SoundExchange announced today that in the past few months, it has expanded its international partnership breadth significantly. And while this isn't really being talked about, many independent artists may not realize just how much money could be affected.
The US-based neighboring rights collective has added 17 new international agreements with collective management organizations (CMOs) across Africa, Latin America, the Caribbean, and Europe. With these signings, SoundExchange now covers more than 91% of the available global neighboring rights market, working with over 90 international partners.
For artists whose music is being played outside their home country — and especially for independent artists without foreign labels or publishers — this expansion is a big deal.
What Actually Changed?
SoundExchange’s new agreements span both performer and rights-owner collections, including new territories like Kenya, Paraguay, Panama, Barbados, El Salvador, India, Switzerland, the Netherlands, Norway, and Poland, among others.
In practical terms, this means SoundExchange can now collect and distribute neighboring rights royalties in more countries, across more usage types, not just non-interactive streaming. That includes:
- Radio airplay
- TV broadcasts
- Public performances
- Certain digital uses that vary by territory
In many of these regions, artists historically needed local representation or direct CMO relationships to collect anything at all. That barrier just got significantly lower.
+Read more: "What Is SoundExchange?"
Okay But Why Does This Matter to Me?
For years, international neighboring rights have been one of the most opaque and under-collected revenue streams for indie musicians.
Here’s how this expansion could especially benefit independent artists right now:
1) Global Reach Without Global Infrastructure
Indie artists are increasingly finding audiences abroad — through playlists, radio tastemakers, sync placements, and touring — but routinely lack the infrastructure to track or claim foreign royalties. SoundExchange’s growing CMO network allows artists to collect internationally without needing deals in each country.
2) Emerging Markets Are Now Payable Markets
Several of the newly added territories — such as Kenya, India, and Panama — represent fast-growing music consumption regions where royalty systems are still maturing. As local radio, venues, and broadcasters formalize payments, these markets become newly monetizable for artists who already have traction there.
3) Non-Streaming Revenue Gets a Boost
Streaming gets most of the attention, but in many regions, radio and broadcast still drive meaningful income. SoundExchange’s international agreements are not limited to streaming, which means artists can now tap into usage they may not even realize is generating royalties.
4) Lower Admin Fees Than Comparable Options
As a non-profit, SoundExchange operates at one of the lowest administration rates in the neighboring rights world, making it especially attractive for artists whose international earnings might otherwise be eroded by fees—or never claimed at all.
As the music industry continues to globalize, indie artists are increasingly charting, touring, syncing, and building fanbases worldwide — and the royalty systems are slowly catching up. For artists who’ve assumed international airplay or usage was “nice exposure but probably unpaid,” this announcement suggests it’s time to double-check what money might already be waiting.
Registered performers and rights owners can manage international collections through SoundExchange’s SX Direct portal, where artists can opt in to global collections, select specific countries, and avoid duplicate claims or conflicting registrations
Since 2003, SoundExchange has been on a mission to build a fairer, simpler, and more efficient music industry through technology, data, and advocacy. The sole organization designated by the U.S. government to administer the Section 114 sound recording license, SoundExchange has collected and distributed more than $12 billion in digital performance royalties to date on behalf of more than 800,000 music creators.
