Phonographic Performance Limited (PPL)

PPL (Phonographic Performance Limited) is a UK-based collective management organization that licenses recorded music when it is broadcast on television and radio or played in public spaces. Founded in 1934 and headquartered at 1 Olympic Park, London, it represents over 182,000 performers and recording rightsholders, including self-releasing artists, session musicians, and major and independent record labels. It is best suited for UK-based performers and rightsholders who want to collect neighboring rights royalties when their recordings are played publicly or broadcast.

How PPL Works

PPL is not a performing rights organization (PRO) for songwriters. PRS for Music handles songwriter and composer royalties in the UK. PPL handles the separate rights of performers and sound recording owners. The two organizations operate a joint venture called PPL PRS Ltd, which issues combined licenses to businesses that play recorded music publicly, covering both the composition (PRS) and the recording (PPL).

PPL collects revenue from three main streams. Public performance and dubbing revenue (licensing shops, bars, restaurants, gyms, offices, and B2B music suppliers) reached GBP 122.9 million in 2025. Broadcast and online licensing revenue (TV channels, radio stations, streaming services, on-demand TV) generated GBP 98.5 million. International revenue (collected from foreign collective management organizations through reciprocal agreements) increased 16% to GBP 94.0 million, with international recording rightsholder collections reaching a record GBP 10.8 million.

In total, PPL generated GBP 315.3 million in 2025, up 4.75% from GBP 301.0 million in 2024. Net distributable revenue after operating costs was GBP 273.0 million. The cost-to-income ratio was 13.1%, down slightly from 13.2% in 2024. PPL paid a total of GBP 277.7 million to performers and recording rightsholders in 2025, with 16,000 receiving payments for the first time.

PPL operates 117 international agreements across 55 countries, with a mandate retention rate of over 99.9%. Since launching its international collections arm 20 years ago, PPL has collected over GBP 1 billion cumulatively in international revenue. In Q1 2026, PPL distributed GBP 77.7 million to over 28,000 payees. In Q2 2026, it distributed GBP 81.6 million to over 140,000 payees, bringing total 2026 distributions to GBP 159.3 million by mid-year.

PPL's sister company VPL (Video Performance Limited) licenses music videos when they are played in public or broadcast on TV. VPL revenue is included in PPL distributions. In July 2026, PPL signed a new agreement with Polish CMO SAWP to support collection and distribution of Annual Supplementary Remuneration (ASR) for performers.

Real-World Example

A self-releasing UK artist releases a single that gets 50,000 streams on a licensed UK radio station and is also played in 200 licensed venues (pubs, restaurants, retail stores). The artist owns both the sound recording copyright and is the featured performer.

PPL collects the license fees from the radio station and the venues (via PPL PRS Ltd combined licenses). The artist receives two payments: one as the recording rightsholder (the owner of the sound recording) and one as the performer. The exact amounts depend on the usage data reported, the station's or venue's license fee, and the number of works in the distribution pool.

If the same single is played on radio in Germany, PPL's reciprocal agreement with GEMA or the relevant German CMO means those royalties are collected locally and remitted to PPL, which distributes them to the UK artist. PPL's 2025 international revenue of GBP 94.0 million includes collections from 63 foreign CMOs in its Q4 distribution alone.

A session musician who played bass on someone else's recording also receives PPL royalties as a non-featured performer, even if they do not own the sound recording copyright. PPL distributes performer royalties to both featured and non-featured performers.

Why It Matters for Independent Artists

If you are a UK-based performer or recording rightsholder, PPL membership is free and is the only practical way to collect neighboring rights royalties when your recordings are broadcast or played publicly. Without it, you are leaving money on the table every time your music airs on radio, TV, or in licensed venues.

Register your recordings with PPL as soon as they are commercially released. Submit correct ISRC codes and performer details so PPL can match your recordings to usage data. If you are a self-releasing artist, you can register as both the recording rightsholder and the featured performer to collect both shares.

If you are a session musician (non-featured performer), you are also entitled to PPL royalties. Register your performer details with PPL and link them to the recordings you performed on. Many session musicians never claim these royalties because they do not realize they are entitled to them.

PPL's international network means your recordings can earn royalties in 55 countries. PPL retains over 99.9% of its international mandates, meaning foreign rightsholders trust PPL to collect on their behalf in the UK. This reciprocal system works both ways: UK rightsholders benefit when their music is played abroad.

Do not confuse PPL with PRS for Music. PRS pays songwriters and publishers for the composition. PPL pays performers and recording owners for the sound recording. If you write and record your own music, you need both.

Related Resources

• Performing Rights Organizations (PRO) - What a PRO is and how it differs from a neighboring rights organization
• Neighboring Rights - How neighboring rights work for performers and recording owners
• Performance Royalties - How performance royalties are generated and collected
• Collective Management Organization (CMO) - How CMOs operate globally
• PPL Official Website - Visit PPL for membership and licensing information
• Use our Streaming Royalty Calculator to estimate your digital earnings