Grassroots music faces PRS fight with only 21% registered
The music industry is a world built on rhythm, but the financial architecture supporting it often feels like a tangled mess. A new investigation is shining a spotlight on this complexity, asking a fundamental question: are the current systems for distributing music royalties truly reflecting the vibrant reality of live music?
A pilot study, conducted by the Music Venue Trust in collaboration with Audoo—a tech company specializing in monitoring royalty distribution—delivers a sobering result. By tracking live performance audio in grassroots venues, the research found that only 21 per cent of the music played on stage was properly registered with PRS For Music.
This discovery challenges a long-held assumption that all music performed in local venues is cataloged. The findings suggest a significant gap between the actual performance and the formal registration system, reinforcing the calls for change aimed at achieving fairer payments for songwriters and venues.
The investigation involved analyzing 623 hours of live performance audio between August and September 2026. The technology identified only 134 hours, or 21 per cent, as matching registered tracks. While this might sound like a low number, the context reveals the deeper systemic issues at play.
The data paints a picture of a complex live environment. During the pilot, the study recognized 2,238 live performances. In September alone, 1,190 different songs were recognized, with a striking 87 per cent of that music being heard only once. Furthermore, the results indicated that no single artist was heard in more than 16 of the 64 venues providing data.
This stark difference from what is often used as a proxy for royalty calculations—like radio or major concert consumption—underscores the need for a shift in methodology. As MVT CEO Mark Davyd noted, “These initial findings raise important questions about how accurately the current licensing system reflects what’s actually being played. This study is an opportunity to move beyond estimates and assumptions and develop an evidence-based approach that works fairly for venues and songwriters alike.”
The issue isn’t just about performance; it touches on money. Earlier efforts by the Music Venue Trust, such as the ‘Set The Record Straight’ campaign, had already uncovered over £666,000 in discrepancies related to PRS-related licensing charges, with some single errors potentially leading to the closure of venues.
Experts are calling for technology to bridge this gap. Steve Robbins, CTO of Audoo, points out that technology can provide detailed usage data without relying on venues submitting cumbersome setlists. “Songwriters should be paid when their music is performed, but that depends on knowing what has actually been played,” he stated. The goal is to create a system where usage is accurately identified, ensuring that creators are fairly rewarded for their work.
The work is far from over. The Music Venue Trust and Audoo are planning a larger study between October and December 2026, involving 108 grassroots venues across the UK. This next phase aims to measure music usage directly to build irrefutable evidence for fairer venue licensing and more accurate royalty distribution.
The message is clear: for grassroots venues and songwriters to thrive, the system needs to evolve. It needs to move beyond assumptions and embrace technology to ensure that the incredible music being created on stage is accurately captured and fairly compensated.
Buy on Amazon
Credit
