Fintech PR
Artmarket.com: Artprice’s Standardized Marketplace® now accepts cryptocurrencies Bitcoin and Ethereum for transactions on its platform

PARIS, Nov. 20, 2023 /PRNewswire/ — According to thierry Ehrmann, Founder of Artprice and CEO of Artmarket: “After a period of very cautious observation, cryptocurrencies are now showing positive signals. Artprice by Artmarket now considers the circumstances favorable to integrate – as of today – the cryptocurrencies Bitcoin and Ethereum across the entirety of its famous Standardized Marketplace®, created in 2005. These cryptocurrencies are now competing with major international currencies and it is only natural that Artprice should also add Art NFTs to its Marketplace, in a new category/medium, giving them a legitimate place in Art Market History.”
Our decision to quote cryptocurrency prices on our Standardized Marketplace® comes after a long and careful observation of an increase in consultation of auction results in Bitcoin and Ethereum across all of Artprice’s databases since their effective integration into our system in September 2022.
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These two main cryptocurrencies (ETH and BTC) account for more than 82% of the total value of the approximately 21,000 currently existing cryptocurrencies (excluding stablecoins).
By analyzing its hundreds of millions of connection logs, Artprice has observed – over 14 months – a regular increase in consultations of the Bitcoin and Ethereum prices in its databanks, which are now, in statistical terms, close to the consultations of the major international reference currencies such as the dollar, the euro, sterling or the yen.
This evolution at Artprice reflects the growing place of cryptocurrencies in the mentalities and habits of art professionals as well as among collectors and art enthusiasts.
In view of these positive and indisputable statistics over 14 months, Artprice by Artmarket has made the historic decision to integrate Bitcoin and Ethereum today into its Standardized Marketplace® which presents more than 75,000 works of art from around the world on a daily basis. These works are bought and sold by Artprice’s 7.2 million customers and members, generating an annual turnover estimated at several hundred million euros. The success of this platform reflects the confidence, built over more than 18 years, between its buyers and sellers.
The inclusion of Art NFTs in Artprice by Artmarket‘s Standardized Marketplace®, along with their quotation in Bitcoin and Ethereum (next to the major international currencies), will undoubtedly make a significant contribution to the overall legitimization of this new medium on the art market.
Artprice by Artmarket’s Standardized Marketplace® will immediately have an undeniable competitive advantage because the main existing NFT platforms have still not resolved a number of fundamental issues due to lack of time, of financial means, but also, and above all, due to their incapacity to manage and administrate all the related copyright issues.
Indeed, OpenSea, the leading NFT platform, itself declares that 80% of the primary issues of Art NFTs are likely to impact third-party intellectual property rights. Faced with this observation, Opensea has announced it is considering solutions to counter this problem and thereby protect sellers and buyers. This can only lead to the certification of the primary issue market by Artprice.
It is precisely in the primary issue of Art NFTs that Artprice by Artmarket can generate excellent turnover (and profits) already up 75% in Q3 2023.
Bearing in mind all the underlying parameters and data required, Artprice is the only organization on the global art market to be able to truly respond to the certification of primary emissions of Art NFTs in an environment of cryptocurrencies and major international currencies.
This capacity to certify the primary emissions of Art NFTs is based on the fact that Artprice by Artmarket has been the Global Leader in Art Market Information for more than 25 years and is the creator and owner of its globally recognized databases. It also has the world’s largest documentary collection of art market notes, manuscripts, codices, and annotated sales catalogs from 1700 to the present day which act as guarantee of the authenticity and historical veracity of its databases.
Artprice by Artmarket‘s position as Global Leader in Art Market Information – with its Standardized Marketplace® created in 2005 – provides a perfectly logical and absolutely essential guarantee recognized throughout the art market. This is because for the last 25 years, we have been practicing exactly what is needed for the online sale of art NFTs, namely the initial certification of the artist followed by the meticulous analysis of his/her biography and of all the original supporting documents concerning the artist, which subsequently remain in Artprice’s archives. It is this practice that inspires the market’s confidence and recognition.
More precisely, we cannot allow the offer of an artwork or of an art NFT to be posted online without validation of the identity of the artist (especially in crypto art), and of the professional seller, via a very strict and draconian control procedure. In the context of the sale of NFTs, this is all the more important as there is a certain laxity at this level, which has led to numerous problems on other sites.
The added value of Artprice by Artmarket is quite simply its knowledge of the artists, either through their previous auction results or through their emerging notoriety. In addition, an Artprice Intranet messaging system is made available to buyers and sellers, so that they can agree on their transaction in a confidential and consensual manner.
The September 2022 quotation of auction results in cryptocurrencies was the first stone in the edifice, and it was introduced after considerable reflection and research. Artprice by Artmarket had already taken a first step by quoting 8,828,384 art auction results in Bitcoin, dating back to 1 February 2011 (with 1 Bitcoin at $0.7, £0.434031, and €0.50707) and 5,814,866 art auction results in Ethereum, dating back to 7 August 2015 (with 1 Ethereum at $3, £1.93626 and €2.735523).
The addition of the two reference cryptocurrencies to the historical currencies of the 20th century (dollar, euro, Sterling, yen) in Artprice’s databases gave our clients the necessary perspective to understand the development of cryptocurrencies over more than a decade vis-à-vis the world’s major non-cryptocurrencies.
Cryptocurrencies have brought new collectors and art enthusiasts, often younger than their non-crypto peers. Not averse to speculation and risk, they have no intention of abandoning the crypto-universe of Web 3.0. These new customers, who frequently requested data from Artprice by Artmarket, constantly requested the addition of ETH and BTC to all Artprice databases and to its Standardized Marketplace®.
For this reason, Artprice is currently finalizing the Metaverse of its head office located in the heart of its illustrious L’Organe, Museum of Contemporary Art which manages the Demeure du Chaos / Abode of Chaos (dixit The New York Times). To create the Metaverse of this edifice with its highly singular architecture (that falls into the category “total work of art”) created by thierry Ehrmann (who is also a visual artist), the European group TT Géoomètres Experts with its 3D Lab and Groupe Serveur (Artprice’s parent company) carried out the complete digitization of the 6,300 artworks integrated into the buildings, offices, outbuildings and surrounding walls, covering a surface area of over 7,555 m², leading to the creation of a digital asset of 12 terra-bytes. This work was conducted from 2018 to 2023. For more information see:
https://ftp1.serveur.com/abodeofchaos_singular_architecture.pdf
All the necessary investments have already been fully covered by Groupe Serveur.
The future of Artprice by Artmarket is the meeting point between Web 3.0. and Artprice’s proprietary artificial intelligence, Intuitive Artmarket ® AI.
The Artprice Metaverse, accessible in AR (augmented reality) and/or VR (virtual reality), currently being finalized, has been designed to make people forget rigid IT with Web 2.0, a veritable obstacle to creation. It will allow crypto-universe enthusiasts to live their experiences to the full, in particular through the release announced at WWDC 2023 of Apple’s Vision Pro, the perfect symbiosis of AR and VR, to which is added among others the Meta Quest 3, the HoloLens 2 from Microsoft, the VR DELL VRP100, the VRX from Lenovo, the Gear VR R322 from Samsung, the Reverb G2 from HP, all this to join Web 3.0.
During the period of cautious observation of cryptocurrencies conducted by Artprice by Artmarket, lots of more or less unpredictable events have destabilized the global economy and particularly, cryptocurrencies.
After reaching historic highs on 10 November 2021 (at $68,989 for Bitcoin and $4,866 for Ethereum), cryptocurrencies then began a steady decline to reach lows at $15,480 on 21 November 2022 for Bitcoin and $880 for Ethereum on 18 June 2022.
The year 2022 and a large part of 2023 were therefore the final test for cryptocurrencies, with a dizzying descent, a drastic purge of outsiders, a series of memorable trials (fraudulent bankruptcy of Sam Bankman-Fried’s FTX), the introduction of drastic regulations, all against the backdrop of a very difficult economic, financial and geopolitical context, with galloping inflation, stagnation in world trade and a meteoric rise in interest rates.
However, this ‘trial by fire’ has ultimately made it possible to establish cryptocurrencies in the international monetary system and in its history, and the world of finance is well aware of the resilience of leading cryptocurrencies to crises. Morgan Stanley and JP Morgan Chase are now both offering Bitcoin funds to their clients.
Moreover, despite the economic context described above, nothing has stopped a number of planned developments such as the transition to “The Merge” on 15 September 2022 for the complete ‘decarbonization’ of the Ethereum 2.0 Blockchain in the context of the global energy crisis. Indeed, according to its founder, Vitalik Buterin, thanks to “The Merge”, after 7 years of development and successful beta tests, the electricity consumption of the ETH Blockchain has been reduced by over 99.95% by switching from “Proof of Work” (PoW) to “Proof of Stake” (PoS) (Source Ethereum Foundation).
In a global context where concerns about global warming have reached a fever pitch, this is indeed a vital development, and it explains, among other things, the Central Bank of Norway’s decision to build the Norwegian MNBC (Central Bank Digital Currency) on Ethereum and that of Bank of America to qualify Ethereum as a virtuous investment, calling it a “green giant”.
However, it is BlackRock’s announcement, the world’s biggest asset manager, which seems to definitively signal the re-awakening of cryptocurrencies and the end of the bear market. After submitting a first Bitcoin spot ETF (Exchange Traded Fund) file with the SEC (Securities and Exchange Commission), BlackRock filed a second one on Thursday, 9 November 2023 for an Ethereum spot ETF called iShares Ethereum Trust. This will allow retail investors to gain exposure to the second-largest cryptocurrency by market capitalization without having to directly hold the asset.
Price projections are also currently very positive. The consensus of analysts from major American banks is very favorable to cryptocurrencies, in particular Bitcoin and Ethereum, with targets at significantly higher than current prices.
thierry Ehrmann: “We were patiently waiting for the right moment to launch this key deployment in the history of Artprice by Artmarket in the best conditions for both the art market and for cryptocurrencies. It is now time for us to take the step of deploying our authoritative Standardized Marketplace® and opening it to the world of cryptocurrencies and NFTs, by entering Web 3.0. which is quite simply the immediate future of the Internet. This step would not have been possible without the knowledge and experience of Artprice, which has been the Global Leader in Art Market Information for more than 25 years.
Images:
[https://imgpublic.artprice.com/img/wp/sites/11/2023/11/image1_bitcoin_artprice.jpg] [https://imgpublic.artprice.com/img/wp/sites/11/2023/11/image2_ethereum_the_merge_artprice.jpg]
Copyright 1987-2023 thierry Ehrmann www.artprice.com – www.artmarket.com
- Don’t hesitate to contact our Econometrics Department for your requirements regarding statistics and personalized studies: econometrics@artprice.com
- Try our services (free demo): https://www.artprice.com/demo
- Subscribe to our services: https://www.artprice.com/subscription
Artmarket.com is listed on Eurolist by Euronext Paris, SRD long only and Euroclear: 7478 – Bloomberg: PRC – Reuters: ARTF.
Discover Artmarket and its Artprice department on video: www.artprice.com/video
Artmarket and its Artprice department was founded in 1997 by its CEO, thierry Ehrmann. Artmarket and its Artprice department is controlled by Groupe Serveur, created in 1987.
See certified biography in Who’s who ©:
https://imgpublic.artprice.com/img/wp/sites/11/2023/04/2023_2_Biographie-thierry-Ehrmann_WhosWhoInFrance.pdf
Artmarket is a global player in the Art Market with, among other structures, its Artprice department, world leader in the accumulation, management and exploitation of historical and current art market information (the original documentary archives, codex manuscripts, annotated books and auction catalogs acquired over the years ) in databanks containing over 30 million indices and auction results, covering more than 825,000 artists.
Artprice by Artmarket, the world leader in information on the art market, has set itself the ambition through its Global Standardized Marketplace to be the world’s leading Fine Art NFT platform.
Artprice Images® allows unlimited access to the largest Art Market image bank in the world: no less than 180 million digital images of photographs or engraved reproductions of artworks from 1700 to the present day, commented by our art historians.
Artmarket with its Artprice department accumulates data on a permanent basis from 7200 Auction Houses and produces key Art Market information for the main press and media agencies (7,200 publications). Its 7.2 million (‘members log in’+social media) users have access to ads posted by other members, a network that today represents the leading Global Standardized Marketplace® to buy and sell artworks at a fixed or bid price (auctions regulated by paragraphs 2 and 3 of Article L 321.3 of France’s Commercial Code).
Artmarket, with its Artprice department, has twice been awarded the State label “Innovative Company” by the Public Investment Bank (BPI), which has supported the company in its project to consolidate its position as a global player in the art market.
Artprice by Artmarket publishes its 2023 Contemporary Art Market Report:
https://www.artprice.com/artprice-reports/the-contemporary-art-market-report-2023
Artprice by Artmarket’s Global Art Market Report, “The Art Market in 2022”, published in March 2023:
https://www.artprice.com/artprice-reports/the-art-market-in-2022
Index of press releases posted by Artmarket with its Artprice department:
https://serveur.serveur.com/artmarket/press-release/en/
Follow all the Art Market news in real time with Artmarket and its Artprice department on Facebook and Twitter:
www.facebook.com/artpricedotcom/ (over 6.4 million followers)
Discover the alchemy and universe of Artmarket and its artprice department https://www.artprice.com/video headquartered at the famous Organe Contemporary Art Museum “The Abode of Chaos” (dixit The New York Times): https://issuu.com/demeureduchaos/docs/demeureduchaos-abodeofchaos-opus-ix-1999-2013
La Demeure du Chaos / Abode of Chaos
GESAMTKUNSTWERK & SINGULAR ACRHITECTURE
Confidential bilingual work now public:
https://ftp1.serveur.com/abodeofchaos_singular_architecture.pdf
· L’Obs – The Museum of the Future: https://youtu.be/29LXBPJrs-o
· www.facebook.com/la.demeure.du.chaos.theabodeofchaos999 (over 4 million followers)
Contact Artmarket.com and its Artprice department – Contact: Thierry Ehrmann, ir@artmarket.com
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View original content:https://www.prnewswire.co.uk/news-releases/artmarketcom-artprices-standardized-marketplace-now-accepts-cryptocurrencies-bitcoin-and-ethereum-for-transactions-on-its-platform-301991051.html
Fintech PR
Plaza Finance Launches First Programmable Derivative Tokens on Base: bondETH and levETH

Initially unlocking new innovative Ethereum investment strategies on Base, Plaza Finance also unveils new partnership with Layer Zero for future cross-chain expansion
NEW YORK, April 29, 2025 /PRNewswire/ — Plaza Finance, the pioneering platform for on-chain bonds and leverage, is today launching its core protocol on Base, introducing the first programmable derivative tokens to the network: bondETH and levETH. These assets unlock novel strategies for yield generation and leveraged exposure to Ethereum within the decentralized finance (DeFi) ecosystem.
Catering to the risk-conscious DeFi user seeking consistent and predictable returns, bondETH grants holders a fixed USDC income stream derived from a diversified pool of staked and restaked Ethereum liquid staking tokens (LSTs and LRTs).
For the long-term ETH bull, levETH provides leveraged exposure to Ethereum without the constant threat of liquidation. By removing some of the key risks associated with traditional leveraged trading on perpetual futures exchanges and lending protocols, levETH empowers users to more confidently amplify their exposure to Ethereum’s growth potential, fostering sustained and robust participation in the asset’s upward trajectory.
The current DeFi landscape suffers from limited investment product diversity, often skewing towards short-term leveraged trading and trapping user funds within specific platforms. Programmable derivatives are crucial to overcoming these limitations by enabling the creation of tailored financial instruments.
Following strong community interest demonstrated by 600k testnet users and $1.5m in early deposits, this launch signifies a significant leap forward in the utility of staked and restaked ETH. The underlying assets backing bondETH and levETH actively contribute to Ethereum’s economic security through staking and restaking. At the same time, investors benefit from liquid tokens that seamlessly integrate into the broader DeFi landscape. Programmable derivatives like bondETH and levETH combine the benefits of liquid staking and restaking with customizable risk and reward profiles, catering to a diverse range of investor strategies.
To further amplify the utility and accessibility of bondETH and levETH, Plaza Finance has forged a strategic partnership with Layer Zero, the industry-leading omnichain interoperability protocol renowned for its battle-tested speed and security. This collaboration will enable the efficient and secure expansion of Plaza Finance’s innovative derivatives to additional blockchain networks, broadening their reach and impact across the multi-chain DeFi landscape.
Ryan Galvankar, Founder of Plaza Finance, said, “This launch is the culmination of extensive development and rigorous testing, empowering a global user base to securely access high-quality decentralized assets and solidifying Plaza Finance at the forefront of DeFi innovation. At Plaza Finance, we believe in open access, global liquidity, and incentive-aligned fee markets. Programmable derivatives are the next wave of global capital markets infrastructure. We’re just getting started.”
Building on its $2.5m pre-seed round led by Anagram Ventures in 2024, the launch of bondETH and levETH solidifies Plaza Finance’s position in DeFi and sets the stage for future expansion with bondBTC, levBTC, along with derivatives on SOL and real-world assets (RWAs), broadening on-chain utility.
Disclaimer
Products like bondETH and levETH can result in significant gains or losses. Cryptocurrency investments carry risks. Please perform your own due diligence and consult with a financial advisor if necessary before investing.
About Plaza Finance
Plaza Finance is the public square for on-chain bonds and leverage, building innovative programmable derivative protocols. Through tokenized vault structures that enable any risk-return profile to be created on any asset, users are empowered with novel strategies for yield generation and asset exposure within the decentralized finance ecosystem. For more information, please visit https://www.plaza.finance/
View original content:https://www.prnewswire.co.uk/news-releases/plaza-finance-launches-first-programmable-derivative-tokens-on-base-bondeth-and-leveth-302441578.html
Fintech PR
Henley & Partners Responds to European Court of Justice Ruling on Malta’s Citizenship Program

LONDON, April 29, 2025 /PRNewswire/ — Henley & Partners is disappointed by the characterization of Malta’s citizenship program as an infringement of EU law or a “commercialization” of citizenship, as laid out in today’s highly politicalised judgment by the European Court of Justice (ECJ).
This ruling marks the conclusion of a case brought by the European Commission in March 2023. This case alleged that Malta’s citizenship by investment program violated the principle of sincere cooperation (a vague principle in EU law) and supposedly undermined the integrity of EU citizenship. However, the EU Commission, and now the ECJ’s reasoning, lacks a solid foundation in EU law, as many leading legal scholars and the Court’s own Advocate General have pointed out prior to today’s ruling.
Indeed, there is a stark contrast to the thoughtful and legally grounded opinion of the Advocate General, the ECJ’s lead judge, who concluded that the Maltese program did not infringe EU law and that the EU Commission had no case. The Court has now reversed course by a staggering 180 degrees and issued a judgement that appears politically motivated, as the reasoning provided by the court is tenuous at best. This undermines judicial consistency and confirms serious concerns about the increasing politicization of the EU’s legal institutions. It also undermines two of the most important values of the EU itself, democratic legitimisation and rule of law.
Dr. Christian H. Kälin, Chairman of Henley & Partners, says “the idea that investment migration undermines solidarity within the EU is not only unfounded but reflects a troubling misunderstanding of the socio-economic role these programs play. Malta’s framework exemplifies responsible nation-building — not opportunism. There are countless and major historic examples in Europe and elsewhere in the world. Rather than rejecting investment migration, the EU should focus on enhancing due diligence and harmonizing regulatory oversight to attract the right people to the Union who can contribute significantly and bring private investment, talent and entrepreneurship, which is urgently needed in Europe.”
He added that this judgment should not close the door to a more rational, fact-based conversation about the role of investment migration within the European project. Respecting national competences and fostering economic resilience — especially in smaller Member States — should be seen as part of a unified but diverse Europe.
Read full statement here
View original content:https://www.prnewswire.co.uk/news-releases/henley–partners-responds-to-european-court-of-justice-ruling-on-maltas-citizenship-program-302441556.html
Fintech PR
Universal Music Group N.V. Reports Financial Results for the First Quarter Ended March 31, 2025

Q1 2025 Results Highlights1
- Revenue of €2,901 million increased 11.8% year-over-year, or 9.5% in constant currency, driven by solid growth in Recorded Music and Music Publishing.
- Recorded Music subscription revenue grew 11.5% year-over-year, or 9.3% in constant currency, and streaming revenue grew 2.9% year-over-year, or 0.3% in constant currency.
- Adjusted EBITDA of €661 million increased 11.8% year-over-year, or 10.0% in constant currency, and Adjusted EBITDA margin remained consistent at 22.8%.
- Top sellers included Kendrick Lamar, Sabrina Carpenter, Lady Gaga, The Weeknd and Mrs. GREEN APPLE.
1 |
This press release includes certain alternative performance indicators which are not defined in the IFRS Accounting Standards (‘IFRS’) issued by the International Accounting Standards Board as endorsed by the EU. The descriptions of these alternative performance indicators and reconciliations of non-IFRS to IFRS measures are included in the Appendix to this press release. |
HILVERSUM, The Netherlands, April 29, 2025 /PRNewswire/ — Universal Music Group N.V. (“UMG” or “the Company”) today announced its financial results for the first quarter ended March 31, 2025.
“Our strong results – and our confidence about the future – reflect the execution of our strategic plan, including consistently developing and breaking the world’s most successful artists and songwriters by connecting them with billions of fans in new and innovative ways,” said UMG’s Chairman and CEO Sir Lucian Grainge.
Boyd Muir, COO and CFO of UMG, said, “2025 is off to a strong start, with multi-faceted revenue growth in recorded music and music publishing as well as healthy Adjusted EBITDA growth. Our focus on our key strategic initiatives positions us to achieve our mid-term financial objectives.”
UMG Results
Three Months Ended March 31, |
% |
% |
||
(in millions of euros) |
2025 |
2024 |
YoY |
const. |
(unaudited) |
(unaudited) |
|||
Revenue |
2,901 |
2,594 |
11.8 % |
9.5 % |
EBITDA |
603 |
490 |
23.1 % |
21.6 % |
EBITDA margin |
20.8 % |
18.9 % |
1.9pp |
|
Adjusted EBITDA |
661 |
591 |
11.8 % |
10.0 % |
Adjusted EBITDA margin |
22.8 % |
22.8 % |
0.0pp |
Note: % YoY indicates % change year-over-year; % const. indicates % change year-over-year adjusted for constant currency. Constant currency is calculated by taking current year results and comparing against prior year results restated at current year rates. |
Q1 2025 Results
Revenue for the first quarter of 2025 was €2,901 million, an increase of 11.8% year-over-year, or 9.5% in constant currency, driven by healthy growth in Recorded Music and Music Publishing, as discussed further below.
EBITDA for the quarter grew 23.1% year-over-year, or 21.6% in constant currency, to €603 million and EBITDA margin was 20.8%, compared to 18.9% in the first quarter of 2024. The margin improvement is a result of lower non-cash share-based compensation expenses of €58 million during the first quarter of 2025, compared to €101 million during the first quarter of 2024. Excluding non-cash share-based compensation expenses, Adjusted EBITDA for the quarter was €661 million, up 11.8% year-over-year, or 10.0% in constant currency, driven by revenue growth. Adjusted EBITDA margin was 22.8%, consistent with the first quarter of 2024, as the positive impact of operating leverage and cost savings related to our previously announced strategic realignment were offset by the negative impact of revenue and repertoire mix.
Recorded Music
Three Months Ended March 31, |
% |
% |
||
(in millions of euros) |
2025 |
2024 |
YoY |
const. |
(unaudited) |
(unaudited) |
|||
Subscriptions and streaming revenue |
1,605 |
1,466 |
9.5 % |
7.2 % |
of which streaming |
353 |
343 |
2.9 % |
0.3 % |
of which subscription |
1,252 |
1,123 |
11.5 % |
9.3 % |
Downloads and other digital revenue |
40 |
46 |
(13.0 %) |
(14.9 %) |
Physical revenue |
300 |
255 |
17.6 % |
15.4 % |
License and other revenue |
296 |
222 |
33.3 % |
29.8 % |
Recorded Music revenues |
2,241 |
1,989 |
12.7 % |
10.3 % |
Note: % YoY indicates % change year-over-year; % const. indicates % change year-over-year adjusted for constant currency. |
Q1 2025
Recorded Music revenue for the first quarter of 2025 was €2,241 million, up 12.7% year-over-year, or 10.3% in constant currency. Subscription revenue grew 11.5% year-over-year, or 9.3% in constant currency, primarily driven by the growth in global subscribers. Streaming revenue grew 2.9% year-over-year, or 0.3% in constant currency, as consumption continues to shift from better monetized video platforms to short-form platforms, which are not yet as well monetized. Physical revenue increased by 17.6% year-over-year, or 15.4% in constant currency, driven by vinyl sales growth in the U.S. and Europe. Downloads and other digital revenue declined 13.0% year-over-year, or 14.9% in constant currency, as download sales continue their industry-wide decline. License and other revenue increased 33.3% year-over-year, or 29.8% in constant currency, driven by particularly strong live income in certain markets, as well as by growth in synchronisation income. Top sellers for the quarter included releases from Kendrick Lamar, Sabrina Carpenter, Lady Gaga, The Weeknd and Mrs. GREEN APPLE, while top sellers in the prior-year quarter included releases from Taylor Swift, Noah Kahan, Morgan Wallen, Ariana Grande and Olivia Rodrigo.
Music Publishing
Three Months Ended March 31, |
% |
% |
||
(in millions of euros) |
2025 |
2024 |
YoY |
const. |
(unaudited) |
(unaudited) |
|||
Performance revenue |
114 |
114 |
0.0 % |
(1.7 %) |
Synchronisation revenue |
64 |
62 |
3.2 % |
0.0 % |
Digital revenue |
339 |
284 |
19.4 % |
16.9 % |
Mechanical revenue |
26 |
25 |
4.0 % |
4.0 % |
Other revenue |
12 |
11 |
9.1 % |
0.0 % |
Music Publishing revenues |
555 |
496 |
11.9 % |
9.5 % |
Note: % YoY indicates % change year-over-year; % const. indicates % change year-over-year adjusted for constant currency. |
Q1 2025
Music Publishing revenue for the first quarter of 2025 was €555 million, up 11.9% year-over-year, or 9.5% in constant currency. Digital revenue grew 19.4% year-over-year, or 16.9% in constant currency, driven by continued growth in streaming and subscription revenue. Performance revenue was flat year-over-year, but declined 1.7% in constant currency, with a difficult comparison against higher society payments in the U.S. and stronger live activity in Europe in the prior year quarter. Synchronization revenue increased 3.2% year-over-year, and was flat in constant currency. Mechanical revenue grew by 4.0% on both a reported and constant currency basis.
Merchandising and Other
Three Months Ended March 31, |
% |
% |
||
(in millions of euros) |
2025 |
2024 |
YoY |
const. |
(unaudited) |
(unaudited) |
|||
Merchandising and other revenues |
112 |
114 |
(1.8 %) |
(5.1 %) |
Note: % YoY indicates % change year-over-year; % const. indicates % change year-over-year adjusted for constant currency. |
Q1 2025
Merchandising and Other revenue in the first quarter of 2025 was €112 million, a decrease of 1.8% year-over-year, or 5.1% in constant currency, as timing-related declines in touring merchandise sales were partially offset by healthy growth in direct-to-consumer sales.
Conference Call Details
The Company will host a conference call to discuss these results on Tuesday, April 29, 2025 at 6:15PM CEST. A link to the live audio webcast will be available on investors.universalmusic.com and a link to the replay will be available after the call.
While listeners may use the webcast, a dial-in telephone number is required for investors and analysts to ask questions. Investors and analysts interested in asking questions can pre-register for a dial-in line at investors.universalmusic.com under the “Financial Reports” tab.
Cautionary Notice
This press release is published by Universal Music Group N.V. and contains inside information within the meaning of article 7(1) of Regulation (EU) No 596/2014 (Market Abuse Regulation).
Forward-looking statements
This press release may contain statements that constitute forward-looking statements with respect to UMG’s financial condition, results of operations, business, strategy and plans. Such forward-looking statements may be identified by the use of words such as ‘profit forecast’, ‘expect’, ‘estimate’, ‘project’, ‘anticipate’, ‘should’, ‘intend’, ‘plan’, ‘probability’, ‘risk’, ‘target’, ‘goal’, ‘objective’, ‘will’, ‘endeavour’, ‘optimistic’, ‘prospects’ and similar expressions or variations on such expressions. Although UMG believes that such forward-looking statements are based on reasonable assumptions, they are not guarantees of future performance. Actual results may differ materially from such forward-looking statements as a result of a number of risks and uncertainties, many of which are related to factors that are outside UMG’s control, including, but not limited to, UMG’s inability to compete successfully and to identify, attract, sign and retain successful recording artists and songwriters, failure of streaming and subscription adoption or revenue to grow or to grow less rapidly than anticipated, UMG’s reliance on digital service providers, UMG’s inability to execute its business strategy, the global nature of UMG’s operations, changes in global economic and financial conditions, UMG’s inability to protect its intellectual property and against piracy, challenges related to generative AI, UMG’s inability to attract and retain key personnel, UMG’s restructuring and reorganization activities, UMG’s acquisitions and other investments, changes in laws and regulations (and UMG’s compliance therewith) and the other risks that are described in UMG’s 2024 Annual Report. Accordingly, UMG cautions readers against placing undue reliance on such forward-looking statements. Such forward-looking statements are made as of the date of this press release. UMG disclaims any intention or obligation to provide, update or revise any such forward-looking statements, whether as a result of new information, future events or otherwise.
Alternative Performance Indicators
This press release includes certain alternative performance indicators which are not defined in IFRS Accounting Standards issued by the International Accounting Standards Board as endorsed by the EU. The descriptions of these alternative performance indicators and reconciliations of non-IFRS to IFRS measures are included in the Appendix to this press release.
About Universal Music Group
At Universal Music Group (EURONEXT: UMG), we exist to shape culture through the power of artistry. UMG is the world leader in music-based entertainment, with a broad array of businesses engaged in recorded music, music publishing, merchandising and audiovisual content. Featuring the most comprehensive catalogue of recordings and songs across every musical genre, UMG identifies and develops artists and produces and distributes the most critically acclaimed and commercially successful music in the world. Committed to artistry, innovation and entrepreneurship, UMG fosters the development of services, platforms and business models in order to broaden artistic and commercial opportunities for our artists and create new experiences for fans. For more information on Universal Music Group N.V. visit www.universalmusic.com.
Contacts
Media
James Murtagh-Hopkins – communicationsnl@umusic.com
Investors
Erika Begun – investorrelations@umusic.com
Upcoming Calendar
Annual General Meeting of Shareholders: May 14, 2025
Appendix
Non-IFRS Alternative Performance Indicators and Reconciliations
Reconciliation of Adjusted EBITDA
Three Months Ended March 31, |
% |
||
(in millions of euros) |
2025 |
2024 |
YoY |
(unaudited) |
(unaudited) |
||
EBITDA |
603 |
490 |
23.1 % |
Non-cash share-based compensation expenses |
58 |
101 |
|
Adjusted EBITDA |
661 |
591 |
11.8 % |
Definitions
In this press release, UMG presents certain financial measures when discussing UMG’s performance that are not measures of financial performance or liquidity under IFRS (“non-IFRS”). These non-IFRS measures (also known as alternative performance indicators) are presented because management considers them important supplemental measures of UMG’s performance and believes that they are widely used in the industry in which UMG operates as a means of evaluating a company’s operating performance and liquidity. UMG believes that an understanding of its sales performance, profitability, financial strength and funding requirements is enhanced by reporting the following non-IFRS measures. All non-IFRS measures should be considered in addition to, and not as a substitute for, other IFRS measures of operating and financial performance as described in this press release. In addition, it should be noted that other companies may have definitions and calculations for these non-IFRS measures that differ from those used by UMG, thereby affecting comparability.
EBITDA and EBITDA margin
UMG considers EBITDA and EBITDA margin, non-IFRS measures, to be relevant measures to assess its operating performance and the performance of its operating segments as reported in the segment data. It enables UMG to compare the operating performance of operating segments regardless of whether their performance is driven by the operating segment’s organic growth or by acquisitions. It excludes restructuring expenses, which may impact period-to-period comparability. EBITDA margin is EBITDA divided by revenue.
To calculate EBITDA, the accounting impact of the following items is excluded from the Operating Profit:
i. amortization of intangible assets;
ii. impairment of goodwill and other intangibles;
iii. depreciation of tangible assets including right of use assets;
iv. (gains)/losses on the sale of tangible assets, including right of use assets and intangible assets; and
v. restructuring expenses.
Adjusted EBITDA and Adjusted EBITDA margin
The difference between EBITDA and Adjusted EBITDA consists of non-cash share-based compensation expenses and certain one-time items when applicable, that are deemed by management to be significant and incidental to normal business activity. Adjusted EBITDA margin is Adjusted EBITDA divided by revenue.
UMG considers Adjusted EBITDA and Adjusted EBITDA margin, non-IFRS measures, to be relevant measures to assess performance of its operating activities excluding items that may be incidental to normal business activity and excluding non-cash share based compensation which may impact period-to-period comparability.
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