Contracts for solo music artists: lessons from Alex

This article is for information only and does not represent legal advice. All situations and characters are fictitious and serve an educational purpose. If you face a concrete legal issue, you should discuss it with a lawyer.

Many solo artists start out believing that all that really matters is the music. Contracts feel like “paperwork for later”, and trust in producers, managers or friends seems enough. In reality, copyright and neighbouring rights are recognised and guaranteed by law, and the way you draft and negotiate your contracts can shape your income and your creative freedom for years.

In Romania, copyright and neighbouring rights are primarily regulated by Law no. 8/1996 on copyright and neighbouring rights, which states from its very first article that copyright over a literary, artistic or scientific work is recognised and guaranteed and includes both moral and economic rights.^[1]

The Romanian Copyright Office (ORDA) is the central public authority that regulates and supervises the area of copyright and neighbouring rights, including the activity of collective management organisations.^[2] In the musical field, organisations such as UCMR-ADA (for authors’ rights in music) and CREDIDAM (for performers’ rights) collect and distribute specific remunerations to authors and performers.^[3][4]

The central question this article answers is simple but crucial for any solo musician:

How can a solo artist turn everyday musical experiences into legal and contractual strategies that protect their music, income and creative freedom?

We will use a fictional character – Alex, a solo singer – and turn each stage of his journey into concrete legal lessons any artist can apply.

1. From “I’ll sign on trust” to “I never sign what I don’t understand” – the beginning of Alex’s story

1.1. The first music contract signed “because everyone signs it”

Alex is a young pop solo artist. After years of singing in clubs, private events and small festivals, he is offered a “standard” deal by an independent label: studio time, digital distribution and some online promotion. The representative insists that this is “the usual contract that all artists sign” and that there’s no real room for negotiation.

Alex signs without consulting a lawyer. The contract:

does not clearly state who actually owns the masters (sound recordings);
is vague on how income from streaming, downloads and sync deals (ads, films, series) is split;
does not specify in detail how the tracks can be used further (remixes, compilations, other platforms);
does not explain what happens if one of the tracks unexpectedly becomes successful.

For a few months things look good. The songs appear on streaming platforms, some small gigs come in, and Alex feels “everything will sort itself out”. But when one single starts gaining traction on playlists, tensions about money and control quickly appear.

1.2. When success puts a magnifying glass on your contract

Following the first wave of success, the label:

tries to impose a different revenue split, less favourable to Alex, relying on vague clauses;
signs sync deals with advertisers and other partners without clearly asking for Alex’s prior consent;
authorises remixes and uses the song in other projects, again pointing to unclear formulations in the contract.

When he finally talks to a lawyer, Alex learns that Law no. 8/1996 recognises both moral rights (linked to the name and integrity of the work) and economic rights (linked to commercial exploitation: reproduction, distribution, communication to the public, broadcasting, making available online, etc.).^[5] The law allows licences and assignments of economic rights, but the exact way an artist licenses or transfers rights depends entirely on what they sign.

In other words, the fact that the law protects Alex as an author does not automatically save him from an imbalanced contract that he accepted without proper legal review.

1.3. The first lesson: a contract is not a formality – it is a protection tool

After this experience, Alex adopts three basic rules:

He will not sign any contract again without reading it carefully and discussing the key clauses with a lawyer.
He stops seeing the contract as “bureaucracy” and starts treating it as a tool to protect his creative freedom and financial interests.
He learns the difference between a partnership “based on trust” and a partnership properly regulated by clear legal clauses.

This shift from naivety to prudence is the first step toward real contractual mastery.

2. What the law actually says about your rights as a solo artist

2.1. Copyright and neighbouring rights – the general framework

Law no. 8/1996 states that copyright arises from the moment a literary, artistic or scientific work is created, regardless of the form or medium in which it is fixed.^[1]

Moral rights – such as the right to be recognised as the author, the right to decide if and when the work is made public, and the right to oppose changes that prejudice the work or the author’s reputation;
Economic rights – such as the right to authorise or prohibit reproduction, distribution, public communication, broadcasting, and making the work available to the public via the internet, as well as other modes of exploitation.^[5]

At the same time, performers (artists who perform or execute the work) benefit from neighbouring rights, also regulated by Law no. 8/1996.^[6] For a solo artist who is both author (composer/lyricist) and performer, this usually means two distinct sets of economic rights, each with its own revenue streams.

2.2. ORDA and the main collective management organisations (UCMR-ADA and CREDIDAM)

The Romanian Copyright Office (ORDA) is a specialised central administrative body under the Government. It acts as the single regulatory authority in copyright and neighbouring rights, with tasks that include issuing regulations, keeping national registers, supervising collective management organisations and performing technical expertise in certain cases.^[2][7]

In music, the main collective management organisations Alex will hear about are:

UCMR-ADA – a collective management organisation accredited to manage economic rights of authors in the musical field, including public communication, broadcasting and other uses of musical works.^[3][8]
CREDIDAM – a non-profit association whose goal is to collect and distribute the money due to performers (Romanian and foreign) from the use of commercial recordings by TV and radio stations, cable operators, cinemas, restaurants, hotels, bars, discotheques and other users.^[4][9]

A solo artist like Alex must understand how individual contracts (with labels, publishers, agencies, brands) interact with collective management (through UCMR-ADA and CREDIDAM). If he grants too broad rights in individual contracts, he may reduce or even lose part of the income that would otherwise come through collective management.

2.3. Mandate, licence, assignment – key legal concepts

Under Romanian law, rightholders (authors and performers) may entrust the management of their rights to collective management organisations via a management mandate and may also grant licences or assignments through individual contracts.^[10]

In practice, the difference between non-exclusive licences, exclusive licences and assignments is crucial:

Non-exclusive licence – the artist keeps their rights and can grant similar licences to other partners;
Exclusive licence – only one partner (for example, a label) may exploit the work within a defined territory and period, for specific uses;
Assignment of economic rights – transfer of economic rights to a third party, usually in exchange for a fee, for a certain period and for defined modes of exploitation.

Without understanding these notions, a solo artist can easily sign away more than they realise and limit their ability to negotiate future deals.

3. The main contracts a solo artist faces – and where the legal risks hide

3.1. Production and distribution deals

The first major contract for many solo artists is a production and distribution agreement: studio work, recording, mixing and mastering, digital distribution, possibly some promotion. The sensitive elements in this kind of agreement include:

Ownership of masters – who owns the sound recordings after production?
Revenue split – how are income from streaming, downloads, physical sales and sync deals shared?
Duration – how long does the contract last, and under what conditions can it be renewed?
Territory – Romania only, Europe, worldwide?
Right to modify, remix or re-record – and who controls these decisions?

Without clear clauses, Alex may find out that he cannot re-release a song with another label or in a different version even though he is both author and main performer.

3.2. Management and booking/agency contracts

Management and booking agencies often propose representation contracts for concerts, tours, TV appearances or commercial collaborations. Sensitive points include:

Term and exclusivity – for how long, and on which markets or types of activity is the agency exclusive?
Commission – what percentage is charged and on which income streams (shows, sync, merch, brand deals)?
Obligations of the artist – is Alex obliged to accept any show or campaign the agency proposes?
Authority to sign – can the agent sign contracts on Alex’s behalf, and in what limits?

A badly drafted management contract can turn the artist into a kind of “informal employee”, with limited autonomy and high commissions even for projects where the agency’s contribution is minimal.

3.3. Sync and licensing agreements

Licences for using songs in ads, series, films or games (sync deals) can be particularly profitable. But only if the artist understands:

which rights are licensed – the composition, the master or both;
for what period, on which territory and on which platforms (TV, cinema, online, social media, etc.);
whether the licence is exclusive or non-exclusive;
how the income is split between author, performer, producer, publisher and other partners.

Without a clear legal framework, a sync success can quickly turn into a dispute between the artist, the label, the agency and other rightholders.

3.4. Collaborations, features and co-authorship

In practice, many songs are co-written and co-produced. Legal friction appears especially around:

splits of authorship (composition, lyrics, production);
clear regulation of everyone’s rights – both on the authors’ side and on the performers’ side.

UCMR-ADA, for example, explains that its repertoire includes all musical works whose economic rights are managed collectively, based on the law, collective management mandates and representation agreements with similar foreign organisations, and emphasises the importance of correctly declaring co-authors and their shares.^[8] Even so, disputes will arise if the parties do not sign written agreements reflecting the reality of the collaboration.

4. How Alex turns musical experience into legal strategy

4.1. From generic templates to tailored contracts

After painful early experiences, Alex decides that no contract will ever be treated as a generic template again. Together with his lawyer, he builds a set of principles:

Every collaboration is different and needs clauses tailored to that specific project.
Vague wording is replaced by concrete terms: exact percentages, defined territories and clear modes of exploitation.
The contract should include explicit mechanisms for renegotiation and early termination in certain situations.
Individual contracts must be consistent with his mandates to UCMR-ADA and CREDIDAM, to avoid overlaps or conflicts.

In this way, each past problem – an underpaid hit, a badly handled remix, a difficult tour – becomes a “case study” that translates into a clause in a new, improved contract.

4.2. Internal organisation: how a solo artist can keep track of rights and money

As projects multiply, Alex realises that good contracts are not enough; he also needs a minimum internal system:

A separate folder (physical or digital) for each track or project, including lyrics, compositions, audio files and all associated contracts.
A simple spreadsheet listing expected income streams (streaming, downloads, collective management, sync, merch) and partners involved in each.
A calendar of contractual terms (duration, exclusivity periods, renewal dates, notice periods).
A list of management/agency contracts and the exact scope of each (e.g. a booking agent for Romania only, another for Europe, etc.).

This minimal organisation helps him check whether payments received match contractual clauses and to react early when something is off.

4.3. Flexibility clauses: contracts that survive crises and sudden change

Events such as the pandemic, cancelled tours or abrupt market changes show Alex that contracts need to be built for the unpredictable. With his lawyer, he starts insisting on:

Force majeure and hardship clauses, aligned with civil law principles, to regulate what happens when events beyond the parties’ control make performance impossible or excessively burdensome;
Renegotiation mechanisms for situations where a track becomes unexpectedly successful or costs radically change;
Clear procedures for postponing or cancelling shows and tours, including how advances and costs are handled.

These clauses are not “luxuries”; they are essential tools for avoiding litigation and preserving business relationships in times of crisis.

5. A practical legal checklist for solo artists before signing any contract

Based on Alex’s journey, you can use the following checklist as a starting point (not as a substitute for legal advice):

Who owns which rights? Make sure it is clear whether you keep copyright and to what extent you license or assign economic rights.
What type of licence or assignment are you granting? Is it exclusive or non-exclusive? For how long? On which territory? For which uses?
How is money shared? Define clearly the percentages and calculation method for streaming, downloads, physical sales, sync, merch and live performances.
What is the exact term? Is there automatic renewal? Can you refuse renewal? Under which conditions?
What exclusivity clauses apply? Are you blocked from working with other producers, managers or agents?
Is renegotiation possible? Are there explicit clauses allowing re-negotiation if a track becomes a hit or in case of major market changes?
What happens when the contract ends? Who keeps the masters, the video archives and promotional materials?
How are disputes resolved? Are there mediation or arbitration clauses? Which courts have jurisdiction?
Is the contract aligned with collective management? Do clauses respect the role of UCMR-ADA and CREDIDAM in collecting and distributing certain remunerations?^[3][4]

This checklist will not replace a lawyer’s work, but it gives you a basic map of where the “red flags” usually lie.

6. When should you call a lawyer specialised in music and entertainment law?

Alex’s story shows that the real question is not whether you will need a lawyer, but when and at what stage of your career.

In practice, a lawyer familiar with music law can be particularly helpful:

before signing your first production or label deal;
before accepting long-term exclusivity clauses (with labels, managers, booking agencies);
before signing sync agreements with advertising agencies, TV channels, platforms or brands;
when clarifying co-authorship and co-performance relationships in band or collective projects;
when negotiating or re-negotiating contracts after one of your tracks becomes successful;
when dealing with disputes with labels, managers, platforms or other industry players.

The lawyer’s role is not just to “fight fires” in court, but to act as an architect of a legal strategy that supports your career instead of blocking it.

7. Conclusion: from naivety to contractual mastery

The fictional journey of Alex follows a path that many solo artists travel in real life:

At the beginning, they sign contracts “because everyone signs them”, without understanding the consequences;
Then success shines a harsh light on those clauses;
They learn, sometimes painfully, how copyright, neighbouring rights and collective management actually work;
Finally, they build a legal strategy that protects their music, money and creative freedom.

Romanian law offers a protection framework for authors and performers, including moral and economic rights and collective management structures.^[1][5][6] But how each artist benefits from that framework depends heavily on the contracts they sign and on how they negotiate their position with labels, publishers, agencies, platforms and brands.

The core message is this: talent and studio work are essential, but without mature contractual thinking you risk losing control, income and creative freedom. Turning your musical experience into a coherent legal and contractual strategy is often the difference between a vulnerable career and a sustainable one.

Thinking about putting your music contracts in order?

If you are a solo artist and:

you already have contracts and you’re not sure what you actually signed;
you are about to sign with a label, a manager or a booking agency;
you want to understand how copyright, neighbouring rights, UCMR-ADA or CREDIDAM work in practice for your specific case,

you may benefit from discussing your situation and your plans with a lawyer.

Frequently asked questions about music contracts for solo artists

1. Do I really need a lawyer for my first music contract?

It is strongly recommended. Even your first contract can include clauses on assigning economic rights for long periods, wide exclusivity or low revenue percentages. One vague sentence can affect all future income from your songs. Preventive legal advice is almost always cheaper and more effective than trying to fix an imbalanced contract later.

2. What is the difference between copyright and neighbouring rights for a solo artist?

Copyright protects the musical work itself (composition, lyrics), whereas neighbouring rights protect the performance or execution of that work. A solo artist can simultaneously be author (composer/lyricist) and performer, which means they may have two distinct categories of economic rights with separate revenue streams.

3. What are the risks of “standard” contracts offered by labels?

Standard or template contracts are usually written to protect the label’s interests first. They may include broad exclusivity, long assignments of economic rights, low artist percentages and no clear mechanisms for renegotiation in case of success. Without negotiation and adaptation, such contracts can limit both your creative freedom and your income.

4. How do I decide between a licence and an assignment of rights for my songs?

In simple terms, licences – especially non-exclusive ones – allow you to keep control of your work and to collaborate with multiple partners. Assignments transfer economic rights to a third party for certain uses and periods. The right choice depends on context, your bargaining power and your long-term strategy; broad, long-term assignments should only be accepted after serious legal analysis.

5. How do UCMR-ADA and CREDIDAM intersect with my individual contracts?

UCMR-ADA manages certain economic rights of authors in the musical field (for example, remuneration from broadcasting or public performance), while CREDIDAM manages certain performers’ rights arising from the use of commercial recordings by various users.^[3][4] Your individual contracts with labels, agencies or brands should be drafted so that they do not contradict or strip of substance the rights managed collectively on your behalf; otherwise, you risk losing income that would normally be collected by these organisations.

6. What should I pay attention to in a management or booking contract?

Check the term and exclusivity, the commission rate and which income streams it applies to, whether the agent can sign contracts in your name, the conditions for termination and any penalties. The agent’s percentage should mirror their real contribution, and you should retain reasonable freedom to refuse projects that do not fit your image or career strategy.

7. Can I renegotiate a contract after a song becomes a hit?

It depends on what you initially signed. If there are explicit clauses allowing renegotiation or adjustment of percentages in case of success, those can be activated. Even without them, some partners agree to renegotiate for commercial reasons, but there is no legal guarantee if the contract is rigid. This is why careful drafting at the start is so important.