Cooper Anderson Rebrands Catapult to All Good Distribution, Partners with Phyzi to Offer New Physical Music Format

Cooper Anderson, a 21‑year‑old entrepreneur from Oklahoma City, has officially renamed his digital distribution platform Catapult to All Good Distribution after a naming clash with the larger Catapult Distribution company. The move comes as Anderson shutters the label arm of his business to focus on delivering a curated, high‑quality service for independent artists.

In a candid interview with KGOU, Anderson explained the change as a practical step: "I was 14, give me a little break… if you want to take this seriously, beyond just being something you did when you were a teenager, you should change the name while you're still young." The company remains 100 % owned by Anderson, with no outside investors, and continues to operate from Oklahoma City.

All Good Distribution brands itself as a software‑centric platform that puts the client experience first. Anderson stresses a deliberate, selective onboarding policy: "If we take all those on at once, we’ll make a lot of money, but then the service goes down, the quality goes down… we’re a software company, and you want to sell yourself for as much as you can, but you don’t want to sacrifice the quality." New artists can join only through application or brief signup windows.

The platform’s pivot mirrors a broader industry shift. Streaming services dominate consumption, yet many independent artists and fans grow weary of algorithmic curation and subscription models. Anderson notes that he has seen artists pull their music from streaming platforms for legitimate reasons, and All Good seeks to offer an alternative that gives artists control over distribution and revenue.

To satisfy demand for a tangible music experience, Anderson has teamed with Phyzi, a company that produces a credit‑card‑sized USB device that plugs directly into a phone. Phyzi’s product lets fans download an artist’s music to the device without third‑party apps or Wi‑Fi. Anderson calls the device the "modern physical album" for Gen Z and Gen Alpha, who "don’t have a physical thing" in the same way earlier generations had vinyl or CDs. The device supports both USB‑A and USB‑C and works with virtually every device.

The partnership underscores Anderson’s strategy of keeping distribution in the hands of artists and their audiences. By offering a physical format that is smartphone‑compatible, All Good and Phyzi aim to bridge the convenience of digital downloads with the ownership appeal of physical media.

All Good Distribution’s website, allgooddistro.com, lists its services as streamlined digital and physical distribution for artists, bands, and labels of all sizes. The company’s LinkedIn profile describes itself as a collective of music lovers who share a vision of "catapulting" artists and labels from their first release.

Phyzi’s product page, phyzi.io, highlights the device’s dual‑USB design and emphasizes that it requires no apps or complicated setups. The company positions Phyzi as a way for fans to pay only for the music they actually listen to, thereby eliminating subscription costs.

Anderson remains a college student while running the company. When asked about future plans, he said, "People always ask me what’s your five‑year plan? I don’t know. I’m one day at a time. That’s all I can handle, really."

At present, All Good Distribution continues to accept new artist applications on a limited basis, while the Phyzi partnership expands the company’s product offering. Both initiatives are part of Anderson’s broader effort to adapt to a music industry that is moving away from traditional streaming models toward more artist‑centric and ownership‑focused solutions.

The rebrand and new partnership signal a clear shift in Anderson’s business model: from a broad‑reach distribution service to a boutique, quality‑focused platform that also offers a novel physical media format. The next steps for All Good Distribution will likely involve scaling the Phyzi device and further refining its selective onboarding process to maintain service quality for independent artists.