Dec. 26, 2025
Platinum in One Year… With One Song?
In this episode of the Music Business Newsletter with Matthew Rix, I read one of the most ambitious and honestly wild emails I’ve received in a while.
A rapper based in New York City just finished his first official single, and he’s not asking how to release it or build slowly. His goal is obvious:
Platinum record. One year. No excuses.
He’s confident in the song, confident in himself, and fully prepared to force attention even saying he’s willing to drive to radio stations across NYC, New Jersey, and Pennsylvania and demand DJs listen to his record in person.
He’s not interested in:
• slow growth
• artist development
• waiting for permission
• or “organic” timelines
He wants leverage, pressure, and scale immediately.
In this episode, I break down:
• What it actually takes for a song to go platinum today
• Why confidence alone isn’t enough
• How radio, playlists, TikTok, and money really intersect
• Where ambition helps and where it becomes self-sabotage
• The difference between urgency and delusion
• And what artists misunderstand about “forcing” success
This isn’t about tearing him down.
It’s about grounding extreme ambition in reality before it becomes a career-ending mindset.
If you’re an artist with big goals, big confidence, and big expectations, this episode is for you.
Have a question, hot take, or strong disagreement about the music business?
Go to https://MatthewRix.com. Be honest, be specific, and don’t hold back the real conversations help the most people.
#musicindustry #upcomingmusician #musicbiz #matthewrix #rapper #platinum #musicbusiness
Listen to Mattrix Minute for daily Music Business insight without the music industry hype.
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WEBVTT
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Hey, this is Matthew Ricks and today on the Music
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Business newsletter, we got a live one and I just
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wants to know how their first single can go platinum
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in a year. But before we dive into this email,
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if you have a question on the music industry, just
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go to Matthewicks dot com click submit your question, give
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me as many details as possible, and we'll answer it
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here on the channel. Now for the email, he says, Yo, Matthew,
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I've never had anybody say yo, Matthew. All right, you're
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the first. I'll get straight to it. I'm going to
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be very clear so there's no confusion about why I'm
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hitting you up. I just finished recording my first single
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this weekend. It's not a demo, not a for SoundCloud record,
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a real record, studio session, top top tier mix master
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that rattles the car when you turn it up past
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a reasonable level. We're in the first line, y'all. We're
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in the first line of this email. The kind of
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song where people stop nodding and actually look at you
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when it plays as you're driving by. So you're bumping
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your song in the car. Okay, And do people usually
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nod when you're in the car if they can hear
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the song outside the car, because typically either you got
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the windows rolled down and you're in like a convertible,
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or all you hear is the bass rattling from the trunk.
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But you, I guess you have seen people just at
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a stoplight, just nodding along to your music. But now
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they're actually looking at you when the song plays.
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Huh, that's the first he says.
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I already know after I've studied you, because I study
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all my opponents. Oh am, I am I an opponent?
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Are you?
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Okay? Do I have a rap career? You have a
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YouTube channel in A and R? Okay, I'm an opponent.
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Apparently, he goes, I know what you're gonna say next,
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so let's skip the ceremony.
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What what ceremony? Are you okay?
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He says, Uh, I'm not asking if it can go platinum.
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I'm asking what needs to happen so it does go
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platinum within a year, within three hundred and sixty five days. Well, okay,
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if I'm an opponent and we're gonna skip the ceremony,
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which I don't even know what I don't even know
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what that means. But if I'm an opponent, you want
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my help and how to get your single to go
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platinum in twelve months. Your your first song, the song
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that you're playing in your car and people are looking
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at you and you think that's good.
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M I will say this for a new artist.
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Going platinum in a year is it's not impossible, because
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nothing's impossible.
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It's a Steve Hilda climb.
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Though, he says, I'm based in New York City and
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I'm fully prepared to move if that's what it takes.
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I'm not joking when I say this.
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I'm planning next month to get in my car, drive
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to radio stations in New York City, New Jersey, Pennsylvania,
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and Connecticut, walk into the building and demand the DJ
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listen to my song right there in the office because
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he's gonna love it, and then want to play it
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on the air right then and there. Okay, so this
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is gotta be a New York thing.
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What was that artist's name?
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So ten years ago we would do these like music
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business conference calls, and oh man, it was a female
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rapper out of New York.
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And so you'd be on his conference call.
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There. Sometimes there's hundreds of artists on this call and
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you get in the queue and then John Clark would
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be like, we got next up, you know, And then
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you'd have.
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Somebody I want to say.
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Her name was like Destiny or something like that, and
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she was like, Yo Matthew. I think she called said
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Yo Matthew as well. She was like, I'm going to
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storm the office at Warner Brothers and show them my music.
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Do you suggest doing that? And I said, you storm
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in office, You're going to spend the night in jail.
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Just so you know, this guy now wants to drive
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to into New York.
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I guess he's from New York City, but he's going
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to drive to New York City in New Jersey and
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Pennsylvania and Connecticut and walk into the building and demand
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the DJ listen to a song right then and there
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in the office. This because then he's gonna play it
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on the air after he hears it. Okay, So there's
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a couple of problems with this, with this idea, and
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I don't want you to get arrested in a Pennsylvania town.
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One. DJs aren't the ones who pick music, Okay.
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That's an old that happened fifty years ago. Music directors
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pick music to be played on the radio station and
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you can't walk in and just demand you demand anything.
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You're gonna be demanded to leave. You have to hire
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a radio promoter, and for hip hop, they are not cheap,
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like one hundred thousand dollars to work a song.
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Two.
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Most local radio stations, if you're going to Virginia, or
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you're going to Pennsylvania, you're going to New Jersey, you're
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going in a Connecticut they're if they're part of like iHeartMedia, they.
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Don't pick their songs anyways.
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So you're gonna have to hop in that car and
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probably well you're in New York City, probably maybe in
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New York Or you're gonna have to drive down and
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get physically removed from a radio station's office there. This
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is a terrible idea. This is a horrible idea. This
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might be one of the worst ideas I've heard all year.
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He says, I'm not even gonna email the radio station,
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no submission portal, no waiting six months for a reply
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from an intern. If they tell me no, I'm gonna ask.
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Them who says yes.
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I mean, what makes you think a radio station in
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Pittsburgh you know you got if you can get in
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the building. Okay, Because radio stations usually lock their doors
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because of stuff like this. But let's say you get
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it and you walk in and there's a receptionist there
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and you're like, I demand you listen to my song.
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What's she gonna do? Or give me the DJ? Well,
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you know, honestly, most of these radio stations. The DJ
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who's on the air right now, he's in California. And
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if they tell you no, you're gonna ask for somebody
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who says yes, dude, you.
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Will get arrested.
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You might get arrested in like small towns in Pennsylvania,
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New Jersey. This is a horrible idea. You don't want
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to wait six months. You don't want to pay for
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a radio promoter. You said portal. I don't know, no
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submission portal. I mean that's that's how you play the game.
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Says if they kick me out, I'll come back when
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the next shift starts. So do you think radio stations
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are like McDonald's, where it's like, you know what, that
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guy is not gonna give me. My friend tries without
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the saltown. So I'm gonna wait till he leaves, and
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I'm gonna go back and I'm gonna get the guy
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who will make me fries without salt.
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It doesn't work that way. It doesn't work this way in.
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Radio, Like you can't go at noon and want to
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talk to the DJ at noon and they tell you
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to piss off, because that's what they're gonna tell you
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to do. If there's a DJ there and you can't
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come back at six o'clock one, the office would be
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closed already. And now you got some DJ who's gonna
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call the cops because there's some full holding a CD
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and a boombox banging on the window of the radio
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station or waiting by somebody's car.
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This is a horrible idea.
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This email just keeps getting worse coming back when the
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next shift. I mean, like, do you think a radio
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DJ is gonna risk his career playing your song? Because
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I bet you don't have a radio at it, so
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you're probably like dropping f bombs all up in and
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you want some DJ to play it right then and
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there in Pennsylvania. He says, that's the level I'm on
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and the motivation I have. That's a pretty stupid level.
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And your motivation sucks, he's And now we drop bars
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in the email, because why not I've never had anybody
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send me an email, and they dropped some bars, they
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drop some lines in their song.
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But hey, this I mean, we're.
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Going to storm radio stations and we're gonna wait for
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shift change like it's a factory. So he says, there's
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a line in the second verse that pretty much sums
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up how I see my entire career with this single.
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He says, they're still arguing streams while I'm counting plaques
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in advance.
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It's a terrible line.
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By the way, there's still arguing streams while I'm counting
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plaques in advance. So you can count, you can count
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all the you can go to bed every night in
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seat of counting sheep.
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You can count plaques.
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Doesn't mean you're gonna get any He goes, that's not
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my bravado, that's my intent. Ooh, he says, here's where
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I'm at structurally, no label, no manager, no agent, no
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rollout plan yet.
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Okay, yeah, because.
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Gosh, I'm exhausted just reading I can't you probably you
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you probably exhaust everybody in your life with this, or
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you have a bunch of people are like, yeah, go
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to the Harrisburg hip hop station and storm it. No label,
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no manager, no agent, no rollout plan. No, you have
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no plan. Your plan is to get arrested. That is
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your plan. So yeah, I'm not shocked for that, he says.
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But also I'm not broke. Parentheses count the zeros.
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He says. I'm not afraid of spending money.
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If it actually creates pressure, well then hire a reputable
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radio promoter who can run a campaign.
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It's gonna cost you one hundred thousand dollars, he says.
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I'm not emotionally attached to doing it the right way,
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but am to my way. Dude, I feel like I
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feel like you just keep dropping bars in here to me.
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That's what I feel like.
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He says.
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I'm not interested in slow growth or slow validation. I've
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watched too many artists hide behind patients when what they
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really lacked was urgency and intensity. More artists need to
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go in storm radio stations or record labels. This is
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this is, this is so so reckless. And here's the problem.
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You're putting way too much pressure on yourself. And what's
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gonna happen is is you're not gonna be able to
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really get a lot of streams and go platinum because
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you're gonna spend a lot of nights in jail.
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Because you refuse to leave a radio station.
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And then I don't I mean, let's say your song
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got to one hundred thousand streams here, your first single,
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you wouldn't be happy with it.
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I don't know what the why? Why?
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Why we have to do it in one year? Why
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can't we do it in eighteen months or two years?
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Like? Why?
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I mean slow and said he does win the race
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because this is what happens when you go ninety to nothing.
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You burn out like this guy. Because if you're in
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competition with this guy, don't worry. He's gonna flame out
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or be arrested and you don't have to worry about him.
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He says, I have no desire to be organic. I'm
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trying to be unavoidable. Oh you're gonna be unavoidable when
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you're standing by somebody's car with a boombox.
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He says, Uh, I see.
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Mediocre records blow up every day because they understood optics, timing, repetition,
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and narrative. No, that's not true at all. Mediocre records
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blow up because there is a machine behind them pushing them.
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Record label management. They hired a radio promoter and timing
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is important. You don't care about timing, he says. Meanwhile,
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better songs die quietly because the artists waited for permission
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instead of forcing attention. No, better songs die because one
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they're probably really difficult to I mean, good songs, bad songs,
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slow songs, fast songs, rap songs, metal songs. Eight Some
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some rise to the top, some die. It's just how
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it goes, he says. I refuse to be the latter,
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asking for waiting for permission instead of forcing attention. You're
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gonna annoy a lot of people, and you're gonna get
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a reputation, and it's not gonna be what you're looking for,
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and it's not gonna be good.
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But you'll, Hey, you'll you'll get that.
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You'll get that street credit you're looking for, you know,
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by police.
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He says.
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Here's what I want from you, straight answers, No industry
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fairy tales or hype talk. What actually pushes a record
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towards platinum Now playlist, TikTok radio, all of it at once.
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Playlists don't. I mean, unless you get on like release
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Radar or something like that by Spotify. TikTok helps radio
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would help, but you're not gonna make it on radio.
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You're just not going to. Not as an independent artist,
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