§ About
I've worked
every side
of the table.
Major label rollouts. Independent grind. Brand strategy rooms. Catalog acquisition decks. The thesis comes from having operated all four — not from theory.
01 — Major
A decade inside agencies, labels, and platforms. Seeing what gets greenlit, what gets killed, and which decks actually move money.
02 — Independent
Years releasing as an independent artist. Learning the business through trial and error — and realizing just how complex monetizing music IP actually is, and how few artists are taught to do it.
03 — Brand
Architecting cultural campaigns for global brands. Where attention gets bought, packaged, and measured against revenue.
04 — Catalog
Structural diligence on 9-figure catalog deals. Where songs stop being songs and become balance-sheet assets.
The backstory
I failed first.
Before the strategy decks and the catalog deals, I was an independent artist learning this business the hard way — releases that didn't land, money left on the table, contracts I didn't understand until it was too late.
Every system I build for artists now exists because I needed it and it wasn't there. The frameworks aren't theory. They're what I wish someone had handed me when I was the one on the other side of the table.
Philosophy
The industry
isn't random.
It's structured.
Most people experience it as chaos because they only see one layer. Once you can see all three — attention, strategy, assets — the patterns are obvious. The work is engineering them on purpose.