Global Music Rights

United States • New YorkFounded 2013
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Global Music Rights (GMR) is a boutique US performing rights organization founded in 2013 by Irving Azoff and Randy Grimmett. Based in New York, it represents 150 to 200 top-tier songwriters including Bruce Springsteen, Drake, Billie Eilish, and Bruno Mars. With estimated revenue of $400 to $450 million and a catalog of over 50,000 works, GMR was valued at $3.3 billion in its 2024 acquisition by Hellman and Friedman.

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Headquarters

New York, NY

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  • United States

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Global Music Rights (GMR) is a boutique performing rights organization based in New York that represents 150 to 200 top-tier songwriters, composers, and music publishers for the licensing of public performance rights in the United States. Founded in 2013 by Irving Azoff and Randy Grimmett, it was the first new PRO in the United States in nearly 75 years. GMR represents over 50,000 musical works and generates an estimated $400 to $450 million in annual revenue. In December 2024, private equity firm Hellman and Friedman acquired a majority stake valuing GMR at $3.3 billion.

How Global Music Rights Works

GMR operates differently from the traditional US PROs (ASCAP and BMI) in several ways. ASCAP and BMI operate under Department of Justice consent decrees, which require them to accept any songwriter who applies for membership and regulate how they negotiate with licensees. GMR is not bound by consent decrees. It is an invitation-only society, meaning it selectively signs songwriters whose catalogs carry significant licensing value.

GMR's licensing model covers the public performance of its affiliated songwriters' works across these channels:

  • Digital streaming: Spotify, Apple Music, Amazon Music, and other streaming platforms.
  • Terrestrial and satellite radio: Traditional AM/FM radio stations and satellite radio services.
  • Streaming and linear television: Television broadcasters and streaming TV providers.
  • Live venues: Concerts, festivals, and live performance venues.
  • Public establishments: Bars, restaurants, hotels, retail stores, and other businesses that play music publicly.

GMR positions itself as a boutique alternative to the larger PROs by offering its members several distinctive terms. Songwriters receive individualized service, transparent pay structures including a published rate card, audit rights, revenue guarantees, and value-based compensation. GMR also offers its affiliates the freedom to leave with their catalog if they elect not to renew, without imposing "licenses in effect" restrictions that prevent writers from moving between PROs during an existing license term.

The organization maintains a publicly searchable catalog on its website, allowing any prospective licensee to search its repertoire by work title, performer, songwriter, publisher, work identification number, or ISWC. GMR's policy is not to seek enforcement of any song not listed on its website, providing clarity for licensees about what works require a GMR license.

CEO Randy Grimmett leads day-to-day operations, with the Azoff Company retaining operational control following the Hellman and Friedman acquisition. GMR reports a near-perfect retention rate among its client roster.

Real-World Example

A major-label songwriter with 15 charting hits signs with GMR. Under a traditional PRO, the songwriter might receive a standard royalty split with limited transparency into how rates were negotiated with licensees. Under GMR, the songwriter receives a customized agreement with a revenue guarantee, a published rate card showing exactly how much licensees pay, and audit rights to verify royalty calculations.

If GMR collects $2 million in performance royalties for that songwriter's catalog in a given year from streaming platforms, radio stations, and live venues, the songwriter can audit GMR's books to verify the collection. The songwriter knows the exact rate each licensee pays because GMR's rate card is transparent. If the songwriter decides not to renew with GMR at the end of the contract term, they can move their catalog to another PRO without waiting for existing licenses to expire.

GMR's roster includes Bruce Springsteen, Drake, Billie Eilish, Bruno Mars, Harry Styles, Post Malone, The Weeknd, Bad Bunny, Jon Bon Jovi, the Prince Estate, Smokey Robinson, Shane McAnally, Shawn Mendes, Travis Scott, and many others. The concentration of high-value catalogs allows GMR to negotiate from a position of strength with licensees who need access to those works.

Why It Matters for Independent Artists

GMR is not accessible to most independent artists. The organization is invitation-only and specifically targets songwriters and composers whose catalogs have star-level commercial value. If you are an independent songwriter building your career, GMR is likely not an option until your catalog generates significant licensing demand.

However, GMR's existence matters to all songwriters because it has forced changes in the broader PRO market. Before GMR, ASCAP and BMI operated with less competitive pressure. GMR's introduction of transparent rate cards, revenue guarantees, and the freedom to leave with your catalog has pushed other PROs to improve their offerings. ASCAP and BMI have enhanced their member benefits in response to GMR's competition.

For independent artists, the practical takeaway is understanding that the US PRO market has options. If you are an ASCAP or BMI member, you can evaluate whether GMR or SESAC might offer better terms once your catalog reaches a level of commercial significance. GMR's model demonstrates that transparency in royalty calculations and the ability to move between PROs are reasonable expectations, not luxuries.

If you are a licensee (a business that plays music publicly), GMR's catalog must be licensed separately from ASCAP, BMI, and SESAC. A business that plays music by GMR-affiliated artists without a GMR license is infringing, even if it holds licenses from the other three PROs. GMR's publicly searchable catalog makes it straightforward to check whether specific works require a GMR license.

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