Rezonate Music Rights co-founders Tom Tyler (left) and Cam Blackwood. Photo Credit: Rezonate
Does the music IP arena have room for another investor? Rezonate Music Rights believes so, and it’s set sail with a $150 million war chest as well as a focus on producer catalogs.
Rezonate announced its official launch – and several already-wrapped plays – today. Founded by producer Cam Blackwood and former London Stock Exchange Group higher-up Tom Tyler, the self-described “leading solution for music producers rights acquisition” secured the $150 million tranche from Europe’s Bridgepoint Credit.
Under that investment, Bridgepoint took “a minority stake in Rezonate’s management company,” per the catalog buyer, which has offices in London and Los Angeles.
Meanwhile, having evidently started pursuing deals ahead of its formal launch, Rezonate pointed to signed-and-sealed catalog agreements with producers Lorna Blackwood, Mark Crew, James Earp, and Jussi Karvinen (aka Jussifer).
Those professionals have credits on tracks released by Lewis Capaldi, Bebe Rexha, Kelly Clarkson, The Wombats, Dua Lipa, Katy Perry, and Demi Lovato, to name just some. And as Rezonate describes things, a number of additional catalog agreements are forthcoming.
“This partnership with Bridgepoint is a strong endorsement of Rezonate’s vision and the value we bring to music producers,” Blackwood and Tyler added in a joint statement. “With such substantial firepower we can significantly accelerate our growth plans and continue to set new standards in the industry, ensuring producers are at the heart of every decision we make.
“We are excited to bring a fresh and artist-aligned approach to the royalties space, starting with an incredible day-one catalogue that includes some of the most iconic tracks of the last four decades,” concluded Tyler and Blackwood.
Beyond straight IP purchases, Rezonate also offers “funding and mentorship to emerging talent,” producer-geared networking opportunities, and “accurate and transparent music catalogue valuations,” its website shows.
(On the valuation side, worth reiterating is that HarbourView last week tapped Sweden’s Chapter Two to “facilitate” a Rodney Jerkins IP buyout. Formerly Anotherblock, Chapter Two is now touting a collection of catalog-tech solutions.)
In the bigger picture, it’s safe to say that the catalog space remains flush with capital – even if the rights-acquisition game is more specialized than ever.
On the funding front, 2025’s first five months delivered blockbuster investments in the work of Notorious B.I.G. and others – not to mention sizable capital disclosures from Intercept Music, Pophouse Entertainment, GoldState Music, Raven Music, and more.
Regarding specialization, Duetti is zeroing in on indie rights, to name one example, while a film and TV joint venture is a seemingly significant component of DJ Khaled’s Influence Media catalog sale. Different players yet are opting to spearhead multifaceted deals at the intersection of emerging markets and regionally prominent IP.
Content shared from www.digitalmusicnews.com.