PPL pays out £16.5M in Q3 2024 payment

PPL has paid out £16.5 million to more than 21,000 performers and over 1,500 recording rightsholders in its Q3 distribution.
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This quarter’s payment is an increase of 30% on the previous year and the largest since 2020.

We make four payments annually, helping to ensure that both performers and recording rights holders are paid when their recorded music is played in public in the UK and internationally.

PPL is a leader in the collection of neighbouring rights with over 110 agreements in place with collection management organisations (CMOs) around the world. 

Thousands of performers have selected PPL to collect international royalties on their behalf including Lewis Capaldi, Central Cee, The Last Dinner Party, Ice Spice and Kenya Grace in the last 12 months. 

This quarter’s distribution is made up of international revenues collected from 55 CMOs including those based in Germany, Denmark, Belgium, Netherlands, Italy and the US. It also includes our first payment to over 1,000 performer members from Indian Singers’ and Musicians’ Rights Association (ISAMRA) following the signing of a bilateral agreement announced in January this year.

The Asian market continues to grow, and this quarter’s distribution also features payments from FKMP (Korea) and RPM (Malaysia). 

In addition, this payment also includes over £2.3 million from PPL’s sister company VPL, which licenses music videos when they are played in public or broadcast on TV. The revenue being distributed to music video rightsholders relates to the use of music videos by MTV’s channels across Europe, the Middle East and Africa. 

Commenting on the Q3 distribution, PPL’s Director of International, Laurence Oxenbury, said:

We are proud to make this record payment to our members who invest so much of their talent, creativity, and time into recording music to be enjoyed by people around the world. Through our collaboration with over 110 collective management organisations globally, we are helping ensure performers and recording rightsholders get paid for their music when it is played in markets where public performance rights exist.”

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