Only 0.41% of Artists Make a Living From Streaming. What Happens to the Other 99.59%? Can Winamp for Creators Offer a Better Music Career Model?

Vinnie Jinn in conversation with Thierry Ascarez (Chief Business Officer - Winamp)

That number does more than provoke. It exposes the quiet contradiction at the center of the modern music business. For years, the industry has celebrated access as if access alone were liberation. Music distribution became frictionless. Global reach became ordinary. Releasing a song stopped being a privilege and became a routine act. But somewhere between convenience and scale, one harder question remained unresolved: what is a working artist actually supposed to build a life on?

The artist economy of 2026 offers visibility, but not always stability. It offers platforms, but rarely coherence. It offers reach, but too often at the cost of control. Artists are told they are more independent than ever, while being quietly expected to operate like fully staffed companies: releasing music, shaping a brand, managing content, reading analytics, nurturing community, selling products, building direct-to-fan relationships, and protecting their rights across an increasingly fragmented digital landscape.

Managers and independent labels are under pressure too, asked to move faster, spend smarter, and compete for attention in a market where infrastructure is scattered across too many disconnected tools.

There is also a deeper cultural shift underway. Streaming made music immediate, abundant, and frictionless. It also made it easy for songs to become background. Playlist logic often rewards mood over authorship, familiarity over surprise, and volume over depth. Now AI adds a new layer of pressure, not simply because it can generate music, but because it forces the industry to confront a more difficult question: if creation, distribution, and optimization can all be accelerated at scale, what gives music its human value again?

That is why Winamp has become interesting again.

Not simply because it is iconic. It is. Not simply because it carries nostalgia. It does. But because its reinvention is aimed precisely at the pressure points the music business still struggles to solve. Through Winamp for Creators, the company is now presenting a broader creator ecosystem built around music distribution, copyright, licensing, collectibles, YouTube Content ID, Fanzone, merchandising, and artist tools designed to help creators monetize, promote, and manage their music from one platform.

This conversation is shaped by someone who has seen those pressure points from multiple angles. Thierry Ascarez, now Chief Business Officer at Winamp, previously worked in international artist marketing at EMI, led business development around Shoutcast and Targetspot, and served as CEO of Musimap, the AI music company later acquired by Utopia Music.

What follows is not just an interview about Winamp. It is a wider discussion about what the music business still has not solved, and what kind of systems creators may need if the next chapter of music is going to belong to more than the same narrow fraction of winners. And if you are an artist, label, manager, producer, or music entrepreneur asking what tools will actually matter in the years ahead, this may be one of the most relevant conversations you read this year.

Interview: Thierry Ascarez on Winamp, Artist Independence, Streaming, AI, and the Future of Music

Vinnie Jinn: Thierry, first of all, thank you for taking the time to speak with us. For many of us, Winamp was not just a player, it was part of the moment when digital music became personal. For me, it was also the player I kept coming back to for years. So there is something special about having this conversation now, at a time when Winamp is trying to redefine its place in the music industry.

Over the past three decades, the music industry has gone from CDs to the MP3 revolution and then to the full dominance of streaming. Looking back at that cycle from your perspective and your many years in the business, what do you think the industry still has not fully learned? And at what point did Winamp realize that being only a listening tool was no longer enough if it really wanted to support creators and the wider music ecosystem?

Thierry Ascarez: Changes and innovation rarely come from incumbents. They tend to maintain the existing model and only follow once a new trend has already become mainstream. Like any other industry, the music business goes through cycles. And if you look at its history, these cycles tend to last around 20 years: vinyl, cassettes, CDs, piracy, and most recently streaming, which is now plateauing in the main markets and, most importantly, not fully delivering on its promise to generate sustainable revenue for artists.

What we are seeing today is the emergence of a new model where artists need to regain their financial independence, because they still have very little control over how their work is monetized. A new economic model is emerging in which artists must take ownership of their business. And that’s precisely what Winamp for Creators is about: giving artists the tools to manage their careers, their audience, and their revenue streams directly.

Vinnie Jinn: For an entire generation of listeners, Winamp was the gateway to digital music. It was not just software, it was part of how people discovered and lived with music. So how did the company evolve from a legendary media player into a platform that is now trying to build a broader ecosystem around music creation, distribution, catalog management, and fan relationships?

Thierry Ascarez: Winamp hasn’t given up on its player. In fact, a brand-new version is scheduled for release in Q4 2026, staying true to its DNA of innovation while offering a more complete experience to its users. It still amazes us to see that tens of millions of users continue to use the legacy version of the Winamp player.

The brand remains incredibly strong and continues to be a place people trust globally.

And it is precisely that DNA that pushed us to live up to Winamp’s reputation and innovate again, this time by addressing a clear gap in today’s music industry. The reality is that the majority of artists feel lost and don’t have a single platform to manage their business and their relationship with fans.

Vinnie Jinn: On your website, there is a striking statistic: only 0.41% of creators generate enough streams to make a sustainable living from music. That number says a lot about the limitations of the current model. Why do you think the system works so well for such a small group while leaving so many others behind? And how is Winamp for Creators trying to respond to that imbalance in a more meaningful way?

Thierry Ascarez: Streaming has been a fantastic answer to piracy and remains the main way for artists to distribute their music and be discovered. Unfortunately, the very nature of streaming and its business model has led algorithms to consistently promote and push forward top artists, everywhere and all the time. There is a lot of discussion today about how streaming may have reduced diversity in discovery and limited exposure for emerging and local artists.

Winamp for Creators comes as a complement to streaming. We are not saying to artists, “don’t go on streaming platforms”, of course they need to be there. What we are saying is that there is a smarter way to diversify your revenue streams and manage your relationship with your fans, and now you can access all of that in one place.

Vinnie Jinn: One of the biggest frustrations in today’s music business is fragmentation. Artists and their teams are often juggling one tool for distribution, another for fan engagement, another for analytics, another for merch, another for rights. So when you look at that reality, what is Winamp actually trying to simplify?

Thierry Ascarez: Precisely, today’s landscape of music tools and services is highly fragmented. Winamp for Creators simplifies this first and foremost by bringing everything into one place. You no longer need five to ten different credentials, just one.

We have developed and integrated services that you typically only find as standalone tools, such as a website builder, a Fanzone, and a merchandising module, which we believe are real game changers when it comes to controlling your own business.

We also offer copyright management through our sister company, Bridger Music, which is recognized by CICAS as an official royalty management entity. All of this is available in one place. And of course, we have designed the platform to be intuitive and easy to use from a user experience perspective.

Vinnie Jinn: We often focus on the artist, but every serious project also depends on managers, label people, assistants, producers, bookers, strategists, and collaborators, in other words, the people keeping the machine running behind the scenes. How is your ecosystem designed to support that side of the industry as well?

Thierry Ascarez: From the ground up, Winamp for Creators has been built on the idea that collaboration is key to an artist’s success. Artists can’t do everything on their own, creating already takes up most of their time, and they usually have a team working around them. That’s why every account you create is collaborative, meaning you can assign roles to your collaborators, such as managers, assistants, producers and other team members.

The same applies to labels, which can manage multiple artist accounts through a single “super account”. What’s also powerful is that directly from the platform, you can split revenue with anyone involved in your projects, making collaboration not only easier, but also more transparent and efficient.

Vinnie Jinn: One of the most interesting parts of the platform is Fanzone, because it raises a bigger question about where the business is heading. Do you think the future of music will rely less on passive streaming and more on direct creator-to-fan relationships?

Thierry Ascarez: Yes, most definitely. As mentioned earlier, streaming is not fully delivering on its promises and has proven unable to become a sustainable source of revenue for many artists. On the contrary, the creator economy is huge, and the music industry is no exception. There is a clear shift towards direct-to-fan monetization models. One of the main challenges so far is that music creators haven’t had the right tools, or a structured environment, to efficiently build and maximize their relationship with fans.

Vinnie Jinn: And if an artist wants to move beyond listens and likes, beyond reach and into real loyalty, where should they begin today? What is the first meaningful step if they want to build not just an audience, but a real community around their work?

Thierry Ascarez: As I said, distributing your music on streaming platforms is a no-brainer and is usually the first step for most music creators. After that comes social media. But if an artist wants to move beyond listens and likes, and build a deeper connection with their fans, one that can also translate into sustainable revenue, they need to look further and start using other tools.

I believe that building a community and developing a direct relationship with your audience is key. It’s not just about reach, but about engagement, and about having the opportunity to give more to your fans and create real value through that direct connection.

Vinnie Jinn: Another fascinating layer of the platform is Collectibles. In a world where streaming has made music feel almost infinite, cheap, and often disposable, you are reintroducing ideas like uniqueness, ownership, and digital scarcity. Do you see that as an important part of the future of music monetization?

Thierry Ascarez: We do believe in the potential of unique digital IP. Imagine an artist deciding to release a new single. Anyone can listen to that single in the traditional way, but on top of that, the artist also creates a single, unique digital file from it, something that can be seen as “the original.” A fan can then become the owner of that file, at a price set by the artist.

It’s a way to support an artist you like, but also potentially to own an asset that could gain value over time as the artist and their music grow in popularity. All of this is recorded and validated online using blockchain technology, ensuring authenticity and ownership. There is strong potential in this model.

Vinnie Jinn: One of the deepest anxieties in modern music is algorithmic dependence. Artists build audiences on platforms they do not own, under rules they did not write. So let’s talk about control. Inside the Winamp ecosystem, do creators actually own their audience relationships and their data in a way that gives them a stronger foundation for the future?

Thierry Ascarez: Yes, they do. One of the services included in the platform that I haven’t mentioned yet is a CRM, a customer relationship management tool. It gives creators full access to the data their fans choose to share, such as email addresses, dates of birth, and more. From there, artists can launch email campaigns, build a direct relationship with their audience, and gain deeper insights into their fan base over time. The CRM is currently in beta and should be fully available to Winamp for Creators users before summer 2026.

Vinnie Jinn: There is another myth I wanted to challenge with you. Young artists are constantly told that if they post enough, stay visible enough, and learn enough social media tricks, they can do everything on their own. But music marketing is not a hobby, it is strategy, branding, communication, timing, data, , positioning, and money investment and you know that firsthand because of your own background in marketing leadership. Can one person realistically carry all of that alone? And is Winamp trying to become not only a bridge to tools, but also a bridge to trusted collaborators?

Thierry Ascarez: Like any business owner, when you start, you have to do a bit of everything. I think that’s important to understand the industry you’re in and how it works. But of course, you can’t become an expert in every field, from finance to marketing.

It’s normal to handle your social media on your own at the beginning, but it’s also clear that having the right tools and the right people around you will significantly increase your chances of success.

We’ve tried to address that challenge at every level within the platform. First, you have access to a range of marketing features, such as a Linktree-style page builder, the ability to push content across your social channels at once, an advertising campaign manager to launch and monitor your first campaigns efficiently, and of course a website builder.

Then, as you grow, you can start collaborating with others directly on the platform, assigning roles and splitting revenue with your team. We also have a job board, not public yet, designed to connect artists with managers, strategists, and other collaborators. Finally, we are working on an AI music manager that will analyze your profile and your data, and help guide you throughout your career.

Vinnie Jinn: Wendy Day has said that reaching break even in music today may require around $150,000 and at least a year and a half of consistent brand building. Some people hear that and feel motivated. Others hear it and feel shut out before they even begin. From your perspective, how accurate is that, and can technology genuinely lower the barrier to entry for new creators?

Thierry Ascarez: That figure seems quite high. Many labels today invest significantly less when launching a new project with a newly signed artist. That said, I do agree with the timeframe, it takes time to build a brand. Talent is one thing, but what usually makes the difference is hard work and resilience.

Vinnie Jinn: It also seems to me that long-term careers are rarely built in isolation. At some point, a real team forms around the artist: believers, builders, advisors, producers, managers, friends. Not just people doing tasks, but people helping shape a world. How essential is that kind of human circle today?

Thierry Ascarez: It definitely is. First of all, music is an art, and art is emotion. You can’t create and share emotions if you’re not connected to other people. We see it with many of the artists we work with. Even though, in 2026, a large part of the music business happens digitally, there is still a huge part that relies on being surrounded by others, whether in the studio, on stage, or in any environment where ideas are shared and developed. You don’t have to wait long to start building your entourage. It usually starts from the very beginning.

Vinnie Jinn: I want to move into one of the more controversial parts of this conversation. From my own perspective as a music producer, music has been devalued by unlimited, playlist-driven access. It has become a kind of background to everyday life. Sometimes even I catch myself responding more to the mood of a track than to the creator behind it. And now AI platforms are generating thousands of songs a day while their founders argue that everyone should be able to make music. How do you see this shift in the perceived value of music, and do we eventually need a clearer distinction between human-created music and AI-generated content?

Thierry Ascarez: This is a big topic, and one that is getting a lot of attention at the moment. I tend to be optimistic, and I see AI as the new synthesizer. I realize that may sound a bit simplistic, but I’m confident that the human differentiator will prevail.

What I mean is that even if AI platforms can produce very good songs, we will likely reach a point of saturation. And in that context, what will truly make the difference is human creativity, that human touch, that sense of soul, something that allows a song to stand out from the rest.

More importantly, I believe it is essential to establish a clear legal framework around music and AI, in order to prevent any form of infringement.

Vinnie Jinn: And if we really are living in an era of music overproduction, where tens of thousands of tracks appear every day, how do we restore value? Can technology help bring meaning back, or do we need to rethink the way music is discovered, experienced, and remembered?

Thierry Ascarez: As I said, even though everyone now has access to what is essentially a super synthesizer on their computer, I remain confident that there will always be creative souls who manage to make songs stand out, because they bring that unique element, that kind of magic that makes a track truly special. We should also not forget that music is experienced live.

Audiences will always value artists and musicians who are able to perform and connect on stage, and that will continue to play a key role in distinguishing what truly resonates from what doesn’t.

Vinnie Jinn: Looking further into the future, how do you imagine the relationship between creators, technology, and audiences evolving over the next ten years? And where does Winamp fit into that vision?

Thierry Ascarez: I believe we are social animals, and that we will always want to discover new artists and bands live on stage. I also believe we will continue to see artists developing new genres through their creativity, while others will revisit and reinterpret existing ones. Personally, I’m a big fan of alternative rock, and I already see many new bands returning to heavier guitars and live drums. I see technology increasingly serving independent artists, enabling them to build careers and make a living from their music. I also believe this will happen more and more at a local level.

Over the past decade, we’ve seen a strong rise in global music consumption, largely reinforced by the algorithms of major streaming platforms. But going forward, I think more local artists will be able to connect with local audiences and build dedicated fan bases. Winamp for Creators is one of the platforms that aims to support that evolution and help artists get there.

Vinnie Jinn: And finally, on a more personal note, if you could give one piece of advice to someone just beginning their journey in music today, what would it be, and why?

Thierry Ascarez: It would be twofold. Throughout my career, I’ve been fortunate to work with many artists, from superstars to emerging independent artists.

So first and foremost, make music that you truly like, music that reflects who you are and that you would want the entire world to discover. I believe that’s the only way to create great music and something truly meaningful. You also need to be resilient, and creating authentic music is what will keep you motivated over time.

Then, once you have that in place, think holistically. Streaming and social media are great, but you don’t have to be big to start building a fanbase and owning your own platform, whether it’s your website or selling merch to your first fans. A signed vinyl will mean as much to a fan when you have 10 fans as it will when you have 10,000. The same goes for setting up your accounts to collect revenue, whether it’s through royalty collection or licensing your music. There are many ways for your music to live and grow.

Closing Note

What makes this conversation worth sitting with is not the promise of a miracle fix. It is the possibility of a different operating logic.

For too long, artists have been asked to build careers inside systems designed primarily for consumption. Release more. Post more. Stay visible. Feed the machine. What often goes missing in that model is structure: the kind that helps creators and their teams move from scattered effort to something more durable, more owned, and more economically coherent.

That is why platforms like Winamp for Creators are worth examining seriously. Not because any one platform will solve the entire music business. It won’t. But because the right infrastructure can reveal where the real friction has been all along: fan ownership, monetization, collaboration, rights, and control.

The same is true of the ecosystem around it. Thierry pointed to Bridger Music as part of that broader architecture, especially on the copyright and royalty side. Bridger describes its model as a way for creators to connect streaming profiles, register works and collaborators, and collect copyright royalties many artists still fail to capture fully, while positioning itself as a complement to distribution and master-side income. It says creators can sign up with no registration or annual fees and keep 90% of collected royalties, with the service focused on the composition side rather than master rights.

So rather than ending the discussion here, we would rather widen it.

If you are an artist, manager, label, producer, or music entrepreneur, we encourage you to explore Winamp for Creators and, where relevant, Bridger Music, then ask yourself a simple question: does this actually reduce friction where your work is most vulnerable? In audience ownership, direct-to-fan growth, collaboration, revenue, rights, and long-term career management?

If it does, then this is not just a comeback story. It may be an early sign of what the next generation of music infrastructure needs to become. And in a market flooded with content, that may be the question that matters most. Not how to release more music, but how to build a stronger life around it.

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About Thierry Ascarez

Thierry Ascarez is Chief Business Officer at Winamp.

Before helping lead Winamp’s evolution from iconic media player to creator platform, he worked in international artist marketing at EMI, led business development around Shoutcast and Targetspot, and served as CEO of Musimap, the AI music company later acquired by Utopia Music.

He is also associated with Orbitmedia, a management advisory firm focused on technology and media.

For inquiries related to Winamp for Creators, artist tools, partnerships, or media collaborations, please connect with Thierry Ascarez or explore Winamp through the links below.

• Connect with Thierry Ascarez on LinkedIn

• Discover Winamp for Creators

• Discover Bridger Music,

• Follow Winamp on LinkedIn for company news and updates

• Follow Winamp on Instagram

• Join the community on Facebook

  
  

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