The Case for Triller: The TikTok Competitor Approaching Unicorn Status, And Getting Big Breaks

Sam Blake

Sam primarily covers entertainment and media for dot.LA. Previously he was Marjorie Deane Fellow at The Economist, where he wrote for the business and finance sections of the print edition. He has also worked at the XPRIZE Foundation, U.S. Government Accountability Office, KCRW, and MLB Advanced Media (now Disney Streaming Services). He holds an MBA from UCLA Anderson, an MPP from UCLA Luskin and a BA in History from University of Michigan. Email him at samblake@dot.LA and find him on Twitter @hisamblake

The Case for Triller: The TikTok Competitor Approaching Unicorn Status, And Getting Big Breaks

Fresh off of closing a $50 million round that valued the company at $300 million, Triller – headquartered in L.A. and with offices in New York, London and Paris – is now seeking $250 million at a valuation of $1.25 billion, according to executive chairman Bobby Sarnevesht. The short-form, user-generated video sharing app's momentum has picked up lately thanks to increased usage during the pandemic and the troubles of TikTok.

"The numbers look crazy recently," said Anis Uzzaman, chief executive of Pegasus Tech Ventures, which invested several million dollars in the $50 million round. Those numbers include 120 million total downloads and 60 million monthly active users, Sarnevesht told dot.LA.

Triller's user count is now close to what's (now TikTok) was back when it was acquired by Chinese conglomerate ByteDance in 2017, and as TikTok comes under more regulatory scrutiny, Uzzaman predicts that Triller will become "the American TikTok."

How Could It Get There?

Triller executive chairman Bobby Sarnevesht.

One clue lies in India. When Narendra Modi banned TikTok and 58 other Chinese apps in June amid escalating military tensions between the two countries, Triller's usage "went through the roof," Sarnevesht said. In early July, Triller CEO Mike Lu wrote that his company had become the top iOS app in India "without spending a dime."

"We're seeing (Indian) users say they prefer Triller to TikTok, but just didn't know about it," Sarnevesht said.

To Uzzaman, Triller's ability to handle the surge of Indian users proved the strength of the platform's underlying technology. "I'm sure many other platforms would have choked with the new volume of clients," he said. With the "possibility of the same thing happening in the U.S.," Uzzaman feels confident that Triller would be ready for another upswing.

Pegasus Tech Ventures chief executive Anis Uzzaman

Anis Uzzaman

TikTok, which is reportedly the subject of preliminary discussions for a sell-off, has a big head start. According to analytics firm SensorTower, it has been downloaded over 2 billion times. TikTok's global user count is estimated at over 800 million. And a recent Reuters piece pegged its valuation around $50 billion.

If TikTok is banned in the U.S. that would obviously put Triller in a place to pick up some ground. Four factors stand out that could shift the balance in Triller's favor.

Privacy & Security

The government isn't the only one concerned about privacy and security concerns, Uzzaman said.

"The market is getting more concerned about security and privacy," he said. "People are getting more vocal." Having Triller's teams based in "the top democracies in the world...definitely makes a huge difference."

Sarnevesht emphasized that Triller "treat(s) the face as an object – we don't map the face. Data is secure. We don't track geo-locations on where users are."

Concerns around whether TikTok shares data with the Chinese government, meanwhile, have been well documented.

Music First, Social Second

"Our business is music. It's in our DNA," said Sarnevesht. Uzzaman said this confers two key advantages.

One is Triller's product mix. Uzzaman pointed to Triller's "Step Up Challenge," a music battle where competitors can win prizes, and the TrillerFest virtual music festival, which attracted over 5 million viewers and participants this April.

"We have a music-centric, music-first app that has amazing creator tools," Sarnevesht said. "Amazing events. Concert series coming out in different locations and different genres. It's a very different destination for content users and producers and watchers."

That musical foundation has lately sprouted other kinds of content. "We're starting to see a tremendous influx of content…(like) cooking, practical jokes, and gaming," Sarnevesht added.

Another advantage to being music-first, Uzzaman said, is that musical stars like posting on the app. "Alicia Keys, Cardi B, Marshmello: they're regularly posting music videos in the app – we've never seen that in TikTok," he said. "Regular people can create music videos and have people watch them right next to Eminem…(It makes) people feel like they're celebrities."

"I think artists appreciate the organicness of Triller," Sarnevesht added.


In line with Triller's music origins, it has long-term deals with the big three music labels and numerous music publishers. This enables Triller users to include songs from those rights holders' extensive catalogs without having to worry about copyright issues.

"What differentiates Triller is we've always had music licenses in place," said Sarnevesht. "It gives artists a platform to have their content in a place where it's not being stolen."

Conversely, TikTok has mostly operated via short-term deals with labels and publishers. It does, however, have a long-term deal with Believe, a big independent music company, and it recently forged an agreement with the National Music Publishers' Association. NMPA's President and CEO David Israelite isn't done negotiating; he posted a warning earlier this week on his Instagram that Triller should 'watch out,' later elaborating that the company "must legitimize its business by properly licensing all music on its platform."

Triller also has partnerships with Spotify and Apple Music. Jack Warning of Pegasus Ventures said these help boost user engagement. If a Triller user likes a song on the app, for instance, they can add it to a Spotify or Apple Music playlist. And users can pull songs from Spotify and Apple Music into Triller to make videos.

But "the biggest partnership that really got our attention," Uzzaman said, "was with Billboard." Alongside charts like the Billboard Hot 100, it has begun publishing weekly charts of top songs from the Triller app.


There is "more technology behind (Triller) than people understand," said Uzzaman, who likened Triller to the earlier days of Google, when it was chasing the heels of Yahoo. He pointed to Triller's AI tools for editing videos, and protocols for helping brands advertise on the platform.

Among other features, Sarnevesht pointed to new, "game-changing" recommendation algorithms, and highlighted how Triller's 2019 acquisition of UK-based MashTraxx came with "13 employees, 11 Ph.D's, all specializing in AI. One of them wrote a thesis on recommendation engines and AI in the short-form video space."

TikTok has no shortage of technology, which it has recently begun to share more openly. But it is currently being sued by Triller for patent infringement, and potentially for antitrust as well.

TikTok has highlighted its relationships with creators as a competitive advantage, which it is hoping to entrench with its recently announced creator fund. But reports have indicated that TikTok creators are beginning to look elsewhere, including to Triller.

Meanwhile, as Facebook builds its own TikTok competitor on Instagram called Reels, it has reportedly offered big deals to entice TikTokkers to defect. TikTok CEO Kevin Mayer has called Reels a copycat product, and pointed out that Facebook's previous "copycat Lasso failed quickly."

"The same thing can happen for Reels," noted Uzzaman. "Until they are playing in the market, there is no guarantee...Triller is already far ahead of anyone else in the U.S. market."


Sam Blake primarily covers entertainment and media for dot.LA. Find him on Twitter @hisamblake and email him at samblake@dot.LA

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Samson Amore is a reporter for dot.LA. He holds a degree in journalism from Emerson College and previously covered technology and entertainment for TheWrap and reported on the SoCal startup scene for the Los Angeles Business Journal. Send tips or pitches to and find him on Twitter @Samsonamore.

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‘Expand Past the Stage’: How These LA-based Ticketing Platforms are Using The Metaverse to Take On Ticketmaster

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Andria is the Social and Engagement Editor for dot.LA. She previously covered internet trends and pop culture for BuzzFeed, and has written for Insider, The Washington Post and the Motion Picture Association. She obtained her bachelor's in journalism from Auburn University and an M.S. in digital audience strategy from Arizona State University. In her free time, Andria can be found roaming LA's incredible food scene or lounging at the beach.

‘Expand Past the Stage’: How These LA-based Ticketing Platforms are Using The Metaverse to Take On Ticketmaster
Evan Xie

When Taylor Swift announced her ‘Eras’ tour back in November, all hell broke loose.

Hundreds of thousands of dedicated Swifties — many of whom were verified for the presale — were disappointed when Ticketmaster failed to secure them tickets, or even allow them to peruse ticketing options.

But the Taylor Swift fiasco is just one of the latest in a long line of complaints against the ticketing behemoth. Ticketmaster has dominated the event and concert space since its merger with Live Nation in 2010 with very few challengers — until now.

Adam Jones, founder and CEO of Token, a fan-first commerce platform for events, said he has the platform and the tech ready to take it on. First and foremost, with Token, Jones is creating a system where there are no queues. In other words, fans know immediately which events are sold out and where.

“We come in very fortunate to have a modern, scalable tech stack that's not going to have all these outages or things being down,” Jones said. “That's step one. The other thing is we’re being aggressively transparent about what we’re doing and how we’re doing it. So with the Taylor Swift thing…you would know in real time if you actually have a chance of getting the tickets.”

Here’s how it works: Users register for Token’s app and then purchase tickets to either an in-person event, or an event in the metaverse through Animal Concerts. The purchased ticket automatically shows up in the form of a mintable NFT, which can then be used toward merchandise purchases, other ticketed events or, Adams’s hope for the future — external rewards like airline travel. The more active a user is on the site, the more valuable their NFT becomes.

Ticketmaster has dominated the music industry for so long because of its association with big name artists. To compete, Token is working on gaining access to their own slew of popular artists. They recently entered into a partnership with Animal Concerts, a live and non-live event experiences platform that houses artists like Alicia Keys, Snoop Dogg and Robin Thicke.

“You'll see they do all the metaverse side of the house,” Jones said. “And we're going to be the [real-life] web3 sides of the house.”

In addition, Token prides itself on working with the artists selling on their platform to set up the best system for their fanbase, devoid of hefty prices and additional fees — something Ticketmaster users have often complained about. Jones believes where Ticketmaster fails, Token thrives. The app incentivizes users to share more data about their interests, venues and artists by operating on a kind of points system in the form of mintable NFTs.

“We can actually take the dataset and say there’s 100 million people in the globe that love Taylor Swift, so imagine she’s going on tour and we ask [the user], ‘Would you go to see her in Detroit?’ And imagine this place has 30,000 seats, but 100,000 people clicked ‘yes,’” he explained. “So you can actually inform the user before anything even happens, right? About what their options are and where to get it.”

Tixr, a Santa-Monica based ticketing app, was founded on the idea that modern ticketing platforms were “living in the legacy of the past.” They plan to attract users by offering them exclusive access to ticketed events that aren’t in Ticketmaster’s registry.

“It melts commerce that's beyond ticketing…to allow fans to experience and purchase things that don't necessarily have to do with tickets,” said Tixr CEO and Founder Robert Davari. “So merchandise, and experiences, and hospitality and stuff like that are all elegantly melded into this one, content driven interface.”

Tixr sells tickets to exclusive concerts like a Tyga performance at a night club in Arizona, general in-person festivals like ComplexCon, and partners with local vendors like The Acura Grand Prix of Long Beach to sell tickets to the races. Plus, Davari said it’s equipped to handle high-demand, so customers aren’t spending hours waiting in digital queues.

Like Token, Tixr has also found success with a rewards program — in the form of fan marketing.

“There's nothing more powerful in the core of any event, brand, any live entertainment, [than] the community behind it,” Davari said. “So we build technology to empower those fans and to reward them for bringing their friends and spreading the word.”

Basically, if a user gets a friend to purchase tickets to an event, then the original user gets rewarded in the form of discounts or upgrades.

Coupled with their platforms’ ability to handle high-demand events, both Jones and Davari believe their platforms have what it takes to take on Ticketmaster. Expansion into the metaverse, they think, will also help even the playing field.

“So imagine you can't go to Taylor Swift,” Jones said. “What if you could purchase an exclusive to actually go to that exact same show over the metaverse? An artist’s whole world can expand past the stage itself.”

With the way ticketing for events works now, obviously not everyone always gets the exact price, venue or date they want. There are “winners and losers.” Jones’s hope is that by expanding beyond in-person events, there can be more winners.

“If there’s 100,000 people who want to go to one show and there's 37,000 seats, 70,000 are out,” he said. “You can't fight that. But what we can do is start to give them other opportunities to do things in a different way and actually still participate.”

Jones and Davari both teased that their platforms have some exciting developments in the works, but for now both Token and Tixr are set on making their own space within the industry.

“We simply want to advance this industry and make it more efficient and more pleasurable for fans to buy,” Davari said. “That's it.”