Top-Ten was a performance work and collection of recordings commissioned by Unsound Festival Poland and the Machine Listening research project. Top-Ten critically analyses the music streaming platform Spotify as a financial instrument and agent of aesthetic standardisation. Charts for 10 of Spotify’s largest national markets were produced for the year September 2019-2020. The top ten songs for each country were subsequently ‘averaged’ to produce an aesthetic summary of listening habits. The work was accompanied by a critical essay examining Spotify’s start-up business model and its effects on musical culture and aesthetics.