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With some other top players I'm part of a company trying to put on events in Europe, especially Germany, but also Poland, Austria, Russia. There's so much talent coming out of the Far East now, and we want the same thing in Europe.

Some artists and indie musicians see Spotify fairly positively - as a way of getting noticed, of getting your music out there where folks can hear it risk-free.

The main reason people want to pay for Spotify is really portability. People are saying, 'I want to have my music with me.'

A lot of artists get famous overseas first. I don't know what it is here. I have a large underground following in the U.S., but I don't get the airplay as much as I do in, say, Australia. Over there, they can play whatever they like, it seems, but not so much here.

In order for a service to be social, you've really got to start from the ground up. The fact that almost a third of the U.S. population have even heard of Spotify is really because they've seen it on Facebook and friends have been sharing.

There are a few countries that, for whatever reason, really enjoy listening to my music.

Europe were kind of the first ones to embrace my music; the kids from around the way would come out to my shows and really enjoy it.

To be an entrepreneur in Europe, there is a stigma attached to it. There's a reason why England is known as a nation of shopkeepers. Part of it is the idea that it's better to have a shop and keep it up and running than close the doors and try to do something much more significant.

I mean the public likes it more in Europe than they do here because the state supported organizations have felt that playing contemporary music was part of the education of the public.