Historic royalty income is no indication of future royalty income. Future royalty income is dependent upon future sales and licensing revenue generated by the sound recordings or compositions associated with this listing.
Internet Streaming, AM/FM & Satellite Radio, TV/Film/Commercial Performances, etc.
Internet Streaming, Satellite Radio, Digital Downloads, CD Sales, TV/Film/Commercial Placements & Performances, Samples, etc.
PRS for Music
Place a bid on this worldwide pop/electronic catalog featuring the hit single “Came Here For Love” from popular U.K. DJ Sigala and English vocalist Ella Eyre.
Thanks to its global appeal, over a third of this asset’s revenue came from international sources in the last year. And impressively, international income increased by 13%. These royalties include radio, streaming, and TV/Film from outside the United Kingdom. Domestic (U.K.) streaming earnings also grew by 11% (noted as “Online” in the financial data) thanks to Spotify and Apple Music.
Released in 2017, “Came Here For Love” is off Sigala’s debut studio album Brighter Days. The album was a major success with six U.K. Top 10 singles, including “Came Here For Love” peaking at No. 6. The tropical house track was a worldwide hit going Platinum in the United Kingdom and Gold in Italy and Australia. “Came Here For Love” accounts for 83% of last year’s revenue and to date has 225+ million spins on Spotify.
Also included in this collection is 2016’s “When The Bassline Drops” from Craig David and British rapper Big Narstie. The track brought in 13% of last year’s income and peaked at No. 10 on U.K. singles chart. Notably, income from “When The Bassline Drops” is up 12% year-over-year.
Other titles featured in this catalog are: Craig David’s 2016 single "One More Time,” “Remember Me” (2012) from English singer Daley, and “Revive” performed by dance group LuvBug.
Streaming Growth Worldwide. According to IFPI’S Global Music Report 2019, streaming revenues were up 34% in 2018, accounting for nearly half (47%) of total recorded music revenues. By the end of 2018, there were 255 million users of paid subscription accounts globally.
This is good news for you as the investor, as 35% of this catalog’s income comes from what is noted as “international” which signifies royalties earned outside the United Kingdom including income from streaming platforms. Also, within the United Kingdom revenue from online streaming platforms is the second highest-earning source and that revenue grew year-over-year.
Active Tours. Both Sigala and Craig David are currently on tour. Sigala has scheduled tour dates through November 2019, while Craig David has dates on the books into April 2020. Tours give artists the chance to solidify their current fan base and expand their reach to new listeners.
About the Royalty Distributor
PRS for Music is the United Kingdom's leading collection society. It represents their songwriter, composer and music publisher members’ performing rights, and collects royalties on their behalf whenever their music is played or performed publicly. PRS undertakes collective rights management for musical works on behalf of its 140,000 members.
Public performance royalties are payments made by radio stations, hotels, restaurants, night clubs, etc. to the composition copyright holder(s) for each public performance of the copyrighted work. In the U.S., public performance royalties are typically paid to performing rights organizations (e.g., ASCAP, BMI) who then distribute the royalties to the copyright holder(s).
Mechanical royalties are royalties deriving from per-unit payments made by recording companies or digital download providers to the composition copyright holder(s) for every purchase of a sound recording that reproduces the copyrighted composition.
Non-interactive digital performance royalties are payments made by non-interactive music services (i.e. those that mimic the experience of a radio broadcast) of a statutorily-set amount (on either a per-play or annual basis—depending on the type of service) to SoundExchange for the benefit of the sound recording copyright holder and the performing artists for the right to perform the copyrighted sound recording via non-interactive, digital means.
non-interactive digital performance royalties
The royalties owed to the creator(s) of a musical composition which are paid in return for the right to reproduce, distribute, or perform the copyrighted work.
A musical composition is one of the two copyrightable parts of a recorded song. It consists of the song's music, including any accompanying words, (i.e. the portion of a song that is capable of being fully expressed as sheet music) and is separate from any particular recording of the song or its performance by any particular artist.
A sound recording is one of the two copyrightable portions of a recorded song. It results from the fixation of a series of musical, spoken, or other sounds in a tangible (at least momentarily permanent) medium.
The portion of royalties owed to the owner of a sound recording. The owner may the performing artist, the producer, or another party (such as a record label) who contractually acquired the ownership of the copyrighted work (e.g., through a recording agreement), owns it by virtue of an employer-employee relationship with the creator(s) of the work, or specially commissioned the work.
rights owner's share
The portion of royalties owed to the performers of a sound recording in return for the right to perform the copyrighted work via non-interactive, digital services (e.g., Pandora, Spotify).
The portion of royalties owed to the music publisher which are paid in return for the right to reproduce, distribute, or perform a copyrighted musical composition, arising from a contractual obligation (i.e. a publishing agreement) or employer-employee relationship with the creator of composition (i.e. the songwriter(s)).
If an asset requires splitting up a catalog by works or percentages, Royalty Exchange may need to provide royalty accounting services to the buyer, seller, or both. This is because the royalty distributor may not be able to split royalties as intended by the asset transfer. Royalty Exchange's involvement helps to ensure accurate royalty payments. It also helps assure buyers and sellers that they are not missing out on potential earnings.
The accounting process often involves manual spreadsheet work and coordinating with royalty distributors. Royalty Exchange's goal is for the accounting service to be temporary. We plan to work with distributors to find solutions that will allow us to revert accounting and payment obligations back to the distributor, removing ourselves from the process. In the meantime, we've instituted the 5% fee to help offset costs in the manual accounting.
Please see the sample accounting agreement document for reference.
Why does Royalty Exchange need to account?
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