![Array]](https://backingtracksfullcollection.com/wp-content/uploads/2026/05/1779850244_Array.svg.svg+xml "“He's very… Harry Stylish. That's what he is. But that's all that he is. It's very superficial”: Producer Mike Stock explains why he thinks streaming has robbed us of “iconic” stars and great pop songs 18"){kind=small}
Having previously claimed that Taylor Swift and Sabrina Carpenter “couldn’t have got arrested” back in his ‘80s pop heyday, producer and songwriter Mike Stock has been fleshing out his argument in an interview with MusicRadar.
Stock, of course, was one third of crack music production outfit Stock Aitken Waterman, who had hits with Kylie Minogue, Rick Astley and many, many more. As he discusses how the industry has changed in the almost 40 years since then, though, it’s clear that Stock doesn’t believe that the current streaming-centric landscape is a hotbed for great pop music…
The music business has changed immeasurably since your hits started in the ‘80s. Do you think that now – living in a world of streaming – we’re in a better or worse place for making, finding and enjoying music?
“Well, you could ask this question first: How many artists in the last 10 to 20 years have achieved iconic status? That’s artists that are going to be around in 20 years. Is Taylor Swift that person? Is Ed Sheeran?
“The number of people achieving that ‘superstar’ status is always the same as it ever was – only one or two in any generation. And to be number one on the charts now is to be invisible. If you’re a fan you’ll know if your artist is in the charts, but there’s nothing now that we can focus on and so there’s nothing to measure your success against.
“For example, you see Harry Styles, and you say, ‘What a fantastic video. What a brilliant blah blah blah’, and it’s an interesting sound, it’s a bit art house, he’s a bit this, he’s a bit that, he’s very… Harry Stylish. That’s what he is. But that’s all that he is. It’s very superficial.”
“And I don’t like Taylor Swift as an artist, I don’t get that. I want to hear something that’s got the passion in it that deserves the love from the audience. That’s what I want to hear, and I don’t know many of those now. I can’t remember the last time I heard one.”
Do you think that streaming has taken the magic out of making and discovering music?
“Back in the day, when you bought a record, you made an effort. First of all you would show your love for the artist by getting on a bus and going down to Woolworths and paying three quid for it. But that’s an effort and who wants to do that nowadays?
“But we used to make records knowing that that’s what somebody was going to have to do, and because of that we put love and passion into it, thinking that we want to make this exciting. We want you to love it like we love it. But these days… Who cares if the music just goes on Spotify?
“Most people use Spotify like it’s a radio. They pick a list, they start it playing and go about the housework, or whatever. They don’t lean forward. They’re not going on to Spotify and typing, ‘I want this song’, playing it, and then being happy. They just lean back, put the thing on and let it run. So that means the passion for the music is less from the user, and that bounces back on the maker of the music, who’s not that bothered either. Because if you don’t have to work up any passion or thought or effort, then neither will I.
“Like, I hated the name ‘hit factory’ [used to describe Stock Aitken Waterman’s output]. I thought it made us sound like a sausage factory – that we were just churning them out – and that couldn’t be further from the truth, because we always put the time and the hours and the effort in.”
Crazy Shot In The Dark by The Fizz and the long-awaited, self-titled debut album from Suzette Charles are out now.
