What Every SA Rapper Should Know About Publishing Rights

Most SA rappers focus on streams, features, and performances. Very few understand publishing—and that’s exactly why money gets left on the table.

Publishing is not optional. It’s a separate income stream that exists even if you’re independent, unsigned, or recording at home.

Let’s strip it down.

Publishing = ownership and earnings from the song itself, not the recording.

Every song has two copyrights:

1. Master rights – the sound recording (usually handled by distributors & labels)

2. Publishing rights – the composition (lyrics + melody)

This post focuses on publishing.

If you wrote the lyrics, melody, or hook — you own publishing.

1. Writer’s Share (You as the Rapper)

Paid to you as the songwriter.

You always own this, even if you sign a publishing deal.

2. Publisher’s Share

Paid to whoever administers or owns the publishing.

If you’re independent and haven’t signed anything:
You are your own publisher by default

The problem?
If you’re not registered, no one knows where to send the money.

Publishing income is generated when your song is:

• Played on radio (YFM, Metro FM, community stations)

• Performed live (festivals, clubs, shows)

• Used on TV, film, ads, YouTube

• Streamed (yes, streams pay publishing too — just less visibly)

Most SA rappers only collect one side of this, or none at all.

South African Music Rights Organisation

They collect money when your song is:

• Played on radio

• Performed live

• Broadcast publicly

If you perform your own songs live and aren’t with SAMRO, you are losing money.

Register as:

• Composer/Author

• Publisher (if independent)

They collect money from:

• Digital downloads

• Streaming platforms

• Physical sales (yes, still exists)

This is where streaming publishing money often sits unnoticed.

A publisher:

• Registers your songs globally

• Collects foreign royalties

• Places your music in films, ads, games

Pros

• Better administration

• Sync opportunities

• Global reach

Cons

• They take a cut (sometimes ownership)

• Bad deals lock artists long-term

Early-stage rappers should usually self-publish first.

“I’m independent, publishing doesn’t apply to me”

False. Publishing applies more to independents.

“My distributor handles everything”

Distributors mostly handle masters, not publishing.

“I didn’t register the song, but it’s doing numbers”

Royalties don’t backdate forever.
Unregistered songs = unclaimed money.

“My producer owns everything”

Unless agreed in writing, publishing is split based on contribution, not equipment.

Makes sense if:

• Your music is already getting airplay

• You’re being offered sync placements

• You don’t want admin work

Doesn’t make sense if:

• You’re just starting

• The deal takes ownership, not commission

• There’s no clear value beyond “connections”

Bad publishing deals hurt longer than bad distribution deals.

Publishing isn’t sexy.
It doesn’t boost streams or followers.

But it pays artists who understand it — quietly, consistently, and legally.

If you write songs, you’re already in the publishing game.
The only question is whether you’re getting paid.

Download it here: Practical Publishing Checklist for SA Rappers