Distribution of neighbouring rights: a new record in 2019

January 21 2020

In 2019, PlayRight distributed more than 27 million euros of neighbouring  rights. By collecting an average of almost 20 million euros annually, the society has distributed more rights than we received in 2019.

New record since 2014

The rights paid in 2014 amounted to almost 29 million euros. This amount was much higher than the ‘usual’ annual amount, and comprised a significant catch-up movement from the previous periods.

In 2019, PlayRight made an enormous effort to continue this hard work of catching up with the past, while we had already become much more efficient in distributing rights in recent years. By also collecting the rights of artists that PlayRight represents abroad, we are, consequently, able to pay out more rights.

PlayRight distributes more rights than we have collected

The remunerations that form the basis of your neighbouring  rights stem from different sources of income, depending on the nature of your performances (musical and/or audiovisual). In addition to these remunerations received in Belgium, PlayRight also collects rights from similar societies abroad for the members who have entrusted us with a worldwide mandate. Once these rights are paid to PlayRight, we analyze and calculate them individually. These rights are, thus, the reimbursements that PlayRights then distributes to you.

In 2019, PlayRight collected nearly 20 million euros in total, while the distribution of rights amounted to almost 27 million euros. We distributed, hence, more rights than we received in 2019.

How to explain these figures?

In 2019, PlayRight intensively caught up with the previous years, which partially explains this amount. In addition, the work that we carry out internationally makes it possible to distribute more international rights, as well. Thanks to this, PlayRight has again collected a record amount of rights collected abroad. To sum up, the music rights for 2015 were entirely paid to our artists.

This amount is, thus, not simply the result of ‘luck’, but rather it is the result of a strategy and internal policy aimed at defending the interests of the artists who entrust us with their rights as good as possible. Let’s go, 2020!

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