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The Major record labels and two of the most prominent generative music platforms, Suno and Udio, have reportedly moved from trading lawsuits to negotiating licenses. These generative AI platforms were(/still are) facing litigation for using copyrighted music to train their models. Now they’re sitting at the table with the very same rights holding companies, working out deals that will both legitimise and monetise their models.

Institutional investment has aggressively been reclassifying music as an ‘asset class’. But what happens when art and capital collide?

We’ve been exploring the MLC data since 2021. It’s not the only dataset we use at Fix, but it’s certainly one of the more fascinating. Here are five things the MLC data tells us that every publisher should know.

Metadata is the oil that keeps the Music Publishing engine running. It defines what’s registered, what’s matched, and ultimately, what (and who) gets paid. But unlike your typical crude oil, rights data isn’t fungible or easily traded- it’s locked in silos, guarded as proprietary, and scattered across a network of databases and gatekeepers.

In music publishing, advances have long been only the headline number. Over time, terms and models have received scrutiny and subsequently shifted. Gone are the days of 50/50 deals for life of copyright, now supplanted by profit-shares and “at source” accounting. Beyond the terms laid out on paper, creators presently have far more contextual variables to assess. Likelihood of sync placements is one by example- a factor so heavily based on historic performance that is has n

AI is clearly having a moment. Photo by Possessed Photography From image generation to songwriting tools, the emergence of generative AI has sparked widespread debate in the creative industries. In music publishing, much of the discussion has understandably centred around authorship, copyright, and how to safeguard the value of human creativity in a world where machines can mimic it. But that’s only one side of the story. If we zoom out and look beyond the courtroom, AI has t

100,000+ recordings released and 10,000+ songs registered per day. Is this an opportunity, or a data nightmare?