Practice areas
Daniel advises on the agreements, rights questions, commercial arrangements, and disputes that arise as music is created, released, performed, and built into a business. These are the areas where that work most often begins.
Recording, distribution, management, producer, and label agreements, reviewed for the money, control, term, options, and exit.
A deal has to make sense for a long time. That begins with understanding what is being granted, how income moves, what the other side can require, and where flexibility may be lost.
Typical work
Song splits, publishing, licences, and catalogue questions, with close attention to ownership, permitted uses, and the flow of revenue.
The first job is to establish who owns what, which uses have been authorised, and where the money should flow. From there, the agreement, licence, or rights problem can be dealt with on firmer ground.
Typical work
Performance, appearance, touring, collaboration, and campaign terms that match what was actually agreed.
Fees, deliverables, usage, cancellation, exclusivity, and logistics need to be clear before the work begins. The contract should record what everyone has agreed and what happens if plans change.
Typical work
A direct view when money is withheld, rights are used without permission, or an important relationship begins to strain.
Not every problem calls for a fight. The immediate task is to preserve the position, understand the available leverage, and choose a response that fits the stakes.
Typical work
Bring the work
Send the agreement, the relevant email thread, or a short account of what has changed. Include the deadline and the decision in front of you; that is enough to begin.