{"id":22178,"date":"2026-10-16T13:16:35","date_gmt":"2026-10-16T13:16:35","guid":{"rendered":"https:\/\/interspacemusic.com\/blog\/?p=22178"},"modified":"2026-10-16T13:16:35","modified_gmt":"2026-10-16T13:16:35","slug":"brazil-ecad-concert-royalties-setlist-roteiro-musical","status":"publish","type":"post","link":"https:\/\/interspacemusic.com\/blog\/brazil-ecad-concert-royalties-setlist-roteiro-musical\/","title":{"rendered":"Brazil Charges a Live Concert 10 Percent of the Gross for Songwriters. A Set With No Setlist Pays Other People&#8217;s Songs."},"content":{"rendered":"<p>ECAD, Brazil&#8217;s central performing-rights office, licenses a ticketed concert at 10 percent of gross receipts for live music, halves that to 5 percent for promoters who file the setlist and paperwork, and pays songwriters song by song from that list.<\/p>\n<p>A set ECAD never receives is paid out in December to songs other shows documented. Filing the setlist within five years can still claw it back.<\/p>\n<h2>What a concert owes<\/h2>\n<p>ECAD means Escrit\u00f3rio Central de Arrecada\u00e7\u00e3o e Distribui\u00e7\u00e3o, the office that collects public performance royalties for Brazil&#8217;s music associations. Its <a href=\"https:\/\/www4.ecad.org.br\/wp-content\/uploads\/2026\/08\/Regulamento-de-Arrecadacao_ago26.pdf\">collection regulation<\/a>, revised 10 August 2026, sets the bill:<\/p>\n<ul>\n<li>Gross receipts include tickets, sponsorship and public subsidies (Article 11).<\/li>\n<li>Live music pays 10 percent, recorded music 15. The gap is the recording share, which live-only shows do not owe (Article 22).<\/li>\n<li>Free open-air shows pay on the music cost: performer fees, audio, video, lighting and stage (Article 12).<\/li>\n<li>Article 24 halves the rate if the promoter has no debts, files the repertoire and documents, and admits ECAD inspectors. Festivals licensed at 30,000 UDAs or more, a unit of value the associations adjust yearly, do not qualify.<\/li>\n<\/ul>\n<p>Of collections, 85 percent reaches rightsholders, 6 percent the associations and 9 percent ECAD, per <a href=\"https:\/\/www4.ecad.org.br\/faq\/como-e-feita-a-distribuicao-dos-direitos-autorais-aos-compositores-interpretes-e-musicos\/\">ECAD&#8217;s FAQ<\/a>.<\/p>\n<h2>How the setlist splits it<\/h2>\n<p>Under Article 23 of the <a href=\"https:\/\/www4.ecad.org.br\/wp-content\/uploads\/2026\/07\/Regulamento-de-Distribuicao_julho26.pdf\">distribution regulation<\/a>, revised 10 December 2025, the Show rubric, ECAD&#8217;s term for a payout pool, pays authors and publishers only:<\/p>\n<ul>\n<li>Each event&#8217;s money is divided by the number of songs performed, regardless of length.<\/li>\n<li>On one stage, the opener gets 20 percent and the headliner 80. Across several stages, the main stage gets 80, the secondary 15 and the rest 5.<\/li>\n<li>With equal billing, money splits equally per performer, then per song.<\/li>\n<li>Each performer is paid separately, so a missing opener setlist cannot stall the headliner.<\/li>\n<li>Songs are added within 60 days of the show clearing collections or the setlist arriving, extendable by 60. Shows pay monthly.<\/li>\n<li>With recorded music, the recording share moves into other ECAD pools, mainly radio, not to the tracks played.<\/li>\n<\/ul>\n<h3>Worked example: R$200,000 at the door<\/h3>\n<p>At 5 percent, the promoter pays R$10,000. After the 15 percent administration share, R$8,500 is distributable.<\/p>\n<ul>\n<li>Headliner, 20 songs: R$6,800, or R$340 per song.<\/li>\n<li>Opener, 8 songs: R$1,700, or R$212.50 per song.<\/li>\n<\/ul>\n<h2>When no setlist arrives<\/h2>\n<p><a href=\"https:\/\/www.planalto.gov.br\/ccivil_03\/leis\/l9610.htm\">Lei 9.610, Article 68<\/a>, Brazil&#8217;s copyright law, obliges the user to hand over a complete list of works immediately after the performance. When none arrives, ECAD may try the artist&#8217;s office, approved sources, the internet and its associations.<\/p>\n<p>A performer still without a setlist goes into Article 39&#8217;s Extra Show distribution:<\/p>\n<ul>\n<li>It pays once a year, in December, and absorbs every show that collected R$500 or less unless its setlist arrived on time. At 5 percent, that is any gross up to R$10,000.<\/li>\n<li>It is split across songs documented at that year&#8217;s other shows, so it follows whatever was played most.<\/li>\n<li>A setlist filed within five years of the licence being paid can still reclaim the money as a direct payment.<\/li>\n<\/ul>\n<p>Bar and restaurant residencies are paid quarterly from recordings ECAD makes at randomly selected venues, not from setlists.<\/p>\n<p>ECAD identified or regularised more than 9,000 live repertoires in 2025, releasing about R$50 million, <a href=\"https:\/\/mundodamusicamm.com.br\/ecad-relatorio-2025\/\">reported<\/a> Nath\u00e1lia Pandel\u00f3 of Mundo da M\u00fasica. Shows paid R$151 million in the first half of 2026, up 25.4 percent, after automation lifted setlist intake tenfold, she <a href=\"https:\/\/mundodamusicamm.com.br\/ecad-primeiro-semestre-2026\/\">wrote<\/a> in July.<\/p>\n<h2>What to do with this<\/h2>\n<ul>\n<li>Register every song and its splits with your association before touring. ECAD can only pay a work it can match.<\/li>\n<li>Write setlist delivery to ECAD into every performance contract, opening slots included.<\/li>\n<li>Keep a dated setlist per show. Your association can submit it if the promoter fails, but once that show is distributed, no credit adjustment is accepted.<\/li>\n<li>Chase shows from the last five years that ended up in Extra Show.<\/li>\n<\/ul>\n<p>A Brazilian concert pays the song side only (see <a href=\"https:\/\/interspacemusic.com\/blog\/brazil-ecad-isrc-approved-distributors-neighbouring-rights-session-musicians\/\">ECAD&#8217;s recording-share rules<\/a>), so none of it shows on a distribution statement. InterSpace Distribution reports the master side line by line; the song side is yours to claim, as with <a href=\"https:\/\/interspacemusic.com\/blog\/brazil-streaming-songwriter-12-percent-without-publisher-collect-3\/\">Brazil&#8217;s 12 percent streaming share<\/a>. <a href=\"https:\/\/interspacemusic.com\/blog\/australia-apra-amcos-performance-reports-live-royalties-setlists\/\">Australia<\/a> and <a href=\"https:\/\/interspacemusic.com\/blog\/croatia-hds-zamp-concert-royalties-400189-euros-missing-setlists\/\">Croatia<\/a> run the same setlist test.<\/p>\n","protected":false},"excerpt":{"rendered":"ECAD concert royalties in Brazil: a live show owes 10 percent of gross receipts, halved to 5 for promoters who file the setlist. ECAD pays songwriters per song, 80 percent to the headliner and 20 to the opener. A set with no setlist goes to a December pool for other songs.","protected":false},"author":6,"featured_media":0,"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":[3],"tags":[138,46111,26884,359,341,370],"class_list":["post-22178","post","type-post","status-publish","format-standard","category-best-practices","tag-brazil","tag-collecting-societies","tag-ecad","tag-live-music","tag-royalties","tag-songwriters","cs-entry","cs-video-wrap"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.7 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Brazil Charges a Live Concert 10 Percent of the Gross for Songwriters. A Set With No Setlist Pays Other People&#039;s Songs.<\/title>\n<meta name=\"description\" content=\"ECAD, Brazil&#039;s central performing-rights office, licenses a ticketed concert at 10 percent of gross receipts for live music, halves that to 5 percent for promoters who file the setlist and paperwork, and pays songwriters song by song from that list.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/interspacemusic.com\/blog\/brazil-ecad-concert-royalties-setlist-roteiro-musical\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Brazil Charges a Live Concert 10 Percent of the Gross for Songwriters. A Set With No Setlist Pays Other People&#039;s Songs.\" \/>\n<meta property=\"og:description\" content=\"ECAD, Brazil&#039;s central performing-rights office, licenses a ticketed concert at 10 percent of gross receipts for live music, halves that to 5 percent for promoters who file the setlist and paperwork, and pays songwriters song by song from that list.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/interspacemusic.com\/blog\/brazil-ecad-concert-royalties-setlist-roteiro-musical\/\" \/>\n<meta property=\"og:site_name\" content=\"The InterSpace Daily.\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/facebook.com\/interspacemusic\/\" \/>\n<meta property=\"article:published_time\" content=\"2026-10-16T13:16:35+00:00\" \/>\n<meta name=\"author\" content=\"Grace Wangeci\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@interspacegroup\" \/>\n<meta name=\"twitter:site\" content=\"@interspacegroup\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Grace Wangeci\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"3 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":[\"Article\",\"BlogPosting\"],\"@id\":\"https:\\\/\\\/interspacemusic.com\\\/blog\\\/brazil-ecad-concert-royalties-setlist-roteiro-musical\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/interspacemusic.com\\\/blog\\\/brazil-ecad-concert-royalties-setlist-roteiro-musical\\\/\"},\"author\":{\"name\":\"Grace Wangeci\",\"@id\":\"https:\\\/\\\/interspacemusic.com\\\/blog\\\/#\\\/schema\\\/person\\\/e932964055c2dfc2484af1bafae3e7b0\"},\"headline\":\"Brazil Charges a Live Concert 10 Percent of the Gross for Songwriters. A Set With No Setlist Pays Other People&#8217;s Songs.\",\"datePublished\":\"2026-10-16T13:16:35+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/interspacemusic.com\\\/blog\\\/brazil-ecad-concert-royalties-setlist-roteiro-musical\\\/\"},\"wordCount\":692,\"publisher\":{\"@id\":\"https:\\\/\\\/interspacemusic.com\\\/blog\\\/#organization\"},\"keywords\":[\"Brazil\",\"collecting societies\",\"ECAD\",\"Live Music\",\"Royalties\",\"Songwriters\"],\"articleSection\":[\"Best Practices\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/interspacemusic.com\\\/blog\\\/brazil-ecad-concert-royalties-setlist-roteiro-musical\\\/\",\"url\":\"https:\\\/\\\/interspacemusic.com\\\/blog\\\/brazil-ecad-concert-royalties-setlist-roteiro-musical\\\/\",\"name\":\"Brazil Charges a Live Concert 10 Percent of the Gross for Songwriters. A Set With No Setlist Pays Other People's Songs.\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/interspacemusic.com\\\/blog\\\/#website\"},\"datePublished\":\"2026-10-16T13:16:35+00:00\",\"description\":\"ECAD, Brazil's central performing-rights office, licenses a ticketed concert at 10 percent of gross receipts for live music, halves that to 5 percent for promoters who file the setlist and paperwork, and pays songwriters song by song from that list.\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/interspacemusic.com\\\/blog\\\/brazil-ecad-concert-royalties-setlist-roteiro-musical\\\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/interspacemusic.com\\\/blog\\\/brazil-ecad-concert-royalties-setlist-roteiro-musical\\\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/interspacemusic.com\\\/blog\\\/brazil-ecad-concert-royalties-setlist-roteiro-musical\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\\\/\\\/interspacemusic.com\\\/blog\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Brazil Charges a Live Concert 10 Percent of the Gross for Songwriters. A Set With No Setlist Pays Other People&#8217;s Songs.\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/interspacemusic.com\\\/blog\\\/#website\",\"url\":\"https:\\\/\\\/interspacemusic.com\\\/blog\\\/\",\"name\":\"The InterSpace Daily.\",\"description\":\"Nigeria&#039;s leading music tech blog\",\"publisher\":{\"@id\":\"https:\\\/\\\/interspacemusic.com\\\/blog\\\/#organization\"},\"alternateName\":\"InterSpace Daily\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/interspacemusic.com\\\/blog\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\\\/\\\/interspacemusic.com\\\/blog\\\/#organization\",\"name\":\"The InterSpace Daily.\",\"alternateName\":\"InterSpace Distribution\",\"url\":\"https:\\\/\\\/interspacemusic.com\\\/blog\\\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/interspacemusic.com\\\/blog\\\/#\\\/schema\\\/logo\\\/image\\\/\",\"url\":\"https:\\\/\\\/i0.wp.com\\\/interspacemusic.com\\\/blog\\\/wp-content\\\/uploads\\\/2025\\\/03\\\/DP1.png?fit=90%2C90&ssl=1\",\"contentUrl\":\"https:\\\/\\\/i0.wp.com\\\/interspacemusic.com\\\/blog\\\/wp-content\\\/uploads\\\/2025\\\/03\\\/DP1.png?fit=90%2C90&ssl=1\",\"width\":90,\"height\":90,\"caption\":\"The InterSpace Daily.\"},\"image\":{\"@id\":\"https:\\\/\\\/interspacemusic.com\\\/blog\\\/#\\\/schema\\\/logo\\\/image\\\/\"},\"sameAs\":[\"https:\\\/\\\/facebook.com\\\/interspacemusic\\\/\",\"https:\\\/\\\/x.com\\\/interspacegroup\",\"https:\\\/\\\/instagram.com\\\/interspace.africa\",\"https:\\\/\\\/youtube.com\\\/@interspacedistro\"],\"description\":\"Nigeria's leading music tech blog \u2014 streaming, distribution, royalties, AI and the business of music, covered from Lagos for artists and labels worldwide.\",\"knowsAbout\":[\"music technology\",\"music distribution\",\"music streaming\",\"music royalties\",\"Nigerian music industry\",\"Afrobeats\",\"YouTube MCNs\",\"DDEX\",\"AI in music\"],\"parentOrganization\":{\"@type\":\"Organization\",\"name\":\"The InterSpace Group\",\"url\":\"https:\\\/\\\/business.interspacemusic.com\\\/\",\"description\":\"The independent side of the global music industry \u2014 distribution, publishing, rights, and technology built for independent artists and labels.\"},\"areaServed\":[\"Nigeria\",\"Africa\",\"Worldwide\"]},{\"@type\":\"Person\",\"@id\":\"https:\\\/\\\/interspacemusic.com\\\/blog\\\/#\\\/schema\\\/person\\\/e932964055c2dfc2484af1bafae3e7b0\",\"name\":\"Grace Wangeci\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/api.dicebear.com\\\/9.x\\\/lorelei\\\/svg?seed=grace&size=96&backgroundColor=ff6a1a,f7a072,ffd5bd,ffb38a&backgroundType=solid\",\"url\":\"https:\\\/\\\/api.dicebear.com\\\/9.x\\\/lorelei\\\/svg?seed=grace&size=96&backgroundColor=ff6a1a,f7a072,ffd5bd,ffb38a&backgroundType=solid\",\"contentUrl\":\"https:\\\/\\\/api.dicebear.com\\\/9.x\\\/lorelei\\\/svg?seed=grace&size=96&backgroundColor=ff6a1a,f7a072,ffd5bd,ffb38a&backgroundType=solid\",\"caption\":\"Grace Wangeci\"},\"description\":\"Grace Wangeci covers East African music tech, DSP economics, and the artists shaping the new African sound for InterSpace Daily.\",\"url\":\"https:\\\/\\\/interspacemusic.com\\\/blog\\\/author\\\/grace\\\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Brazil Charges a Live Concert 10 Percent of the Gross for Songwriters. A Set With No Setlist Pays Other People's Songs.","description":"ECAD, Brazil's central performing-rights office, licenses a ticketed concert at 10 percent of gross receipts for live music, halves that to 5 percent for promoters who file the setlist and paperwork, and pays songwriters song by song from that list.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/interspacemusic.com\/blog\/brazil-ecad-concert-royalties-setlist-roteiro-musical\/","og_locale":"en_US","og_type":"article","og_title":"Brazil Charges a Live Concert 10 Percent of the Gross for Songwriters. A Set With No Setlist Pays Other People's Songs.","og_description":"ECAD, Brazil's central performing-rights office, licenses a ticketed concert at 10 percent of gross receipts for live music, halves that to 5 percent for promoters who file the setlist and paperwork, and pays songwriters song by song from that list.","og_url":"https:\/\/interspacemusic.com\/blog\/brazil-ecad-concert-royalties-setlist-roteiro-musical\/","og_site_name":"The InterSpace Daily.","article_publisher":"https:\/\/facebook.com\/interspacemusic\/","article_published_time":"2026-10-16T13:16:35+00:00","author":"Grace Wangeci","twitter_card":"summary_large_image","twitter_creator":"@interspacegroup","twitter_site":"@interspacegroup","twitter_misc":{"Written by":"Grace Wangeci","Est. reading time":"3 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":["Article","BlogPosting"],"@id":"https:\/\/interspacemusic.com\/blog\/brazil-ecad-concert-royalties-setlist-roteiro-musical\/#article","isPartOf":{"@id":"https:\/\/interspacemusic.com\/blog\/brazil-ecad-concert-royalties-setlist-roteiro-musical\/"},"author":{"name":"Grace Wangeci","@id":"https:\/\/interspacemusic.com\/blog\/#\/schema\/person\/e932964055c2dfc2484af1bafae3e7b0"},"headline":"Brazil Charges a Live Concert 10 Percent of the Gross for Songwriters. A Set With No Setlist Pays Other People&#8217;s Songs.","datePublished":"2026-10-16T13:16:35+00:00","mainEntityOfPage":{"@id":"https:\/\/interspacemusic.com\/blog\/brazil-ecad-concert-royalties-setlist-roteiro-musical\/"},"wordCount":692,"publisher":{"@id":"https:\/\/interspacemusic.com\/blog\/#organization"},"keywords":["Brazil","collecting societies","ECAD","Live Music","Royalties","Songwriters"],"articleSection":["Best Practices"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/interspacemusic.com\/blog\/brazil-ecad-concert-royalties-setlist-roteiro-musical\/","url":"https:\/\/interspacemusic.com\/blog\/brazil-ecad-concert-royalties-setlist-roteiro-musical\/","name":"Brazil Charges a Live Concert 10 Percent of the Gross for Songwriters. A Set With No Setlist Pays Other People's Songs.","isPartOf":{"@id":"https:\/\/interspacemusic.com\/blog\/#website"},"datePublished":"2026-10-16T13:16:35+00:00","description":"ECAD, Brazil's central performing-rights office, licenses a ticketed concert at 10 percent of gross receipts for live music, halves that to 5 percent for promoters who file the setlist and paperwork, and pays songwriters song by song from that list.","breadcrumb":{"@id":"https:\/\/interspacemusic.com\/blog\/brazil-ecad-concert-royalties-setlist-roteiro-musical\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/interspacemusic.com\/blog\/brazil-ecad-concert-royalties-setlist-roteiro-musical\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/interspacemusic.com\/blog\/brazil-ecad-concert-royalties-setlist-roteiro-musical\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/interspacemusic.com\/blog\/"},{"@type":"ListItem","position":2,"name":"Brazil Charges a Live Concert 10 Percent of the Gross for Songwriters. A Set With No Setlist Pays Other People&#8217;s Songs."}]},{"@type":"WebSite","@id":"https:\/\/interspacemusic.com\/blog\/#website","url":"https:\/\/interspacemusic.com\/blog\/","name":"The InterSpace Daily.","description":"Nigeria&#039;s leading music tech blog","publisher":{"@id":"https:\/\/interspacemusic.com\/blog\/#organization"},"alternateName":"InterSpace Daily","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/interspacemusic.com\/blog\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/interspacemusic.com\/blog\/#organization","name":"The InterSpace Daily.","alternateName":"InterSpace Distribution","url":"https:\/\/interspacemusic.com\/blog\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/interspacemusic.com\/blog\/#\/schema\/logo\/image\/","url":"https:\/\/i0.wp.com\/interspacemusic.com\/blog\/wp-content\/uploads\/2025\/03\/DP1.png?fit=90%2C90&ssl=1","contentUrl":"https:\/\/i0.wp.com\/interspacemusic.com\/blog\/wp-content\/uploads\/2025\/03\/DP1.png?fit=90%2C90&ssl=1","width":90,"height":90,"caption":"The InterSpace Daily."},"image":{"@id":"https:\/\/interspacemusic.com\/blog\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/facebook.com\/interspacemusic\/","https:\/\/x.com\/interspacegroup","https:\/\/instagram.com\/interspace.africa","https:\/\/youtube.com\/@interspacedistro"],"description":"Nigeria's leading music tech blog \u2014 streaming, distribution, royalties, AI and the business of music, covered from Lagos for artists and labels worldwide.","knowsAbout":["music technology","music distribution","music streaming","music royalties","Nigerian music industry","Afrobeats","YouTube MCNs","DDEX","AI in music"],"parentOrganization":{"@type":"Organization","name":"The InterSpace Group","url":"https:\/\/business.interspacemusic.com\/","description":"The independent side of the global music industry \u2014 distribution, publishing, rights, and technology built for independent artists and labels."},"areaServed":["Nigeria","Africa","Worldwide"]},{"@type":"Person","@id":"https:\/\/interspacemusic.com\/blog\/#\/schema\/person\/e932964055c2dfc2484af1bafae3e7b0","name":"Grace Wangeci","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/api.dicebear.com\/9.x\/lorelei\/svg?seed=grace&size=96&backgroundColor=ff6a1a,f7a072,ffd5bd,ffb38a&backgroundType=solid","url":"https:\/\/api.dicebear.com\/9.x\/lorelei\/svg?seed=grace&size=96&backgroundColor=ff6a1a,f7a072,ffd5bd,ffb38a&backgroundType=solid","contentUrl":"https:\/\/api.dicebear.com\/9.x\/lorelei\/svg?seed=grace&size=96&backgroundColor=ff6a1a,f7a072,ffd5bd,ffb38a&backgroundType=solid","caption":"Grace Wangeci"},"description":"Grace Wangeci covers East African music tech, DSP economics, and the artists shaping the new African sound for InterSpace Daily.","url":"https:\/\/interspacemusic.com\/blog\/author\/grace\/"}]}},"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/interspacemusic.com\/blog\/wp-json\/wp\/v2\/posts\/22178","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/interspacemusic.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/interspacemusic.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/interspacemusic.com\/blog\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/interspacemusic.com\/blog\/wp-json\/wp\/v2\/comments?post=22178"}],"version-history":[{"count":1,"href":"https:\/\/interspacemusic.com\/blog\/wp-json\/wp\/v2\/posts\/22178\/revisions"}],"predecessor-version":[{"id":22179,"href":"https:\/\/interspacemusic.com\/blog\/wp-json\/wp\/v2\/posts\/22178\/revisions\/22179"}],"wp:attachment":[{"href":"https:\/\/interspacemusic.com\/blog\/wp-json\/wp\/v2\/media?parent=22178"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/interspacemusic.com\/blog\/wp-json\/wp\/v2\/categories?post=22178"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/interspacemusic.com\/blog\/wp-json\/wp\/v2\/tags?post=22178"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}