However, a growing number of events—ranging from grassroots gigs to classical concerts—lack sufficient information to match songs to their creators. This unallocated revenue is often referred to as the “black box,” which PRS internally labels the “unclaimed pot.” A document seen by The Guardian estimated the fund reached £2.7 million in 2019 alone.

Currently, PRS lists more than 106,000 concerts awaiting distribution, many from grassroots venues and including performances by artists such as Ronan Keating, The Jesus and Mary Chain, and Alien Ant Farm. Despite efforts to collect setlists—including manual research, in-person event attendance, and new technologies like setlist recognition tools—PRS says some data gaps persist.

The handling of this income has sparked industry criticism and legal scrutiny. Music Venue Trust CEO Mark Davyd, speaking to a UK parliamentary committee, said the system disproportionately affects smaller artists. “One of my members described it as a reverse Robin Hood,” he stated.

The issue is now at the centre of legal proceedings. Blur’s Dave Rowntree has launched a lawsuit against PRS, alleging anti-competitive practices in the handling of unallocated royalties. The case is currently under review by the UK’s Competition Appeal Tribunal, with an alternative dispute resolution meeting set for 25 September.

In response, PRS maintains that its policies are fair and robust. A spokesperson said, “We dedicate significant resources to match performances to works and ensure songwriters and composers receive the royalties they are due.”

Despite the ongoing dispute, PRS reported a record £1.02 billion in payouts to rights holders in 2024—surpassing its own targets ahead of schedule.