Where did SACEM's growth actually come from in 2025?
Not from France. SACEM collected 1.704 billion euros worldwide in 2025, a record, up 7.5% year on year. France was globally stable at 859 million euros, which in a year of record totals means it stood still. The whole engine was international: 845 million euros collected outside France, up 13%. Read those two numbers next to each other and the story writes itself. The home market is mature, and the money that is still moving is moving across borders.
This is not a one-year blip. Over the past two years, digital and international collections grew 30%, and about 40% of the streaming rights generated by SACEM members are now collected directly abroad. The center of gravity has shifted from the French radio-and-venue economy to a global, streaming-first one.
What does this mean for house and electronic producers?
This is the part the scene should read closely. The growth is concentrated in exactly the two columns where club-music creators live: digital and international. A deep-house producer in Lyon or Marseille rarely lives off French terrestrial radio. Their audience is on streaming platforms, their plays come from Berlin, London, Lagos, São Paulo, and their rights cross borders by default. So the line that grew 13% abroad and the digital line that drove the two-year 30% jump are, structurally, the lanes that carry electronic music.
The commission cut makes it sharper. From 2026 the rate on online rights drops to 7%, paid for by efficiency gains after the URights platform moved to the cloud. A lower cut on digital rights is a direct raise for anyone whose income is mostly streams, and that skews young, independent and electronic. We are not putting a figure on it, the published results do not break out genres, but the direction is not ambiguous.
The home market is mature. The growth, and the lower commission, both land on the digital and international rights that carry club music.
Is more money actually reaching creators?
Yes, and faster than collections. SACEM distributed 1.502 billion euros to creators and publishers in 2025, up 9%, outpacing the 7.5% growth in what it collected. The number of remunerated creators and publishers jumped from more than 510,000 in 2024 to 663,000 in 2025, so the payout is spreading to more names, not just bigger ones. The operating cost ratio held at 9.8%.
What is SACEM doing with the rest?
Beyond redistribution, SACEM put 17.8 million euros into cultural action in 2025, backing 3,801 projects including 1,250 concerts and music events and 514 festivals. For a scene built on live rooms and festival stages, that pot is not abstract: it is part of what keeps the stages a producer's tracks get played on open.
