Investing into artists stopped adding up.
When streaming became the primary source of revenue for labels, the numbers only made sense for the biggest artists. Today, unless the track goes viral, the chances of recouping are slim to none. You’re in the business of building catalog — assets that grow in value for decades.
So how do you focus on building catalog that stands the test of time,when the current system incentivizes music for the moment?
What if you could change that?
Streaming = Reach. D2C = Revenue.
Streaming does reach better than anything before it. Key commercial tracks to the DSPs, the full project sold directly to fans.
Right now you’re leaving money on the table, and you’re leaving it with a partner who can change what counts as a stream. In 2024, Spotify stopped paying on tracks under 1,000 annual plays. Tracks that earned before earned nothing after.
A $15 album sale against $0.00224 a stream.
The tracks outside the singles, the alternate mixes, the deluxe editions. There’s an audience for them, and it’s already yours.
Pick a record from your roster.
We’ll pull the tracklist and show you how much you’ve been missing out on putting the entire release on streaming instead of reserving the full project for sales directly to fans.
Selling a record is a transaction. Fandom is an exchange.
First access to what’s coming. Exclusive releases and the work around them. Moments that happen once, like a launch night or a vote that goes straight to the artist.
That’s what a room holds between releases, and it’s why the fan who bought the last record is there for the next one.
A storefront opens when there’s something to sell. A room doesn’t close.
Recouping doesn’t happen on one sale.It happens on the same fan buying again, and again.
The record. The deluxe. The merch drop. The tour. The next record.
That’s the difference between a good release and an artist who pays for the roster. Today each of those sits in a different system, with no way to tie them back to one person.
Bring what you already hold. The mailing list, the storefront exports, the ticket sales data, whatever is sitting in the CRM. That’s your starting point, and we’ll fill in the details from there.
Everything after that builds the same fan profile. Who joined the room, who voted in the poll, who played the music, who bought the merch, who bought the ticket.
Every fan’s engagement and transaction data, in the same place you’re selling and marketing from.
Reaching them is the easy part now.
The artist’s calendar is the campaign’s calendar. A single, the album, a presale, a merch drop, a tour announcement, a pop-up.
Email, SMS and push, automated against each one, segmented on what a fan actually did.
A tour announcement to the four hundred people in that city who bought the last record.
Not a campaign built by hand in something designed for newsletters. Those tools automate a checkout. None of them know the release cycle.
Run it once. Then run it on the whole roster.
Every artist gets their own room. Their data, catalog, merch, and events isolated at the data level, combinable at the label view.
Your team works across all of them. Roles and access per artist, direct-to-fan campaigns run from one place, and every release capitalizing on the motion of the last.
Make records for the catalog, not the algorithm.
You back artists to make their best work, and that work drives sales and turns listeners into fans. The alternate mixes and deluxe editions become worth making again. Every release building on the last one.
That’s not a better quarter. That’s more revenue from the roster you’ve built and the catalog you own.
Reserve Rooms for your roster
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