Owning Music: Why IPRS is Game-Changer for Indian Creators

The Indian Performing Right Society (IPRS) is not just another body in the music industry. “It’s at the core of how creators and the music ecosystem can flourish,” shares Rumpa Banerjee, Head—MarCom & Member Relations at IPRS. “For years, Indian music revolved around cinema. Music was made for films, and composers or lyricists were often part of a larger storytelling process. The music wasn’t treated as standalone intellectual property—it was a byproduct of the movie.”

Unlike the West, where music has long been treated as IP in its own right, India’s structure didn’t empower creators to fully own their works or benefit from them beyond a one-time payment. This changed with the Copyright Amendment in 2012. “That amendment was a turning point,” says Banerjee, adding, “It gave legal recognition to the right of authors and composers to receive royalties whenever their music is used.”

Since then, IPRS has taken on the crucial role of collecting these royalties—separate from those earned by labels or distributors—and paying them directly to the lyricists and composers.

What makes IPRS truly vital is that it’s the only authorised body in India legally permitted to collect these publishing royalties and distribute them to the rightful creators. “According to law, there can’t be a third party collecting royalties on behalf of an author-composer. It has to be IPRS, and the payment has to go directly to their bank account,” stresses Rumpa.

Yet, challenges remain—especially in reaching regional artists. “Even some of the most prominent musicians in urban regions aren’t fully aware of the intricacies of publishing rights or metadata registration,” she reveals. In a world where music now lives digitally—on clouds and platforms rather than physical CDs—proper metadata (which includes song credits and creator info) is essential for tracking and collecting royalties.

Surprisingly, many artists who have joined IPRS don’t complete this crucial registration step, assuming it will be done automatically. “If your label or publisher is a member of IPRS, they can register works on your behalf. But if you are independent, or your label isn’t affiliated, your royalties won’t be tracked unless you do it yourself,” says Rumpa.

The barriers are real. Language limitations, lack of digital infrastructure, and sheer unawareness are hurdles many regional artists face. “During a recent survey, we found artists in Punjab and Bihar who had smartphones but no access to laptops to upload data. One told me, “‘I’ll have to go to a cyber café in the city to register my music,’” she recalls. Even talented musicians in Srinagar, for instance, have no access to proper studios and must travel long distances to record.

Add to that the lack of access to copyright lawyers, trustworthy administrators, and knowledge of the system, and the challenge becomes bigger. “We have this mindset that anything technical or legal isn’t our job,” she explains. “Just like many of us rely on CAs to file income tax returns, creators assume someone else will handle the paperwork. But it’s important to at least know the basics, especially when your music is your biggest asset.”

That’s why IPRS has launched extensive outreach and education programs—partnering with platforms like Spotify, YouTube, Dolby and others—to bridge this knowledge gap. “We want to ensure creators are not only aware of their rights but also understand how to protect and monetise their music,” she says.

This vision extends to IPRS’s presence at independent music festivals like the Pahari Goat Rap Festival. “Events like these are perfect because the artists are already there for the music. We don’t just come in to give gyaan—we meet them where they are, speak their language, and build trust,” she says.

And IPRS isn’t stopping at education alone. Recognising the lack of platforms for talented but underrepresented voices, they have also launched original IPs like Soundscapes of India and IPRS KOLAB to provide visibility and career opportunities to regional artists.

In an industry that has traditionally prioritised commercial success over creator rights, IPRS is shifting the narrative. It’s not just about collecting royalties—it’s about building a culture where creators are empowered, informed, and respected.

“Your music is your property,” Banerjee reminds us. “Just like you wouldn’t blindly sign over the deeds to your home, don’t hand over your rights without understanding what they mean. Trust your team—but be aware, be informed.”

Because in the end, ignorance is not bliss when it comes to copyright. Awareness is everything.