Spotify is world's number 2 podcasting platform

!-- LINKCHECK|20230730|400|http://www.audiocraft.com.au/how-to-make-a-podcast|http://web.archive.org/web/20180211065540/http://www.audiocraft.com.au:80/how-to-make-a-podcast?| --> Some data from The Feed by Libsyn (about 54 minutes in): Spotify had 5.1% of all Libsyn podcast downloads for most of January, making it by far the #2 platform. Podcasts on Spotify skew towards comedy and horror, and skew away from tech podcasts.

• Podcasters who host with BluBrry can now submit their podcasts to Spotify.

• The RAJAR audience figures are out for the UK radio industry. Of note to podcasters: speech station BBC Radio 4 is slightly down, but their Radio 4 Extra station, which contains some podcast material including This American Life, continues to rise.

• France: a new branded podcast company, WPO, launches in Nice. It’s run by Jean-Christophe Dimino.

• Chris Hardwick is interviewed about Nerdist, ID10T, and the future of podcasting.

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• A Forbes blogger talks about “audio drama”. “Unlike your Audible audiobook subscription (or your Netflix/Hulu subscription), audio drama subscriptions are completely free.”

• A new podcast app, Playapod, launches for Android and iOS, claiming it “is the only podcast app that displays exactly what the user has listened to, skipped over and “favorited” across all podcast episodes”. You can install it here.

• The Australian ABC is launching The Pineapple Project, a podcast about advice with money. Pineapples is the nickname Australians apparently give their $50 note: “Just like money, pineapples are sweet. But they’re a prick to deal with if you don’t know how to handle them.”

• Advice: Audiocraft publishes their guide How to make a podcast, Cabana sends an email containing 5 things to know about creating great podcasts, Toronto-based podcast producer Katie Jensen gives “some practical tips for turning your ideas into action”, thepodcasthost answers "should I batch my episodes", and Loudmouth posts a slightly antagonistic Why podcasters know more about their audience than radio people.