Stormzy's third album, This Is What I Mean, was critically acclaimed and was an ambitious attempt from the multi-talented MC. A new phase for his empire was also signaled by it.

Since he was an underground artist in the mid-2010s, Stormzy has been using the name #Merky on his social media accounts. Since his popularity has grown, so has his network. He has an affiliation with Def Jam. His foundation supports scholarships for black students at the University of Cambridge. In the lead up to This Is What I Mean, he launched #Merky FC, a partnership with Adidas on a multipronged campaign to get more Black people hired in prominent positions. Quality and strength are implied by the word itself. He raps on the song "Shut Up" that he gets merky.

Stormzy has a singular use of online platforms, even though he only uses social media a few times a year. It is worth wondering if future musicians will be able to bend social media to their will if they follow Stormzy's example. Will they become part of the process?

When Stormzy started building his network, he used the traditional model of drawing in followers by posting pictures on social media. A stable fan base was created by a steady rise. Social media success can happen much quicker for some.

Comedian and musician Whitmer Thomas. He was able to translate the popularity of his song "Big Baby" into a US tour. The success of " Old Town Road" was a sign of TikTok's dominance as a hit factory. The easiest and best way for artists to gain internet fame is through the video-sharing platform, like Megan Thee Stallion's "Body" inspiring dance trends, or the "Poland" meme-ing its way to the charts. Nathan Evans, also known as the sea chantey guy, got a deal with Polydor Records, thanks to TikTok. In the new Pitch Perfect TV spinoff, Bumper in Berlin, the idea of TikTok becoming real-world fame is a cliché.

Jeremy Morris is a professor of media and culture at the University of Wisconsin. He isn't sure if there is a "dominant" mode for musicians. Landing a viral track on TikTok is driving a lot of musicians these days, and you see writers trying to create songs with 10- to 20-second hooks that can be easily turned into a dance. Artists are fighting against having their music cut up and decontextualized.