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 […]
Collecting Societies JAMMS and PPL announce new partnership for Global Collections22 February 2021
The Ivors Academy has re-launched its charity, The Ivors Academy Trust, with a heavy-weight line-up of new Trustees. It is an important call to action for increased support for the songwriters, composers and musicians hit hardest by the pandemic and a lack of opportunity. The re-launch comes after two years of work to establish the Academy and its charity within Ivors branding.05 February 2021
PRS Foundation, the UK’s leading charitable funder of new music and talent development, announces today that their nationwide Talent Development Partner programme will receive support from music licensing company PPL. This builds on the close relationship forged between PPL and PRS Foundation through the PPL Momentum Music Fund and the International Showcase Fund.26 January 2021
In 2020, PPL paid out more than £260 million in royalties to performers and recording rightsholders for the use of their recorded music in the UK and around the world. With more than 16 million recordings registered with PPL dating back to the 1930s, we are reliant on the information provided to us by you, our members, to ensure we are paying the correct owners of and performers on any given recording. It’s all about metadata – your metadata.21 January 2021
The Pogues ‘Fairytale Of New York’ is the UK’s most played Christmas track of the 21st Century, according to PPL, the UK’s music licensing company. Mariah Carey’s ‘All I Want For Christmas Is You’ – which secured a UK number one for the first time this December - comes in second and ‘Last Christmas’ by Wham! takes third place. Wizzard’s ‘I Wish It Could Be Christmas Everyday’ and Chris Rea’s ‘Driving Home For Christmas’ are fourth and fifth, rounding out a hit-laden top five.25 December 2020
• First year with PPL as headline sponsors sees 55 artists supported through the fund
• Applications for the next round are open now – deadline for submissions is 15th February 2020 at 6pm
When making or updating a will, you may wish to consider expressly making a provision for your PPL performer payments.17 December 2020
When you join PPL as a member, we ask you for a range of information to support your registration, and often ask for this to be supported with copies of relevant documentation. We ask for this both to confirm your identity and to have the data we need to be able to pay you. When it comes to keeping this data safe, we take things very seriously. The only people that can access this data within PPL’s system are you, your appointed representative (if you have one), and approved PPL staff.17 December 2020
Equality, diversity and inclusion (EDI) has long been an area of focus for PPL. However, on 2 June this year, PPL stood with the industry to observe Blackout Tuesday and made a pledge to do more, and to do better, to drive further change in relation to EDI both within its own organisation and the wider industry. This article serves as an update to our members on the steps we have taken since then to drive further positive change.17 December 2020
London, 17 December 2020 – In its Q4 distribution today, PPL will make a payment of £42.8 million to more than 112,000 performers and recording rightsholders, either as direct members of PPL or indirectly through other collective management organisations (CMOs). This is the first time PPL has paid over 100,000 performers and recording rightsholders in a single distribution.17 December 2020
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 2019, in total, we collected £271.8 million across of all our revenue streams, while also distributing money to over 119,000 performers and recording rightsholders.