Peermusic, the world’s largest global independent music publishing and neighbouring rights company with 39 offices in 32 countries, has promoted Elizabeth Rodda to President, US Latin, Latin America and Global Society Relations, as announced today by CEO Mary Megan Peer, to whom Rodda reports. In this expanded role, Elizabeth Rodda will now oversee the company’s Latin initiatives and new signings in the US and Puerto Rico, in addition to overseeing initiatives and repertoire across South America, Mexico and Central America. Peermusic’s US Latin Creative team will now report to Rodda, who continues to be based out of Peermusic’s Miami office. Rodda will also continue to serve as a representative of Peermusic to global collection societies, as she works to optimize revenue growth and rights flow for all Peermusic songwriters. 

Mary Megan Peer commented: “In her two years with peermusic, Liz has continued to develop of our Latin America operations, supporting the creative work and growing the income of peermusic songwriters throughout the region. In expanding her role to lead our US Latin initiatives, we are recognizing the close ties between the US Latin and Latin American and increasing the opportunities for our Latin writers globally.” 

Elizabeth Rodda commented: “Peermusic has a long legacy of championing Latin music and promoting songs of cultural importance and it is an honor to keep that torch bright for the next generation of music creators. Today, our creative teams are firing on all cylinders in attracting top talent, creating opportunities for Latin songwriters in the global music market, proactively pitching for synchronization, and helping to take the careers of our writers to the next level. I’m honored to work with Mary Megan and the Peermusic team as we continue to support our writers with a dedicated team and an unparallelled international footprint.” 

In addition to her new US and Puerto Rico Latin responsibilities, Elizabeth Rodda will continue to oversee Peermusic’s Latin initiatives and repertoire across South America, Mexico and Central America. In the region, Peermusic has local offices and staff in Argentina, Brazil, Chile, Colombia, Mexico, Peru and Venezuela, and additionally administers the territories of Belize, Bolivia, Costa Rica, Dominican Republic, Ecuador, El Salvador, Guatemala, Honduras, Nicaragua, Panama, Paraguay and Uruguay. Rodda works with local Peermusic Managing Directors to sign new songwriters, producers, and music publishing catalogues and oversees digital and synchronization activity throughout the regions. Recent signings by the Peermusic teams across these regions include Vladi Cachai, AQUIHAYAQUIHAY, Un León Marinero, Foudeqush, Jaze, Los Dioses del Ritmo and NanQ. 

Rodda will also continue to be a key representative for the company in its global society relationships, working directly with CMOs and local offices around the world to increase registrations and collections.

Elizabeth Rodda has over twenty years of experience working in music publishing and global collection societies and served as ASCAP’s Senior Vice President of International Affairs prior to joining Peermusic as President, Latin America and Global Society Relations in 2023. While at ASCAP, Elizabeth Rodda worked to drive revenue-generating activities for ASCAP’s repertory outside the US, focusing on building and maintaining relationships with other CMO’s around the globe. Prior to that, Elizabeth Rodda served as Director of International Affairs and as Regional Relationship Manager for Latin America and the Caribbean for ASCAP. Prior to that, Elizabeth Rodda held music publishing and licensing positions with Planet Records and Caribe Sound and Music Publishing and also worked as an independent consultant. She holds a B.A. in Marketing & International Business from Florida International University and is a classically trained pianist.

With a 95+ year history, Peermusic is widely considered the first music publishing company to travel across geographical borders publishing the important works of Latin music composers such as Consuelo Velazquez (“Besame Mucho” in 1941), Agustin Lara (“Solamente Una Vez” in 1941), Perez Prado (“Mambo #5” in 1945), Jose Alfredo Jimenez (“Sin Nos Dejan” in 1968), and Beny Moré (“Como Fue” in 1952). Peermusic further brought this rich musical culture to the world by building a creative team and a fortress for Latin songwriters, where Latin songs would be nurtured, understood, and protected. Peermusic’s vision was to see Latin music not just as a genre, but as a whole industry, which was unprecedented in its time and is an ethos which continues to this day.