{"id":15398,"date":"2026-08-07T13:43:32","date_gmt":"2026-08-07T13:43:32","guid":{"rendered":"https:\/\/interspacemusic.com\/blog\/brazil-charges-streaming-as-public-performance-august-payout-january-plays\/"},"modified":"2026-08-07T13:45:25","modified_gmt":"2026-08-07T13:45:25","slug":"brazil-charges-streaming-as-public-performance-august-payout-january-plays","status":"publish","type":"post","link":"https:\/\/interspacemusic.com\/blog\/brazil-charges-streaming-as-public-performance-august-payout-january-plays\/","title":{"rendered":"Brazil Charges Streaming as a Public Performance. Its August Payout Is for January&#8217;s Plays."},"content":{"rendered":"<p>Brazil is one of a small number of markets where a stream is legally a public performance. That single fact bolts a second payout rail onto every Brazilian release.<\/p>\n<p>That rail pays this month. The streaming money moving through Brazil&#8217;s collecting body in August 2026 is for plays that happened in January, February and March.<\/p>\n<h2>The 2017 ruling that created a second Brazilian royalty<\/h2>\n<p>ECAD means Escrit\u00f3rio Central de Arrecada\u00e7\u00e3o e Distribui\u00e7\u00e3o, the central office that collects and distributes public performance royalties for Brazil&#8217;s seven music associations.<\/p>\n<p>In February 2017, the Superior Tribunal de Justi\u00e7a decided REsp 1.559.264\/RJ and held that offering music by streaming is public execution, which creates a new triggering event for copyright collection. Simulcasting was treated as an autonomous use rather than an extension of a broadcast. Machado Meyer&#8217;s <a href=\"https:\/\/www.machadomeyer.com.br\/pt\/boletim\/servicos-de-streaming-e-o-criterio-de-execucao-publica-para-cobranca-de-direito-autoral-pelo-ecad\">summary of the criteria<\/a> is the clearest read of what the court tested.<\/p>\n<p>The practical result is that a Spotify or YouTube play in Brazil generates the recording and publishing money your distributor reports, and separately a public performance claim ECAD bills to the platform itself.<\/p>\n<h2>Digital is now the largest thing ECAD collects<\/h2>\n<p>The 2025 numbers, per <a href=\"https:\/\/mundodamusicamm.com.br\/ecad-relatorio-2025\/\">Mundo da M\u00fasica&#8217;s breakdown of the ECAD annual report<\/a> and <a href=\"https:\/\/musicaemercado.org\/ecad-17-bilhao-direitos-autorais-2025\/\">M\u00fasica &amp; Mercado<\/a>:<\/p>\n<ul>\n<li>R$2.1 billion collected, up 15 percent. R$1.7 billion distributed, up 10 percent.<\/li>\n<li>Digital services were 33.6 percent of collections and grew 47.2 percent, the fastest of any segment. TV followed at 20.4 percent, live shows at 19.5 percent, radio at 7.1 percent.<\/li>\n<li>More than 345,000 rights holders were paid, averaging about R$4,600 each for the year.<\/li>\n<li>78 percent of the distributed total went to Brazilian holders.<\/li>\n<li>ECAD says it identified 5.8 trillion executions on digital platforms.<\/li>\n<\/ul>\n<p>The first half of 2026 kept the curve. ECAD <a href=\"https:\/\/mundodamusicamm.com.br\/ecad-primeiro-semestre-2026\/\">distributed more than R$1 billion in H1<\/a>, up 16.5 percent year on year, to over 312,000 holders. Live shows alone paid R$151 million, up 25.4 percent, which matters before a September that puts Rock in Rio back in Rio de Janeiro.<\/p>\n<h2>Why August pays for January<\/h2>\n<p>The streaming rubric is quarterly and lagged. Per the <a href=\"https:\/\/www.abramus.org.br\/noticias\/14652\/guia-definitivo-do-calendario-de-distribuicao-e-rubricas\/\">Abramus distribution calendar<\/a>:<\/p>\n<ul>\n<li>Payments land in February, May, August and November.<\/li>\n<li>The August run covers January to March executions. November covers April to June.<\/li>\n<li>Distribution is built from the play lists the platforms send, matched automatically against registered works and phonograms.<\/li>\n<li>Of what ECAD collects, <a href=\"https:\/\/www4.ecad.org.br\/faq\/como-e-feita-a-distribuicao-dos-direitos-autorais-aos-compositores-interpretes-e-musicos\/\">85 percent goes out to the associations<\/a> for their members, 5 percent funds the associations and 10 percent stays with ECAD.<\/li>\n<li>On the neighbouring rights side, the performer category and the phonogram producer category split their portion 50-50.<\/li>\n<\/ul>\n<p>So a track that peaked in Brazil in January sees its public performance money in August, five to seven months later, after a 15 percent administrative haircut.<\/p>\n<h2>What an indie release should actually do<\/h2>\n<p>The gap most self-releasing artists fall into is assuming a distributor collects this. It does not. ECAD pays associations, and associations pay their registered members.<\/p>\n<ul>\n<li>Register the work and the phonogram with an association such as Abramus, UBC or Socinpro. An unregistered phonogram with perfect distributor metadata still fails the ECAD match.<\/li>\n<li>Register both hats. Composer credit and performer credit are separate claims, and the producer claim is separate again.<\/li>\n<li>Keep the ISRC on the release identical to the one registered with the association. ISRC means International Standard Recording Code, the unique identifier per recording.<\/li>\n<li>Plan cash flow around the lag. Recording royalties from your distributor arrive monthly. This layer arrives four times a year, backdated.<\/li>\n<li>Send setlists for every paid show. ECAD credits show automation for the 25.4 percent jump in live distributions.<\/li>\n<\/ul>\n<p>Context for scale: Brazil&#8217;s recorded music market reached R$3.958 billion in 2025, up 14.1 percent, with streaming at R$3.4 billion, per Pr\u00f3-M\u00fasica Brasil figures <a href=\"https:\/\/agenciabrasil.ebc.com.br\/cultura\/noticia\/2026-03\/faturamento-do-mercado-fonografico-brasileiro-cresce-14-em-2025\">reported by Ag\u00eancia Brasil<\/a>. ECAD&#8217;s R$1.7 billion sits alongside that, not inside it.<\/p>\n<p>Two pipes, two clocks, two sets of paperwork. Getting the recording side right with a distributor that files clean DDEX metadata, where DDEX means Digital Data Exchange, is what makes the collective side matchable at all. More on the market underneath this: <a href=\"https:\/\/interspacemusic.com\/blog\/brazil-became-worlds-no-8-music-market-up-14-1-streaming-is-86-percent\/\">Brazil at No. 8 globally<\/a>, and <a href=\"https:\/\/interspacemusic.com\/blog\/sertanejo-owns-10-of-brazils-top-15-almost-none-of-its-money-comes-from-abroad\/\">why sertanejo&#8217;s money stays home<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"Brazil streaming royalties run on two rails: your distributor pays the recording side monthly, while ECAD bills platforms for public performance and pays out in February, May, August and November. It distributed R$1.7 billion in 2025. Here is who collects it and when.","protected":false},"author":3,"featured_media":15399,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"csco_display_header_overlay":false,"csco_singular_sidebar":"","csco_page_header_type":"","csco_page_load_nextpost":"","csco_post_video_location":[],"csco_post_video_location_hash":"","csco_post_video_url":"","csco_post_video_bg_start_time":0,"csco_post_video_bg_end_time":0,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[518],"tags":[138,26884,24,341,112,342],"class_list":["post-15398","post","type-post","status-publish","format-standard","has-post-thumbnail","category-policy-legal","tag-brazil","tag-ecad","tag-music","tag-royalties","tag-spotify","tag-streaming","cs-entry","cs-video-wrap"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.9 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Brazil Charges Streaming as a Public Performance. 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