Paid by performers' and producers' societies (NUOVOIMAIE, PPL, GVL…) for radio and public play.
What's done right
0 of 24 songs are fully documented
Composition, writers, ISWC and ISRC are all in public data for these — the basics that let societies match plays to you.
None yet — every song we read has at least one thing to check below.
Want us to retrieve it?
We become the publisher (admin only, you keep your rights): we register every song, fix the splits and claim what is owed, back to the oldest period still open. No upfront fee — a commission on what comes back.
Check with your own society whether the song is registered as a work, with every writer and their split.
If it is not, register it (title, writers, splits, IPI numbers) or ask your publisher or administrator to do it.
Ask for the ISWC once it is assigned and add it to your distributor's metadata.
In countries where you have no sub-publisher, check the work reached the local society; if not, ask your society to send it or claim it there.
Where your money comes from
Every song earns on two sides
The song (what you wrote) and the recording (what you recorded) are paid separately, by different organisations. Streams are only one source — radio, TV, live and public places matter as much or more for songwriters.
Publishing · the song
Songwriting money
Paid to writers and publishers by authors' societies (SIAE, SACEM, GEMA, PRS…), your publisher, and The MLC in the US.
Streaminga small slice of every stream (mechanical + performance)estimated below
Radio & TVoften the biggest item for songwriterspublic radio plays below
Live showsa share of ticket sales, if the setlist is reportedin the Live tab
Shops, bars, gyms, venuesbackground music licencesnot estimated yet
Syncads, films, series, games — by contractnot estimated yet
Downloads & CDsmechanical royalties on salesfrom your own files
Abroadcollected by local societies, passed back to yoursfrom your own files
Recording · the master
Recording money
Paid to the artist and label by the distributor, and by performers' and producers' societies (NUOVOIMAIE, PPL, GVL…).
Streaming & salesthe bulk of stream money — paid by your distributor, not a society
Unclaimed money lists
2 entries are very likely yours
Some societies publish the songs and recordings they collected money for but could not pay — and the artists they cannot reach — so rightsholders can come forward.We checked 933,311 entries from STIM (Sweden), OSA (Czechia), SOZA (SK), MESAM (Türkiye), GEMA (Germany), GVL (Germany), Gramex (Finland), SAYCO (CO).
Likely yours
2
same ISRC, your name with one of your titles, or with a real co-writer of yours
To check
0
same full name on a list from a country you're linked to — may be someone else
BULLET TO MY HEARTVery likely yours
Gramex (Finland) — Radio plays in Finland that Gramex could not match to a registered recording · ref 2190199
Matched: performer STARDUST with one of your titles · HEP
How to claim: Register the recording with Gramex (or ask your neighbouring-rights society to) quoting the Gramex ID. Official list ↗
LOSING MEVery likely yours
Gramex (Finland) — Radio plays in Finland that Gramex could not match to a registered recording · ref 2144885
Matched: performer STARDUST with one of your titles
How to claim: Register the recording with Gramex (or ask your neighbouring-rights society to) quoting the Gramex ID. Official list ↗
Ask each society for back-payment of the periods they still allow you to claim.
Two lines from the map above: the songwriting slice of your streams, and an estimate of neighbouring rights for the recordings you play on. The recording money your distributor pays for streams is not here — it is already in your distributor statements.
iHow this is calculated
Calculated automatically from 652 listens on ListenBrainz, an open listening panel that is much stronger in the UK and US than in most other countries — so elsewhere it is often an underestimate.
Plays are scaled to all services, then multiplied by a per-play rate and by your share of the songwriting.
Make it precise with your own numbers— optional, stays in your browser
Expected · public estimate · every 6 months€80 – €2,500
Songwriting · from streams
€70 – €2,500
Recording · neighbouring rights
€5 – €250
Have your distributor report?
Drop it in and the figures come from your real streams, country by country — it never leaves your browser.
The Fire · Make Me Feel Your Love · Losing Me · War · Heroes · Sarah · Sacrifice · One First Kiss · Love Sells · Ain’t No Woman · Don't Know What You Got (Till It's Gone)
Bullet to My Heart · 2nd Hand Love · Runaway · Blue Jeans Eyes · Heartbreaker · Can't Stop Lovin' You · Perfect Obsession · The River Is Rollin' · Eye to Eye · Shout It Out · Hey Mother
Live shows
What your concerts should pay you
Estimated · a typical show of yours in United Kingdom£31 – £359for you per show, once the setlist is reported to PRS for Music
iHow this is estimated
Assumed 100–500 paid tickets per show (from how much your music is listened to) at a typical local price (e.g. €15–40), × each society's published concert tariff, × the share of the set that is your own songs, × your share of the writing (51%).
Put your real ticket numbers on the shows page for a precise figure. Countries without a published tariff (e.g. the US) aren't counted.