Kevin Kadish, a co-writer of Meghan Trainor's 'All About That Bass', says that he's only made $5,679 (around £3,700) from 178 million streams of the song. That's not a lot, is it? But it's not as simple as that.

"I've never heard a songwriter complain about radio royalties as much as streaming royalties," he said. "That was the real issue for us, like one million streams equals $90 (£59)."

The song's been streamed so many times that Trainor actually became the first artist to enter the UK Top 40 based solely on this medium.

Though Kadish wasn't referring to any specific music streaming serivice, Musically reports that the song has been streamed over 290 million times on Spotify alone; based on the company's average per-stream payout of $0.0072, the track should have racked up around $2.1m so far.

I think this says it all.

Streaming is not the problem. Even if you take Kadish's figure of 178m and run that through Spotify's average payout you get $1,281,600. To make it even clearer, what Kadish earned from 178m – $5,679 – is just 0.4% of the total.

So what's the problem here? Streaming? Or the distribution of the money accrued from streaming as decided by the labels and publishers? Major labels, distributors, publishers – all those who already have more than enough money, notice that – are guffawing all the way to the bank, hoodwinking everybody and painting the new technology to be the bad guys.