If your music is getting airplay, streams, or gigs – but your bank account isn’t seeing the love – you’re not alone. Welcome to the maddening maze of South Africa’s music rights organisations: SAMRO, CAPASSO, and SAMPRA.
Still, if you want to actually get paid, you need to understand these organisations inside out. Here’s your survival guide to the Big Three of SA music royalties – and the messy reality behind them.
Meet the Big Three: SAMRO, CAPASSO, and SAMPRA
SAMRO: Southern African Music Rights Organisation
What they do: SAMRO, a performing rights organisation, collects public performance royalties. This covers your compositions (songs and lyrics) when they’re performed live, played on radio/TV, or heard in public spaces like malls or restaurants.
Who they pay: Composers, authors (lyricists), and publishers.
How to register: Complete a membership form, submit your ID, Notification of Works forms (list your songs properly!), and a Deed of Assignment. It costs R100 for composers, R500 for publishers. Processing? If you’re lucky, two to four weeks.
How you get paid: SAMRO breaks it down into categories like Live Performances, Radio & TV Broadcasts, and International (for foreign use). But expect a major delay – usually a year or more between performance and payout.
Reality check: SAMRO’s outdated systems and sluggishness are infamous. A 2023 forensic probe uncovered R3.4 million in fraudulent payouts by ex-staff – an embarrassing reminder of the cracks artists already knew about. Trust is low, and for emerging artists, it can feel like shouting into a void.
CAPASSO: Composers, Authors and Publishers Association
What they do: CAPASSO, a mechanical rights organisation, collects mechanical royalties – money earned when your music is reproduced. Think Spotify streams, Apple Music downloads, CDs, YouTube music videos, etc.
Who they pay: Composers and publishers.
How to register: R100 to register as a composer, R250 for publishers. You’ll need to submit your ISRC codes (those unique track identifiers), metadata, and split sheets (showing who owns how much of each track).
How you get paid: CAPASSO pulls royalties from digital service providers (DSPs) and physical sales, and distributes based on registered works.
Reality check: More modern than SAMRO, yes – but still complicated and delayed. If your metadata (song credits, ownership splits) is sloppy or missing, your royalties are lost in the system. CAPASSO won’t chase you – you have to own your data management.
SAMPRA: South African Music Performance Rights Association
What they do: SAMPRA, a needletime rights organisation, collects needletime royalties – money for the use of the sound recording itself (not the songwriting!). Every time your actual recorded track gets played on radio, TV, or in shops, you’re owed.
Who they pay: Performers and recording rights owners (record labels).
How to register: It’s free. Submit your ID, proof of residence, banking details, and Notification of Recorded Performances (listing each track and who performed on it).
How you get paid: SAMPRA collects licensing fees from broadcasters and venues, then pays out based on usage logs.
Reality check: Generally more efficient than the other two. Still, administrative confusion and slow processing of registrations can delay payments. Some members have waited over a year for first payouts – and if you don’t register your recordings properly, forget about seeing a cent.
How the Money Actually Flows
Radio & TV
SAMRO collects for the composition (song/lyrics).
SAMPRA collects for the recording (performance/sound recording).
CAPASSO may collect mechanical royalties if the music was reproduced (e.g., downloaded for broadcast).
Live Gigs
SAMRO collects performance royalties based on setlists. Yes, you must submit every gig’s setlist yourself – otherwise, no payout.
Streaming
CAPASSO collects mechanical royalties per stream.
SAMRO may collect performance royalties for certain platforms.
SAMPRA sometimes collects for background uses (radio-style streams).
The Hard Reality: Why So Many Artists Are Frustrated
Yes, SAMRO, CAPASSO, and SAMPRA are supposed to be your financial lifelines. But in practice, most artists experience slow processing, confusing systems, missing money, and little to no communication. Membership fees pile up; payments are delayed by months or even years; audits reveal internal corruption; and meanwhile, your tracks are still spinning on airwaves and playlists.
As copyright expert Owen Dean put it bluntly:
“There are a number of collection agencies, all doing the same job and charging high fees. Why this is necessary, is a mystery.”
In short: these organisations are necessary – but broken.
Pro Tips to Actually Get Paid
✅ Register with all three: No shortcuts. Cover all your rights – composition (SAMRO), mechanical (CAPASSO), and recording (SAMPRA).
✅ Register every track and gig: Every. Single. One. No registration = no royalties.
✅ Keep your metadata clean: Spell names consistently. Get ISRC codes. Confirm ownership splits.
✅ Track your airplay: Use services like Radiomonitor and PlayTreks. Don’t assume they’ll find your music – you must chase it up.
✅ Stay on their case: Follow up monthly. Call. Email. Submit complaints if necessary.
✅ Consider independent options: Some artists are exploring direct licensing, independent rights management, and publishing services to bypass the mess altogether.
Final Thought: Hustle Smarter, Not Harder
In South Africa’s chaotic rights landscape, getting paid isn’t just about making great music – it’s about playing the admin game better than anyone else. Register properly. Keep your paperwork tight. Stay aggressive.
Because right now, no one’s coming to rescue your royalties – you have to fight for every rand yourself.
