I can’t lie: I’m feeling the thrill of starting something new with this newsletter. That seductive pull of the launch phase when the possibilities are endless, the pastures are green, and the hurdles, curveballs, and disappointments have yet to reveal themselves.

I felt the same way three years ago when I launched the Elevated Frequencies Podcast. 160+ episodes, a flood, a 110% studio rent increase, and thousands of hours invested later, I’m a bit battered and bruised but eternally grateful for what the podcast has given me.

I’m pivoting the Elevated Frequencies brand for two reasons:

Beginning now, you’ll receive a monthly newsletter in your inbox with at least four things:

I will also release a monthly extended video essay on YouTube that dives into one topic from each newsletter.

I’m sure this newsletter will evolve over time as my podcast did, and even though the pastures might change from green to brown over time, the seasons will always come back around again.

During my biweekly peruse of my locally-owned grocery store last year, I saw something new that stopped me in my tracks: merch. My grocery store made merch, and it was in my cart nanoseconds later.

Why? My grocery store has developed a cult community, and I’m a card-carrying member. But more than that, the sweatshirt I chose was quality. In fact, I’m wearing it as I type.

So how does this apply to you, the burgeoning artist? Perhaps you haven’t developed a cult-like following yet, which makes you feel like merch is an unnecessary line item that will collect dust in your closet. It doesn’t have to be. You can pull two levers to start selling merch, regardless of your follower or stream count.

Before we get into the how, I need to emphasize the why.

The most recent IMS report noted that in 2025, artists' expanded rights - partially meaning merch - outpaced all other revenue streams in terms of accelerated growth.

A study by payment platform AtVenu revealed a slight increase in average merch spend per head at electronic music shows to $12.61 in 2025, up from $11.26 the previous year.

The same study found that across all genres, you need an average of 11,320 streams to make back the cost of one $36 band tee. WOW.

A sustainable artist career builds an ecosystem, and merch is a tried-and-true, growing format to strengthen it.

So back to the original question: how do you do this if your fan base is still growing?

This first tip is something I desperately wanted to do for Nexus 2026 but ultimately don't have the time or resources to pull off.

My social feed is filled with DIY content because I am a jewelry maker in my alternate fantasy life. I saw this TikTok in the spring about how the biggest business opportunity at craft fairs this year will be customization bars: charm bars, bloom bars, hat bars. You get the point - anything where someone can buy one of your items and add their own personal touch.

This idea is already seeping into the festival world.

BELLA+CANVAS and Breakaway recently announced their interactive merch customization booth at all their festivals, allowing fans to create personalized pieces that represent their connection to Breakaway. Their most recent activation, a Wynn Las Vegas takeover, drew more than 600 participants.

From local craft fairs to big festivals, the demand for personalization is strong. Why?

Putting this into practice requires being in person. So if you’re someone who throws pop-up events or gigs semi-regularly, here are some ideas for merch customization:

If merch customization isn’t feasible right now, the other lever you can pull is genuine usefulness.

According to the Advertising Specialty Institute, useful products have the longest shelf life. 78% of their survey respondents in a recent ad impression study said they keep promo items because they’re useful. That percentage is even higher for inherently practical items like umbrellas, health and safety products, and tech accessories. The caveat is that this study focuses on free promo items, but the sentiment is even more relevant for the gear people actually pay for.

Think about the market you're in, or where your most fans are.

Do they live in a big city that has a tax on plastic bags, so they carry their groceries in totes? There’s a clue.

Do they live in a rainy environment? There’s a clue.

Is your fanbase made up of active people? Older people? Fashionable people? All clues.

From the ASI study:

A worthwhile endeavor indeed.

No matter what type of merch you endeavor to create, high-quality blanks and true artistry (not AI slop, not just your logo slapped onto a blank) matter most. (Watch for a video essay later this month that expands on these ideas.)

No surprise to the dance music community: a 2026 Swag Trend Survey by Custom Ink reveals that most consumers want heavyweight, boxy tees with drop shoulders.

The encouraging part is that none of these decisions are gated by follower count, because a good blank and a real idea are available to you at whatever size you currently are.

My grocery store waited a long time to make merch, and I bought it the second it appeared, so the only real question for you is how long the people who already care about you have been waiting for something to wear.

Fleur Shore went from a courier job to touring worldwide, launching a label, and a new clothing line. She's got Beatport #1s under her belt and has played top venues and events like Fabric, Awakenings, and Ushuaïa. So I asked her to walk me through the moves that got her there.

1.⁠ ⁠Before you were DJing full-time, what were you doing to pay the bills?

I actually have a degree in Zoology, which is super random haha! After uni, I delivered parcels, then I did a season in Ibiza. Music was always what I wanted to pursue, but I had a few different jobs before I could make it my full-time career.

2.⁠ ⁠How many years did it take for DJing/producing to become your full-time thing? What triggers made you realize you could take the leap?

I’ve been DJing for around 12–13 years now and started doing it professionally about 5–6 years ago. I’ve been producing for around 6–7 years and properly taught myself during lockdown.

Early on, I was constantly sending music to Darius Syrossian. He started supporting my tracks and eventually helped me get signed with my agent, Luke, who I’m still with now.

Luke then introduced me to my first manager, Matt, who I worked with for five years. Things gradually started building from there.

Once I was getting booked a few times a month and could see real momentum, I decided to take the leap and go all in. At the same time, I invested in production lessons and put everything I could into getting better.

3.⁠ ⁠What were the signals that told you you could take the leap and make real money from music full time?

After lockdown, the bookings started coming in consistently. I’d spent so much time making new music and pushing it heavily on social media, so when everything opened back up, I already had momentum behind me.

One of the biggest things I did was make a track a day for 15 days and share the whole process online. That got a lot of attention and made me realize that people weren’t just engaging with me as a DJ; they were interested in my music and who I was as an artist too.

4.⁠ ⁠Can you point to a single decision that put gasoline on the fire of your career?

Never taking no for an answer, haha!

But if I had to choose one specific thing, it would probably be doing a track a day for 15 days and posting it all on social media. It really started showing people who I was, what I produced, and what my sound was about.

Then around three years ago I had a major viral moment online, and that really changed things again and took everything up another level.

5.⁠ ⁠When you look at how you actually grew, what did you do that most artists aren’t willing to do?

I really pushed myself with social media early on. At the time, I don’t think many artists in my scene used the platforms the way I did.

I posted every single day for nearly six months. It wasn’t just posting for the sake of it either; I was constantly putting my music, personality, and ideas out there. Eventually I had a viral moment, but months and months of consistency went into that one moment.

6.⁠ ⁠Smartest investment you ever made in your career, and the dumbest?

The smartest was buying my own CDJs really early in my career. Having them at home meant I could practice constantly, experiment without any pressure, and properly learn my craft. The amount of hours I spent on those decks definitely shaped the DJ I am now.

The dumbest was probably spending money on things early on because I thought I “needed” them to look or feel like a proper artist. As I got further into my career, I realized the best investments were always the things that actually made me better at what I do.

7.⁠ ⁠What door was hardest to get through, and how did you actually get through it?

Initially, the hardest thing was just getting noticed and getting people to see what I was about.

My first real breakthrough was in Birmingham. I was supposed to open a night where Tom Shorterz, a massive figure in the Birmingham scene, was playing. I really wanted the set directly after him, but the promoter wouldn’t change the set times.

I just kept pushing and pushing and basically begged them haha! Eventually they gave me the slot.

Tom saw me play and mix that night and afterward said he wanted to book me for his own event in Birmingham. That was my first proper foot in the door in the Birmingham scene.

It’s funny because something as simple as refusing to accept the original set time ended up creating a massive opportunity for me.

8.⁠ ⁠If an artist two steps behind you asked for the one thing that would actually move the needle, what would you tell them?

Be yourself and don’t copy trends. Be the trend.

Originality lasts so much longer than trying to replicate whatever is working for somebody else. Figure out what makes you different, push that as hard as you can, and stay consistent. The rest will follow.

The first time I saw Fleur play was a co-headline with Sosa at Prysm in Chicago. It was one of the most memorable sets I’ve attended in the past 5 years. Massive thanks to her for such thoughtful responses!

With ADE and Chicago Music Nexus on the horizon, artists and industry pros will spend the next two months networking their hearts out before the industry takes a brief holiday break.

The question I get asked most about networking is how to lead with value rather than come across as salesy and transactional. Here are my tips:

Prepare an arsenal of questions.

As I mentioned above, everyone’s favorite subject is themselves, because talking about yourself is intrinsically rewarding. Research has found that self-disclosure activates brain regions associated with reward.

The trick is not to make this an interview. Instead, pay attention to their responses and ask meaningful follow-up questions.

Be okay with the fact that the subject might not turn to you.

Maybe there’s an army of other artists eagerly waiting their turn behind you. Maybe they need to jet to another panel. Maybe they’re a jerk and don’t reciprocate questions (you don’t want this person's time then anyway).

The point is, if you’ve done your job asking sincere, meaningful questions, you are well within your rights to close out the conversation with an intentional ask:

“Hey, I don’t want to take up much more of your time. It was really nice chatting with you. Would you be open to [me sending you a few tracks to get your feedback] [hopping on a quick 20-minute call to chat about xyz].”

Networking is simply a vehicle for relationship building. It is not the end-all, be-all. Understand that this is a long game, and enjoy getting to know people, hearing their stories, and learning from them. You will instantly stand out if you do this.

I preach running your career like a business, and nothing exposes you faster than running your entire business through Instagram and your DMs.

The more you grow, the more inquiries get buried. Before you know it, the opportunity is gone.

That’s why I love Merlin. Paste your Instagram or TikTok, and in 30 seconds it turns your existing content into a professional website with your work, services, and one clear place for inquiries.

It’s free to publish. And when you’re ready to grow, you can add your own domain and run Google campaigns to reach people actively searching for what you do. Try it free here.

The Plug is a sponsored section, and I don't run anything in it that I haven't vetted and wouldn't put in front of my own clients. If your product or brand feels like a fit, please fill out this form or reach out at [email protected], and I'd be glad to take a look.