In the digital era, good quality metadata (the information that describes who contributed to a music track’s creation) is essential to making sure music-makers are accurately credited and paid. But metadata is often not as accurate or complete as it should be, particularly relating to songwriters and their song or composition. Incomplete or inaccurate metadata can lead to significant delays to creators being paid for the use of their works, and in some cases not being paid at all.
“This is where the UK Industry Agreement on Music Streaming Metadata comes in,” says David Humphries MBE, Intellectual Property Office (IPO) Head of Research.
“The Agreement is the result of ongoing, unprecedented levels of collaboration between music industry partners and government. Signatories to the agreement are committed to working together to improve the quality and flow of metadata across the music industry, to help music creators get credited and paid accurately.”
You can read more about the positive commitments of the working group here (link)
UK Industry Agreement on Music Streaming Metadata - GOV.UK
The Get Paid Guide: metadata demystified
The working group underpinning the Metadata Agreement highlighted two key areas of concern: the problems creators faced in registering original music compositions and the problems the recording and publishing industries faced in dealing with bad or incomplete data.
This feedback led to the creation of the Get Paid Guide, a collaborative initiative between the IPO, the Performing Right Society (PRS), Phonographic Performance Limited (PPL), the Ivors Academy and the Music Publisher’s Association (MPA).
Launched in 2023 and updated in 2024 with recorded music guidance, it recognised that education around registering metadata information accurately is essential for creators to make sure they get paid what they’re owed. Experts from across the music industry have contributed to this step-by-step interactive guide to simplify the process of registration for all artists, new and established.
Take a look at the Get Paid Guide here [link]: Get Paid Guide
PRS and PPL explained
One of the recommendations of the Get Paid Guide is that music creators should be registered with both the PRS for Music and PPL to ensure that they receive payment for the works they write, and any recordings on which they perform. PRS for Music and PPL are two separate collective management organisations (CMOs):
PRS for Music collects and distributes money on behalf of songwriters, composers and music publishers, for the use of their musical compositions and lyrics.
PPL collects and distributes money on behalf of performers and recording rightsholders (labels, self-releasing artists) for the use of their recorded music.
Crispin Hunt is the President of the PRS Members' Council and is himself a multi platinum-selling songwriter and record producer. It's still early days for the Get Paid Guide, so we wanted to know what impact he thinks it has had so far:
“Since its launch almost two years ago, the Get Paid Guide has empowered thousands of creators to navigate the world of music metadata and maximise their royalties. PRS for Music is proud to have developed this essential resource in collaboration with the IPO and industry partners."
PPL is the UK music industry’s collective management organisation (CMO) for performers and recording rightsholders. With over 150,000 members, the organisation helps ensure that members are fairly rewarded when their recorded music is broadcast or played in public places.
Camilla Waite, General Counsel, PPL told us:
“The Get Paid Guide offers a crucial resource to performers wanting to protect their recorded music rights and build a sustainable career. With the fast pace of technological change we see across the industry, being aware of how to register and manage data around recordings is essential. This dedicated guide goes a long way in making music creators aware of what they need to have in place in order to get paid whenever their work is used.”
The music-creators' perspective
For British rock band James and the Cold Gun, it took just three years to go from recording their first self-titled album in a garage in Wales, to performing at Hyde Park in support of rock bands Pearl Jam and Guns N’Roses. They are now signed by Pearl Jam guitarist Stone Gossard to his label, Loosegroove Records. Their second album, Face in the Mirror, has just launched to positive acclaim, “...oozing attitude with gutsy riffs and punked-up energy to boot...” (Kerrang). They currently have a UK tour underway.
The band, comprising founder member vocalist/guitarists James Joseph and James Biss together with Gaby Elise on bass/vocals, experienced a steep metadata learning curve when they first formed in 2019. Frontman James Joseph explains:
“As soon as I realised that we could earn money for having a song played on the radio or via streaming, I tried to figure out registering metadata info for myself. I remember thinking at the time that it could definitely be simpler. I got there through a mixture of internet research and gathering information from different blogs and trying to piece it all together. I went to a few PRS events when I was a bit younger, too, which were helpful.”
Recent years have seen the need for the band to collect royalties outside the UK, having performed and been played in locations such as the USA (which is where Gossard first heard them on Radio KEXP in Seattle) and Europe including France, Italy, Germany and the Czech Republic. They’re gaining an enthusiastic overseas fanbase.
James’ top metadata tips for music-makers
James admits to feeling thankful that he took an early interest in the business angle – something he acknowledges fellow artists may overlook when busy building their music career.
“I would say to musicians and composers, if you want to be serious about your art you definitely need to learn the business side - like making sure your metadata is correct - just to protect yourself. Many young artists will have no idea about all of that and it’s only when they get picked up by a label or by a manager that they're even aware that they could register for their royalties themselves. Then they have to do it retrospectively to try and get back the money they're owed.”
James’ attention to metadata detail is music to our ears. Has his early interest in registering for streaming royalties paid off?
"When I think about it, I realise that if I hadn't registered to claim my share of all of that stuff when I was younger, it'd be money that I wouldn't have had. That’s quite a sobering story. It may trickle in in drips and drabs, but that’s a kind of pension plan for as long as the band stays around. That sort of brings it to life for me."
James’ advice struck a chord with us. Does he think metadata awareness has improved in the industry?
“I think it's got better in recent times, but I think there’s still a lot more awareness raising needed among musicians like what type of royalties there are and how to get them.”
Getting paid can only get better
The music industry is well aware of the continued need to widen access to information and improve education around the metadata landscape. Crispin Hunt concludes:
Looking ahead, we are committed to expanding the reach of the Get Paid Guide to equip even more songwriters and composers with the knowledge they need in order to be paid accurately and quickly.
Our top tips for musicians
- Register compositions with PRS and recordings with PPL immediately after creation.
- Double-check all metadata spelling before any release
- Document complete performer details, even for minor contributions
- Verify your registration details quarterly to update and catch any errors
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