Abstract This article investigates the emergence of Music Blasting Services (MBS) as entrepreneurial intermediaries in the Caribbean Community (CARICOM) music industries, with Julianspromos serving as the primary case study. MBS are independent digital entities that distribute music through paid placements on platforms such as YouTube, curated email lists, and social media campaigns. Drawing on gatekeeping theory and platform capitalism, the study employs a qualitative case study approach, incorporating interviews, media coverage, and platform data to assess how MBS influence promotional power and audience access. Findings have indicated that MBS simultaneously democratize visibility for independent Caribbean artists and introduce new forms of economic gatekeeping based on pay-to-play models. Artists often lose control over audience analytics and monetization as engagement metrics are concentrated on MBS platforms rather than artist-owned channels. This raises critical implications for artist branding, digital equity, and long-term career sustainability. This study contributes to discourse on reintermediation in digital music promotion, and calls for greater attention to platform accountability, regional capacity-building, and strategic alternatives that support equitable access to global music audiences. It also offers insights for music business educators, particularly in the Global South, by identifying emerging literacies and decision-making frameworks needed in digital-era curricula.
Farley Joel Joseph (Mon,) studied this question.