Royalty Statements
Lesson time: (3min 26sec)
Chris explains what's on a royalty statement, why it works like an income statement, how to read the deductions, and when to commission an audit.
Course preview
This lesson is part of the course Music Business 101 for Artists
Watch a preview of the full course below.
Lesson transcript:
Understanding Royalty Statements
There's several things really on royalty statements. We ensure that:
- Each song appears
- Every song that should appear on the royalty statement is listed
- Even if there's a new balance against it
- Even if there's no income
We want to make sure that our artist's creativity is properly reflected in an income statement. And that's what the royalty statement is: an income statement. It's no different from someone in an office getting their payslip at the end of the month.
The Process of Reviewing Royalty Statements
The first thing they do is look at the bottom line to see:
- How much am I taking home today?
Then they look upwards to see what deductions were made, ensuring the income was correct. That's exactly what we do in terms of royalty statements.
Multiple Facets of Statements
Obviously, there are multiple facets of statements, including:
- Publishing Royalty Statements
- Recording Royalty Statements
- Performance Rights Organizations (PROs)
- Public Performance Licenses (PPL)
There are organizations like BMI or ASCAP in America and all sorts of other collection agencies around the world.
Ensuring Timely and Accurate Statements
We make sure that royalty statements come in on time. We also ensure that the income that should be appearing on there is indeed there.
Limitations in Reviewing Statements
We can't look at everything in fine detail immediately, as it's just not possible given time constraints. For instance, we don't have the capability of reviewing 200, 300, or 500 pages of royalty statements. However, we do the following:
- Every two to three years, if we think the reported income is a little light, we commission an audit on those statements.
Findings from Audits
It's amazing how many times the audits are justified. There are often sufficient funds that have been overclaimed in expenses by:
- Labels
- Publishers
- Primary labels
In some instances, certain country income hasn't filtered through as it should have, and so forth.
Cross-Referencing for Accuracy
We closely examine the statements to ensure that our client's work is properly represented. We have a rough idea of how much money should be coming in based on:
- Number of sales
- Number of plays
Sales is a very good indicator, as you can roughly estimate:
- How many albums were pressed
- How many were posted on platforms like Apple or sold through other means
- Your income level per album sale
Ultimately, it becomes a multiplative process from that point on.
Cross-Referencing with Publishing
Additionally, there are ways of cross-referencing, especially on publishing with PROs. You can see:
- What PROs are paying you
- How that aligns with what you expect from the publisher's royalty statements
This forms a solid basis for further cross-referencing and analysis moving forward.
About the instructor

Imogen Heap is a Grammy-winning English singer, songwriter, producer and technologist whose influence runs through two decades of pop, electronic and film music — and through much of the technology modern artists now take for granted. Born in London in 1977 and classically trained on piano, cello and clarinet, she released her debut album 'iMegaphone' in 1998 before forming the duo Frou Frou with producer Guy Sigsworth, whose song 'Let Go' reached a global audience through the film Garden State. Her self-written, self-produced album 'Speak for Yourself' (2005) delivered 'Hide and Seek', the a cappella landmark that later powered Jason Derulo's chart-topping 'Whatcha Say' and Ariana Grande's 'Goodnight n Go', and continues to find new generations of listeners. 'Ellipse' (2009) won the Grammy Award for Best Engineered Album, Non-Classical — recorded and engineered in her own home studio — and she went on to co-write and produce 'Clean' on Taylor Swift's Album of the Year-winning '1989'. She also composed the score for the stage play 'Harry Potter and the Cursed Child'. A relentless innovator, Heap developed the MI.MU gestural gloves — recognised with three honorary doctorates — and founded Mycelia and The Creative Passport, initiatives building a fairer data ecosystem for artists. In 2024 she returned with 'What Have You Done to Me?', created with her AI vocal alter ego Mogen, while a viral resurgence of 'Headlock' brought her music to millions of new fans. read more




