Photo Credit: Gabriel Gurrola
PPL paid out £54.3 million ($73.2 million) to performers and rightsholders this quarter, bringing its total payments in 2025 to £277.7 million ($374.6 million).
On December 17, UK recording performance organization PPL reported paying £54.3 million ($73.2 million) to 147,000 performers and recording rightsholders this quarter, either as direct members of PPL or indirectly through other collective management organizations (CMOs), including over 8,500 first-time payees. That brings the company’s total distribution in 2025 to £277.7 million ($374.6 million), just on the heels of PRS for Music’s largest-ever royalty payout at £274.9 million ($370 million).
PPL collects and distributes royalties in the UK and internationally on behalf of tens of thousands of recording rightsholders and performers, including artists like Charli XCX, Dua Lipa, Lewis Capaldi, and the estate of John Lennon.
In addition to payments from its UK licensing activity, PPL is also distributing royalties from 63 international CMOs. Performer collections from Denmark, Germany, and the U.S. have increased as a result of ongoing data improvements, as well as in Sweden due to back payments relating to a historical private copying settlement.
Further, recording rightsholders are receiving significant payments from Belgium this quarter following improved collaboration around repertoire data, as well as substantial payments from Hungary, Romania, and Spain.
“This year I believe PPL has delivered its largest international Q4 payment to recording rightsholders, helping to ensure that music continues to be a sustainable career choice for both performers and recording rightsholders,” said Shamus Damani, Consultant Director of Business Affairs, Defected Records Limited.
“I am pleased to close the year with such a strong payment to performers and recording rightsholders in the UK and beyond,” concluded Peter Leathem OBE, CEO, PPL. “My thanks to all the PPL team who work to deliver this positive outcome, as well as all of the CMOs around the world with whom we collaborate on collections, data and technology developments. All of which is making the movement of payments around the world ever more effective and efficient for our members.”
The Annual Supplementary Remuneration Fund, established following changes to the term of copyright protection for sound recordings, is paying out a considerable £2.3 million. Over 20,000 non-featured performers are receiving annual supplementary remuneration from thousands of recordings released between 1963 and 1973. Moreover, Elton John’s “Goodbye Yellow Brick Road” becomes eligible for ASR payment this year, as well as Christmas classic Wizzard’s “I Wish It Could Be Christmas Every Day.”
