The monetization of publishing rights on TikTok has become one of the most complex – and least understood – topics in today’s music industry. At first glance, the equation seems simple: a trend goes viral, numbers skyrocket, usage explodes. But behind this apparent simplicity lies a very different economic reality.
At Alter K, we were confronted directly with this challenge through a very concrete case: “Money Pull Up” by Blaiz Fayah.

@blaizfayah

#BlaizArmy compilation 🔥 part 1 @Bebie @Mego Shadow @Leslie @Sacha @Louuu1996 @JhorelZapanta @Ninrew💙🇸🇸 @Marika Perrucci @Kevin Araya Molina Big up 🔥🙏

♬ Money Pull Up – Blaiz Fayah & Maureen & Dj Glad

A global viral moment… with ambiguous outcomes

When the track was released on October 11, 2024, nothing suggested the scale of what would follow. And yet, within weeks, an organic dynamic began to take shape.   The trend originated in the Philippines, driven by an initial group of creators, before being picked up and amplified globally. It eventually reached Europe and the United States, with major creators like Charli D’Amelio joining the movement. The numbers quickly became staggering:

• 1 Billion+ videos created

• Several billion cumulative views

• 500,000+ daily streams at its peak on DSPs

 Beyond sheer volume, one element proved critical: the quality of the trend and its ability to drive real conversion into listening. This is precisely where the key question emerges: How does this level of virality actually translate into publishing revenue?

A model that breaks away from streaming logic

To understand TikTok monetization, one must first accept a fundamental shift in how royalties are calculated. Unlike Spotify or Apple Music, TikTok does not operate on a per-stream payment model. Instead, the platform operates under a global licensing model: it negotiates agreements covering music usage, creates a revenue pool, and distributes it among rights holders. Within this framework, the key metric is not the number of views, but the number of videos created using a track.

The Paradox: A track can generate billions of views without producing proportional revenue. The UGC (User Generated Content) model, by nature massive and fragmented, often dilutes value.

Fragmented and complex collection systems

The diversity of collection systems adds a second layer of complexity for publishers:

• In Europe: The system is relatively centralized. Collective management organizations (such as SACEM) enter into global agreements with TikTok and handle royalty distribution based on usage data. This model has the advantage of being relatively clear, but it remains highly dependent on data quality and offers limited transparency regarding allocation mechanisms.

• In the United States: The ecosystem is split. Performance rights are handled by PROs like ASCAP and BMI, while mechanical rights follow different channels, often involving intermediaries like Music Reports Inc. (MRI) or direct deals.   This fragmented system provides flexibility but requires significantly more operational control and expertise to ensure no revenue is left on the table.

This fragmented system provides flexibility but requires significantly more operational control and expertise to ensure no revenue is left on the table.

The real challenge: Mastering Data and UGC Matching

Beyond legal frameworks and business models, the real challenge lies elsewhere.
It lies in data.
On TikTok, an untracked use is an unmonetized use. And in a UGC environment, tracking usage is inherently difficult.

A single track can exist in dozens -or even hundreds- of variations:

1. Official audio clips

2. Unlicensed « sped up » or « slowed + reverb » versions

3. User-edited sounds and remixes

4. Live performance snippets

These variations often escape automated matching systems. And this is exactly what we observed with “Money Pull Up.”

Reconstructing usage to capture value

At Alter K, our work is not about passively collecting royalties; it is about actively reconstructing usage. We carried out extensive identification and matching work, including:

• Detecting unofficial versions and linking modified recordings to the correct identifiers.

• Metadata Management: Ensuring strict alignment between ISRC (recording) and ISWC (work) codes.

• Continuous Monitoring: Tracking emerging trends to claim revenue in real-time.   Missing or incorrect data directly translates into lost revenue. Rigorous administration is the only way to bridge the gap between « viral views » and « bankable royalties. »

A new reality for publishers

The case of “Money Pull Up” highlights a broader transformation: in the UGC model, a track’s performance alone is no longer sufficient to ensure monetization. Value lies in the ability to track, structure, and manage usage.

Alter K’s position

In this environment, our conviction is clear: rights management cannot be delegated blindly.

For independent players, the temptation to outsource these complexities to global entities often comes at the cost of losing visibility and control. At Alter K, we take the opposite approach. We believe expertise is built through execution: addressing each viral moment with technical precision to ensure creators are paid what they are truly owed.

Beyond the Viral Moment

TikTok is no longer just a promotional tool; it is a fully-fledged ecosystem with its own rules, dynamics, and economic limitations. Within this environment, virality is exponential, but monetization remains indirect and imperfect. As the case of “Money Pull Up” clearly illustrates, capturing the true value of music usage requires more than just a hit song. It requires understanding, anticipating, and mastering the underlying data mechanisms that turn views into royalties. In the age of UGC, active publishing administration is the difference between a fleeting trend and a sustainable career.