Understanding Neighboring Rights for Artists

If you’re an artist who records music, you’re probably aware of royalties when your songs are played on the radio, in public, or streamed online. But one of the most overlooked revenue streams for artists—especially in the U.S.—is neighboring rights. Most American musicians (and yes, even some label reps) leave money on the table by missing out on royalties that are legally owed whenever their recordings are played publicly abroad or, sometimes, at home. Let’s demystify neighboring rights, lay out what they cover, and, most importantly, show you how to collect what’s yours.

How Neighboring Rights Differ from Performance Rights

At their core, neighboring rights are royalties paid to performers and recording owners (think record labels or independent artists) for the public use of their actual sound recordings. That’s different from performance rights, which pay composers and songwriters for the performance of their musical works (the actual musical composition, not the recorded file).

Quick comparison:

• Performance Rights: Paid to songwriters and publishers via PROs (like ASCAP, BMI, SESAC) when a song is played.
• Neighboring Rights: Paid to performers (main and featured artists, sometimes session musicians) and the owners of the sound recording whenever the master is publicly performed (broadcast on radio, played in venues, streamed, TV, etc.).

If you’ve played or sung on a recording, or you own the master rights to that recording, you may already be entitled to neighboring rights royalties—even if you don’t know it yet.

Where and How Neighboring Rights Apply

Countries with Neighboring Rights

Most countries outside the U.S.—including the U.K., Canada, most of Europe, and Australia—have robust neighboring rights collection systems. When your music is played on the radio or in public abroad, collections societies in those countries collect royalties and pay them out to performers and master owners.

In the United States:
Neighboring rights, as understood internationally, largely don’t exist for terrestrial radio. The U.S. only pays them for digital performances (e.g., Pandora, SiriusXM, web radio), not traditional radio or public venues. SoundExchange is the main body that collects and administers digital performance royalties for sound recordings in the U.S.

Royalty Types Covered

Neighboring rights generally cover:

• Radio airplay (FM/AM, satellite, internet radio)
• TV broadcasts
• Public performances (bars, clubs, cafes, gyms—varies by region)
• Background music in stores/hotels
• Certain digital streaming platforms

Who Collects Neighboring Rights? The Role of Collection Societies

Just like songwriters use ASCAP/BMI, performers and sound recording owners use specialized societies to collect these royalties.

Some major neighboring rights organizations include:

• PPL (UK)
• SENA (Netherlands)
• SCPP (France)
• SoundExchange (US – digital performances only)

You can register directly, but many artists—especially those with international airplay—hire turnkey neighboring rights agencies who audit, claim, and maximize these earnings across multiple territories.

Pro tip: If your music is getting international spins, or you work with labels that promote outside the U.S., register with both SoundExchange and at least one international neighboring rights society, or work with a reputable agency. Many session musicians forget that they may also be owed a cut, even years after the recording session.

Who’s Actually Eligible for Neighboring Rights Income?

Main and Featured Artists

You’re the face (or voice) of the release. You’ll typically claim a significant share of neighboring rights royalties for every country where your tracks are played.

Session Musicians

If you appeared on a recording as a sideman, you may still receive a portion, depending on the law in each country and your original contract.

Master Owners (Often Labels)

If you own or control the master (e.g., self-released music, indie label), you’re also eligible for a portion of the royalties anytime your recording is played publicly in a qualifying territory.

Important: Summary—neighboring rights are split between performers (main, featured, sometimes session) and the party that owns the sound recording master.

Practical Examples: Neighboring Rights in Action

• Example 1: You’re an indie singer-songwriter whose single is being played on the radio in the UK and streamed in Germany. Even if you aren’t signed to a label, both you (as the featured artist) and you (if you own the master) can claim royalties from the UK’s PPL and Germany’s GVL.
• Example 2: You’re a guitarist hired to play on a Canadian artist’s album that lands in heavy rotation on French radio. You should register with France’s SCPP or go through an agency to claim your cut as a session musician—even if you don’t own the master.

How to Register for Neighboring Rights

1. Identify where your music is being played. Check your distributor stats, label or management reports, and crowdsource from fans.
2. Register with collection societies: Start with SoundExchange for digital U.S. royalties, then pick international societies based on your airplay footprint.
3. Prepare your data: Collect ISRCs for each sound recording, official credits (who performed/owns what), and ready your documentation.
4. Consider hiring a specialized agency: For global reach and maximizing your claims, agencies like Kobalt Neighbouring Rights or Independent IP can coordinate claims and ensure you don’t miss money owed in other regions.

Common Pitfalls to Avoid

• Assuming labels do it for you: Indie and even some legacy labels may miss claims or lack infrastructure, especially with catalog tracks.
• Leaving session musicians out of negotiations: Make sure session players are compensated and credited, as they can directly claim neighboring rights in many regions.
• Not registering recordings (or doing it late): Retroactive claims can be limited. Register as soon as your tracks are released.

Key Steps to Boost Your Artist Revenue

Neighboring rights are one of the most reliable and passive forms of music income outside the U.S. For many working artists—even those not topping the charts—this income stream adds critical revenue and ensures fair compensation for every time your work is celebrated in public spaces or broadcast on radio and TV.

• Audit your catalog. Know where ownership lies and which performers are credited.
• Register each new release proactively—with ISRCs and complete performer info.
• Monitor radio and streaming activity, especially outside your home country.
• Partner with a reputable rights agency if your music has international traction.

Neighboring rights might sound like industry jargon, but they’re very real money—money that only goes to those who ask for it. Don’t leave it behind.