Meet the Team: Anna Hazlewood, Broadcast Licensing Executive

Read more from Anna to learn why she’s proud to work at PPL, and how she’s delighted that punk’s making a comeback.

What made you want to be part of PPL – and what were you doing before? 

I’ve worked in all manner of industries – hospitality, retail, I even had a job where I had to dress up as a shark!  

I’ve always been passionate about music and about performers getting the money they’re entitled to, so when I graduated from De Montfort University in Leicester I started working at PPL PRS, during the pandemic.  

I started in the Customer Service team then spent three years in Live Music Licensing where I specialised in theatrical music licensing, which covers music being used in everything from big West End productions to smaller local dance schools.  

In 2023, I moved to a Broadcast Licensing Advisor role in the Licensing team at PPL, before being promoted to Broadcast Licensing Executive in July 2024. I’m still based in Leicester but work in our central London office two days a week.  

So how does Licensing fit into the business? 

We license radio stations, TV channels and some online services to enable them to use our repertoire within their broadcasts. It’s one of the crucial elements in the many moving parts of PPL. The licence fee income we collect is distributed to our members.  

I’m focused on the radio broadcasting side of things and work closely with a wide variety of radio stations. Commercial stations submit their music programming which gives us a great source of accurate information so we can distribute payments to our members when their work is played.  

We also licence for a huge variety of smaller stations which helps us to collect further royalties for our members.   

What does a typical day involve for you?  

Sometimes I’ll be speaking to representatives from  commercial radio station networks – another day it’ll be bedroom DJs, or community radio stations, some of whom are specialised music stations like Asian networks or LGBTQ stations.  

I find it fascinating to find out more about all the different music genres and specialisms that people enjoy. It all helps to make sure no one slips through the net and that artists outside of the mainstream are still getting royalties. 

What are your top priorities right now? 

We’ve had an influx of stations launching on DAB (digital audio broadcasting) recently, which is fantastic news for the radio industry. It will provide more opportunities for listeners to find new music.

In my team, our priority is to ensure all these broadcasters have a PPL licence and are compliant so we can distribute royalties back to our members.  

What are some of the biggest challenges? 

Organisations don’t always understand the need for a licence when they pay to stream music. However, streaming platforms aren’t always designed with artists in mind. Ensuring that radio stations are licensed with PPL means our members have a guaranteed, sustainable form of income.  

Having a licence isn’t just a bill to pay. The money we make goes back to our members and many of them rely on us for an income. 

How have you seen PPL make a positive impact for the artists and organisations you work with? 

Through the PPL Momentum Music Fund we provide UK-based artists and bands with grants to help them make progress and take the next step in their careers. They can use it for touring for example, or recording, or marketing.

I’m also very proud of the fact that the amount of money PPL has distributed to its members is increasing year on year. It’s a great feeling to know new licensing deals are helping more performers and recording rightsholders get paid when their music is played.   

The PRS Foundation is also brilliant when it comes to providing new musicians and performers with grants to help them get started. It’s helped thousands of new music initiatives over the years. 

What are you most excited about in the music world? 

I’m a vocalist in a punk band and one thing I find cool is that punk and hardcore are becoming  popular again. It’s exciting that underground genres getting more recognition in the mainstream world. 

Since the pandemic, we’ve been able to perform in venues across the UK including the New Cross Inn in London and The Exchange in Bristol, as well as the odd skatepark here and there.  

Who are your ones to watch? 

There’s a punk band from Bristol called Gimic who are really fun and fast.  Their riffs are insane, they shred on guitar and they’re amazing live. I also really like Pandy Isaf, a new electronic artist based in Liverpool – dreamy tunes with incredible production. 

What’s a track that always makes you smile – and why?  

Baby Alligator by Ovlov. The whole of Ovlov’s ‘Tru’ album makes me think of summer and road trips with friends. I’ve got a lot of happy memories attached to it. 

And finally, what new track should everyone have on their playlist? 

Pink Pony Club by Chappell Roan. It’s such a feel-good song, I love the 80s vibe and it just seems to appeal to everyone.