The songs you love are financial instruments. A catalogue produces income every year, for decades, whether or not the artist ever records again. That income can be sold, borrowed against, or passed to children.

Which is why the biggest cheques in music this decade were not advances or tour guarantees. They were catalogue sales — artists selling rights they had held onto long enough for somebody to want them badly.

The lesson underneath it is unglamorous. The artists with something to sell were the ones who kept their publishing, registered their splits properly, and could produce paperwork proving who owned what.

That is the same discipline as investing. Own something real, hold it long enough, keep the records clean.

Nobody buys your streams. They buy your rights.