Time Moves Differently In Music: Lessons From 1,095 Days At Saregama

Three years at a music label isn’t just a timestamp; it’s 1,095 days of watching songs take on lives of their own.

When you work at the intersection of music acquisition, digital distribution and commercial strategy, you begin to understand that a song is never just a file delivered on time, a contract executed, or a release slotted into a calendar. It is an asset, a memory trigger, a cultural marker and increasingly, a long-term economic engine.

At Saregama, I’ve had the opportunity to work across catalogue acquisition, strategic partnerships, rights management and distribution. But beyond the titles and transactions, what these three years have really taught me is how time behaves differently in the music business.

The Long Life of a Song

In most industries, value creation is often immediate and measurable. In music, value unfolds.

A track released quietly can resurface years later on short-video platforms. A catalogue song can find new relevance in a film sync. A forgotten melody can trend globally because a new generation discovers it through a remix or a reel.

Being part of catalogue acquisition and distribution has made one thing clear: music is one of the few businesses where legacy and virality can co-exist. The past and the present constantly converse. Every acquisition decision, every licensing conversation, every distribution deal is not just about today’s numbers,it’s about future rediscovery.

Watching songs resurface and find new meaning over time has fundamentally changed the way I experience music. I don’t just hear tracks anymore; I see timelines.

The Business Behind the Emotion

Working in a music label requires balancing instinct with analytics.

On one side, there’s emotion,artist belief, cultural intuition, creative conviction. On the other, there’s data,streaming trends, regional consumption spikes, platform behavior, monetization models.

Over the last three years, the ecosystem has evolved rapidly. Digital distribution has deepened, regional music has expanded beyond state boundaries, and catalogue monetization has become a strategic priority rather than a passive revenue stream.

Strategic partnerships today go beyond simple distribution agreements. They are about ecosystem building,platform tie-ups, brand integrations, rights enforcement, and ensuring that intellectual property is protected in an era where content moves faster than contracts.

Copyright infringement is no longer a backend issue; it is central to commercial sustainability. Protecting IP ensures that artists, composers, and rights holders continue to benefit as their music travels across formats and borders.

Time Moves Differently in Music

There is something unique about being surrounded by music every day.

Releases come and go. Trends rise and fade. But certain songs stay. And when they do, you realize that the real metric in this business isn’t just first-week streams,it’s longevity.

Three years have been a journey of learning, observing and understanding the invisible cycles that power this industry. It has meant negotiating deals that may only show their full impact years later. It has meant seeing how a well-managed catalogue can become a company’s strongest moat. It has meant understanding that distribution is no longer logistics,it is strategy.

Most importantly, it has meant recognizing that music companies are not just content warehouses; they are custodians of culture.

Still Taking It All In

If there’s one thing these 1,095 days have reinforced, it’s this: music is both art and infrastructure.

Behind every viral moment is a framework,acquisition decisions, rights clarity, platform alignment, monetization pathways. Behind every nostalgic rediscovery is someone who believed in preserving and protecting that catalogue.

Three years in, I’m still learning. Still observing how songs evolve. Still fascinated by how something created in a studio can echo across decades.

In a business where time bends and songs outlive strategies, the privilege lies in being part of that journey.

And I’m still taking it all in.