Playing music on radio is not simply a matter of having access to recordings. Every song broadcast requires permission from the rights holders, and the system for managing those permissions — music licensing — is one of the most complex regulatory and commercial frameworks in the broadcasting industry.
Who Owns Rights to a Song?
Most commercially released music involves at least two sets of rights. The composition — the melody and lyrics — is owned by the songwriter or their publisher. The sound recording — the specific version you hear — is typically owned by the record label that funded the recording. Broadcasting a song on radio requires licences covering both sets of rights.
Collective Licensing in the UK
In the UK, most radio broadcasters obtain licences through collective licensing organisations rather than negotiating with each rights holder individually:
- PRS for Music collects royalties on behalf of songwriters and publishers for the use of musical compositions in broadcasts and public performances
- PPL (formerly Phonographic Performance Limited) collects on behalf of record labels and performing artists for the broadcast of sound recordings
- Most UK radio stations hold both a PRS and a PPL licence, with the fees calculated based on revenue or audience reach
How Royalties Are Distributed
Broadcasters are required to submit music logs — detailed records of every track played, including the artist, title, duration, and broadcast time. These logs allow PRS and PPL to distribute collected royalties to the correct rights holders. Accurate logging is a legal requirement under the terms of the licence.
Music Reports and Monitoring
For larger stations, dedicated music scheduling software can generate these reports automatically. Smaller operations may need to compile logs manually or use simple playlist management tools that export data in the required format. Ofcom and the licensing bodies may audit broadcast logs, so accuracy matters.
Online and Simulcast Licensing
Broadcasting a stream online or simulcasting an FM signal requires additional licences that cover the internet distribution of recordings. PPL and PRS both offer online licences, and rates are typically calculated differently from terrestrial broadcast fees. Community and hospital stations benefit from reduced rate schemes that acknowledge their non-commercial nature.
Music licensing can seem bureaucratic, but it is the mechanism that ensures artists and songwriters are compensated when their work is broadcast — a system that underpins the music industry’s relationship with radio.