About
Two people who know how this actually works.
The money is real, the people it belongs to are findable, and nobody was doing the work.
Why we started
Broadcast royalties get collected properly. The failure happens later, in the matching, when a use can’t be tied back to a registered writer and the money sits waiting for someone to claim it.
After a set period, that money doesn’t go back to the broadcaster. It gets shared out among rights holders by market share, which means it goes to the biggest publishers.
Money earned by a writer nobody could identify ends up paid to a major label instead.
It isn't a scandal
It’s a documented, legal process that everyone in the industry understands. Societies can’t hold money forever and somebody has to receive it.
The problem is who loses out. Independent writers, small labels, production music libraries, and the estates of artists who aren’t around to ask. The people least equipped to chase it are the people it happens to most.
Who we are
Dave
Years in band management and the unglamorous administration that comes with it. Knows how this industry actually pays people, and how often it doesn't.
James
Builds the software. Spends his time on the matching problem: reconciling catalogues against what societies publish, across languages and spellings.
Where we've got to
We’re early, and we’d rather say so. We’re taking on our first writers now and building coverage one territory at a time. Germany works today. Poland is next.
If you want a company with ten years of case studies, that isn’t us yet. If you want two people who’ll tell you honestly whether there’s money to find, and charge you nothing if there isn’t, that’s exactly what this is.
Want to talk to us?
No pitch and no obligation. Tell us what you write and we'll tell you whether we think there's anything worth chasing.