On Thursday, June 18th, a conference took place at The Steel Yard in London.
Jeremy Da, founder & CEO of Acrylic, recounted an experience at a Vicente García concert in Paris, France. He had met García a decade prior, before the artist achieved widespread recognition, and helped book early dates in New York City. Da described the concert as emotionally overwhelming, noting the packed venue and the audience’s engagement with the performance.
A similar feeling occurred on May 31st, 2023, when Paris Saint-Germain won their first UEFA Champions League title in Munich. Da realized both experiences stemmed from a deep emotional belonging forged through connection with the artist or team over time, a connection he had no control over.
He recalled seeing Vicente García practice “Bai Bai Bonita” on September 21, 2010, at the studio of Dominican Merengue legend Juan Luis Guerra in Santo Domingo, Dominican Republic. The song would later appear on García’s debut album, released January 1, 2011.
Da drew a comparison to his experience as a ballboy at Parc des Princes in 1995, when PSG was eliminated from the Champions League, and being present in Munich thirty years later for their victory. He stated that the emotion in Munich was not about the sport itself, but about the accumulated time and investment.
He described this phenomenon as “identity fusion,” where fans become internally connected to the object of their passion. Sports have established infrastructures to recognize and nurture this passion, while music lacks a comparable system.
On May 31st, 2025, Da attended PSG’s 5-0 win at the Allianz Arena in Munich, Germany, with a friend, Audez. He asserted that following an artist from the beginning involves a similar process of early attraction, dedicated engagement, and integration into personal experiences.
These early fans often have a strong understanding of their local music scene and possess an instinctive drive to share music with others. He referred to them as “pusherfans,” driven by a desire for connection and shared experience.
Drawing on Geoffrey Moore’s work in Crossing the Chasm, he explained that innovators create, while visionaries evangelize, and both are necessary for an artist to gain relevance. Venture capital has long understood this dynamic, but the music industry has not fully embraced the role of early fans.
He noted that while streaming platforms control discovery through curators and algorithms, they overlook the influence of passionate music lovers. The value generated when an artist achieves success primarily goes to labels, streaming platforms, and ticket sellers, rather than those who fostered the initial connection.
He concluded that this is not about financial reward, but about belonging and community, a shared experience that algorithms and marketing cannot replicate. Spotify Report Details Independent Artist Revenue and Stream Growth, and the importance of supporting artists directly.
He also touched upon the importance of understanding What White-Label Music Distribution Actually Is (and Isn’t) in fostering these direct connections.
