Selling your catalogue?
Know what it's worth before someone tells you. I'll value it, find the buyers who actually want it, run a competitive process, and negotiate from your side of the table. Deals from $100K to $16M+.
How catalogue sales workMusic catalogue brokerage. Artist-side. No spin.
I broker catalogue sales and fixed-term funding and licensing deals for artists, estates, and independent labels — from the artist's side of the table.
Some of the artists I've worked with
Twenty years booking and promoting live shows — Barfly, Mama Co, Robomagic — before moving into catalogue brokerage. A selected list of artists I worked with, live.
- Bastille
- Nile Rodgers
- FKA Twigs
- Craig David
- Kate Nash
- James Bay
- Lianne La Havas
- Bombay Bicycle Club
- Arrested Development
- Loudon Wainwright III
- Christy Moore
- Example
- Anna Calvi
- Bear's Den
- The Orb
- Mystery Jets
- Rizzle Kicks
"I have worked with Pearse on many different artists and projects over the years. I was always able to count on his great taste and wide industry knowledge. He helped us secure great deals that pushed the norm in a new age of the industry."Rene Renner — COO, LME Worldwide · Manager, Bondax
What I do
Three situations. One side of the table.
Whichever one you're in, the thesis is the same: the artist should get the best deal available — and know exactly what they're signing.
Unlocking capital without selling?
Fixed-term catalogue licensing and royalty-backed funding can turn existing catalogue income into upfront capital while you keep ownership. The rights return at the end of the agreed term.
How catalogue funding worksLooking for distribution?
Wavy Music is the independent distribution company I founded for artists and labels who want a real relationship with their distributor, not an upload-and-forget service.
Visit Wavy Music ↗
Why work with me
The problem isn't the artist. It's the deals.
Buyers have full-time teams of analysts, lawyers, and negotiators. Artists have themselves, maybe a manager, maybe a lawyer they call once a year. The information asymmetry is enormous — and for twenty years I've watched artists sign things they didn't understand because of it.
Changing Tides exists to close that gap. I sit on the artist's side of the table. I run competitive processes. I explain what's actually being offered in language that isn't designed to hide the truth. And I only get paid when a deal closes on terms you agree are good.
Transparency
How I get paid.
Catalogue sales: my standard brokerage fee is 10% of the closed deal. On larger or more complex mandates I sometimes work at 5–7%. We agree the fee before anything goes to market.
Catalogue funding and licensing: my standard brokered-deal fee is 10% of the closed advance unless we agree a different structure in writing before outreach starts.
No retainers hidden in the process, no surprise back-end additions, and no change of fee at the finish line.
Distribution is separate: Wavy Music has its own proposition and commercial terms at wavymusic.me ↗.
Before you get in touch
Is your catalogue a fit?
Honest thresholds, so nobody wastes their time.
Catalogue funding
Usually needs meaningful, evidenced catalogue income. I can give you a quick read once I have recent royalty statements and the current rights/distribution position.
Catalogue sales
The buyers I work with are typically looking at $100K–$16M+.
Below that? Get in touch anyway — I'll tell you honestly, and where I can, point you toward the right resources or the right stage to come back.
Know what you've got before you decide what to do with it.
15-minute call, no pitch. I read every enquiry — every one.