For one factor, Stringer – in contrast to his contemporaries at Common Music Group and Warner Music Group – isn’t required to face down questions from funding analysts on quarterly earnings calls.
That’s as a result of, in contrast to UMG and WMG, Sony Music Group isn’t immediately publicly traded. As a substitute it’s an necessary (and more and more worthwhile) subsidiary of the Tokyo-based Sony Company, which additionally performs residence to PlayStation, Sony Footage, and different key divisions.
Stringer gave a uncommon interview yesterday (October 10), nevertheless, to Bloomberg’s Lucas Shaw on the monetary publication’s Screentime convention in Los Angeles.
The duo’s wide-ranging dialog lined floor that occupies the minds of music biz varieties day by day.
Matters included Sony’s latest catalog M&A splurge, which has seen it purchase rights related to storied acts together with Michael Jackson, Queen, and Pink Floyd.
Stringer additionally mentioned the ability stability between artists and labels within the document enterprise, plus the function of TikTok… and the way a lot it pays rightsholders for using their music.
You’ll be able to watch Stringer and Shaw’s dialogue under, however we’ve additionally rounded up 4 issues that significantly stood out from the interview…
Credit score: PHLD Luca/Shutterstock
1) Sony Music’s boss confirmed their Pink Floyd, Queen and Michael Jackson offers… and pointed to ‘experiential’ alternatives for heritage acts.
One of many greatest revelations from Stringer’s interview at Bloomberg’s Screentime convention was the affirmation of the corporate’s latest catalog offers with Pink Floyd, Queen, and the property of MichaelJackson.
Earlier this month, we reported that Pink Floyd had agreed to promote their recorded music catalog to Sony Music in an settlement price roughly USD $400 million, in accordance with sources.
The information arrived after Sony reportedly accomplished the acquisition of a career-spanning set of rights for an additional legendary band, Queen, for over $1 billion, earlier this 12 months.
The MichaelJackson sale, in the meantime, first reported in February, sees Sony Music buying 50% of Jackson’s publishing and recorded masters catalog, whereas collaborating in different earnings streams.
Stringer was requested why Sony has been so lively in shopping for these catalogs and to clarify why the reported values of the three most up-to-date offers (which he didn’t affirm) are as excessive as they’re. Stringer stated: “Utilizing the trendy artwork idea, I feel this music is priceless.”
He added that “there isn’t a value, so far as I’m involved, for Pink Floyd” and equated the worth of the legendary British band’s catalog to a portray by Pablo Picasso.
“What value are you able to placed on … a Picasso?” It’s relative,” he stated.
“Utilizing the trendy artwork idea, I feel this music is priceless.”
Rob Stringer
Stringer additionally confirmed that Sony “purchased identify and likeness on two of these acts”, including that Sony now owns “all of the logos [and] merchandising,” and pointed to the “experiential potential” and “occasion potential” introduced by proudly owning the NIL rights.
Experiential occasions utilizing the likeness and music of famous person artists may be very large enterprise. Simply a few weeks in the past, we discovered that the ABBA Voyage digital expertise in London generated over $129 million in 2023.
Legendary rock band KISS just lately offered their music catalog, plus identify, picture and likeness rights — together with their face paint designs — to music funding agency Pophouse Leisure (the corporate behind ABBA Voyage) and likewise plan to launch a digital live performance collection that includes digital variations of themselves.
Might we see an analogous digital expertise for the likes of Queen, Michael Jackson or Pink Floyd? The general public’s demand for digital live shows is definitely there, as evidenced by the 1.1 million guests to ABBA Voyage final 12 months.
Stringer additionally provided a little bit of perception into why he believes shopping for catalogs of legacy acts like Pink Floyd are funding within the streaming, noting that the viewers is getting older on “Spotify now, because it hits maturity, significantly [in] the English language markets”.
“So when you take a look at the dynamics of {the marketplace}, it implies that the proportion of individuals listening to older music is way increased. I feel it’s a foregone conclusion, to be sincere.”
Stringer additionally identified that Sony already had long-running relationships with “each one” of the artists with which the corporate has struck latest large cash catalog offers, together with Bruce Springsteen, Pink Floyd, Michael Jackson, Queen and Bob Dylan.
“We’ve got quite a lot of inventive understanding and we’ve got quite a lot of experience on the construction of these artists’ careers,” he stated.
“In order that they felt like match. And fairly frankly, I didn’t need any of these artists to go wherever else.”
Credit score: izzuanroslan/Shutterstock
2) The music rights business allowed TikTok to ‘grow to be MTV’
The music business’s relationship with TikTok is usually harmonious, but typically fractious.
The argument that music has performed a key function in TikTok’s development has led some within the business to query whether or not artists, songwriters, and document labels are adequately remunerated for using music on its platform.
At the start of the 12 months, Common Music Group pulled its catalog fromTikTok, primarily as a result of, in UMG’s phrases, “TikTok proposed paying our artists and songwriters at a price that could be a fraction of the speed that equally located main social platforms pay”.
However after a three-month licensing stand-off, UMG and TikTok struck what they known as “a brand new multi-dimensional licensing settlement”.
“We allowed them to be MTV and we shouldn’t have executed that. And now we’re backpedaling. They aren’t a promotional platform.”
Rob Stringer
Throughout his interview on Thursday, Stringer was requested if TikTok pays Sony Music sufficient.
Stringer argued that “the talk on that might be: Did we begin off with TikTok on the best be aware, and did we enable them to grow to be what they assume they’re, which is a promotional platform? And we most likely did.”
He added: “They aren’t [a] promotional platform. They’re a vastly worthwhile company and we allowed them to be MTV and we shouldn’t have executed that. And now we’re backpedaling from that.”
TikTok’s not the one service that Stringer says ought to be paying extra to the music business, nevertheless.
He added: “The reality is, we must always receives a commission extra by a number of of our a number of of our DSP companions. And that’s a part of my job. It’s to make it possible for we’re paid after which flip the eyes to pay.”
Credit score: Shutterstock
3) On… why he’s glad to not run a public music firm like Warner Music Group and Common Music Group
Elsewhere through the interview, Stringer was requested in regards to the variations between Sony and its rivals Warner and Common and whether or not these rivals being publicly traded corporations profit Sony as a result of they’re required to make public disclosures, together with quarterly reviews.
Common Music listed on the Amsterdam Euronext in October 2021, whereas Warner Music Group launched its IPO on the NASDAQ in 2020.
Sony Music’s mother or father firm, Tokyo-headquartered Sony Corp, is publicly traded and reviews outcomes for its music unit in its quarterly monetary reviews alongside outcomes for its different divisions, together with Gaming and Footage.
“Would I wish to be doing [quarterly earnings],” requested Stringer, in response to the query about his rivals, including: “Not significantly.”
Added Stringer: “We don’t even put out press releases in regards to the issues we do, which I do know typically is slightly bit annoying [for the media].
“We are able to signal large catalogs and we don’t inform anyone formally as a result of it’s not fairly the identical dynamic.
“Would I wish to be in that place [of running a publicly-traded music company]? No, not likely.”
“To be backstage once you’re doing my job, shouldn’t be a horrible factor.”
Rob Stringer
Stringer additionally commented on how “powerful” it have to be, to be the chief of a publicly traded music firm like Common or Warner.
“I feel it’s powerful and I’m pleasant with individuals within the different corporations,” he stated. “I’ve labored with the top of Common [Sir Lucian Grainge] and I’ve recognized him for almost 35 years. It’s a it’s a troublesome gig, that. It’s [tough] to be actually reporting again to shareholders and traders each three months and it’s a must to speak your organization up.”
Added Stringer: “I’m lucky that I do investor evaluation conferences twice a 12 months and I contribute to the Sony quarterlies, however I’m left slightly bit extra.
I feel that [being] backstage once you’re doing all your job shouldn’t be a horrible factor. The artists are in entrance of the curtain. The expertise is in entrance of the curtain. And I feel [a music company CEO] being backstage is typically higher.”
4) The facility stability between artists and labels
Stringer additionally argued that within the period of digital music, “the artists have on the very least equal energy to us, if no more energy to us, as a result of we’re a part of an general image.”
That “general image” contains “reside, merch, branding… there’s quite a lot of streams now of the music enterprise which can be tremendous profitable, and we’re one strand,” Stringer stated.
However in fact, it wasn’t at all times this manner.
“After I began – I began in 1985 – [labels] managed manufacturing, managed distribution. We managed radio… We had been passport management for artists. So we had much more energy,” Stringer stated.
Nonetheless, Stringer says he doesn’t thoughts that document corporations have relinquished their “passport management” credentials.
“I’ve been very comfy with that,” he stated. “I wished to be the artist companion, I by no means wished to be a cigar-smoking fats cat!”Music Enterprise Worldwide
