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Napster, weighed down with legal bills, struggled to survive in June 2002 it filed for bankruptcy and its assets were later liquidated. That lengthy waiting period almost destroyed the business, until streaming came to the rescue years later.”

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“The music industry eventually figured out how to profit from these things, but it took some 10 or 15 years. “While it was active, Napster anticipated what eventually came to pass – a combination of Apple/iTunes, YouTube, Spotify and social media, all of which dominate how we discover and consume music today, he says. What Napster did more than anything, Knopper says, was to correctly identify that the future of music was online, and not in racks of metal and plastic. Other providers – Gnutella, Limewire, Kazaa and Grokster – took Napster’s model and ran with it.

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It then tried to turn the service into a subscription model, but the lure of free music was too much. It reopened in September the same year, after paying $26m toward past and future royalties.

The music industry’s litigation worked, at least on paper – it was served with an injunction and shut down its server in July 2001. Napster was the beginning, but by no means the end of the digital revolution. Knopper, now an editor-at-large for Billboard, tells BBC Music that the music industry’s sue-first response to Napster only exacerbated the negative effects – especially as Napster was joined by a raft of other file-sharing sites. Metallica’s crusade created a backlash, with some of their own fans seeing it as a personal attack against them. Metallica then tracked down the names of 335,000 Napster users who had shared their music and asked Napster to ban them from the service (which Napster did). On 13 April 2000, Metallica filed a lawsuit against Napster for copyright infringement, racketeering and unlawful use of digital audio interface devices at a district court in Northern California. Metallica took Napster to court after finding an alternative mix to their song I Disappear on the service – a version which had never been officially released. While one record label – A&M – filed the first lawsuit against Napster, it was a band’s campaign that captured the public attention.

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As former Rolling Stone journalist Steve Knopper wrote in his book Appetite For Self-Destruction: The Spectacular Crash Of The Record Industry In The Digital Age, the way the music industry dealt with Napster paved the way for a series of disastrous decisions the industry made as the sheer scale of the digital threat started to become clear.

So, the lure of free music proved just too enticing to fans, and the music industry was initially slow to respond to the looming crisis. People were paying a premium price for a CD which might contain only two or three songs they wanted. The 1990s gave birth to many classic albums, but not every LP was deep-pile quality from start to finish. The CD had become an enormously popular format almost one billion were sold in the US in 2000, and at around $16 an album, they weren’t exactly cheap. Napster came at the end of a decade of expansion and healthy profits in the global music industry.

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“For the first time this full history of recorded music was available online to everyone instantly.” “It was something that provided a better, more reliable and fun way for people to share music and see each other’s music collection,” Fanning told the BBC World Service. Together with Sean Parker, Fanning created a service that made music discovery almost instant and without cost. It was, essentially, a cataloguing system that searched your hard-drive, listed all the MP3 music files contained in it, and allowed those to be shared with and played by anyone else using the software. Napster was the brainchild of Shawn Fanning, a 19-year-old US computer hacker who had worked out a way to share music for free. But within a few short years it would spell the end of the gold rush record companies had enjoyed in the age of the CD, and change how music is consumed and even written. Napster didn’t exactly sound like something that would cause consternation in the boardrooms of record companies.

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On 1 June 1999, a piece of computer software was released that changed the way we listen to music forever.

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