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It initially sought to join forces with venues, labels, and other curators to promote the events of worthwhile artists, largely through what they call a “high quality, legal video library of concerts.” Adele found an early home in venues they now stream from, according to Kotliar.“We started out as a platform for globally discovering new talent,” he told me recently.For those who make music, however, it’s more than vanity: it’s a livelihood.

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“We’re a platform to start the conversation,” Kotliar said.The music industry, by contrast, is often seen as glamorous.According to many of my sources in the investment world, the music business holds a very specific appeal for VCs.Still, whether or not the motives are passionate or opportunistic, what can these investors—and what can a company such as Livamp—truly offer?Here I was told that what they can offer is a two-pronged approach toward career sustainability: funding for the manufacturing of a product (i.e., financing studio time and distribution models for specific projects) and funding for PR—PR being “a big bucket, amorphous term,” as Kotliar said, though roughly comprising, “a ten thousand dollar PR campaign which encompasses radio plugging.” Here I pounced, throwing everything I knew about the payola laws at Kotliar, basically to enforce the idea that you can’t promise an artist radio play in the United States.

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