Paris-headquartered royalty collection society Sacem distributed EUR €1.502 billion ($1.69 billion) to artists and publishers in 2025, a 9% increase from 2024, as revenue from international digital platforms continued to outpace its domestic business.
Sacem paid royalties to 663,000 artists and publishers globally last year, according to its results published Wednesday (May 6).
International collections from digital platforms and overseas rose 13% to €845 million ($954m), while revenue collected within France was largely flat at €859 million ($970m), compared with €852 million in 2024. The steady growth in France was buoyed by live music, according to Sacem.
Combined revenues were up 21% YoY to €1.804 billion ($2.04bn) from the €1.487 billion reported in 2024. In comparison, revenues at ASCAP, the American Society of Composers, Authors and Publishers, jumped 6% YoY in 2025 to $1.945 billion, while that of Germany’s GEMA climbed 0.4% YoY to €1.34 billion ($1.51bn).
In 2025, Sacem said it supported a network of 60 regional offices across France, and in 2025 it channeled €17.8 million ($20m) into cultural projects, funding 514 festivals, 1,250 concerts at cafés, bars, and campgrounds, and supporting 178 performance venues. It also ran music programs in schools, nursing homes, and correctional facilities.
“Our performance in 2025 is proof that the strategy we have adopted is a sound one, based not only on digital and international expansion, but even more so on the role we play in fostering creativity throughout France.”
Cécile Rap-Veber, SACEM
Membership grew as well, with some 13,500 new members joining in 2025, 27% of them under the age of 25, bringing total membership to just over 251,000. Around 12% of members now come from outside France.
The company acknowledged that streaming platforms have become the driver of music consumption globally. Sacem said the growth of the music industry is “increasingly built on international expansion and digital initiatives.”
Sacem said its digital and overseas revenue has climbed 30% over the past two years. Sacem CEO Cécile Rap-Veber attributed the growth to the company’s technological investments. To date, about 40% of Sacem members’ music streaming royalties are collected directly from international markets.
Rap-Veber said: “Our performance in 2025 is proof that the strategy we have adopted is a sound one, based not only on digital and international expansion, but even more so on the role we play in fostering creativity throughout France.”
“This momentum stems from major technological investments, such as the URights platform, which enable us to process ever-increasing volumes of data with greater speed, reliability and transparency. More than anything, it reflects Sacem’s long-established ability to adapt to major technological shifts and drive innovation,” Rap-Veber added.
“In an environment profoundly transformed by the digital revolution and new, globalized usage patterns, we have a responsibility to do everything we can to ensure that these changes serve to strengthen creativity, cultural diversity and fair remuneration for authors, rather than undermining them.”
Patrick Sigwalt, Sacem
The company says its operational changes helped Sacem keep its expense-to-revenue ratio at 9.8%, which it describes as “one of the lowest in the world.” Sacem said its increased efficiency has also reduced online royalty fees to 7%, effective 2026, cut lead times and improved the accuracy of royalty payments.
In terms of physical music format, Sacem said it expanded its CD and vinyl rights management across Europe. Sony Music Entertainment, Warner Music Group, and BMG all signed on last year to have Sacem manage their European rights, joining Universal Music Group.
Looking ahead, Rap-Veber flagged artificial intelligence as a “turning point,” adding: “Just as we did with streaming platforms over
fifteen years ago, we have set our sights on partnering with AI providers to ensure a fair and protective framework for creators. And 2026 will be a pivotal year in this regard, driven by ongoing legislative developments.”
The results come as Sacem marks its 175th anniversary. Sacem Chairman Patrick Sigwalt said: “Since its creation, its mission has never wavered: to protect creators, foster musical diversity and support all those who bring music to life across the country.”
“In an environment profoundly transformed by the digital revolution and new, globalized usage patterns, we have a responsibility to do everything we can to ensure that these changes serve to strengthen creativity, cultural diversity and fair remuneration for authors, rather than undermining them.”
“Over 175 years, Sacem has grown in scale: from a society supporting around a hundred creators in France, it has become a global player in over 180 markets, remunerating 663,000 creators and publishers worldwide.”
Patrick Sigwalt, Sacem
Sigwalt added: “Every venue we fund, every festival we support, and every initiative carried out in schools or places with limited access to culture, exemplifies our commitment: to make music accessible to all, a vehicle for social connection and vitality for local communities. In this spirit, we have worked with the Association of French Mayors to develop solutions tailored to the realities of small towns so they can organize music events in spite of increasing budgetary constraints.”
Rap-Veber added: “Over 175 years, Sacem has grown in scale: from a society supporting around a hundred creators in France, it has become a global player in over 180 markets, remunerating 663,000 creators and publishers worldwide. Digital technology, which was still generating only marginal revenue in the early 2000s, has accelerated this transformation and is now the main source of copyright royalties.”
“Today, I am incredibly proud to see a French company as the global leader in music rights management. We will continue to develop this model, which has proven its worth for 175 years, serving artists and creative professionals wherever music is played.”
Music Business Worldwide
