Keep up to date with announcements and developments from PPL.
Keep up to date with announcements and developments from PPL.
The £28.1 million is made up of revenues collected from 63 CMOs around the world, with significant payments from CMOs in Germany, the USA and Italy. This distribution also contains money from the Netherlands’ STAP1 for the first time. A year on from the first lockdown, this distribution brings PPL’s total distributed monies during the […]
At the centre of PPL’s current approach is an internal Diversity Forum, which has the remit to suggest ideas and ensure that processes and opportunities are transparent and can be challenged where the Diversity Forum believes that improvements can be made. Within the space of only a few months, the Forum has already started to […]
DDEX DDEX, a not-for-profit consortium of companies in the creative industries, is establishing the universal standards of music data, laying the foundations for a supply chain in which music companies can share data with each other efficiently. By ensuring everyone is speaking the same data “language”, these standards reduce the likelihood of inaccuracies whilst also […]
One year on since PPL closed its London HQ in response to COVID-19, how would you describe what the last year has been like for the company? It is hard to believe that we have now been in lockdown – in varying degrees – for the last 12 months. I know, from speaking to colleagues […]
Blossoms have gone from strength to strength since taking fourth place on the BBC’s Sound of 2016 list. Their debut album, released in August that year, went straight to No.1 and earned them a Mercury Prize nomination and a sold-out tour. A second and third album followed, with the latter again topping the charts and […]
Today, at the PPL Annual General Meeting (AGM) held virtually, Peter Leathem, PPL’s Chief Executive Officer, spoke about how PPL continued to deliver a high level of service to its performer and recording rightsholders throughout the pandemic, and looked to the future as the UK prepares to further lift lockdown restrictions. “I am cautiously optimistic about PPL’s UK collections and we expect our revenues will recover this year to beat our 2020 numbers, although they will not yet exceed pre-COVID levels,” he said.09 June 2021
BRIT Award winner The Weeknd scores the year’s Most Played Track with ‘Blinding Lights’09 June 2021
London, 20 May 2021 – UK music licensing company PPL collected £225.7 million for performers and recording rightsholders in 2020; a decrease of £46.1 million (17%) from 2019. This is PPL’s third highest annual collections total despite lockdown restrictions affecting revenue from many of its public performance and commercial radio licensees. International collections remained strong […]20 May 2021
PRS Foundation, the UK’s leading charitable funder of new music and talent development, announces today (Thursday 29th April 2020) the 55 organisations around the country supported to be PRS Foundation Talent Development Partners for 2021/22:29 April 2021
PRS Foundation, the UK’s leading charitable funder of new music and talent development, together with PPL, Creative Wales, Arts Council of Northern Ireland, Invest Northern Ireland and Spotify reveal the next artists who will receive support from the pioneering PPL Momentum Music Fund. The artists, who have been selected by a network of industry experts, are:22 April 2021
PPL, the UK’s music licensing company for over 120,000 performers and recording rights holders, has again chosen to support touring crews and event production workers during the live industry’s ongoing unemployment crisis.15 April 2021
This week, our Chief Information Officer Mark Douglas took part in Music Week’s Tech Summit, highlighting the importance of accurate recorded music metadata. Metadata aids a wide range of important business activities, such as the collection and distribution of royalties, the development of an artist’s career, or where a label invests its A&R spend. Here we outline some of the organisations and projects that are working to improve the accuracy of data the music industry relies upon to drive revenue.01 April 2021
In its Q1 distribution today, PPL will pay £61.3 million to more than 25,000 performers and recording rightsholders, including £28.1 million of international money – the third highest quarterly international distribution in PPL’s history.31 March 2021
UK Music has launched its flagship annual UK Music Creators’ Survey – and they need your help to make the case for the music industry.30 March 2021
Last year, PPL committed to strengthening and furthering its commitment to equality, diversity and inclusion. Since then, a number of initiatives have been implemented in collaboration with both PPL employees and with the wider industry, including the creation of an internal Diversity Forum, changes to recruitment practices, and a review of employee training to name a few. This commitment continues in 2021 and, below, you can find a summary of some of PPL’s latest initiatives in this area.30 March 2021
Founded in 1934, PPL is the UK music industry’s collective management organisation (CMO) for over 120,000 performers and record companies. We license recorded music in the UK when it is played in public (shops, bars, nightclubs, offices etc.) or broadcast (BBC, commercial radio, commercial TV etc.) and ensure that revenue flows back to our members. These include both independent and major record companies, together with performers ranging from emerging grassroots artists through to established session musicians and globally renowned artists. PPL’s public performance licensing is carried out on PPL’s behalf by PPL PRS Ltd, the joint venture between PPL and PRS for Music.
We also collect performance rights internationally when music is played overseas in public and used on TV, radio and some online streaming services, as well as for private copying. International royalties are an increasingly important revenue stream for performers and recording rightsholders.
In 2020, in total, we collected £225.7 million across all of our revenue streams, while also distributing money to over 135,000 performers and recording rightsholders.