The most valuable signal is showing up
From SZA to SuperRare to The Standard — what we’ve been building and what’s coming next
I wanted to share a quick founder POV after a pretty hectic few months. Since the last post, ITM has started to carve out a real lane in the market, and Saarim and I are now deep into shaping what V2 will look like.
Like most products, beta > V1 is rarely the one that lands as you are running multiple experiments at once to see what sticks . But V1 > V2 is where the real signals come in. It’s when you finally see enough behavior, enough usage and enough friction to define what the product actually needs to be. Everything after that becomes refinement.
Before I dive into that, I want to quickly recap what’s happened since the last update and why we’re starting to feel the shift.
SZA used ITM to power her official MSG afterparty at SAA in Brooklyn.
This was huge. And more than that, it was organic. No deal, no payment, no push. We found out just minutes before she dropped the link to her 30+ million followers across every platform. And not just one post. She put it in her bio, stories, tweets, everything. No ask. No nudge. Just real usage from one of the biggest artists on the planet.
Meanwhile, others are spending $50K to get emerging talent on their product and $200K or more for established names. We’ve spent nothing.
From the start, we made a clear bet: if we could win NYC, we could win anywhere. So we sat with artists, brands and venues. We spent time with people before we built anything, and we continue to have 1:1 relationships with all our early adopters. Not trying to sell them, just trying to understand where the gaps were. That’s what made it work. Now ITM is behind some of the most interesting cultural spaces and moments in the city because the product fit the need.
ITM powered Rhizome World at the WSA
This moment felt like another key milestone. Rhizome has long been one of the most important institutions in digital art, championing born-digital culture through commissions, exhibitions and preservation. It was founded in the late 1990s by artist Mark Tribe as a discussion list for some of the first artists working online. Since 2003, it has been in residence at the New Museum in NYC, helping shape the way digital and internet-native work is archived, curated, and experienced.
So when Rhizome launched Rhizome World, a genre-bending exhibition that explored the next era of internet culture, they chose ITM to power the entire experience. Not just ticketing but the full engagement layer.
More than just infrastructure, it gave us a real stress test. Different audiences. Different access levels. Different formats of interaction. From public free access to Gala dinners with table bookings, it was a compressed look at how diverse cultural programming can live inside a single platform.
Offline by SuperRare
SuperRare, one of the most respected platforms in digital art, opened a permanent gallery in Soho called Offline. A space built to bring internet-native art into the physical world.
The opening exhibition, Digital Decadence: The Art of Falling Apart, featured artists including All Seeing Seneca, Andrea Chiampo, Cowboy Killer, FVCKRENDER, Jack Kaido, Omentejovem, Pho, Reuben Wu, Sasha Stiles, Terrell Jones, and Zhuk. Running from April 3rd to April 24th exploring how artists are reflecting and responding to rapid technological shifts.
We powered the full access layer. From private previews to public nights. And now every show that follows runs through ITM. Quietly powering what happens at the door, and what happens after.
Bec Lauder and the Noise at Jean’s
When Bec’s team reached out, they had a clear and simple problem. “We have no idea who her fans are.”
Even with more than 145,000 followers, they had zero names, emails or numbers. The venues owned everything and weren’t sharing. So we worked with Jean’s to change that.
Using ITM for a single night of her summer residency, Bec was able to collect names, numbers, emails and full engagement data from everyone who showed up. On top of that, we pulled signals from fans who showed intent to attend future shows, creating a verified audience that didn’t just follow her online but showed up in person.
This gave her what most emerging artists never get. A real fan base, built from real-world intent, with a direct line for pre-show hype, post-show content or anything she wants to share next.
That’s the power of owning the moment.
A few more highlights of those in the Early Access Program:
SCOPE Art Show is using ITM to scale its IRL community in the lead-up to its flagship fair in Miami, which draws over 100,000 visitors. Through a series of pop-ups rolling out across 2024, they’re building real connection before the main event.
Harry Edohoukwa is using ITM to build a community from his real-world presence. Fresh off an EU showcase, he’s turning raw performance into owned connection. His music explores identity and consequence, with Harry positioned as the antagonist in his own narrative. That tension plays out live, and now for the first time, he has a direct line to those who felt it.
Pleasr tapped ITM for a sculptural pop-up by Lagos-based artist Anthony Azekwoh, featuring two new works, Tolani and Chinedu. A tight, intentional moment that brought together collectors, creators, and community in real life.
Party Girls Never Die is running its “Special Guests” series through ITM at Jean’s, where every night features unannounced live performances. No lineup. No hype cycle. Just trust and turnout.
Associated, the in-house promoter at Happier People, is programming across 99 Scott, SAA, WSA, and Palm Heights. Moments like Blu DeTiger x Rex DeTiger, Stonie Blue x Ben Hixon, Tour de BK, Parks & Recs, Jean D’Armes x Kozlow, and Club Chess all now run through ITM. Different rooms. Different formats. A single system that lets them grow without losing what makes it feel local.
And The Standard Hotel just joined the platform.
More on that soon.
ITM V2.0
Most of what’s next is too early to talk about publicly, but I wanted to share a few signals for those paying close attention.
In a post-AGI world, the most valuable signal will be showing up. Verified engagement. Real people in real spaces. Artists, brands and creators who understand this now will end up with the cleanest data sets to train their models later. First-party, real-world and fully human.
A few months back, we were selected to take part in World Build, a program run in partnership with World and FWB. Since then, we’ve fully integrated World ID into ITM’s access flow. Any brand or artist using ITM can now require proof of human, not just RSVP, but actual verified presence.
We’ll be presenting what this looks like at World Build Demo Day in San Francisco later this month. More on that soon.
At the same time, the early access program helped us quietly solve some of the biggest issues around ticketing. We now have the most flexible option on the market. But ticketing has never been the point. It’s just the input. A way to capture verified first-party data from people who actually care.
Where this is headed is much bigger.
We’re building the system that holds everything. A unified brain for the brand in a way. Zero, first and third-party data all pulled into a single profile. Automated and predictive actions tied to real behavior. Campaigns that learn and evolve. Personalization that actually reflects how someone moves through the world and all build on top of real-world presence.
That’s the future
There’s still a lot I haven’t shared. But if you’ve been following closely, you can probably start to piece it together.
The next update will explain the rest.