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Warner music and BlackRock invest $750m in female & diverse artists

While aging arena-rock artists continue to cash in on their back catalogues, Warner Music Group, Black Rock, and Influence Media are looking to support relevant and burgeoning talent. $750m has been committed specifically to female and diverse musicians creating now.

Surely, there are only so many limited-edition vinyls you can release for albums dropped in the 80s before their appeal is well and truly dead? Though good luck telling that to music investors.

In a surprising pivot away from legacy bands (and primarily, from old white dudes), however, Warner Music Group – the third largest record label – has partnered the globe’s number one asset manager, BlackRock, on a $750m fund to promote female and diverse musicians.

Putting aside the sizable royalty payments that still roll in for classic Springsteen, Sting, or Dylan records, this investment will be divvied out by management firm Influence Media to bolster what its calling ‘modern evergeen’ music

In essence, the pair are capitalising on younger creatives who are still writing/producing music and actively maintain a stake in their own artist catalogues.

The fund has already deployed $300m to 20 catalogues, including Tainy (a songwriter for artists like Bad Bunny, J Balvin, and Cardi B), the Stereotypes (who co-write many Bruno Mars hits), Jessie Reyez (who works closely with Sam Smith and Dua Lipa), and Skyler Stonestreet (the creative influence behind several Justin Bieber and Ariana Grande tracks).

‘The notion of modern evergreen seems like a natural evolution from how we’ve been investing in older music previously,’ says Influence Media founder Lylette Pizarro, who is said to be particularly keen on elevating fresh artists from Latin and hip-hop genres.

Looking at revenue growth beyond streaming services like Spotify and Apple Music, Pizzaro is adamant that licensing copyrights – not just on one off placements in ads, TV, or film – but in full partnerships offer the biggest opportunity for record labels and artists.

She points to growing avenues like fitness apps and gaming, as examples of thinking outside the box and touts a potential idea.

Knowing that roughly 40% of gamers enjoy country music (according to MRC data), she asks ‘How do we approach the gaming industry so they’re using more country music and specifically using works in which we’ve invested?’

It’s certainly savvy, given both gaming and fitness apps have seen meteoric rises respectively over the last couple of years. I, for one, can vouch that more than a handful of songs on my Spotify playlists were first heard in games.

In the main though, it’s just promising to know that capital is finally being delegated to relevant talent. For years, investors have chosen catalogues with decades of staying power over fresh artists who’ve yet to be tested in the long-run.

‘What we’re seeing now is newer titles behaving differently than they have historically,’ says Pizarro. It’s about time then, that we embrace change and let the next generation lead.

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