Sia has reportedly agreed to sell a 50 percent stake in her music catalogue for $180 million in a major deal with Pophouse. The agreement covers hits including “Chandelier,” “Titanium” and “Cheap Thrills,” while the financial details are closely connected to her ongoing divorce from Dan Bernad, with part of the money expected to remain in escrow until the former couple reaches an agreement.

Sia has reportedly struck a major deal involving her songwriting catalogue, agreeing to sell a 50 percent stake in her music rights for $180 million. The agreement, reported by TMZ, gives entertainment and investment company Pophouse a half share in a body of work that includes some of the biggest songs of Sia’s career, while part of the money remains tied to the financial details of her divorce from Dan Bernad.

The sale covers a catalogue built across years of hitmaking, both as a recording artist and as one of pop music’s most successful songwriters. Her name is closely linked with songs such as “Chandelier,” “Titanium” and “Cheap Thrills,” tracks that helped define different stages of her career and turned her catalogue into a valuable long-term asset.

According to documents cited in the report, Sia will receive $165 million from songs she wrote before her marriage to Bernad. That portion includes many of the tracks most strongly associated with her international success. Bernad has reportedly agreed to give up any claim to that money under an arrangement that would see Sia pay him $1 million.

The remaining $15 million relates to songs created after the couple married. Rather than being paid out immediately, that money is expected to remain in escrow while the former couple works out how it should be divided. The unusual structure means the music deal is not only a business story but also part of the continuing financial process around Sia’s divorce.

Sia and Dan Bernad were married for less than three years before she filed for divorce in March 2025. Since then, details from the split have continued to surface, bringing the singer’s private finances into the public conversation at the same time as she manages one of the biggest catalogue deals of her career.

The $180 million figure places Sia’s catalogue among the kind of music assets that attract major investors looking for songs with long-term streaming, licensing and publishing value. Songs that remain popular across playlists, films, television, advertising and social media can continue generating revenue for years, making established catalogues especially attractive to companies focused on entertainment rights.

Pophouse has become known for deals centered on music, artist brands and long-term creative assets. By taking a 50 percent stake, the company is not buying Sia’s entire catalogue outright. Instead, the agreement gives it a major financial interest while Sia keeps the other half, allowing her to benefit from the future value of the songs she still owns.

For the singer, the deal comes at a complicated personal moment. While the headline number is huge, not all of the money is immediately free from legal and family considerations. The split between the $165 million connected to songs written before the marriage and the $15 million tied to later work shows how closely creative income can become linked with divorce negotiations.

The singer has also been dealing with child support arrangements involving the former couple’s young son, Somersault Wonder Bernad. Sia has already agreed to pay $42,500 per month in child support, a figure that she later discussed publicly while describing herself as the only parent currently earning income.

In a post on X, Sia said she was a sober working mother trying to buy peace and explained that she has primary custody of their son. She also expressed frustration with California’s child support rules, saying that despite being the primary caregiver, she still has to make substantial monthly payments because she is the parent bringing in income.

Her comments offered a rare direct look at how she views the divorce and its financial pressure. Sia has often kept much of her private life away from the spotlight, but the breakup with Bernad has produced a series of unusually personal statements from the singer, especially when discussing money, parenting and the strain of the past year.

She also said the experience had been deeply difficult but had taught her how to handle hard situations, protect her family and avoid taking on other people’s negativity. The tone was personal rather than polished, showing a side of Sia that is very different from the carefully controlled image often connected to her music career.

Shortly before posting that explanation, she also appeared to take a direct swipe at Bernad with the brief message, “Good dads get jobs.” The post quickly added another layer to the public story around the divorce and made it clear that the split has not been a quiet one behind the scenes.

The catalogue sale now puts an enormous financial figure next to that personal conflict. Sia’s songs have been commercially powerful for years, and the deal highlights just how valuable successful pop writing can become over time. A hit may begin as a single release, but its long-term worth can grow through streaming, sync deals, radio play and repeated rediscovery by new audiences.

That is especially true for Sia, whose catalogue stretches beyond her own performances. She has also built a reputation as a songwriter for other artists, giving her music rights a wider reach than a catalogue based only on her own albums and singles. That broader writing history adds another layer to the business value behind the reported $180 million agreement.

The sale also reflects a wider music industry trend in which major artists and songwriters turn portions of their catalogues into large cash deals. For investors, familiar songs can provide steady revenue. For artists, selling a stake can create immediate financial security while still allowing them to hold part of the rights and benefit from future success.

In this case, keeping a 50 percent interest means she remains financially connected to the catalogue even after the sale. If the songs continue to perform strongly across streaming platforms, licensing deals and future uses, the value of her remaining share could continue to matter well beyond the initial $180 million transaction.

The deal is also striking because of the contrast between the scale of Sia’s professional success and the tension surrounding her personal life. On one side is a catalogue valued at hundreds of millions of dollars. On the other is an ongoing divorce involving child support, escrowed funds and public comments about parenting and financial responsibility.

That mix of business and private drama gives the story a different tone from a simple rights sale. Sia is not just cashing in on past hits. She is making a major financial move while still sorting through the legal and personal consequences of a marriage that ended after less than three years.

For fans, the names attached to the deal are instantly familiar. “Chandelier,” “Titanium” and “Cheap Thrills” remain among the songs most closely connected with Sia’s career, and their inclusion helps explain why the catalogue commands such a large price. These are tracks that continue to circulate long after their original release windows, keeping them commercially relevant.

The agreement with Pophouse gives those songs a new business chapter without changing their place in Sia’s catalogue or pop history. The music remains the same, but ownership of the financial rights now looks different, with the singer and the investment company sharing in the value created by years of songwriting success.

At the same time, the divorce-related split means the final distribution of the money is still partly unresolved. The $15 million being held in escrow remains subject to an agreement between Sia and Bernad, while the much larger pre-marriage portion appears to be moving toward a clearer settlement under the terms reported in the documents.