Radio used to decide what the world listened to. Now the feed does — and the artists who understood it first are paying clippers, not stations.
Around Justin Bieber's Coachella sets, paid clip campaigns turned every on-stage moment into thousands of short videos. The week that followed, his catalogue hit 664 million streams — and a track from 2012 climbed back to #1 worldwide.
No new single, no new video — just old songs put back in front of a new generation, fifteen seconds at a time.
For '$ome $exy $ongs 4 U', Drake and PartyNextDoor made the offer public: $0.70 per 1,000 views for anyone clipping the album. The album debuted at #1 and passed a billion streams on Spotify.
The budget logic is striking: at that rate, a hundred million views of promotion costs what a mid-size radio campaign used to — with an audience that actually presses play.
Songs are discovered in moments now: a hook behind a meme, a live snippet, a dance. Every clip is a radio spin that carries the song straight into a listener's feed — and unlike a spin, it stays online and keeps playing.
It works on catalogue too. Clipping doesn't just launch releases; it resurrects them.
The takeaway
Week-one reach is now a line item, not a lottery. A clipping campaign decides how many feeds your release lands on — before it drops.
Book a call and we'll map out a clipping campaign built for your content — and your goals.