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DistroKid

DistroKid, the world’s largest independent distributor, has placed 37 union employees on “administrative leave” just an hour before the union was set to meet with company’s lawyers for new contract negotiations, according to an Instagram post by the DistroKid Union on Saturday (Oct. 26). The information provided in this Instagram post was verified by two employees at DistroKid.
The union says that these employees are set to be “replace[d]…with overseas labor” and that this move has impacted about a “fourth” of the company’s staff. Another source close to the situation believes the total is closer to 15% of staff affected. According to an employee at DistroKid, those impacted were part of the company’s Quality Control and Artist Relations (customer service) teams. Another employee claims there were also Quality Assurance Engineers impacted as well. The union adds in the post that DistroKid told them that the reason they want to eliminate these positions is to instead “to spend their salaries on marketing.”

In response to Billboard’s request for comment, a DistroKid spokesperson said: “DistroKid is committed to continuously enhancing support for independent artists around the world by expanding to 24/7 customer service with faster response times. To achieve this, we have identified solutions that allow us to deliver more scalable and exceptional service, ensuring that artists around the globe receive the high-quality support they deserve. This includes considering difficult decisions that may affect valued team members as we continue our focus on providing the best artist experience possible.”

Trending on Billboard

For the last year or so, DistroKid has contracted a third party customer service team, based in the Phillippines, to help with artists’ needs. This move to place 37 works on administrative leave seeks to eliminate its in-house, U.S.-based Artist Relations team and replace it with more third party and international workers. The company believes this will help them with the influx of international DistroKid users who need round-the-clock services in multiple languages.

The DistroKid Union was formed in February as part of the National Association of Broadcast Engineers and Technicians, a union within the Communication Workers of America (NABET-CWA). According to an announcement from NABET-CWA about the formation of DistroKid’s union, “workers at the company were subjected to a ferocious anti-union campaign that included multiple, one-on-one anti-union meetings and near-constant anti-union propaganda. The company president also sent several anti-union letters to workers.”

“Despite attempts to dissuade workers, they returned a vote 45-28 in favor of joining NABET-CWA. This effort succeeded due to the unified efforts of the organizing committee, which kept the entire campaign hidden from management until it went public, a rare early coup for the team,” the announcement continued. The DistroKid workers all work remotely, but their union joined the NABET-CWA local 51016, based in New York City.

This news comes after a few years of rapid expansion for DistroKid, which now distributes 30-40% of the world’s new music. Two years ago, it introduced DistroVid, which enables artists to upload an unlimited number of music videos to leading digital service providers for a flat fee. Then, last year, the company launched an iPhone app that featured an AI-powered mastering tool, called Mixea, to help artist prep their songs and announced that it had acquired music web platform Bandzoogle, an e-commerce business that helps artists create websites and sell their music and merchandise.

Update: This article was updated at 1:55 PM e.t. to include the claim that there were also Quality Assurance Engineers, a different role from the Quality Control team, that were placed on administrative leave.

The gaming platform Roblox announced on Friday (Sept. 6) that it will roll out music charts early in 2025, bringing songs a new level of potential visibility for its nearly 80 million daily active users.
At the Roblox Developer Conference, the company also said it was entering a new partnership with DistroKid, allowing the distributor’s acts to make their music available in the Roblox ecosystem, which consists of millions of games. This marks the platform’s first partnership with a major rightsholder in the music business. However, the independent artists who avail themselves of this opportunity won’t make any money from Roblox when their songs are used, underscoring the thorny relationship between the music and gaming industries. 

Artists and labels are dying for better ways to reach gamers — a hefty chunk of the world’s population, many of them young, who often get just as enthusiastic about music as they do about the games they love. But artists and labels also want to be paid for their work. 

Trending on Billboard

Across the aisle, games would love to benefit from artists’ credibility and add pizzazz to their soundtracks. But they often have little patience for the music industry’s licensing system, which they view as old-fashioned and overly complicated, and its interest in steep up-front fees. And games’ success usually does not depend on music industry involvement.

The chasm between these views has limited the opportunities for artists in gaming — especially those who aren’t already stars — outside of a few titles. 

But the music industry would still like to bridge the gap, and Roblox’s virtual universe is a particularly tempting target. That’s because it has a tantalizing number of users whose avatars are wandering around, hanging out with friends, or flocking to games like Adopt Me!, where they raise virtual pets. Labels would love to reach these crowds. 

Roblox chief product officer Manuel Bronstein says the platform wants to help. To drive more music discovery, it will add a sort of audio player that can show users what track is playing in the Roblox experience they are enjoying. 

As a result, “users are going to be able to see the name of the song, the artist [behind it], and even like the song,” Bronstein says. That information will then flow into the platform’s music charts, which will rank tracks according to engagement. In an ideal world, charts function like a two-way mirror — they reflect listening habits but also facilitate discovery for curious listeners. (Roblox will also set up a separate ranking that tallies the popularity of music experiences on the platform to help players seeking out what are known as “rhythm games,” where activity is usually linked with playing an instrument or dancing.) 

The music industry’s approach to Roblox has evolved gradually in the last few years. Initially, stars like Lil Nas X made headlines with one-off concerts. However, these are expensive and time-consuming to put together, and the payoff is short-lived. They have largely gone out of vogue. 

Artists and labels have also built their own Roblox experiences. But it’s tough to stand out in the land of a million-plus games, and a big name does not ensure a big audience. 

On Aug. 29, for example, the electronic producer Zedd announced that he was taking over Universal Music Group’s Roblox experience, Beat Galaxy. Visits jumped up from around 4,000 on the 28th to around 10,000 a day later, according to the site RoMonitor, which tracks Roblox activity. Not bad, except that that amounts to a drop in the platform’s ocean-sized audience. Piggy, where players try to escape a homicidal swine wielding a baseball bat, attracted more than 2.7 million visits the same day. And RoMonitor’s data indicates that there are over 30 Roblox experiences earning more daily visitors than Piggy. 

“There are so many games on the platform,” says Mat Ombler, who works as a music and gaming consultant while also editing MusicEXP, a newsletter about the intersection of the two worlds. “There is absolutely no guarantee that launching an activation will get artists in front of those 80 million players.” 

Some artists have had success “activating in already thriving experiences,” according to Jessie Wylde, senior director of artist and business development at Artist Partner Group (APG). “And short-form Roblox UGC edits across socials” — clips of Roblox activity posted on TikTok and elsewhere — “continue to be a key driver for consumption across APGs roster.” (In the future, Wylde would love to see “more native means for players to save songs and/or follow artists on streaming services while remaining in Roblox.”)

For Ombler, Charli XCX’s recent collaboration with the wildly popular game Dress to Impress represents a new high-water mark for artists in Roblox. In his newsletter, he noted that “daily visits for Dress to Impress jumped from 22.49 million on Aug. 16 to 34.09 million on [the collaboration’s Aug. 17] launch, an increase of 41%.” Concurrent users also jumped from a peak of 290,000 to a peak of 641,000.

But Charli XCX, a well-known artist with major hits, doesn’t need Roblox to break through. The Holy Knives are interested in the platform’s partnership with DistroKid because it could afford smaller acts like them a chance to find new listeners. “Majors probably don’t need more exposure,” says Kody Valentine, a member of the duo along with his brother Kyle. “As independent artists, that’s the number one thing we need. If that can come through Roblox, that is amazing.”

The band opted to make their music available on Roblox so that game developers can put it into experiences. (DistroKid artists must opt in to be part of the program.) The hope is that they will gain enough fans to offset the fact that they won’t be directly compensated for any use of their songs. 

Bronstein points out that if artists like The Holy Knives are discovered on Roblox, “they also have means to monetize outside of the platform” — if players go stream the band elsewhere, for example. (It’s also easy for artists to start selling virtual merch on Roblox, which has been lucrative for some stars; Ombler believes more artists should try this.) But Roblox is “starting as a promotional vehicle to begin with,” Bronstein notes. 

Artists only have one career, so they will often trade royalty income for exposure. DistroKid earns money when artists sign up to distribute their music and doesn’t share in the royalties they make, so it doesn’t have a dog in the fight. For the major labels, on the other hand, giving away music for free is a tough pill to swallow, especially recently. 

UMG CEO Lucian Grainge made this clear during a speech in 2022. Initially, “[we] were given a lot of reasons why our artists shouldn’t get paid” by MTV and YouTube, Grainge recalled. “People said, ‘It’s great promotion,’ or ‘you can use it as a platform for discovering new artists.’ Technology platforms were built on the backs of the artists’ hard work.”

When asked about the potential for future monetization opportunities, Bronstein says, “We want to get there. Once you get the momentum, you have the opportunity to think about creative ways in which artists can monetize.” (Karibi Dagogo-Jack, who previously served as Roblox’s head of music partnerships, is no longer with the company.) But the music industry’s fear is that the opposite thing happens: Platforms get momentum and then use that leverage to argue they should pay even less for music.

Alex Tarrand, COO/co-founder of STYNGR, has tried to come up with a way for rightsholders to get their music played on Roblox but also get paid for it. STYNGR has licenses with all the major labels and publishers; game developers can then use that music without paying up-front. 

In the Roblox universe, this music comes out of a boombox — old-school radio in a newfangled virtual world. Users either shell out for listening time, or developers can put an ad-funded version of the product into their experiences. The revenue from user payments and advertisements is then shared between major labels, publishers, game developers and STYNGR. “Session lengths go up for the people who are actively engaging with the music player,” according to Tarrand. “And we see session frequency go up.”

Despite some of the ongoing friction between the music industry and Roblox, the search for common ground continues. This week, Tarrand flew to the Roblox Developer Conference to meet with more developers. “Music is a big topic of conversation at this RDC,” he says. “That’s promising.” 

Independent and DIY artists using DistroKid can now build a presence on TikTok, faster.
From today, July 18, artists can access a new platform integration that should cut the time it takes to create an official TikTok Artist Account, and upload music and content.

DistroKid members can now create their official TikTok Artist Accounts directly from the DistroKid dashboard, which unlocks “a suite of artist-specific features” like a Music Tab, New Releases, By Artist, Behind the Song, Fan Spotlight, Ticketing and more.

Time is valuable. Through the new partnership, reads a statement, DistroKid members can create a TikTok Artist Account in just a few hours.

“TikTok is excited to partner with DistroKid to make it even easier for millions of artists to access powerful and easy-to-use tools to fuel their growth on TikTok, drive increased consumption of their music and grow their fanbases,” comments Jay Bae, global head of music partnership development at TikTok.

Trending on Billboard

Adds Phil Bauer, president of DistroKid: “It’s now faster than ever for any artist to create their official TikTok Artist Account directly through DistroKid, reducing the process from weeks to just hours.”

Distrokid and TikTok forged a partnership five years ago, in 2019, on an opt-in integration for independent artists, which allows any creator who subscribes to the service to submit their music to TikTok free of charge.

DistroKid members had another route to the ByteDance-owned short-video app through a deal struck that made their music available, pre-cleared, via TikTok’s Commercial Music Library.

Separately, both companies last year struck a deal which made millions of tracks by DistroKid members available on TikTok Music, its premium subscription streaming service for music that’s now in beta in five countries.

After taking itself out of the bidding for French music group and distributor Believe in April, Warner Music Group (WMG) is shopping for an alternative distribution company that could help it gain market share in the competitive space that serves independent creators and labels — and it’s hired a top music investment banker from Goldman Sachs to lead the effort.
Since taking over as WMG’s CEO last year, Robert Kyncl has said the company is prepared to build in-house the technology and services he thinks it needs. Now he’s ready to buy them as well.

“As part of our mission to be a destination for artists and songwriters at every stage of development, we are expanding our lower-touch services that many indie artists, labels and songwriters rely on,” Kyncl said on a conference call discussing WMG’s quarterly earnings on May 9. “We have a clear plan to develop this area of our ecosystem, and we’re building solutions in-house while staying vigilant about [merger and acquisition] opportunities, which could accelerate our capabilities.”

Trending on Billboard

On Thursday (June 6), WMG announced the hire of Goldman Sachs’ global head of music & live entertainment investment banking Michael Ryan-Southern to a newly created executive vp role. Reporting to Kyncl, Ryan-Southern will be responsible for acquiring companies and catalogs that can boost WMG’s growth and revenues. When he officially joins in August, the first item on his shopping list will be an independent distribution company, smaller in size and cost than Believe, that an inside source described as a “bolt-on” acquisition to help grow WMG’s market share in the independent distribution and services business without affecting its overall profit margins.

Among the companies that WMG is eyeing, according to sources, are leading independent distributors DistroKid and CD Baby. WMG is “active in the market” but is still in the exploratory stage, those sources say.

A WMG spokesperson declined to comment for this story. A representative for Downtown, which owns CD Baby, also declined to comment, except to say that Downtown “is singularly focused on continuing to grow our business and support our clients’ success.” Representatives for DistroKid did not immediately respond to a request for comment.

WMG approached Paris-based Believe in February with a nonbinding offer to acquire it at a price of “at least” 17 euros ($18.60) per share. It ultimately decided not to submit a formal offer in April. Asked why the company did not pursue an offer for Believe, Kyncl said on the May 9 call that it backed away “for a variety of reasons,” including the brief amount of time it was given to conduct due diligence.

Ryan-Southern is a former EMI publishing executive who, along with Goldman’s global head of entertainment investment banking, Aaron Siegel, was on some of music’s biggest deals. These included New Mountain Capital’s acquisition of BMI and the spinoff of Sphere Entertainment, which owns the Sphere in Las Vegas, MSG Networks and Tao Group Hospitality, from Madison Square Garden Entertainment, which owns and operates the Garden and Radio City Music Hall among other venues in New York and Chicago. Ryan-Southern and Siegal also advised Believe founder/CEO Denis Ladegaillerie and his consortium with investment funds EQT and TCV on their effort to take Believe private.

Buying or building something that can leverage WMG’s independent distribution and services division, ADA, would help the music company recruit more early-stage artists, something its executives consider core to its success.

WMG launched ADA in 1993, roughly 20 years before Sony bought a stake in The Orchard and Universal Music Group launched Caroline International as an indie-label distributor that was later rebranded as Virgin Music Group. And though WMG was the first major to carve out a presence serving the independent artist market — renting its major-label services to indies, as industry sources have described it — competition in the market has heated up.

UMG and Sony have invested tens of millions in recent years buying rival startups in the space. A minority shareholder since 2006, UMG acquired Ingrooves in 2019. In 2022, UMG acquired Mtheory Artist Partnerships as well as a 49% stake in [PIAS]. Sony closed out its full acquisition of The Orchard in 2015 and then bought AWAL in 2022.

The Orchard now holds a commanding lead in the U.S. market with a 7.27% current market share, according to Luminate. UMG’s Virgin Music Group, which comprises Ingrooves, Mtheory and Virgin Music Label & Artist Services, holds around 3.42% of the current market. ADA has a current market share of 1.68%. Its biggest client, BMG, which contributes 0.94% to ADA’s current share, is winding down its distribution agreement.

WMG now needs to “turbocharge” this part of its business to capitalize on the fast-growing independent sector, says Fred Davis, partner at The Raine Group.

“The world now is divided into three categories of artists: those signed to major labels, those signed to indie labels and indie artists without a label,” Davis says. “Distribution platforms are proving to be a viable source of A&R for the major labels.”

Focusing WMG’s A&R more on capturing opportunities, particularly in genres that are just beginning to experience growth, was one of Kyncl’s top 2024 agenda items highlighted in a New Year’s Day note he sent to all staff. In April, WMG’s publishing division, Warner Chappell Music (WCM), partnered with ReverbNation, BandLab Technologies’ premium artist services platform, to identify and sign emerging songwriters. WCM administers music rights for any users who enroll in a new program through ReverbNation Publishing Administration, and signed songwriters gain access to WCM’s services.

WMG has acquired majority stakes or launched joint ventures with a few distribution-oriented companies in recent years — some before Kyncl joined WMG — primarily in emerging markets in the Middle East and Asia. Among them: a majority stake in Africori, the leading digital music distribution, music rights management and artist development company in Africa, in January 2022. That March, it also acquired Qanawat Music, a leading distributor in the Middle East and North Africa.

Last year, WMG did two deals in India: It acquired a majority stake in Indian digital media company Divo and formed a joint venture with Sky Digital, which aggregates releases from Punjabi and Hindi labels.

While WMG has made acquisitions in other geographical regions, rival majors have bought companies serving the U.S. market for independents. “It would make sense for [WMG] to augment its distribution with an acquisition,” says a source familiar with the company’s strategy.

Leading indie distributor DistroKid has named COO Phil Bauer as its new president, the company announced Thursday (Jan. 11), where he will lead day to day operations. As part of the new leadership structure, founder and CEO Philip Kaplan is transitioning into the role of chairman moving forward. Bauer has served as COO of the […]

MNTGE, a vintage clothing brand that integrates blockchain technology into its garments, partnered with Grimes‘ Elf. Tech initiative for a limited-edition merch collaboration. The deal will encompass vintage, one-of-one NFC chip-enabled vintage t-shirts and denim jackets, screen-printed with AI graphics designed by Grimes on the back and an Elf. Tech graphic screen-printed on the sleeve. The NFC chips will provide both a digital rendering of the garment and a certificate of authenticity, as well as the ability to preview new music from Grimes by scanning the chips on a smartphone. The Grimes + MNTGE jacket retails for $200 and the t-shirt retails for $50 here.

In other Grimes-related news, CreateSafe — the company whose Triniti API powers Grimes’ Elf.Tech platform — partnered with music technology platform Slip.stream to make more than 200 GrimesAI songs available to creators and fans in their video content and live-streams on any platform. Grimes unveiled the Elf.Tech platform in beta this past May, allowing fans to create and upload songs by cloning the singer’s voice.

DistroKid struck an expanded agreement with TikTok that will make music from artists distributed by DistroKid available across CapCut and TikTok’s Commercial Music Library as well as its recently unveiled social music streaming service TikTok Music, which is now available in Brazil and Indonesia and in beta in Mexico, Australia and Singapore. This is the first time music from DistroKid artists will be available on TikTok Music.

Additionally, DistroKid partnered with digital audio workstation FL Studio to distribute works uploaded to FL Cloud — described as a new service within the FL Studio 21.2 update that will offer producers a growing library of royalty-free loops and one-shots, unlimited AI-powered mastering and unlimited music distribution to all major digital streaming platforms.

Esports company GameSquare Holdings entered into a “definitive agreement” with FaZe Holdings to acquire online gaming and youth culture brand FaZe Clan “in an arm’s length all-stock transaction,” according to a press release. The release states that FaZe Clan and GameSquare generated annual revenue of roughly $138 million and reached a 26.3% gross margin last year. “Management expects to realize over $18 million in run-rate cost savings from the FaZe Clan acquisition, supported by reduced duplicate corporate costs and other cost savings,” the release continues. The combined company plans to give guidance following the close of the transaction, after which Richard “FaZe Banks” Bengtson will take over as FaZe Clan CEO; Thomas “FaZe Temperrr” Oliveira will take over as president; and Yousef “FaZe Apex” Abdelfattah will take over as COO. The transaction is expected to close in the fourth quarter of 2023, subject in part to the approval of FaZe Clan and GameSquare shareholders.

The Circuit Group, a recently formed entity designed to create business opportunities around artists’ intellectual property, signed a strategic partnership with U.K.-based house music label Defected Records. Under the deal, The Circuit Group will offer Defected, along with its sister- and sub-labels, expertise across its suite of services to help the label build its presence in North America. In turn, Defected will support The Circuit Group as it expands its presence in the United Kingdom, Europe and other territories globally.

Defected Records also signed an agreement with Reactional Music, the maker of an interactive music engine for video games. Under that deal, Defected licensed the masters for a selection of tracks from its catalog for use on Reactional’s music delivery platform and personalization engine for game developers. Songs to be made available under the deal include cuts from Bob Sinclar, Dennis Ferrer, Kings of Tomorrow, MK and The Shapeshifters, CamelPhat, Honey Dijon and John Summit.

Michael Bublé launched Fraser & Thompson, a new whiskey brand in partnership with longtime friend and master distiller and blender Paul Cirka. The whiskey is blended and bottled by Heaven Hill in Bardstown, Ky. and will be brought to market by spirits incubator WES Brands.

Warner Music’s ADA renewed its longstanding partnership with independent label LAB Records, which has released music by artists including Tommy Lefroy, BEKA, Beach Weather, Antony Szmierek, Des Rocs, Aziya, Crawlers, The K’s, Nell Mescal and Yoke Lore.

Sphere Entertainment partnered with Madison Square Garden Sports on a deal that will see next-generation Las Vegas venue Sphere become the official jersey patch partner of the New York Knicks. The Sphere logo will now appear on all Knicks game jerseys during both home and away games in the 2023-24 season; it will also be on Knicks practice jerseys, warm-up shirts and jerseys sold at Madison Square Garden’s in-arena retail locations as well as on shop.MSG.com.

Copyright management firm Pex and its rights initiative, RME, entered a collaboration with copyright protection platform Cosynd. Under the partnership, RME’s community of creators and rightsholders can utilize Cosynd’s copyright registration API to register their works with the U.S. Copyright Office.

ASM Global struck a partnership with Adventist Health that will see the California City of Stockton’s 10,000-seat facility renamed Adventist Health Arena. Upgrades to the arena will include a new 360-degree LED center-hung, ribbon boards, back-of-house enhancements and more.

Elsewhere, ASM Global signed a deal with the City of Andover, Kans., to manage and operate the Capitol Federal Amphitheater for five years beginning on Jan. 1, 2024. It also renewed its management agreement with the Jekyll Island Convention Center in Jekyll Island, Ga. through 2029, with an option for an additional five-year renewal after that.

Audius, a blockchain-based streaming platform, launched its music marketplace in beta on Wednesday (Nov. 1), meaning that its user base — which has ranged between 4 and 7 million in recent months — can now send direct payments to their favorite artists. 

“We were a marketplace for engagement and attention,” Roneil Rumburg, co-founder/CEO of Audius, tells Billboard. “But talk to any artists — what’s top of mind for them is, ‘How am I going to pay rent next month?’ This feature allows them to make the following they have a financial asset. There’s a structure to monetize via Audius now rather than just building a fan base.”

More than 40 acts, including RAC, Matt Ox and Cheat Codes, will participate in the beta program, which Audius hopes to roll out widely in the first quarter of 2024. Artists can set prices for fans to stream a previously unreleased demo or download stems to participate in a remix competition, for example. And fans can pay artists more than that price if they’re particularly excited about an offering.

“What we heard [from users] is they were looking for a deeper way to engage with artists,” Romburg explains. He likens allowing them to tip extra on top to “the behavior pattern you see from the folks who buy vinyl even though they don’t have a record player at home — they want to support that artist.” (Users are further incentivized to support artists via a matching program: If an act sells access to a track for $1, for example, that act and the purchaser each get 1 $AUDIO tokens, which helps them gain more voting power on the community-run platform.)

Implementing a monetization option has also allowed Audius to build new bridges to the traditional music industry for the first time. “This monetization feature set saw fairly broad buy-in,” Rumburg says. The platform is partnering with DistroKid, allowing a large number of independent acts the option to put their music on Audius, and Beatport, an important hub for the dance music community. In addition, Audius is announcing its first set of label partners, a group that includes EMPIRE, Nettwerk Music, Circus Records and Anjunadeep, among others.

Rumburg cautions that “the way the deals with the labels coming on are structured, it’s not like their whole catalog gets shoved into Audius.”

“Uploading the same music that’s available everywhere else probably wouldn’t work,” he continues. “Where we’ve had the most success is when artists are sharing weird, different things that they probably wouldn’t feel comfortable sharing with their broader fan base. Something like sharing early draft versions of future content to get feedback — the most highly engaged part of the fan base loves that s—.”

But under the new deals, Romburg adds, “When content is shared on Audius that’s owned by a label, the payments will flow correctly.”

Digital distributor DistroKid has acquired Bandzoogle, a platform specializing in helping artists create websites and sell their wares to fans. Launched in 2003 and based in Ottawa, Canada, Bandzoogle powers more than 60,000 artist websites and e-commerce stores, and provides solutions for crowdfunding, subscriptions and mailing lists. “At DistroKid, we’re always working on innovative ways […]

DistroKid is all grown up, with the launch of its first-ever branded mobile app.
Initially available for iPhone, DistroKid’s app puts the independent digital music distributor’s tools at the fingertips of artists, all the time.

From today (May 4), clients can upload new releases, receive instant payment alerts, access stats from Apple and Spotify, and edit metadata, all from their devices, according to a presser.

“The number one request we’ve gotten from DistroKid members is a dedicated mobile app,” comments Matthew Ogle, VP of product at DistroKid. “With music consumption, promotion, and increasingly even music creation happening predominately on mobile, we are meeting artists where they’re at, on their phones.”

British R&B singer Xadi participated in the beta-rollout, and, in a statement, vouches that the app “felt so familiar and easy to use.”

It’s unclear when the app will be available for Android.

The DistroKid iPhone app is the latest innovation from DistroKid, which claims to distribute 30-40% of all new music in the world and, in 2021, was valued at $1 billion.

Earlier in 2023, the business pressed the button on Mixea, an AI-powered intelligent mastering tool that helps artists prep their tunes for radio.

Last year, DistroKid officially got busy in the music video space with the launch of DistroVid, which enables artists to upload an unlimited number of music videos to leading digital service providers for one flat price.

And in 2021, the rollout of Upstream, a service that would allow independent artists using the platform to share data with record labels in hopes of grabbing attention, and getting signed.

Now in its 10th year, DistroKid pays artists 100% of their earnings, and claims to have processed more than 25 million songs.