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HOW TO MAKE MONEY ONLINE TIPS & TRICKS YOUTUBE

Can You Make Money Doing Music Covers on YouTube

Yes, you can make money doing covers on YouTube — but it is more complicated than most creators think.

Cover songs sit in one of the messiest corners of YouTube monetisation because music copyright, publisher claims, Content ID, sync rights, and revenue sharing can all come into play at once.

This guide breaks it down properly: when cover songs can earn, when they get claimed, why the money is often shared or restricted, what legal risks creators ignore, and the smarter ways to use covers as part of a wider music strategy on YouTube.

Why trust this guide?

I am not writing this as an outsider. I am a YouTube Certified Expert. I have coached 500+ clients, built and grown multiple channels, earned six YouTube Silver Play Buttons, built a personal audience of 100k+, and spent years working across YouTube strategy, SEO, retention, metadata, channel systems, and monetisation.

This matters because music channels, cover channels, and artist brands often get trapped between what “seems to work” and what YouTube’s rights and monetisation systems actually allow.

If you want help applying any of this to your own channel, you can book a discovery call.

Quick answer: can you make money doing covers on YouTube?

Yes, sometimes — but cover song monetisation on YouTube usually depends on copyright owners, music publishers, and Content ID policies.

That means a cover video can earn money, but the uploader often does not control all of that revenue and may have to share it or lose it entirely depending on the rights situation.

YouTube has official guidance explaining that creators in the YouTube Partner Programme can sometimes share revenue from eligible cover song videos once music publisher owners claim those videos, and that payout is handled on a pro rata basis.

That is the key word: eligible. Not every cover qualifies, not every rights holder allows monetisation, and not every claimed cover turns into revenue for the uploader.

Why cover songs are complicated on YouTube

A cover song seems simple from the creator side. You perform someone else’s song, upload it, and hope the audience loves it.

From a rights and monetisation point of view, though, there are at least two different copyright layers involved:

  • the composition itself, owned or controlled by the songwriter or publisher
  • the sound recording, which in a cover is your own new recording, not the original master

That is why covers are not the same as uploading the original recording, but they also are not free of copyright issues. YouTube’s broader copyright guidance makes clear that rights holders can use Content ID to block, monetise, or track videos that use copyrighted material, and those actions can differ by territory.

Issue Why it matters for cover songs
Composition rights The underlying song still belongs to the songwriter or publisher
Content ID claims The cover can still be identified and claimed by rights owners
Revenue ownership The uploader may not keep all monetisation
Territory rules A cover may be monetised in one region and blocked in another

Can you monetize cover songs on YouTube?

Yes, but only in the situations YouTube and the rights holders allow.

YouTube explains that some cover videos can be monetised through revenue sharing when the music publisher owners claim the video and opt into that arrangement. It also makes clear that this only applies to eligible cover videos.

Plain English version: you can sometimes earn from a cover, but you should not assume you automatically own or keep all the ad revenue just because you recorded the performance yourself.

What usually happens to monetised covers?

  • the rights holder claims the cover
  • the video may stay live
  • the video may be monetised
  • the uploader may receive only part of the revenue, or in some cases none of it

That is why the old “you can make money from covers” advice needs context. It is directionally true, but operationally messy.

Content ID, copyright claims, and revenue sharing

This is where the real platform mechanics show up.

YouTube says Content ID can let rights holders take one of several actions on matching videos, including:

  • blocking the video
  • monetising the video
  • tracking the video’s viewership stats

Those actions can also be territory-specific, which means a video may be monetised in one country and blocked in another.

Content ID outcome What it means for your cover
Monetise The video stays live and revenue may go to the rights holder or be shared
Track The video stays up, but the rights holder monitors it
Block The video may be unavailable in some regions or removed from viewing

This is why some creators see a copyright claim and still keep the video live, while others get blocked or demonetised. It depends on the rights owner’s chosen policy.

This is the bit many creators either never hear or quietly ignore: a cover song on YouTube is not just a YouTube problem. It is also a rights and licensing problem.

YouTube’s own cover-song monetisation guidance is narrow and conditional. The fact that some covers remain online does not mean every cover upload is fully cleared in a simple, universal way.

Important reality: “I uploaded a cover and it stayed live” is not the same as “I fully control the rights and monetisation”.

That distinction matters if you are trying to build a real business around cover content rather than just post for fun.

How creators actually make money from covers on YouTube

There are a few real-world ways creators still use covers to generate income, even when direct ad revenue is unreliable.

Method Why it works How reliable it is
Revenue sharing on eligible claimed covers YouTube allows some cover videos to monetise on a shared basis Moderate to inconsistent
Using covers to grow an audience Popular songs can attract discovery faster than unknown originals High as a growth tactic
Converting fans to original music Covers can introduce viewers to your own songs High if your funnel is strong
Memberships, Patreon, tips, and direct support Fans support you, not just the specific song rights High if audience loyalty is strong
Live bookings, coaching, or music services Your performance ability becomes the product Potentially very strong

That is why the smartest cover-song strategy is usually not “I will live on AdSense from covers alone”. It is “I will use covers as one audience-building layer inside a broader music business.”

Smart move for music creators: use cover songs to attract attention, then use DistroKid to release your original music and eligible cover songs properly across streaming platforms. That way you are not just chasing YouTube ad revenue — you are building a music catalogue and audience that can grow beyond one platform.

A smarter strategy for cover-song creators

If I were advising a musician who wants to use cover songs on YouTube, I would not build the whole plan around hoping the ad revenue works out.

A stronger strategy usually looks like this:

  1. Use covers to attract discovery around familiar songs.
  2. Use descriptions, pinned comments, and channel structure to lead viewers toward your original music.
  3. Collect audience attention into email lists, memberships, socials, or streaming follows.
  4. Treat any cover revenue share as a bonus, not the whole business model.
  5. Build originals, services, merch, licensing, or fan-supported offers around that audience.

This is the same broader lesson I give many creators: the channels that last usually do not rely on one fragile income stream. If you want the bigger monetisation picture, also read What Percentage of YouTubers Make Money?, Do YouTubers Get Paid If You Have YouTube Premium?, and How Much Money Does 1 Million YouTube Views Make?.

If you are serious about turning cover-song traffic into a real music career, you need somewhere to send people next. That is why I like DistroKid. It is not just for your original songs. DistroKid also supports eligible cover-song distribution and cover licensing, which means you can use covers for discovery and then push listeners toward your own releases, artist profiles, and streaming catalogue. In other words, covers can get you found, but your originals are what help you build something you control.

The harder truth is this: if all your momentum lives only on YouTube, then you are still renting your audience from one platform. If you turn that attention into released music on streaming platforms, you start building a catalogue that can keep working for you long after one cover video cools off.

Important: DistroKid can help with eligible cover-song distribution and licensing, but that does not mean every music idea is automatically safe to upload. Covers, samples, remixes, and derivative works all carry different rights issues, so treat cover licensing as a real process, not a loophole.

Fresh official facts worth knowing

This topic gets much stronger when you anchor it to current YouTube documentation instead of recycled myths.

Fact Why it matters What it means in practice
YouTube allows some eligible cover videos in the Partner Programme to share revenue after publisher claims Confirms some cover monetisation is possible Some covers can earn, but only under specific rights-holder conditions
Content ID can block, monetise, or track matching videos, including on a territory-specific basis Explains why covers behave differently across songs and countries The same cover may be fine in one place and restricted in another
YouTube’s copyright systems are built around rightsholder control Reinforces why the uploader does not control everything Uploading a cover does not automatically give you full monetisation rights
DistroKid offers cover-song licensing for eligible covers for an additional yearly fee Shows there is a legitimate distribution route beyond YouTube alone You can use covers for discovery and still build a wider streaming presence
DistroKid says artists keep 100% of royalties on its core distribution model Strengthens the case for using covers as discovery while building an original catalogue you control more directly Original music usually gives you more long-term leverage than relying on cover-video ad revenue alone

Video pick: Think like a creator business, not just a cover uploader

Covers can drive discovery, but the channels that last usually connect audience growth to a stronger business system.

Tools that genuinely help cover creators build something bigger

The old tools section needed a full rebuild. Tools should support a strategy, not pretend to replace one. These are the ones I would actually recommend first because they are relevant, trustworthy, and already supported by useful content on this site.

Tool Best for Why it earns a place here Best next step
YouTube Studio Monitoring claims, watch time, audience behaviour, and revenue mix This is where you can see how your cover content is actually performing and whether claims affect monetisation Learn how to read the right signals
vidIQ Researching song-driven demand and discoverability Useful when you want to understand which music-related topics and titles attract search or suggestion traffic Try vidIQ or read my vidIQ review
TubeBuddy Workflow and publishing support Helpful when you need a cleaner process around uploads, metadata, testing, and optimisation Try TubeBuddy or read my TubeBuddy review
StreamYard Live performance, fan interaction, and direct support formats Useful if you want to turn music attention into live sessions, chats, Q&As, and stronger viewer relationships Try StreamYard or read my StreamYard review
DistroKid Publishing original music and eligible cover songs to streaming platforms Covers can bring attention, but DistroKid helps you turn that attention into a real catalogue by releasing your original songs and eligible cover songs across major platforms. That makes it easier to build an artist profile, grow monthly listeners, and move beyond relying only on YouTube cover traffic. Try DistroKid

Which tool should you pick first?

  • Start with YouTube Studio if you want to understand how claims and audience behaviour affect your covers.
  • Use vidIQ or TubeBuddy if you need help packaging and discovering opportunity.
  • Use StreamYard if direct fan interaction matters to your model.
  • Use DistroKid if your bigger goal is to convert cover attention into original-music growth.

What I would do if I wanted to build a cover-song channel today

  1. Use covers for discovery, not as the whole business plan.
  2. Expect claims and plan around them.
  3. Build clear bridges to your original music and owned audience.
  4. Diversify beyond ad revenue from covers.
  5. Treat every cover upload as a funnel, not just a one-off performance.

Final thoughts

If you came here for the fast answer, here it is again: yes, you can sometimes make money doing covers on YouTube, but the rights holders, Content ID, and YouTube’s policies often control how that money is shared or restricted.

That means covers can be useful, profitable, and audience-building — but they are rarely the clean, simple monetisation lane many creators imagine.

The smartest move is to use covers strategically, not blindly. Let them bring attention, then turn that attention into something you control more directly.

If you want help building that kind of channel, start with Who Is Alan Spicer?, read how I help creators and brands grow, or book a discovery call.

Frequently asked questions

Can you make money doing covers on YouTube?

Sometimes, yes. YouTube says creators in the Partner Programme can share revenue from eligible cover videos when music publisher owners claim them, but this is conditional and not universal.

Do you own the monetisation on your cover song video?

Not necessarily. Rights holders and publishers can claim the video and may share, track, or take monetisation depending on their policy.

Can cover songs get copyright claims on YouTube?

Yes. Content ID can identify and act on videos containing copyrighted music, including monetising, tracking, or blocking them.

Can a cover song be blocked in some countries but not others?

Yes. YouTube says Content ID actions can be territory-specific.

Are covers a good growth strategy on YouTube?

They can be. Covers can attract discovery around familiar songs, but the strongest long-term strategy usually uses them to lead viewers toward original music or direct support.

Should musicians rely on cover-song ad revenue alone?

Usually not. Covers are better treated as one discovery layer inside a wider artist business model.

What is the smarter business move for cover artists?

Use covers to attract attention, then convert viewers into fans of your originals, memberships, live shows, products, or direct support.

Do rights holders always block cover songs?

No. Some rights holders monetise, some track, and some block, depending on their policy.

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HOW TO MAKE MONEY ONLINE TIPS & TRICKS YOUTUBE

How to Make Money Online as a Singer or Musician

The Internet has provided countless opportunities for people to make a living doing the things they love. Of course, it was always possible to become an A-list actor or a platinum-selling musician. Possible, but not likely.

If we’re being honest, it’s still not likely that you will be able to become an Ed Sheeran or Dua Lipa-tier global superstar, even with the Internet—which is not to say you shouldn’t try—but being able to make music for a living is far more attainable than it once was because of the Internet. Thanks to the ease with which people can discover your music, and your fans can connect with your content; it is possible to build up a healthy fan base that can support you as you live out your dream of making music.

Will you be selling out global arena tours? Probably not—though, once again, that doesn’t mean you shouldn’t try; prove me wrong!

But if your dream is just to be able to write and play music and have an audience that wants to listen to it, you can definitely achieve those goals.

Let’s take a dive into how to make money online as a singer or musician.

Understanding Audience Dynamics

The first hurdle to get over is one of outdated methods.

Traditionally, a musician would have to have built up a substantial following before they could start to make real money from their passion, and even then the majority of their money would come from live performances.

This means that to make a respectable amount of money, you not only would have to attract enough people to individual shows, you also have to have enough interest for multiple shows, since you can’t keep playing the same venue over and over.

There is only so much desire to see the same act repeatedly.

Even today, with digital distribution platforms cutting out the middle-men and allowing musicians to sell directly to their fans, the rates of pay are painfully small, and you would have to be getting hundreds of thousands of streams on a service like Spotify to make ends meet.

Fortunately, thanks to the ease with which the Internet makes connecting with people, there are new models for musicians to make their living. In particular, there is a general movement towards smaller, more invested audiences, rather than simply aiming to get as many fans as possible.

To explain how this works, consider an artist releasing an album on Spotify. The rate of pay for a single stream of a song on Spotify (assuming the artist is the full copyright holder) is around $0.00318.

That means that to make the equivalent of the minimum wage in America, you would need over four hundred thousand streams of your songs. That may be small fries for someone like Eminem, but it’s a substantial goal for unknown artists.

Now let’s consider an alternative approach.

Instead of relying on Spotify, let’s say that the artist above puts out a special edition physical copy of the album that can be bought through their website, priced so that they make around $10 profit for every sale. That artist would only need to sell around one hundred and thirty physical albums to make the same amount of money as nearly half a million Spotify streams.

Four hundred thousand streams is a daunting task, even when you consider that someone listening to a full ten-track album counts as ten individual streams. But having a little over a hundred people willing to pay a bit of a premium for your latest album is a very attainable goal.

This is the basic premise of choosing quality over quantity when it comes to your audience. Rather than trying to get pennies from a large number of people by keeping the costs low and releasing your music everywhere, focus on giving the fans that are willing to pay a premium as much as you can.

Give them extra goodies, signed merchandise, and whatever else they might be interested in. Make sure they get their money worth, of course. Nothing will turn a fan off quicker than the feeling that someone is trying to take advantage of them.

How to Make Money Online as a Singer or Musician 2

Build An Audience

Before you can worry about the quality of your fanbase, you need to have a fanbase. It has never been easier to build a following, but that does not mean you won’t have some hard work ahead of you if you’re going to succeed.

Hone Your Craft

It should go without saying, but if you want to be successful at anything, you should strive to be as good as you can at that thing. This is even more true of creative endeavours in the Internet age due to the sheer number of people there are online who are looking to achieve the same things. In the days before the Spotifys and YouTubes, it was possible to succeed in music even if you weren’t the best musician. Things like the right look, good songs, and a bit of luck could lead you to success.

These days, on the other hand, there are so many budding musicians out there that it is not hard to find someone who has the right look, makes excellent music, and is very skilled at what they do.

Fortunately, looks are not as big a deal as they were in the traditional music industry models, and there’s no reason to go trying to change yourself in this regard. And as for the music, you should make what you want to make. In fact, these two points will be two of the more significant factors behind gaining that dedicated audience we talked about. You want your fans to be there for you.

The point is you can’t—and shouldn’t—try to change your style to appeal to different audiences. There are niches for everything these days; find yours. But when it comes to skill, that is something you can help. Practice makes perfect, and you don’t want to give music lovers a reason to choose someone else the next time they want to listen to your style of music.

How to Make Money Online as a Singer or Musician 3

Find Ways to Stand Out

Getting noticed on the Internet isn’t easy. As we mentioned above, there are lots of people out there trying to get noticed at the same time, and it is very easy for you to get lost in the shuffle.

A good way to start building an audience is to start off making cover songs. This gives you an opportunity to show off your style and ability while simultaneously piggybacking off of the popularity of an established song.

Try to stray outside your comfort zone with song choices, and only cover songs that you can put a unique spin on.

People aren’t interested in seeing a note for note replica of their favourite blink-182 song; they want to see something new, like what YouTuber, Alex Melton, has been doing with his “Country Version” covers of songs that are decidedly not country. Alex has enjoyed an explosion of popularity in recent months, even getting his videos shared by the very bands he’s been covering.

You can even release your cover songs as an additional way to make money through your music, though there are rights issues with cover songs that will need to be addressed.

If you use a reputable digital music distribution platform, such as DistroKid or CDBaby, they will be able to take care of that for you.

Another way to get noticed is to make tutorials. If you are making good music, you must have a skill, whether it is songwriting, producing, playing instruments, or maybe all of the above. We’ve already mentioned that there are lots of people online who are looking to make these same moves, and they are eager for any help in that department.

If you can put together good YouTube guitar lessons, or a podcast about songwriting, or perhaps a sample pack for electronic musicians, then you can start to build an audience that way and parlay the success of that into ears for your new music.

Stay Active

One of the most critical aspects of building an audience or fanbase is being active. If you release a fantastic song that takes the Internet by storm and then vanish for six months, you lose all of the momentum that success gave you.

Fortunately, this doesn’t necessarily mean putting new music out every week. Consider other avenues to connect with your fans. If you are touring, you could keep a video diary of the tour. If you’re not touring, you could make regular vlogs. Posting snippets from your latest project, live streaming and playing song requests, basically anything that gives your fans more.

The idea is to keep giving your fans a constant stream of what they want; you. That way, even when you are not releasing new music, you are keeping in touch with your fanbase.

How to Make Money Online as a Singer or Musician 4

Make it Easy to Support You

This is more of a general tip for anyone who wants to earn their living through creative endeavours on the Internet; make it as easy as possible for your audience to support you.

You might be surprised at how many people decide they will donate or buy a piece of merchandise on a whim to support an online personality they like, only to shrug and not bother because the process of getting to that stage was awkward or difficult.

Make your music and merchandise easy to buy, with clear links on any videos or websites you have. Consider starting a Patreon account to give your audience more ways in which they can support you.

And, while it’s not strictly a rule for success, it always helps to be gracious when people choose to send their hard-earned money your way.

How to Make Money Online as a Singer or Musician as a Non-Creative

Given that this blog is primarily a YouTube blog, it makes sense that we’ve focussed on making money online as a musician from the perspective of someone wanting to perform and release music.

There are other ways to make money from your music online, however.

For example, you can make music for other people, such as jingles, and intro stingers. You could do this as an out-and-out freelancer, though you would need to work hard to market yourself. Or you could use services like Fiverr.

You could also give personal music lessons over a video call, or, though we mentioned it as a way of building your audience, there is nothing stopping you from making tutorials and lesson videos and having that be the main thing that you do.

There are plenty of successful YouTube channels out there working from this model.

Another option is to make music and sell it as stock audio. This is where people making content who need music can come to certain sites and buy the rights to a song. If you have a flair for making music that is particularly suited for use in video clips and scores, this may be a good route for you to take.

How to Make Money Online as a Singer or Musician 5

Final Thoughts

Ultimately, there is no real barrier to succeeding financially as a musician in today’s interconnected world. Sure, you may have to moderate your idea of financial success down to something a little more grounded than whatever Lady Gaga is making, but it is certainly possible making a living from it.

Try to remember that the key to success as a smaller musician or band is to build a strong, invested fan base, not necessarily a big fan base.

A smaller number of fans who like you and your music enough to buy albums and merchandise will be a far more reliable source than a huge audience that might only stream your songs a few times a week. But perhaps most importantly, because you are looking to build an authentic, invested audience, be you.

Don’t look to change your look, personality, or style of music to attract different fans. Make the music you want to make let the fans that like that music come to you.

One of the best things about the Internet for creative types is that there is something for everyone; you just have to let the people who want your music find you.