PPL announces new record high in international collections

PPL announces new record high in international collections

PPL has announced today that it has hit a record high in its international collections.

PPL collected £86.7 million in 2019, an increase of 22% on its 2018 total of £70.9 million.

The music licensing company has collected its record sum from a variety of music rights overseas including public performance, broadcast and private copy. 

Peter Leathem, PPL CEO said: “PPL's international collections account for a significant proportion of the company’s overall revenue, reflecting the drive over the last 14 years to collect this money for performers and recording rightsholders,”

“Collaboration with our international counterparts is central to the progress we have made with our collections, as is our investment in leading-edge technology and data infrastructure.”

Its continued growth has led to it building an impressive neighbouring rights roster including Tom Walker, Rita Ora, Bastille, Jade Bird

Leo Taylor, session drummer for Adele, Ed Sheeran and Lana Del Rey said: “As a session musician I have played on many different recordings and as a result PPL payments form an important part of my income.”

2019 saw PPL’s collections covered 96% of the global value for neighbouring rights, and 93% of the global value for recording rightsholders’ market.

New agreements with CMOs were also confirmed last year with Kazakhstan (Armanat), Netherlands (STAP), Slovenia (IPF), and Ukraine (ULCRR), in addition to first-time payments collected from CMOs in Albania, Georgia, Panama, Paraguay, and South Korea.

In the process of its collection, over 95 agreements were used with CMOs over Europe, North and South America, Africa and Asia. 

Laurence Oxenbury, PPL director of international, said: “As music consumption increases around the world, in many different countries, PPL is well-positioned to continue getting music people paid. Our international collections are now a vital source of income that supports the music ecosystem, allowing performers to keep creating and developing, and recording rightsholders to support the artists that they represent.”

“This fantastic achievement is possible thanks to the talented artists and recording rightsholders who entrust us with their valuable rights. Our business is nothing without them and I am pleased that the team at PPL, working with our partner organisations around the world, have managed to continue to develop this revenue stream for them.”

By Sarah Thomas

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