Neighboring Rights: The International Royalties You Are Probably Missing

There is a royalty stream that pays performers and sound recording owners every time their music is played on radio, TV, or in public venues across most of the world. It is called neighboring rights, and the majority of US-based artists have never heard of it. That means they are leaving significant money uncollected in dozens of countries.

If your music gets any international airplay or public performance, this guide will show you how to start collecting. It connects to our coverage of SoundExchange royalties, performance rights organizations, and our streaming royalty calculator for modeling your total income picture.

Neighboring Rights: The Missing Royalty Stream for US Artists

Most US-based artists are leaving money on the table by not collecting neighboring rights—royalties paid to performers and sound recording owners when their recordings are played on radio, TV, or in public venues in most countries outside the US.

If your music gets any international airplay or public performance, you may already be owed money. This guide fits alongside:

What Are Neighboring Rights?

Neighboring rights ("related rights") are royalties paid when recorded music is publicly performed. They are based on the Rome Convention of 1961, which created legal protections for:

They are called "neighboring" because they sit next to the songwriter’s copyright in the composition. The composition covers the song itself; neighboring rights protect the specific recording/performance.

How Neighboring Rights Differ from Other Royalties

Neighboring rights vs. PRO performance royalties

These are separate payments for the same usage.

Neighboring rights vs. SoundExchange

Neighboring rights vs. streaming royalties

Where Do Neighboring Rights Apply?

Neighboring rights exist in most countries that signed the Rome Convention or WIPO Performances and Phonograms Treaty (WPPT).

Major territories and societies include:

Important: The United States does not recognize neighboring rights for terrestrial radio. US radio only pays PROs for the composition. But if your track plays on radio in the UK, Germany, France, Canada, etc., you are owed neighboring rights there.

Use our PRO directory to find societies worldwide.

Who Qualifies for Neighboring Rights?

Two main groups:

1. Featured Performers

If you are the main artist on a recording, you qualify for the performer’s share:

2. Sound Recording Owners

If you own the master recording, you qualify for the label/producer share.

For independent artists who own their masters, this often means you can collect both:

Session musicians and backing vocalists may also qualify in some territories, often via separate organizations or union funds (e.g., SPEDIDAM in France).

How Much Can You Earn?

Earnings depend on how much international airplay and public performance you get.

Approximate ranges:

These are in addition to:

Example: PPL (UK) alone distributed £280M+ in 2023 to performers and recording rights holders. Unclaimed money is eventually reallocated to registered members, so if you’re not registered, your share goes to someone else.

Key Collection Societies by Country

United Kingdom – PPL

Germany – GVL

France – ADAMI & SPEDIDAM

Canada – Re:Sound

Japan – CPRA

How to Register and Start Collecting

You have two main options:

Option 1: Register Directly with Each Society

Gives you maximum control, but can be administratively heavy.

Steps:

Option 2: Use a Neighboring Rights Administrator

These companies handle global registration and collection for you.

Examples:

Typical commission: 10–20% of collected royalties.

For most independent artists, an administrator is often the most practical route, since registering with dozens of societies individually is time-consuming and complex.

What You Need to Register

Regardless of method, you’ll typically need:

Estimated Earnings by Territory

Some markets are especially valuable:

Frequently Asked Questions

Q: I’m a US-based artist. Can I collect neighboring rights?

Yes. Even though the US doesn’t recognize neighboring rights for terrestrial radio, you can collect in every country that does. If your music plays on UK radio, German TV, or in Canadian venues, you’re owed royalties there.

Q: How is this different from what my PRO collects internationally?

Your PRO (ASCAP, BMI, etc.) collects composition performance royalties via foreign PROs. Neighboring rights pay performers and recording owners for the same performances. You need both to be fully covered.

Q: Do I need SoundExchange AND neighboring rights organizations?

Yes. SoundExchange covers US digital non-interactive uses only. Neighboring rights societies cover international radio, TV, and public performance. If you have US digital plays and international airplay, you need both. Start with SoundExchange for US coverage.

Q: How do I know if my music is being played internationally?

Check your distributor analytics and tools like Spotify for Artists and Apple Music for Artists for geographic data. If you have listeners in the UK, Germany, France, Canada, etc., there’s a good chance of some radio or public performance activity.

Q: How long until I see payments?

Q: Is there a minimum level of international play needed?

No minimum to register, but the value increases with your international presence. If you have almost no international activity yet, you may choose to wait until your audience grows.

Start Collecting Your International Royalties

Neighboring rights are one of the most overlooked income streams for artists—especially in the US. If your music has any international footprint, you may already be owed money.

Once you’re registered and your catalog is ingested, neighboring rights collections become largely automatic, complementing:

Next Steps

Use the streaming royalty calculator and your artist dashboards.

SoundExchange guide

Use our PRO directory to locate relevant organizations and start claiming your neighboring rights.