Get in Touch

Whether you want to talk music catalogues, get help with your business, or just say hello, get in touch.

Frequently Asked Questions

  • Music catalogue investment means buying the rights to songs, publishing rights, master recordings, or both, to generate passive income from royalties.

    Every time the music is streamed on Spotify, played on radio, licensed to a film or TV show, or performed publicly, the rights owner gets paid. It is a high growth alternative asset class offering genuine portfolio diversification, with valuations driven by consistent earnings, streaming popularity, and the longevity of the music itself.

  • A music catalogue generates passive income through four royalty streams that run simultaneously. Performance royalties are paid every time a track is played publicly, on radio, in a venue, or on a streaming platform.

    Mechanical royalties are paid every time a track is reproduced or streamed interactively. Sync royalties are paid when music is licensed for use in films, TV shows, adverts, or video games. Neighbouring rights are paid when a master recording is broadcast publicly.

    A single well placed track can earn from all four streams at once. Across hundreds or thousands of tracks that income compounds into something significant.

  • Private equity firms acquire music catalogues at a multiple of annual royalty income, typically 15x to 20x, and earn returns through the ongoing royalty streams plus any appreciation in catalogue value over time.

    The thesis is that streaming growth, expanding global audiences, and the durability of proven music make the income more predictable and growing than the acquisition price implies.

    The problems arise when firms overpay, over leverage, and manage passively. Hipgnosis is the clearest example of what happens when all three go wrong at once.

  • Publishing rights belong to whoever owns the underlying composition, the melody and the lyrics of a song. They generate royalties across every recording and cover version of that composition ever made.

    Master rights belong to whoever owns a specific recorded performance of a song. Both generate royalties but through different collection mechanisms.

    Publishing rights are generally considered more stable because they exist independently of any single recording. When Taylor Swift re-recorded her first six albums, the owners of the original masters saw income fall significantly while the publishing rights were unaffected.

  • Most catalogues are valued using a multiple of net publisher share, which is the annual royalty income flowing to the rights owner after collection society fees.

    Multiples depend on the quality, age, and diversity of the catalogue. Premium catalogues with iconic status or exceptional sync histories have traded at higher multiples. The consistency and diversification of income streams matters as much as the headline number.

    A catalogue earning from streaming, sync, radio, and neighbouring rights is worth more at the same NPS than one dependent entirely on streaming.

  • Independent music catalogues are acquired by a range of buyers: specialist music investment firms, private equity funds with music strategies, high net worth individuals with music industry backgrounds, and independent operators building specialist portfolios.

    The most active buyers for smaller catalogues, particularly in niche genres and world music, tend to be individuals and boutique firms rather than large institutions. If you own an independent catalogue and are thinking about selling, the right buyer is usually someone who genuinely understands your music and its specific market rather than a fund treating it as a line item.

  • No. Alongside pursuing my own catalogue acquisition I consult across a range of areas across finance, property, and operations.

    If you are navigating the music industry, evaluating a catalogue, or need someone to help operate your business, get in touch above.

  • Selling a music catalogue is one of the most significant financial decisions a musician, songwriter, or independent label can make. The right answer depends on several factors: how much of your income the catalogue currently generates, whether you have the infrastructure to actively manage and grow it, your long term financial goals, and what the current market is offering in terms of multiples.

    Catalogue multiples have come down from the peak frenzy of 2021 and 2022. If you are considering a sale it is worth understanding what your catalogue is actually worth before entering any conversation with a buyer.

  • Selling a music catalogue typically involves auditing your royalty income across all collection societies and platforms, compiling a clear picture of your rights ownership and any encumbrances, getting a realistic valuation from someone who understands current market multiples, and identifying the right buyers for your specific catalogue.

    Smaller and more specialist catalogues are better sold through direct relationships with buyers who have genuine interest in that specific type of music.

    If you are thinking about selling and want an honest conversation about what your catalogue might be worth and who might want it, get in touch above.