- Field Notes / No. 024
No. 024 Market Black Box Published 4 min read

Neighbouring rights are the most systematically underclaimed income stream in recorded music.

UK artists performing on recordings played in Germany, the Netherlands, and Scandinavia are owed money from three of the highest-paying neighbouring rights societies in the world. Most are not claiming it.

The quietest gap

There is no headline number for neighbouring rights. No equivalent to the $561 million often cited in mechanicals. No single pool that captures attention.

And yet, across the global system, neighbouring rights represent the most consistently underclaimed income stream in recorded music. Not because the money is not collected. But because the path from collection to recipient is fragmented, conditional, and frequently incomplete.

What they are

Neighbouring rights are generated when recorded music is broadcast on radio or television, played in public spaces, or transmitted via certain digital channels. They are collected and distributed by national societies, including PPL in the UK, GVL in Germany, SENA in the Netherlands, and Gramex in Scandinavia. The income flows to performers and recording rights holders.

The system is distinct from both mechanical and performance rights. It is also less standardised.

The scale

Collections are substantial and growing. PPL distributes hundreds of millions of pounds annually, with international revenue exceeding £80 million. GVL reports €200 million-plus annual distributions. Across Europe alone, neighbouring rights represent a multi-billion-euro annual flow.

This is not a marginal income stream. It is a primary one. And the global figure is larger than the European one, though less transparently aggregated.

Why the gap exists

Unlike mechanical royalties, neighbouring rights do not rely on a single centralised licensing framework. They depend on three interlocking systems. Failure in any one is sufficient to disrupt payment. In practice, all three fail regularly.

  • Performer registration. Performers must register directly with a local society or appoint a representative. This is not automatic. Session musicians are particularly exposed. Many do not register internationally, or at all.
  • Recording metadata. Distribution depends on performer credits, ownership data, and correct identifiers. Recording-side metadata is often less standardised, less rigorously maintained, and more fragmented across distributors and labels than composition data.
  • Reciprocal agreements. Income flows across borders via reciprocal agreements between societies. Coverage is not universal. Terms vary by territory. Where agreements do not exist or are limited, income may not be collected, or may be collected but not transferred.

The Brexit complication

For UK-based performers, the post-Brexit environment has added friction. Reciprocal recognition has shifted in places. Performer-rights interpretations differ across the UK and EU. Administrative separation between systems has slowed some flows.

Income continues to move. The process has become more complex and more dependent on correct registration in multiple territories. The result is increased risk of underclaiming for the cohort of UK performers whose recordings receive material airplay in Germany, the Netherlands, and Scandinavia, three of the highest-paying neighbouring-rights markets in the world.

The international registration problem

To fully capture the income, a performer or rights holder must register at home, ensure recordings are correctly documented, rely on reciprocal collection abroad, and in some cases register directly in additional territories.

This is operationally complex. It is also rarely completed in full. The common failure patterns are reliance on a single domestic registration, incomplete performer line-ups on recordings, outdated catalogue data, and missing international claims. Each one introduces leakage. Add low performer awareness of the income stream's existence, delayed feedback that runs to years rather than months, and the absence of any single global framework that would force coverage, and the system produces efficient collection alongside uneven allocation.

Neighbouring rights income for the typical UK performer with international airplay is materially below what it should be. The structure guarantees it.

The actionable difference

This is where neighbouring rights diverge from the broader black-box conversation. Mechanical inefficiency highlights system-level failure that is hard to address from the outside. Neighbouring rights inefficiency is identifiable and correctable at the catalogue level.

The work is operational. Verify performer registrations. Audit recording metadata. Align catalogue data across territories. Confirm reciprocal coverage is active. Where useful, register directly in the highest-yield additional territories rather than relying on reciprocal flow alone.

Close

There is no single number for neighbouring rights underclaiming. There does not need to be. The structure is enough.

A global system fragmented by territory, dependent on registration, reliant on metadata, and operating across decades of catalogue will not allocate income perfectly. It will allocate it unevenly. And in that unevenness, a gap persists. Not invisible. Not theoretical. But routinely overlooked.