When you’re vibing to your favorite track in a coffee shop, swaying at a wedding reception, or watching a TikTok dance trend go viral, one question looms in the background: Who’s getting paid for the music you’re enjoying? For decades, Performing Rights Organizations (PROs) have been the behind-the-scenes maestros making sure songwriters and publishers are compensated when their music is played publicly. But now, with new players entering the scene and increased scrutiny over transparency, the U.S. Copyright Office is taking a hard look at whether the system still works or whether it’s time for a remix.

PROs 101: What Are They and Why Do They Matter?

Before diving into the controversy, let’s talk basics. PROs like ASCAP (American Society of Composers, Authors, and Publishers) and BMI (Broadcast Music, Inc.) have long served as gatekeepers for music licensing. They issue public performance licenses to venues, radio stations, streaming platforms, and more, collecting billions of dollars each year to distribute as royalties to songwriters, composers, and publishers.

They’re the connective tissue between music creators and the businesses that use their work. But in recent years, new entrants like Global Music Rights (GMR), PRO Music Rights, and AllTrack have joined the fray, promising better service and more focused attention for smaller rosters. That expansion, while potentially good for competition, is raising new concerns.

The Copyright Office Steps In: Why Now?

In February 2025, the U.S. Copyright Office dropped a Notice of Inquiry, kicking off a public examination into how PROs operate and whether reform is necessary. This isn’t a new conversation, but it’s one that’s gaining urgency amid rising complaints from both music creators and music users alike.

Lawmakers, particularly Rep. Darrell Issa, Rep. Jim Jordan, and Rep. Scott Fitzgerald, flagged concerns as far back as September 2024. Their message was clear: there are too many question marks around how royalties are being calculated and distributed, especially for indie artists and small publishers who don’t have the resources to chase down the money they’re owed.

What’s the Problem? Too Many Players, Not Enough Clarity

The music licensing system in the U.S. is starting to resemble the Wild West. A growing number of PROs are approaching businesses with demands to license music, many of which those businesses weren’t even aware they were using. This “license or else” tactic has been likened to a shakedown by critics, especially when the details of ownership and the legitimacy of the rights being enforced are murky.

Some restaurant owners and small business operators have reported receiving threats of legal action from lesser-known PROs over songs they couldn’t verify were even in their playlists. Meanwhile, songwriters are still seeing confusing and inconsistent royalty statements, often with missing data or unclear calculations.

All of this leads to a central question: Is the current system too fragmented to function fairly?

A Chorus of Opinions: Where the Industry Stands

As expected, the Copyright Office’s inquiry has prompted a range of passionate responses:

BMI, one of the largest and most influential PROs, has encouraged its members to oppose further regulation, arguing that additional government oversight could tip the scales in favor of streaming services and broadcasters that already resist paying fair rates.

BMI and ASCAP also touted their joint platform, Songview, as a solution to transparency issues. Songview is a data-sharing tool that provides information on who owns what in the world of public performance rights. But critics argue that not all PROs participate, and even among those that do, data inconsistencies still persist.

Meanwhile, smaller publishers and songwriter advocacy groups are demanding more oversight, calling for standardized reporting, auditing rights, and simplified licensing to cut down on confusion and potential exploitation.

What Happens Next?

As of April 11, the initial comment period for public input closed, and the Copyright Office has opened a reply comment window until May 27, 2025. This allows stakeholders to respond to others’ submissions, sparking what will likely be a lively and potentially transformative debate.

The Office’s goal is to better understand:

• How many PROs are operating and how they differ

• Whether multiple PROs claiming the same rights is creating friction

• How royalty distributions are calculated and communicated

• Whether current practices are harming small businesses or creators

• What steps could improve fairness and efficiency across the board

Depending on the responses and findings, this could result in legislative changes, new licensing frameworks, or greater federal oversight of PROs — a major shift in a space that has traditionally operated in the shadows.

Why This Matters to You (Yes, You)

If you’re an artist, producer, or songwriter, this inquiry could reshape how you get paid and how reliably you can track your earnings. If you’re a publisher or label, it could affect how you license content and enforce rights. If you run a venue, broadcast network, or even just play music in your café, the rules about who you need to pay and why may become much clearer (or more complicated).

But the biggest takeaway is this: the ecosystem is changing. More creators than ever are entering the industry thanks to platforms like TikTok, Bandcamp, and DistroKid. They deserve a licensing system that’s not only modern and efficient but also transparent and fair.

Final Thoughts: The Remix is Coming

Music is one of the few universal languages, and the people who make it deserve systems that treat them with clarity and respect. As the Copyright Office continues this inquiry, the music world watches and listens closely.

This might not be the end of an era, but it could very well be the start of a much-needed remix.