Sia has sold a 50% stake in her music catalog to Pophouse Entertainment, the Swedish investment company co-founded by ABBA's Björn Ulvaeus and EQT founder Conni Jonsson. Pophouse confirmed the agreement on October 1, 2026, and said completion is still subject to customary closing conditions. Its announcement did not include financial terms. TMZ, citing legal documents, reported a price of around $180 million, which would imply a value of roughly $360 million for the full catalog. That figure has not been confirmed by either party.
What changes hands
According to Pophouse, the deal covers both sides of Sia's music: her publishing (the songs as compositions) and her master recordings. Pophouse takes half of those interests and Sia keeps the other half, so she remains a co-owner rather than walking away from her work.
Pophouse presents the agreement as a partnership. It says it will steward the catalog, look for ways to grow it and bring the songs to new audiences, and also back Sia in new creative ventures. Name, image and likeness rights, which were part of several earlier Pophouse deals, are not mentioned in this announcement.
The catalog
Sia's catalog mixes her own hits as an artist with songs she wrote for other major acts. It has generated billions of streams and nine Grammy nominations. Highlights include:
- Chandelier (2014), her first US Top 10 hit as a lead artist
- Elastic Heart
- Cheap Thrills
- Unstoppable
- Diamonds, co-written for Rihanna
- Titanium, David Guetta's hit, which she co-wrote and sang
What it means if you are thinking of selling
The first lesson is about buyer appetite. Pophouse closed its first fund at a €1 billion hard cap in 2025 and has been active ever since: a stake in Iron Maiden's catalog in July, a majority interest in Tina Turner's music in March, and a reported $300 million+ KISS deal in 2024. Well-funded buyers are competing for catalogs with long cultural life, and they pay most for rightsholders who control both the composition and the recording. Owning both sides lets a buyer license a song for film, TV or advertising in a single negotiation, and that convenience is reflected in the price.
The second lesson is structure. Sia did not sell everything. A partial sale gives the seller cash today while keeping a share of future income and a voice in how the songs are used. The same logic works at a smaller scale. An independent songwriter or producer can sell a percentage of a catalog, a portion of the writer's share, or rights to a selection of songs, and keep the rest. Partial deals often make it easier to agree on price, because the seller still shares in any upside the buyer promises.
The third lesson is preparation. Any buyer, large or small, will ask who owns what, since when, and with what paperwork. Before you open talks, gather your royalty statements for at least the last three years, your split sheets and co-writer agreements, your registrations with collecting societies, and proof of ownership of your masters. Note when each work was created and whether anyone else could claim part of it, because those questions always come up in due diligence. If you want to understand how buyers put a number on a catalog, read our guide on how music catalogs are valued.