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Belgium national flag and the European union flag waving in the wind

Why Streaming Payments for Artists Are Still Stuck — and What’s Really Going OnStreaming is now the main way audiences consume music and audiovisual content. Yet for many performing artists, the financial reality behind streaming still feels deeply unsatisfactory. While radio and television broadcasts generate clear, regulated payments for performers, streaming remains a legal grey area — and that uncertainty is the core of the problem.At the centre of this debate are neighbouring rights: the rights that ensure performers are paid when recordings of their performances are used. These rights have long functioned through collective systems for traditional broadcasting. When a song is played on the radio or a recording is broadcast on TV, performers receive equitable remuneration through collecting societies.Streaming, however, does not fit neatly into this existing framework.A Law That Lags Behind TechnologyEuropean copyright law was updated in recent years to better reflect the digital reality. The EU’s Copyright in the Digital Single Market Directive explicitly aimed to strengthen the position of creators and performers in the online environment. In principle, it recognises that artists should receive appropriate remuneration when their work is exploited by digital platforms.In practice, however, the legislation left too much room for interpretation — particularly around how performers should be paid for streaming. This lack of clarity has allowed streaming services to continue operating largely outside the collective remuneration systems that apply to broadcasting.Belgium’s Attempt to Fix the GapBelgium tried to address this imbalance by introducing a national rule requiring streaming platforms and certain online services to pay equitable remuneration to performers via collective management organisations. The idea was simple: if streaming replaces broadcasting, performers should not lose the protections they already have elsewhere.But this approach immediately ran into resistance.Major technology companies and parts of the recording industry challenged the Belgian rule, arguing that it conflicts with existing EU law. As a result, Belgium’s Constitutional Court referred 13 detailed legal questions to the European Court of Justice, asking for clarification on whether national laws can impose such payments on streaming services.A Legal Standstill — Until 2026While the case is under review, the system is effectively frozen. Payments are not being made, because platforms fear that any remuneration paid now could later be deemed unlawful. At the same time, performers cannot enforce their rights until the legal uncertainty is resolved.A decision from the European Court of Justice is expected around mid-2026. Until then, artists remain caught in a holding pattern — aware that streaming generates enormous value, but unable to access a fair share of it through neighbouring rights.Why This MattersThis debate goes beyond technical legal wording. It raises a fundamental question about the future of performer income in a streaming-first world. If streaming continues to replace traditional broadcasting without offering equivalent protection, performers risk losing an entire category of income that was once stable and predictable.For now, the issue is not whether artists should be paid for streaming — but whether lawmakers can translate that principle into a system that actually works.<a title="TEST" href="https://playright.be/streamingvergoedingen-voor-artiesten-de-juridische-impasse-uitgelegd/" target="_blank" rel="noopener" data-mce-href="https://playright.be/streamingvergoedingen-voor-artiesten-de-juridische-impasse-uitgelegd/">Original source Playright (text in Dutch)</a>

Streaming Payments for Artists: The Legal Deadlock

On November 11, Zanoise joined the panel “The Money You Didn’t Know You Have: Demystifying Neighboring Rights” at the California Copyright Conference. The session brought together artists, producers, session musicians, labels, and managers to clarify how global Neighboring Rights royalties really work.The discussion focused on the essentials:Eligibility: how featured artists, session musicians, and (to a certain extent) producers participate in Neighboring Rights income. Metadata &amp; credits: why ISRCs, performer roles, and accurate track data determine whether royalties are actually paid. U.S. vs international: clearing up misconceptions around SoundExchange, AFM-SAG-AFTRA, US rightsholders’ eligibility for international neighboring rights, the way reciprocity rules play out for U.S. rightsholders. Global complexity: how differences in treatment of US rightsholders, ownership splits, and distribution rules lead to missed income. Practical steps: document roles, keep metadata clean, claim/register repertoire early, and revisit older catalogues for retroactive claims. A Q&amp;A closed the session, showing strong interest in better understanding this complex but important revenue stream.

Recap: Demystifying Neighboring Rights at the California Copyright Conference

Treble clef sign and statuette of a golden gramophone (3d illustration).

Zanoise Congratulates Our Grammy-Nominated ArtistsZanoise is proud to congratulate two outstanding artists on their recent Grammy nominations, announced by The Recording Academy ahead of the upcoming 68th GRAMMY Awards ceremony on February 1, 2026.Joe Bonamassa has been nominated for Best Contemporary Blues Album for Breakthrough, a testament to his continued artistry and influence within modern blues.Theodore Shapiro received a nomination for his exceptional score for Severance (Season 2), further solidifying his standing as one of today’s leading composers for film and television.We’re delighted to work behind the scenes for both artists and celebrate their achievements.Best of luck to Joe and Theodore at the ceremony!

Zanoise Congratulates Our Grammy-Nominated Artists

On July 1, 2025, an important change in the Swedish copyright legislation came into effect. The change impacts the distribution of neighboring rights royalties for artists, musicians and record labels. As of July 1, 2025 all recordings are eligible, regardless the nationality of the artist or the country where the recording was made.&nbsp;The current license fees in use at SAMI/Ifpi Sverige were set with a more limited repertoire in mind, and therefore SAMI will now need to review its entire license rate card during the autumn. It is not yet clear how the license fees across the various music user segments will be affected by this, but SAMI made it clear that new license fees will come into effect no earlier than 1 January 2026.About the change in lawThe law change means that the so-called principle of reciprocity in the Copyright Act is removed. This principle meant that Sweden only paid neighboring rights royalties to artists with connections to countries outside the EU if the other country also paid compensation to artists with connections to Sweden.Now SAMI/Ifpi will have to pay compensation to artists and musicians in all countries – even to those that do not pay Swedish artists any royalties for radio/TV broadcasts and public performances, such as the USA, Australia and China.&nbsp;#musicIndustry #musicrights #copyrightlaw #sami #neighboringrights #zanoise

All artists now qualify in Sweden

EJI Adopts New Distribution Rules on AI and Streaming UsageAt the end of May 2025, Hungary’s performers’ rights organization EJI (Egyesület a Jogtulajdonosokért) amended its Distribution Regulations. These changes, adopted by the Delegate Assembly, reflect ongoing developments in the music and performing arts industry—particularly around artificial intelligence and the rise of streaming platforms.Below, we summarize the two most notable updates.1. Human Creativity Takes Precedence Over AIThe most significant change is the formal recognition that EJI will only protect performances created by humans. This principle is now the opening statement of the revised Distribution Rules. As EJI’s membership consists of musicians, actors, dancers, and other performing artists, the association aims to safeguard their creative contributions.EJI is not banning AI outright. Instead, it acknowledges AI as a tool that, like previous analog and digital technologies, may be used in the recording process. However, for a performance to qualify for protection and royalty distribution, human contribution must remain essential and identifiable.To support this, EJI has introduced a mechanism allowing the association—or an appointed party—to assess whether a recording contains AI-generated content that replaces human performance. This anticipates a future where distinguishing between human and synthetic performances may become increasingly complex—and relevant to royalty distribution.2. Streaming Gains Greater Weight in Royalty AllocationReflecting the rapid growth of streaming in Hungary, EJI has adjusted how it allocates royalties, particularly for background music and private copy royalties for which it doesn’t receive playlists.&nbsp;The changes are as follows:Royalty Type&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Previously Based on Streaming&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Now Based on Streaming Private Copying Fees&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;8.5%&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; 20.5% Background Music Royalties&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; 0%&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;40%At the same time, EJI will allocate less background music royalties to the radio broadcasting category:Royalty Type&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Previously Based on Radio&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Now Based on Radio Private Copying Fees&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;62%&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;50% Background Music Royalties&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; 100%&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;60% These adjustments acknowledge that streaming is now a dominant mode of music consumption, not only at home but also in commercial settings like shops and restaurants.Further Reading: The full text of the amended Distribution Regulations is available <a data-mce-href="https://eji.hu/cikk/modosult_az_eji_felosztasi_szabalyzata3" href="https://eji.hu/cikk/modosult_az_eji_felosztasi_szabalyzata3">here</a> .

EJI - AI and Streaming Usage changes

You’ve made it to the final post in our Beginner Series—thanks for reading! In this last chapter, we’ll explore how a professional administrator can help simplify the process, especially if your music is played internationally.What a Neighboring Rights Administrator Can Do for YouUnderstanding neighbouring rights is one thing—managing them across multiple countries is another. That’s where a neighboring rights administrator comes in.🧩 What Is a Neighbouring Rights Administrator? A specialist who helps you collect, manage, and maximize your neighbouring rights income.🌍 What They Do - Identify eligible recordings - Register performances in multiple countries - Monitor usage and file claims - Resolve disputes and collect missing royalties - Consolidate payments across societies🔍 Why It Matters Every country has different rules, requirements, and timelines. Managing this alone is time-consuming and easy to get wrong. An administrator ensures your rights are registered correctly and that you don’t miss out on money you’ve earned.✅ Is It Worth It? If your music is being played internationally, absolutely. An administrator helps turn scattered, often unclaimed royalties into steady income.🎉 That’s the end of our Beginner Series! Want help getting started or a downloadable summary? Reach out—we’re here to help.

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Streaming Payments for Artists: The Legal Deadlock

Recap: Demystifying Neighboring Rights at the California ...

Zanoise Congratulates Our Grammy-Nominated Artists

All artists now qualify in Sweden

EJI - AI and Streaming Usage changes

Episode 6: What a Neighbouring Rights Administrator Can D...