Across studios, touring crews and production teams, technical roles continue to be heavily male-dominated. According to the USC Annenberg inclusion report, titled ‘Inclusion in the Recording Studio’, DJing and audio technology, less than 5% of people working in music technology identify as women, non-binary or trans.

This is where Saffron plays a vital role. The organisations works with underrepresented communities to build skills in music production and audio technology. “While gender-diverse performers are increasingly visible in the music industry, the imbalance is most noticeable in the backstage roles.” explains Sophia, Education Manager at Saffron. “These roles, including positions in recording studios and live touring teams, remain male-dominated.”

Through PPL Giving – our initiative to help build a sustainable music industry for future generations – we have supported Saffron’s work to widen access to those technical skills, helping more people develop the tools needed to build sustainable careers in music.

You can watch a short video showcasing the project and its impact here:

Creating pathways into music technology

Founded in Bristol in 2015, Saffron’s programmes are designed to provide practical training alongside peer networks and industry exposure.

“Saffron creates accessible, affordable, and inclusive spaces where people can learn music in a safe, welcoming environment,” Sophia explains. “What sets it apart from traditional music education is that it’s led by active artists and industry professionals and built on real representation. Participants see role models who they can relate to and make a career in music feel genuinely achievable.”

Music technology plays an important role in that process.

“Music technology provides access to self-expression,” says Billie, Saffron’s Members and Comms Manager. “By providing marginalised communities with the opportunity to learn and experiment with these tools, we are effectively changing whose voices get heard.”

That shift can happen at multiple levels. Artists gain the skills to produce their own work, while the industry benefits from a more diverse technical workforce.

Expanding programmes across the UK

PPL Giving’s support helped Saffron expand its work over the past year, enabling new courses and community-focused initiatives.

The funding supported the rollout of Mix Nights: Beyond The Basics, an intermediate DJ programme, in Birmingham for the first time. Previously the course had only been held in Bristol.

The funding also supported community meet-ups connected to the Escher Music Connection and Bleep Klub networks, two Bristol-based electronic music collectives, as well as new synth and hardware workshops designed to expand participants’ technical skills.

Together, these activities created new entry points and progression routes for artists developing their careers in music technology.

From learning to collaboration

Saffron’s courses are designed not only to build technical skills but also to create communities where artists can collaborate and grow.

One participant, Tully, found the programme changed how she saw her future in music. Originally from Australia, she began as a self-taught bedroom DJ who occasionally played at house parties, but was struggling to see a long-term future in a male-dominated scene.

After moving to Bristol, she enrolled in Saffron’s Mix Nights: Beyond The Basics course. “After the first session I immediately felt empowered,” she shares.

Through the programme, Tully developed advanced mixing techniques, gained confidence using DJ software Rekordbox and learned how to navigate the professional side of DJing. Just as importantly, she built lasting connections with other participants.

After the course, she and two fellow artists formed a collective, launched a club night and began hosting a radio show together. Later in the year, Tully explored hardware production for the first time through Saffron’s synth workshops. “It felt so good to just play and experiment and just see what happens rather than sit in front of a computer and force myself to make a track,” she explains.

Today, she continues to contribute to the Saffron community by organising collaborative production meet-ups with other participants.

Why industry support matters

For organisations working at grassroots level, access to funding remains critical. “Support from organisations like PPL is crucial at this stage because they have the resources to invest meaningfully in grassroots development,” Sophia says.

“Education, studio access and music equipment are often expensive, creating significant barriers for new and emerging artists. When industry bodies invest at this level, they help remove those obstacles and create pathways for more diverse talent.”

As Saffron approaches its second decade, its focus is shifting from opening doors to sustaining careers. Laura Lewis Paul, Saffron Founder and CEO, says success for Saffron in five years “will mean our community not only accessing training but moving into paid roles across studios, labels, live production, broadcasting and music technology.

“We have spent the past decade opening the door; the next phase is about ensuring people can stay in the room, because they feel like they are there in a space where they can thrive as they feel a sense of belonging and like their voices are heard.”

That goal depends on building and sustaining partnerships across the music industry, creating clearer routes from training into employment and long-term freelance work. Laura adds: “Saffron is building a proven, scalable talent pipeline that opens access to music tech and production for underrepresented communities and directly addresses the industry’s skills gaps, diversity inequities, and the industry’s need for future-facing innovation.”

By supporting that pipeline, PPL Giving is helping more creators gain the skills, networks and confidence needed to help build a sustainable music industry for future generations.

Find out more about Saffron’s work and their upcoming courses here.

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DJ AG, MEEK, Mae Muller, Adult DVD and Sofia And The Antoinettes are among this year’s performers in a bill that includes 10 showcases across seven days.

The British Music Embassy is the official UK musical presence at SXSW, hosting an array of panels, performances and showcases celebrating the best of the British music scene. Since launching at SXSW in 2008, BME has hosted shows for 715 UK acts, many of whom have gone on to significant critical and commercial acclaim.  

BME is a collaboration between PPL and PRS, UK record labels association the BPI, the Department for Business & Trade, the British Council, PRS Foundation and BBC Introducing as lead media partner.  

Now in its 19th edition, BME stages have played host to some of the UK’s most celebrated acts today, including Olivia Dean, Sam Fender, Little Simz, Jungle and The 1975.

For many artists on the line-up, the showcase represents their first time performing in the United States, making it a major opportunity to reach international audiences at a key point in their development.

Last year’s performers included BRIT Award winner and Mercury Prize nominee Jacob Alon, BRIT Award nominees Confidence Man and Sam Ryder, Mercury Prize nominee corto.alto, and many more.

Watch PPL at SXSW Austin 2025 talking to corto.alto and Jazz Re:freshed, BBC Introducting and Big Special, ADJUA and FOCUS Wales, and Winnie Ama:

The BME will again take over Austin’s 700-capacity Palm Door on 6th Street with a two-stage indoor and outdoor venue, programming hotly-tipped UK music acts from Thursday, 12 March until Wednesday, 18 March. 

UK House will also be returning alongside BME from the 14th – 17th March; a destination for some of the UK’s most disruptive emerging technology companies, from virtual production to immersive entertainment. Hosted by the UK’s Department for Business and Trade (DBT), UK House is a pop-up event bringing a curated programme of events, demonstrations and networking opportunities. 

At SXSW, 6th Street will get a taste of one of Europe’s biggest events, as Kolt AI and Happaning pay homage to Notting Hill Carnival, which marks its 60th year.

Bringing the hugely popular energy of UK carnival celebrations to the US, the event will feature masquerade dancers, the legendary Rampage Sound playing dancehall, R&B, hip-hop and more, plus a line-up of fantastic performers and special guests.

The British Music Embassy’s SXSW Austin 2026 line-up

Adult DVD, Amie Blu, Amy Gadiaga, Andrew Cushin, Armanii, ARXX, Ashaine White, Basht., Ben Ellis, Better Joy, Blair Davie, Bricknasty, Chalk, Congratulations, CQ Wrestling, DJ AG, FEET, Grandmas House, Gwenno, Hana Lili, Hector Gannet, Home Counties, Jamie Dred, Jasmine Jethwa, JayaHadADream, Jenna Cole, KairoKeyz, Karmasheen, King No-One, Knats, Kofi Stone, KOJ, Loren Heat, Mae Muller, Marketplace, MEEK, Mên An Tol, Morgan, Morgan Munroe, MT Jones, Nightbus, Novelist, Panic Shack, Rampage Sound, Saint Agnes, Sarah Meth, Sassy 009, Sofia And The Antoinettes, Steven Bamidele, Still Blank, The Family Battenberg, The Haunted Youth, The Tullamarines, Tom A. Smith, TTSSFU, Werkha, Whitelands, Zee Azg

More details about the BME SXSW 2026 line-up can be found here.

The BME is also working with a range of programming partners for day parties and evening showcases throughout the week. Evening showcases will be hosted by [PIAS], BBC Introducing, West London Carnival on 6th and Liift/Chris Hawkins. Daytime events will be hosted by Northern Sound, DBT Wales, and Future Arts and Culture.

Production Park are returning to deliver the production, ensuring UK artists benefit from world class stage production and design, with production partners including the Academy of Live Technology, Elation Lighting, Allen & Heath, Creative Technology and more.

There will also be networking opportunities for those looking to build business connections worldwide, with a week-long program of panels and roundtables featuring top UK executives and industry experts. 

Peter Leathem OBE, CEO of PPL, said:

“As proud, long-standing champions of the British Music Embassy at SXSW, we’re delighted to again collaborate with our BME partners on this important platform for rising stars. The BME plays a vital role in propelling UK music talent to a global stage and it’s also a fantastic place to network and meet industry peers from around the world. PPL supports an array of emerging artists in the early stage of their careers, such as through PPL Momentum Music Fund and the International Showcase Fund administered by PRS Foundation. We’re looking forward to seeing this year’s exciting new artists perform in showcases and performances at SXSW.”

Dr Jo Twist OBE, CEO of the BPI, said: “The BME at SXSW in Austin has introduced international audiences to the likes of Olivia Dean, Little Simz and Sam Fender over the years. It’s a hugely important stepping stone for artists looking to grow their audiences in the U.S. and beyond and represents the UK music ecosystem coming together to celebrate and platform the best and brightest new British musical talent. We’re delighted to be returning as a key partner in 2026.” 

Oliver Christian, His Majesty’s Trade Commissioner to North America, said:“The UK’s creative industries employ 2.4 million people, contribute £124 billion to our economy and are growing at four times the rate of the wider economy — and the US is one of our most important partners. There is no better place to highlight this relationship than SXSW. UK House in 2026 reflects the full breadth of what modern Britain has to offer as a collaborator and an outstanding investment destination. From Saturday’s Greater Together programme of showcases, thought leadership, and immersive experiences across music, screen, creative tech, sport, and AI; to our Notting Hill Carnival-inspired takeover on Monday night, bringing the performers and energy of Europe’s largest street festival to the international stage, UK House spotlights the UK’s outstanding investment and collaboration offer.” 

Kelly Betts, Editor of BBC Introducing, said: “I’m excited that BBC Introducing will be returning to SXSW with BBC Radio 6 Music. The British Music Embassy is our UK collaboration and is now a legendary part of the festival, showcasing some of our hottest acts from the UK. Be sure to also keep your eyes peeled for our BBC Introducing in America line-up on the Radio Days stage!” 

Joel Mills, Director of Music, British Council, said: “The British Music Embassy is ever the vibrant hot spot at SXSW for catching the best of UK music talent. It’s a vital catalyst for artists developing international profile, building audiences and creating a buzz – as well as a meeting point for making international connections and doing business. We’re delighted to be supporting British Music Embassy as a key partner again in 2026. Selector Radio, and presenter Sian Eleri, are once again collaborating with BBC Introducing to share hosting duties alongside Steve Lamacq throughout the weekend – and we’ll be recording a SXSW Selector special show and filming Selector Sessions, so we can share the excitement with global audiences.” 

Becci Scotcher, Senior Grants & Programmes Manager at PRS Foundation, said: “The British Music Embassy at SXSW in Austin, Texas, has the well-earned reputation for unmissable shows by the some of the most exciting music creators coming out of the UK and as a hub for connections and brokering deals that benefit and develop their international careers. At a time when barriers to music exports have increased and the importance for artists to break into new international territories grows, this opportunity for talented UK-based music creators remains as vital as ever. So we’re delighted that through our International Showcase Fund and BBC Introducing partnership we are continuing to invest in the future by supporting over 20 exceptional UK-based artists to showcase at this year’s festival as well as championing the UK presence at the BME and across the festival through our collaborative partnership, UK Sounds.” 

Jeff Hawley, Vice President of Marketing at Allen & Heath USA,said:. “We’re incredibly proud to continue our long-standing support of SXSW and the British Music Embassy in 2026. Year after year, we’ve grown our footprint across the festival, and the BME remains a true highlight for our team. There’s nothing quite like the energy of this unique showcase—bringing together outstanding UK talent, world-class production teams, and passionate music fans from around the globe. Everyone at Allen & Heath is excited to be back in Austin, working alongside such talented crews and artists to help deliver unforgettable performances at one of the most inspiring events on the live music calendar.” 

Jon Felt, Vertical Market Specialist – Live Production at Elation, said: “We’re happy to support the next generation of great music with the next generation of great lighting. Elation’s Paragon and Rebel lines have the power and artistry to showcase every artist no matter the stage.”  

Emma Cook, Director of Student Support & Experience at the Academy of Live Technology, said:“The Academy of Live Technology (ALT) has been a proud longterm partner of the British Music Embassy at SXSW, and this collaboration perfectly reflects who we are as an institution. With campuses in both the UK and the US, SXSW gives our students an excellent opportunity to gain real-world experience at one of the most influential and iconic music events on the planet. Our highly experienced studio professionals from Production Park lead the stage management, while students from both sides of the Atlantic support the build and daytoday running of the show. It’s exactly the kind of experience that prepares our students to step confidently into the live events sector and, in doing so, directly supports the next generation of live event professionals.” 

Tom Walsh, Head of Music & Touring at Creative Technology,said: “Creative Technology is proud to support The BME British Music Embassy at SXSW. We provide video and screen support for the showcase because platforms like this matter. When UK artists step onto an international stage, the production should match the ambition, and we are delighted to play our part in making that happen.” 

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As a result, PPL has adjusted the performer line-ups on a small number of recordings and provided additional guidance for members within its Performer Roles Guide and Performer Claims Guide. We are working with the various trade bodies to hold a series of educational seminars for their members on these guides and are also in the early stages of trialling a new notification process to alert performers and recording rightsholders when changes are made to track line-ups they are linked to. We will continue to work with our recording rightsholder members and industry partners such as the MU on improving the provision of timely, quality performer information.

As ever, members are able to raise any questions regarding their repertoire by contacting PPL’s Member Services team.

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Salt’s platform matches received data with greater speed and superior accuracy, delivering increased value to performers and rightsholders.

Matched usage data is the foundation on which PPL calculates royalties due to performers and recording rightsholders, and Salt Match has improved PPL’s auto-match rates by 23% since it soft-launched in September 2025.

This improvement is particularly significant given the unprecedented growth in usage data volumes and new repertoire registrations, and reduces the manual effort needed to then make those matches.

On average, PPL receives details for 45,000 new recordings each week, driving the need for a platform that can scale quickly.

PPL is the first recorded music Collective Management Organisation (CMO) to utilise Salt’s matching technology. Salt currently works with several publishing collection societies around the world including the MLC (U.S.) and Buma Stemra (Netherlands).

Mark Douglas, Chief Information Officer, PPL, said: “Whether providing our own proprietary technology to other CMOs or working alongside them to build shared systems and processes, PPL has always been a firm believer in collaboration. A collaborative approach removes unnecessary cost and duplication from the industry allowing more money to flow to rightsholders and performers.

“We’re proud to live and breathe that philosophy and be the first recorded music CMO to adopt Salt’s technology. The Salt team has a proven track record in building innovative and scalable solutions, and we are already seeing their usage and matching technology speeding up this work and helping deliver improved returns for performers and recording rightsholders.”

Doug Imrie, Founder and CEO of Salt, adds: “PPL plays a vital role in the recorded music ecosystem, and we’re proud to be working with them as the first recorded music CMO to deploy Salt’s matching technology. As usage data volumes and repertoire continue to grow, accuracy, scale and automation are essential to ensuring performers and rightsholders are paid correctly and efficiently. Alongside core matching, PPL will also benefit from early access to Salt’s AI services, designed to further improve automation and reduce friction.”

PPL previously worked with Salt’s sister company Stage to build the Repertoire Data Exchange (RDx), the music data exchange service for record companies and music licensing services, developed in partnership with IFPI, representing the recording industry worldwide, and WIN, representing the global independent community.

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Mark discusses the platform’s rapid expansion, the benefits it is delivering for both major and independent rightsholders, and the work still needed to build a truly unified global repertoire picture.

“RDx isn’t just a tech upgrade, it’s a fundamental shift in how the music industry handles data,” Mark writes. “By simplifying processes, resolving conflicts early, and enabling global collaboration, RDx is helping ensure that recording rightsholders and performers get paid accurately and promptly.”

Read the full feature on Music Business Worldwide here.

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Independent Venue Week (IVW) exists to celebrate those spaces and the people who run them. PPL supports IVW as part of its commitment to the wider live music community, and to the network of venues that help artists develop their craft, build confidence and grow their careers over time. Without independent venues, many artists would struggle to get started.

This year, 236 venues across the UK took part in the seven-day celebration from 26 January to 1 February, with more than 700 gigs and events programmed nationwide.

Just some of the highlights included a special BBC Radio 6 Music broadcast from Strings in the Isle of Wight, featuring Coach Party and hosted by Steve Lamacq and Huw Stephens. Performances also came from this year’s IVW Ambassadors: Nova Twins, Brògeal and Eve Goodman.

In conversation with Walt Disco

On 29 January, Scottish band Walt Disco took part in a live Q&A, supported by PPL, ahead of their sold-out show at London’s Paper Dress Vintage. The venue is well known for showcasing emerging artists; previous performers include Sam Fender, Arlo Parks and Slow Club.

Hosted by Scott Lewis, Label Manager at EMI North, the discussion explored the role independent venues have played in Walt Disco’s rise and the next steps in the band’s trajectory.

Walt Disco’s progress has also been supported by PPL-backed initiatives. In 2020, they received funding from the International Showcase Fund to perform at South by Southwest, which eventually took place in 2022 following the pandemic. The trip led to multiple shows in Austin and the band securing a US agent.

“It was hectic – but it was a dream come true,” they explained. “It was the first time many of us had set foot in America. We picked up shows as they came our way. We grew in confidence, met lots of amazing people, and picked up a booking agent in America who we still work with today.”

In 2024, they went on to receive support from the PPL Momentum Music Fund, helping them tour with Orchestral Manoeuvres in the Dark in America. The experience opened the band up to a new audience and the ability to evolve their sound.

“When we wanted to find a slightly new sound, it was crucial to take it out of the practice room and try it out. We had a whole tour to [do that]. After each show we would ask ourselves, ‘was that quite right?’.

“It was crucial to have that time to work on our sound, and I remember how much I missed it, being able to dissect songs after the show.”

On the road during IVW

Later in the week, PPL caught up with The Orielles and Man of Moon at an all-day event at The Ferret in Preston. The venue has a long track record of hosting rising artists, with past performers including Ed Sheeran and Rae Morris.

Speaking to PPL, Glasgow-based duo Man of Moon described independent venues as “where it all starts… they are the lifeblood of the scene.” Vocalist Chris Bainbridge and drummer Iain Stewart highlighted the role venues play in helping artists find their sound and build an audience.

Man of Moon received support from the PPL Momentum Music Fund in 2019, which went towards the release of their debut album ‘Dark Sea’ in 2020, alongside touring across Europe.

Keeping the circuit alive

Halifax indie-rock band The Orielles fully embraced Independent Venue Week, performing shows across the country at Coventry’s Tin Music & Arts Centre, Norwich Arts Centre, Portland Arms in Cambridge and The Ferret.

Speaking to PPL, the band said the appetite for live music remained strong, even in January. “The fact that our gigs are still selling out venues at this time of year is a testament to the work being done to keep them running,” they said.

Reflecting on the band’s early days, they highlighted a pivotal moment was supporting Madrid group The Parrots on a UK tour, “It was a breakthrough moment that opened doors to venues we might not otherwise have been able to play,” they explained. The experience of playing an extended run of shows almost every night also underlined the importance of managing the practical side of touring.

The Orielles received support from the PPL Momentum Music Fund in 2019, which helped fund the recording and mixing of their second album ‘Disco Volador’, as well as touring in Europe. “It helped get us to places we couldn’t normally afford to get to,” they said, “to play to wider audiences and get a foot in the door outside the UK.”

Independent venues remain central to building careers and loyal fanbases. That was perhaps best summed up by a moment The Orielles experienced during this year’s IVW.

“A couple came up to us at our Norwich show and told us one of their first dates was coming to see us play there,” they said. “That was pre-Covid, and they’re still together. There’s probably an Orielles baby out there somewhere.”

Follow @ppluk on Instagram for more on this year’s Independent Venue Week.

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The PPL Momentum Music Fund provides support for artists who have reached a crucial tipping point, have a team already in place and ready to take the next step in their careers. Managed by PRS Foundation, the PPL Momentum Music Fund awards grants of £5,000-£15,000 using funds from PRS Foundation, PPL, Creative Wales and Arts Council of Northern Ireland.

The nine artists who have been selected by a network of industry experts to receive the latest round PPL Momentum Music funding are:

• Chanel Yates – creating new music
• Georgia Ruth – creating and marketing a new album
• JayaHadADream – creating a new mixtape project
• JGrrey – tour to support album release
• Lime Garden – touring across the UK
• Rainy Miller – marketing for sophomore album
• RenzNiro – creating and delivering a new project
• The Halfway Kid – launch show, collaborator fees, marketing and video production for new album
• Trash Boat – touring, recording and promotion for a new record

Folk artist Halfway Kid, aka British-Sudanese songwriter Saeed Gadir, said:

“This fund is a game changer. I feel like I’ve spent my whole career up to this point learning how to make this specific album, and now it’s possible.”

PPL became headline sponsors of the Momentum Music Fund in February 2020. Since then, 256 music creators have received this vital support to break through to the next level.

Meanwhile, PRS Foundation’s PPL Momentum Accelerator offers grants of up to £5,000 to artists with a growing fanbase, currently working to establish a music industry team and based in targeted regions of the UK. The Liverpool City Region-based music creators receiving PPL Momentum Accelerator support, in partnership with MusicFutures, are:

• a Lesser Version – working with engineers to record and release debut studio album
• Amique – tour across Liverpool, Manchester and London
• Grace Elizabeth Harvey – recording, reproduction on vinyl and touring of new EP
• KOJ – collaborations, marketing and licensing new EP
• Zara Smile – creation, recording, and release of sophomore EP

The latest Tees Valley-based music creators receiving PPL Momentum Accelerator support, in partnership with Sonic Futures, Generator, Tees Valley Combined Authority and UK Government, are:

• Marketplace – write, record and release and promote singles across 2026
• Risco – music videos and national tour
• Robyn Errico – recording and release of debut studio album and work with PR company for marketing and promotion
• Smith & Liddle – studio recording, mixing, mastering and promotional costs.

Additionally, PPL Momentum Accelerator support of up to £2,000, which can include micro-grants, mentoring or other holistic support, is offered to future music industry professionals to develop their skills and careers. The three Liverpool City Region and one Tees Valley-based industry professionals receiving support in this latest round are:

• Anna Herbst (Liverpool City Region) – investment in professional creative tools, development of digital marketing skills, and expanding industry connections, strengthening the foundations that help grassroots creativity and community to flourish in Liverpool.
• Basil Reynolds (Liverpool City Region) – focused mentorship and consultancy to strengthen the strategic and commercial foundations of Finding the Music Inside.
• Kieran Irvine (Liverpool City Region) – formalise and scale management practice through professional development, national network-building and improved systems for campaign planning and delivery
• Grace Stubbings (Tees Valley) – strengthen artistic practice, grow community impact, and advance role as an emerging voice in experimental sound and place-based creative education through mentorship deepen technical skills in environmental recording, installation work, and creative leadership.

Tees Valley Mayor Ben Houchen said: “It’s brilliant to see our up-and-coming artists and musicians getting hold of this support. We know how much of a difference focused backing can make to getting names out on the national and international stage.

“It offers our talents the freedom, and time, to thrive close to home and I look forward to hearing more about their progress.”

The next deadline to submit an application for the PPL Momentum Music Fund and PPL Momentum Accelerator Sbardun support for those based in Wales is 2 February at 6:00pm. Find out more and apply via prsfoundation.com.

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MEDI, led by the Center for Music Ecosystems (CME) and Global Citizen, is the world’s first data driven framework to map music’s potential to fight global poverty and promote responsible and healthy economic development. Supported by organisations including the International Finance Corporation (IFC), Universal Music Group (UMG), UN agencies, national governments and over 50 collective management organisations, MEDI aims to create the conditions for music to thrive in every country.

Despite the recorded music industry being valued at $47.2 billion, many markets lack the basic infrastructure – such as copyright regulation, enforcement and creative economy investment – needed for music to function as a viable economic engine. MEDI aims to change this by working with global partners to gather robust data, guide policy development and build the foundations required for local music ecosystems to grow.

Through a combination of comprehensive market studies, developing a global data portal, government‑ready research, and a new MEDI Champions Network of senior political leaders, the initiative is working country‑by‑country to demonstrate how music can create jobs, attract investment and help reduce poverty. MEDI’s initial report, ‘We Need Tracks Before We Have Trains’, co-written with economist Will Page, is available here and here is a list to view the country data portal.

PPL’s involvement adds to MEDI’s network of industry data partners, which includes IFPI, ICMP, Music in Africa Foundation and collective management organisations worldwide. A complete list can be found here.

As a partner, PPL will contribute expertise and data to support MEDI’s mission, helping build a clearer picture of how music can drive jobs, growth and development around the world.

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Natalie is a renowned figure in the UK music industry, founding youth-led music charity Small Green Shoots in 2009 and female-focused consultancy The Cat’s Mother in 2019.

Natalie joined PPL in 2022 as a member of the Executive Leaderhship Team and is responsible for further developing our relationships with the UK music industry, promoting our work collecting hundreds of millions in neighbouring rights revenue, and supporting performers and recording rightsholders maximise this income.

Natalie said: “I am so lucky to have had the chances to work with incredible people, who’ve helped me make incredible things happen for other people with incredible potential. So, I’m accepting this honour on behalf of everyone who had contributed to our shared achievements. This is for every Small Green Shoot out there, every person who gave up an hour to mentor someone through The Cat’s Mother, and every one of my fantastic and much-loved colleagues, friends and family members who have stood alongside me through my crazy journey. Thank you all for your unwavering encouragement and belief in our vision. This one is for us.”

In 2016, Natalie was awarded a British Empire Medal (BEM) for services to music and the creative industries. She was recognised as an Unsung Hero by the Music Managers Forum (MMF) and Featured Artists Coalition (FAC) at the 2018 Artist & Manager Awards.

In 2020, Natalie was inducted into Music Week’s Women in Music Roll of Honour. She is also an advisor to the PRS Foundation and sits on the Executive Steering Committee of Power Up.

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These rights are the foundation that protects performers and recording rightsholders, enabling them to earn income from their work – not only during their careers, but well into the future.

A music career can be unpredictable. While some enjoy long-term success, for many it is challenging to sustain a steady income. That’s why the rights performers hold, and the royalties that flow from them, can offer essential financial support, including later in life or after the performer has passed away.

In a growing number of countries around the world, including the UK, performers are entitled to receive equitable remuneration when their recordings are used on radio, TV or in public spaces. These royalties, often referred to as neighbouring rights, last for 70 years after a recording’s release.

In the UK, this right is non-transferable during a performer’s lifetime but becomes part of their estate once they pass away. That means family members, heirs, or chosen charitable causes can continue to receive payments from the use of a performer’s music.

At PPL, we work closely with estates and beneficiaries to ensure that they receive this income. As just one example, in 2024 the estate of John Lennon appointed PPL to collect royalties for recordings where he is listed as a performer. But it’s not just household names who benefit; we work with and distribute royalties to estates of all sizes, including session musicians and non-featured performers whose contributions remain in regular use.

Another key aspect of long-term income is Annual Supplementary Remuneration (ASR), an additional right for performers introduced when UK law extended the copyright term from 50 to 70 years.  This change, which came into effect in 2013, means session musicians who performed on recordings that are now in their extended term of copyright protection (currently recordings released from 1963 to 1973) may be eligible for ASR.

PPL administers the distribution of these payments on behalf of record companies, making distributions each year in December. Over the past decade, PPL has collected a total of £15.5 million on behalf of over 15,000 non-featured performers from the UK and around the world, with funds allocated based on detailed performance and rights data.

“The longer term of copyright protection makes it even more likely that it may be a performer’s beneficiary, rather than the performer themselves, who may be entitled to PPL payments,” Camilla Waite, PPL’s General Counsel, explains.

PPL processes a vast volume of data in making these payments, including over one billion rows of calculation data across our own systems and those of our collective management organisation (CMO) partners around the world.

When a performer passes away, we take steps to identify their estate’s personal representative – but we encourage all members to help future-proof their rights by updating their will to include instructions about their PPL membership and nominated beneficiaries.

We also recommend that members let their executors know that they are a registered PPL member and ensure PPL has up-to-date contact details. This small step can make a significant difference in securing a performer’s legacy.

Amid growing calls for changes to copyright laws, Waite says: “Any proposal to soften the UK’s position on copyright is taking away an artist’s right to build a sustainable career out of their work. Relaxing the current copyright protections for big technology companies would be a wild punt against the creative sector that is already contributing over £120bn to the economy – and be counterproductive to the government’s own growth ambitions.”

Our commitment to performers and rightsholders is that we will continue to champion music rights and advocate for protection for the rights of our members, whether from traditional broadcast licensing, the use of music in public spaces or any new licensing streams such as AI, helping ensure our members get paid fairly for their music when it is played.

By taking steps now to protect their legacy, performers can help ensure their music continues to support the people and causes that matter to them most.

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The company has paid a total of £277.7 million to performers and recording rightsholders in 2025.   

PPL collects and distributes royalties in the UK and internationally on behalf of tens of thousands of recording rightsholders and performers, including artists such as Cat Burns, Lewis Capaldi, Charli xcx, Dua Lipa, and the estate of John Lennon.   

In addition to payments from its UK licensing activity, today the organisation is also distributing royalties from 63 international CMOs. Performer collections from Denmark, Germany and the USA have increased as a result of ongoing data improvements, and in Sweden due some back payments relating to a historical private copying settlement.  

Recording rightsholders are receiving significant payments from Belgium this quarter following improved collaboration around repertoire data, as well as substantial payments from Germany, Hungary, Romania and Spain.  

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. More than 20,000 non-featured performers are receiving annual supplementary remuneration, from thousands of recordings released between 1963 and 1973. 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’.

Shamus Damani, Consultant Director of Business Affairs, Defected Records Limited said: “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.

“It is clear from these figures that PPL continues to bring tremendous value to the music industry, and our collaboration with them plays a major part in the continued success of our business.”    

Peter Leathem OBE, CEO, PPL adds: “I am pleased to close the year with such a strong payment to performers and recording rightsholders in the UK and beyond. 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 post PPL distributes £54.3 million to 147,000 performers and recording rightsholders bringing payments in 2025 to £277.7 million appeared first on PPL.

The track, released in 2013, peaked at number three on the UK singles chart and has since become a seasonal favourite, re-entering the top 40 every Christmas since 2017.  

PPL, which licenses the use of recorded music on radio, TV and in public places, has compiled a chart of the most played Christmas tracks released in the 21st century using December airplay data from radio and TV stations across the UK.  

‘One More Sleep’ has accumulated the equivalent of 14 weeks of continuous airplay on radio and television since its release. That’s over 100 plays per day in December. 

Reflecting on the continued success of ‘One More Sleep’, Leona Lewis said:

“It’s really special knowing that ‘One More Sleep’ brings a little joy to people’s Christmases. The song and the whole album mean so much to me. It’s really beautiful that people connect to it and as an artist that’s all I could hope for.” 

The chart highlights which ‘modern’ songs (released from 2001 onwards) have become part of the festive season, joining seasonal mainstays from the likes of Wham!, Wizzard and Mariah Carey – who reigns supreme as ‘All I Want For Christmas Is You’ is the UK’s most played Christmas song on the chart when pre-21st century releases are factored in. 

The Top 10 Most Played Christmas Tracks Released in the 21st Century*

1. One More Sleep – Leona Lewis 
2. Underneath The Tree – Kelly Clarkson 
3. Warm This Winter – Gabriella Cilmi 
4. Merry Christmas – Ed Sheeran & Elton John 
5. Christmas Time – The Darkness 
6. Christmas Lights – Coldplay  
7. Christmas (Baby Please Come Home) – Michael Bublé
8. Santa Tell Me – Ariana Grande 
9. It’s Beginning to Look a Lot Like Christmas – Michael Bublé 
10. Somewhere Only We Know – Lily Allen

*Based on analysis of UK radio and TV airplay data across every November and December since 2001

Half of the top 10 tracks are by female artists, including Kelly Clarkson’s 2013 single ‘Underneath The Tree’ in second place. Elsewhere, Gabriella Cilmi’s ‘Warm This Winter’ (used for Co-op supermarket’s seasonal advert in 2008), and Lily Allen’s ‘Somewhere Only We Know’ (featured in John Lewis’s 2013 Christmas advert), demonstrate the power of festive music on TV during the festive period. 

British artists also feature heavily in the chart, making up five tracks in the top 10. Ed Sheeran and Elton John’s 2021 festive chart-topper ‘Merry Christmas’ has quickly found a place among the festive favourites, while Coldplay’s reflective ‘Christmas Lights’ and The Darkness’s rock anthem ‘Christmas Time’ provide alternative takes on the holiday spirit. 

As modern festive tracks continue to gain popularity, they’re proving that Christmas music is far from stuck in the past. For many, these songs have already earned their place as seasonal classics. 

Peter Leathem OBE, CEO of PPL said: “Christmas songs hold a very special place in the nation’s psyche. With new festive tracks released each year, we decided to look at the success of those recorded this century. This chart shows the power of broadcast in helping usher in a new era of seasonal classics to match some of the most loved from years gone by.” 

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