The first thing a new social network needs is not software. It is other people. Open an empty app and the emptiness feels contagious: no jokes to borrow, no strangers to watch, no evidence that returning tomorrow will reward you. In 2017, Abraham “AB” Lieberman found himself fixing precisely this problem. A social-video client needed university students to make posts. Lieberman recruited them through Facebook and Instagram and was paid according to how many he brought in. He was not buying media. He was supplying the party guests.
The client shut down after a few months. Lieberman lost the work, but kept the more valuable thing: the network. When another app tried to buy his list of roughly 100 students, he refused. The students would come through him, with him managing the work. The would-be buyer said no, struggled for three months, then came back. By the time a DJ with an investment in yet another video app hired him, Lieberman had three companies asking for essentially the same service. A category was hiding inside the repetition.
The agency began as a cure for an empty room
This origin explains Clicks Talent better than the usual vocabulary of reach, impressions and authenticity. The agency’s foundational product was coordinated human activity. It found creators, gave them an assignment, managed the output and made an unfamiliar platform appear worth joining. Clicks Talent says it has since worked with more than 40 social apps and now organizes campaigns on TikTok, Instagram, YouTube, Twitch, Kick, Snapchat, Facebook and X.
Today the buyer is often a brand rather than an app. The mechanics remain recognizable. Clicks Talent consults on the goal, develops a strategy, selects and negotiates with creators, directs the content, manages publishing and reports the results. Creators use the other side of the business for brand introductions, rate negotiation, project management, payment and career guidance. The agency promises creators payment for campaigns they complete to requirement - a decidedly practical benefit in a market famous for vague emails and late invoices.
We personally know these 5,000 people, and they personally know us.Abraham “AB” Lieberman, 2023
That claim - personal knowledge at database scale - is Clicks Talent’s wager. A platform can filter creators by country, follower count or subject. The agency argues that history supplies information the filter misses: who responds, who understands a brief, whose audience actually listens and who will improvise without wrecking the brand. Lieberman remembers creators who now quote $10,000 for a video from the period when they charged $100. Old relationships can produce speed, trust and sometimes a better price.
Four posts gave the agency its receipt
The first campaign that Clicks Talent could use as proof was almost comically small. A German record label paid $1,000. The agency found four creators to use the label’s song on TikTok, despite having no TikTok campaign history. Users made more than 60,000 videos with the track, according to Lieberman. The campaign became the receipt Clicks Talent showed to the next prospect.
The modern version is a distributed production line. For an Amazon Music New Year promotion, Clicks Talent reports using more than 22 influencers to create 90 videos across TikTok, YouTube and Instagram. Its published case study lists 21 million in total reach, 2.6 million views, 170,000 likes and a 6.5 percent engagement rate. Another format, designed for music, turns the campaign into a contest: a client supplies a fixed pool, creators compete on performance and the strongest videos earn the rewards. The company advertises those contests from $2,000.
Selected reported campaign reach · not a like-for-like comparison
These are the company’s figures, and reach is not revenue. That distinction matters. Clicks Talent’s own advice is to decide the key performance indicator before choosing talent. If the goal is awareness, content volume or getting a song used, a creator network can be a sensible machine. If the goal is immediate, attributable sales, Lieberman says he may tell the prospect to use Google or Facebook ads. Influencer marketing borrows attention; search advertising catches declared intent. They are not interchangeable.
The expensive education of moving slowly
Clicks Talent’s history contains a perfect little business fable. Early on, Lieberman received a proposed contract from Vigo Video worth $10,000 a month. At the time, he was barely making $2,000 monthly. The contract arrived on a Friday. He celebrated, spent money and waited until Sunday to sign. By then ByteDance had acquired the company. The project disappeared. The lesson was not sophisticated: act while the deal still exists.
Then came the opposite kind of error - acting without accounting for the operating environment. Lieberman lived in China for six months while running a company dependent on Gmail, Google Docs, WhatsApp, Instagram, YouTube and TikTok. With those tools blocked or difficult to reach, Clicks Talent lost its clients and revenue touched $700 in one month. In Los Angeles, the pattern reversed. Local time zones, phone numbers, events and chance meetings with celebrities made the supposedly digital business work better.
The largest bill was more literal. Years of delayed tax work ended with a demand approaching $300,000, money Lieberman had allocated elsewhere. His conclusion was not “never trust an accountant.” It was to understand the basic rules well enough to notice when a professional’s answer sounds wrong. Delegation without literacy is merely hope with an invoice.
What another operator can actually copy
Find the repeated request. Clicks Talent emerged only after three app companies needed the same network. One request is a gig; repetition may be a market.
Keep the relationship layer. A list can be copied. Years of fair payment, honest negotiation and useful feedback are harder to reproduce.
Define success before casting. Reach, views, content volume, installs and sales demand different creators and different campaign structures.
Edit while the work is live. Clicks Talent reviews campaigns midstream and may change creators, concepts, timing or distribution rather than saving the lesson for a postmortem.
There are conditions under which the model loses its advantage. A niche with few credible creators makes a large roster irrelevant. A product that needs immediate purchase intent may perform better in paid search. Weak measurement turns millions of views into decorative arithmetic. And a brand unwilling to let creators speak in their own grammar will receive expensive ads wearing casual clothes.
The company itself is an unusual hybrid: part talent agency, part campaign operator, part production coordinator and part memory bank. Its reported roster now spans more than 5,000 creators in over 65 countries and 150 niches. Public headcounts disagree - LinkedIn places it in the 51-to-200 band, while the careers site counts 25 coworkers and Lieberman described nine full-time employees in early 2025. What is consistent is the distributed method: people in several time zones, watching the platforms as part of the job, trying to answer while competitors sleep.
That is where Clicks Talent fits in the market. Software platforms promise discovery and workflow. Traditional agencies promise judgment and service. Direct outreach promises lower overhead. Clicks Talent sells the proposition that a large network can still behave like a group of people who remember one another. The technology matters, of course. But the company was born from refusing to sell a contact list. Everything interesting about it follows from that refusal.