ArtistDirect News
Jose Mari Chan Clarifies Royalty Check Comments: Physical Sales Decline, Streaming Remains Viable
When Jose Mari Chan posted a brief comment about no longer receiving “royalty checks,” the internet lit up with speculation. The veteran balladeer, famed for hits such as Beautiful Girl, Please Be Careful With My Heart and the holiday classic Christmas in Our Hearts, clarified that the remark applied only to physical music formats.
At a press conference on 26 June 2026, Chan explained that record sales had fallen to almost zero and that he no longer receives checks from record companies for CDs, cassettes or vinyl. He added that the shift to streaming and downloads makes it hard to quantify those sales. The statement was a blunt reminder that the physical market, once the backbone of the Philippine music industry, has become a marginal player.
Universal Records Philippines, Chan’s long‑time label, issued a statement the following day. Managing Director Kathleen Dy‑Go clarified that the singer’s comments were intended to highlight the decline of physical album sales amid the industry’s move to digital. She emphasized that artists still earn royalties through streaming, publishing, licensing and public performances.
The clarification came after the singer’s remarks went viral on social media, where many interpreted them as a sign that Chan had stopped receiving any royalties. According to the label, the statement was not meant to suggest that Chan no longer earns from his catalog.
Chan’s career spans more than five decades. He began performing in 1967 and released his debut album Deep in My Heart in 1969. His 1989 album Constant Change and the 1990 release Christmas in Our Hearts both achieved double‑Diamond status in the Philippines. By 2001, he had sold two million albums and earned 37 platinum records, cementing his place among the country’s best‑selling artists.
The singer’s comment also reflects a broader trend in the Philippine music market. Physical sales have steadily declined since the early 2000s, with streaming services now accounting for the majority of recorded‑music revenue. Industry data from 2024 shows that digital streams surpassed pure sales worldwide, a shift that has forced many veteran artists to rely more on touring, licensing and other revenue streams.
Universal Records Philippines, founded in 1977 as part of Warner Music Group and independent since 1992, has long represented Chan. The label’s statement underscored that while physical royalties have diminished, the artist’s catalog continues to generate income through other channels.
In 2024, Repertory Philippines staged the musical Going Home to Christmas, featuring several of Chan’s songs. The production demonstrated the enduring popularity of his music and its continued commercial viability in live performance contexts.
Music royalty law distinguishes between mechanical royalties paid for the reproduction of a song on a physical medium and performance royalties paid when a song is played publicly or streamed. As streaming has become the dominant mode of consumption, mechanical royalties from physical formats have become a smaller portion of an artist’s overall earnings.
Chan’s remarks and Universal’s clarification highlight the need for artists and labels to communicate clearly about revenue sources. While the label confirmed that Chan still receives royalties from streaming and other uses, the singer’s frustration points to a wider concern among Filipino songwriters about the future of income from recorded music.
The situation illustrates how veteran artists must navigate a market where physical sales are no longer a reliable income stream. It also underscores the importance of diversified revenue models, including live performances, licensing and digital distribution.
At present, Chan continues to perform and record, and his catalog remains in demand for both streaming platforms and live productions such as Going Home to Christmas. The clarification from Universal Records confirms that the singer’s financial relationship with his music remains intact, albeit through different channels than in the past.
The incident serves as a reminder that while physical sales have largely faded, the music industry still provides multiple avenues for artists to earn from their work. The shift to digital has altered the mechanics of royalty collection, but it has not eliminated the potential for income.
At a press conference on 26 June 2026, Chan explained that record sales had fallen to almost zero and that he no longer receives checks from record companies for CDs, cassettes or vinyl. He added that the shift to streaming and downloads makes it hard to quantify those sales. The statement was a blunt reminder that the physical market, once the backbone of the Philippine music industry, has become a marginal player.
Universal Records Philippines, Chan’s long‑time label, issued a statement the following day. Managing Director Kathleen Dy‑Go clarified that the singer’s comments were intended to highlight the decline of physical album sales amid the industry’s move to digital. She emphasized that artists still earn royalties through streaming, publishing, licensing and public performances.
The clarification came after the singer’s remarks went viral on social media, where many interpreted them as a sign that Chan had stopped receiving any royalties. According to the label, the statement was not meant to suggest that Chan no longer earns from his catalog.
Chan’s career spans more than five decades. He began performing in 1967 and released his debut album Deep in My Heart in 1969. His 1989 album Constant Change and the 1990 release Christmas in Our Hearts both achieved double‑Diamond status in the Philippines. By 2001, he had sold two million albums and earned 37 platinum records, cementing his place among the country’s best‑selling artists.
The singer’s comment also reflects a broader trend in the Philippine music market. Physical sales have steadily declined since the early 2000s, with streaming services now accounting for the majority of recorded‑music revenue. Industry data from 2024 shows that digital streams surpassed pure sales worldwide, a shift that has forced many veteran artists to rely more on touring, licensing and other revenue streams.
Universal Records Philippines, founded in 1977 as part of Warner Music Group and independent since 1992, has long represented Chan. The label’s statement underscored that while physical royalties have diminished, the artist’s catalog continues to generate income through other channels.
In 2024, Repertory Philippines staged the musical Going Home to Christmas, featuring several of Chan’s songs. The production demonstrated the enduring popularity of his music and its continued commercial viability in live performance contexts.
Music royalty law distinguishes between mechanical royalties paid for the reproduction of a song on a physical medium and performance royalties paid when a song is played publicly or streamed. As streaming has become the dominant mode of consumption, mechanical royalties from physical formats have become a smaller portion of an artist’s overall earnings.
Chan’s remarks and Universal’s clarification highlight the need for artists and labels to communicate clearly about revenue sources. While the label confirmed that Chan still receives royalties from streaming and other uses, the singer’s frustration points to a wider concern among Filipino songwriters about the future of income from recorded music.
The situation illustrates how veteran artists must navigate a market where physical sales are no longer a reliable income stream. It also underscores the importance of diversified revenue models, including live performances, licensing and digital distribution.
At present, Chan continues to perform and record, and his catalog remains in demand for both streaming platforms and live productions such as Going Home to Christmas. The clarification from Universal Records confirms that the singer’s financial relationship with his music remains intact, albeit through different channels than in the past.
The incident serves as a reminder that while physical sales have largely faded, the music industry still provides multiple avenues for artists to earn from their work. The shift to digital has altered the mechanics of royalty collection, but it has not eliminated the potential for income.