HarbourView Equity Partners has acquired David Kershenbaum‘s interest in producer royalties and related rights across a run of master recordings he produced.
They include Tracy Chapman‘s Fast Car, Baby Can I Hold You, Talkin’ Bout a Revolution, She’s Got Her Ticket, and Crossroads.
Also covered are Joe Jackson‘s Steppin’ Out, Is She Really Going Out With Him, and Breaking Us in Two, plus Marc Cohn‘s Walking in Memphis and Gallagher & Lyle‘s I Wanna Stay with You.
The transaction was announced on Thursday (September 3). Financial terms were not disclosed.
“David Kershenbaum‘s career as an American music producer includes collaborations with artists including Duran Duran, Tracy Chapman, and Joe Jackson, and recognition through more than 75 international awards and Grammys nominations,” said Sherrese Clarke, Founder and CEO of HarbourView Equity Partners.
“His body of work spans a wide range of artists and recordings that have reached audiences across genres. We’re excited to welcome David to the HarbourView family and to steward this catalog and the creative work it represents.”
“We’re excited to welcome David to the HarbourView family and to steward this catalog and the creative work it represents.”
Sherrese Clarke, HarbourView
Said Kershenbaum: “Throughout my career, I’ve had the privilege of working with incredibly talented artists to create music that has connected with listeners around the world,”
“HarbourView shares my appreciation for great songs and the creators behind them, and I’m excited to partner with a team that understands this body of work.”
“HarbourView shares my appreciation for great songs and the creators behind them, and I’m excited to partner with a team that understands this body of work.”
David Kershenbaum
Kershenbaum produced Chapman‘s self-titled debut, released in 1988, and its follow-up Crossroads a year later.
His credits also include Joe Jackson‘s Look Sharp!, Night and Day, and Body and Soul, along with Marc Cohn‘s self-titled debut.
Kershenbaum‘s work has earned four Grammy nominations over a career spanning more than five decades.
According to its latest press releases, HarbourView had amassed approximately USD $3.88 billion in regulatory assets under management (AUM) as of December 31, 2025.
That figure was around $1.2 billion higher than the previous year’s equivalent (December 31, 2024), which stood at $2.67 billion.
Back in April 2024, HarbourView – which launched in 2021 – said that its regulatory AUM at that point was roughly $1.5 billion.
In other words, HarbourView’s assets under management more than doubled between Q2 2024 and Q4 2025 – and now look on track to easily surpass $4 billion (and potentially more) this year.
Clarifying its regulatory AUM updates, HarbourView notes in its press releases: “Regulatory AUM for private funds are calculated regardless of the nature of the gross assets under management… this includes any uncalled committed capital pursuant to an obligation to make a capital contribution to the fund.”
According to its press release today (September 3), HarbourView currently manages a “diversified catalog of ~41,000+ songs across both master recordings and publishing income streams”.
As recently as August 2024, HarbourView was reporting roughly $1.5 billion in regulatory AUM, across more than 60 music catalogs and some 29,000 songs.
The catalog count has stayed at “over 70+” in HarbourView‘s releases ever since, while the song count has climbed to approximately 41,000 across master recordings and publishing income streams.
