News
JKBX Allows You To Invest in Beyoncé’s Catalog
Music tech startup JKBX seeks to revolution music investment by allowing everyday fans to invest in their favorite songs.
Story Highlights
- JKBX, Founded by Scott Cohen, Seeks to Revolutionize Music Investment.
The emergence of song royalty trading platform JKBX has been creating quite the buzz in the music biz over the past year. After announcing plans to give fans and investors the chance to own royalty shares in hit songs, the company officially launched its platform this week.
Founded by former Warner Music Group Chief Innovator Officer Scott Cohen, JKBX is aiming to shake up the industry by bringing high-value songs to retail investors and music lovers. The platform went live on Tuesday, September 12, allowing users to reserve shares in smash hits ahead of their public listing.
While you can’t buy just yet, reserving secures you a spot to purchase royalty shares ahead of JKBX’s full approval from the United States Securities and Exchange Commission (SEC). The company will need the green light from the SEC before it can start officially selling stakes in these songs.
JKBX has already listed dozens of chart-toppers written by superstars such as Beyonce, Ed Sheeran, the Jonas Brothers and more. Each listing shows you stats like price per share, estimated royalty yield, streaming numbers, and revenue.
For example, one share in the composition for “Sucker” by the Jonas Brothers is currently priced at $28.41, whereas a share in the sound recording of the song (the master), is priced at $28.54 per share.
For anyone wondering how Ryan Tedder is able to offer shares in the master recording of the song through JKBX, let us explain. While Tedder does not actually own the ‘master’ (the song is owned by vanity label Jonas Brothers Recording, exclusively licensed by Republic Records), Tedder does have royalty points on the song as a producer, which is what he is offering on JKBX.
Cohen, who co-founded Sony Music’s The Orchard before joining Warner, says JKBX was created to give everyone access to owning successful songs. In a press release, the company says they are “bringing high-value songs to millions of retail investors and music fans alike”. “It’s an opportunity for people to invest in music they know and love.”
While JKBX awaits SEC approval, Cohen remains optimistic they will give them the go ahead. He stated, “We’re in the process of seeking regulated approval so customers can start purchasing royalty shares as a regulated offering.”
But how likely is it that the SEC grants approval to this disruptive and unprecedented business model? Forbes Contributor Bill Hochberg questioned whether or not exchange-traded song royalties will be a good investment.
We are bringing high-value songs to millions of retail investors and music fans alike.
In additon to its main platform, JKBX has also launched a Creator Program to pay artists whose songs get listed. The company will share revenue with them, even if they don’t own rights. Cohen defended the move, saying “When a songwriter or producer sells the rights to their work, they do not need to get the consent from the original recording artists. We wanted to defy this industry norm and actively go out of our way to make the recording artists aware of the listings on our marketplace.”
The platform’s affiliate Jukebox Hits Vol. 1 will work with rightsholders to determine which songs to list. They’ll then purchase a cut of the royalty streams and then sell pieces to investors on JKBX. So while you won’t actually own the rights, you’ll get paid as the songs earn royalties.
JKBX believes this new way of investing in music will transform the industry. Everyday people now have a chance to profit off the success of their favorite songs. As Cohen put it, “We’re a small company with big ambitions”. Time will tell if the SEC agrees to let their vision become a reality.
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MBN Staff
Analysis
Canada Slashes Kendrick Lamar’s Radio Play By 25%, While Drake Sees a 10% Decline In The U.S.
MBN Exclusive: New Soundcharts Data Shows The Cogs Working Behind Rap’s Hottest War.
Story Highlights
New data provides unprecedented insight into the underlying methodology of the Drake-Kendrick feud crucial to understanding the broader battle for hip-hop supremacy.
Few rivalries in the high-stakes world of hip hop superstardom have captured the cultural zeitgeist as completely as the recent feud between ‘Rap Gods’ Drake and Kendrick Lamar. Being two of the genre’s OGs, their every move sent reverberations through the music industry and beyond. A lot of the conversation around the ‘slugfest’ revolved around the surface-level spectacle of the diss tracks and opinions among fans, but the real narrative that shapes this feud is the one presented in the data (the streaming numbers, radio spins and listener trends that provide an insight into the way the two superstars’ strategies prior to the ‘war of words’ helped them to navigate this war behind the scenes.
A Geographic Dividend
As we previously reported at Music Biz Nation, data from Luminate – a premier music analytics company – showed an slight difference in how Drake and Kendrick diss tracks were being consumed regionally versus internationally in comparison to their overall catalogs. In Kendrick’s case, American listeners were responsible for 62.2% of streams on his Drake diss tracks, 11.5% above his typical 50.7% U.S. share. Meanwhile, Drake saw only a small boost in U.S. streams for his Kendrick disses, bumping from 58.9% to 60.1% – with the remainder coming from international markets.
Getting more specific, Kendrick’s top listenership on Spotify stems from Los Angeles (also his top radio market), London and Chicago (all seeing a 2-3% monthly increase in the past month). Drake still comfortably maintained an 82.5 million to Kendrick’s 78 million in Spotify monthly listeners over the past 28 days, with his top markets on the platform being London, Los Angeles, and New York. Notably, Drake saw a 1-2% dip in listenership in all three of his top markets, while Kendrick gained ground in each of them.
The Streaming Showdown: Loyalty vs. Virality
In the wake of Kendrick’s numerous diss tracks, including the most popular of them all “Not Like Us,” (amassing 280 million streams and 2,000+ playlist placements on Spotify alone) his monthly Spotify listener count surged by an impressive 27 million. Drake, meanwhile, saw a comparatively modest dip of 1.5 million monthly listeners since the start of the feud, with his most popular Kendrick-diss “Family Matters” totaling a mere 66 million Spotify streams and 700 playlists on the platform. On the surface, this might suggest a clear win for Kendrick. However, a deeper dive into listener retention rates tells a more complex story.
Drake’s retention rate actually increased from 105% to 109% during this period, indicating that his core fanbase remains remarkably steadfast in their loyalty, even in the face of Kendrick’s onslaught. Additionally, Drake’s monthly listener count on Spotify, even after a 1.5 million dip, still towers over Kendrick’s but only slightly at 82.5 million to 78 million – a much closer gap than before the ‘war’.
Kendrick, on the other hand, saw his retention rate plummet from 43% to 38%, suggesting that many of his newly-gained listeners may be more curious onlookers than devoted fans.
This data paints a picture of two contrasting strategies – one focused on cultivating deep, lasting loyalty, the other on generating viral moments and sparking widespread curiosity. While Kendrick’s approach may be winning the battle for short-term attention, Drake’s strategy could prove more effective in the long-term war for enduring dominance.
Kendrick’s cultural references in his diss tracks is likely what ignited and engaged more of his U.S. audience. Meanwhile, the strength of his overall catalog has allowed Drake to rely on his status as a global superstar, betting on the continued reliability of his massive global audience to absorb any blowback.
Radio Waves Shift: Kendrick's Domestic Surge
Soundcharts data also point to a change in radio play dynamics over the last month. While Drake’s radio spins dipped slightly in the U.S. (-9%) and U.K. (-6%) – two of his top markets – Kendrick Lamar has seen an 80% increase in U.S. radio play in the wake of feud. Lamar’s increased radio play in the U.S. was, unsurprisingly, driven by airplay of “Not Like Us” in the Los Angeles area (his home county) on stations such as Power106 and KRRL-FM Real 92.3 (responsible for Kendrick’s highest number of global radio plays over the last month).
Most tellingly, but somewhat expected, the LA-based Real 92.3, the station that has been Kendrick’s staunchest cheerleader, cut Drake’s airplay by a staggering 30% during the month of May.
This domestic dominant radio surge for Kendrick, coupled with the increase in U.S. streaming share for his diss tracks might speak to the effectiveness of his regionally-focused strategy in comparison to Drake’s. And with the U.S. being the biggest market for the Hip Hop genre, it is not difficult to see why a strategy like this has created such an impact in his battle with the Toronto-based rapper.
In Drake’s case, despite facing slight challenges in the U.S. radio market during the feud, the ‘6 God’ has managed to maintain his global radio dominance by making up ground key local and international markets in regions such as France (up 12%) and his home country of Canada (up 8%), where Kendrick has seen a 25% decline in airplay.
In saying that, like Drake, Kendrick has also compensated by making significant progress in other international radio markets over the past month – such as Nigeria (+104% in spins) and portions of Europe (U.K. +40%, Belgium +27%, Germany +26%, ).
Kendrick's Viral Breakthrough: The TikTok Wildcard
Where Drake may be ahead in terms of the raw numbers of streams and spins of his overall catalog, when it comes to the virality of this feud, Kendrick has taken the crown by more than a mile.
In just one month after its release, “Not Like Us” was the soundtrack for 560,000+ TikTok videos and 1.4 billion views, quickly becoming his third most popular song on the platform as lead artist (surpassing “We Cry Together”, from his most recent album ‘Mr. Morale & The Big Steppers’). The uptick is arguably a testament to Kendrick’s ‘hidden’ ability to create a moment that lands with TikTok’s wide audience often moved by the winds of popularity – something Drake was more known for excelling at prior to the feud. Drizzy’s most popular TikTok song “Tootsie Slide” has amassed 2.8 million videos and 8.2 billion views, compared to Kendrick’s 1.1 million videos and 1.3 billion videos for his most popular TikTok song “HUMBLE”. Notably, “Not Like Us” has accumulated more TikTok views than “HUMBLE.” with half the number of videos, speaking to its undeniable cultural impact.
Drake’s most popular song in the ‘back and forth’ with Lamar, “Family Matters”, stands at just 1,800 TikTok videos and 7.5 million views.
In an era where a single viral moment can redefine an artist’s trajectory, Kendrick’s overwhelming TikTok triumph in this feud could be an extremely powerful weapon in his arsenal. If he can sustain this momentum and translate the buzz into lasting listener growth and engagement, it could dramatically redefine of his overall positioning. Should the feud continue in any way, this is a wildcard that Drake (despite his overall dominance) cannot afford to ignore.
Looking Ahead...
With all that said, one thing is clear: the Drake-Kendrick beef was much more than a rap beef. As the reams of data show, it’s a rich, multifaceted playbook for how different strategies can determine equally impactful yet completely different outcomes. Every artist has their own unique arsenal of strengths and strategies — Drake’s unbreakable global grip and resistance to wobble in the storm, Kendrick’s gift for the viral moment and local relevance — which we’ll continue to watch with his future releases.
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MBN Staff
Entertainment
Sony Reportedly in Talks for $1 Billion Queen Catalog Acquisition
Source says discussions between Queen and Sony Music over the British band’s catalog sale have been ongoing since last year.
Story Highlights
Sony’s potential deal for Queen’s music assets could make it the biggest single-artist catalog acquisition in history.
According to multiple outlets, sources report that iconic British rock band Queen has been seeking a valuation of around $1.2 billion for its music assets, which consist of both publishing and master recording rights jointly owned by the band’s surviving members Brian May, Roger Taylor and John Deacon, as well as the Freddie Mercury estate. Bloomberg first reported that Sony Music is the undisclosed suitor currently in an exclusive negotiating window with Queen, working with an unnamed financial partner.
Music Business Worldwide originally broke news of the catalog being shopped for a 9-figure sum in May 2023, noting that major labels like Universal Music Group and private equity players had engaged in discussions.
Of course, putting together a deal of this magnitude and complexity, especially with multiple stakeholders involved, comes with no guarantee of closer. As a cautionary example, sources say Pink Floyd’s attempt to sell their catalog for $500 million collapsed in 2022 due to band members having differing priorities.
Inside Queen's Financial Performance
Music Business Worldwide also reported that Queen Productions Ltd, the UK entity housing the band’s recordings, reported £40.89 million ($50.41m) in turnover for the fiscal year ending September 2022, a 4.3% increase over 2021. Profit before taxes jumped 31.6% to £22.16 million ($27.41m).
Much of this growth likely stems from the popularity boost following the band’s 2018 biopic Bohemian Rhapsody. In fact, the FY2022 revenue figure more than tripled Queen’s £12.34 million turnover ($16.72m) in FY2016 before the film’s release. The band’s enduring appeal is further evidenced by the nearly 38 million album consumption units and 46 billion on-demand global streams their catalog has amassed since 1991, according to Luminate and reported by Billboard.
Implications of a Billion-Dollar Sale
If completed in the $1 billion range as reported, Queen’s sale would handily surpass Bruce Springsteen’s $500 million+ catalog deal with Sony in 2021 to become the biggest transaction for a single artist’s body of work. It would also dwarf the $600 million Sony allegedly paid in February for 50% of Michael Jackson’s catalog. Though, technically speaking, with only the remaining 50% sold, the deal with the Jackson estate valued the late King of Pop’s catalog at $1.2 billion – slightly above than the reported $1 billion offer of Queen’s work, if that number is exact.
However, Queen’s situation is a little more complicated due to Disney Music Group’s current rights to their master recordings in North America under the Hollywood Records umbrella. Any acquirer would need to navigate that structure and DMG’s global distribution pact with Universal.
The stratospheric valuations attached to evergreen hit songs have enticed artists to cash in on their life’s work, accepting a one-time capital gains tax rather than annual income taxes on royalties. But as the Hipgnosis Songs Fund has demonstrated, aggregating catalogs at premium prices fueled by cheap debt doesn’t automatically translate into strong returns. Blackstone’s takeover of Hipgnosis following a shareholder revolt underscores the potential risks of catalog acquisition sprees.
Queen, though, stands apart as one of the most commercially successful acts in history, notching six No. 1 singles and 10 No. 1 albums in the UK across five decades. With the right promotion and synch opportunities, dozens of their songs like “Bohemian Rhapsody,” “We Will Rock You,” and “Another One Bites the Dust” have the potential to generate substantial returns for decades to come. But at a $1 billion entry price, Sony or any other buyer will need to be confident they can unlock significantly more value to make the numbers work.
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MBN Staff
Canada Slashes Kendrick Lamar’s Radio Play By 25%, While Drake Sees a 10% Decline In The U.S.
Sony Reportedly in Talks for $1 Billion Queen Catalog Acquisition
Drake vs. Kendrick: How Their Diss Track Data Reveals Divergent Paths to Streaming Dominance
Albums Chart Data: Swift & Eilish Dominate UK & US Listings
Global Indie Body WIN Publishes AI Principles for the Music Industry
