KOBALT
Time to squeeze in another Publishing Briefs, our semimonthly bulletin of recent signings, deals and doings in the wide world of music publishing. Since the last time we rapped, EMPIRE Publishing hired !llmind as a senior vp of A&R and elevated Al “Butter” McLean to the role of executive vp of global creative, plus Billboard‘s Kristin Robinson made sense of the Copyright Office’s inquiry into the U.S. PRO system with this explainer.
Caught up? Here’s what else is going on:
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Reservoir Media launched PopIndia, a full-service music company in Mumbai, to sign and develop regional talent and acquire publishing and recorded music catalogs. Led by Reservoir evp of international and emerging markets Spek and PopIndia’s head of operations Ray Ahmed, the new company builds on Reservoir’s successful PopArabia model, and marks its seventh global office. PopIndia’s first major signing is Sri Lankan singer Yohani, known for her viral hit “Manike Mage Hithe.” The publishing deal includes rights to her existing catalog and future works. Yohani has become a notable voice in Bollywood soundtracks and recently released her debut album Kella. PopIndia will also manage Reservoir’s relationships with Indian rapper DIVINE and Gully Gang Entertainment, provide sub-publishing services, and offer rights management solutions in the Indian and South Asian markets. Reservoir CEO Golnar Khosrowshahi pinpointed the importance of PopIndia in the NYC-based company’s emerging markets strategy, given the market’s rapid growth. “Capitalizing on the experience and synergies across Reservoir and PopArabia, PopIndia is adapting the same model Spek has successfully implemented throughout emerging markets, with Ray building relationships on the ground in Mumbai and showcasing Reservoir’s ongoing commitment to supporting local talent worldwide,” she said.
Ultra Music Publishing is now Payday Music Publishing, following a legal dispute with Sony Music over the Ultra brand. Name change aside, Payday Publishing will continue to represent over 70,000 copyrights, including songs by major artists like Post Malone, Ed Sheeran and Drake. The company’s songwriters received multiple Grammy nominations earlier this year. The name Payday Publishing is inspired by founder Patrick Moxey’s hip-hop label, Payday Records, known for releasing music by Jay-Z and others. Moxey emphasized that only the name is changing, and the company will continue its growth and leadership in independent global music publishing. “We will continue to represent our amazing songwriters and producers and we will continue serving as the custodians and protectors of the more than 70,000 copyrights we are privileged to represent,” he said, touting “tremendous growth in recent years.” The company also announced new international writing camps for 2025, including its in-progress Coachella writing camp and an annual sync writing camp in Palm Springs.
Thrive Music, an independent dance and electronic label founded by Ricardo Vinas in 1998, partnered with Kobalt for a global publishing administration deal. Kobalt will manage Thrive’s catalog and future releases, enhancing opportunities for its artists and songwriters. Thrive has supported works from artists like Paul Oakenfold, Steve Aoki and Moby, with recent hits including ACRAZE’s “Do It To It” and Tiësto’s “Rule The World.” The label has also secured major syncs with companies like Riot Games and Hulu. “As we continue to build Thrive into a full service company, we need partners who will work alongside us to create opportunities for the artists and songwriters we work with,” said Vinas.
Sony Music Publishing Scandinavia signed acclaimed Norwegian songwriter and multi-instrumentalist Matias Téllez to a global publishing deal. Based in Bergen, Téllez has collaborated with artists like Gracie Abrams and Maisie Peters, contributing to chart-topping releases including Peters’ The Good Witch. He recently earned Songwriter of the Year at the 2025 Norwegian Music Publisher Awards and received multiple Spellemannprisen nominations. “Over the last couple of years Matias has arguably been one of the most influential in shaping the sound of modern Scandinavian diy and alternative pop music and has found global audiences for the artists he’s stood behind and worked with,” said Lasse Ewald, vp of A&R. He is managed by Sam Cantlon, Tommas Arnby, and Mike Malak of Special Projects.
Round Hill Music inked a global administration deal with LA LOM, a genre-blending Los Angeles trio featuring Zac Sokolow, Jake Faulkner and Nicholas Baker. The agreement includes creative and sync support, as well as royalty collection and catalog administration. LA LOM’s debut album, The Los Angeles League of Musicians, debuted at No. 5 on Billboard’s Tropical Albums chart. The band is set to tour in 2025, supporting Leon Bridges and Thee Sacred Souls. Round Hill’s Amy Birnbaum praised the group’s vibrant, nostalgic sound and deep connection to Los Angeles’ musical diversity and Latin heritage. “Upon seeing their live shows, we were transported to what felt like 1950’s Cuba, and we connected so deeply with the audience who joyously shared in the vibrant musical journey of LA LOM,” she said.
Polyphia, the genre-blending band known for fusing hip-hop, trap and (checks notes) prog metal, has signed a global publishing deal with Position Music. Formed in 2010 in Plano, Texas, the group’s 2022 album Remember That You Will Die includes collaborations with $not, Chino Moreno, and Steve Vai, plus production from Rodney Jerkins and Y2K. This year, Polyphia will tour with System of a Down across the U.S. and Canada. Position Music VP of A&R Delmar Powell praised guitarist Tim Henson’s boundary-pushing style and the band’s cultural influence, calling them a “perfect fit for what we’re building” at Position Music, which has a roster that includes Tinashe, Cannons, Audien, Judah & the Lion, Erik Ron, and others.
Last Publishing Briefs: Indies Sound the Alarm on GenAI
Welcome to Publishing Briefs, our semimonthly bulletin of recent signings, deals and doings in the wide world of music publishing. Since the last time we rapped, NMPA chief David Israelite gave his annual State of Music Publishing address at a conference for indie publishers, Canada’s SOCAN reported a record-high number in total royalty distributions, and Billboard Español had a chat with Rimas Publishing president Carlos Souffront and managing director Emilio Morales about their vision for the company.
The Independent Music Publishers International Forum (IMPF) released its fourth Global Market View report, analyzing the indie music publishing industry’s performance and trends, including the impact of Generative AI. The report shows that the sector grew by 5.7% in 2023, the last full year of data, reaching a total value of 2.57 billion euros ($2.83B, as of the exchange rate on Dec. 30, 2023), up 105.6% since 2018. Despite a slight decline in market share from 26.7% to 26.3%, independent publishers collectively hold a larger market share than major companies like Sony Music Publishing, they said. Key priorities outlined in the report include addressing AI challenges and advocating for fair compensation from DSPs. The study warns that unchecked growth of AI-generated content could lead to a 24% revenue dip in music and a 21% drop in audiovisual by 2028, resulting in a cumulative loss of 22 billion euros, with 10 billion euros affecting music. The IMPF, which reps 230 indies, emphasizes the need for supportive tax policies and plans to monitor the U.S. Mechanical Licensing Collective for equitable practices. The report also raises concerns about consolidation/acquisitions of catalogs and indie publishers, which could negatively impact cultural diversity by reducing independent routes to the music market.
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Sony Music Publishing signed producer, engineer and multi-instrumentalist MTech (Matthew Bernard) to a global publishing deal. This agreement covers his existing catalog and future songs, and is in collaboration with producer Sounwave’s new production division, new.ordinary. Mtech contributed on six tracks on Kendrick Lamar’s GNX album, which reached No. 1 on the Billboard 200 albums chart. His credits on GNX include “Luther” and “Squabble Up,” both Hot 100 No. 1s. He has also worked on Lamar’s Euphoria, Kali Uchis’ Orquídeas, and Blxst’s I’ll Always Come Find You. Born in Los Angeles, MTech began his career at 17, later moving to Atlanta where he secured his first major TV placement on FOX’s Star and worked on The Four: Battle for Stardom. Returning to LA in 2022, he was introduced to Sounwave, who calls him a “superstar.” Sony Music Publishing manager, creative A&R Lauren Munroe said, “MTech’s exceptional talent is truly inspiring to be around, and I’m grateful for the opportunity to work with him. We’re honored to welcome MTech to the Sony Music Publishing family alongside the visionary Sounwave and excited for the incredible music ahead.”
Kobalt signed rock band Pierce The Veil to a global publishing deal. The band is on a successful tour following their fifth studio album, The Jaws Of Life, with sold-out shows at Madison Square Garden and The Forum. Their I Can’t Hear You world tour will continue across Europe, Mexico and South America. With over a decade in the industry, PTV blends post-hardcore, emo and progressive rock, earning a devoted global fanbase, especially within the Latinx community due to their Mexican-American roots. Melissa Emert-Hutner, Kobalt’s senior vp of creative, praised the group’s unique sound and significant fanbase in both rock and Latin music communities. “We look forward to working closely with the band and their team to provide the support and resources they need as they continue to grow their fan base around the world,” she said.
Peermusic signed songwriter and producer Clint Lagerberg to a worldwide publishing deal, covering future works and select back catalog. Lagerberg’s career highlights include Rascal Flatts’ “Here Comes Goodbye” and co-writing and producing Josh Kelley’s “Georgia Clay.” He achieved massive success with Keith Urban’s “Blue Ain’t Your Color,” the singer’s top song on Spotify and his highest-charting hit on the Hot 100 (at No. 24, in 2016). His songs have been recorded by country stars like Blake Shelton, Brad Paisley, Tim McGraw and Matt Stell. Recently, Lagerberg contributed to Brad Paisley’s upcoming album as both a writer and producer, with additional production credits include Matt Stell, LoCash, Leanna Crawford, Kevin Jonas and Backstreet Boys, among others. Knox praised Lagerberg’s talent and process. “He’s already proven his ability to land songs on the top of the charts, but it’s his process that is really impressive to me,” he said. “Clint has the technical knowledge and ability to see it through from conception to song production and delivery.”
Concord Music Publishing signed music producer Dom Martinez to a worldwide publishing deal, covering his full catalog and future works. Originally from Denver and now based in Nashville, Martinez is known for his versatility across genres like pop, rap, folk, singer-songwriter, and R&B. Martinez has collaborated with emerging talents such as Myles Smith, Caleb Hearn and Braden Bales. Lily Bunta, A&R Manager at Concord, praised Martinez’s passion and “truly infectious” enthusiasm for music.
Across the pond and then some, Concord Music Publishing ANZ signed up New Zealand power-pop band The Beths for worldwide representation. The deal covers their growing catalog, including albums Future Me Hates Me, Jump Rope Gazers, and Expert In A Dying Field. Formed in 2014 and led by vocalist Liz Stokes, The Beths have gained acclaim with their indie rock sound and performances at major festivals like Coachella. They were the first New Zealand act to win the Levi’s Music Prize in 2020. Jaime Gough, managing director at Concord Music Publishing ANZ, praised Stokes’ “deft lyricism and unique turn of phrase,” while Pennie Black, director at CMPNZ, called out their “infectious” indie pop sound as “a true reflection of their exceptional songwriting talent.”
Sony Music Publishing locked in multi-instrumentalist and songwriter Jesse Fink to a global publishing deal. Based in Los Angeles, Fink has written major hits, including Myles Smith’s Stargazing, which spent 44 weeks on the Billboard Hot 100 and topped international charts, and Artemas’ i like the way you kiss me, which surpassed 1 billion Spotify streams and reached #1 on Billboard’s Global 200 Excl. US chart. His songwriting credits include work with John Legend, Dove Cameron, and Leyla Blue. A GRAMMY winner for Best R&B Album in 2021 with Legend’s Bigger Love, he recently earned two BRIT Award nominations for Song of the Year. Sony Music Publishing A&R manager Clark Adler lauded Fink’s passion and work ethic, saying these traits “elevate everyone around him.”
Over in The Volunteer State, SMP Nashville signed singer-songwriter Averie Bielski to a global publishing deal. Originally from Roswell, GA, Averie has quickly made a name for herself, first gaining attention in 2021 with her viral debut single I Do Too, which gained traction on TikTok. Since moving to Nashville, her songs have been recorded by artists like Callista Clark, Zach John King, Carson Wallace, Ashley Anne and Grace Tyler. Sony Music Publishing Nashville’s manager of creative A&R, Synnovea Halsel, praised her “fresh” lyricism and unique melodies — “From the moment I heard her first song, I was taken aback.”
Warner Chappell Music‘s Miami team signed Afro-Colombian artist Hamilton, also known as AfroRockStar. As a prominent figure in the Afrobeat movement, Hamilton has already amassed over 250 million career streams. He is gearing up to release his debut album, which includes “Mi Reina,” a new single with Nanpa Basico. Recognized as an artist to watch, Hamilton’s Afrobeats collaborations include Ryan Castro’s “A Poca Luz” and Justin Quiles and Lenny Tavárez’s “Atardecer.” He is signed to Cigol Music on the label side and Globalatino/Cigol Publishing.
PUB BRIEFS BRIEFS: Centricity Music signed the Texas-based duo Band Reeves to a recording and publishing contract. The duo features Reeves brothers Jeramy and Cody, who have crafted a sound that blends country and Christian music. Band Reeves is managed by Proper Management and will release a debut single soon … Electronic music producer Anyma signed a global publishing deal with Kobalt. The agreement covers Anyma’s entire catalog, including his work with the duo Tale of Us, as well as future releases.
Last Publishing Briefs: El DeBarge Signs With Reservoir
Eslabon Armado‘s frontman and songwriter Pedro Tovar has signed a worldwide publishing deal with Kobalt, the company tells Billboard. The agreement was done via Tovar’s Armado Publishing; Kobalt will administer the Mexican-American artist’s entire catalog and future songs globally.
“I’m excited to join the Kobalt Music family in this new career stage,” Tovar said in a statement. “As a songwriter, I have always sought a company that values creativity and provides the necessary support to elevate my music to a global audience. I know that with Kobalt, I’ll continue growing and sharing my stories through my songs.”
Since having a major breakthrough in 2020, the sierreño act has been on a winning streak and fueling the música mexicana movement along the way.
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Over the course of four years, Eslabon released six consecutive chart-topping albums — all of which hit No. 1 on Billboard’s Regional Mexican Albums chart. In 2022, the group made history, with Nostalgia becoming the first top 10-charting regional Mexican album ever on the Billboard 200. A year later, Eslabon released its blockbuster hit “Ella Baila Sola” with Peso Pluma. The song was a runaway success and made history when it entered the Billboard Hot 100‘s top five. Last week, Eslabon released its eight studio album, Vibras de Noche II, a follow-up to the band’s 2020 set Vibras de Noche.
“Pedro Tovar is one of the most exciting artists and songwriters making music today,” added Nestor Casonu, president of Kobalt Music Latin America. “Through this partnership, we’ve had the privilege of understanding the values of an extraordinary family, led by Doña Nelly, with whom we’ve built both a professional and personal bond. I’m excited about the great things we’ll achieve together in the future.”
“At Kobalt, we want to sign songwriters who have singular voices that resonate with a wide audience,” said Teresa Romo, Kobalt’s senior creative director for Latin America. “Our partnership with Pedro Tovar represents an exciting new phase in his songwriting career, and we’re honored to support his creative independence and nurture new opportunities.”
Armado Publishing was represented in the deal by Christopher Navarro, partner at Singh, Singh & Trauben LLP.
“The middle class is growing, and it’s only going to accelerate with AI,” says Laurent Hubert, CEO of Kobalt. It’s a sentiment that’s widely held in the music industry today and one that’s backed by hard data. According to Luminate’s Midyear Music Report for 2024, the number of mid-tier artists — those earning between 1 million and 10 million on-demand audio streams — grew to 29,253, a 5.1% increase from the first half of 2023 to the first half of 2024. That number is set to grow even more in the coming year.
Though the recorded music sector has already moved fast to capture the value amassed by these middle-classers by creating or acquiring distribution and artist services companies, the publishing industry has yet to do the same. Currently, there are DIY songwriter administration services, like Songtrust and Sentric, that automate practically all services and are open for anyone to sign up for a one-year minimum term; and traditional music publishers — like the majors, Kobalt and other indies — that selectively offer advances and sometimes take a piece of copyright ownership in exchange.
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But as Jacob Paul, director of creative strategy at Kobalt, stresses, “there’s a lot of people in-between. The middle class is growing year on year, and yet this community is still locked out of publishing earnings because publishing is so complicated.” Enter: KOSIGN, Kobalt’s new platform targeting the creator middle class. Whether it’s an anti-establishment-minded songwriter who wants to be independent forever, a fast-rising singer-songwriter who wants to hold for another year before signing a traditional deal, or a seasoned vet who needs a place to collect their royalties in between publishers, KOSIGN promises to be a high-tech, transparent solution for those with about $5,000 or more to collect. It’s not for the “long, long tail” says Paul, but it’s not just for bankable stars either.
There’s no advance, but there are also no strings attached. A KOSIGN agreement operates on a rolling quarterly basis, can be used on a partial or full catalog, and features an 80% writer/20% publisher royalty split. And some KOSIGN writers will have the ability to upstream to Kobalt if desired.
For the Kobalt team, it feels like a win-win. With KOSIGN, “underserved artists,” as Jeanette Perez, president/CCO, puts it, have the ability to collect royalties that are nearly impossible to collect without a publishing partner, while Kobalt captures value from middle-class talent and forges bonds with tomorrow’s stars before its competitors are even looking. “We’ve found the market is chomping at the bit for this type of solution,” says Paul. “The inbound interest for KOSIGN is already incredible.”
What sparked the idea for KOSIGN?
HUBERT: We looked at the market and what we’ve seen in recorded music is that there was a large market [of up-and-coming artists] that was being serviced by distribution companies but there was no equivalent on the publishing side. We saw an opportunity to target an underserved market, and it is one that is also growing. We believe that AI will also flex that. We said that we have to be in this space. We have the capabilities from what we’ve built over the last 20 years. We have a best-in-class platform, and the idea was to… provide that service to a market that deserves [more help.]
Kobalt was the original home of AWAL, one of the biggest success stories in the artist services/distribution market today and now home to talent like Laufey, Jungle, Djo and more. In 2021, Kobalt sold AWAL to Sony Music. What did you learn from building AWAL that could apply to KOSIGN, which also targets a similar demographic of music creators?
HUBERT: What was interesting with AWAL is we really designed this not as a label service business but as an artist service business, so really focusing on the need of the creator. In that particular case, it was the artist. With KOSIGN, it’s the writer. We learned from AWAL that we had to find a path to minimize friction, and also, we needed to learn how to speak to that audience. It’s a different audience than your traditional one.
PEREZ: One of the theses behind AWAL, even back then, was this growing middle class of artists. That has just held through year after year. That is something else that we ported into the thesis for KOSIGN. The other important thing then and now is the idea that you can give artists flexibility.
It seems that the recorded music side of the industry has gone all-in on companies like AWAL — the artist service companies — since that flexibility is what many middle-class or rising artists want. To date, there has not been a good equivalent on the publishing side. Why do you think that is?
PAUL: The advantage Kobalt has had is that we’ve always been a service company. We’ve always been oriented that way. Because when we first launched, even 25 years ago, we weren’t launching on a model of copyright acquisition. I think traditionally, the publishing industry was predicated on the idea of acquiring copyrights and not necessarily the idea of servicing, but for Kobalt, even at its first founding, we started with the idea that we’d have admin deals, and we’re gonna have three-year terms.
At Kobalt, every three years, we have to re-earn [our writers’] trust so that they stay here. We’re not 50% owners of their copyrights. So I think Kobalt already had the service orientation, and I think that’s what helped us to view this middle market as a group to be serviced and not a group to merely be acquired.
PEREZ: Scaling a publishing platform is much more challenging than scaling a recorded music distribution platform. The number of sources you have to collect from on the publishing side is tenfold what you have to collect from on the recorded music side. You have to have an infrastructure and a foundation to then unlock that.
HUBERT: The challenge is that we have to manage the complexity [of publishing collections] in a way that still works on a pure unit economics as you go down the deal curve. We’ve been able to do that. It requires enormous amounts of resources.
There are some options on the market for DIY songwriters today, including Songtrust and Sentric, but unlike KOSIGN, these companies are open to all and really target the smallest creators. What did you learn from watching those companies develop?
PAUL: One thing that we’ve learned is that being open to everyone and prioritizing openness and volume doesn’t work from a scalable service perspective. That’s never been our interest. That’s a key difference between KOSIGN and others who are in this space. We very much want to be accessible in the sense that it’s extremely easy to apply and to join, you can get going very quickly, but we’re not really interested in touching the long tail where, frankly, there isn’t enough out there to collect to justify a Kobalt level of service. That’s the critical difference. It’s what allows us to not compromise on the level of core admin service that we’re providing.
There’s some other critical differences. One is our infrastructure, which we believe remains best in class. We think that client experience, the actual going-onto-the-portal, and the beauty and simplicity of the [app], is peerless. And then the last thing I would say is that when you look at the publishing terms of service for KOSIGN, we truly think that they’re the most flexible in the industry. Our goal here is to have something that’s not only simple to use and simple to understand but is truly simple from a deal perspective.
How does KOSIGN provide a competitive advantage for Kobalt?
PAUL: We really look forward to seeing KOSIGN as a pipeline for Kobalt in cases where it is right for the artist… KOSIGN allows us to open a door much earlier and much more often. We’re in a landscape creatively where access to the tools to create the next hit are more available than ever, and we see important artist stories and song stories accelerating really quickly these days, and it’s hard to predict where they’re going to come from. KOSIGN allows us to open the funnel.
HUBERT: It also reinforces our core value of empowerment. We created the business over 25 years ago to empower songwriters, and that’s what we’re doing here, in a way that is going down the deal curve but still aligned with our mission.
PAUL: We’re covering really the full life cycle of the songwriter in one ecosystem now. We don’t think other platforms in the space are able to do that the way that Kobalt and KOSIGN can.
Why do you think that none of the majors ever tried to build their own KOSIGN before you?
HUBERT: First, I don’t see that as being core to their strategy. At least there’s no real sign that this is something that they are focusing on. Number two, as we said earlier, you need to have built the proper infrastructure. If you look at many of the measures, they’re still relying on legacy tech stacks. So I think both strategically and operationally, this would present a challenge. It doesn’t mean that they could never get into that space. It would be naive to think that, but also, we have always built a business based on service, not on ownership. This only works when you really do it on a pure service level.
PEREZ: We are, in comparison to other players in the market, a fairly young company. We can still behave as a start-up, which enables us to move very quickly and be nimble. We don’t have 100 years of catalog to bring along.
It sounds like the app is quite transparent, but still, publishing is confusing and a lot of artists and writers don’t understand it. When you’re trying to run a lean, mostly automated service platform, I imagine this will be a point of friction. How do you plan to manage customer service and education for KOSIGN signees?
PAUL: There’s three layers to this. One is to build the platform, which we think we’ve done, and we’ll continue to invest in it. It is so beautiful and simple to use [that] in a way, it explains how publishing works by virtue of its design. Two is our messaging to the marketplace. So not only are we investing in the platform, we’re going to invest in educational materials, and we’re going to invest in content to reach up-and-coming artists and songwriters. Three is that we are really investing in the service aspect [of the] platform. So if you have a question, if you need help on the platform, you can go to a very specific place where you can really quickly get resources that we’re constantly going to be buildingto answer questions. And then if that doesn’t go all the way, you still have access to an admin team.
PEREZ: Again, we get to rely heavily on what we already paid to build out for Kobalt. That’s an advantage. There’s something called Kobalt Knowledge which is hundreds of articles about music publishing and navigating the publishing business. All of that will be immediately available to a KOSIGN client. We aren’t starting at zero.
Sony Music Publishing has launched its new flagship office in Bangkok, Thailand to expand its development and promotion of Thai songwriters. To helm the new operation, SMP has appointed Tatchara Longprasert as General Manager of SMP TH. Longprasert will report to Carol Ng, President, Asia, Sony Music Publishing.
Kobalt has signed a global publishing administration deal with New Zealand singer-songwriter Tim Finn. As part of their agreement, Kobalt will administer Finn’s entire catalog of songs, including Split Enz’s “I Hope I Never,” “I See Red” and “Six Months In A Leaky Boat,” and Crowded House classics like “Four Seasons In One Day,” “It’s Only Natural” and “Weather With You.” The deal also covers Finn’s expansive solo work, including standouts like “Fraction Too Much Friction” and “Winter Light,” and his critically acclaimed partnership with younger brother Neil in The Finn Brothers.
Warner Chappell Music and Madfun Entertainment have signed a global publishing deal with Grammy-nominated songwriter and producer Sam Ellis. He has co-written an impressive list of No. 1 hit songs, including Lady A’s “What If I Never Get Over You” and Ingrid Andress’s “More Hearts Than Mine.”
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peermusic has signed Peruvian rapper/songwriter Jaze to a global publishing deal. A collaboration between peermusic’s U.S. Latin and Argentina teams, Jaze’s deal encompasses both his existing song catalog and future works.
Wise Music Group has announced the sale of its music education division, including MusicFirst, Rising Software, Charanga, O-Generator, and Focus on Sound to private equity firm Achieve Partners. Robert Wise, chairman of Wise Music Group said of the deal: “We are confident that these brands will continue to thrive under their stewardship. At the same time, we can now fully dedicate ourselves to our core mission of music publishing with clarity and purpose.”
Tresóna, a partner to music publishers for licensing scholastic, community and professional organizations, has released liSynce, an easy-to-use synch licensing deal for memorial and funeral service videos. Though not many funeral and memorial homes are obtaining licenses for these activities to date, given previous licensing complexities and lack of enforcement, Tresóna estimates that the market is worth as much as $20 million a year.
Tim Finn, the celebrated New Zealand singer and songwriter, has signed a worldwide publishing deal with Kobalt.
Announced this week, Kobalt will administer Finn’s entire catalog of songs, which includes Split Enz’s “I Hope I Never,” “I See Red” and “Six Months In A Leaky Boat,” and “I Got You,” which reached No. 53 on the Billboard Hot 100 in 1980. Also included is Crowded House’s “Four Seasons In One Day,” “It’s Only Natural,” and “Weather With You,” plus solo works.
“We are thrilled to announce this new partnership with Tim Finn, a legendary figure in the world of music,” comments Simon Moor, managing director of Kobalt for the APAC region. “From his groundbreaking work with Split Enz to his contributions to Crowded House and his illustrious solo career, Tim has consistently showcased his incredible songwriting talent.”
Adds Finn: “Simon Moor and his team at Kobalt are energized music lovers. I’m excited to see what we can do together. It feels like a new chapter is waiting to be written for me and my songs.”
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Finn formed Split Enz in his homeland in the early 1970s. By the time Split Enz called it a day in December 1984, the band had banked a treasure chest of hits, including “Message to My Girl,” “My Mistake” and “Dirty Creatures”.
At that stage, Finn had already launched his solo career. His debut from 1983, Escapade, cracked the Billboard 200, peaking at No. 161.
Finn briefly joined forces with his younger brother and former Split Enz bandmate Neil on the third Crowded House project, Woodface, released in 1991. Woodface hit No. 82 on the Billboard 200.
A told, four Split Enz albums crashed the U.S. albums tally and the band was inducted into the ARIA Hall of Fame in 2005. Crowded House’s elevation came in 2016.
Finn’s latest work has included songs and soundtracks for film, television and musical theater, including Ladies in Black, for which he received a Helpmann Award for best new Australian work. His most recent solo album, 2021’s Caught by the Heart, is a collaboration with Roxy Music guitarist Phil Manzanera, who produced the Split Enz album from 1976, Second Thoughts.
Boasting 13 global offices, Kobalt serves over 1 million songs, representing the likes of Roddy Ricch, Max Martin, Karol G, Andrew Watt, Stevie Nicks, Phoebe Bridgers, The Lumineers, Foo Fighters, Paul McCartney and others.
Kobalt has tapped Rani Hancock to be its new executive vp/head of U.S. creative. In the role, Hancock will lead the company’s creative teams in New York, Los Angeles and Nashville, and she will report to Kobalt’s president/chief commercial officer Jeannette Perez. This marks Hancock’s first foray into publishing after spending her career as a […]
Mexican music star Ana Bárbara has signed a global publishing deal with Kobalt, the company tells Billboard. The indie publisher will administer all of the Mexican music star’s catalog and future recordings. Bárbara’s previous publisher was Ingrooves Music Publishing. The deal comes on the heels of Bárbara’s Reina Grupera U.S. Tour, which celebrated her 30th […]
Kobalt announced it has signed a worldwide publishing deal with Yamil, the Colombian hitmaker behind FloyyMenor and Cris MJ’s “Gata Only,” Billboard can announce today (Aug. 29). “Yamil is one of the most creative and successful producers/songwriters making music today,” Nestor Casonu, president of Latin at Kobalt, said in a press statement. “We are so […]
Alison Donald, Kobalt’s global head of creative, will depart the company at the end of July to pursue other opportunities, it was announced Monday (July 29). Donald joined Kobalt in 2017 to oversee the company’s A&R and creative in the U.K. and Europe for Kobalt Music Publishing and AWAL’s U.K. and Europe creative teams. She […]