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SESAC

SESAC, formally known as the Society of European Stage Authors and Composers, is a for-profit performing rights organization (PRO) in the United States that administers public performance licenses for over 1.5 million musical works on behalf of more than 15,000 affiliated songwriters, composers, and music publishers.^[1] Founded in February 1931 by German immigrant Paul Heinecke in New York City, it initially focused on securing royalties for European composers in the American market, making it the second-oldest PRO in the U.S. after ASCAP.^[1] Unlike its non-profit counterparts ASCAP and BMI, SESAC operates as a private, invitation-only entity, emphasizing selective representation and innovative rights management.^[2] Over the decades, SESAC has expanded its scope beyond public performance rights to include mechanical royalties through its 2015 acquisition of The Harry Fox Agency, forming a comprehensive music rights administration under the SESAC Music Group umbrella.^[1] Headquartered in Nashville with offices in New York, Los Angeles, London, and Munich, the organization supports a diverse roster of high-profile creators, including Bob Dylan, Adele, and Ariana Grande, and licenses music for prominent media such as the television series Grey's Anatomy and Seinfeld.^[1] As a global leader in music licensing, SESAC collects and distributes royalties while prioritizing a creator-first approach, ensuring fair compensation for public performances in businesses, broadcasting, and digital platforms.^[1]

History

Founding and Early Years

SESAC was founded in February 1931 by Paul Heinecke, a German immigrant, in New York City as the Society of European Stage Authors and Composers.^[1]^[3] The organization emerged as America's second performing rights organization, primarily to assist European composers and publishers in collecting royalties for the public performance of their works on American radio stations, at a time when the burgeoning radio industry was increasingly broadcasting classical music. Heinecke's initiative addressed a gap left by the dominant American Society of Composers, Authors and Publishers (ASCAP), focusing on licensing European repertoire to broadcasters and establishing SESAC as a for-profit entity from its inception, unlike its non-profit counterparts.^[4] In 1940, the organization ceased using its full formal name and adopted SESAC as its sole identifier, simplifying its branding amid growing operations.^[5] During the 1930s and 1940s, SESAC concentrated on licensing European classical works for radio, capitalizing on the medium's expansion and the demand for sophisticated programming, while also supplying gospel recordings in the 1930s to help broadcasters meet Federal Communications Commission requirements. This period saw the organization build relationships with American radio stations, securing performance rights for composers whose music was underrepresented in the U.S. market. By the late 1940s, SESAC continued diversifying its repertoire beyond European classical music, incorporating additional gospel acts to broaden its appeal and adapt to evolving listener preferences in post-war America.^[1] The 1950s marked further evolution, with SESAC launching an electrical transcription service tailored for radio broadcasting, which produced and distributed pre-recorded programs featuring select affiliates' works. This service highlighted emerging American talent in jazz and country genres, including artists such as Duke Ellington and Chet Atkins, helping to integrate these styles into the organization's catalog alongside gospel acts like the Jordanaires and the Blackwood Brothers.^[1] The initiative not only facilitated wider airplay but also positioned SESAC as an innovator in radio content delivery during the era's technological advancements. By the early 1960s, recognizing the rising prominence of country music, SESAC opened its Nashville office in 1964 to strengthen ties with the genre's creators and publishers in Music City.^[6] This strategic move laid the groundwork for deeper involvement in American popular music while maintaining its foundational commitment to comprehensive royalty collection.^[1]

Expansion and Modern Developments

In the 1960s, SESAC began expanding beyond its classical and European roots into mainstream popular music, diversifying its repertoire to include folk, rock, and emerging genres that appealed to broader American audiences.^[1] A pivotal moment came in the 1970s when the organization signed renowned songwriter Bob Dylan, whose affiliation helped elevate SESAC's profile among contemporary artists and marked its shift toward representing influential figures in popular music.^[1] By 1985, SESAC relocated its headquarters from New York City to Nashville, Tennessee, positioning itself at the heart of the country's burgeoning country and music industry ecosystem to facilitate closer collaboration with songwriters, publishers, and industry stakeholders.^[7] This move centralized operations in a hub teeming with creative talent and production activity, supporting SESAC's growing focus on domestic music markets. A significant turning point occurred in 1992 when SESAC was acquired by a group led by Stephen Swid, Freddie Gershon, and Ira Smith, who infused the organization with new capital and strategic vision.^[8]^[1] Under their ownership, SESAC pivoted toward mainstream popular music while expanding into television and broader media licensing, enabling the organization to negotiate deals for sync placements in film, advertising, and broadcasting that generated new revenue streams for affiliates.^[9] In 2013, Rizvi Traverse Management purchased a majority stake in SESAC, acquiring approximately 75% ownership from the prior investors and injecting further resources to accelerate growth in digital and global licensing.^[10] This private equity infusion supported SESAC's adaptation to the rise of streaming services and online platforms, enhancing its technological infrastructure for rights administration. SESAC further broadened its scope in 2015 by acquiring the Harry Fox Agency (HFA), the leading U.S. provider of mechanical rights licensing, for an undisclosed sum.^[11] The acquisition integrated HFA's mechanical royalties expertise with SESAC's performance rights operations, creating a comprehensive one-stop solution for publishers seeking to monetize both public performances and reproductions across media formats.^[12] In 2017, The Blackstone Group acquired SESAC from Rizvi Traverse, transitioning it fully into private equity ownership and valuing the organization at around $1 billion.^[13] This deal underscored SESAC's evolution into a major player in music rights management, with Blackstone's long-term investment approach fostering expansions in international markets and data-driven licensing innovations.^[14] As of 2025, SESAC represented over 15,000 songwriters, composers, and music publishers, licensing more than 1.5 million musical works worldwide, reflecting its entrenched role in the global music ecosystem.^[1]^[2]

Organizational Structure

Governance and Ownership

SESAC operates as a for-profit performing rights organization (PRO), in contrast to its primary competitors ASCAP and BMI, which function as non-profit entities. This for-profit model allows SESAC to retain a portion of collected royalties as profit, enabling investments in expansion and technology while distributing the remainder to affiliates.^[15]^[16] Since 2017, SESAC has been wholly owned by The Blackstone Group, a major private equity firm, which acquired the company for approximately $1 billion to support its management team in pursuing long-term growth strategies. As a private company under Blackstone's ownership, SESAC benefits from substantial financial backing for acquisitions and global expansion, though as of late 2025, Blackstone has been exploring a potential sale valued at around $3 billion without finalizing any transaction.^[17]^[18] The leadership structure is headed by Chairman and Chief Executive Officer John Josephson, who has held the position since 2014 and oversees strategic direction with a focus on licensing innovations and international outreach. Key executives include Executive Vice President and General Counsel Christos P. Badavas for legal affairs, Executive Vice President and Chief Financial Officer Michael Deighan for administrative and financial operations, Executive Vice President and Chief Operating Officer Malcolm Hawker for day-to-day management, and President of International Alexander Wolf for global affairs.^[19]^[20] SESAC's board of directors, while not publicly detailed due to its private status, supports decision-making centered on strategic licensing agreements, repertoire growth, and market expansion, guided by Blackstone's investment priorities. Internal departments handle administration through finance and operations teams, legal matters via dedicated counsel, and international relations through specialized oversight to manage global royalty collection and partnerships.^[21]^[20]

Membership and Operations

SESAC operates as a selective performing rights organization (PRO), distinguishing itself from competitors like BMI through an invitation-only membership model for songwriters, composers, and music publishers.^[22]^[23] Potential affiliates must have representatives, such as managers or lawyers, contact SESAC for consideration, as there is no open application process; this approach allows the organization to curate a focused roster aligned with its strategic goals.^[22] In contrast, BMI maintains an open enrollment policy, enabling any qualifying songwriter to join without prior approval.^[24] By 2025, SESAC represents over 15,000 affiliates worldwide, including prominent figures like Bob Dylan.^[1] The organization's core operations center on monitoring and licensing public performances of its repertoire, which encompasses more than 1.5 million musical works.^[1] SESAC employs a combination of sample surveys for radio airplay, digital tracking for streaming and online platforms, and cue sheets or playlists from broadcasters and venues to document usage accurately.^[23]^[25] This data collection ensures that royalties are distributed based on verified performances across live events, television, radio, and digital media.^[26] SESAC extends its reach internationally through reciprocal agreements with foreign PROs, enabling it to collect and distribute royalties for its affiliates' works performed abroad.^[27] As a member of the International Confederation of Societies of Authors and Composers (CISAC), SESAC maintains partnerships with organizations in Europe and beyond, supported by offices in London and Munich.^[28] These agreements facilitate seamless global representation without requiring direct affiliations in every territory.^[29] In addition to rights administration, SESAC provides administrative support to its affiliates, including educational resources on copyright protection and career development programs.^[30] Initiatives such as mentorship opportunities, internships with minority-serving colleges, and multi-level staff guidance help affiliates navigate the music industry and advance their professional growth.^[30] These services underscore SESAC's commitment to fostering long-term success for its curated community of creators.^[31]

Repertoire and Licensing

Key Affiliates

SESAC's roster of key affiliates features influential songwriters, composers, and publishers who have shaped modern music across genres, with affiliations often spanning decades and contributing significantly to the organization's repertoire of over 1.5 million compositions.^[1] Among its long-term affiliates, Bob Dylan joined in the mid-1960s, bringing his seminal folk-rock catalog including works like "Blowin' in the Wind" and "Like a Rolling Stone," which have generated substantial performance royalties through enduring public plays. Neil Diamond, another enduring figure, affiliated with SESAC in 1994, adding pop standards such as "Sweet Caroline" and "I'm a Believer" to the repertoire, enhancing the organization's representation in classic American songwriting.^[32] In recent years, SESAC has attracted modern high-profile signings, including Adele, who moved from BMI to SESAC in 2017 for U.S. performing rights representation, covering hits like "Hello" and "Rolling in the Deep" that dominate global airplay and streaming (as of 2025).^[33] Green Day signed with SESAC in 2015, aligning the punk-rock band's catalog—including anthems like "Boulevard of Broken Dreams"—with the PRO's growing focus on alternative and rock genres.^[34] Similarly, R.E.M. entered an agreement in 2017 for their entire U.S. catalog and individual band members' performing rights, featuring tracks like "Losing My Religion" that underscore SESAC's appeal to legacy rock acts.^[35] The affiliates reflect SESAC's diversity, spanning rock with R.E.M. and Green Day, hip-hop through Kendrick Lamar's representation for compositions like those on his Pulitzer Prize-winning album DAMN., and pop via Adele's soul-infused songwriting.^[36] This breadth ensures broad genre coverage, from alternative anthems to contemporary rap narratives.^[37] Notable departures include Mariah Carey, who switched from SESAC to ASCAP in February 2020, transferring her extensive catalog of over 80 million records sold, including "Vision of Love," to seek new royalty management aligned with her career phase.^[38] Affiliation with SESAC impacts artists' royalty earnings through quarterly distribution schedules—typically 90 days after the end of each performance quarter—providing income streams for public performances, which is beneficial for mid-career creators relying on consistent cash flow.^[39] Furthermore, SESAC's invitation-only model offers personalized account management and access to exclusive networking events, such as awards ceremonies, boosting career visibility and opportunities for collaboration among its more than 15,000 affiliates.^[40]

Royalty Collection Process

SESAC primarily operates through blanket licensing agreements, which grant users—such as radio stations, television networks, streaming services, and public venues like restaurants and concert halls—non-exclusive rights to publicly perform any composition in its repertoire without needing individual permissions for each work.^[41] These agreements simplify compliance with U.S. copyright law by covering unlimited performances across SESAC's catalog of over 1.5 million songs, with fees determined based on factors like the type of business, audience size, and frequency of music use.^[42] For smaller users or specific scenarios, SESAC permits direct licensing, where parties negotiate terms individually with the relevant copyright owners rather than through the organization.^[42] To collect royalties, SESAC monitors public performances using a combination of technologies and methods, including digital tracking for streams, airplay monitoring via services like Nielsen Broadcast Data Systems for radio and TV, and watermarking for precise identification of compositions in broadcasts.^[43] For live performances, data is gathered through cue sheets, set lists, and reports from venues, ensuring comprehensive coverage across media.^[23] These collected fees form the basis of the royalty pool, which SESAC administers efficiently due to its selective repertoire and targeted monitoring approach. Royalties are distributed to affiliates—songwriters, composers, and publishers—on a quarterly basis, typically 90 days after the end of each performance quarter, with payments calculated from verified usage data.^[44] Distributions are weighted by objective factors such as audience reach, performance frequency, and market value, prioritizing high-impact uses to fairly allocate earnings from the pool.^[42] Unlike non-profit performing rights organizations like ASCAP and BMI, SESAC's for-profit structure allows it to retain approximately 11-13% of collected royalties per industry estimates—to fund operations, technology investments, and growth initiatives before disbursing the remainder.^[45]

Controversies and Legal Issues

2024 YouTube Dispute

In late September 2024, SESAC and YouTube entered a licensing dispute stemming from the impending expiration of their agreement on October 1, 2024, amid unsuccessful negotiations over royalty rates for SESAC's musical repertoire.^[46]^[47] Anticipating the contract's end, YouTube began blocking access to SESAC-affiliated content in the United States on September 28, 2024, removing official music videos and audio tracks by prominent artists including Adele, Bob Dylan, Kendrick Lamar, Green Day, Nirvana, and R.E.M.^[46]^[48]^[47] The blackout affected thousands of songs from SESAC's catalog of over 1.5 million compositions, disrupting availability on both the main YouTube platform and YouTube Music for U.S. users, though it spared user-uploaded content and had no initial impact outside the United States.^[46]^[47]^[48] The parties reached a new licensing agreement on September 30, 2024, which promptly restored the blocked content within one to two days and established terms for equitable compensation to SESAC's songwriters and publishers, with financial specifics kept confidential.^[46]^[48] This brief but high-profile conflict illustrated the intensifying tensions in digital streaming negotiations, where performing rights organizations like SESAC wield significant influence to advocate for fair royalty structures amid evolving platform monetization models.^[46]^[48]

Regulatory and Antitrust History

Unlike its larger counterparts, the American Society of Composers, Authors and Publishers (ASCAP) and Broadcast Music, Inc. (BMI), SESAC has never been subject to antitrust consent decrees with the U.S. Department of Justice, primarily due to its smaller market share and for-profit corporate structure, which distinguished it from the nonprofit organizations targeted in early 20th-century monopoly probes.^[49] This exemption allows SESAC greater flexibility in negotiating licensing terms without mandatory rate court oversight, though it has exposed the organization to standard antitrust litigation when disputes arise.^[49] SESAC's expansion in the 1990s, when it aggressively grew its repertoire by signing high-profile songwriters and publishers, drew initial regulatory scrutiny over potential anticompetitive practices in licensing fees for emerging media like cable and satellite television.^[50] Absent a dedicated rate court, disputes over these fees were resolved through federal antitrust suits rather than streamlined judicial processes available to ASCAP and BMI; for instance, early challenges highlighted SESAC's blanket licensing as exerting undue pressure on broadcasters and cable operators, setting the stage for later litigation.^[51] A pivotal case emerged in 2009 when the Television Music License Committee (TMLC), representing local TV stations including cable affiliates, filed an antitrust lawsuit against SESAC (Meredith Corp. et al. v. SESAC, LLC), alleging monopolistic pricing and restrictive exclusivity clauses that prevented direct licensing and inflated fees beyond the value of SESAC's repertoire.^[51] The suit, rooted in SESAC's post-1990s growth, claimed violations of the Sherman Antitrust Act through horizontal price-fixing and group boycotts. In 2014, the parties reached a settlement requiring SESAC to pay $58.5 million—covering reimbursements and damages—and to provide more flexible, non-exclusive licensing options through 2035, including per-program alternatives for TV broadcasters.^[52] Building on this, the Radio Music License Committee (RMLC) initiated an antitrust investigation and lawsuit in 2012 against SESAC, focusing on exclusivity provisions in writer agreements that locked in rights and enabled supra-competitive radio licensing fees disproportionate to SESAC's market share.^[53] The action accused SESAC of Sherman Act violations, including tying arrangements and refusals to deal, amid complaints that its for-profit model prioritized revenue over fair access. This culminated in a 2015 settlement where SESAC paid $3.5 million in damages and legal fees, committed to rate arbitration for radio licenses through 2037, and agreed to eliminate certain exclusivity clauses to facilitate direct licensing by affiliates. In November 2024, an arbitration panel set SESAC's blanket license fee for commercial radio at 0.2824% of net revenue for the 2023-2026 period.^[54]^[55] In 2024-2025, ongoing Capitol Hill and U.S. Copyright Office discussions have spotlighted PRO transparency and fee structures, including for SESAC, prompted by licensee complaints about administrative burdens from fractional licensing and opaque revenue distribution.^[56] A February 2025 Copyright Office Notice of Inquiry examined these issues, noting congressional concerns from September 2024 over how established PROs like SESAC, alongside newer entrants, impose escalating costs on small businesses through non-transparent fee calculations and litigation threats.^[56] SESAC's 2015 acquisition of the Harry Fox Agency (HFA) marked a significant expansion into mechanical rights licensing, enabling the organization to administer both performance and reproduction rights under a unified platform while adhering to Section 115 compulsory mechanical licensing requirements of the U.S. Copyright Act.^[57] This move, valued at approximately $20 million, positioned SESAC to handle digital streaming mechanicals compliantly, with HFA's established processes ensuring statutory royalty rates (e.g., 12.7 cents per reproduction or 2.45 cents per minute, as of 2025) and quarterly payments to publishers, without triggering additional antitrust oversight beyond existing judicial precedents.^[57]^[58]

References

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About Us - SESAC
SESAC Music Group is a leader and innovator in global music licensing that administers public performance, mechanical, and other rights.
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The requirements of the compulsory mechanical license are outlined in Section 115 of the U.S. Copyright Act, 17 U.S.C. § 115. The HFA mechanical license is a ...