UK-based music licensing body PPL paid out \u00a396.7 million (approx. $133 million at current exchange rates) to 139,000 performers and recording rightsholders in the second quarter of 2025.<\/p>\n
The latest figure marks a 7%<\/b><\/span>, or GBP \u00a37 million <\/b>($9.6m), decrease from the \u00a3103.7 million<\/b><\/a> ($142m) paid in Q2 2024, which at the time marked the first time the 90-year old organization surpassed the \u00a3100 million <\/b>($137m) <\/b>mark in a single quarter.<\/p>\n The distribution mainly covers UK collections from public performance and broadcast licensing throughout 2024, as well as additional revenue streams from international markets, PPL<\/b> announced Monday (June 30).<\/p>\n PPL\u2019s latest report showed that over 6,400<\/b> performers and recording rightsholders received their first-ever PPL payment in the Q2 2025 cycle.<\/p>\n Since January, PPL has distributed a total of \u00a3167.8 million <\/b>($230m) to performers and recording rightsholders, either as direct PPL members or through partnerships with international collective management organizations (CMOs).<\/p>\n “As things have grown, it’s meant a lot to know that they’re making sure I’m paid properly when my songs are played in public or broadcast, in the UK and abroad. I really appreciate the work they do.”<\/p>\n Cat Burns, Singer-Songwriter<\/span><\/p><\/blockquote>\n Beyond domestic UK collections, the Q2 payment includes substantial contributions from CMOs in France, the Netherlands, Japan, Norway and the US. Some payments reflect 2025 airplay revenue from both US and Dutch markets.<\/p>\n Singer and songwriter Cat<\/b> Burns<\/b>, who generated airplay in the UK with her tracks Go <\/i>and People Pleaser, <\/i>said: “PPL has played an important role in my journey. As things have grown, it’s meant a lot to know that they’re making sure I’m paid properly when my songs are played in public or broadcast, in the UK and abroad. I really appreciate the work they do.”<\/p>\n Chris Barton<\/b>, Chief Financial Officer, PPL added: “At PPL our purpose is to ensure that our members’ talent and investment is fairly rewarded when their recorded music is broadcast or played in public places in the UK and around the world.\u201d<\/p>\n \u201cWe know PPL distribution days can be significant for our members and we work hard to maximize and deliver payments consistently to them throughout the year. We’re proud to collect revenue on their behalf and help ensure performers and recording rightsholders are fairly rewarded for their work.”<\/p>\n PPL noted that the Annual Supplementary Remuneration Fund<\/b>, established following changes to copyright protection terms for sound recordings, continues expanding its international scope.<\/p>\n Following previous payments from Ireland and Netherlands in March, this distribution marks the first ASR payment from France\u2019s Soci\u00e9t\u00e9 des Artistes Interpr\u00e8tes, covering airplay between 2014 and 2024.<\/p>\n \u201cWe know PPL distribution days can be significant for our members and we work hard to maximize and deliver payments consistently to them throughout the year. We’re proud to collect revenue on their behalf and help ensure performers and recording rightsholders are fairly rewarded for their work.”<\/p>\n Chris Barton, PPL<\/span><\/p><\/blockquote>\n PPL added that recording rightsholders received significant payments from CMOs in Belgium, Hungary, the Netherlands and Sweden. Additionally, over \u00a31.1 million<\/b> ($1.5m) was distributed to 278<\/b> recording rightsholders via PPL’s sister company VPL<\/b> for music video licensing when broadcast or played in public venues.<\/p>\n In 2024, PPL\u2019s full-year revenue rose 6% YoY <\/b><\/span>to GBP \u00a3301 million<\/b>\u00a0($384.4m<\/b>\u00a0at the average exchange rate for 2024) from the previous record of \u00a3283.5 million <\/b>($352.6m)\u00a0set in 2023<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":" The distributions, which mainly cover UK collections from public performance and broadcast licensing throughout 2024, was up 7% from last year.<\/p>\n","protected":false},"author":38,"featured_media":182608,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[7],"tags":[1156],"class_list":["post-235034","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news","tag-ppl"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/posts\/235034","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/users\/38"}],"replies":[{"embeddable":true,"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/comments?post=235034"}],"version-history":[{"count":0,"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/posts\/235034\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/media\/182608"}],"wp:attachment":[{"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/media?parent=235034"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/categories?post=235034"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/tags?post=235034"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}\n
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