I Swim With Sharks Inc. is a music distribution and artist development company designed to support independent artists at different stages of their careers. Unlike traditional distributors that rely on a one-size-fits-all approach, I Swim With Sharks Inc. operates across multiple distribution partnerships, allowing artists to be placed intentionally rather than generically. Through partnerships with Roc Nation Distribution, The Orchard, KMG Distribution, and Symphonic Distribution, the company is able to support artists based on sound, audience, genre, and long-term goals.
Each of these distribution partnerships serves a distinct purpose. Roc Nation Distribution supports artists positioned for cultural impact, brand alignment, and long-term mainstream scalability. The Orchard provides global infrastructure, data reporting, and international reach for artists building catalog and worldwide audiences. KMG Distribution offers flexibility and hands-on support for artists in growth and development stages. Symphonic Distribution supports genre-driven and niche artists whose audiences thrive in focused ecosystems. This multi-lane model allows I Swim With Sharks Inc. to help more artists correctly, instead of forcing everyone into the same system.
The company was founded by Andre Williams (Dre), an industry veteran whose background spans major-label operations, A&R, and artist development. Dre built I Swim With Sharks Inc. in response to a consistent issue he saw in the independent space: artists gaining access without understanding. Sharks was created to be an educational home where artists learn how the business actually works, not just how to upload music.
One of the most common questions raised inside this environment is:
What is the biggest misconception artists have about marketing?
That question is most often addressed by TC Medley, Senior A&R and Head of Marketing Education at I Swim With Sharks Inc. TC works directly with artists to help them understand marketing literacy, branding alignment, and long-term audience strategy. Her role is not about telling artists what to post — it’s about teaching them how to think about marketing as part of their career, not a temporary task.
According to TC, the biggest misconception artists have is believing that marketing starts after the music is finished and ends after a few months. Many artists will promote a record for 30, 60, or 90 days and, if it doesn’t immediately break, assume the record failed. That mindset alone has killed countless strong records before they ever had a chance to grow.
TC emphasizes that marketing is not a campaign with a finish line — it’s an ongoing commitment. Records do not all break on the same timeline. Some need repetition. Some need context. Some need the artist to grow into the record before it truly connects. When artists stop pushing too early, they remove the opportunity for the record to find its moment.
She often explains that this is also how older records become relevant again. Songs don’t magically resurface — artists bring them back through continued storytelling, placement, and consistency. Marketing evolves, but it should not stop.
A real-world example TC frequently references is August Alsina’s “I Love This Sht.”* The record did not explode on its first release. It was dropped and pushed multiple times before it finally connected. That persistence is what allowed the song to become a defining moment in his career. The lesson is simple but often ignored: belief and consistency matter just as much as timing.
At I Swim With Sharks Inc., artists are taught that marketing should adapt, not disappear. A strong record can live for years if it’s supported intentionally. When artists understand that marketing is long-term rather than transactional, they stop abandoning good music too early and start building catalogs that actually have time to grow.
Learn more about I Swim With Sharks Inc.
https://www.iswimwithsharksinc.com
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