'Music Isn't Free': Industry Leaders Debunk Major Copyright And Royalty Myths In 2026

From Instagram licensing misconceptions to royalty collection challenges, music industry leaders highlighted the knowledge gaps that continue to impact creators, brands and rights holders in 2026.

As India's music economy expands across streaming, creator-led content, short-form video and branded entertainment, misconceptions around copyright, royalties and licensing continue to persist.

These issues took centre stage during Loudest.in's webinar, "Who Owns the Music? Understanding Copyright, Royalties, and Licensing in 2026," held on June 3, where industry leaders unpacked some of the biggest myths surrounding music rights and explained why greater awareness is critical for the industry's long-term growth.

One of the most widely held misconceptions, according to industry experts, is the belief that music can be freely used if it appears briefly in content or is available online.

Shahir Muneer, Founder and CEO of Divo Music Company, part of Warner Music, said many users, influencers and businesses still fail to understand that copyright protections apply regardless of how music is used.

"People often assume that if music is used only briefly in the background,such as a song playing on a radio in a scene, it doesn't matter. But copyright is copyright. Whether it's music, a literary work, or any other protected content, permission and licensing still apply," he said.

Muneer noted that a lack of awareness extends beyond creators and brands. Even business owners often misunderstand how public performance licensing works and question whether royalty payments actually reach rights holders.

According to him, the widespread perception that music is a public commodity that anyone can use freely remains one of the country's biggest copyright challenges. He stressed that improving awareness through industry bodies, government support and copyright organisations could unlock significant additional revenue through public performance licensing.

From the brand side, marketing professional Vitasta Kaul highlighted how social media has created a new set of copyright misunderstandings.

"One of the biggest myths I've encountered is the belief that because music is freely accessible for consumption in India, it is also free to use," she said.

Kaul pointed to a growing tendency among brands to assume that music available in Instagram's audio library can automatically be used in commercial campaigns. She also noted attempts by brands to sidestep licensing requirements by routing branded content through creators' personal accounts.

"The biggest misconception is that if a track is available in Instagram's library, anyone can use it for free. The second is the belief that if a creator posts branded content using the music on their own page, the brand is completely protected from liability," she said.

She added that the industry has seen several high-profile disputes emerge from such assumptions, serving as a reminder that copyright obligations remain in place regardless of the platform on which content is published.

The discussion also explored the widespread belief among creators that ownership automatically guarantees royalty income.

Amit Dubey, Music Publishing & Rights Strategist and Founder of Beat Street Music & Publishing, said many artists and rights holders underestimate the importance of rights administration.

"One of the biggest myths I have encountered is the belief that if you own the rights, the money will automatically find you," Dubey said.

Comparing music ownership to property ownership, he explained that simply owning rights is not enough. Works must be properly documented, registered and administered for royalties to be collected and distributed accurately.

"Ownership is important, but ownership alone does not guarantee payment. For royalties to flow correctly, the work must be properly documented, registered, identified and administered," he noted.

Drawing on his experience in rights management and royalty administration, Dubey said metadata accuracy remains one of the most overlooked aspects of royalty collection. Incorrect registrations and incomplete information often result in royalties being delayed or left unclaimed.

Another recurring challenge, according to Rumpa Banerjee, GM – Marcom & Member Relations at IPRS, is the assumption among emerging creators that joining a copyright society can wait until they begin earning significant income.

"We often hear creators ask whether they really need to join IPRS if they are not yet earning enough from music or if their distributor is already collecting royalties for them," Banerjee said.

She explained that membership offers benefits that extend far beyond royalty collection. One of the most important is obtaining an IPI (Interested Party Information) number, which serves as a unique global identifier for rights holders and helps ensure accurate attribution of creative works.

Banerjee also highlighted ongoing confusion around ownership and authorship rights.

"Many creators assume that if they have assigned ownership rights to a label, they are no longer entitled to royalties. However, ownership rights and authorship rights are separate," she said.

Even after assigning ownership rights, songwriters and composers may still be entitled to receive their author's share of royalties, she added, making society membership and proper rights registration crucial from the outset of a creator's career.

The webinar underscored a common theme across the industry: while India's music business is growing rapidly, awareness around copyright, licensing and royalty systems has not kept pace.

For creators, brands and businesses alike, the message from experts was clear, music rights are far more complex than many assume, and understanding them is becoming increasingly essential in a digital-first music economy.