BnPac Posted May 27, 2022 Share Posted May 27, 2022 Is streaming really this bad for artists? A bunch of them has been selling lately. Link to comment Share on other sites More sharing options...
SupremeGoddess Posted May 27, 2022 Share Posted May 27, 2022 7 hours ago, Insanity said: How has he Bombared when he released albums 5 to 6 yrs apart and the last major global pandemic was 100 years ago, but id rather sit through another one than having something as deeply disgusting as can’t stop the feeling being spammed everywhere ?? Link to comment Share on other sites More sharing options...
Harry Posted May 27, 2022 Share Posted May 27, 2022 im assuming he doesn’t own his masters coz that’s no different than selling out of bargain bins Link to comment Share on other sites More sharing options...
sugarysunflower Posted May 27, 2022 Share Posted May 27, 2022 21 hours ago, Feanor said: That's what I really wonder too tbh. For example Bruce Springsteen's recent $500M (!) deal, where he sold his entire catalog, including publishing rights: How the hell do the new rights-holders plan on making back that money? Yes, Springsteen is one of the biggest names ever in music, but like 99% of his success lies in the past. He doesn't have any album on Billboard's pure album sales chart right now, so his current pure sales are negligible, and he's also not on Spotify's top 200 most streamed artists chart either. Does publishing really pay that much that his catalog would warrant a half a billion price tag? Idk. https://www.investorschronicle.co.uk/education/2022/03/03/hipgnosis-song-fund-you-can-t-always-get-what-you-want/ So this article provides a fair balance of what Hipgnosis (and other investment funds collecting catalogs) are doing. There’s an estimation that all streaming platforms are predicted to have an 8-15% CAGR over the next few years, particularly for older catalogs rather than newer music. However, the growth has a shelf-life so they have to keep acquiring more catalogs to churn out the music to keep the income / assets value high. And there’s uncertainty on whether streaming platforms will increase their fees over the years, and if so whether that will translate into better songwriting publishing royalty rates. The other problem is that because they seeked the help of Blackstone to acquire catalogs under a $1bn fund, Blackstone have the choice is retaining a certain portion of songs/catalogs it acquires reducing how much Hipgnosis can retain. Additionally (according to the article) Hipgnosis specialises more on synchronisation than the industry norm, which is to strike deals with TV, Film, Gaming, Radio programming (not traditional play-for-pay) industries . So rather than get performance royalties off just back catalog streams and live performances, the catalog can be embedded as part of a game or a programming series and collect a bigger cheque in one go. It’s a bit unpredictable and a slippery slope. I’m sure only the biggest names are keeping it in the profits margin for now. I’m interested in how they turn around the medium or smaller known catalogs. Link to comment Share on other sites More sharing options...
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