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Create Music Group

Create Music Group is an independent American music and technology company headquartered in , , founded in 2015 by Jonathan Strauss and Alexandre Williams. The company specializes in music distribution, publishing, rights management, and data analytics, empowering independent artists and labels to maximize revenue while retaining creative control and ownership. Under CEO Jonathan Strauss, Create Music Group has grown rapidly by leveraging advanced technology to identify and recover unclaimed royalties, reportedly uncovering $60 million for clients in its first three years. Its services include global , sync licensing, A&R support, , and real-time earnings analytics, serving a diverse roster that spans emerging talents to established acts. Key expansions include the 2022 acquisition of agency VRTCL and the 2025 acquisition of the indie electronic label , enhancing its capabilities in digital strategy and genre-specific expertise. In June 2024, the company raised $165 million in funding at a $1 billion valuation. The company has earned recognition as one of the fastest-growing private firms in the U.S., ranking second on the 2020 Inc. 5000 list—the highest position ever for a music company—and continues to prioritize innovation in artist monetization amid the evolving digital music landscape. Notable recent signings, such as the reggae rock band Sublime in 2025, underscore its role in revitalizing legacy acts through modern distribution and promotional platforms.

Overview and Founding

Founding and Early Development

Create Music Group was established in 2015 as CreateTV, initially focusing on collecting unclaimed YouTube ad revenue for independent artists in the electronic dance music (EDM) and hip-hop genres. The company targeted overlooked monetization opportunities on platforms like YouTube, where viral tracks often went unclaimed due to unauthorized uploads, using proprietary software to identify and recover royalties for creators and labels. Founders Jonathan Strauss and Alexandre Williams drove these early YouTube revenue recovery strategies from a rented house in Lake Hollywood. Based in , , CreateTV operated with a small team and quickly expanded its services beyond mere revenue collection. The company transitioned to the name Create Music Group, emphasizing growth in to support artists across multiple streaming platforms. This shift allowed it to monetize content on over 100 platforms, recovering millions in previously unclaimed earnings for clients. By January 2019, Create Music Group was monetizing approximately 9 billion streams per month, demonstrating the scale of its early digital operations. This foundational expansion led to its recognition as one of Inc. Magazine's fastest-growing private companies in 2020, ranking No. 1 in based on revenue growth from its initial YouTube-focused model.

Founders and Leadership

Create Music Group was co-founded in 2015 by Jonathan Strauss and Alexandre Williams, who leveraged their expertise in and content distribution to establish a YouTube-focused venture aimed at recovering unclaimed revenue for artists and labels. Wayne Hampton joined as a third co-founder in 2016, bringing industry connections to expand the company's reach into key music genres. This leadership trio's combined backgrounds in technology, operations, and business development have shaped the company's digital-first strategy, emphasizing efficient and artist scaling. Jonathan Strauss serves as CEO and co-founder of Create Music Group. With a background in from UCLA and early experience in , Strauss developed rendering solutions for film production using RED camera technology, generating over $1 million annually during his university years. His prior ventures in and informed the company's initial focus on algorithmic revenue recovery from YouTube's (CMS), where Create Music Group quickly monetized content to deliver $250,000 monthly to clients within six months of launch. Strauss has driven the evolution of the leadership structure by securing strategic investments, such as $35 million in debt financing during the , to pivot toward comprehensive label services while maintaining a digital-centric approach. Alexandre Williams acts as COO and co-founder, overseeing operational scaling and artist relations. Growing up alongside Strauss in Palos Verdes, California, Williams gained hands-on experience in music distribution as a content manager at Label Engine from December 2013 to September 2014, where he managed client rosters and integration. Following the 2016 acquisition of Label Engine by Create Music Group, Williams expanded artist onboarding processes, incorporating data from platforms like to streamline revenue collection and support operational growth. His contributions have been pivotal in transitioning the company from a niche YouTube monetization service to a broader ecosystem handling billions of streams monthly. Wayne Hampton holds the position of and co-founder, focusing on and strategic partnerships. A veteran in the R&B and sectors, Hampton previously worked with HitCo Music Publishing and , building expertise in artist management and genre-specific outreach. Upon joining in 2016, he evangelized Create Music Group's services to and R&B communities, exponentially growing the client base through targeted signings and joint ventures, such as the 2025 partnership with Ty Dolla $ign's EZMNY Records. Hampton's efforts have solidified the company's position as a key player in these genres, influencing the leadership's emphasis on culturally attuned expansion.

Business Operations

Core Services

Create Music Group's primary revenue-generating services revolve around music , which enables artists and labels to and distribute their tracks to major digital platforms such as , , and , facilitating global monetization through streaming and sales. This service covers over 100 digital stores, allowing creators to reach audiences worldwide while retaining control over their releases. In publishing administration, the company handles royalty collection—including performance, mechanical, and royalties—synchronization licensing for media placements, and global rights management to ensure comprehensive administration of publishing assets across territories. These efforts aim to maximize by identifying and collecting revenues from various sources on behalf of clients. Data tools provide artists with real-time insights into , , and audience demographics, empowering data-driven decisions for and release strategies. The integrated model combines and to optimize creator , including of unclaimed revenue from every stream, listen, and view on platforms like and . This approach has scaled to support over 75,000 artists and 5,000 labels as of 2024, with the company having delivered more than $200 million in unclaimed royalties to clients as of 2021.

Products and Technology

Create Music Group has developed several proprietary platforms and tools to streamline music distribution, rights , and artist support, leveraging data-driven technologies for operational efficiency. Central to its offerings is the Label Engine, a comprehensive designed for that enables users to upload tracks to over 100 digital stores including , , and , while handling royalty splits through point-and-click processing of statements and payments to artists. This platform also provides analytics reporting with insights into listener demographics and performance metrics. Complementing Label Engine is the Client Portal, a user-friendly interface accessible via web and that allows artists to monitor earnings, , and contract specifics such as advances and fees. The portal offers detailed analytics including 60-day trends, top-performing countries, and track-by-track breakdowns, ensuring transparent payments processed within 48 hours of digital service provider receipts. These features support core distribution services by providing artists with immediate visibility into their assets' performance across platforms. For promotional efforts, Flighthouse Media serves as an integrated tool and content studio, focusing on campaigns tailored for platforms like and targeting Gen Z audiences through creative content production and influencer partnerships. Acquired by Create Music Group, it bridges distribution with marketing by tracking campaign reach and engagement, as seen in its expansion to sports-focused content under Fieldhouse to enhance music promotion. Yoon Digital functions as the company's video rights management and licensing arm, utilizing a proprietary Micro Content Claiming System (MCCS) to complement YouTube's for detecting and monetizing copyrighted material in user-generated videos. This system, supported by a team of over 100 specialists, enables precise claims on viral content, licensing to meme creators and networks, and optimization of release strategies through performance advising and revenue maximization. Overall, Create Music Group's technological backbone emphasizes tracking and protection, powering transparent royalty distribution without reliance on emerging technologies like .

Growth and Acquisitions

Expansion Milestones

Create Music Group's expansion gained significant momentum starting in 2020, marked by high-profile distribution successes that elevated its profile in the music industry. A pivotal milestone came with the release of and Nicki Minaj's "Trollz" on June 12, 2020, which debuted at number one on the , marking the first such achievement for a Create-distributed track and demonstrating the company's growing influence in mainstream . This success helped solidify Create's role as a key player in , contributing to its rapid scaling during the pandemic era. Building on earlier revenue recovery efforts, where the company reclaimed $60 million in unclaimed royalties for artists and labels over its first three years of operation by 2018, Create expanded its capabilities to handle billions of monthly. By mid-2025, this had grown to 30 billion per month across platforms, reflecting a substantial increase in processed content and artist payouts driven by enhanced tools. These achievements underscored Create's focus on recovering and optimizing in a fragmented digital landscape. The company's post-2020 growth was further validated by its number two ranking on the 2020 Inc. 5000 list of fastest-growing private companies in , with nearly 47,000 percent three-year revenue growth, making it the highest-ranked music company ever in the top five. This recognition highlighted Create's operational scaling, including its transition from a YouTube-focused monetizer to a broader digital services provider. Acquisitions during this period served as accelerators, integrating new catalogs and technologies to fuel further expansion. Global outreach intensified with the establishment of offices across four continents, extending beyond its Los Angeles headquarters to support international operations in , , and . Strategic partnerships with regional platforms enhanced distribution reach, enabling Create to serve diverse markets and facilitate cross-border artist development. This infrastructure supported a pivot toward a full-service entertainment network, incorporating media production arms for , recording services, and strategies tailored to independent creators. By 2025, these initiatives positioned Create as a comprehensive for empowerment, blending with creative resources.

Key Acquisitions

In 2016, Create Music Group acquired Label Engine, an distribution platform founded in 2008, to strengthen its internal capabilities in label management and . This move allowed the company to transition into a full-service distributor, handling client catalogs such as those from Insomniac Records, and process royalties exceeding $250 million through Label Engine's features. The acquisition enhanced Create's distribution infrastructure, enabling it to monetize over 6 billion music streams monthly by integrating Label Engine's tools for artist and label services. In June 2022, Create acquired VRTCL, a agency founded in 2019, specializing in promotion, particularly on . The acquisition bolstered Create's digital marketing capabilities, allowing for integrated strategies to drive viral success for artists and labels. VRTCL's expertise in influencer partnerships and content creation complemented Create's distribution services, contributing to enhanced promotional reach. In November 2024, Create Music Group acquired Ostereo, a Manchester-based and founded in 2016. The deal expanded Create's presence in the UK and music scenes, adding Ostereo's roster and publishing focused on data-driven development from global territories. This acquisition supported Create's growth by integrating Ostereo's tools and pipeline. On March 5, 2025, Create Music Group purchased the catalog of (Joel Zimmerman) and his label in a deal valued at over $55 million, marking a significant expansion into rights and . The transaction encompassed and rights for more than 4,000 songs, including iconic tracks like "Strobe" and "," while establishing a for future releases from and artists. This acquisition diversified Create's portfolio into high-value electronic catalogs, leveraging 's established roster to bolster long-term revenue from streaming and sync opportunities. In April 2025, Create acquired !K7, a longstanding and publisher founded in 1985 by Horst Weidenmüller. The acquisition added a catalog of influential music, including artists like and , enhancing Create's holdings shortly after Weidenmüller's death in February 2025. This move strengthened Create's position in music distribution and publishing. Create Music Group further grew its music holdings by acquiring , a prominent label founded in 2011, on May 6, 2025, adding over 8,000 recordings from artists such as and . The deal provided Monstercat with access to Create's global distribution network, media assets, and $50 million in pledged investments over two years for artist development and promotion. Post-acquisition, Monstercat's assets were integrated into Create's analytics and infrastructure platforms, enhancing data-driven artist support and expanding distribution reach across electronic genres. These acquisitions reflect Create's strategy to enhance distribution capabilities through Label Engine and VRTCL while diversifying into lucrative and electronic catalogs via Ostereo, /, !K7, and , contributing to its broader expansion in the music industry.

Artists and Roster

Notable Signed Artists

Create Music Group has signed several prominent artists, particularly in and R&B, leveraging its distribution and services to amplify their reach. One of the company's earliest high-profile signings was rapper (Daniel Hernandez), who inked a long-term deal in September 2018 as the inaugural artist to Create's newly launched division. This multi-million-dollar agreement included advances and positioned Create to manage a significant portion of 6ix9ine's royalty streams. The partnership extended to distribution, notably for the 2020 single "Trollz" featuring , which debuted at number one on the with 116,000 units sold in its first week and amassed over 187 million streams. This release contributed to Create's growing revenue from chart-topping tracks. Another key long-term partner is rapper (Jamell Demons), with Create handling distribution for multiple albums and s since 2017. Notable releases include the 772 Love and the breakout "," which exceeded 1 billion streams and earned double-platinum certification from the RIAA in 2019. The 2019 album further solidified this collaboration, generating substantial streaming royalties that aligned with Create's expertise in monetizing over 12 billion monthly streams across its roster. These partnerships have directly boosted Create's financial impact. Beyond these marquee names, Create has signed emerging and acts that benefit from its data-driven promotion and monetization tools. In , recent additions include Stockton-based rapper EBK Leebo for his gritty storytelling releases and RJ Pasin, whose viral track "Lobster" led to a 2025 signing with Create's imprint broke/Isekai Records. In , Texas producer RADDIX joined in June 2025, gaining access to global distribution channels. Earlier signings like rapper and producer GooseTheGuru from 2018 highlight Create's focus on up-and-coming talent. In September 2025, multi-platinum R&B artist signed a record deal, paving the way for new solo projects and underscoring Create's appeal to established acts seeking flexible, tech-enabled support. In June 2025, signed with Create Music Group for future releases. In July 2025, reggae rock band signed with Create, releasing their first original single "Ensenada." Create's contract structures typically emphasize shares—often 50% or more in deals—combined with upfront advances and equity-like stakes in future earnings, tailored to artist needs. This model, paired with data analytics for targeted , has enabled signed artists to maximize streams and , contributing to the company's valuation exceeding $1 billion by 2024. For instance, 6ix9ine's deal exemplified this by integrating with to capture revenue from high-volume releases like "Trollz."

Distributed Labels and Partnerships

Create Music Group distributes music for Insomniac Records, a prominent label, facilitating the release of tracks for festivals and streaming platforms through its Label Engine platform. This non-exclusive distribution agreement allows Insomniac to leverage Create's global reach while retaining operational control, supporting the label's focus on high-energy releases from artists like and SLANDER. In the hip-hop and R&B space, Create Music Group has established joint ventures with independent imprints such as , originally co-founded by , providing worldwide distribution, technology, and marketing services to revive classic releases and launch new projects. Similarly, partnerships with EZMNY Records, co-founded by Ty Dolla $ign, and Pack Records emphasize revenue-sharing models for future outputs, enabling these labels to integrate Create's analytics tools for data-driven release strategies and fan engagement. Create Music Group acquired the catalogs of electronic music deadmau5 and his label in a deal valued at over $55 million in March 2025, forming a for future releases. These arrangements have resulted in joint releases, such as expanded compilations and collaborations, with revenue models that split earnings based on usage metrics to ensure equitable growth for all parties. Create Music Group's collaborations extend to platforms like through its Yoon Digital division, enhancing enforcement by combining YouTube's system with proprietary micro-claiming technology to protect distributed catalogs and monetize . This integration supports label clients by providing real-time analytics on video usage, enabling proactive rights management and additional revenue streams from viral placements across independent imprints and labels.

Legal Issues and Controversies

Cinq Music Lawsuit (2022–2023)

In September 2022, Cinq Music Group filed a lawsuit against Create Music Group in Los Angeles Superior Court, seeking no less than $200,000 in damages over alleged false copyright infringement claims related to the 2016 track "I'm Sorry" by the artist Swell. The suit, which was subsequently removed to the U.S. District Court for the Central District of California (Case No. 2:2022cv07505), accused Create of intentionally interfering with Cinq's contractual relations by issuing YouTube Content ID claims against the track, thereby blocking Cinq's ability to monetize it on the platform. Cinq alleged that these actions began in June 2020 and resulted in unauthorized revenue collection by Create, despite Cinq holding valid rights through a January 2017 sample clearance agreement between Swell and Shiloh Dynasty, whose vocals were sampled in the song. The complaint included claims of intentional interference with contractual relations, intentional interference with prospective economic relations, and negligent interference with prospective economic relations. Create Music Group denied the allegations, asserting that its claims were made to protect the rights of Shiloh Dynasty, whom it represented, and maintained that it had not engaged in any improper conduct. The case proceeded in federal court, where Create filed a motion to dismiss the state- claims. On January 31, 2023, the court granted the motion, finding the allegations insufficient to state viable claims. Subsequently, on February 16, 2023, U.S. District Judge Josephine L. Staton entered a final judgment dismissing the entire case with prejudice in favor of Create, thereby clearing the company of liability and barring Cinq from refiling the same claims. The lawsuit emerged amid broader industry scrutiny of Create's YouTube monetization practices, as detailed in a September 2022 investigation that reported widespread criticism from artists, labels, and executives. Sources described Create as aggressively filing claims on videos without legitimate ownership, leading to public backlash including artist complaints on about unauthorized revenue diversions and erroneous takedowns. One industry executive noted that "artists tell us they’ve never done any business with Create, but [the company] keeps asserting ownership," highlighting concerns over the lack of oversight in 's royalty system.

Artist Publishing Group Lawsuit (2025)

On January 21, 2025, Artist Publishing Group (APG), along with affiliates , Inc. and Release Global, LLC, filed a lawsuit against Create Music Group, Inc. and related entities in the U.S. District Court for the Central District of , alleging willful and with contractual relations. The complaint seeks $30 million in damages, claiming Create engaged in a pattern of "brazen thievery" by poaching APG-signed artists and unlawfully exploiting their works. APG accuses Create of uploading unauthorized versions of APG-administered songs to platforms like under fictitious labels, filing fraudulent copyright claims to monetize the content, and inducing artists to sign invalid contracts that undermine existing APG agreements. Specific allegations include Create's distribution of plagiarized recordings and collection of royalties from works it did not own, affecting multiple artists in APG's catalog. The suit details one count of direct against all defendants and one count of vicarious infringement against Create as the primary facilitator. Following the filing of a first amended on April 8, 2025, Create filed a motion to dismiss, which was denied after a hearing on May 27, 2025. In response, Create Music Group denied the allegations, describing them as "legal theatrics" and asserting that its practices are legitimate, innovative, and focused on benefiting artists. On June 17, 2025, Create filed an answer and counterclaim, later amended on July 8, 2025, challenging APG's claims and accusing the plaintiffs of similar competitive tactics. A scheduling conference held on June 9, 2025, resulted in a pretrial-trial order advancing the case, with referral to . Mediation efforts culminated in a report on July 18, 2025, indicating partial resolution of the case, though proceedings continue for unresolved issues as of November 2025. The lawsuit has drawn significant industry attention, echoing prior disputes like the 2022–2023 Cinq Music case against Create, and highlighting tensions in digital music distribution and artist representation. Coverage in outlets such as and Music Business Worldwide has amplified concerns about ethical practices in services, potentially influencing perceptions of Create's amid its growth.

"Fuk Sumn" Sample Lawsuit (2025)

In 2024, Create Music Group was named as a in a lawsuit filed in the United States District Court for the Western District of , alongside Ty Dolla ign, [Kanye West](/page/Kanye_West) (Ye), and Yeezy Record Label LLC, concerning the track "Fuk Sumn" from the [album](/page/Vultures_1) *Vultures 1* by [Kanye West](/page/Kanye_West) and Ty Dolla ign. The plaintiffs, including members of the group (such as Ronnie Wade Jr., also known as DJ Squeeky, and others), alleged that "Fuk Sumn" unlawfully incorporated samples from their 1994 song "Drink a Yak (Part 2)" without proper authorization or compensation, describing the use as "blatant" and "brazen" of vocals and elements at the track's outset. Create Music Group's involvement stemmed from its distribution role through its subsidiary Label Engine, which had handled the release of lead singles from Vultures 1 and was implicated in the album's broader dissemination. The suit further claimed improper clearance processes, noting that despite multiple unsuccessful attempts by Ye's representatives to negotiate licensing for the sample, the track was released without resolution, leading to disputes over royalty distribution for the sampled material. Create's division was highlighted in court documents for its management of rights related to Dolla $ign's contributions, including potential oversight of publishing royalties tied to the disputed elements, though specific liabilities were contested. Plaintiffs sought , injunctive , and accounting of profits from the unauthorized use, emphasizing failures in standard industry protocols for sample approval and payment. By July 30, 2025, a preliminary was reached between the plaintiffs and both Ty Dolla $ign and Create Music Group, with terms kept confidential and expected to finalize within 30 days, effectively removing Create from the ongoing case. The agreement did not extend to or Yeezy Record Label LLC, allowing claims against them to proceed. This resolution underscored Create's limited exposure compared to primary artists but drew attention to its publishing arm's role in rights management during distribution disputes. The lawsuit contributed to discussions on sample clearance practices in , illustrating how digital distribution platforms can amplify risks of uncleared usage and complicate royalty allocation in collaborative projects, particularly when involving independent distributors like Create. It exemplified a pattern of 2025 legal challenges for Create amid rapid industry growth.

Reception and Impact

Industry Recognition

Create Music Group earned significant industry acclaim in 2020 when it was ranked No. 2 on magazine's 5000 list of the fastest-growing private companies in , marking the first time a music company achieved a top-five position. This recognition highlighted the company's explosive growth, with revenue surging from $133,000 in 2016 to $28 million in 2018, driven by its innovative approach to . The company's efforts in revenue recovery also drew praise, particularly for reclaiming $60 million in unclaimed royalties for artists and labels over three years by 2018, transforming overlooked streams into substantial earnings. covered Create Music Group's pioneering YouTube royalty collection and stream monetization strategies, noting how the firm evolved from a specialist in unclaimed digital revenue to a key player handling billions of streams monthly, benefiting over 10,000 artists. In 2025, following key acquisitions, Create Music Group received multiple nods from , including placements on the Indie Power Players, R&B/ Power Players, Power Players, and Global Power Players lists, underscoring its expanding influence in ecosystems. The integration of , an label, was welcomed by label leadership as uniting two artist-centric platforms to enhance global innovation in electronic music and gaming soundtracks, while receiving mixed reactions in some communities. Artists have commended Create Music Group's emphasis on earnings transparency and growth support, with features like daily revenue reports from platforms such as , , and providing real-time insights into streams and payouts, enabling creators to track and optimize their income effectively. This artist-first model, which includes immediate royalty access via tools like the Create Carbon , has been highlighted as a for empowering independent musicians in a fragmented streaming landscape.

Criticisms and Public Perception

Create Music Group has faced accusations of employing aggressive tactics in filing claims on , resulting in widespread artist demonetization issues from 2022 to 2023. A investigation revealed that over a dozen executives, managers, and lawyers reported instances where asserted over without legitimate , often exploiting delays in rights registration to collect unclaimed royalties. For example, artists experienced blocked on their videos, with some royalties withheld or not promptly repaid after disputes arose, exacerbating frustrations in an already error-prone platform backend. Following the 2022 Cinq Music , which was dismissed in Create's favor in February 2023, Create encountered heightened backlash, with users and artists voicing concerns over allegedly exploitative terms that favored the company's revenue recovery at the expense of creators' earnings. These criticisms amplified perceptions of unfair business practices, including opaque deal structures that complicated artists' access to their own streams and royalties. In 2025, public scrutiny intensified amid the (APG) lawsuit, where artists and industry observers alleged aggressive poaching tactics by Create, such as offering misleading YouTube monetization incentives to lure talent away from existing deals. APG specifically claimed that Create signed "bogus contracts" with its roster, undermining artist relationships and interfering with established agreements. Additionally, in 2025, Create was named in a lawsuit over unauthorized samples in the track "Fuk Sumn" by Ty Dolla $ign and , further fueling debates on sampling and rights clearance in the industry. These developments fueled broader discussions on ethical artist recruitment in the digital era. Public perception of Create Music Group remains mixed: it is often praised for democratizing music distribution by empowering independent artists and labels through innovative tools like real-time royalty access and global reach, as highlighted in the 2025 Monstercat acquisition where founders commended its focus on artist innovation. However, the company has drawn criticism for opacity in royalty splits and rights management, contributing to ongoing debates about digital gatekeeping in the indie music ecosystem. Legal disputes have further amplified these views, positioning Create as a disruptive force that challenges traditional structures but risks alienating creators through perceived overreach.

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