UK artists registered with PRS for Music can collect performance royalties from most countries in the world through reciprocal agreements between national collection societies. But several key income streams — particularly mechanical royalties in some territories and neighbouring rights in the US — require additional steps that most artists miss.
The reciprocal agreement system
Music royalty collection works through a global network of national collection societies — performing rights organisations (PROs) — that have signed reciprocal agreements with each other. When you register with PRS for Music as a UK songwriter or publisher, PRS automatically enters into reciprocal arrangements with its partner societies worldwide. When one of your songs is broadcast in France, SACEM (the French PRO) collects the performance royalty. SACEM then passes the UK share of that royalty to PRS under the reciprocal agreement, and PRS distributes it to you. You do not need to join SACEM separately — the reciprocal agreement handles the transfer. This system covers the vast majority of the world's performing rights income, but it is not complete, and the effectiveness of collection varies significantly by territory.
United States — the most complex territory
The US requires careful attention because it has multiple collecting societies rather than a single unified PRO. US performance royalties are split between three competing organisations:
- ASCAP (American Society of Composers, Authors and Publishers): PRS has a reciprocal agreement with ASCAP for US performance royalties. If your UK music is performed publicly in the US, ASCAP collects and passes the income to PRS, which distributes it to you.
- BMI (Broadcast Music, Inc.): BMI also has a reciprocal agreement with PRS. Some performances are collected by BMI rather than ASCAP depending on which organisation the US venue or broadcaster is licensed with.
- SESAC: Smaller, invitation-only US PRO. Less commonly relevant for UK artists, but worth awareness for artists with significant US exposure.
- SoundExchange: Collects digital performance royalties (internet radio, satellite radio, cable TV music channels) for performers and record labels. SoundExchange does NOT have a reciprocal agreement with PPL. UK artists with US digital radio airplay must register directly with SoundExchange at soundexchange.com — PPL cannot collect this income on your behalf.
- Mechanical royalties in the US: MCPS/PRS collects mechanical royalties for UK songwriters via the Harry Fox Agency (now absorbed by Songfile/MLC) and the Mechanical Licensing Collective (MLC). Since the Music Modernization Act (MMA) 2018, US streaming mechanicals are collected by the MLC. Ensure your PRS registration includes publisher details so mechanical royalties can be correctly attributed.
Canada — SOCAN and Re:Sound
Canada splits royalties between two organisations. SOCAN (Society of Composers, Authors and Music Publishers of Canada) collects performance royalties for songwriters and publishers. PRS has a reciprocal agreement with SOCAN, so UK PRS members can collect Canadian performance royalties without joining SOCAN. Re:Sound collects neighbouring rights (equivalent to PPL in the UK) for performers and record labels. UK artists with Canadian airplay should ensure their PPL registration is current — PPL has a reciprocal arrangement with Re:Sound. Canadian mechanical royalties are collected by CMRRA (Canadian Musical Reproduction Rights Agency) and Sodrac. PRS/MCPS has arrangements for Canadian mechanicals, but confirm with your publisher or publishing administrator that these are correctly routed.
Germany — GEMA and GVL
Germany is one of the highest-paying music markets in Europe for royalties. GEMA (Gesellschaft für musikalische Aufführungs- und mechanische Vervielfältigungsrechte) handles both performance and mechanical royalties for songwriters and publishers in Germany. PRS has a strong reciprocal agreement with GEMA. German performance royalties generated by UK-registered works should flow through to PRS and then to you. GEMA is known for its comprehensive coverage and rigorous collection, which means Germany often generates meaningful royalties even for artists without a specifically German fanbase. GVL (Gesellschaft zur Verwertung von Leistungsschutzrechten) collects neighbouring rights for performers and labels in Germany. PPL has a reciprocal arrangement with GVL.
France, Australia, and other major territories
SACEM (France), APRA AMCOS (Australia and New Zealand), and SIAE (Italy) all have reciprocal agreements with PRS and handle both performance and, in some cases, mechanical royalties for their territories. These relationships mean that well-registered UK artists collect royalties from these territories automatically through their PRS account. Key points:
- France (SACEM): Strong collection, particularly for compositions with TV and radio usage. France also has SCPP for neighbouring rights (label share) — PPL has reciprocal arrangements.
- Australia (APRA AMCOS): APRA handles performance royalties; AMCOS handles mechanical. Both are part of the same organisation. PPL reciprocates with PPCA for Australian neighbouring rights.
- Japan (JASRAC): Japan generates significant royalties, particularly for artists with J-pop crossover or significant streaming numbers. JASRAC has a reciprocal agreement with PRS.
- Latin America: SADAIC (Argentina), ECAD (Brazil), and others — coverage varies in reliability. PRS has agreements in place, but collection efficiency in some Latin American territories is lower than Europe.
What commonly goes wrong and how to fix it
The most common reasons UK artists fail to collect worldwide royalties:
- Works not registered with PRS — no registration means no collection anywhere in the reciprocal network.
- Missing or incorrect ISWC codes — ISWCs are the work identifiers that matching systems use to attribute performances to the correct composition. An unregistered ISWC creates matching failures.
- Publisher share not registered — if you are self-published and only have a writer account with PRS, the publisher share of royalties (typically 50%) may not be routed correctly.
- SoundExchange not registered — US digital income requires a separate registration that PRS cannot handle on your behalf.
- Incorrect performer credits in PPL DataBank — international neighbouring rights collection depends on PPL having correct recording data to pass to reciprocal societies.
Frequently Asked Questions
Do I need to join multiple PROs to collect worldwide royalties?
Generally, no. PRS for Music's reciprocal agreements cover most of the world. The main exception is SoundExchange in the US, which you must register with directly for US digital performance royalties. Some artists with very high US volumes also join ASCAP or BMI directly, but for most UK artists, PRS membership is sufficient for US performance royalties.
How long do international royalties take to arrive in my PRS account?
International royalties typically take 12 to 24 months to arrive from the date of the original usage event. This is because each territory has its own collection and distribution cycle, and then a further transfer must occur between the local society and PRS before the funds reach your account.
What if I have been registered with PRS for years but never received international income?
This can indicate registration issues — missing works, incorrect publisher splits, or ISWC matching failures. Conduct a registration audit to confirm all your works are correctly registered with full publisher and co-writer details. A publishing administrator can investigate specific territory gaps.
Can I collect royalties from countries that have no PRS reciprocal agreement?
PRS has agreements with most major music markets. For territories without a reciprocal agreement, direct registration with the local PRO may be possible, but this is complex and rarely cost-effective for individual artists. A publishing administrator can advise on whether direct registration is warranted for your specific catalogue and usage.
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