Case Studies

Delivery by channel, FANDOM campaigns only. Google counts a watched video as an interaction, so its rate is a view-driven interaction rate rather than a click-through rate; across the account Google recorded 22.7M interactions against 187,731 actual link clicks, and the link clicks are not split by single in the export. Every other channel's CTR and CPC are on real link clicks.

Ad media by channel, each channel in the hue it keeps across every study. The figures are the Spend column of the table below.

This is the only place in these case studies where the singles are compared. Paid figures are campaign-level from the platform exports; creator figures are FUGA; streams are Luminate.

Paid impressions

166.7M for FANDOM at a $1.73 CPM; 244.5M across the full program at $1.50 (industry median $7 to $14)

Organic and owned views

59.5M at no media cost: 23.3M TikTok, 21.7M Meta, 14.5M YouTube organic and earned

Audited audience touchpoints

304.0M (paid plus owned; the figure to quote under scrutiny)

Earned creator views

354.0M from 158,531 creator videos (FUGA); 208.6M TikTok sound views on the activity-feed basis

Total attention footprint

658.1M (upper bound; owned posts overlap by roughly 4 to 7%)

Streams

15.4M Luminate-verified (11.2M stream equivalents, 1,775 song sales); 47.7M all-DSP plays on FUGA

Paid influencer

20.5M views on 544 posts, 12.0% engagement, $0.0042 per view, $4.24 CPM

Earned press

60 agency placements across 52 outlets, 814.9M combined UVPM (Genius, Forbes twice, Associated Press, Rolling Stone Korea); 90 articles tracked in total

Playlists

493 placements across six DSPs (133 live, 11.7M live follower reach, 34.7M lifetime reach); 64 editorial, 303 listener-made, 34 algorithmic; 150 editorial adds logged; Amazon Music 47 placements with no pitch effort

Charts

350 chart entries, 21 at number one; 277 on Apple Music and iTunes territory charts, 66 on Spotify

Radio

2,972 plays across 206 stations (KIIS FM 102.7, Arirang Radio, RRI Indonesia among them)

Shazams

23,409 lifetime

Tracked activity

2,090 logged feed events: 992 creator videos, 467 playlist adds, 209 radio plays, 128 chart entries, 67 viral videos over 100K views

Artist ranking

Top 5,000 artists worldwide, top 100 Korean artists, top 50 Korean hip-hop/rap (Chartmetric, July 2026)

Owned audience

Spotify monthly listeners peaked at 952,788 (Spotify for Artists); 13.2K YouTube subscribers; 6,371 Laylo direct-to-fan subscribers; 7,042 Instagram and 5,975 TikTok followers; all built from zero

Revenue

$78K to $129K attributable to date (estimated: streaming royalties, distributor-collected Content ID, $5.7K Shopify merch, app floor), plus roughly $1.44M in earned media value

Tightest lens

$9.35 per 1,000 Luminate streams, counting only the $143.8K of DSP-intent spend

Widest lens

$23.80 per 1,000 Luminate streams, counting all paid media

The caveat

None of those lenses is causal because streams also arrive from editorial, creators, press and ordinary discovery

Marginal cost per 1,000 earned views

Swung 4x between reporting periods, from $1.33 in the week the Something Special video landed (Aug 7 to 15) to $5.26 in a quiet window (Jul 18 to 24)

• Spend around asset drops, not evenly.

  Efficiency jumps when a new video lands and decays between them. That is the clearest pacing finding in the program.

• Followers are owned, listeners are rented.

  In the 18 days after the flights wound down, every follower count rose (TikTok +7.7%, Spotify +4.0%, YouTube +0.8%) while Spotify monthly listeners fell 18.1%. That split, close to 29,000 durable followers against 389,000 active listeners, is now measurable and it changes how I describe the asset.

• Capture is the leak.

  1.04% of the people reached became owned audience, and only 6,371 are directly contactable. The loop runs strong from paid through earned distribution and breaks at capture. A capture unit on the highest-traffic surfaces is the cheapest fix available.

• Streams alone never repay media.

  At a $4 blended royalty per 1,000 streams, streaming recoups 16% to 40% of the media depending on the lens. I built the reporting to measure five returns (reach, efficiency, conversion, revenue, owned audience) so the program is judged on everything it produced.

• The audience is in APAC.

  Korea is 28.4% of TikTok viewers and the Philippines 11.8%, against 11.1% for the US. That is the geo plan for the next release.

• Amazon Music is the unpitched win.

  47 placements and 47 editorial adds arrived with no pitch effort or ad budget, which makes it the most under-served DSP relationship in the catalog.