ANote Music raises 2 million euros to open music royalties to European investors

ANote Music, a Luxembourg based platform, has raised 2 million euros to open music royalties to European investors. The company aims to make future earnings from music catalogues tradable and to create liquidity and transparency in a market that still lacks these qualities across Europe. A song continues to generate value long after its initial commercial life through streaming, radio, advertising, film, TV, and social media usage. These streams have become a coveted asset class for labels, publishers and specialized funds, yet they have remained largely inaccessible to individual investors. ANote Music addresses this gap by operating a marketplace where rights holders can sell a portion of their future income and investors can acquire rights to receive royalties. The platform reports over 52,000 user accounts, 36 listed catalogues comprising more than 100,000 songs and more than 28 million euros in cumulative transactions. Artists such as Beyoncé, Avicii, Justin Bieber, Drake and Martin Garrix have royalties listed on the platform.

The initiative is not a market for songs but for rights, which can include recording, publishing, neighboring, public performance and synchronization rights and can vary by territory and contract. This complexity has historically kept the market in the hands of specialist negotiators who can assess revenue histories and manage multi‑million euro deals. ANote seeks to change this by introducing competition through primary auctions, enabling secondary market resale and automating royalty redistribution. Streaming has reshaped the economics of music catalogues, making their revenues more regular, global and observable, and has driven a surge in catalogue transactions that reached 47.2 billion dollars worldwide in 2024, while the recorded music market stood at 29.6 billion dollars. Although the growth has concentrated value on a minority of titles, ANote is not starting from scratch; institutional players such as Concord, Primary Wave, Blackstone and Hipgnosis already dominate the space with larger financial capacity.

In the United States, JKBX has pursued a directly financial approach by offering individual investors securities tied to royalty streams under SEC approval, demonstrating both demand and the challenges of making such assets accessible while preserving appropriate negotiation frameworks. Other ventures like Royal, AnotherBlock and SongVest have experimented with blockchain and fan ownership, yet they have struggled with liquidity, as a market requires a sufficient order book, regular buyers and prices that reflect actual transactions. With only 36 catalogues listed since its 2020 launch, ANote’s supply remains limited, and its future development will depend on convincing more labels, publishers, artists and authors to fractionalize even modest but steady‑earning catalogues and on proving that its users actively trade on the secondary market.

Reported by FrenchWeb.