PPL and PRS are good things. They ensure artists get paid royalties – even more important in these times of diminishing income from record sales.
To frame that – I ran 3 dance music labels in the early 2000’s – when we were on vinyl, sale price would be around £7-9 per release, of which we would get about £2.20 from the distributor (on an “imprint” basis). We’d sell typically 500-750 copies per release, and the artist would expect to see £1.10 of that revenue, so in the region of £600-800 per track.
When the MP3 revolution kicked off, first of all sales plummeted due to file sharing (you can go top 10 on beatport with 100 or less sales) and on a typical £1.49 per track sale, the label will see 50p, of which the artist will probably see 20p.
All of a sudden, it’s financially non-viable for all concerned. Royalties from publishing (TV/licensed premises/adverts if you get lucky) are essential to earning anything from your music.
Once we stopped making decent money, I sold the labels to someone and got out as it was not worth my time anymore, and lots of others did as well.
So the moral of the story is that PRS/PPL helps producers and musicians earn some money, and that’s a good thing.