Bruce Springsteen, 74 Unreleased Songs and Half a Billion at Stake: What Happens to the Copyrights?

9 April, 2025
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Intellectual property
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Lucas Charnet


Bruce Springsteen has done it again. At 75 years old, and after selling his entire catalog to Sony in 2021 for the astronomical sum of $500 million, the artist has announced the release of 74 previously unreleased songs, composed between 1983 and 2012, which will be released this June across seven albums. A piece of news that excites his fans… and raises more than one legal question.

What happens to these “new” songs if they were composed before the catalog was sold? Are they covered by the deal with Sony? Can an artist release unreleased works after selling their rights? And what are the legal implications in terms of copyright?

In this article, we explore these questions, analyze the legal framework both in the United States and in Spain, and reflect on why more and more artists are choosing to sell their music catalogs.

The Catalog Sale Boom: A Strategic and Inheritance Decision

In recent years, we’ve witnessed a real boom in catalog sales by major artists. Bob Dylan, Neil Young, Shakira, Justin Bieber, and Sting are just a few examples. Until now, Springsteen has made the most lucrative deal, selling both publishing (author) and recording (producer) rights to Sony for an estimated $500 million.

Why do they do it? Isn’t it more profitable to continue receiving royalties year after year?

The answer lies in estate planning. Copyrights can be inherited, yes—but dividing a catalog among several heirs isn’t easy, and managing it harmoniously over time is even harder. Selling the catalog allows the artist to turn an uncertain income stream into immediate liquidity, easier to distribute during their lifetime or upon their death.

Moreover, songs continue to generate income up to 70 years after the author’s death, and the buyers—usually large multinationals like Sony, Universal, or specialized investment funds—have the infrastructure to monetize these catalogs at scale. Selling those rights in advance allows the artist to enjoy a portion of future revenues while they’re still alive.

So, what may look like giving up control is, in fact, a way to plan inheritance, avoid family disputes, and monetize an asset that would otherwise remain subject to the unpredictable music market.

Springsteen and the 74 “Lost” Songs: Future Works or Already Created?

Springsteen’s announcement was surprising not only for the number of songs—74, which could easily be the full discography of another artist—but also because they were composed between 1983 and 2012, meaning within the same time period covered by the catalog sold to Sony.

The first question is: are these songs part of the agreement with Sony?

Here we need to distinguish two key concepts:

Created work: a song written, composed, and fixed in some medium, even if unpublished.

Published work: when a song is made accessible to the public.

In Springsteen’s case, the 74 songs were composed and recorded between the 1980s and 2012, but were never released. They were “outtakes”, demos, or unreleased recordings not included in previous albums. Legally speaking, they already existed as protected works under copyright law, even if unpublished.

Can an Artist Retain Unpublished Works After Selling Their Catalog?

It all depends on what the contract says.

Under U.S. law, it is legal to sell rights to future works. Not so under Spanish law, which states in Article 43.3 of the Spanish Copyright Act that “The assignment of rights covering all of an author’s future works shall be null and void.” In other words, an author cannot assign all future works in bulk.

But in the U.S.—where Springsteen’s contract was signed—this is allowed. That said, it doesn’t mean Sony automatically acquired rights to every song composed during that period. If the works weren’t specifically identified, and the contract didn’t mention demos or unreleased material, it’s reasonable to think they were not included in the sale.

In fact, Springsteen titled the project Tracks II, presenting it as a continuation of a previous album that also featured rarities and unreleased tracks. This move suggests he retained control of those recordings, as they were never contractually transferred.

Does the 2025 Release Affect the Duration of the Copyright?

No. This is a common misconception.

Copyright protection, as we’ve repeatedly mentioned on this blog, does not depend on the publication date but on the life of the author. In Spain, and most of the world, works are protected for the lifetime of the author and 70 years after their death.

So even if these songs are released in 2025, they will enjoy the same duration of protection as the rest of Springsteen’s catalog. The key point is that they already existed, had been fixed, and were therefore protected from the moment of creation—even if never published.

Could This Cause Conflict with Sony?

If the contract between Springsteen and Sony was clear enough—and we assume it was—there should be no issue. But this case does raise an interesting legal question:

Can a record label claim rights over unreleased songs written during the period the catalog covers?

The answer depends on whether those works were considered part of the “package” of transferred rights. If the contract included clauses covering all recordings made during certain periods, including demos or unreleased tracks, then Sony might have a case.

But if not, and those songs remained in the artist’s possession and were never licensed or transferred, Springsteen retains his rights as author and producer, and can release them independently or in partnership with another label.

What Lessons Can We Learn From This Case?

1. The contract is everything. Whether in multimillion-dollar deals or small-scale agreements, it is essential to clearly define what is being assigned. Only published works? Demos too? Future works?
2. Unreleased works are protected. Even if unpublished, once a song has been created and fixed, it’s protected by copyright. Still, registering it can help prove ownership.
3. Selling a catalog doesn’t mean you stop creating. Many artists sell their back catalog to get liquidity, but they can continue writing and releasing new songs.
4. Copyright lasts a long time. Up to 70 years after the author’s death. That’s why catalogs are so valuable for publishers and record companies.

Conclusion

Bruce Springsteen has once again proven he has plenty to say—not just on stage, but also in the legal arena. Releasing 74 unreleased songs in 2025—which could be another artist’s entire career output—confirms not only his talent and creative longevity, but also offers us a unique opportunity to reflect on how copyright is managed in the music industry.

At MES Advocats, we emphasize the importance of carefully reviewing assignment contracts, keeping well-documented copies of your works, and planning all copyright-related transactions with legal foresight. Because, like Springsteen, your creations can hold value even decades down the line.

For more information or personalized advice, contact us at www.mesadvocats.com.

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Bruce SpringsteenContratos musicalesCopyrightIndustria musicalLegislación de derechos de autorIntellectual Property

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