tate’s main arguments about what ails men today – and it is clear from his mode of address that he assumes he is talking to men exclusively – is that they are trapped in a system of social and economic “slavery” that he unimaginatively calls “The Matrix” after the film series of the same name. Though he is somewhat vague in his descriptions, in the podcast episode “Andrew Tate on The Matrix,” he explains that power, as it actually exists in the world, is held by elites who rely on systems of representation (language, texts) to effect their will. These systems of representation, however, are prone to abuse because they are ultimately subject to human fallibility. Tangible assets, like wealth, he reasons, are susceptible to control by “The Matrix,” as they can be taken away arbitrarily by the redefinition of decisions and the printing/signing of documents. His example, though it is a little hard to follow, is that if someone says something that the government doesn’t like, a judge can simply order that their house be taken away. Instead, Tate argues that individuals can escape “The Matrix” by building intangible assets (here, he gives no examples), which cannot be taken away by elites and their bureaucracy. It is a difficult path, he cautions (and here, he sounds sympathetic), and one that not everyone has the discipline to endure.

Tate gets a little more specific in the episode “Andrew Tate on The Global Awakening. The Modern Slave System,” in which he asserts that elites are using the system of fiat currency – a term that cryptocurrency supporters like to use to disparage government-issued currencies – to keep individuals “enslaved.” In this modern version of enslavement, he explains, individuals are forced to work for currency, but, since fiat currency is subject to inflation and other forms of manipulation, only end up making the bare amount they need to survive. The result, he argues, is a system in which the rich get richer and the poor get poorer (of course this ignores the real possibility of shitcoin and other crypto manipulation schemes). It’s quite a populist message for a guy who is famous for his luxurious lifestyle. Still, his message here is consistent: with the proper amount of discipline, a willingness to speak truth to power, and faith in God (he converted to Islam in October 2023) will result in an awakening of consciousness that will finally end the stranglehold that elites have on power – will finally break “The Matrix.”

On the other hand, Tate deems women incapable of the discipline required to break out of “The Matrix” – he seems to think that they are too materialistic, too distractible, too enamored of the chains that elites use to bind individuals to the system to see beyond them (see “Andrew Tate on ‘Fun’”). In his view, women are better off at home bearing children or fulfilling male sexual desires. (In an apparent demonstration of male dominance, Tate’s “girlfriends” often appear in the background of his videos cleaning house).  

For his part, Tate claims that his own legal troubles, and his own vilification in the press, are part of a coordinated campaign of persecution against him for exposing the way that the world really works (see, for example, “Andrew Tate: Survival, Power, and the System Exposed”). From this vantage, Tate seems to be acting as what the ancient Greeks called a parrhesiastes, someone who, as Michel Foucault writes, not only sees it as his duty to speak the truth, but takes a risk in doing so, since what he says is opposed by the majority. Indeed, often congratulating himself on his bravery in the face of “The Matrix,” Tate has suggested that his role as a truth teller might get him sent to jail (“Andrew Tate on the Common Man”), or worse (“Survival, Power, and the System Exposed.”) In such moments, he plays the martyr, adopting a quiet, yet defiant voice. 

Aside from the aspirational lifestyle he purveys – the fast cars, the money, the women, the flashy clothes, the jets, the mansions, the cigars, and the six pack – it seems to me that this parrhesia is a key part of what makes Tate popular among men and boys (as of February 2025, he had over 10 million followers on X [formerly Twitter]). What he reveals to them, though it is often muddled, is the way in which elites maintain social control under advanced capitalism. It’s all rather Gramscian in the sense that it is concerned with the hegemony of a dominant class, though, ironically, Tate seems too much of a capitalist himself to engage in Marxian social critique. Instead of offering a politics of class solidarity, Tate merely rehearses familiar neoliberal scripts about pulling oneself up by the bootstraps (see “You Must Constantly Build Yourself”), getting disciplined, going to the gym, developing skills, and starting a business. For Tate, life is a competition, a war, though most men don’t realize it.

And I think this is the key to understanding Tate’s parrhesia – it’s not only that he is speaking truth to power in his criticism of “The Matrix”; he also sees himself as speaking an uncomfortable truth to his listeners, truths that they might not be ready to hear. As in the movie, The Matrix, he says in “Andrew Tate on the Global Awakening,” some minds are not ready to have the true nature of reality revealed to them. In his perorations, therefore, Tate often takes a sharp and combative tone, accusing his listeners of being guilty of complacency and complicity in the face of “The Matrix.”

“If I were to explain to you right here, right now, in a compendious and concise way, most of you wouldn’t understand,” he says in “Andrew Tate on The Matrix.” “And those of you who do understand will not be prepared to do the work it takes to then actually genuinely escape. But those of you who are truly unhappy inside of your hearts, those of you who understand there’s something more to life, there’s a different level of reality you’ve yet to experience … But if your mind is ready to be free, if you’re ready to truly understand how the world operates and become a person who is difficult to kill, hard to damage, and escape The Matrix truly, once and for all, then I am willing to teach you.”

Tate on Anything Goes With James English, CC BY 3.0 , via Wikimedia Commons

For those persuaded by this line of thinking, or who are otherwise made to feel guilty about their complicity in “The Matrix,” Tate offers a special “Real World” course at $49 per month, which teaches students how they can leverage AI and e-commerce tools to earn their own money and finally be free.

And that’s really what it’s all about – all the social media influencing, all the clip sharing, all the obnoxious antics, and deliberately controversial statements – they are all calculated to raise his public profile (good or bad) so that he can sell the online courses that have made him and his brother Tristan fabulously wealthy.

It is for this reason that I don’t think that Spotify’s deplatforming of one of Tate’s shows will ultimately do anything meaningful to stem his popularity. If anything, the added controversy will likely confirm to his fans that he has been right all along – that the elites who are in control of “The Matrix” are so threatened by the truth that he tells about the world and about women that they will first deplatform him and then send him to jail.

No, we will only rid ourselves of Tate when he becomes irrelevant. This may happen if he ends up going to prison in Romania or in the UK (where he also faces charges of rape and human trafficking). But even then, there are many vying to take his place.

Featured Image: Close-up and remixed image of Andrew Tate’s mouth and arm, Image by Heute, CC BY 4.0

Andrew J. Salvati is an adjunct professor in the Media and Communications program at Drew University, where he teaches courses on podcasting and television studies. His research interests include media and cultural memory, television history, and mediated masculinity. He is the co-founder and occasional co-host of Inside the Box: The TV History Podcast, and Drew Archives in 10.

This post also benefitted from the review of Spring 2025 Sounding Out! interns Sean Broder and Alex Calovi. Thank you!

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