Goldman Sachs believes the recorded music business will almost treble in size by 2030. GP Bullhound predicts Spotify will surpass 200M subscribers over the next two years.
Spurred on by optimistic forecasts like these, institutional investors are flinging eye-opening sums towards the music business.
Last year alone, over $1B was spent across just five music acquisitions: SONGS Music Publishing (circa $160M), Carlin Music ($240M), Imagem Music Group ($550M), Broken Bow Label Group ($100M) and Spinnin’ Records ($100M).
With multiples spiralling ever higher, this is great news for those who have built companies on music rights, and who are waiting for the right time to cash out.
But what of individual artists and songwriters – especially those who don’t want to sell their copyrights wholesale? How do they take advantage of music’s modern-day gold-rush?
Royalty Exchange believes it offers the exact financial solution these creators require. And, ultimately, it’s confident it can create a transparent market where a billion dollars can be deployed for rights holders along the way.
Sales on Royalty Exchange last year included a bundle of rights associated with Sesame Street’s theme songs, which were acquired for a handsome $580K – representing a 5.4X multiple on their prior annual profit.
Other recent standout deals on the platform include the purchase of a chunk of songwriter performance rights to Barry White’s ‘You’re The First, The Last, My Everything’ – which went for $73K (10.9X).
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