mischaracterized the music venture, and that the company will continue to move forward with its plans to roll out more music bars and coffeehouses.”
That might have happened if it weren’t for Apple. The iPod had debuted in 2001, and in 2003, the iTunes Store followed. People didn’t need Starbucks or physical media to assemble their own playlists. They could do it from their couches. Still, there was reason for optimism, if not over the particulars of media delivery options, then more broadly for Starbucks’ musical efforts. In 2004, Hear Music and the label Concord posthumously released Ray Charles’s last album,.
A flurry of releases followed. Starbucks signed New York-based rock band Antigone Rising and marketed them as the inaugural act in its “Hear Music Debut” series. Starbucks forged a direct through-line from coffeehouse music’s past to its present by officially releasing a widely circulating Bob Dylan bootleg.was sold exclusively at Starbucks locations for its first 18 months out. Alanis Morissette’s rerecorded acoustic version of her landmarkalbum was a similar Starbucks exclusive, but only for six weeks. During that time it sold a160,000 copies.
The chain stocked other albums that it had no hand in producing but that were geared toward adults looking for tunes that didn’t rock the boat or rock much at all—releases by acts like Van Morrison, Dave Matthews Band, and Coldplay. At the company’s 2006 Biennial Analyst Conference, it was announced that over eight percent of sales of John Mayer’s then-new
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