Questions, answered.

LUSIVEX is a U.S. and global agency, by invitation, that takes artists and labels into the American market. It runs U.S. label services, marketing and PR, social and influencer campaigns, A&R, Top 40 pop radio campaigns, distribution and label deals, playlisting and DSP relations, creative direction, and collabs, brand deals and booking. Read the full guide.

LUSIVEX is led by CEO Eshy Gazit, named to Billboard's International Power Players list in 2021 and 2022, with Sam Maria as VP of Marketing and Press. Read the full guide.

Neither. LUSIVEX is a services agency: it does the work a U.S. label team would do, for artists and labels that keep their own label and management. Artist management is a separate company, EG Management. Being a LUSIVEX client does not make Eshy Gazit the artist's manager. Read the full guide.

BTS broke through in America on the strength of their fans, ARMY, and their Korean label, Big Hit Entertainment (now HYBE), with Eshy Gazit as the group's US managing partner from 2016 to 2018. Gazit and his company at the time, Gramophone Media, ran the American campaign alongside Big Hit: the 2017 American Music Awards performance, the late-night TV run and the "MIC Drop" remix with Steve Aoki and Desiigner. Forbes tied the AMAs performance to that extended US push, CNBC named his agency as the one that helped broker BTS' US media engagements, and Music Week called him the "exec who helped break BTS in US". Full record with sources: Who broke BTS in America and First Press, The Record, Not the Myth. Last reviewed: November 2, 2026.

By invitation. Request one at lusivex.com/artists/ or email info@lusivex.com with the artist name, links, and where you want to go. Read the full guide.

No. We work with a wide selection of distribution partners and pitch for a signing or JV when the time is right. Read the full guide.

Longer than one release. The campaigns above ran over years, and each step needed the one before it as proof. Read the full guide.

Yes. A distributor can deliver your music to U.S. streaming services and retail without a U.S. label. A label or label services partner is what puts an American campaign behind the release: radio, press, television and the calendar. Read the full guide.

No. Korean labels already distribute to U.S. streaming services. A U.S. label partner is for a group that wants an American campaign behind its records: English-language releases, radio, press and television, planned from the U.S. Read the full guide.

It runs the American side: records made for U.S. radio and streaming, a release date that fits the U.S. calendar, and the team that works American radio, press and television each week, coordinated with the home label's comebacks and tours. Read the full guide.

Through a distributor that delivers to U.S. streaming services and stores. If your home label already works with a global distributor, your music is likely available in the U.S. already. Spotify notes that signed artists' labels usually already work with a distributor. Read the full guide.

A distributor delivers music to streaming services and stores and collects the money. A label funds or runs the campaign: the single, radio, press, playlists and marketing. A label services partner offers those label jobs to artists who keep their recordings. Read the full guide.

Label services are distribution plus the work a record label team does around a release, such as marketing, PR, radio, playlisting and A&R, offered as a service to an artist or label that keeps ownership of its recordings. Read the full guide.

No. A record label usually funds the project and owns or licenses the recordings. A label services company works for an artist or label that keeps its recordings, and is paid through fees, a revenue share, or both. Read the full guide.

It depends on the company and the services chosen. Billboard reports that selective distributors typically take 7% to 15% of master royalties, and that full label services tiers take a much larger share. Every deal is set on its own terms. Read the full guide.

In general practice, a record deal means the label funds the project, pays an advance and owns or controls the masters for a long term. With label services, the artist keeps the masters, the term is shorter, and the artist pays for the services through fees or a revenue share. Read the full guide.

Usually yes. The UK Competition and Markets Authority found that artists working with label services providers typically retain full ownership of their copyrights. Check the term, exclusivity and exit clauses in the actual contract. Read the full guide.

Neither is better in general. A record deal moves the cost and risk to the label in exchange for ownership and control. Label services keep ownership and control with the artist, who carries more of the cost. The right one depends on what the artist owns and needs. Read the full guide.

A record of checkable U.S. results for artists like you, a named team that will work your release each week, and a contract that is clear on ownership, term, exclusivity, cost and exit. Read the full guide.

Who owns the recordings and for how long, how exclusive the deal is and in which territories, what is deducted or recouped before your share, how and how often you get reports, and how you leave. Read the full guide.

Typical market ranges in 2026: independent publicists from a few hundred dollars to about $2,500 a month, boutique firms roughly $1,000 to $4,000, and national agencies from about $3,000 to $5,000 up past $10,000. Most firms ask for a three-month minimum. Ranges come from published guides by Loop.fans, Hypebot and Cyber PR. Read the full guide.

No. Editors decide what runs, and they do not work for your publicist. A firm that guarantees placements is selling something other than editorial PR. Read the full guide.

Ask three questions: show me three recent campaigns for artists at my level with links to the coverage; who exactly will work my campaign day to day; and what happens if nothing lands in the first month. Real firms answer all three directly. Then match the firm's tier to your moment: blog-and-playlist specialists for early releases, integrated press-radio-TV agencies when your numbers are already moving. Read the full guide.

Guaranteed placements (editorial coverage cannot be bought at real outlets), no recent examples for artists at your stage, vague answers about who does the work, and pressure to sign long retainers before any strategy conversation. Walk away from all four. Read the full guide.

They find a concrete story, build a short list of writers who already cover their genre and level, pitch six to eight weeks before release, follow up once, and send a clean press kit with a private stream. Small outlets first, then use that coverage to reach larger ones. Read the full guide.

Not for the article itself. Paying a publicist for their time and relationships is normal. Paying an outlet for a feature that reads like editorial is advertising, and good writers and readers can tell. If a post is paid, it should be labeled. Read the full guide.

One page, roughly 300 to 500 words for an album, less for a single. The example above is 150 words and carries everything a writer needs for a short news item. Read the full guide.

A short, medium and long bio, high-resolution photos with credits, a private stream of the current release, one or two videos, three to five press quotes with links, credits, live history and rider, and one contact each for press and booking. Everything downloadable without a login. Read the full guide.

PR is earned coverage: articles, interviews, television and reviews that an editor or booker chooses to run. Promotion is the pitch to gatekeepers who program music: radio, playlist editors, DJs and curators. Marketing is what you pay for and control: paid social and video ads, creator campaigns, content and the release plan. Most campaigns need all three in sequence, which is why LUSIVEX runs them under one roof. Read the full guide.

Program directors at each station decide the few songs added each week, based on trusted promoter relationships, verifiable momentum and their own audience research. Cold submissions almost never make that list; campaigns run by teams with decades of programmer relationships do. LUSIVEX's radio campaigns produced the first K-pop group at U.S. Top 40 pop radio. Read the full guide.

Yes, with the right team and the right timing. The path runs through a real campaign, not a submission form, and the campaign works when the artist's streaming, press and touring already show momentum a programmer can verify. Read the full guide.

An add is a station's decision to put a song into rotation. A spin is one play. Adds come in weekly waves after the add date; spins accumulate as stations play the song, and at reporting stations they are counted toward the charts. Read the full guide.

Typical market figures: college and non-commercial campaigns start near $500 for a few weeks. Commercial format campaigns run into tens of thousands, and Top 40 into six figures, according to Billboard reporting cited by Orphiq. Prices depend on format, station count and length. Read the full guide.

Paying a promoter for their work is legal. Paying a station for airplay without on-air disclosure is not. The FCC's sponsorship identification rules require disclosure, and undisclosed payment can bring criminal penalties. Read the full guide.

Submit through Spotify for Artists at least 7 days before release: pick the unreleased track, complete every metadata field, and write a specific pitch naming the story, the genre, the mood and what is happening around the release. Editors add tracks that show momentum, so pair the pitch with everything else moving at once: pre-saves, press, radio, social traction. Read the full guide.

No. Spotify editorial placement cannot be bought, and any service selling guaranteed editorial placement is either lying or brokering fake third-party playlists that can get your track flagged for artificial streaming. What legitimate teams do is build the momentum signals editors respond to. Read the full guide.

Editorial playlists are curated by Spotify's own editors. Algorithmic playlists like Release Radar and Discover Weekly are generated per listener from engagement data. Third-party playlists are run by independent curators of wildly varying quality. Editorial and algorithmic feed each other: strong engagement anywhere raises your algorithmic reach, which is the signal editors watch. Read the full guide.

Spotify's support page says to deliver at least 7 days before release, and a song pitched at least 7 days before release goes to your followers' Release Radar. Treat seven days as the deadline and pitch as soon as the song appears in Spotify for Artists. Read the full guide.

Twelve weeks is a comfortable plan for an independent single or EP: finished music and art at twelve weeks, delivery to the distributor by eight, press from six to eight, Spotify pitch as early as possible and no later than seven days out. Read the full guide.

As soon as it appears in Spotify for Artists. Spotify's support page says to deliver at least 7 days before release, and a song pitched at least 7 days before release goes to your followers' Release Radar. You can pitch one song at a time. Read the full guide.