I think there are two parts to that question.
First of all, it's getting the counts right, and that's what we're really focused on. What we have come to uncover over our last few years working in this space is that a large percentage of misallocated royalties come from people intentionally defrauding streaming platforms, no different from the way folks used to defraud products like AdWords or e-commerce sites.
If we can rectify that first problem, which is ensuring that the counts are correct and the royalties are flowing through to the correct, rightful end owners, that will solve a considerable part of the problem in the music space.
The issue, then, is that music copyright is complex. It's a bad analogy, but it's a bit like a bowl of spaghetti. When you look at who needs to be paid for every underlying work—master rights holders, composers, the people who write the songs and the lyrics—there is, I think, a potential use case for blockchain as a payment layer, but I don't think we're there yet in any sort of meaningful way, because ownership is yet to be determined among a lot of the parties in musical works.