{"id":20733,"date":"2026-09-29T00:09:26","date_gmt":"2026-09-29T00:09:26","guid":{"rendered":"https:\/\/interspacemusic.com\/blog\/le-registre-des-redevances-est-mondial-mais-le-versement-est-local\/"},"modified":"2026-09-29T00:09:26","modified_gmt":"2026-09-29T00:09:26","slug":"le-registre-des-redevances-est-mondial-mais-le-versement-est-local","status":"publish","type":"post","link":"https:\/\/interspacemusic.com\/blog\/fr\/le-registre-des-redevances-est-mondial-mais-le-versement-est-local\/","title":{"rendered":"Le registre des redevances est mondial, mais le versement est local."},"content":{"rendered":"

Les histoires les plus r\u00e9v\u00e9latrices de l’industrie musicale cette semaine ne concernent ni les streams, ni les tubes, ni les moments viraux. Elles parlent de comptes : qui encaisse l’argent, qui le conserve et qui attend. De Tallinn \u00e0 Dar es Salaam en passant par Zagreb, l’industrie ma\u00eetrise parfaitement le d\u00e9compte des redevances, mais peine encore \u00e0 les verser aux bonnes mains.<\/p>\n

La rue \u00e0 sens unique des redevances<\/h2>\n

La soci\u00e9t\u00e9 estonienne des auteurs-compositeurs EA\u00dc offre un exemple frappant. En 2025, EA\u00dc a vers\u00e9 5,3 millions d’euros \u00e0 des soci\u00e9t\u00e9s \u00e9trang\u00e8res<\/a> et r\u00e9cup\u00e9r\u00e9 environ 437 665 euros en retour. Soit un flux sortant de douze pour un sur un petit march\u00e9, ce qui soul\u00e8ve une question directe : s’agit-il de r\u00e9ciprocit\u00e9 ou de d\u00e9pendance ? Pour un pays de 1,3 million d’habitants, ce d\u00e9s\u00e9quilibre est structurel, pas conjoncturel.<\/p>\n

La Croatie pr\u00e9sente le m\u00eame bilan sous un angle diff\u00e9rent. HDS ZAMP a collect\u00e9 5,9 millions d’euros de redevances de concerts en 2025<\/a>, plus que toutes les plateformes de streaming, vid\u00e9o et sociales r\u00e9unies. Pourtant, 400 189 euros restent non r\u00e9clam\u00e9s parce que les setlists n’ont pas \u00e9t\u00e9 rapproch\u00e9es des \u0153uvres. L’argent existe ; les documents, non. Dans une \u00e9conomie du live, la setlist fait office de facture, et trop de factures sont vierges.<\/p>\n

La politique d\u00e9cide qui est pay\u00e9<\/h2>\n

L’\u00e9cart entre collecte et versement n’est pas toujours un accident. Au Gabon, l’ordonnance sur le droit d’auteur de 2024 fixe la dur\u00e9e des droits voisins \u00e0 seulement 20 ans. Au-del\u00e0, les redevances vont \u00e0 un fonds BUGADA, pas au propri\u00e9taire du master<\/a>, m\u00eame si les bars continuent de payer. L’enregistrement continue de g\u00e9n\u00e9rer des revenus ; le propri\u00e9taire cesse de les percevoir. C’est un choix politique d\u00e9lib\u00e9r\u00e9 sur la question de qui doit b\u00e9n\u00e9ficier de la longue tra\u00eene d’un catalogue.<\/p>\n

Le syst\u00e8me tanzanien est plus transparent mais reste fuyant. Les plus gros versements de redevances musicales du pays proviennent d’une taxe COSOTA de 1,5 pour cent sur les appareils d’enregistrement et les supports vierges. Environ 60 pour cent parvient aux artistes<\/a>, ce qui signifie que quatre shillings sur dix disparaissent avant la distribution. Ce n’est pas une d\u00e9faillance technique ; c’est une d\u00e9faillance administrative et politique. Quand la taxe constitue le plus grand bassin de redevances, l’efficacit\u00e9 de ce bassin devient le plafond de toute l’industrie nationale.<\/p>\n

Le Vietnam ajuste lui aussi sa couche r\u00e9glementaire. L’abattement fiscal sur les redevances a doubl\u00e9 pour atteindre 20 millions de VND par contrat \u00e0 partir du 1er juillet 2026, tax\u00e9 \u00e0 5 pour cent. Le d\u00e9cret 253 ferme les failles li\u00e9es aux paiements \u00e9chelonn\u00e9s et aux contrats<\/a>, mais l’article souligne que pour la plupart des artistes, le chiffre le plus important est 500 millions, un seuil qui continue de d\u00e9terminer la valeur r\u00e9elle d’un contrat. Les all\u00e8gements fiscaux aident, mais seulement si la structure contractuelle sous-jacente permet aux artistes d’y acc\u00e9der en premier lieu.<\/p>\n

Le moment de l’export africain se heurte \u00e0 la politique des cat\u00e9gories<\/h2>\n

Alors que certains territoires resserrent leurs r\u00e8gles, les artistes africains se tournent vers l’ext\u00e9rieur. Jon Muq a lanc\u00e9 Shake It Africa, un label discographique et une soci\u00e9t\u00e9 de divertissement live<\/a> d\u00e9di\u00e9s \u00e0 la mise en relation des artistes africains avec des audiences mondiales. C’est une r\u00e9ponse directe au d\u00e9ficit d’export visible dans les chiffres estoniens : si les redevances ne reviennent pas, les artistes doivent construire leurs propres routes. Le label n’est pas qu’un projet commercial ; c’est une couverture contre un syst\u00e8me mondial de redevances qui souvent ne circule que dans un sens.<\/p>\n

Mais les gardiens de l’acc\u00e8s mondial \u00e9voluent aussi. Les MTV VMAs 2026 sont diffus\u00e9s ce soir sans cat\u00e9gorie Best Afrobeats pour la premi\u00e8re fois en trois ans. Burna Boy et Tems concourent dans des cat\u00e9gories grand public \u00e0 la place<\/a>. Cela peut ressembler \u00e0 un progr\u00e8s, mais cela supprime aussi un cr\u00e9neau d\u00e9di\u00e9 de d\u00e9couverte pour la musique africaine \u00e0 un moment o\u00f9 l’infrastructure d’export du continent reste fragile. \u00catre int\u00e9gr\u00e9 au mainstream peut signifier \u00eatre absorb\u00e9, pas valoris\u00e9.<\/p>\n

La machine s’acc\u00e9l\u00e8re, mais de mani\u00e8re s\u00e9lective<\/h2>\n

Certaines parties de l’industrie avancent plus vite. Minds on Fire a r\u00e9duit son temps de traitement des paiements de redevances de deux semaines \u00e0 quelques heures apr\u00e8s l’adoption de Tipalti Mass Payments<\/a>. C’est le genre de correctif op\u00e9rationnel qui fait une vraie diff\u00e9rence pour les artistes ind\u00e9pendants qui attendent leur tr\u00e9sorerie. La rapidit\u00e9 n’est pas glamour, mais c’est la solvabilit\u00e9.<\/p>\n

Parall\u00e8lement, les plus grands acteurs investissent dans l’intelligence plut\u00f4t que dans la distribution. Universal Music Group<\/a> a nomm\u00e9 l’ancien directeur d’ing\u00e9nierie de Spotify<\/a> \u00d2scar Celma au poste de senior vice president de l’IA appliqu\u00e9e et du machine learning<\/a>. Qobuz<\/a> a ajout\u00e9 des tags IA au niveau des releases \u00e0 son interface de streaming<\/a>, soutenus par un logiciel de d\u00e9tection interne et de nouveaux chiffres sur la fraude. La tendance est claire : l’argent est d\u00e9pens\u00e9 pour mieux conna\u00eetre la musique, pas n\u00e9cessairement pour payer plus vite ceux qui l’ont cr\u00e9\u00e9e. Le tagging par IA et la d\u00e9tection de fraude comptent, mais ils ne d\u00e9placent pas un seul euro de Tallinn vers un auteur-compositeur \u00e0 Lagos.<\/p>\n

Il y a aussi une r\u00e9ponse institutionnelle plus discr\u00e8te. Le Kentucky a cr\u00e9\u00e9 un Governor’s Office of Music<\/a> pour soutenir l’industrie musicale de l’\u00c9tat, et des entreprises comme le Dolby Theatre<\/a> et Blue Raincoat Music publient de nouvelles offres d’emploi dans les infrastructures, le marketing digital, les op\u00e9rations et le talent buying<\/a>. Ces initiatives sugg\u00e8rent que l’industrie professionnalise sa couche interm\u00e9diaire, mais la question reste de savoir si cette couche relie r\u00e9ellement les artistes situ\u00e9s au bas du bilan.<\/p>\n

Ce que cela signifie pour les artistes<\/h2>\n

Les actualit\u00e9s de la semaine pointent vers une liste de v\u00e9rification concr\u00e8te. Premi\u00e8rement, traitez les setlists comme des documents financiers, pas comme des souvenirs. Les 400 189 euros non r\u00e9clam\u00e9s en Croatie sont un avertissement : les performances non enregistr\u00e9es sont de l’argent non r\u00e9clam\u00e9. Soumettez votre setlist chaque soir, m\u00eame quand le promoteur dit que \u00e7a n’a pas d’importance.<\/p>\n

Deuxi\u00e8mement, connaissez la couche r\u00e9glementaire de votre territoire avant de signer. La dur\u00e9e de 20 ans des droits voisins au Gabon, le taux de transfert de 60 pour cent en Tanzanie et l’abattement de 20 millions de VND au Vietnam modifient tous la valeur r\u00e9elle d’un contrat. Un contrat identique dans deux pays peut payer tr\u00e8s diff\u00e9remment une fois les r\u00e8gles locales appliqu\u00e9es.<\/p>\n

Troisi\u00e8mement, n’attendez pas la r\u00e9ciprocit\u00e9. Le flux sortant de douze pour un de l’Estonie montre que les petits march\u00e9s ne peuvent pas pr\u00e9sumer que les soci\u00e9t\u00e9s \u00e9trang\u00e8res renverront ce qu’elles collectent. Construire des relations directes, comme le fait Jon Muq avec Shake It Africa, peut \u00eatre la seule couverture fiable.<\/p>\n

Enfin, exigez de la rapidit\u00e9 quand vous le pouvez. Minds on Fire a prouv\u00e9 que les cycles de paiement pouvaient passer de plusieurs semaines \u00e0 quelques heures avec la bonne infrastructure. Si un distributeur ou un label vous dit qu’un versement sous deux semaines est normal, le bilan dit le contraire. L’argent est collect\u00e9 ; la question est de savoir si vous figurez sur la liste de ceux qui doivent le recevoir.<\/p>\n","protected":false},"excerpt":{"rendered":"L’industrie sait calculer les redevances avec aisance, mais les acheminer vers les bonnes personnes demeure un probl\u00e8me d’infrastructure et de politique.","protected":false},"author":3,"featured_media":20732,"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":[6952],"tags":[6833,6974,7662,17371,10422,39325],"class_list":["post-20733","post","type-post","status-publish","format-standard","has-post-thumbnail","category-industry-trends-fr","tag-copyright-fr","tag-music-industry-fr","tag-african-music-fr","tag-global-music-fr","tag-music-policy-fr","tag-royalties-fr","cs-entry","cs-video-wrap"],"yoast_head":"\nLe 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