An empty stage in warm light, a single microphone on its stand, haze in the air.

Break the Signal · Nashville

ArtistOS

A fan in a bar pays to hear a song. The artist keeps the money and gets the fan's name. Then we hand them everything needed to do something with it.

01 What it is

Two halves of one company.

TipSee: The front door. A QR code in a bar. Fans pay to request songs, tip and send shoutouts. Live today with artists in four cities. A granted US patent.
ArtistOS: Everything after. The artist's site, fan database, campaigns, merch, ticketing, booking and money — one system, built, seventy-four screens deep.

TipSee gets the fan's name. ArtistOS is what turns that name into a career. Neither company can build the other's half.

01b The company

One enterprise, three layers the music business does not have.

The data: The first verified record of what happens in a room. Who played, where, to whom, and who paid. The industry runs this on self-reporting and estimates today.
The tools: An AI front office. The week's posts with the artwork, the press pitch, the release plan — finished work approved in one tap, not advice.
The money: Sponsorship nobody could sell before. Hundreds of small rooms aggregated into one verified, addressable, redeemable media buy.

Capture the moment, tool the career, sell the audience. Each layer makes the next possible, and nobody owns any of them today.

02 How it works

Five steps, one night, and it starts over tomorrow.

1A fan scans a code on the tableNo app, no signup. The artist's live setlist opens in two seconds.

2They pay to hear a songThe artist sets the price. Free Bird costs more than a deep cut.

3The artist plays it and marks it playedMoney splits to the band automatically. We never hold the funds.

4The fan's name lands in the artist's databaseWith consent, attached to the venue, the song and the night.

5Six weeks later that fan buys a ticketBecause the artist could finally email them.

03 The product

Free Bird costs
a hundred dollars.

Fan view: the live setlist with a tip price beside each song — Dream On $20, Free Bird $100, Tennessee River $20 — plus shoutout and custom request. — The fan · no app, no signup

Artist view: $275 earned tonight, four in the queue, a boosted $100 Free Bird request marked VIP, a $50 birthday shoutout and a $25 bachelorette shoutout, each with a mark-played action. — The artist · on stage, mid-set

The artist sets the price per song, marks it played, and the band splits automatically. $275 on a Tuesday — and every one of those payments arrives attached to a name.

04 The problem

A band plays to a hundred and fifty people and walks out knowing none of them.

Cash in a jar. No list, no record, no proof they were ever there. Tomorrow they do it again, and it accumulates into nothing.

05 What the artist gets

Everything a career runs on, in one place they own.

The Insights room: revenue with tabs for overview, costs and runway, payouts, funnels and goals, and stat tiles labelled as computed from the purchases ledger. — Insights · your ledger, not a platform dashboard

The Audience room: your fans, owned, with segments, rewards and reach-out tabs and QR capture setup. — Audience · followers disappear, these fans are yours

Their website, the fan list, campaigns that write themselves, merch, ticketing, booking, tour advancing, releases, press and the money. The manager, agent, publicist and band all work in the same system — and every row belongs to the artist, forever. An AI front office runs it: Mona on management, Cash on social, Paige publicist, Vera booking, Mick merch, Roy royalties — finished work in the artist's voice, approved in one tap. It replaces nine subscriptions costing $300 to $800 a month, none of which talk to each other.

06 The ladder

The artist never has to leave.

Tonight: Bar. A fan pays $20 to hear a song.
Next: First ticketed show. That list becomes the presale.
Then: Touring. Routing, advancing, merch, settlement.
Arena: Fan-powered encores, VIP, sponsorship.

Every night adds to a verified record of rooms played and draw by market. Two years in, leaving means abandoning the proof.

07 The customer

$21,300

Median annual music income for a US musician. Sixty-one per cent say it does not cover living expenses. Every company built for this customer has died trying to charge them.

08 The model

The artist is the user. The artist is not the payer.

Capture — free: Tips and requests. Competitors give it away and processing eats 4.4%.
Roster: Management companies. One contract, hundreds of artists.
Venue: Which act actually drives bar spend. Nobody has ever known.
Commerce: Merch, drops, tickets, VIP. Real margin, not a commodity.
Sponsorship: Verified, addressable, aggregated.

09 Where the margin is

The live business makes its money selling access, not tickets.

Concerts 4.8%

Ticketing 38.8%

Sponsorship 67.1%

Live Nation operating margin by segment, Q2 2026.
Concerts grew 8% in revenue and lost 14% of its profit.

Sponsorship is six per cent of concert revenue and delivers eighty-three per cent as much profit. Below the superstar tier it barely exists, because a brand cannot do three hundred deals with three hundred bar bands. Aggregation is the unlock.

10 Why this gets big

Nobody has ever measured the room.

"All PROs who responded reported that they use proxy or survey data for royalty distributions, most often for performances at smaller live performance venues." United States Copyright Office
Letter to the House Judiciary Committee · 20 November 2025

11 The landscape

Everyone owns one piece. Nobody owns the chain.

Who exists

PickleJar, Tiply, Rekwest, mySet — the tip jar. The moment, no system, and two of them give it away free.

Laylo — artist CRM. $8M raised, marquee artists, nothing disclosed since 2022. Reach, no capture.

Bandsintown — fan discovery, $274/mo for venues. Intent, not money.

Prism, Muzeek, Gigwell — booking workflow for people who already book.

atVenu — $2B of merch processed. Ops for touring acts, nothing below the club.

Who died, and how

Sessions — made tipping the revenue. Gone when the spike ended, owing artists money.

Rival — $30M+, a former Ticketmaster CEO, never sold a single ticket.

Songkick — $61M. Won an antitrust suit against Live Nation and still lost.

Jaxsta — 240M credits. "The current model does not scale."

Muzeek — $739,000 after ten years of charging artists.

Nobody here dies of competition. They die of transaction volume that never arrives, and of charging a customer with no money. And not one of them holds both the capture and the career.

12 Why us

Twenty years inside the machine, and a granted patent.

The patent: US 12,511,587 B2, granted 30 December 2025. Twenty-two claims.
The rooms: Sony Nashville, Universal Nashville, Geffen, the Hall of Fame.
The artist: Eight years on Tim McGraw. Soul2Soul, $100.3M gross. A Clio.
The receipt: Music City Rodeo, nothing to $4.1M in year one. Three Bridgestone sellouts.
The build: A shipped capture product in four markets. Seventy-four rooms already written.

13 Honestly

What is not true yet.

No transactions: The platform is built, coherent and unsold. Three switches stand in the way.
A narrow claim: Granted claim 1 charges before performance and recites no verification.
Unproven audio: We ship artist-confirms. Audio recognition stays on the roadmap.
Merch unmeasured: No public data exists below 500-cap. We will measure before we model.
Slow rosters: Every artist is a veto point. Two quarters, not one month.

We would rather you heard these from us.

14 The ask

Saturate one street. Then every street.

Raising: $2.5M on a SAFE
To reach: 25 venues in one city
Proving: One artist, bar tip to ticketed show, same fan record
Runway: Eighteen months

Density is what makes the record valuable. Four cities of scattered artists never gets there. Nashville has more live venues per capita than New York or Tokyo.