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assets ex mckinsey private equity 27 786 followers 1y report this post yes i write a lot about sports and yes our firm is called sportsinvest advisory but let s be honest sports media entertainmentinvest advisory sounded a bit too long however our focus spans the entire 𝐒𝐩𝐨𝐫𝐭𝐬 𝐌𝐞𝐝𝐢𝐚 𝐄𝐧𝐭𝐞𝐫𝐭𝐚𝐢𝐧𝐦𝐞𝐧𝐭 𝐞𝐜𝐨𝐬𝐲𝐬𝐭𝐞𝐦 why because each of these segments is worth looking into from an investment standpoint just the other day i was talking about content series cinema as an investment opportunity with louis ladreyt from logical content ventures a fund deploying capital in films and series and several years ago we also started exploring 𝐦𝐮𝐬𝐢𝐜 𝐫𝐢𝐠𝐡𝐭𝐬 as a new asset class one that has now captured the attention of leading pe investors blackrock backed alignment artist capital to deploy 5m 20m deals for artists and songwriters 2015 blackstone committed 1bn to hipgnosis songs now recognition music group to acquire music catalogues 2021 apollo global management inc committed 1bn to harbourview equity partners led by sherrese clarke 2021 providence equity partners launched tempo music in 2019 with warner music group later exiting to wmg for 450m kkr acquired kobalt music s catalogue for 1 1bn 2021 what sparked private equity s interest in music rights market growth check out goldman sachs music in the air report link in comments low correlation to macroeconomic trends financial assets stable recurring royalties revenues 5 10 yield but also and that s even more interesting value creation opportunities through ip expansion licensing events entertainment one of my favorite investment teams in this space pophouse entertainment why first because it boasts an outstanding founding team including abba s björn ulvaeus and eqt group founder conni jonsson led by ceo per sundin and chaired by lennart blecher eqt s head of real assets second because i had the opportunity to first connect with pophouse entertainment back in 2022 shahriar shokofan parham benisi joakim andersson and i was impressed by their visionary approach in ip expansion investment focus music catalogs and ip covering three key rights publishing recording and brand rights nil artists name image likeness value creation an artist centric approach that goes beyond passive catalog ownership expanding and monetizing ip across the entire entertainment ecosystem they launched abba voyage a concert featuring digital avatars of the swedish pop icons and the avicii experience a tribute to the late swedish dj on monday they announced a 𝟏 𝟐𝐁𝐍 𝐟𝐢𝐫𝐬𝐭 𝐭𝐢𝐦𝐞 𝐟𝐮𝐧𝐝 one of the largest debut private equity funds raised in europe in the past decade they have already deployed about 30 of the fund acquiring rights to kiss cyndi lauper avicii and swedish house mafia huge congratulations to the entire pophouse team for this fantastic achievement more 55 3 comments like comment share copy linkedin facebook x ravdeep anand ravdeep anand is an influencer music ip rights licensing commercial strategy co founder fairplay 4 637 followers 8mo report this post if you make music brands are underpaying you for how much work you already do in people s lives the value is hiding in plain sight every week i see the same thing play out crores go into influencer campaigns grid posts story sets ugc briefs creator trips everything optimised for short term reach and then somewhere at the bottom of the deck almost as an afterthought comes the line also need a track for the background the influencers are not the problem here they are great at attention reach and trend culture the imbalance is the problem brands have over invested in who can get me views this week and under invested in who will people still care about five years from now that second category is almost always musicians if you doubt it think about your own life your first heartbreak your best road trip the 3 am spiral the gym at 7 am who is there with you it s not a discount code it s almost always a song influencers can get you a click musicians can give you a memory and the gap is narrowing because modern artists are not just studio people anymore they shoot their own reels tell stories build communities sell tickets and tour they are content creators who also make the thing people replay a hundred times that is emotional labour brands could never buy directly if you are a brand follow the tips that i have shared in the video if you are a musician here is the uncomfortable truth in 2026 you are worth twice as much to a brand if you can behave like a creator that does not mean chasing every trend it means showing your face building familiarity and making it easy for a brand to imagine you inside a campaign it means thinking in series not just singles it means protecting your taste so you become the soundtrack of a world influencers can start the conversation music can live in people s heads for years if you are a brand save this and send it to your marketing team move one campaign next quarter from just another reel to an artist for the musicians and music companies brands are not against music they are just asleep at the wheel our job is to wake them up musicindustry musicbusiness advertising brandstrategy fairplay more 31 7 comments like comment share copy linkedin facebook x ashley carman ashley carman is an influencer reporter covering podcasting music audiobooks and more at bloomberg 11 373 followers 11mo report this post scoop elton john and paul mccartney are just two of 18 prominent songwriters who are demanding information about how they get paid by prs for music prs pays songwriters performance royalties or money for when their songs are played publicly like at an arena or in bars but songwriters even the biggest ones believe something is awry in the system the songwriters added their names to a letter sent to prs last week this request is prompted by growing concerns about the transparency accuracy and overall representation of members interests says the letter which i reviewed establishing clear and fair methodologies is important for future songwriters it said their livelihoods will depend on it for 2024 prs said it collected 287 million 387 million for public performances on behalf of songwriters the organization deducted 49 million for distribution processes the songwriters questioned why more efficient technologies aren t employed to reduce the costs a similar situation is playing out in the us which has a half dozen or so performing rights organizations distributing these royalties the us copyright office is looking into the matter at the behest of a congressional committee aruni soni and i wrote about this in july and the fact that songwriters can hear their music playing in public places but never see a penny from that usage in the uk the guardian reported that prs is sitting on millions of pounds of unpaid royalties because it doesn t know who the money should go to and prs is also facing a lawsuit over this this is a complicated but super important topic i m linking to today s prs news here and i ll include a link to our july story in the comments i continue to want to follow this developing story so if you re connected to the music industry and have thoughts on pros please dm me https lnkd in enu3wekm more elton john paul mccartney seek review of uk song royalty payment system bloomberg com 38 1 comment like comment share copy linkedin facebook x sunil jose sunil jose is an influencer professor of practice alliance university founder of suns legal ip law firm intellectual property strategist consultant i applying legal practice to industry and academic perspectives linkedin top voice 12 220 followers 1y report this post the delhi high court in a case filed by saregama ruled that the copyright of soundtrack of the tamil film moodu pani belongs to the film s producer therefore the music composer ilaiyaraja does not have the right to assign the lyrics of a song from the movie to a third party vels film saregama india limited filed a copyright infringement suit against vels film international limited regarding the song iniya pon nilave from the film moodu pani saregama alleged that vels film used the song in their film aghathiyaa and re recorded it without saregama s permission vels film claimed that they had a license from the composer ilaiyaraja to adapt and recreate the song the court noted that according to the 1980 agreement between the producer of moodu pani and saregama the copyright in the sound recordings and the musical and literary works of the film s songs vested with saregama therefore saregama is the owner of the sound recordings and the musical and literary works in the songs of moodu pani including en iniya pon nilave as a result ilaiyaraja the music composer has no copyright over the lyrics or the sound recording and cannot assign rights in the lyrics to vels film consequently vels cannot claim any rights based on an agreement with ilaiyaraja the decision reiterates the legal position concerning the ownership of movie songs stating that music composers cannot assign the rights to lyrics or sound recordings to third parties on their own volition this ruling is also significant for other cases where ilaiyaraja claims copyright over his musical compositions more 51 like comment share copy linkedin facebook x mariana maia pereira marketing strategist fundació festival de cinema de girona executive mba 5 625 followers 1y report this post how netflix hbo and prime are changing the music industry for real but can a song featured in a film or series generate income yes and sometimes more than once but only if your rights are properly managed and metadata is solid here s what it takes a you must own or control part of the rights b your work must include all key metadata isrc ipi etc c you must have sync licenses and be registered with a pro or cmo what revenue streams are involved 1 sync fee one time negotiated payment with studios 2 performance royalties from public airing of the film show 3 mechanical royalties if the content is downloaded or sold 4 streaming royalties if the film series is watched online but how do songs get into a film or series there are three main paths 1 custom made score or commissioned music a music supervisor sends a creative and technical brief a composer writes to the scene s emotion and timing 2 music libraries or indie catalogs platforms like artlist epidemic sound or even indie distributors allow licensed tracks to be used directly especially when metadata is solid 3 curated by music supervisors or editors these professionals hunt for that perfect emotional match keeping your data updated with pros and distributors increases your chances why this matters and why now in today s streaming world sync is not just exposure it s business according to deloitte 2024 82 of gen z discovers music through ugc and video platforms only 23 of people find new music through streaming recommendations spanish and latin american series on netflix and prime are helping revive indie catalogs real life examples stranger things sent running up that hill by kate bush back to the charts 37 years later euphoria made alternative tracks mainstream overnight latin and spanish language series from netflix and prime helped revive indie artist catalogs with global impact sync is not just visibility it s revenue but to make it work your author rights and technical setup must be flawless ana tijoux 1977 her song was featured in breaking bad boosting global streams and awareness originally a niche latin hip hop track it reached audiences worldwide thanks to perfect sync placement the exposure led to tour opportunities playlist additions and licensing deals all from a single tv scene if you re an artist composer or music manager sync licensing might be your most overlooked revenue stream ask yourself d is your music properly registered e are you visible in sync ready platforms and libraries f do you treat your song like an audiovisual product in today s entertainment ecosystem understanding sync understanding strategy let s talk about that musicsync artistdevelopment audiovisualstrategy musicformedia digitaldistribution songwritercommunity musiccreators more no more previous content no more next content 376 38 comments like comment share copy linkedin facebook x more in music royalty management preventing royalty loss from song registration mistakes managing music rights and royalty income music royalty accounting for catalog acquisition music royalty tracking for artists and managers more finance topics impact investing guide alternative investment strategies ipo preparation steps asset valuation techniques capital budgeting techniques financial reporting standards explained understanding interest rates impact debt restructuring plans fintech integration challenges financial technology innovations business valuation approaches treasury management roles tax dispute resolution investment risk management building an emergency fund investment portfolio tips 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