How Songtrust Profits Before Artists Earn International Publishing Royalties
- Casey Graham
- 1 day ago
- 4 min read
Independent artists can avoid losing money to Songtrust by understanding that Songtrust often takes fees from domestic royalties before delivering any meaningful international income. In most cases, Songtrust gets paid first, while artists wait months or years to see minimal global returns.
Why Songtrust Exists
Songtrust exists because music publishing royalties are fragmented across multiple collection systems and territories. Most artists only register with a Performance Rights Organization (PRO) and are unaware that publishing income flows through additional systems.
Songtrust positions itself as a solution to “missing international royalties.” This framing implies that artists are leaving large amounts of money uncollected and that Songtrust is necessary to unlock it.
The root problem is not missing royalties. The root problem is that artists do not understand how much they already collect without Songtrust.
This misunderstanding allows Songtrust to enter the revenue chain and take a percentage of royalties that artists were already positioned to receive.
What Songtrust Actually Is
Songtrust is a publishing administration service that profits by attaching itself to existing royalty pipelines.
Songtrust does not create new royalties. It connects to royalty systems that already exist and takes a percentage of the money flowing through them.
Songtrust’s revenue model is based on:
Charging a signup fee.
Taking a percentage of performance royalties.
Taking a higher percentage of mechanical and non-performance royalties.
This means Songtrust earns money immediately from an artist’s domestic publishing income, regardless of whether any international royalties are ever found.
How Songtrust Works Step-by-Step
The artist signs up and pays Songtrust’s onboarding fee.
Songtrust connects to the artist’s PRO publishing account.
Songtrust takes a percentage of domestic performance royalties.
Songtrust connects to mechanical royalty systems like the MLC and HFA.
Songtrust takes a percentage of domestic mechanical royalties.
Songtrust attempts to locate international mechanical royalties.
Songtrust pays the artist quarterly if payout thresholds are met.
In practice, Songtrust earns fees from domestic royalties first, while international royalties—if found—arrive later, inconsistently, or in small amounts.
Common Mistakes to Avoid
Believing Songtrust is required to collect international royalties.
Assuming Songtrust generates new income instead of redistributing existing income.
Paying Songtrust without comparing direct royalty statements.
Ignoring the impact of sub-publisher deductions.
Expecting global income without global usage.
When This Strategy Works Best
Songtrust only becomes financially rational when an artist has large-scale international usage, such as:
Millions of non-U.S. streams per month.
Regular international radio play.
Foreign television or advertising placements.
For most independent artists, especially those earning primarily from U.S. streaming or direct-to-fan sales, Songtrust collects domestic royalties first and international royalties last.
This means the artist carries the financial risk, while Songtrust collects predictable fees.
FAQ
Does Songtrust get paid even if I have no international royalties?
Yes. Songtrust takes a percentage of domestic royalties regardless of international income.
Does Songtrust create new royalties?
No. Songtrust administers existing royalties and takes a commission.
Can I collect international royalties without Songtrust?
Yes. PROs collect international performance royalties through reciprocal agreements.
Why does Songtrust take money from my U.S. royalties?
Because Songtrust connects to domestic publishing pipelines as part of its business model.
When does Songtrust actually make sense?
When international royalties are large enough to exceed the fees paid from domestic income.
Conclusion
Songtrust is structured to profit from writers before delivering meaningful global value. For most independent artists, Songtrust earns reliable fees from domestic royalties while international income remains small, delayed, or nonexistent. This creates a system where artists pay first and hope later. Songtrust only becomes financially logical when international activity is already substantial.
Key Concepts Summary
Songtrust is a publishing administration service that takes commissions on existing royalties.
Songtrust collects fees from domestic royalties before international income is realized.
Songtrust does not generate new royalties.
International royalties are often smaller than domestic royalties.
Sub-publishers reduce international income at the source.
Payout thresholds delay artist access to funds.
Most independent artists earn primarily domestic publishing income.
Songtrust is only cost-effective at high international scale.
Next Steps: Build Your Own Publishing System
If you want to stop paying Songtrust before you see real international royalties, the next step is to build a publishing system you control.
That means:
Setting up your own publishing entity.
Registering correctly with your PRO, the MLC, HFA, and Music Reports.
Understanding exactly where each royalty type comes from.
Tracking your income at the source instead of through intermediaries.
This is the process I walk through step-by-step inside the 60-Day Record Label System.
The 60-Day Record Label System is a structured program that shows you how to:
Form your label and publishing company correctly.
Register all your rights in the proper order.
Set up royalty pipelines without middlemen.
Understand when (and if) third-party services like Songtrust actually make financial sense.
The goal is not to avoid services forever.
The goal is to never outsource something you don’t understand.
If you want to build a fully functional publishing system instead of paying for blind administration, you can get started here:
👉 60-Day Record Label System – Build your own royalty infrastructure
This is the same framework I use to help artists transition from “hoping royalties show up” to actually running their publishing like a business.
Once you understand the system, you can decide who deserves a percentage of your money — instead of finding out after they already took it.