Getting paid by PPL for international usage depends on knowing where, when and how often recordings are broadcast on radio and TV overseas. But tracking usage across hundreds of international stations isn’t easy – especially when the data we receive isn’t always complete or consistent.
Music monitoring means using technology to identify recordings that are broadcast on radio and TV. It works a little bit like Shazam, but on a much larger scale – running continuously across hundreds of channels and stations in dozens of countries.
PPL works with partners including BMAT, ACRCloud and Radiomonitor to track this usage. In total, we monitor over 500 radio stations and TV channels this way. From some partners we receive a full daily log of plays, while others provide a list of the most played recordings in each country.
Tracking data globally
Not all recordings are reported in the same way internationally. The same track may be reported under different names, or with missing metadata. It’s not uncommon to see multiple ISRCs for the same recording, or variations in artist spellings. That makes it harder to match it to the right performer or rightsholder.
Monitoring helps us fill the gaps, giving us a clearer picture of how a recording is performing internationally. With this data we can identify when a track is performing well, prioritise line-up checks, and work with other collective management organisations (CMOs) to correctly link our members to those tracks. This can get payments flowing sooner.
Let’s say a UK performer is featured on a track by a European artist. It starts getting significant airplay overseas, but it hasn’t yet been registered or reported through the usual channels at home. Monitoring picks it up early in one or more countries. With that data, we can go directly to the local CMO and confirm the performer line-up – potentially securing a payment months earlier than if we’d waited for standard reporting.
In 2021, London-born artist Central Cee began gaining mainstream popularity across Europe with his track ‘Obsessed With You’. Since then, he’s continued to see success beyond the UK, including a feature on ‘Eurostar’ by French artist Ninho – a number one single in France. Music monitoring helps us identify this kind of traction early, so we can work with our CMO partners to make sure PPL members are correctly linked to recordings generating plays and revenue.
Identifying trends and opportunities
Music monitoring technology also helps us track wider usage patterns, helping us to see when certain performers or genres are gaining popularity in specific markets.
We’ve used this approach to support claims for a wide range of artists, including classical performers. In Japan, for example, we’ve used ACR monitoring to support claims for performers such as German electronic musician Ulrich Schnauss and classical performers Ludovico Einaudi and John Eliot Gardiner. This builds on PPL’s ongoing work to improve payouts for classical performers, ensuring their international plays are accurately tracked and rewarded.
Supporting international payments
Monitoring doesn’t replace official reporting from CMOs; it supports it – acting as an extra layer of assurance, helping us validate what we receive or spot what’s missing.
It also gives us more evidence in our conversations with CMOs. If we can see that a track is getting regular airplay overseas, we can push to have our members linked to that recording sooner.
Music monitoring helps us see what’s being played, where, and how often. It supports our efforts to collect royalties more effectively and helps us get payments to you faster. It’s one of many ways we’re using technology to improve how we work for our members.
