menu_book SoundVibs Blog

Music, licensing,
real-world business use.

We do not judge anyone. Many businesses play music thinking everything is fine simply because it comes from a radio, a phone, a laptop, a personal playlist or a mainstream streaming service.

The problem is that in a professional environment, music can quickly become a matter of inspection, claims, disputes or unexpected costs. This blog is not here to scare people. It is here to make them think.

WHY THIS BLOG

When “easy music” becomes a real issue

TV, radio, smartphone, personal playlists, consumer streaming services, music found “somewhere online”: in a venue open to the public, the issue is not always as simple as it seems.

The goal here is simple: lay out public cases, common reflexes and classic mistakes without moralizing and without pointless fear tactics.

DOCUMENTED CASES

One public case for each target country

Public examples, not exhaustive, meant to illustrate the issue. The point is not to create panic, but to show that music used in professional settings is genuinely regulated in multiple countries.

flag Belgium

The smartphone-at-work case

In 2017, a Belgian case drew attention because a SABAM invoice of 443 € was linked to music played on a smartphone in a professional setting. This is exactly the kind of situation that makes small business owners say: “Wait… even that?”

It highlights one simple point: something that feels “private” or harmless can be viewed very differently once the music leaves the strictly personal sphere.

flag France

OGF / music played during funeral ceremonies

In France, the OGF case reminded many people that music used even in sensitive contexts can still lead to disputes. The court accepted the idea that the use fell within the scope of public performance.

Publicly reported amounts went beyond 70,000 €, with additional related sums mentioned in legal commentary and press coverage. Even outside classic retail or hospitality, the issue can become very concrete.

flag United Kingdom

Bar operating without a PRS license

In the United Kingdom, a former operator of the Remix Bar in Woking was ordered to pay 9,000 £ in damages after operating without a proper music license for two years.

The message is simple: even in a typical bar or pub atmosphere, rights management and the courts may treat music licensing as far more than a minor administrative detail.

flag United States

ASCAP actions against bars and restaurants

In 2024, ASCAP announced new actions against multiple U.S. venues for unauthorized public performances of protected songs.

In the United States, legal claims can seek damages ranging from 750 $ to 30,000 $ per work, and even more in willful cases. In other words: in a bar, restaurant or venue, “just putting some music on” is never legally neutral.

flag Canada

SOCAN / Festival d’été de Québec

In Canada, SOCAN and the Festival d’été international de Québec announced in January 2026 that they had reached an agreement ending a licensing dispute covering multiple years.

Again, this was not a tiny improvised venue. It shows that even large cultural actors and major events can end up in disputes over music licensing and related fees.

flag Australia

Gyms operating without a OneMusic license

In Australia, APRA AMCOS reported in 2026 a federal decision against an operator running multiple gyms without a valid music license.

The announced total reached 235,398 AUD in damages, excluding legal costs. That is huge — and exactly the kind of number that makes venue owners stop and think before letting music run “just like that.”

COMMON MISTAKES

What many businesses assume

  • chevron_right “It is my music, so I can play it.”
  • chevron_right “It is just a phone or a laptop, not a real sound system.”
  • chevron_right “It is radio, so it must already be paid somewhere.”
  • chevron_right “It is only for atmosphere, not a concert.”
  • chevron_right “Nobody is ever going to inspect this.”

THE REAL QUESTION

This is not about judging people

The real issue is whether your venue wants to depend on uncertainty, habits, assumed tolerance or random inspections.

Many professionals only discover the rules afterwards. And that is often when the costs become irritating: claims, exchanges, invoices, forced compliance, wasted time and unnecessary stress.

When music is part of the customer experience, it is usually better to choose a solution that is clear, intentional and designed from the start for professional use.

CONCLUSION

“Easy music” can become expensive

Not always. Not everywhere. Not in the same way. But often enough that a professional venue should take the matter seriously.

SoundVibs is not a fear-based speech. It is a simple response to a question that is not always simple.

General information only. This page is educational and marketing-oriented. It is not legal advice. Exact rules may vary depending on the country, the type of venue, the use case, the repertoire involved and the licenses at issue.