Rock’s commercial appeal rests on enduring audiences, renewed discovery and careful management of older recordings, music-industry panellists argued during “The Value of Rock” webinar, according to Digital Music News.

The discussion explored how streaming, archival work and fan experiences can generate value from established catalogues. Digital Music News’ account, written by Ashley King, was produced in collaboration with its partner Open On Sunday, a catalogue-finance company represented on the panel.

Ali Schlueter, who oversees North American frontline marketing and catalogue development at Reservoir/Chrysalis, rejected the idea that rock has lost its relevance. “[Rock] is not dead. It is thriving,” she said, pointing to streaming performance and the range of artists she places within the genre.

Scott Seine, president of Surfdog, said digital discovery allows younger listeners to encounter songs without first knowing decades of an artist’s history. He cited Fleetwood Mac’s “Dreams,” which reached a new audience through a viral skateboarding video, and described YouTube as another route into older performances and musical influences.

For buyers, however, a dependable catalogue does not necessarily offer easy opportunities for improvement. Open On Sunday copyright specialist Kevin Dynda said well-maintained assets leave less value to uncover through metadata corrections, shifting attention toward marketing and listening experiences. Valuation, he said, is largely about assessing risk.

Dynda offered an example from Open On Sunday’s stake in B.B. King’s catalogue with partner Fresh Sonics. The team found that the eight-song album “Lucille Talks Back” had never been available on streaming and rebuilt it as a reimagined 50th-anniversary release featuring guests including Doyle Bramhall II and Eric Gales.

Other panellists described the less visible work behind catalogue management. Music-industry adviser Jay Gilbert recalled checking 11 Rick Springfield albums reverting to the artist for missing tracks, duplicate releases, streaming availability and territorial gaps. Seine said archival work on an Eric Clapton reissue uncovered three unreleased songs.

Schlueter also highlighted Reservoir’s investment in London-based immersive-experience company Lightroom, describing David Bowie and Radiohead shows as ways to bring fans together when artists cannot tour or are not currently touring.

The discussion ended with differing views on monetizing rights. Gilbert favoured publishing as a long-term asset and urged artists considering offers to retain it: “Hold on to that publishing.”

Sources