Latin America is officially driving the global music industry’s biggest growth spurt. According to IFPI’s annual Global Music Report, Latin America saw a 17.1% spike in revenue in 2025, making it the fastest growing market on the planet. Mexico — one of its biggest markets — was up by 13.3%, and climbed to become the 10th largest recorded music market, heavily fueled by the unstoppable rise of Música Mexicana.
A massive engine behind Mexico’s steady growth (and its ability to export music worldwide) has been streaming. Within the country, streaming accounts for a staggering 94% of total recorded music revenue, led by platforms like Spotify, which famously declared Mexico City “the world’s streaming mecca”. Meanwhile, DSPs like YouTube Music, Amazon Music, and Apple Music continue to expand aggressively across the market as internet and smartphone adoption surges nationwide.
However, Mexico’s surge extends far beyond local listening. Recent Chartmetric data shows an unprecedented era of global expansion, with the number of Mexican artists reaching Superstar status jumping to 72 in 2025. Between 2021 and 2025, 71% of Mexico’s top-50 Spotify entries appeared on foreign charts—easily outpacing other major export markets like India (55%), Nigeria (24%), and Brazil (20%).
Rather than relying strictly on diaspora communities, Mexican acts are building massive listener networks throughout Latin America, in countries like Colombia, Peru, Ecuador, Argentina, and the Dominican Republic. Global breakout stars like Peso Pluma now see up to 60% of their audience located outside Mexico. While Música Mexicana genres like Corridos and Corridos Tumbados lead foreign chart entries at 45%, Mexico is uniquely exporting multiple genres at once, including Latin Pop (16%), Reggaeton/Perreo (9%), and Cumbia Ranchera (6%).
This global momentum creates a complex web of cross-border royalties. DSP rates vary widely by platform, from Spotify’s regional pool-share model to Apple Music’s flat $0.01 per-stream rate. Digital platforms route these mechanical and performance earnings directly to Collective Management Organizations (CMOs) and Performance Rights Organizations (PROs), which then pay out the creators they represent. Whether you represent Mexican talent earning overseas or international artists gaining traction in Mexico, understanding these local pay sources and collection pipelines is vital.
Here’s a brief look at the primary pay sources operating in the region:
Launched: 2004
Membership Size: N/A
Official Site: https://www.andi.org.mx/
Socials: @andi_mexico; @ANDIMexico
Pay Source Type: PRO
Type of Royalties: Performance
About: ANDI stands for Nation Association of Performers (or Asociación Nacional De Intérpretes in Spanish). It is a PRO in Mexico that represents performers, a group that consists of singing actors and other hired singers who appear in audiovisual material. ANDI licenses the copyrights for the reproduction of this material and collects royalties for any use.
Launched: 1999
Membership Size: 1700 members and manages a catalog of about 900 thousand songs.
Official Site: https://www.ejecutantes.com/
Socials: @ejecutantesmx
Pay Source Type: PRO
Type of Royalties: Performance
About: EJE is a relatively small PRO that covers the copyrights of performing musicians and singers, including mariachi bands and orchestras.
Launched: 1945
Membership Size: 31,372 members; 435,030 musical works represented
Official Site: https://www.sacm.org.mx/
Socials: @sacm_oficial; @SCM_Oficial
Pay Source Type: CMO
Type of Royalties: Performance and mechanical
About: The most noteworthy CMO in Mexico, SACM stands for Society of Authors and Composers in Mexico (or Sociedad de Autores y Compositores de México in Spanish). It has loosely existed since 1945 but its current form was instituted in 2007. SACM collects both performance and mechanical royalties, according to the IFPI. They are affiliated with CISAC, WIPO, and BIEM, aligning them with hundreds of international CMOs and allowing them to distribute licenses for the works internationally and collect any international royalties these works procure. They are the only CMO with this degree of international royalty collection in Mexico, which is among the reasons they cover over half of all Mexican artists.
While becoming a member with a local collection society is a crucial step in securing your rights as a songwriter, you shouldn’t stop there. After all, they only collect a portion of the royalties you earn when your songs are used.
If you are registered with SACM — the most noteworthy CMO in Mexico — it will collect both performance and mechanical royalties, but its bandwidth for global collection is limited. That means that revenue from royalty streams such as international streaming, radio, and live performance can be lost if you rely on them to handle it.
Follow the steps below to ensure you’re collecting all the music your music generates everywhere it is played worldwide:
Use a digital distributor like CD Baby. They’ll make your music available on digital streaming and download platforms all over the world, and will collect and pay your recording royalties.
Affiliate with your local Performing Rights Organization (PRO) or Collective Management Organization (CMO). They will collect royalties in your local territory, and your affiliation ensures you are identified as a writer within the publishing industry, which makes it possible for global pay sources to allocate your royalties.
Register your songs with a publishing administrator, such as Songtrust, who in turn registers your songs directly with global performance and mechanical societies all over the world.
Register your songs with an organization that collects neighbouring rights or digital performance royalties generated by your recordings. In Mexico, Sociedad Mexicana de Productores de Fonogramas, Videogramas y Multimedia (SOMEXFON) would be responsible for these royalties.
If you have additional questions about pay sources in Mexico or music publishing in general, please reach out to our team.