Streaming “fixed” the Loudness War? Sure, let’s go with that.
Back in 2009, mastering engineer Ian Shepherd predicted that Spotify’s loudness normalization would end the Loudness War. By 2023, he admitted being “more than a little over-optimistic.”
Fast forward to today, and mainstream releases routinely push -8 LUFS (Loudness Units Full Scale) or higher, making those earlier predictions seem half-baked.
The truth is uncomfortable but clear: the Loudness War isn’t over. It’s evolved.
Labels and Artists Still Push for Maximum Loudness
The music industry has been stuck in the Loudness War for decades, a.k.a. the endless quest to make tracks louder, no matter the cost to dynamic range or audio quality. Upon closer look, and it’s clear the battle rages on.
Compression levels in today’s mainstream music would have been shocking even in the loudest days of the CD era.
Take Now That’s What I Call Music 114 as an example. Forum user RJDG14 pointed out that none of the compilation’s 50 tracks scored above DR6 for dynamic range, with many scraping the bottom at DR3.
So, what’s going on here?
The tools have evolved. Engineers have moved beyond simple peak limiting to combine aggressive compression with surgical EQ tweaks. Boosting specific frequencies while dialing others back creates a louder sound without tipping into outright distortion.
If this sounds familiar, it’s because radio stations have been doing it forever—but now, it’s baked right into the tracks.
Streaming Services Cannot Save Us
Loudness normalization by platforms like Spotify, Apple Music, and YouTube was meant to address the Loudness War by evening out playback volumes across tracks. This makes sure you have the consistent volume to prevent the jarring shifts that used to plague playlists and albums.
Despite this, the industry’s fixation on loudness hasn’t faded.
There’s a significant disconnect between how music is created and how it’s consumed.
Producers and engineers often master tracks for maximum loudness, assuming listeners will hear the music exactly as it was mixed. In practice, though, most people experience normalized playback, making all that effort to achieve loudness irrelevant for the majority of listeners.
While normalization adjusts playback volume, it doesn’t undo the effects of heavy compression or bring back the dynamics that were sacrificed.
Tracks mastered to extreme loudness levels still sound flat and lifeless, even at reduced volumes. Normalization might make these tracks less fatiguing to listen to, but without the contrast between quiet and loud moments, the music loses its depth and emotional impact.
As long as the focus remains on pushing loudness at the cost of dynamics, streaming platforms won’t be enough to fix the problem.
The Loudness War won’t end until the industry prioritizes clarity and balance over sheer volume.
Until then, the cycle of aggressive mastering and its toll on sound quality will continue.
The Mobile Listening Reality
Most listeners today aren’t looking for an authentic live music experience. They want music that’s consistently audible and easy to follow, even in noisy environments. This has led many to assume that heavy compression is necessary to make tracks cut through the chaos of everyday life.
The reality isn’t so clear-cut. Even on basic earbuds, listeners can tell the difference between heavily compressed tracks and those with more dynamic range.
If someone can pick out those differences with inexpensive earbuds, it’s hard to argue that extreme compression is a must for mobile-friendly listening.
Tracks with balanced dynamics, especially when normalized, can achieve the same impact without sacrificing clarity or listener engagement. The problem isn’t how people listen. It’s how the music is made.
Breaking Free From False Assumptions
Let’s clear something up: the idea that commercial success hinges on extreme loudness is one of the music industry’s most stubborn myths.
The songs that still feel “loud” after normalization don’t get there by brute force; they get there through creativity and balance.
Think about it. YouTube alone has two billion users, which is four times the combined audience of all music streaming services. And every single one of those users listens to normalized audio by default.
Add Spotify, Apple Music, and other platforms to the mix, and you’ve got a world where the majority of music is heard in a normalized environment.
In this reality, chasing loudness isn’t just unnecessary—it’s counterproductive.
Hyper-compressed tracks don’t stand out; they wear listeners down. Meanwhile, artists like Billie Eilish have shown that dynamic music, with all its emotional highs and lows intact, can dominate the charts and streaming platforms without ever sounding crushed.
So here’s the choice for artists and engineers: stick to outdated loudness-first methods, or focus on making music that sounds incredible no matter where or how it’s played. The tools are here, the data is in, and—most importantly—listeners are more than ready for something better.
Why not give it to them?