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Gene Simmons Revives Radio Royalty Debate

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  Published in Media and Entertainment on Wednesday, February 18th 2026 at 21:05 GMT by ksby
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WASHINGTON D.C. - February 19th, 2026 - Gene Simmons, the iconic frontman of KISS, is intensifying his long-standing campaign for a fundamental shift in US copyright law. He's reignited the debate surrounding radio royalties, arguing that the current exemption granted to terrestrial radio stations is an archaic vestige of a bygone era and demonstrably unfair to artists and songwriters.

Simmons' recent push isn't merely a celebrity plea; it's a strategically coordinated effort involving direct lobbying of Congressional representatives and a sophisticated public awareness campaign. Speaking exclusively to this publication, Simmons reiterated his core argument: "For decades, artists have been essentially giving their work away to radio stations. Streaming services pay royalties, television pays royalties, why does radio get a free pass? It doesn't make logical or ethical sense."

The current system, built around the concept of a 'compulsory license,' dates back to the early days of radio broadcasting. Originally intended to foster the growth of the medium, the compulsory license allows radio stations to play copyrighted music without securing direct permission from - or paying royalties to - the copyright holders (artists, songwriters, and publishers). The rationale was that broadcast airplay provided valuable promotion, indirectly benefiting artists through increased record sales and concert attendance.

However, the media landscape has radically transformed since the implementation of this exemption. The rise of digital streaming, the fragmentation of media consumption, and the declining importance of traditional radio as a primary music discovery platform have rendered the original justification obsolete. While radio once held a near-monopoly on music distribution, listeners now have countless alternatives. The promotional value of radio airplay, therefore, is significantly diminished, while the financial burden on creators remains.

"The landscape has changed dramatically," explains entertainment lawyer Sarah Chen, a specialist in music copyright. "The assumption that radio airplay automatically translates to financial gain for artists is no longer valid. Many artists, particularly emerging artists, rely heavily on royalty income from all sources to sustain their careers."

Simmons' campaign builds on years of previous attempts to address this issue, all of which have stalled in Congress. The primary obstacle has been strong lobbying from the radio industry, which argues that imposing royalties would be financially crippling, forcing stations to cut programming or even go off the air. The National Association of Broadcasters (NAB) maintains that radio still provides significant promotional value and that artists benefit from the exposure. They propose alternative compensation models, such as performance rights organizations (PROs) collecting royalties for live performances, but these proposals haven't gained traction with artist advocates.

This time, however, Simmons seems to be gaining momentum. A growing coalition of artists, songwriters, and music industry professionals are lending their support to his cause. A recent online petition advocating for radio royalties garnered over 500,000 signatures in a matter of weeks. Furthermore, several members of Congress have publicly expressed their willingness to revisit the issue.

"The conversation is changing," says Representative Anya Sharma, a member of the House Judiciary Committee. "The sheer scale of the streaming economy has made the disparity between radio and other platforms glaringly obvious. We need to ensure that artists are fairly compensated for the use of their work, regardless of the medium."

Experts predict that if a change in the law were to occur, it could inject billions of dollars into the music industry, providing much-needed financial support for artists and songwriters. It could also incentivize more investment in music creation and promote a more sustainable ecosystem for the industry. However, the road ahead is likely to be challenging, with intense lobbying from the radio industry and complex legal considerations. Simmons, however, remains undeterred. He believes that a future where artists are fairly compensated for their work is not just possible, but essential. "It's about fairness, it's about respect, and it's about ensuring that the creators who enrich our lives are able to thrive," he concludes.