eResonate
Why Now
The first live music social network
The feed stopped
being human.
being human.
The demand for something real did not.
Social 1.0
AOL — dial-up communities. Small, slow, and unmistakably people.
Social 2.0
Facebook — the engineered feed. Built for engagement, now exhausted and under court order to change.
Social 3.0
eResonate — real connection, around a live performance no machine can fake.
Case one · US et al. v. Live Nation
Liable on all counts.
Remedy: 2029.
Remedy: 2029.
2026
jury verdict, April
2027
remedies may begin
2028
appeals
2029
earliest resolution
Meta · the settlement
One of them
actually landed.
actually landed.
Los Angeles · earlier this year
$6 million
The first jury to hold platforms liable for youth harm. Meta and Google, one family, Meta carrying 70%.
Oakland · settled 26 August
Up to $18 billion
29 states. Four days of trial before Meta settled, agreeing to daily time limits, overnight blocks and an end to like counts for under-18s.
The pattern
Courts can move fast.
Just never toward a stage.
Just never toward a stage.
Case
Outcome
What a 150-cap stage gets
US v. Live Nation
Plaintiffs won
Nothing before roughly 2029
FTC v. Meta
Meta won
Nothing — on appeal
Kadrey v. Meta
Meta won
Nothing — training continues
Los Angeles
Plaintiffs won
$6M, to one family
Oakland, 26 August
Settled, up to $18B
Time limits on Instagram
Meanwhile · supply
196 stages went dark
while we counted them.
while we counted them.
About 150 US venues closed last year. Fewer than four in ten independent venues described themselves as profitable.
Meanwhile · the shelf
Half of all new music
is now generated.
is now generated.
a performancea training set
Over 50% of daily uploads to Deezer are AI-generated — about 90,000 tracks a day. Fewer than 1% of artists on Spotify clear $10,000 a year.
Why this has never worked
No artists without stages.
No stages without artists.
No stages without artists.
Sign up venues
→
to attract artists
→
to attract venues
↻
Every attempt to fix live music began by asking venues to sign up. Every one stalled in the same place.
What changed
16,543 stages.
Already built.
Already built.
One dot per fourteen stages. The cold start is already paid for.
The offer
100% to the artist
and the venue.
and the venue.
ARTIST
VENUE
they set the split themselves, per showeResonate takes 0%
We take none of the performance revenue. We earn on the network around the show — never on the show.
The team, this year
Assembled now.
Available now.
Available now.
Jerry Nettuno
Chief Executive
Founded Schedulicity. His former team, in Bozeman, was let go by the acquirer — and is available.
Jeffrey Yapp
Chairman
President at 20th Century Fox. EVP at Viacom leading MTV, VH1 and CMT. Global brand marketing at PepsiCo.
Gary Kucher
Founder
CEO of two-time Academy Award-winning Manex Entertainment. Two Madison Avenue agencies.
Adam Blazer
Chief Streaming Officer
Founded Livit, whose patented streaming platform we acquired. Built JLTV to 60M+ homes.
Why now
The incumbents are
litigating. We are
already live.
litigating. We are
already live.
The stages are going dark. The shelf is flooding. And the one thing none of it can generate is a person playing on a stage, on a night, for people who chose to be there.
The opportunity
Three curves
crossed at once.
crossed at once.
↓
Artist pay
Recorded streaming pays emerging artists roughly $3 per 1,000 streams. The economics no longer support a working musician.
↑
Premium ad demand
Cookie deprecation and the brand-safety crisis have advertisers hunting brand-safe, cookie-free inventory. Live music is precisely that.
↑
Live pricing
Live-sports and live-event CPMs rose double digits through 2024–25 while scripted and general video fell.
The last wave died
They were ticket windows.
We’re a network.
We’re a network.
Mandolin
Raised $17M. Ceased operations April 2023.
Sessions
Folded.
StageIt
Folded.
Moment House
Sold quietly to Patreon, 2023.
All of them sold paywalled, one-off events. When touring returned the paywall had no reason to exist — and fans had nowhere to stay.
The moat
They can’t copy it without
breaking their own P&L.
breaking their own P&L.
Spotify, Twitch, YouTube
Have to tax the creator to survive. Their P&L is the split. Matching us means dismantling their own model.
Live Nation
Monetises gates and buildings it owns. Veeps, its platform, is ticketed and venue-owned. Our supply is the thousands of stages they don’t own.
What compounds
Every installed venue is exclusive, recurring inventory — and the between-show social graph is the retention layer none of them have.
Fifty years in the business
“A club sells three hundred tickets.
That is the ceiling.
It was the ceiling in 1980
and it is the ceiling now.”
That is the ceiling.
It was the ceiling in 1980
and it is the ceiling now.”
Doc McGhee · KISS, Bon Jovi, Mötley Crüe
The flood has no audience
Supply exploded.
Demand did not follow.
Demand did not follow.
AI share of uploads
>50%
AI share of streams
1–3%
And most of that sliver is detected as fraudulent and demonetised. Ninety thousand tracks a day, and almost nobody is listening.
Whose music trained it
The labels settled.
The musicians did not.
The musicians did not.
The settlements
Universal and Warner both settled with AI music firms over the recordings used to train them. Sony has not, and is pushing to trial.
The union
In June the American Federation of Musicians sued Universal and Warner, claiming the performers on those recordings are owed a share.
The independents
Artists distributing through DistroKid or TuneCore had nobody at the table. Their case is a proposed class action.
What that makes scarce
Provenance used to be free.
Now it is a feature.
Now it is a feature.
AI-generated
AI-assisted
● Live · verified by the room
IFPI and the RIAA rolled out a labelling standard because listeners can no longer tell. Every hour of synthetic content makes an unrepeatable human performance scarcer — and scarcity is what we sell.
Where the money went instead
$630 billion in.
$207 million out.
$207 million out.
Data centers
$630B
The whole NEA
$207M
Four companies’ data center capex this year, against the entire National Endowment for the Arts.
A product decision, not a limitation
Every show happens once.
Then it is gone.
Then it is gone.
Appointment scarcity
A show you cannot catch later is one fans clear a calendar for — which is what makes the audience worth premium rates.
No rights exposure
No archive means no mechanical rights and none of the back-catalog liability that forced Twitch to purge years of VOD.
The catalog is safe
Nothing competes with the artist’s released music, and no performance is monetised in perpetuity by a platform.
Could AI just generate a live show?
It can generate the video.
It cannot generate the event.
It cannot generate the event.
Our hardwareinstalled in the venue
→
A claimed venueknown and verified
→
A scheduled slotone night, once
→
A cleared setlistfiled to the societies
Liveness is verified by the room, not the pixels. And the audience is the product — fans in the chat, in the groups, backstage with the band in real time. There is nothing to fake, because the value is the exchange.
Not licensed. Not white-labelled.
We own the
streaming stack.
streaming stack.
US Open
Wimbledon
Fox Sports
HBO
eResonate acquired Livit’s patented live-streaming technology outright in 2020 — a platform already deployed at national scale. Livit’s founder came with it, and runs operations here.
The part nobody else got right
No setlist,
no broadcast.
no broadcast.
Band files setlistbefore the stream unlocks
→
Show goes liveblanket licences in place
→
Venue confirms ittwo-party verified
→
Societies reporteddedicated portal
Blanket agreements with ASCAP, BMI, SESAC and GMR. Because we never archive, there are no mechanical rights and no back-catalog exposure — cleaner reporting than any incumbent can offer.
The retention layer
The audience stays
between shows.
between shows.
Profiles
Real fan identity — top artists, a verified check, and every show they caught as a ticket stub on the wall.
Groups
Full workspaces: channels, threads, reactions, roles and moderation. Private and invite-only scenes.
Messages
Direct messages that persist and arrive live, on every device.
Free accounts, no password, every device. The show acquires the audience — the network is where they stay, and the inventory it creates is the only inventory eResonate sells.
What one night actually pays
Over 31 times
what all others pay combined.
what all others pay combined.
YouTube225×
TikTok200×
Instagram200×
Spotify57×
All four combined31×
We quote the combined figure — the most conservative of the five.
So how do we earn?
Two lanes.
We only touch one.
We only touch one.
Performance inventory
100% to the artist
and the venue
and the venue
The spots in and around the show. Direct-sold, brand-safe. They set their own split before each show. We take none of it.
Platform inventory
This is
eResonate’s revenue
eResonate’s revenue
Feed, discovery, social pages, sidebar. Programmatic, sold across the whole network. We monetise the network the free shows create.
Not a roadmap
Working software.
Click it tonight.
Click it tonight.
16,543
venue pages live and indexed
Live
streaming, ad exchange, dashboard
100M+
viewers reached by this team before
2020
the streaming stack was bought outright
Every screen is real — streaming, the exchange, the dashboard with its setlist gate, Virtual WatchParty, and a live earnings model.
One cut, 10 minutes — narrated. · ‹ all explainers