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Pérez-Simons Management · Est. 2025

Your music
is worth
more than
you know.

Most artists are building careers without knowing the full architecture of what their music is worth. We change that — with strategy, structure, and someone truly in your corner.

~500K
Streams
32
Tracks
Miami
Based
Built for the long game. Here for every step of it.
Artist Management Beat Production Sync Licensing Publishing Advisory Audience Strategy Live Activations Masters & Splits Creative Direction Artist Management Beat Production Sync Licensing Publishing Advisory Audience Strategy Live Activations Masters & Splits Creative Direction
The Gap We Fill

Most artists
don't know what
their music is
actually worth.

Emerging, mid-level, and developing artists are navigating their careers without a full picture of the value they're creating. Not because they lack talent — because nobody in their corner has ever laid it out clearly.

Every song you make generates value in two distinct ways. Most artists only see one of them — if they see any at all. The unclaimed money, the unsigned agreements, the missed opportunities — they add up quietly, over years, in the background of a career that deserved better.

PSM500 is built to be the team that should have been there from the beginning. Not just managing schedules — managing futures. We bring the advisory, the structure, and the patience to build careers that compound over time.

We take risks. But our artists take them from solid ground — with the right mindset, the right information, and the right people behind them.

🎵
Master Recording
Streaming, sync deals, licensing. Who owns the file owns the revenue — and that structure needs to be right from day one.
©️
Publishing
Public performance, radio, digital royalties. Billions go unclaimed every year because artists aren't registered. We fix that.
Why It Matters

Real money.
Real cases.
Real proof.

These aren't hypothetical arguments. These are documented, real-world cases where ownership of masters and publishing — protected over years or decades — turned into generational wealth. Songs that nobody thought would matter again. Catalogs that looked like they'd peaked. Rights that companies paid hundreds of millions to own because they understood the long game better than the artists did.

This is what PSM500 exists to prevent. You built it. You should own it.

1965 → $300M+ · 2020
Bob Dylan
Blowin' in the Wind, The Times They Are A-Changin' & 600+ songs
Dylan spent decades quietly owning his songwriting catalog. In 2020, Universal Music Publishing paid over $300 million for his publishing rights alone — then Sony paid hundreds of millions more for his masters. Songs written 50+ years ago, generating nine-figure valuations because he never let them go.
Masters + Publishing
1969 → $250M · 2021
David Bowie
Heroes, Space Oddity, Ziggy Stardust & 26 albums
Bowie died in 2016. His estate sold his publishing catalog to Warner Chappell Music for a reported $250 million in 2021 — five years after his death. His 1997 "Bowie Bonds" move, securitizing future royalties for $55M upfront, was the first of its kind. He understood catalog as a financial asset before anyone else did.
Publishing
1973 → $500M · 2021
Bruce Springsteen
Born in the USA, Born to Run & 300 songs
Springsteen sold both his masters and publishing to Sony for approximately $500 million — the largest individual artist catalog deal in history at the time. Five decades of consistent ownership meant he walked away with full generational wealth on his own terms, on his own timeline.
Masters + Publishing
1985 → $1B+ · 2016
Michael Jackson
ATV Music Publishing — incl. The Beatles catalog
In 1985, Jackson paid $47.5 million to acquire ATV Music Publishing, which included rights to over 250 Beatles songs. That stake eventually merged with Sony to form Sony/ATV — one of the largest music publishers in the world. Sony later bought out Jackson's estate's share for hundreds of millions. He bought other people's publishing and became a billionaire from it.
Publishing
2008 → $360M · 2025
Taylor Swift
Taylor Swift, Fearless, Speak Now, Red, 1989, Reputation
When Swift's original masters were sold without her consent for $300M in 2019, she re-recorded all six albums to create masters she owned. In May 2025, she bought back the originals from Shamrock Capital for approximately $360 million. She now owns both versions. The lesson: losing your masters costs you — but the fight to get them back is winnable if you have the resources and team.
Masters
2001 → Still earning · Today
Afroman
Because I Got High, Colt 45
Labeled a one-hit wonder by the industry. Afroman's answer: he owns his masters and his publishing. Those songs keep generating sync placements, streaming royalties, and licensing revenue — independently, decades later, with no label taking a cut. He left Universal and went fully independent, self-releasing and keeping ownership of everything. The catalog outlives the hype cycle every time.
Masters + Publishing
The companies paying $300M for a catalog understand something most artists don't: music doesn't expire.

When investment firms pay nine figures for a 50-year-old song catalog, they aren't being sentimental. They've run the numbers. Streaming, sync placements, TV licensing, sample clearances, brand deals — the revenue streams on a well-owned catalog compound over decades.

The artists who win long-term are the ones who understood this early. The ones who had someone in their corner who told them: protect the masters, register the publishing, know what you're signing before you sign it.

That's what PSM500 is here for.

Our approach

Not a
shortcut
factory.

Most management companies chase the moment. We build the career behind it. That means understanding who an artist is before deciding who they should become — and building the infrastructure that makes growth repeatable, not accidental.

We work with a tight roster by design. Every artist we sign gets the full team, full attention, and a real plan — not a shared calendar and a hope. Our edge is in-house creative production, data-driven positioning, and relationships built over time.

This is a transparent operation. Our journal documents the real process — the wins, the lessons, and everything in between. If you want to watch something being built from the ground up, you're in the right place.

What we do

Full-stack management.

01

Artist Management

Career strategy, deal negotiation, scheduling, and long-term positioning. We handle the business so artists can focus on the music.

Core service
02

Creative Production

In-house beatmakers and creative direction under one roof. From concept to master — we move fast without cutting corners.

In-house
03

Audience Strategy

Content planning, release architecture, and platform growth built for compounding — not vanity metrics that disappear overnight.

Long-term
04

Sync & Licensing

Placing music in film, TV, ads, and digital content. Revenue from your catalog that doesn't depend on your follower count.

Revenue
05

Brand Partnerships

Connecting artists with brands whose values and audiences align — deals that make sense culturally and financially.

Deals
06

Beat Licensing

Our producers' catalog available for exclusive and non-exclusive licensing. Quality Urban Latin, Reggaetón, and Afrobeats production.

Open catalog
Current roster

Artists we build.

T
Tiziano
Urban Latin · Reggaetón · Afrobeats · Tropical
Active
+
Selective openings — 2025
We work with 3–5 artists at a time. By design.
The Journal

Building in public.

The real process. Campaign results, lessons learned, and what it actually takes to build an artist from scratch.

Let's build something real.

Whether you're an artist, a brand, or a collaborator — if you're serious about the long game, get in touch. Every submission is reviewed personally.