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Podcast Episode Notes: The Gen-Z Trend Killing Pop Music
Episode Overview Podcast Title: The Rest Is Entertainment Hosts: Richard Osman & Marina Hyde Episode Title: The Gen-Z Trend Killing Pop Music Episode Description: This episode explores the financial shifts in music ownership, the potential of betting companies to revitalize live television, and the implications of nostalgia in pop music consumption.
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Key Topics Discussed
- Entertainment and Betting Companies
- Prediction Markets: Introduction of Kalshi and Polymarket as betting platforms that offer odds on various events in media and politics.
- Financial Impact:
- Kalshi and Polymarket reportedly generated around $63 billion in turnover, nearly doubling their previous figures.
- Their presence in entertainment is growing, with partnerships in live TV and events.
- Cultural Implications:
- These companies could reshape the fabric of live entertainment, presenting new funding models for shows through betting.
- Britney Spears and the Music Industry
- Catalog Sale: Britney Spears reportedly sold her music catalog for around $200 million.
- Discussed the financial motives behind selling music rights, including tax efficiency and potential cash flow issues.
- Cultural Trends:
- The podcast highlights a worrying trend of "Fauxstalgia," where older music is preferred over new releases, particularly among Gen-Z listeners.
- Statistics reveal that Gen-Z listens to more catalog music than new music, contributing to a decline in new pop music engagement.
- Nostalgia in Music Consumption
- Gen-Z Preferences:
- Discussion on how Gen-Z engages with music from previous decades and the implications for contemporary artists.
- The rise of "friction maxing," a desire for tactile experiences like vinyl records, signifies a rejection of digital convenience.
- Cultural Commentary:
- Nostalgia influences how music is created and consumed, with younger audiences more inclined to gravitate towards music that feels 'authentic' from before the digital age.
- The Impact of Sync Licensing:
- Sync licensing in movies and shows plays a crucial role in rediscovering older music and driving new audiences towards classic tracks.
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Recommendations by Hosts
- Richard Osman:
- Hitster (Game): A musical trivia game that tests knowledge of music history.
- Small Prophets (BBC2): A sitcom promising humor and engaging storytelling.
- Marina Hyde:
- Arcadia at The Old Vic: A revival of Tom Stoppard's classic play praised for its brilliance.
- Winter Olympics (BBC): An engaging event showcasing winter sports.
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Conclusion The episode deftly weaves through the intertwining narratives of entertainment, nostalgia, and the evolving landscape of music consumption. It signals potential challenges for new music artists as they navigate a market increasingly dominated by older catalog music, while also exploring the innovative financial avenues that betting companies could offer to live entertainment.
For more insight into these topics and a deeper understanding of the entertainment industry's current state, listeners are encouraged to explore further discussions in upcoming episodes.
Written by AI. May contain mistakes. Listen to the episode to check what was said.
Chapters
Tap a time to open that second in VOAwards Season Insights
0:03 to 1:08
Discussion about the effort behind winning awards and announcing sponsorship.
“Everyone is wondering who's going to clean up.”
Movie Release Hype
1:08 to 2:07
Announcement of 'Project Hail Mary' and its significance.
“Project Hail Mary is an awe-inspiring masterpiece.”
Previewing Future Topics
2:35 to 3:20
Overview of upcoming discussions on Calci, Polymarket, and Britney Spears.
Understanding Calci and Polymarket
3:20 to 5:02
Exploring prediction markets and their impact on entertainment.
“OK, but it's called prediction and that becomes important.”
Gambling in the Entertainment Industry
5:02 to 8:06
Discussion on how betting companies are influencing entertainment and live events.
“of Savannah Guthrie, the US presenter who's been kidnapped, you can bet on whether they're going to arrest someone.”
The Dark Side of Prediction Markets
8:06 to 10:40
Exploration of insider trading and the unregulated nature of prediction markets.
“You can bet on things happening much as you would be able to see a ticker going across the sports broadcast and bet on those things.”
Gamification of Entertainment
10:40 to 14:01
How gamifying content increases engagement and viewership in modern media.
“October last year, he became the world's youngest ever self-made billionaire.”
The Gamification of Entertainment and Its Impact
14:01 to 21:24
Discusses how gamification affects viewer engagement and the future of entertainment funding.
“It increases viewership and increases people's engagement.”
Britney Spears' Catalogue Sale and Industry Trends
22:46 to 28:00
Analyzes Britney Spears' recent catalogue sale and its implications for the music industry.
“Britney Spears has just sold her catalogue to Primary Way, which is a fund that buys up lots of these sorts of things.”
Cultural Reflections on Music Consumption
28:00 to 29:05
Explore how Gen-Z interacts with music and nostalgia in today's culture.
“That says something about the cultural moment we find ourselves in.”
Show all 17 chapters
Skepticism Towards Modern Music
29:05 to 30:19
Discuss the generation's cynicism about contemporary music and its authenticity.
“So you're saying there's a lot of 25-year-olds who think they saw Nirvana at the Brighton escape rooms?”
The Influence of Legacy Acts
30:19 to 31:56
Analyze why older music acts continue to resonate with younger audiences.
“And there is another thing that's interesting with Gen A below them.”
Sync Licensing as a Discovery Tool
31:56 to 32:48
Learn how sync licensing in media helps new generations discover classic tracks.
“and you live through this, you tour it, and then you want to make something new and you don't want to go back.”
The Shift in Music Creation and Consumption
32:48 to 33:46
Examine the evolution of music consumption and its implications for creation.
“And if you look at someone like Kate Bush, who's running up the hill, wasn't just used, though.”
Nostalgia vs. Innovation in Music
33:46 to 35:57
Delve into the tension between nostalgia-driven music and innovative sounds.
“new bands coming along all the time, you know, new eras, so much stuff happening.”
Reflections on the Noughties Music Culture
35:57 to 37:04
Discuss the cultural significance of the 2000s music scene and its impact.
“You play it in teams and honestly anything if it's 70s, 80s I can tell you the exact year I can almost tell you the month.”
Recommendations and Cultural Insights
37:04 to 39:49
Get insights into recent cultural experiences and media recommendations.
“I meant to say this actually last week, absolutely not understanding anything in the commentary on some really obscure snowboarding event.”
Transcript
Automatic transcript. May contain errors.0:00Richard Osman:This episode is brought to you by Octopus Energy. Now, it is awards season. Everyone is wondering who's going to clean up. And we tend to think awards are about that one big moment, like, oh, my goodness, that one night, that speech. I can't believe I've won. But the effort that goes into winning an award. Everyone going for one of those big movie awards. It's not a coincidence that Academy members or whatever are saying, oh, did you see that thing? Yeah, I did. It was really good. there is a remorseless many months campaign and there are tens of people working on every single film's awards campaign.
0:32Richard Osman:I thought you were going to say tens of thousands. No, no. But there are tens. Yeah, there are tens. But that's quite a lot when you think of like one, and it's a full-time job. We mention this only because we are announcing our presenting partnership with the lovely people at Octopus Energy who have just won the Witch Recommended Provider of the Year for the ninth time in a row. And that is not something you get just by year. Which is hard to win. Which is hard to win. Which is hard to win. Which is hard to win. But nine in a row, I would say that makes Octopus Energy the Meryl Streep of the business.
1:02Oh, yeah. They're the Meryl.
1:04Richard Osman:They're the absolute Meryl. I call them Meryl Energy. That's what I call them. I'm not an astronaut. I don't need an astronaut. Audiences have spoken. Project Hail Mary is an awe-inspiring masterpiece. So, I met an alien. If you've fallen out of love with going to the movies, this one will bring you back. Hang on! Ryan Gosling in the first must-see movie of 2026. Project Hail Mary, rated PG-13, may be inappropriate for children under 13. Only in theaters March 20th. 5 a.m., I'm up with a crisp Celsius energy drink. Running 12 miles today. Grab a green juice, quick change, and head to work. Meetings, workshops.
1:48One more Celsius. No slowing down. Working late, but obviously still meeting the girls for a little dancing. Celsius. Live. Fit. Go. Grab a cold, refreshing Celsius at your local retailer or locate now at Celsius.com.
2:06Hello and welcome to this episode of The Rest is Entertainment with me, Marina Hyde.
2:11Richard Osman:And me, Richard Osman. Hello, listeners. Hello, Marina. Hello, Richard. How are you? I mean, yeah, I'm not too bad. How are you? I'm very well, thank you. Very well indeed. Have you had a busy week? I only ask because for the last half hour you've been telling me what a busy week you've had. And that's not the first time I've been telling you this week that it's been a busy week. Yeah, I've had a really busy week, Richard. I can't bore everyone else with it. Sorry, that was just for you. Okay. But I'm excited to talk about the subjects we're talking about because they're really interesting. There are two websites, they're called Calci and Polymarket, and you are going to hear an awful lot more about them in the next 18 months, two years, in the world of television, in the world of entertainment, certainly in the world of content as well.
2:45Richard Osman:they are both companies which could save our industry or doom humanity and we're going to talk about why one of one of those two things is going to happen we're also going to talk about britney spears who has sold her music catalogue um for an undisclosed sum and we're going to talk about why she might have done that why people do it why people acquire catalogue and much more broadly about catalogue itself and also we're going to talk about whether that means new music has died in some way that we're spending so much money on old music what has happened to new music okay let's begin with calcium polymarket let's talk about calcium polymarket so they're these two businesses they're called prediction markets now you and i would look at these things and go hold on they're betting companies because essentially you can predict anything you could predict the score of the um super bowl on calcium and polymarket you could predict the score on Premier League football.
3:42Richard Osman:You could predict all sorts of things. So to you and I, that would be... The viewership of the Super Bowl. Yeah. All sorts, the weather in your state. But, you know, that's not a prediction. It's a bet. OK, but it's called prediction and that becomes important. Financially, that becomes important in this story. Now, these two companies, Calci and Polymarket, very hard to get official figures of quite how much they turn over. But it looks like last year, they're somewhere around 63 billion. and that is almost double. They thought it was 12 billion in December alone. Yeah, I mean it's absolutely huge and the way they're doing it, if you go on the front page of Cauchy and Polymarket, which you must do after this, it's very, very interesting.
4:22Richard Osman:I wouldn't recommend anyone bets because you will lose but it's just interesting sociologically to look. That's the thing I'd always say, not bet responsibly but just remember that you will definitely lose money. There will be, as you say, there'll be Oscar bets you can make, what's going to win, you know best movie there will be bets on how many times is elon musk going to tweet next week currently favorite is 360 to 379 bernie sanders is about to do a speech in north carolina will he use any of the following words will he use the word minneapolis you can bet on that you can bet on when donald trump might bomb iran you can bet on this awful story of of nancy guthrie the mother of Savannah Guthrie, the US presenter who's been kidnapped, you can bet on whether they're going to arrest someone.
5:11Richard Osman:I mean, you can bet on anything. You can bet, I'll give you the odds, in fact, you can bet on, will Jesus Christ return before 2027? What sort of chance do you think there is of that happening? Tell me at time of recording. At time of recording, 4%. Wow, that's not nothing. I mean, that's America. You can also get, you know, will the USA reveal the existence of aliens? That's 10 % at the moment. So it's a betting thing, but it's not just on, you know. By the way, if they've got anything, they should put it out right now. It'd be very helpful in many ways. Well, I presume that's why some people are betting on it.
5:47Richard Osman:They're thinking that's Trump's last card, isn't it? By the way. Area 51. There was an alien. You may hold the key to this. Yeah, exactly. So, as you say, in the States, for whatever reason, these companies are classed as prediction markets, not betting companies. Because sports betting is illegal until very... It's legal in 20 states, betting. Now it is, but until something like 2018. And they had to go to the Supreme Court and overturn it all. And then they've done it at a federal level. And some people have allowed different versions of it. Which is kind of weird for us because we don't understand that culture.
6:22We can bet on anything.
6:23Richard Osman:And the two big companies in the betting space are Fanjul and DraftKings, which are regulated as gambling entities. and you can bet in 20 states and you can't bet in the other 30. Now, all of these companies, why are we talking about it on an entertainment podcast? And the reason is they are all inveigling their way into entertainment, especially into live entertainment, which, as we know, that's the biggest version of entertainment that is left for us. So DraftKings and FanDuel, you'll see all over. If you live in a particular state, you'll be able to see the progress of your bets on screen as you're watching an NFL game.
7:00Richard Osman:We saw at the Golden Globes, Polymarket were the company who were providing the odds saying who's going to win best actor, who's going to win best movie. They paid a huge amount for that. Some people say they paid$100 million. I know. I don't think they did pay$100 million, but they paid a lot. It was really sort of janky. I mean, it looked really naff. But the hosts mentioned them all. And, you know, I think Hollywood sort of bristled at them being there. Having spoken to people involved, I think Polymarket themselves understand that what they did at the Golden Globes, which is who's about to win this thing that you're going to win, which by and large in most awards ceremonies you sort of know actually rather spoiled it.
7:38Richard Osman:And they should be betting on how many people thank their agent, how many people go over their time. You know, whimsical things that add a little bit of value to a broadcast. You know, you're still advertising your company and you're still getting value for money, but you are making the broadcast better. but it is clear that they, Calshi who've got deals at CNN, CNBC. Well, that's the weirdest thing at the moment. They've got a ticker running along the bottom on CNN and you can bet on, you know, the news is a market. You can bet on things happening much as you would be able to see a ticker going across the sports broadcast and bet on those things.
8:13Or the stocks, which is the thing that legitimizes it. Because Wall Street is essentially gambling, of course, and always has been, And there's something kind of heritage and legacy about the idea that, you know, futures markets have always been with us just in different forms.
8:28Richard Osman:The trick they're playing and the trick they've been allowed to play is they're legislated as a financial services company, as a prediction company, as a derivatives company. So if you want to get completely specific about what they're regulated at. So people are not gambling. They're making informed decisions on where the future of a market might be. So they find themselves in a situation where they are not regulated in the way that betting companies are. So they can sort of embed themselves in news and they can embed themselves in sport and all of these type of things without any sort of legislation against it.
9:00Can I give you an example of how unregulated they are? Because I found this so funny. Somebody on Calci opened an account, as in had never traded before, made one trade on the Super Bowl, bet 50k that Gargoy would be a kind of guest of Bad Bunny. then six hours later made eight out of eight correct predictions on people who would not be co-performers and then said yes but Ricky Martin would do it's like it's just completely unreal okay so obviously what I'm saying in case it's not extremely obvious because you're not a betting person that is obviously a form of insider trading but obviously that person knows what's happening and also in the derivatives market you don't actually get prosecuted for insider trading
9:41Richard Osman:You are allowed to use personal knowledge that you have, which is what people do. I mean, even to the extent that there was a bet placed just before Nicolas Maduro was captured by the Americans, a bet that made$400 ,000 that Maduro would be captured in the next day. Now, I mean, that's someone who knows that Maduro is about to be captured. Bides time on the stakeout. Yeah, exactly. There was an allegation which has not been proved that Caroline Levitt, Trump's press secretary, she was doing a press briefing. And you can bet on how long the press briefings will take. And they said just before, I think, the 65-minute mark, she looked at her watch and stopped immediately.
10:21Richard Osman:So there were people saying, oh, I bet that someone's had a bet on Kelshi or Polymarket. So you find yourself in this wild west over there where you have these companies that allow you, you know, you don't need to mince your word to bet on pretty much anything. Richard, that is fascinating in a dark way. How will it influence this world that we talk about, entertainment? The guy who came up with Polymarket. October last year, he became the world's youngest ever self-made billionaire. okay and he was 28 years old 27 years old in fact uh last year he's a self-made billionaire through polymarket now i suspect that his title has just been taken by someone we talked about the other week and i think for the same reason so we talked about um carby lame yeah the tiktok star who just signed a billion dollar deal for e-commerce and what these guys are doing and what they really want to get into is we talked for years and years about second screen viewing which is people are always on their phone when your program is on the television.
11:20Richard Osman:Now, there's two things they can be doing. Looking at someone else's content that someone else is monetizing. You're giving their data to somebody else. Or they can be looking at something which you have a part of. E-commerce, of course, is that. So that's why Kabi Lame is worth a billion dollars because you can be watching him and you can be buying something at the same time. And Polymarket and Kalshi are worth so much money because you can be betting on the thing you are watching. And in the same way that we all understand that, you know, you can bet in match in the football, you can be watching a reality show and be betting all the way through.
11:53Richard Osman:So you're double screening, but the people who are funding the big screen are also getting money from the small screen as well. Who's going to win traitors? Who's going to go at this roundtable? That sort of thing. All of that kind of stuff. I mean, interesting thing, Calci, you've got huge markets right now on Survivor, on traitors, on Love is Blind. Beast Games, all of that stuff. So where is this going? Well, I would say this from producers I talk to in the States and from people at those companies. Television is not overfunded at the moment. We have a funding crisis in television. People are looking for money from everywhere.
12:29Richard Osman:Movies are as well. That's why they're looking for Saudi Arabian money. If there's money out there, people want it. Polymarket and Calci find themselves absolutely awash with money. I mean, crazily awash with money. and not that many places that they can spend it. So they can spend it on Super Bowl, they can spend it on live sports, they can spend it on live events, those sorts of things. But we are going to get to the stage where they start funding events themselves. So in the same way that you can bet on Survivor and Traitors and what have you, which is a slightly tricky market for them because some people know already who's won.
13:07Richard Osman:But if you're Polymarket and you team up with one of the big entertainment producers, which is definitely what they will do, You are producing shows that are live, that are always on, and that have a series of things in them that you can bet on. So you're producing a big, you team up with a big entertainment producer. You come up with a format that's very sticky anyway and is very exciting anyway. And you just run it and run it and run it and run it. And in it, there is market after market after market. The prize money for that show. The creators are literally just greyhounds. No offence to greyhounds or creators.
13:39Richard Osman:The entire budget of that show, the entire winnings of that show can be funded by losing bets. Oh, beyond far. I mean, the amount of money. And that is definitely coming down the track. Over here, it will be harder because over here they'll be regulated as betting companies. But also, one of the things I think about when you talk like that is that I think the culture is already so softened up for it. We've talked about it how often before, even down to the things like buying Le Boobies. people expect there to be disappointment something transactional the gamification of absolutely every single tiny thing and that huge you know a lot of people always say you know when they're trying to be clever about gambling it's a form of self-loathing you're addicted to losing because that's the thing that happens most um and actually that's the thing it's a form of like whatever an agent was asked about and he was saying these newer audiences exactly that increasingly accustomed to and addicted to interacting with what's on their screens and He said, look at what fantasy football has done for the NFL.
14:33Richard Osman:It increases viewership and increases people's engagement. This agent says, when you gamify things, everything's more interesting. It matters more when there's money on it. Well, I have a lot of sympathy with if you gamify something, it's more interesting, for sure. And if you're playing fantasy football, I had to give up fantasy football because it got too interesting for me. Because everything that happened had an impact on me. One day at a time. The thing about fantasy football is it doesn't cost you anything. The thing about gambling is it does cost you something. It costs you a lot. And actually, online gambling is, you know, very available to people.
15:09Richard Osman:But it sort of is and it sort of isn't. Gambling is not overt in our culture in the way that entertainment is. I know if you watch Sky, there's a million gambling adverts. I absolutely get it. But it's not overt in our culture. Whereas if you take this new generation of people who, as you say, are used to having a transactional relationship with the people they love watching on TV. if you've got a TV show that you can bet on and it's live and involves creators who we know are on a piece of it and that's absolutely fine and sponsored by someone who's on a piece of it that's absolutely fine because that's what we've grown up with that is a situation where you've got to be very careful how you know we can see the money it brings in and we can see how it's funded but who is funding it and yeah you know betting companies tend to make a lot of their money from a small amount of people so for tv producers i think it's very interesting that there's this prediction market of ridiculous things and i think it's certainly interesting that there's a lot of money out there a lot of money and i think it's interesting that the people at polymarket and calci are also reaching out and saying what is it that we can do we're not quite should we've haven't stumbled upon these billions but you know what they also sort of have a little bit is taking them by surprise quite the pickup they have on some of the most ridiculous markets that they have so somewhere that is all going to come together what else i think that has we started to see is that young people are saying oh a check polymarket they want to watch the news they just want to see a needle telling them exactly how likely something is to happen that's enough news so again that sort of slightly worries me that every single tiny thing is being reduced in the It's like, you know, what's going to happen?
16:45Tell me, just give me the results.
16:47Richard Osman:Yeah. There is an argument that says that in the world of news, this is incredibly dangerous because if people start using it as a predictive tool, then, you know, it ends in a very bad place. Personally, I don't think that's an issue. I think people are smart enough about markets. You know, you look at the markets for any political thing and you know it's just where the money has gone. That's all it is. And that, by the way, is the same in prediction markets. It's just, it's not really predicting. where has the rest of the money gone that's all I just think that it is while they are legal or quasi-legal in the States a number of big entertainment propositions are going to crop up in the next 18 months wildly funded I mean funded like an entertainment show hasn't been for years and years and years I remember when we were like oh my god who wants to be a millionaire that's so clever they're giving away the million because everyone's ringing in and they're taking a piece of the phone line and that was like the most revolutionary thing I've ever done.
17:44Richard Osman:But if you want to do a TV show with a£25 million prize, here you go. Absolutely doable, but it would be funded by losing bets. But everyone I speak to is thinking about it. Certainly those companies are thinking about it as well. As I say, over here, you wouldn't necessarily be able to commission it because of the regulatory issues. But if you're YouTube or if you're someone like that, then of course you could do. in some ways it's hard because the other the one other drawback to it with even within their like tv market or whatever it is is that shows have to be live at the same time for everyone to be and because of the time differences across the states it's it's hard to export you have to create local versions but i'm sure with ai they could find that quite easy but here's the thing with this always on i mean you just create something that does that that's the point if you're an entertainment producer well you just do it on youtube you go oh what's the issue oh, the issue is that we can't put it at nine o 'clock Eastern time because that's, you know, the rest of the world don't have that.
18:46Richard Osman:You think, well, hold on, I've got steps all around the world. I've got different time zones everywhere in the world that I can schedule different things, different things for different markets. But, you know, the place is the same. You know, the platform is the same. It's just you use that fact. So that for me would be a positive rather than a negative. Also, if you're a podcaster, I mean, have an always-on podcast where, you know, random events are happening which can be predicted or not predicted. I mean, it's, there's free money right there. I can assure you that if we have one, you are running it.
19:18No, I'm not going anywhere near it. But again, you've become too obsessed with it.
19:20Richard Osman:I'm not going anywhere near it. Imagine how obsessed you've become with it. But it's, you know, these ideas are so simple and they're all out there and people will do them. I do not need a cut, but it's all there. Anything live and unpredictable that can be funded by a company making money off people betting on unpredictable things is an absolute shoo-in in the next 18 months, two years. We're going to have big entertainment propositions, which are live, which are funded entirely by prediction markets. Over here, they will be gambling companies. But I just thought it's an interesting thing for people to keep an eye on when something like this crops up.
19:56Richard Osman:This is where it's come from, and this is why it's come about as well. But everybody I speak to now in the world of live events and the world of entertainment is having conversations about this and about this extraordinary source of money. I think for the movie industry, I don't see there's anything in this. I don't see how that works, particularly for microdramas. Yes, 100%. If I am Cowshoe or Polymarket, I would put so much money into microdramas because I have 20, 30, 40 different cliffhangers, which I have absolute control on when they get released. I absolutely can have an either or thing that happens at the end of every single one of those things.
20:40Richard Osman:So 100 % it will go into micro dramas, but also the world of game, reality, creator, influencer, economy, stuff that has any sort of challenge, stuff that has any sort of A or B option to it. All of that can be paid for by this and it'll be a market which they would massively exploit. Imagine how many more people you need trying to work out whether people are inside trading or do you just not have any. I don't think they're fast. You know, because so long as they're making money, you know, they always say you never see a broke bookie. Not that these people are bookies, they're prediction marketeers.
21:14Right, after this break, we're going to be talking to you about Britney Spears and her selling her music catalogue and what it all means.
21:20Richard Osman:Or are we? You can bet right now on polymarket.com. See you after the break.
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Read the full transcript
22:52Richard Osman:Welcome back, everybody. Now, Brittany. Brittany. Our old friend. It's Brittany. Bitch, as they. in the parlance of Britney. Britney Spears has just sold her catalogue to Primary Way, which is a fund that buys up lots of these sorts of things. Now, what does this all mean? Okay, Bruce Springsteen sold his catalogue. Half a billion dollars. Yeah, exactly. I mean, it's extraordinary, the money. Queen sold for over a billion. Yeah. Half of Michael Jackson was 600 million. It's not exactly clear what she sold. Sony still own and control the masters of her recordings. any publishing stream she has in her case not a lot she didn't write her own hits mostly but it's so it's more likely artist royalties which is her share of recorded performance royalties um and the we don't know how much she sold for people are suggesting 200 million dollars as i say i've seen that figure quoted but i don't know and people in the music business don't really know apart from the people who've done this it won't be insanely different to that digging into the numbers briefly at the start she earns about 1.5 million off spotify annually we can see that now if you add in all the other music streamers and youtube and film and tv licensing she probably gets seven or eight million dollars a year so why sell um the end of her conservatorship remember she had was in this very very restrictive relationship where um parents were essentially legal guardians and couldn't she wasn't able to do anything when that came to an end when britney was freed as it were They think she had about£60 million.
24:20Now they think she's down to£40 million. It's insane spending, private jets. I mean, it's, bless her, she makes very bad decisions. And there's a sense that there's possibly a cash crisis. If this is what she sold it for, there won't be any more problems in that department for now. In terms of why acquire catalogs...
24:38Richard Osman:Can I also say it's incredibly boring, but incredibly tax efficient to sell your back catalogue. If she can make seven to eight million a year in royalties, she is paying what we would consider income tax on that. If she can sell to a company and there's various ways that you can kind of package that up, she will pay essentially what we would call capital gains tax. So I know that's boring, but it just means that suddenly she's probably paying about half the tax. It makes sense for her to have it now. if you are primary wave that's the interesting question because if she is making eight million a year takes you 25 years to pay that back which is of no interest to any financial company ever so they must have bigger plans for it why do people acquire catalog first of all it's got this huge long-term value um i would say that in the case of britney's catalog john m2 who did wicked is doing the britney biopic that will be very very big um 90s music is on a tail i'm going going to get to that a lot in a minute other markets like asia latin america are kind of growing they're betting she's going to have years where she's making 25 30 million yeah because i tell you because she is iconic and i know that sounds like a word you would use to describe like an outfit someone wore on a reality tv show that you loved yeah but actually what i mean about britney spears is she has been on a journey she endures new people discover her and her story maybe it will end happily maybe it won't yeah but above all she is a story and there is something about that type of artist and that type of catalogue that makes it a very very interesting investment and this again this is and as i say a lot of artists have cashed out yeah well this is a financial note the reason why this market has become so huge sort of is due to spotify because the one thing financial institutions need is they need data as to how well whatever they're buying has performed and how they might be able to ramp that up.
26:31Richard Osman:And what Spotify has given them, sort of for the first time, is a yearly indication of you are definitely getting this much money each year because I can show you for the last 10 years how much she streamed, how much that made her, if that's gone up, if that's gone down. And so they have a base level of going, okay, we understand this is an asset that will bring us in£2 million a year, whatever happens, that's going absolutely nowhere. And we can see a way of ramping that up. So the fact that there as a dependability in the figures means that people have started buying catalog. But it's become like an institutional level asset, which is a really weird way to think about creativity.
27:07And yet here we all are.
27:08Richard Osman:But now we understand how much the legacy of a band can make each year. Absolutely. You can see that number on a spreadsheet. And so we can work out, OK, we can give you£200 million for that in a way they wouldn't have been able to do 15 years ago. Absolutely. And what's interesting, if you look at the artists who've sold and you say, OK, Springsteen, Dylan, whatever. You're now looking at people. It wasn't that long ago that Justin Bieber, I think, I can't remember when he did it, but Justin Bieber sold his for 200 million. Katy Perry sold, now Britney. There is a sense among people in the music industry that people, the sellers are getting younger and it might start a wave of people doing this.
27:44So Catalog is not frontline new music, not all the new things. The theory was that in lockdown, Catalog took over from new music. The first lockdown, something like 67 % of playlists had nostalgia in it. Gen Z now listens to more catalogue music than they do new music. That says something about the cultural moment we find ourselves in.
28:06Richard Osman:Rock music is turning into classical music. You would think it's insane if a new classical composer sold more than Mozart. In the same way you would now think it's insane if Fontaine's DC were selling more than Queen. Exactly. That's where we've got to. And they come to it via various routes. The routes where they come to it, they come to it via TikTok. It's a background track. things like that and nostalgia is just like a monster tag on on tiktok but they also what's interesting is there's this they have this idea of sort of like an idyll like there was this pre-digital time when culture wasn't splintered and it wasn't siloed and they sort of want to go back there and it's interesting there are club nights where gen z will listen to all this type of music faux stalgia it's not nostalgia they weren't there in the first place it's not like school disco when people used to go and listen to the hits they were around when they were when when they were kids.
28:53It's almost like a false memory, kind of in that way that boomers think that they were, some boomers think that they were in World War II. When famously, guys, you weren't. But much less annoying than that.
29:04Richard Osman:Yeah. So you're saying there's a lot of 25-year-olds who think they saw Nirvana at the Brighton escape rooms? Well, they didn't. I don't know. They wish they had. It was the escape club. I just called it the escape rooms. That's terrible. 16-year-old me, it would be. It would hate you. Brighton escape rooms is something very different. But it's yearning, again, that we talk about. I don't know if you've heard this word that's like a big sort of trend word of 2026, friction maxing. The idea to kind of shun digital convenience and go back to things like vinyl. But the music that comes from these times, they have such a suspicion, a deep suspicion and cynicism, Jen said, about music from now.
29:40Because people understand so much of what machines and computers are capable of. And so even manufactured bands from the past, you know, obviously people put together on a TV show are more authentic than artists now who have come up in a non-manufactured way.
29:58Richard Osman:I've talked before about AI is there's a time before it and a time after it and the time before we know it was made by human beings. And that starts to become a premium. And it's already happening. You're so right. They just feel like it sounds more authentic and the sounds have become so computerized or so overproduced or maybe that they know when it was made and therefore they're just suspicious of it. And there is another thing that's interesting with Gen A below them. Gen A, 70 % of Gen A have millennial parents and they have a kind of a shared culture. They listen to the same things. They are totally time blind.
30:31They literally don't care where the music came from. They're not like, you know, we were where we wanted to be listening to the things that came out now. And like some stuff, you know, obviously you get older and you think, oh, actually, you know, whatever things my parents like were cool. But there's none of that sort of sense that you have to reject everything that came before you. Artists that create kind of whole worlds, their music is particularly conducive to being caught again by these new, think of someone like ABBA. They're so their own world. Does it matter where they came from?
31:00Richard Osman:You look at the top 20 album charts at the moment, which is physical sales of albums, which is where you would expect the newer, younger bands to be because you actually have to buy these things. In the top 20, you have got Queen, you have got Elton John, you've got Fleetwood Mac, you've got Oasis, you've got ABBA, you've got Linkin Park, for heaven's sake. You know, all of these legacy acts just stick around. There are albums that have been in the charts for 20 years. They're being rediscovered by young people. ABBA is massive with under-21s. I would say are massive. Yeah, you're right. We're not Americans.
31:35ABBA are massive with under-21s.
31:37Richard Osman:That's like when you watch the World Cup and they say England is playing great here. You think, no, England are playing great. And actually, they're playing badly. But it's R. Well, get used to it for the summer. But a third of Beatles listeners are under-28. There's certain bands, just like you were laughing about Linkin Park, Arctic Monkeys always have young bands. Because a lot of artists want to move forward. They're kind of propulsive. and you live through this, you tour it, and then you want to make something new and you don't want to go back. And the ones who are doing the best now are the ones who are not sort of afraid or precious about the decontextualisation of their music.
32:12You know, they're not saying, oh, it's a moment in time. It's a new moment in time and you better let new people discover it. They also discover it via Sync. Sync is obviously the licensing of music to be used in film, TV, soundtracks. And it is an absolutely huge window of discovery now. There's so many retro TV shows, say there's things like Derry Girls, Stranger Things, obviously, The Behemoth, where people are finding tracks because of that. And then they're doing a catalogue dive because of that. So sometimes those moments are just like a flash in the pan for the industry and they can't really do anything with it.
32:44There are plenty of other occasions where they can kind of build it into a campaign for an artist. And if you look at someone like Kate Bush, who's running up the hill, wasn't just used, though. I mean, that's the dream for an artist. It's not just used in season four of Stranger Things. it's an actually really significant plot point and a part of the whole emotional arc of it all and is intimately bound up with the story and she I think at the last count had got something like 10.8 million so far from that That's a great person for it to go to by the way You couldn't be happier and that people are discovering her I mean she again she is iconic in that way that I said about Britney she is there and it's such a created world and you can discover and when you discover it you go on a deep dive into it and you understand it.
33:27And it doesn't matter that she wasn't on your Top of the Pops and that you don't even know what Top of the Pops is. It doesn't matter because it's a whole world and you want to lose yourself in it.
33:37Richard Osman:We have definitely reached a tipping point where new music is no longer the thing. And, you know, if you want to watch an old Top of the Pops on BBC4, it was all new stuff, new stuff, new stuff, new bands coming along all the time, you know, new eras, so much stuff happening. And now, of course, you know, you'll get Taylor Swift brings out a new album you know bruno mars will bring something out bad money or bring something out now of course you can go back there's a reason like why this generation finds the beatles because they listen to it and it turns out it was the best music of that era and it's been and it's better than almost all the music since that era definitely a tipping point right it's definitely the tipping point happened four years ago five years ago i remember in that when we were um talking to adam curtis about shifty and we were talking about the sort of the birth of remixing And he said, I really feel that there was a sense that we kept pushing culture through the same thing and just finding different ways to look at it.
34:29I definitely feel this now that we're almost stuck and lots of people, including in the music industry, feel it's strange. You know, a new thing's really, a fewer and fewer new things going to be created because people are just finding different ways to rediscover the past.
34:45Richard Osman:Well, Agatha Christie still sells 20 million bucks a year and will do forever now. That was going to happen to pop music at some point. you know we still if you're i'm 55 and there was still the sense in the 70s and certainly the 80s that music was still stretching its legs we're still finding out what it was still reacting against the previous generation you know then you had punk and you had you know the new romantics and this idea that the story was still being written there are lots of amazing young new bands now releasing great records and i've i still i always seek out new music but it feels like the story such as it is has been written but so much of that music was a comment on specifically on its times yeah and as i said that's what you're having to persuade artists of that no yeah it doesn't matter if this was a sort of punk thing now people like it for some completely different reason and it's whether you think there's enough of contemporary engagement of frontline music engagement with its own times or whether we're just being narcotized by this kind of nostalgic journey into a place that many of us never even were in the first place yeah it feels like what i call catalogue is taking over from uh from the sort of uh that kind of raw fury of new music yeah the big huge decade at the moment that is master of all its surveys is the noughties which is strange because it's it's the 20th cycle i lost the 80s i know the 90s i'm pretty much on top of the noughties for me i couldn't tell you anything that came out oh you could it's there's a lot of britney but it's that it's the particularly toxic it's such a toxic era well it's yeah it's celebrity culture that decade particularly um i think i think it's yeah i said before it's culture and islamic fundamentalism oh wow but actually the financial crash stealing in in 2008 is yeah oh i remember that oh we played that amazing game hitster have you played that it's a really really cool game that's on your phone and you you you play music and you've got a series of cards and you have to put them in order of the years that they happen.
36:45Richard Osman:You play it in teams and honestly anything if it's 70s, 80s I can tell you the exact year I can almost tell you the month. As soon as it gets to you know I would say the Timberlake era I'm like oh I know the song. Once he decouples from NSYNC. Yeah exactly. That's yeah Justin Timberlake leaving NSYNC is my that's pretty much when that's it. Yeah for music. Any recommendations this week? Live Winter Sport I have been loving. I meant to say this actually last week, absolutely not understanding anything in the commentary on some really obscure snowboarding event. I've loved the Winter Olympics. BBC are doing it brilliantly.
37:22There's a couple of snowboarding commentators.
37:24Richard Osman:Tim Warwood and Ed Lee, who've done an answer for us on our Q &A before. Yes, they have. Lovely boys. Absolutely hilarious. I'll enjoy that. I saw Arcadia, Tom Stoppard's Arcadia, which has been revived. and I saw it at the Old Vic, which I absolutely loved. But for me, the play is beyond a masterpiece. It's absolutely extraordinary. It is the absolute star. And I found it was absolutely wonderful to see that. And I'm also very much enjoying Mackenzie Crook's Small Profits. That's what I was going to recommend. Mackenzie Crook is such an interesting guy. He's such a great writer and he's got such a particular worldview.
38:00Richard Osman:That show is brilliant. It's almost impossible to explain what it's about because it's about something very unusual. but what it's really about is about human beings and it's got Pierce Quigley playing a guy who's working in a DIY store, his life has sort of collapsed, there's all sorts of mysteries going on, definitely going to be a huge cult sitcom because it's great. I think it really has a chance to be a big mainstream sitcom and one of the reasons, firstly it's Mackenzie Crook's you know, his whole vibe is very mainstream but it's got Michael Palin right in the middle of it playing Pierce Quigley's dad and playing him brilliantly and weirdly it's on BBC2 and very little it's on BBC2 now and I know they're trying to put a little bit more on and that idea of BBC have got less money, but they're spending it on, you know, fewer and fewer things.
38:41Richard Osman:But, you know, the quality control has to be very high. And certainly the quality control on that, I would say, is absolutely through the roof. Small profits, it's called, with a PH. That, I think, wraps us up. But we'll be back on Thursday, as always, with a Q &A, some of which will be a bit of an awards season special. We've got some really interesting answers from some awards season people. Yes, we've had lots of questions about awards, so we put them to people who know more than us. And also on Friday, for the first time, I'm going to start doing a thing where I interview people about books.
39:08Richard Osman:It's the National Year of Reading this year. And, you know, part of – I'm an ambassador for it. And so part of my job is to make more people read more things. And so I'm going to interview a few people, ask them about books, book recommendations and so on. So we're piloting it on Friday. We're piloting it with me talking to you about your favourite books. You've just made me sound like a fake guest. No, you're not a fake guest. No, because imagine if you didn't do this podcast, you'd be an amazing guest. they'd be like Marina Hyder said yes I'd be like oh my god you never hear her do you you see like she writes all that stuff and she's really funny but you never actually hear her on something I'd be amazed to hear what her voice sounds like so yeah I look forward to talking to you about books you'll have some book recommendations and yeah we'll see if that works as a format and then I'll then I'll do it with other people oh I'll make it work oh I don't doubt that for a second I don't doubt that for one second bye everybody see you on Thursday see you on Thursday
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From the publisher
How has Britney made $200m from her back catalog? Can gambling sites save live TV? Is pop music finally dead?
Betting sites Kalshi and Polymarkets offer odds on every possible outcome in media and politics - can their enormous pockets reinvigorate live television? Richard Osman reveals conversations with big industry players that think just that.
Britney Spears has netted a reported $200 million dollars for the rights to her back catalog, what does this tell us about the music industry, and the worrying trend for Fauxstalgia?
Recommendations:
Richard:
Hitster (Game)
Small Prophets (BBC2)
Marina:
Arcadia at The Old Vic
Winter Olympics (BBC)
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