Choosing a Performing Rights Organization: The Independent Songwriter's 2019 Guide

Every songwriter who generates public performances of their compositions, whether through radio airplay, live concert performance, streaming, or television and film placement, is entitled to performance royalties that are collected and distributed by a performing rights organization. In the United States in 2019, independent songwriters had three primary PRO options: ASCAP (American Society of Composers, Authors and Publishers), BMI (Broadcast Music, Inc.), and SESAC (Society of European Stage Authors and Composers).

Each organization had genuinely different membership culture, royalty distribution approaches, and practical considerations for independent songwriters at different stages of their careers. The decision was not reversible without a waiting period, which made understanding the differences before joining consequential.

ASCAP: The Member-Owned PRO

ASCAP, founded in 1914 and headquartered in New York, operated as a member-owned not-for-profit organization. Its governance structure gave members a formal voice in organizational policy through an elected board of directors, and its royalty distribution philosophy, as stated in ASCAP's own documentation, aimed to pass the maximum percentage of collected royalties directly to member songwriters and publishers.

ASCAP's one-time membership fee in 2019 was $50 for writers. The organization distributed royalties approximately four times per year for most royalty types, with the distribution timing varying by royalty category.

For independent songwriters, ASCAP's member-owned status was frequently cited as a cultural distinction: the organization was theoretically accountable to the songwriters it served in a formal governance sense that the other PROs were not. Whether that governance structure produced meaningfully different royalty outcomes in practice was a matter of ongoing debate in the songwriter community.

BMI: The Licensee-Supported PRO

BMI, founded in 1939 and headquartered in Nashville and New York, was established as an alternative to ASCAP specifically to serve the radio and broadcast industry's need for a comprehensive licensing solution. BMI operated as a for-profit organization (though it historically operated at or near break-even) and charged no membership fee for writers.

BMI's no-fee-for-writers membership model made it accessible for independent songwriters who were not yet generating significant royalties but wanted to establish PRO affiliation early in their career. The absence of an upfront cost was a practical advantage for early-career songwriters.

BMI distributed royalties approximately four times per year, with a distribution calendar similar to ASCAP's. Its royalty distribution formula, like ASCAP's, was subject to criticism from some songwriter advocates who argued that the calculations did not fully reflect actual performance data and systematically disadvantaged independent songwriters whose works were performed in non-radio contexts.

SESAC: The Invitation-Only Option

SESAC, significantly smaller than ASCAP and BMI, was the only PRO in the United States that operated by invitation. Membership required SESAC to extend an offer to the songwriter based on the commercial potential of their catalog, which made SESAC impractical for most early-career independent songwriters.

SESAC's invitation model served its business interest: by selecting members whose catalogs were likely to generate significant licensing income, the organization could offer more competitive royalty terms to those members without the overhead of managing a large portfolio of smaller catalogs. Established songwriters with catalogs that had generated television or film placement, significant radio performance, or commercial licensing history were the typical SESAC recruits.

For independent songwriters in the country, Christian, and Americana space who had achieved some commercial traction, SESAC membership was worth pursuing as a possibility, with the understanding that an invitation was not guaranteed.

What the Decision Actually Involved

The practical difference between ASCAP and BMI membership for most independent songwriters in 2019 was primarily organizational culture rather than measurable royalty differential. Both organizations collected from the same licensees, distributed royalties on similar schedules, and had comparable administrative competencies.

The decision most independent songwriters found most consequential was the one about when to register their catalog, ensuring that all co-written songs had all co-writers registered with a PRO, and verifying that their works were properly registered with accurate metadata before the performances that would generate royalty claims occurred.

Pro-active catalog management, including registering songs before release rather than after performances had already occurred, was the practical action that most directly affected royalty income.

---

FAQ

What are the three primary performing rights organizations for songwriters in the United States? ASCAP (American Society of Composers, Authors and Publishers), BMI (Broadcast Music, Inc.), and SESAC (Society of European Stage Authors and Composers).

What is the main structural difference between ASCAP and BMI? ASCAP is a member-owned not-for-profit organization with an elected board of directors accountable to its songwriter members. BMI was founded as a for-profit alternative; it charges no membership fee for writers but has a different governance structure.

Why is SESAC not available to most independent songwriters? SESAC operates by invitation only, selecting members based on the commercial potential of their existing catalog. Most early-career independent songwriters have not yet generated the licensing history that would attract a SESAC invitation.

Does the PRO choice significantly affect royalty amounts for most independent songwriters? For most independent songwriters, the practical royalty differential between ASCAP and BMI is small relative to other factors. The more consequential action is proactive catalog registration and metadata accuracy, regardless of which PRO the songwriter chooses.

When should a songwriter register their catalog with their PRO? Songs should be registered before release, so that performances generating royalty claims are already associated with correct ownership data in the PRO's database. Registering after significant performance activity has already occurred risks losing some performance royalty income.