Music publishing mergers and acquisitions have boomed in recent years, invigorated by streaming’s user growth and the multitude of revenue options becoming available outside of music sales, such as micro syncs afford by user generated content (UGC) on YouTube and the steep growth of podcasts. The logic is sound: through the emergence of the digital economy, music publishing provided a more stable respite from the volatility of declining frontline releases. Yet as the business shifts to streaming and an engagement based model, are the assumptions on publishing’s future growth misaligned with the macro trends shaping the recorded music industry? With streaming’s emphasis on the new set to create a world of mega hits and audiences with less inclination towards looking back, the swelled valuations of publishing catalogue may begin to look ill judged. Conversely, the short-term euphoria may be used to drive its value even higher, if recorded music revenues remain strong in the coming years. This report therefore considers whether the music publishing market is in a state of inflation, or has transitioned towards an organic sustainable market with assets that were previously undervalued against music demand and/or underexploited in the piracy era.

Companies and brands mentioned in this report: Apple, Believe, Blue Mountain Group, BMG, Bug Music, Carlin, Conchord Bicycle Music, Downtown Music, EMI, Hipgnosis Songs Fund, Kobalt, Parlophone, Peer Music, Primary Wave, Round Hill, Royalty Exchange, Universal Music Group, Universal Music Publishing, Warner Chappel, Warner Music Group, Sony/ATV, Songs Publishing, Spotify