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What’s Your Music Catalog Really Worth?

We help artists & rights holders understand and increase the value of their music catalogs. Free valuations. Real insights. Zero pressure. Get your free valuation.

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✅ You’re In.Thanks for requesting your free music catalog valuation — we’re reviewing your info now.Here’s what happens next:
Within 2–3 business days, you’ll get an email from our team requesting more info, then a full breakdown of your catalog’s estimated value, how we calculated it, and opportunities to increase it.If we need more info, we’ll reach out directly.In the meantime, check your inbox — we’re sending you a welcome email with a few things to get you ahead of the game.Talk soon,– The Music Insights Team

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What's up!?I’m Mike, the founder of Music Insights, which I run with my soon-to-be wife, Macie.I’ve been in the music industry for over a decade—first as an artist, then as a marketer, and now as business owner helping artists grow their careers the right way.A little about me…I started as an artist myself, performing with names like Lil Baby, Juicy J, A Boogie, Hopsin, Joyner Lucas, and more. I’ve felt the hard work firsthand—building a fanbase, booking shows, and figuring out how to make music actually pay the bills.But I didn’t stop there.I built a seven-figure marketing company that’s helped artists rack up billions of streams. I’ve run thousands of campaigns, spotted trends before they blew up, and helped artists turn casual listeners into die-hard fans.I also built a seven-figure software company helping indie artists take control of their career. It hasn't always been easy or smooth—but we always recovered, adapted, and pushed forward.Now, I spend my time creating businesses for artists and music professionals so they know how to do their job better.That’s why I created Music Insights.It started small—I’d break things down for artists I worked with, then friends, then more and more people. Eventually, I realized there was a huge gap in real music business education.So here we are.If you’re serious about growing your music career, welcome. Dive in, apply what you learn, and let’s get to work.I hope you enjoy!

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Music Insights is a 10-day course designed to help you engage with your fans better by learning lessons from proven strategies. The way it works is simple: you learn from other artists' proven fan engagement strategies. In doing so, you learn the habits of great engagement.

How does the course work?

The course is 10 lessons. After you purchase, you're registered to start the course the following Monday. You will receive 10 lessons via email over 10 week days. Monday through Friday, then Monday through Friday again.

Why am I not receiving my emails?

The two most common reasons why students aren't receiving their emails are:1. Course hasn't started yet. Our courses starts every week on Monday. If you have subscribed and purchased midweek, your first lesson will be delivered the following Monday. The cutoff to join is Sunday at midnight EST.Spam folder: Sometimes, the emails can go into your spam folder, too. To avoid this, add team@musicinsights.co to your contacts.

What's the refund policy?

We do not generally offer refunds, because once the lessons are delivered they’re yours to keep. However, if you are not satisfied after completing Day Two, you can write to us at team@musicinsights.co to request a refund before Day Three. We do not process refunds beyond Day Two of the course.

Is this course for beginners?

Music Insight's courses are simple, yet effective. It can be taken by artists of all levels.

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Drake vs. Spotify?

Drake has accused Universal Music Group (UMG) and Spotify of artificially inflating streams for Kendrick Lamar’s track Not Like Us. The alleged methods? Bots, pay-to-play agreements, and even discount licensing rates to push the song onto editorial playlists.Spotify and UMG have both denied the claims. As of lately Spotify has been investing heavily in bot detection and taking action to protect honest artists, like removing fake streams, withholding royalties, and charging penalties when manipulation is found. Their system is far from perfect, but that's a story for another day.While the legal battle unfolds, this case highlights key issues in the music industry today: Artificial streaming remains a problem. Platforms are constantly working to combat fake plays, but it’s clear the issue isn’t going away anytime soon. Also, placement on key editorial playlists can make or break a song. While Spotify denies any “pay-for-play” deals, the influence of algorithmic recommendations is undeniable.Artists are demanding more clarity around how songs are promoted and monetized. This case puts the spotlight on those practices.Whether the allegations hold up or not, one thing’s for sure: the industry is evolving, and these conversations are shaping its future.Something to think about,

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buying catalogs?

This year, the music industry didn’t just make noise—we're talking catalog acquisitions to billion-dollar investments, 2024 proved that music isn’t just art; it’s one of the most valuable assets in business. Private equity firms, major labels, and global investors competed in a high-stakes game, turning iconic songs and catalogs into financial powerhouses.Sony’s $1.27 billion acquisition of Queen’s music rights officially takes the crown as the largest artist catalog deal in history. Yes, you read that right. But this was no one-hit wonder—2024 saw a parade of jaw-dropping deals, from Blackstone’s $1.58 billion acquisition of Hipgnosis Songs Fund to Hellman & Friedman’s $3.3 billion stake in Irving Azoff’s Global Music Rights (GMR).It’s safe to say the music business is no longer just about melodies—it’s a financial symphony. Private equity firms, investment giants, and even tech conglomerates have entered the industry, reshaping how music is bought, sold, and leveraged.The biggest buzzwords of 2024 were catalogs and securitization. Music catalogs—whether they’re packed with Daddy Yankee’s reggaeton anthems, Pink Floyd’s psychedelic classics, or Michael Jackson’s legendary tracks—music catalogs are the new goldmines. Everyone wants a piece of the pie.At the same time, asset-backed securities (ABS) have become the industry’s new power move.
Hipgnosis, Concord, and Kobalt all tapped into this financial strategy, borrowing against their catalogs to fuel acquisitions and drive growth. It’s a sign of how music, once purely an artistic endeavor, is now a major financial asset class.So, what’s the play here?If there’s one thing 2024 taught us, it’s that music isn’t just entertainment—it’s a serious investment. Timeless songs are proving to be as valuable as prime real estate, attracting deep-pocketed investors who know a good thing when they see it. And this trend is only gaining momentum.Whether you’re an artist, manger, producer, industry insider, or just a fan of the drama, the stakes have never been higher. The deals being made today are setting the stage for how music is created, consumed, and valued in the years to come.

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Sync Issue?

Let’s be real—sync licensing is a mess. Ever tried to license a song and felt like you were solving a 1,000-piece puzzle with half the pieces missing? Yeah, same.Right now, most of what you hear in TV shows, movies, and ads isn’t the music you love. It’s stock tracks that feel more “meh” than memorable. And why? Because the process to license real music is outdated, slow, and frustrating for everyone.The demand is there—10,000 TV shows, 20,000 movies, 15,000 video games, and over a billion ads were created in 2023 alone, translating into millions of sync opportunities.Yet, music supervisors overwhelmingly opt for library tracks, which account for 80% of sync placements. Why? Because library music is quick, easy, and comes with one-stop shops that make the process painless.Meanwhile, the library music industry pulls in $1.3 billion a year, leaving independent artists sidelined, their work buried under a system that rewards convenience over creativity.But it doesn’t have to be this way. We need smarter tools that cut through the chaos—platforms that make finding, licensing, and pricing independent tracks simple and straightforward. No endless email chains, no vague pricing, and no waiting around while everyone tries to figure out who owns what.It’s time to fix this. Sync licensing could unlock billions in opportunities for artists, rights holders, and creatives like you.Should we build something?

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Timbaland & AI?

AI is changing the music game, and no one’s feeling that more than Suno, an AI music generator that's stirring up a lot of controversy. They're a $500 million company being sued by the big record labels for using their music without permission. That’s right, Suno, along with another AI firm Udio, is accused of training their AI on these big labels’ songs—and they pretty much admitted it in court filings.But guess what? Despite all this legal drama, it hasn’t stopped Timbaland, the Grammy-winning producer, from jumping on board. He’s not just using Suno’s platform; he’s officially partnered with them as a strategic advisor. Yup, Timbaland, the guy who brought us some of the biggest hits, is now betting on AI as the future of music.In a recent statement, Timbaland said, “We’re going to open up the floodgates for generations of artists to flourish on this new frontier.” Bold, right? But he’s not just hyping it up—he’s actually getting involved in shaping how AI can help artists. He’ll be working with Suno to make sure their AI tools are useful to both new and established musicians.And he’s putting his own music where his mouth is. His latest single, Love Again, is being previewed exclusively on Suno, and he’s even launching a remix contest. Fans can remix his track, and the best ones will get over $100,000 in prizes. Timbaland himself will pick the top two remixes and release them on streaming platforms. Not a bad marketing move on his behalf.Timbaland said he was “curious” about what Suno was doing, and after seeing the potential, he knew he had to get involved. It’s not just about making music faster; it’s about exploring new ways for artists and fans to connect. Mikey Shulman, Suno’s CEO, shared his excitement, saying that with Timbaland on board, they’re helping musicians create music at the speed of their ideas.But the legal issues... Suno admitted they trained their AI using music that was publicly available online. They argue it’s all covered under the “fair use” rule in copyright law. The record labels and the RIAA (the group that represents the recorded music industry) aren’t buying it. They claim this is massive, unlicensed copying, and there’s nothing “fair” about it.AI in music is pushing boundaries and causing a lot of debate. But artists like Timbaland see the potential for it to revolutionize how music is made. Whether it’s a tool for creativity or a legal minefield, one thing’s for sure—AI is here, and it’s changing the industry.Now, the real question is how will the rest of the music world adapt?

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Daddy Yankee made how much?

Alright, here's something you might like - Daddy Yankee just made a $217 million move by selling his music catalog. Concord, one of the biggest players in the music rights game, picked up hits like Gasolina and Con Calma, along with his image and likeness rights.My favorite part, the music he made YEARS ago are still paying him today in a massive way.This isn’t just about Daddy Yankee. It’s a reminder of the real value in music—owning your rights.Music rights are like gold. Once a song hits, it can keep generating income for years, even decades. And it’s not just about the tracks themselves—sync deals, streaming, etc—even the artist’s brand can be monetized.Here’s why it matters:Long-term Revenue: Owning your music means it can continue to earn for you, long after the initial release. Think of it as digital real estate that keeps paying out.Leverage for Deals: Artists with full control of their catalog have more power when it comes to partnerships or acquisitions. You’re not just an artist, you’re a business owner.Massive Payoff Potential: As we just saw with Daddy Yankee, a catalog sale down the line could be worth millions. And the bigger your catalog, the bigger the potential payout.So, whether you’re just starting out or been in the game, owning your music should always be a priority. It’s the key to future-proofing your success—and who knows, one day your catalog could be worth a few hundred million too.

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LIMP bizkit vs UMG?

Limp Bizkit's Fred Durst just dropped a bombshell lawsuit on Universal Music Group (UMG) for a whopping $200 million. The reason? Years of royalty underpayments.Imagine selling 45 million records worldwide, being on over 411,000 Spotify playlists and racking up hundreds of millions of streams annually. You'd expect your check, right? But Durst claims UMG's been holding out, underpaying royalties and cooking the books.UMG allegedly labeled accounts "unrecouped" to dodge payments. But Durst's team dug deep and uncovered $1.04 million in unpaid royalties, plus $2.35 million owed to Flawless Records.Now, Durst is fighting back, the lawsuit mentions they've been missing royalties since 1997 and he's demanding $200 million for the damages. This isn't just about Limp Bizkit – it's about exposing shady record label practices and demanding fair pay for artists.It's about time the major label's face the music.

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Outdated?

We miss the true visionaries—the Jay-Zs, Dr. Dres, Kanye Wests, and Scooter Brauns—who built modern music empires by taking risks and discovering artists like Rihanna, Eminem, and Justin Bieber. Back then, success meant finding great talent and developing it, not just cutting costs and reorganizing for profits.Now, with the market shrinking, it’s all about bean-counting, and the industry is losing its creative spark. Lucian Grange may run a profitable operation, but "internet-savvy"? Not a chance. This is one of the few industries that still doesn’t know who its customers are, even though every ticket sale happens online.Since 2015, I’ve been helping artists, managers and promoters with digital marketing, and most ticketing platforms are stuck in the past. They don’t know how to track data, retarget customers, or optimize for sales. It’s like they’ve never seen how Amazon operates. Imagine if we could retarget music fans the way Amazon does with product ads—artists would actually build lasting momentum.Instead, the industry throws six figures at a digital campaign, gives it two weeks, and if it doesn’t go viral, they call it a failure. That’s like pulling a radio single because it’s not a hit in two weeks. Marketing still runs on reach and frequency, but the industry refuses to adapt to digital platforms.Meanwhile, Hollywood figured it out. They launched their own streaming platforms and took control of customer data. The music business? It’s stuck in 2005, with new tech they don’t know how to use.The upside? Reach and frequency still works, and when you consistently introduce a great artist to millions of people, magic happens.But until radio finally collapses, this industry won’t get the glow up it needs.

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Draaaake?

Drake’s career is like an old sports car. It’s still fast, still shiny, but if he doesn’t check under the hood soon, it might not stay on the block.Now, Drake’s still a huge star. He’s got more streams than pretty much everyone (except The Weeknd), his concerts stupid packed. But lately, things feel a little off. After everything with Kendrick... Plus, he put out 100 Gigs—a giant pile of old photos, songs, and videos. Five years ago, this could’ve been used for a Netflix documentary. Today? It feels like a way to keep himself in the spotlight without really doing anything new.But Drake isn’t in real trouble yet. He’s still got tons of loyal fans. It’s just that if he doesn’t step up, people might start seeing him as a "legacy artist" sooner than he wants—like someone whose best days are already behind them.What Drake needs is a comeback, like Jay-Z after that whole elevator incident—he dropped 4:44, a super personal album, and turned a new page.Drake could do something similar. Instead of putting out long albums full of filler songs, what if he gave us fewer tracks that actually mean something? He’s got a lot of new life experiences he could share—he’s getting older, he’s a dad now, and he’s had some ups and downs. People would love that kind of honesty. Plus, streaming companies these days love music that sticks around, not just songs that are hot for a minute and then forgotten.And Drake’s beefing with a lot of big names—Kendrick, Kanye, Future, and more. Not every fight can be fixed, but patching things up with a few could shift how people see him. It would show he’s moved on from the drama and is focused on the future.When it comes time to open up, Drake needs to do a real interview. No influencers or random podcasters. Someone who will ask him about the real stuff—his feuds, fatherhood, how he’s changed over the years. That’s the kind of story fans are waiting to hear.Drake doesn’t need to rush this. He’s still got time. People love a comeback, and if he plays it right, this next chapter could be his best yet.

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super fans?

Imagine a chef trying to squeeze extra juice from a lemon that's already been squeezed dry. That's essentially what Universal Music Group is doing with its "superfan" strategy.Universal's approach prioritizes catering to die-hard fans instead of creating new stars and expanding the market. It's short-term thinking that ignores the industry's shifting landscape.The real story here is that the music industry's future lies in breaking new acts and embracing the indie sector's surge. Streaming services have transformed music consumption, making it more accessible and affordable.Think of it like Netflix. They didn't become giants by only catering to their existing subscribers; they innovated, licensed new content, and expanded their reach. The music industry should take note.
Universal's strategy reeks of desperation, like they're pushing snake oil to investors. The music industry is on a growth curve, but it's not about relying solely on existing loyal fans. It's about creating superstars, touching hearts and souls, and innovating.The indie sector is soaring, while major labels struggle to adapt. Hits are being streamed less, and monetizing the indie sector is a puzzle the majors can't solve. They've streamlined operations to focus on hits, but that's not where the future is.So, what's Universal's plan? A "supertier" on Spotify? Please. The future is about stopping the cash grab and actually giving a damn about the artists and fans. It's time to realize that neglecting innovation isn't a sustainable game plan.
The music industry needs to rethink its priorities and focus on what truly matters: the music, the artists, and the fans.The industry's future depends on it.

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wyd Roblox?

Roblox is aiming for something huge: 1 billion daily users. And music? It’s going to be a core part of that growth. But their approach is shifting. Instead of relying on massive virtual concerts like they did with Lil Nas X, they’re now focused on everyday, creator-driven experiences that allow users to engage with music in a more personal, interactive way.
The recent partnership with DistroKid is a big step in that direction. DistroKid is the largest independent music distributor globally, responsible for 30-40% of all new music, and this deal gives Roblox access to a massive catalog of tracks. But here’s the twist: artists won’t be earning royalties when their music is played on Roblox. Instead, the value comes from exposure. It’s the classic “promotion vs. consumption” debate—is the chance to be heard by millions worth the trade-off of no direct payout? I guess we'll see.Most of DistroKid’s growth is happening outside the U.S., in places like Brazil, India, and Japan. This makes Roblox’s global ambitions even more intriguing, as they’ll need to cater to these local markets to stay relevant. But here’s the challenge: local markets often have their own distinct tastes. For example, in Brazil, the first non-Portuguese song to chart on YouTube Music didn’t show up until #86, and it was a Bruno Mars track. Will users in these regions care about DistroKid’s offerings, or are they more focused on homegrown hits?Roblox is also rolling out its own music charts in 2025, which could be a game-changer for independent artists. But those charts will likely be dominated by the same artists with large marketing budgets and teams behind them, just like what we see on TikTok or YouTube. Independent creators will need more than just a spot on the platform—they’ll need the right partnerships and community support to break through.The real question is whether Roblox can balance being both a promotional platform and a consumption platform. TikTok has nailed this balance, with artists like Taylor Swift leveraging the platform for massive exposure, while still earning from streams. Roblox has less reliance on commercial music, which could give them more flexibility in the future. But if they’re going to attract top-tier talent and truly leverage music as a growth engine, they’ll need to continue evolving their approach to partnerships and compensation.As Roblox moves forward, their strategy will be crucial. They’re betting on the power of community-driven music experiences, but they’ll need to keep both artists and users engaged if they want to hit that 1 billion daily user mark.

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fake streams

Imagine walking on stage for your big concert, only to realize that the crowd in front of you is made of inflatable people. They look like fans from a distance, but up close, it’s all just air. That’s essentially what Michael Smith was doing with his AI-powered scheme to rack up billions of fake music streams. He created hundreds of thousands of songs and then used bots to pump up those streams, making it look like his music had a massive audience. But in reality, his crowd was as hollow as those blow-up fans. The craziest part? Some people, like Michael Smith, are making millions of dollars off it. Yep, you heard that right, millions.So, what’s the deal? Michael Smith, a 52-year-old from North Carolina, figured out how to use AI to create “hundreds of thousands” of songs. But he didn’t stop there. He also made fake accounts (bots) to stream these songs billions of times on platforms like Spotify, Apple Music, and YouTube. By doing this, Smith was raking in royalty checks that should have gone to actual musicians. It’s like getting paid for a concert when no one’s even in the crowd...The worst part—Smith didn’t just keep this trick to himself. He tried to sell his fake stream scheme to other musicians, offering to make them look more popular (and get paid for it) without lifting a finger. But, like all good cons, the house of cards came tumbling down when the FBI stepped in. Now, he’s facing some serious time behind bars—up to 20 years for each of the charges.Smith made over $10 million—money that should've gone to hard working musicians who earned it. But luckily, authorities and platforms are cracking down hard on streaming fraud to protect real artists.Think of it like if Leonardo DiCaprio from Catch Me If You Can got into the music business. Smith was manipulating the system, creating streams out of thin air, but the law eventually caught up with him. It’s a high-tech version of fraud, and it’s not just a one-off case.Streaming fraud is a massive problem. The music industry loses an estimated $2 billion a year because of fake streams. Small tech companies are now working hard to detect these fake plays on Spotify, Apple Music and YouTube.But what if the industry didn’t crack down on streaming fraud? Imagine musicians working hard, producing hit after hit, only to be beaten by fake AI songs that get billions of plays. The whole system would collapse. Real artists wouldn’t get paid, and bots would be the biggest “fans” in the music world. Sounds ridiculous, right?What if AI could make the perfect song? A track so catchy, bots didn’t need to fake streams—it would dominate the charts on its own! That’s not too far-fetched, given how fast AI is evolving. But until then, the fake stream industry is just smoke and mirrors, and platforms are scrambling to figure ou
t how to outsmart it.Here’s my personal take—fake streams aren’t going away anytime soon, but the music industry will adapt. Just like how Netflix figured out how to stop password sharing (well, kinda), streaming platforms will evolve, and the fraudsters will be left scrambling. Why? Three reasons:1) Tech is catching up. Detection tools are getting smarter, making it harder to cheat the system.2) Musicians are speaking up. Real artists are pushing for change, making fraud less appealing.3) The law is cracking down. With cases like Smith’s making headlines, the risks are getting too high for the fakers.If you want to stay on the up-and-up with music streaming, keep it genuine. Build your fanbase the real way—no bots, no shortcuts. Use tech to boost your creativity, not to fake streams. Write music that relates with your fanbase instead of trying to trick the system. Stay in the loop with industry trends. And keep an eye on changing platform rules to stay ahead. Bots might seem like a quick fix, but in the long run, real talent is what truly shines.

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proactive innovation

The music industry has always found itself in a game of catch-up, reacting to external changes instead of leading the charge. But imagine if we could flip the script—becoming the architects of innovation rather than just adapting to it. That's what proactive innovation is all about, and it's the driving force behind Music Insight’s mission: to arm music professionals with the insights they need to not just survive, but to actively push the industry forward. Every week we’ll produce reports breaking down complicated concepts in the music business.Now, what's the difference between reactive and proactive innovation? Reactive innovation is what happens when the industry scrambles to respond to changes it didn’t see coming—like major labels launching rushed streaming platforms after Napster, or artists jumping on TikTok without a solid plan. It’s about making changes out of necessity, which often leads to short-term fixes rather than sustainable solutions. Proactive innovation, on the other hand, is all about anticipating future trends and needs before they hit critical mass. It’s about asking “What if?” instead of “What now?” and developing new strategies and tools as a strategic imperative, even before the need becomes obvious.I believe proactive innovation is built on three pillars: knowledge, connections, and action. You’ve got to deeply understand the industry, create connections that spark fresh ideas, and develop strategies that turn those ideas into action. We’re here to help you navigate the music business with a team of forward-thinkers. In today’s fast-moving music-tech world, the next big breakthrough could come from anywhere, and embracing a proactive mindset can help you be a part of shaping the future, rather than just reacting to it.Something to think about...

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everything changed

The Kendrick/Drake beef? It’s a perfect example of how the internet changed everything. Back in the day, the old music systems couldn’t keep up with the constant releases, but now you can drop a track whenever you want. Napster didn’t kill the major labels, but today’s platforms like Spotify, YouTube, and TikTok are slowly chipping away at them. The labels are stuck in their old ways, focusing on hits when the game has changed.Remember when singles were everything in the ’60s? Then FM radio and MTV shook things up, making albums and music videos the big deal. But now, with streaming, everything’s equal. Major labels don’t have the power they once did, and fans are finding and loving all kinds of music that the big players just ignore.Everyone’s looking for something new and different, not the same old hits. The music world today is like the tech world—if you’re not innovating, you’re getting left behind. The major labels? They’re still trying to play the same game they did decades ago, but the audience has moved on.So yeah, the major labels might think they’re untouchable with their old catalogs, but history shows us that if you don’t evolve, you eventually crash. Just like how Netflix took down the traditional movie studios, something similar is happening in music. If the big labels don’t wake up and adapt, they’ll just keep losing relevance. It’s not about being flashy or hyped up anymore; it’s about reading the room and staying ahead of the curve. If you don’t, well, you know what happens.

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self promo

It’s 4:47 PM in Scottsdale, AZ. The palm trees are swaying against the rugged mountain backdrop—it's a beautiful sight. But damn, it’s scorching out here; my A/C bill is starting to look like a car payment. And since we're on the topic of heat…If you have to tell me how fire your music is and how great you are, maybe you're not as big as you think.I get it, the world’s loud, and everyone’s fighting for attention. But if you’re an artist, your work needs to speak for itself. If it doesn’t, you’re in trouble—no one can convince me you’re good unless I feel it myself.When you hype yourself up, it just looks desperate.If your team or label does it, fine—it’s less cringy.But don’t ask people to vote for you in a contest or brag about chart numbers. If you’re really that big, why haven’t I heard of you?Today’s fans want a connection, not a sales pitch. If I’m already a fan, I believe in you. Focus on making great music, and I’ll spread the word naturally.In a world full of noise, self-promotion can backfire. It makes you look small.Make great music, be proud of it, and let your work do the talking.

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Labels are stuck

Alright, so the music world is totally different now.Way back when, there were only a few big radio stations, and the top songs were all you heard. Then MTV happened, and music videos became huge. It was pretty simple.Then the internet blew up. Napster let people download songs for free, and the music industry freaked out. But then came Spotify and other streaming services, and that's when things really changed.The problem is, the big music companies (labels) are stuck in the past. They're still obsessed with finding the next big hit single, even though people listen to way more music now and discover new stuff all the time. They're ignoring all the smaller, different kinds of music that people actually want to hear.Think about it: News used to be just a few TV channels, but now there's a million different websites and social media accounts. Music should be the same way – lots of choices for everyone. But the big labels are scared to take risks.Basically, the music industry needs to wake up and realize that the world has changed. They need to find new artists, stop focusing on just a few big stars, and give people the music they actually want to listen to.Does that make sense?

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Pop Got a Problem

Being a pop star used to be a sweet deal—you got a hit, everyone knew your name, and you could tour forever. But that’s changed. Now, even if you have a hit, you might not sell tickets because traditional media like TV and magazines don’t reach people like they used to. Katy Perry is an example of this shift. She tried to stick to her old formula of girl power anthems, but the public didn’t care. Today, if you don’t have a unique voice or strong opinions on social media, you’re going to struggle.The music industry isn’t controlled by labels anymore; the fans are in charge. Acts that never had pop hits are doing great on the road because their fans are loyal and invested. On the other hand, pop stars who appear everywhere but stand for nothing are losing traction. Perry’s fans are older and not as active on social media, so her strategy of constant exposure didn’t work. To succeed now, artists need a strong identity and the ability to say no, focusing on what their core fans want.Today’s musicians need to stay true to themselves rather than try to replicate past successes. There’s so much music out there that simply aiming for a big hit isn’t enough. The public moves on quickly, and it’s crucial to keep pushing artistic boundaries. While there’s still a business in playing old hits, real success comes from connecting with fans through new, authentic music. The game has changed, and artists must adapt to stay relevant.

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Reach VS Impact

Don't mix up consumption with reach. The metrics we use today, are old metrics, it doesn’t really show how big an artist’s impact is. They only tell us how many times a person listened to a song, not how many people are actually hearing it. Back in the day, radio and TV were the big players in music promotion. Success was measured by how many people heard a song on the radio or saw an ad on TV. But these numbers could be misleading. For example, a song played in the middle of the night on the radio or a pricey TV ad didn’t necessarily mean a lot of people were genuinely engaged.Now, things are different. Traditional media’s broad reach is no longer the game. We’re in a direct-to-consumer world now. Platforms like Spotify show how often a song is played, but this doesn’t really tell us how far it’s reaching. It’s one person listening to one song. The real focus should be on building a dedicated fan base and making sure your music is easy to find. It’s all about connecting with listeners in a real way, rather than relying on outdated numbers from media.And here's the what I’ll leave you with: traditional metrics often don’t capture how people are actually consuming music today. With digital platforms, everyone has their own tastes and habits. So, even if you’re at the top of the Spotify charts, it doesn’t always mean you’re reaching a broad audience or selling out shows. The key now is to engage directly with fans and use digital tools to get your music in front of the right people.Something to think about.

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Why Streaming Is not Simple

Streaming dominates the music industry, raking in an estimated $19.3 billion globally in 2023 – that's 67.3% of all recorded music sales.Platforms like Spotify boast huge payouts to artists, but for many, that couldn't be further from the truth.Why?Fake streams and a misleading system are drowning out real artist success.Fake Fans, Fake Money: Millions of artificial streams created by bots inflate play counts, making some artists look more popular than they are. This not only steals money from deserving artists but also fools investors.Investors Bet Big on Streaming, But Is It Real?: Big money is pouring into music rights, seen as a goldmine thanks to streaming. But this story might be too good to be true. While streaming has potential, its true profitability is a complicated issue.Streaming fraud costs the music industry over $2B per year - leaving real talent underpaid. Algorithms clogged with fake plays, hiding genuine artists, making it harder for fans to find them.The industry is calling for clearer playlist curation and tools to find and remove fake streams. By connecting directly with fans and building a loyal following, artists can bypass the manipulation game.Streaming is powerful, but artists need the right knowledge to navigate its murky waters. By focusing on fans, analyzing data beyond play counts, and staying informed, artists can thrive in streaming and build lasting careers. Investors should also look beyond the hype and understand the complexities of streaming's profitability, especially considering fake streams.Streaming can be the future, but let's make sure it's a true opportunity, not a scam.

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Why A Music Career Is not a risky choice

This takes 2 minutes to read:

Let me see if this describes you:You got big dreams. Like selling out shows, going viral, making music your career.But also: you feel a gravitational pull.The world loves to pat you on the head and say, "That music stuff you do is cute, honey. But first, get a 'real' job, settle down, play it safe."And the most dangerous lie we tell ourselves is that we can always do that later.Most people dreams fades away. And it's because of one word.Safety."Safety" is a total myth. Sure, it might feel comfy in the moment, but it murders your ambition. Kills your sense of adventure.It's like a slow, boring serial killer with a pillow, stealing your dreams one snooze at a time.The "safe path" keeps you stuck. Stuck in the same town you were born in. Stuck postponing that trip to Maui until "things settle down" (spoiler alert: they never do)."Later" is the ultimate dream assassin. Every time you hear it, put your hands up and fight back.Seriously, f*ck that word. That "later" never comes.Just get started. Start that marketing campaign, do the live show, backpack across Southeast Asia – whatever your heart desires.Do it now, not when you're 33 with a mortgage and a minivan.You gotta risk it for the biskit.(And if you're reading this at 33 - It's still better than being 43 with a bad back and a lifetime of "what ifs").The only right time to chase your dreams? Right freakin' now.(For the youngins): You're in the Ramen Era – a golden time. Sleeping on a couch is tactical, ramen is a strategy, and you're free as a bird. Sure, you're not rich yet, but you have nothing to lose and everything to gain.Warren Buffett would trade his entire fortune to be a 22-year-old again. That's how powerful youth is.But here's the danger, young grasshopper: Those seductive twins, "Someday" and "Later," will whisper sweet words in your ear.They'll tell you there's plenty of time, that you can chase dreams later. But that's a trap. We become stuck in a cycle of "we should do this".That's why they say youth is wasted on the young.Resist the illusion of safety.They say pursuing a music career is the risky choice... but nothing could be further from the truth.Yes, the music industry is competitive but the real risk lies in spending your life at a job you hate. (with people you don't like)Ditch the safety net. And go do what you were put on earth to do.

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📈 Fortnite

Who needs Spotify playlists when you have a pickaxe? 🤣Let's explore how Fortnite and Roblox are shaping the next generation of music stars.First, let's talk about April 2020:Millions of people were introduced to the metaverse concept via Travis Scott's Fortnite concert.Despite a reported $20 million (in a few days) from in-game items, Scott's concert was not tied to an album release or marketing campaign.Since the concert, Scott has never returned to Fortnite.Warner Music's David Cushman says virtual concerts are cool, but temporary and require too much effort for short-lived events.4 years later, the virtual music scene has moved beyond recreating physical events.The music industry is now prioritizing deeper connection within the metaverse, creating custom experiences to promote new releases.An example: Rapper Don Toliver, who published a custom Fortnite game on June 10th... he's to promote the release of his album Hardstone Psycho.The game is currently on the platform for at least six months, according to Cushman.Fans are going crazy over the Fortnite collab.Toliver's Hardstone Psycho tops Billboard's rap charts, selling 80K+ in its first week.But Fortnite doesn't have an in-game purchase option for his album so its direct sales impact remains unclear.Beyond Don, Fortnite's recently collaborated with Metallica. They got their own "Rocket Racing" map with custom skins, emotes and their own theme on the island within the Battle Royale mode.Other notable music collabs with Fortnite include: Marshmello, Ariana Grande, J Balvin, Bruno Mars, Anderson Paak, The Weeknd, Lady Gaga, Billie Eilish & more.And we're starting to see a trend here: Rolling Stones followed suit, debuting in Roblox's Beat Galaxy where users can directly play their licensed tracks.The designer of Beat Galaxy mentioned it's a virtual world where musicians can set up shops, games, and create experiences. Where fans can grow their relationship with you.Music companies see significant potential in converting passive listening into active engagement and discovery.The industry's moving past costly, one-off virtual concerts. Instead, we're focusing on creating lasting experiences within virtual worlds, directly engaging with fans.The challenge is creating a win-win-win. We need to capture licensing value for rights holders, ensure music seamlessly integrates with the gaming experience, and fairly compensate creators.Hmm, something to think about...

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📈 Connor Price

Most artists know short form content is the secret weapon to going viral…And... there's Connor Price.You've most likely seen his spin the globe series, which basically built his entire career.But he didn't come out the gates hitting homers.I found an old video of him rapping back early 2017... and it's not bad:

But he looks like every other artists trying to promote themselves online.Let's take a look at where everything changed for Connor, October 9th 2022:

Boom. He struck gold.But why does it work so well? As soon as Connor starts spinning the globe... you can't look away until it lands. We're curious. He's got us hooked. We're invested.But that’s just the beginning:Let's take a look at another winning piece of marketing material from Connor:

He's so damn good that you almost forget he’s a musician. And that’s the magic of it. He hooks us, makes us laugh, and works very hard to earn our trust first...Then he funnels us straight to his music.Connor’s whole game plan: entertain first & plug music second.And he does this through skits.You don’t need to be Brad Pitt or Dwayne the Rock Johnson. Just get creative.Scroll through Connor’s feed for some inspiration.And the most important advantage Connor has over other artists making content…He doesn’t just catch our attention at the beginning of the video.He's hooking us every 2-3 seconds...Changing scenes, adding text, showing his reaction, different sounds, perspectives... he's damn good.But it's not rocket science.Connor's a fisherman - focusing on putting his hook in the right places.See you in the next one.

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📈 Jesse Itzler

Welcome back to Music Insights. We're your secret weapon to doing better in the music biz.

Today, I'm talking about a guy who:• Sold a private jet company to Warren Buffet• Started his career as a rapper• Bought into an NBA team• Married a billionaire• Lived with David Goggins for 30 days

At first I had your curiosity... now I have your attention...Meet Jesse Itzler

Whenever I study successful people, they're usually hardcore focus types. They grind for 20-30 years on the same thing.Jesse is cool cause he's the opposite.Career #1 = RapperCareer #2 = Jingle Writer for sports teams (he won two emmy's for his songs "I Love This Game" and "Go NY Go") - sold this company for $4MAfter making his first milly - he met a guy who took him on a private jet.He hated flying private.Just kidding. He f*cking loved it.He wished he could fly private all the time, but couldn't afford to buy a plane after just a $4M exit. So he had his next move:Career #3 - Create "timeshares for private jets"They called it Marquis Jets and made it easy for anyone to buy ~25 hours worth of private jet time per year for ~$100k-200k.It's like buying a pie with your friends but only paying for how many slices you eat.Marquis did $5 billion in sales over the course of a decade before selling to Warren Buffet.Oh and even better... one of his customers from the private jet company was Sarah Blakely. A future billionaire, and the founder of Spanx. He met her at a customer meetup. They started dating. And he married her.The lesson? Marry your best customer.OK - he's on career #3 - but we're just getting started.After Marquis, Jesse got really into running. And he learned that long distance runners loved drinking coconut water.Loved is not a strong enough word. To the running community, coconut water was like holy water. But it hadn't gone mainstream yet.So he searched for a brand he could partner with - and found Zico Coconut Water, They were small at the time, but he bought a minority stake, and helped them get Coca-Cola as an investor too. They started growing fast, as the coconut water craze grew. Eventually Coke bought the whole thing.We here at Music Insights think Coca-Cola missed an opportunity in not naming them Coca-Nut. But, that's neither here nor there.Did we mention Jesse is also a super athlete?Athletically, Jesse has...• Ran over 50 marathons• Ran 100 miles in 24hrs• Hired David Goggins to move in and kick his ass for 30 days• Wrote a book about David Goggins moving in and kicking his ass for 30 daysHe's also a sports-investor. He bought a piece of an NBA team (the Atlanta Hawks) and bought a mountain to create something called 29029 Everesting.The idea is simple. They bought a mountain, and climbers hike it over and over again until they've hiked a total of 29,029 feet (the same height as Mount Everest). It's like hiking mount everest, except, with lower chances of dying.Jesse sold that company to iFit.In between all this, Jesse also managed to:• Live in a monastery with monks
• Write two books
• Invest in KINDDude's like a movie character in real life.I'll leave you with his favorite wisdom: Life is a Bus RideHere's what he says:"I'm 52 years old. The average American lives till about 75. That means I might have 25 summers left. I love summers.... only 25 left!The day we wakeup, we get on a bus ride. When you're a senior in high school, someone tells you "Jesse, you better enjoy it. life goes quickly".... then you're in college and someone says "enjoy it, this doesn't last forever"... then you have kids and someone says "enjoy this time with them, they grow up so fast"... now your kid is 8 years old, you only have 10 more years till they move out forever"The bus doesn't care if you get sick. It doesn't care if you're lazy. The bus never stops. One day, BOOM. The rides over. All we should care about is how we maximize THIS moment. Where we are right now until the day the bus ride stops."How do you do that?1. Take care of the bus - (your health/your vehicle to enjoy life)2. Take care of the people on the bus (the 3 C's. Compliment, Congradulate & Console everyone in your network as often as you can. You can invest 3 mins a day texting people like this)3. Fix my Flats - a lot of people are 'anti-confrontation'. You have to face the broken areas. Pick your 1 big thing every year & address it.

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📈 Lil Nas x

Artists are like failed businesses, spending too much time creating not enough promoting.Lil Nas X was different. He skipped college for "Twitter University"His favorite class? Memes 101But around 30K followers later, he realized the struggle - funny memes got tons of retweets, but his music? Collecting digital dust.So, Nas X flipped the script. He wrote music with memes in mind - the song had to be catchy, short, and funny.Old Town Road was born. And on the December 3rd 2018, Nas paired it with a video of a dancing cowboy and shared it:

The video went crazy. He skipped the traditional promotion. By creating short, viral videos linked to the full song below.This is a perfect strategy for an unknown artist without a marketing budget.But that's not the only trick Nas had up his sleeve:He knew country music charts were less competitive... so he submitted "Old Town Road".While Billboard removed it, the controversy ignited national conversation, propelling the song to #1 within two weeks.Nas capitalized by releasing remixes featuring country music giants.And this helped more than you know.Billboard has a little loophole: where remix plays count towards the original song's chart ranking. With each new remix, millions more streams flooded in, making Old Town Road almost impossible to move.He managed to stay 17 weeks at #1 (surpassing Mariah Carey's record)It's easy to forget over how big of an achievement this is. Five months prior, Nas X was a college dropout who couldn't buy tacos at Jack in the Box.The more I dig into Lil Nas X's story, the more I believe him when he says "This was no accident."Another key moment to his rise - this viral twitter video of a man riding a horse standing up to "Old Town Road"I wanted to know how the video did, so I found it first posted on the 23rd December:

Nas asked this account to post the video. It's unknown whether the Twitter user received compensation for the post.But either way, it worked.He knew fans would search for the full song based on these clips, so he changed the title on YouTube and SoundCloud to include the catchy "I got the horses in the back" lyric.Plus, he posted on a popular "NameThatSong" forum on Reddit.

Forget luck. Nas crafted his own virality. Old Town Road wasn't magic; it was strategy.Look behind the curtain: he's sitting in his underpants, on his sister's couch, iPhone in hand, making the whole thing happen.No one knew him. No one wanted to check out his song. No one promoted anything for him.And that's how we know Lil Nas today.

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Where'd you guys come from?

Hey there—I’m Mike, one of the founders here. I’ve been growing careers — and businesses in the music industry — for over a decade.People often ask me why we built Music Insights.They’ve never seen anything like it before, so they’re curious where the idea came from.I wish I could credit a spark of genius or some deep insight.But I can’t.The truth is, we built Music Insights out of desperate necessity. We needed it badly. Without it, we were falling behind.Years ago, we ran a HUGE music marketing agency. As we grew, we took on hundreds of projects every month, thinking we could handle the increased workload while still providing top-notch service. But we were wrong.It wasn’t that we lacked the skills — we just didn’t have the time to juggle the growing demands. Promoting, managing, thousands of artists each year was overwhelming.Quality began to suffer, and our clients noticed before we did. That was the painful part.We needed a better way to help artists grow their careers and make real progress.We were spending all day doing emails, live chats, Zoom meetings, follow-ups, spreadsheets, hiring, training, more meetings—the list went on.We'd focus less and less on marketing music, especially as we continued to grow.Even after hiring more people to the team, we'd always find ourselves trying to keep up with demand.And that’s how Music Insights was born.We created a subscription that gives artists the music marketing trends and insights they need.We could've easily just charged our clients more money and hired more employees.But where's the impact?By building a straightforward membership centered around music marketing trends and insights, we realized we could help more artists on a grander scale.A subscription that helps artists and managers spot trends, analyze data, and gain actionable insights into the music industry.We provide the critical information needed to understand what’s working in the music marketing world.It keeps everyone sounding like the smartest musician in the room, tracks trends, centralizes insights, and gives you the competitive edge.When we introduced this to our clients, they were impressed.They kept asking, “What is this? Can I pay you for this?”That’s when we realized this was more than just research for us — it was a solution for the entire industry.So we refined it, polished the rough edges, and brought it to market. It was an instant hit.It turns out, hundreds of thousands of artists and managers were facing similar challenges and needed the same kind of support.With Music Insights, our goal is to help a million musicians.One artist at a time.Giving them access to powerful trend analysis and data-driven insights to market their music effectively.You’ll also gain exclusive access to my in-depth music marketing breakdowns, giving you the knowledge to make informed decisions and elevate your music career.Based on your feedback and our own ideas, we’ve continually improved Music Insights and will keep pushing the boundaries of what’s possible.Our commitment is to provide the best insights for artists and managers seeking a better way to market their music in this extremely competitive industry.It’s been an incredible journey so far, and we owe our success to so many people. Most importantly, we feel a deep responsibility to keep making the best products and services for those who need it most. We’re here for you, and we’re excited to see what the future holds.Thanks for reading, and for giving Music Insights a try. You can always contact me directly if you have any questions at team@musicinsights.co. I look forward to hearing from you.

The secret to marketing your music is to ignore what people say learn how people make decisions

The truth is, if you don’t understand the psychology behind why people click, watch and share things...You’ll have a really hard time creating impactful marketing campaigns.Especially ones that grabs attention and persuades people to watch watch watch and share share share.The good news: Here, you'll discover the secrets behind why fans click, share, and engage with music. 💸Our insights are grounded in thousands of hours of research, showing you exactly what works and why.

About Us:

From a makeshift home studio in Arizona, to working with artists from far-off places with names we sometimes mispronounce, the journey began in 2014 with two dudes named Mike & Aron.

Dec 2014:

It all started with an old ass MacBook from Craigslist that crashed every 20 minutes (a $100 find by Aron), they recorded Mike’s very first song in a makeshift bedroom studio apartment. (It’s so bad we won’t share it out of respect for your ears 😂)

Jul 2015:

After sharing our music on YouTube, IG, and Twitter, just for fun.Mike went viral overnight. He woke up with 8,000+ new followers on IG. (Up from 300)Confused but intrigued, Mike dove headfirst into the world of music, determined to unlock the secrets behind our unexpected success.

Oct 2016:

Mike’s first time on stage was nothing short of eventful.He entered a rap competition in Glendale, AZ, packed with seasoned artists who'd been in the game for years. He saw it as the perfect chance to learn a thing or ten.The stakes were high: the first-place winner would open for Hopsin.Mike went up, round after round. Somehow managing to make it to the next round by the skin of his teeth.Against all odds, Mike tied for first place, forcing a final showdown.He caught the W.And now Mike’s second performance ever will be to opening up for Hopsin, sharing the stage with Joyner Lucas and Token.

Nov 2016:

Mike creates his own merch line, sells out his first shipment & opens up for Hopsin.

April 2017:

Mike’s music started getting played on the major radio stations across Arizona & Southern California.