George P In this case it is immaterial if the performer is being paid or not. The issue is whether the performances are of commercial benefit to the venue. That's why it is the venue, and not the performer, that gets licensed (that also answers the inevitable perennial query about busking). So PRS would argue that a regular session at a pub attracts business, therefore a license is due. An impromptu session would not, however.

I presume George that the answer to my ('inevitable' sorry) question is that buskers do NOT owe royalties even though they are receiving a commercial benefit?

Further, In theory, the PRS is only entitled to collect fees in respect of the PUBLIC performance of COPYRIGHT works …..
If a door fee is charged to allow entry folk club does this not then become a 'private' performance?

I was born into a family which still had the tradition of my mother playing piano & the rest standing around her singing. I learnt songs from my parents who had learnt them from their parents, radio, music hall, films, '78 records & sheet music. I still sing some of these songs along with others I have learnt from friends, guests at clubs, television, radio, 45's, L.P.s, cassettes, C.D.s, songbooks etc. etc.

This is why I agree with Jim – music is for sharing but I also agree that if money is forthcoming the originators should also be rewarded.

I rarely do 'gigs' & then only for charity but perform regular 'floor spots' at folk clubs 6 nights a week.
When a recording was made of my 'act' the recording studio paid royalties to the required body (presumably PRS).