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<blockquote><p>When people say they want to work in the “cool” side of the music industry, they usually mean A&amp;R, management, the live sector, for example. They want to be close to artists. They want to spot the next big thing. But I’ve always thought there’s another part of the business that’s equally compelling and often more rewarding, and I am not the only one.</p><p><strong>Finding the money</strong></p></blockquote><figure id="figure-e60ip0mpp4mdeem2bn" data-full-width=""><img id="e60ip0mpp4mdeem2bn" src="https://cdn.durable.co/blocks/bJz8J3T2wC2eW5AZToU978F8MbROTfJqvGpx81JyyHItXlxkACpA8V62Xw1Yeoyq.jpg" alt="" title="" class="object-cover bg-gray-100 " style="aspect-ratio: 3/2; object-position: center center;" data-corners="default" data-aspect="3:2" data-caption="Jason Mraz Live at Westerpark, 2 July 2009" data-positionx="undefined" data-positiony="undefined" data-fullwidth="true" data-mce-src="https://cdn.durable.co/blocks/bJz8J3T2wC2eW5AZToU978F8MbROTfJqvGpx81JyyHItXlxkACpA8V62Xw1Yeoyq.jpg" data-mce-style="aspect-ratio: 3/2; object-position: center center;"><figcaption class="body-normal text-gray-500 mt-2">Jason Mraz Live at Westerpark, 2 July 2009</figcaption></figure><p>Between 2007 and 2017, I was working as Relationship Manager for <strong>global music publishing administration company, Fintage House</strong>, responsible for a prestigious client roster, including the <strong>Downtown Music Publishing</strong> catalogue, <strong>Tori Amos</strong>, The <strong>Frank Zappa</strong> Estate, <strong>Hasbro</strong>, <strong>Duran Duran</strong>, <strong>WWF</strong> and many more artist, band and film &amp; TV publishing catalogues. Our focus on <strong>finding our clients' royalties </strong>due to them<strong> </strong>was a key factor in our <strong>great track record of client retention</strong>, and it has been a significant factor in how I have maintained strong relationships with so many of my clients from then, some of whom are my partners today.</p><figure id="figure-1k8shpdnbmdeh5ogv" data-full-width=""><img id="1k8shpdnbmdeh5ogv" src="https://cdn.durable.co/blocks/23aEDEncpMK2QP1rLgdWxQxirECGcpJPNVFcrbTH6Tiq7a6jQkkZfmO6WLmVS2c7.jpg" alt="" title="" class="object-cover bg-gray-100 " style="aspect-ratio: 1/1; object-position: undefined% 50%;" data-corners="default" data-aspect="1:1" data-caption="A happy client, Jason Mraz, 2009" data-positionx="undefined%" data-positiony="50%" data-fullwidth="true" data-mce-src="https://cdn.durable.co/blocks/23aEDEncpMK2QP1rLgdWxQxirECGcpJPNVFcrbTH6Tiq7a6jQkkZfmO6WLmVS2c7.jpg" data-mce-style="aspect-ratio: 1/1; object-position: undefined% 50%;"><figcaption class="body-normal text-gray-500 mt-2">A happy client, Jason Mraz, 2009</figcaption></figure><p> </p><p>Between 2008 and 2010, one of my priorities was <strong>tracking publishing royalties</strong> for <strong>“I’m Yours” by Jason Mraz</strong>. The song became a <strong>global hit</strong> – <strong>charting in over 20 countries</strong>, going<strong> 13× platinum in the US</strong>, and setting a then <strong>record for the longest run on the Billboard Hot 100 (76 weeks)</strong>.&nbsp;</p><h3><strong>Hits generate royalties, but those royalties don’t always arrive automatically or correctly. You have to go and find them.&nbsp;</strong></h3><figure id="figure-h6vuwba0jdmdeep4jp" data-full-width=""><img id="h6vuwba0jdmdeep4jp" src="https://cdn.durable.co/blocks/29RpCD03VrrKRGvcCHUz2o6C5rDAMy3CFtRwOkTkEHfPkHJZjcm3DXomLhVqJEy8.jpg" alt="" title="" class="object-cover bg-gray-100 " style="aspect-ratio: 16/9; object-position: center center;" data-corners="default" data-aspect="16:9" data-caption="" data-positionx="undefined" data-positiony="undefined" data-fullwidth="true" data-mce-src="https://cdn.durable.co/blocks/29RpCD03VrrKRGvcCHUz2o6C5rDAMy3CFtRwOkTkEHfPkHJZjcm3DXomLhVqJEy8.jpg" data-mce-style="aspect-ratio: 16/9; object-position: center center;"></figure><h3><strong>Before tech: Spreadsheets, setlists and chasing societies</strong></h3><p>I chased royalties across dozens of territories. <strong>I cross-checked chart positions, sales data, setlists, syncs, ringtone reports, and society statements</strong> which were often inconsistent, late, or incomplete. There were no real dashboards. <strong>No AI</strong>. <strong>Just spreadsheets, instinct, and a lot of persistence.</strong></p><p>I even earned a nickname at the French collection society, SACEM, for constantly resending my unanswered emails with “ANY NEWS PLEASE” in the subject line. They called me <strong>Mandy “any news please?” Aubry</strong>. I took it on the chin. </p><p>In those days I would write to a society with an income query and then <strong>wait</strong>. <strong>One week. Two weeks. Three</strong>. When a reply finally came it was often another question or a request for more data. I would send what they needed and the waiting would start again. Multiply that across territories and you begin to see how frustrating it became.</p><p>At the end of the album cycle, I voluntarily <strong>compiled a full report showing what was found, what was missing, and how it all came together</strong>. Maybe it was my way of closing a two-year challenge or even an obsession. I’d learned so much about how global royalties are generated, tracked, and claimed. And finding all that money was genuinely rewarding.</p><h3><strong><a href="https://drive.google.com/file/d/1CPx7t5rKg9HQ7oViHlebJdwuITQKUZnv/view?usp=sharing" target="_blank" rel="noopener" data-mce-href="https://drive.google.com/file/d/1CPx7t5rKg9HQ7oViHlebJdwuITQKUZnv/view?usp=sharing">Read the full (redacted) report here.</a></strong></h3><p>It suited my personality. Client-focused, detail-oriented, patient and determined.<strong> The kind of work that requires structure, instinct, and tenacity in equal measure</strong>.</p><p>People think the “cool” jobs in music are the ones closest to artists. But I’ve always thought <strong>the coolest part is helping artists and rightsholders make enough money to keep going.</strong> That’s what makes income tracking so satisfying.</p><figure id="figure-gx3qsmqg0qmdeeoacn"><img id="gx3qsmqg0qmdeeoacn" src="https://cdn.durable.co/blocks/2e0Ut056oMiQ4vOaCDfN7xzg60rRwgU7a5Py8xGHvJEAOW8Zr8aMNvWbqEYnNRWj.jpg" alt="" title="" class="object-cover bg-gray-100" style="aspect-ratio: 16/9; object-position: center center;" data-corners="default" data-aspect="16:9" data-caption="" data-positionx="undefined" data-positiony="undefined" data-fullwidth="false" data-mce-src="https://cdn.durable.co/blocks/2e0Ut056oMiQ4vOaCDfN7xzg60rRwgU7a5Py8xGHvJEAOW8Zr8aMNvWbqEYnNRWj.jpg" data-mce-style="aspect-ratio: 16/9; object-position: center center;"></figure><h3><strong>It’s about asking the right questions</strong></h3><p>The key to income tracking is <strong>knowing what questions to ask and tying those questions to real, provable usage</strong>. That means <strong>identifying where a song has been used</strong>, <strong>understanding how it should have generated income</strong>, and being able to <strong>verify and justify the claim</strong>.</p><p>When I was tracking income for <em>I’m Yours</em>,<strong> </strong>the process was almost <strong>entirely manual</strong>. Even when we had data, <strong>we relied on Excel, persistence, and direct relationships with collection societies. </strong>You had to <strong>understand the system </strong>and <strong>how to navigate it</strong>. Half the time, even knowing what was due felt like a piss in the wind.</p><p>That part still matters. But things have changed. </p><h3><strong>With the right technology, especially AI, there is now more opportunity to track income more accurately, more consistently, and in a way that reflects what has actually been used. And it gets you paid what is due.</strong></h3><h3><strong>Now: working with <a data-mce-href="https://www.claimy.co/" href="https://www.claimy.co/">Claimy</a></strong></h3><figure id="figure-fax6rofl1bmdetj5ml" data-full-width=""><img id="fax6rofl1bmdetj5ml" src="https://cdn.durable.co/blocks/2eBYxz6BpoR7Rp84j0J6wR9zcWDY3i6QJn27gzIuy8Mi1GCxgrV8x3sNaevoIFKL.jpg" alt="" title="" class="object-cover bg-gray-100 " style="aspect-ratio: 3/2; object-position: center center;" data-corners="default" data-aspect="3:2" data-caption="Claimy Co-Founders L-R: Pierre-Alban Moulliez, Guillaume de Lavenère, Gustave Larrouturou" data-positionx="undefined" data-positiony="undefined" data-fullwidth="true" data-mce-src="https://cdn.durable.co/blocks/2eBYxz6BpoR7Rp84j0J6wR9zcWDY3i6QJn27gzIuy8Mi1GCxgrV8x3sNaevoIFKL.jpg" data-mce-style="aspect-ratio: 3/2; object-position: center center;"><figcaption class="body-normal text-gray-500 mt-2">Claimy Co-Founders L-R: Pierre-Alban Moulliez, Guillaume de Lavenère, Gustave Larrouturou</figcaption></figure><p>From the first moment I heard what <strong>Claimy</strong> was doing, I was genuinely <strong>excited </strong>and I’m not the only experienced income tracker who has felt a rush of excitement when hearing first about the company. Their <strong>Co-Founder</strong>, <strong>Pierre-Alban Mulliez</strong>, described what felt like the <strong>missing piece of the puzzle</strong>. Claimy is on the same quest I was on back in 2008 when I was manually tracking the income for "I’m Yours". The scale is different now, and the tools are sharper, but the goal is the same – to ask the right questions and get people paid properly.</p><p><strong>I knew then that I wanted to be part of it. </strong></p><p>I’m glad to say I now <strong>work with Claimy as an ambassador,</strong> helping more people understand why this part of the business matters.</p><p>Because it does matter. And with the right support, income tracking is no longer a back-office burden. It’s a central part of how creators and rightsholders stay in control and get paid.</p><figure id="figure-ks210zs4e9mdehzuxg"><img id="ks210zs4e9mdehzuxg" src="https://cdn.durable.co/blocks/28a69oKFIjwaGY5vBkm3CRCIcwYYVFoca0mKp8GhOIv8gBUazGMFQiFyCHsDADae.jpg" alt="" title="" class="object-cover bg-gray-100 " style="aspect-ratio: 1/1; object-position: center center;" data-corners="default" data-aspect="1:1" data-caption="Fintage House Team L-R: Sandra Meintjes (Head of Royalties), Fatiha Ben Brahim (Head of Copyright), and me! 2014" data-positionx="undefined" data-positiony="undefined" data-fullwidth="false" data-mce-src="https://cdn.durable.co/blocks/28a69oKFIjwaGY5vBkm3CRCIcwYYVFoca0mKp8GhOIv8gBUazGMFQiFyCHsDADae.jpg" data-mce-style="aspect-ratio: 1/1; object-position: center center;"><figcaption class="body-normal text-gray-500 mt-2">Fintage House Team L-R: Sandra Meintjes (Head of Royalties), Fatiha Ben Brahim (Head of Copyright), and me! 2014</figcaption></figure><h3><strong>About Claimy:</strong></h3><h3>Claimy is the first <strong>AI-powered music rights administration engine</strong>. It <strong>maximises catalogue value </strong>for creators and rightholders by <strong>automatically identifying missing rights</strong> and <strong>initiating claims to recover them</strong>. Using <strong>AI and large data models</strong>, it <strong>centralises consumption data</strong> from major distribution channels and territories, and <strong>forecasts revenue in real time</strong>. This gives publishers and labels <strong>unique insights into their business</strong>.</h3><p>This startup is part of Challenges' 2025 "100 startups to invest in" selection:&nbsp;</p><p><strong><a data-mce-href="https://www.challenges.fr/entreprise/start-up/claimy-le-scan-des-chansons-pour-faire-respecter-les-droits-dauteur_600909" href="https://www.challenges.fr/entreprise/start-up/claimy-le-scan-des-chansons-pour-faire-respecter-les-droits-dauteur_600909" target="_blank" rel="noopener">Claimy: Scanning songs to enforce copyright</a></strong></p><figure id="figure-4mepwiragmdetwk1o"><img id="4mepwiragmdetwk1o" src="https://cdn.durable.co/blocks/fnG2DMq6LWLo43KTyLKxS7RjIcneP4DEaacgJCldGuPhIJiAAaMfWzpi5dpZsxHB.jpg" alt="" title="" class="object-cover bg-gray-100 " style="aspect-ratio: 1/1; object-position: center center;" data-corners="default" data-aspect="1:1" data-caption="" data-positionx="undefined" data-positiony="undefined" data-fullwidth="false" data-mce-src="https://cdn.durable.co/blocks/fnG2DMq6LWLo43KTyLKxS7RjIcneP4DEaacgJCldGuPhIJiAAaMfWzpi5dpZsxHB.jpg" data-mce-style="aspect-ratio: 1/1; object-position: center center;"></figure><h3>You might also find my blog on music recognition technologies useful,&nbsp; especially if you’re thinking about accuracy, tracking, or how to build something fairer and more joined-up across the industry.</h3><h3><strong>Read: <a data-mce-href="https://msamusicservices.com/blog/towards-a-syndicate-of-music-recognition-technologies" href="https://msamusicservices.com/blog/towards-a-syndicate-of-music-recognition-technologies" target="_blank" rel="noopener">Towards a Syndicate of Music Recognition Technologies</a></strong></h3><figure id="figure-jsd39j7iwmdehdbb0" data-full-width=""><img id="jsd39j7iwmdehdbb0" src="https://cdn.durable.co/blocks/23kUxKgJK5eM5XTGXy1hnIu3wj5C4z4MydLRi5j6nnZRcvf3pfSDFviV9eqCieZ0.png" alt="" title="" class="object-cover bg-gray-100 " style="aspect-ratio: 16/9; object-position: undefined% 25%;" data-corners="default" data-aspect="16:9" data-caption="" data-positionx="undefined%" data-positiony="25%" data-fullwidth="true" data-mce-src="https://cdn.durable.co/blocks/23kUxKgJK5eM5XTGXy1hnIu3wj5C4z4MydLRi5j6nnZRcvf3pfSDFviV9eqCieZ0.png" data-mce-style="aspect-ratio: 16/9; object-position: undefined% 25%;"></figure>

Why income tracking might be the most fun you can have in the music biz (and why everyone should take it seriously – and maybe even love it.)

<blockquote><h2><strong>Careers in the music business</strong> rarely follow a straight line. Job titles shift, roles evolve, and most people build their path as they go. Yet <strong>the industry still lacks the support needed to make that growth sustainable</strong>.</h2></blockquote><figure id="figure-iotedgdoismd4j2t4l" data-full-width=""><img id="iotedgdoismd4j2t4l" src="https://cdn.durable.co/blocks/26tWAYP1OOxwlhfjfAc2hxQZyZFmsvQPsMFY5Td3PzkDFVFT5cWFhbx2TPhX0SgQ.jpg" alt="" title="" class="object-cover bg-gray-100 " style="aspect-ratio: 16/9; object-position: 50% 55%;" data-corners="default" data-aspect="16:9" data-caption="L-R: Mandy Salem-Aubry, Virgo Sillamaa, Paty Carrera, Darek Mazzone, Aysha Hussain" data-positionx="50%" data-positiony="55%" data-fullwidth="true" data-mce-src="https://cdn.durable.co/blocks/26tWAYP1OOxwlhfjfAc2hxQZyZFmsvQPsMFY5Td3PzkDFVFT5cWFhbx2TPhX0SgQ.jpg" data-mce-style="aspect-ratio: 16/9; object-position: 50% 55%;"><figcaption class="body-normal text-gray-500 mt-2">L-R: Mandy Salem-Aubry, Virgo Sillamaa, Paty Carrera, Darek Mazzone, Aysha Hussain</figcaption></figure><h3>This blog is based on the panel <a data-mce-href="https://musicweekpoland.com/events/so-what-am-i-doing-at-the-end-professionalisation-and-career-growth-in-the-music-industry/" href="https://musicweekpoland.com/events/so-what-am-i-doing-at-the-end-professionalisation-and-career-growth-in-the-music-industry/" target="_blank" rel="noopener"><strong><em>So, What Am I Doing at the End? Professionalisation and Career Growth in the Music Industry</em></strong></a> which I moderated at <strong><a data-mce-href="https://musicweekpoland.com/" href="https://musicweekpoland.com/" target="_blank" rel="noopener">Music Week Poland 2025</a></strong>. We talked about how careers in the music business take shape, the support that’s missing, and what actually helps people move forward. The message was simple: <strong>most roles are built, not given, but that doesn’t mean you should have to figure it all out alone.</strong></h3><h3><strong>Speakers:</strong></h3><p><span style="text-decoration: underline;" data-mce-style="text-decoration: underline;"><strong>Aysha Hussain</strong></span> – Music Consultant and Label Manager, Keychange</p><p><span style="text-decoration: underline;" data-mce-style="text-decoration: underline;"><strong>Paty Carrera</strong></span> – Artist Manager and Music Business Educator, Control Freaks</p><p><span style="text-decoration: underline;" data-mce-style="text-decoration: underline;"><strong>Virgo Sillamaa </strong></span>– Cultural Policy Advisor and Music Sector Advocate, EMEE</p><p><span style="text-decoration: underline;" data-mce-style="text-decoration: underline;"><strong>Darek Mazzone</strong></span> – DJ / Broadcaster, KEXP</p><h3><strong>Moderator:</strong></h3><p><span style="text-decoration: underline;" data-mce-style="text-decoration: underline;"><strong>Mandy Salem-Aubry</strong></span> – Managing Director, MSA Music Services / Conference Programme Coordinator, Athens Music Week</p><h3><strong>Live Mural Capture:</strong></h3><p><span style="text-decoration: underline;" data-mce-style="text-decoration: underline;"><strong>Joanna Kowalczyk</strong></span> – Co-Founder, Artist in Bloom</p><figure id="figure-0g1f1evj2gmd4se9pf"><img id="0g1f1evj2gmd4se9pf" src="https://cdn.durable.co/blocks/30AHoUYAXmpXIejdkgIra5S2996OPP8ReCZNog0aZhURJ9H0AvA3pVQNki74e2HX.jpg" alt="" title="" class="object-cover bg-gray-100 " style="aspect-ratio: 16/9; object-position: center center;" data-corners="default" data-aspect="16:9" data-caption="Magda Cholyst and Joanna Kowalczyk - Artist in Bloom" data-positionx="undefined" data-positiony="undefined" data-fullwidth="false" data-mce-src="https://cdn.durable.co/blocks/30AHoUYAXmpXIejdkgIra5S2996OPP8ReCZNog0aZhURJ9H0AvA3pVQNki74e2HX.jpg" data-mce-style="aspect-ratio: 16/9; object-position: center center;"><figcaption class="body-normal text-gray-500 mt-2">Magda Cholyst and Joanna Kowalczyk - Artist in Bloom</figcaption></figure><h3><strong><em>"You fail and fail and fail, and there's one good outcome, only one..."&nbsp;</em></strong><strong>- Paty Carreira.</strong></h3><figure id="figure-lgz4ww4cgnmd4j01yk" data-full-width="" class=""><iframe id="lgz4ww4cgnmd4j01yk" src="https://www.youtube.com/embed/MFLyRXy3eZQ" class="w-full bg-gray-100 " style="aspect-ratio: 16/9;" allowfullscreen="" data-url="https://youtu.be/MFLyRXy3eZQ?si=k_XHyD1P1gARsF-c" data-corners="default" data-fullwidth="true" data-mce-src="https://www.youtube.com/embed/MFLyRXy3eZQ" data-mce-style="aspect-ratio: 16/9;"></iframe></figure><h2><strong>Why is career growth in the music business so unclear?</strong></h2><p>Most roles aren’t mapped out in advance. People create their own paths, often in response to gaps:</p><ul><li>Job titles shift, and responsibilities are often undefined.</li><li>There’s little formal guidance once you’re past the entry level.</li><li>Support is often geared toward artists, not those behind the scenes.</li></ul><p>It’s not that people aren’t ambitious. It’s that the structure to support long-term growth often isn’t there.</p><h3><strong>Why do so many professionals feel stuck?</strong></h3><p>Even experienced people in music hit points where it’s hard to see the way forward:</p><ul><li>There’s no obvious next step.</li><li>Roles are unstable, and support varies from country to country.</li><li>Many feel they have to prove their worth repeatedly, even mid-career.</li></ul><p>Without visible models or frameworks, it’s easy to feel you’re working in isolation.</p><h2><strong>What helps people move forward?</strong></h2><p>The panel highlighted three things that can make a difference:</p><ul><li>Peer networks that share knowledge and perspective.</li><li>Flexible tools that bring clarity to complex work.</li><li>Support systems that recognise how careers actually develop, not how they’re supposed to.</li></ul><figure id="figure-oqey815jnwmd4ptzay" data-full-width=""><img id="oqey815jnwmd4ptzay" src="https://cdn.durable.co/blocks/1fepPC8hpGU309ZZ2Bkq1olgvhbeqxi61NYR7E2bmbBw29v4zkgHq2SOsORu1sbC.jpg" alt="" title="" class="object-cover bg-gray-100 " style="aspect-ratio: 3/2; object-position: center center;" data-corners="default" data-aspect="3:2" data-caption="" data-positionx="undefined" data-positiony="undefined" data-fullwidth="true" data-mce-src="https://cdn.durable.co/blocks/1fepPC8hpGU309ZZ2Bkq1olgvhbeqxi61NYR7E2bmbBw29v4zkgHq2SOsORu1sbC.jpg" data-mce-style="aspect-ratio: 3/2; object-position: center center;"></figure><h3><strong>The goal isn’t to standardise every path. It’s to make sure people aren’t left to figure it all out alone.</strong></h3><h3><strong>How does this play out across countries?</strong></h3><p>The experience of building a music business career varies widely depending on where you are:</p><ul><li>Support structures differ from country to country.</li><li>In some regions, mid-career professionals have no clear next step.</li><li>Cross-border collaboration is growing, but infrastructure often lags behind.</li></ul><p>It’s not just a local issue. These gaps are visible across the international music ecosystem.</p><h3><strong>Why are freelancers and independents especially affected?</strong></h3><p>Many people working in music wear multiple hats and move between roles:</p><ul><li>They’re not always seen as “professionals” by formal institutions.</li><li>Career progression is hard to define or even talk about.</li><li>Much of the work is project-based, underpaid, or invisible.</li></ul><p>Without recognition or stable structures, it’s easy for valuable work to go unsupported.</p><h3><strong>Where does support actually help – and where is it still missing?</strong></h3><p>Some things that make a difference:</p><ul><li>Spaces to speak honestly about career pressure, growth and uncertainty.</li><li>Mentoring, peer networks, and sector-specific training.</li><li>Tools that help people track, structure and communicate what they do.</li></ul><p>But most support still focuses on artists or executives, leaving out a large group of professionals working behind the scenes.</p><h3><strong>What can organisations or funders do?</strong></h3><p>The panel pointed to a few key actions:</p><ul><li>Recognise the needs of mid-career professionals — not just newcomers.</li><li>Fund skill-sharing, infrastructure and role development across the sector.</li><li>Create room for people to reflect, adapt and grow within their work — not just around it.</li></ul><h3><strong>What practical steps can individuals take?</strong></h3><ul><li>Document your own path. Job titles don’t always reflect your contribution.</li><li>Connect with peers across roles, countries and sectors.</li><li>Ask for clarity when it’s missing and offer it where you can.</li><li>Talk about your career as it is, not just how it’s “meant” to look.</li></ul><h3>Find or build frameworks that support the way you work.<br></h3><figure id="figure-n2e5kt15smd4q6okg" data-full-width=""><img id="n2e5kt15smd4q6okg" src="https://cdn.durable.co/blocks/34tmGy1cFW9mjOGLb9WIUK2wjngXQj10frD2eSVP7h6wp6ksKWIMHpLleUfihxiw.jpg" alt="" title="" class="object-cover bg-gray-100 " style="aspect-ratio: 16/9; object-position: center center;" data-corners="default" data-aspect="16:9" data-caption="" data-positionx="undefined" data-positiony="undefined" data-fullwidth="true" data-mce-src="https://cdn.durable.co/blocks/34tmGy1cFW9mjOGLb9WIUK2wjngXQj10frD2eSVP7h6wp6ksKWIMHpLleUfihxiw.jpg" data-mce-style="aspect-ratio: 16/9; object-position: center center;"></figure><p><em>"Different countries, different backgrounds, but the common thread: passion for music, for change, and for growth. So, what’s next? The biggest insights for me were the ones I reached myself, through mistakes and even more mistakes:</em></p><p><em>💡 "Your best teacher is your mistakes and experience."</em><br><em>💡 "The world is not built on success; the world is built on rejections and losses."</em><br><em>💡 "If the passion for what you do disappears, it's time to move on."</em>&nbsp;– <a data-mce-href="https://www.linkedin.com/in/marharyta-yuliia-bilyk-85766114a/" href="https://www.linkedin.com/in/marharyta-yuliia-bilyk-85766114a/" target="_blank" rel="noopener"><strong>Marharyta - Yuliia Bilyk</strong></a></p><h3><strong>Final thoughts</strong></h3><p>The clearest message from this session? You don’t need to have it all figured out but you don’t have to do it alone either.</p><p>Professionalisation in the music business doesn’t mean following a template. It means recognising your work, finding support that fits, and helping shape a culture where others can do the same.</p><h3><strong>If you’re navigating these questions — for yourself or your team — and want a sounding board or practical help, feel free to get in touch.</strong></h3><h3><strong>msamusicservices.com</strong></h3><figure id="figure-in1nqxwcu6md4svn9i"><img id="in1nqxwcu6md4svn9i" src="https://cdn.durable.co/blocks/1ft4ClxaugHYZeNl5SNav1TNuCsGhwoRgQumRfm3XFq2KfvW0bPdi17YfFIfM135.png" alt="" title="" class="object-cover bg-gray-100 " style="aspect-ratio: 16/9; object-position: center center;" data-corners="default" data-aspect="16:9" data-caption="" data-positionx="undefined" data-positiony="undefined" data-fullwidth="false" data-mce-src="https://cdn.durable.co/blocks/1ft4ClxaugHYZeNl5SNav1TNuCsGhwoRgQumRfm3XFq2KfvW0bPdi17YfFIfM135.png" data-mce-style="aspect-ratio: 16/9; object-position: center center;"></figure>

Working in music: Growth, gaps, and getting on with it

<blockquote><h3><strong>Investors need clarity and confidence in your idea.</strong> A structured pitch deck helps tell your story, demonstrate value, and outline how you’ll succeed. It’s not about cramming in every detail. It’s about <strong>making your case clearly and convincingly in a short space of time.</strong></h3></blockquote><p><br></p><figure id="figure-klv6ci6e1mb9i6pk4" data-full-width=""><img id="klv6ci6e1mb9i6pk4" src="https://cdn.durable.co/blocks/29fFGupcvpWbtUK6f0tXR2ZjsgG357yaiHJZJeAk6UFtyrOZmvSWuLiKQEHRTMlo.jpg" alt="" title="" class="object-cover bg-gray-100" style="aspect-ratio: 16/9; object-position: 50% 15%;" data-corners="default" data-aspect="16:9" data-caption="Athens Music Week 2025 panel: Funding &amp; entrepreneurship in music: From idea to impact L-R: Mara Doukidi, Marko Anastasov" data-positionx="50%" data-positiony="15%" data-fullwidth="true" data-mce-src="https://cdn.durable.co/blocks/29fFGupcvpWbtUK6f0tXR2ZjsgG357yaiHJZJeAk6UFtyrOZmvSWuLiKQEHRTMlo.jpg" data-mce-style="aspect-ratio: 16/9; object-position: 50% 15%;"><figcaption class="body-normal text-gray-500 mt-2">Athens Music Week 2025 panel: Funding &amp; entrepreneurship in music: From idea to impact L-R: Mara Doukidi, Marko Anastasov</figcaption></figure><h3><strong>A well-structured pitch deck should cover the following:</strong><br></h3><ul><li><strong>Problem:</strong>&nbsp;What issue are you solving?</li><li><strong>Solution:</strong>&nbsp;Why is your approach the best?</li><li><strong>Market opportunity:</strong>&nbsp;Is there demand?</li><li><strong>Product:</strong>&nbsp;Show, don’t just tell (demos matter)</li><li><strong>Business model:</strong>&nbsp;How will you make money?</li><li><strong>Traction:</strong>&nbsp;Any evidence that people want this?</li><li><strong>Go-to-market strategy:</strong>&nbsp;How will you grow?</li><li><strong>Competition:</strong>&nbsp;How are you different?</li><li><strong>Team:&nbsp;</strong>Are you the right people for this?</li><li><strong>Ask:</strong>&nbsp;What do you need (investment, partnerships, etc.)?</li></ul><p>I help clients shape their decks so that they reflect their strengths and speak directly to what investors are looking for. The goal is to be clear, honest, and confident—without overcomplicating things.</p><p><strong>If you’re working on a pitch and want a second pair of eyes, feel free to get in touch.</strong></p><h3><a href="https://msamusicservices.com/contact-mandy-salem-aubry-music-services" target="_blank" rel="noopener" data-mce-href="https://msamusicservices.com/contact-mandy-salem-aubry-music-services">Get in touch</a></h3><figure id="figure-n86tnu66hlmb9hp932" class=""><img id="n86tnu66hlmb9hp932" src="https://cdn.durable.co/blocks/11gVF1vIZ6swWp9XTPrgFSmaK010ZC0SEJ2ChxzMR7HuLBh7Qu9MEh0kJ5nANvkq.png" alt="" title="" class="object-cover bg-gray-100 " style="aspect-ratio: 16/9; object-position: undefined undefined;" data-corners="default" data-aspect="16:9" data-caption="" data-positionx="undefined" data-positiony="undefined" data-fullwidth="false" data-mce-src="https://cdn.durable.co/blocks/11gVF1vIZ6swWp9XTPrgFSmaK010ZC0SEJ2ChxzMR7HuLBh7Qu9MEh0kJ5nANvkq.png" data-mce-style="aspect-ratio: 16/9; object-position: undefined undefined;"></figure>

Crafting a winning pitch deck

<h3>When your music is performed live – whether by you, a DJ, or someone else – you could be earning royalties. <strong>One gig can be worth more than 30,000 Spotify streams.</strong> Yet many songwriters are still missing out.</h3><figure id="figure-yrk3hzua5hmasrg0mt" data-full-width=""><img id="yrk3hzua5hmasrg0mt" src="https://cdn.durable.co/blocks/10WNTLg88AvZ1PIheYzdbaWefO9v6hvWPmvy5bZRVIBAgaYQfBQ62dXQ6kBdBLpm.jpg" alt="" title="" class="object-cover bg-gray-100 " style="aspect-ratio: 3/2; object-position: undefined undefined;" data-corners="default" data-aspect="3:2" data-caption="Photo credit: Thodoris Sanidas" data-positionx="undefined" data-positiony="undefined" data-fullwidth="true" data-mce-src="https://cdn.durable.co/blocks/10WNTLg88AvZ1PIheYzdbaWefO9v6hvWPmvy5bZRVIBAgaYQfBQ62dXQ6kBdBLpm.jpg" data-mce-style="aspect-ratio: 3/2; object-position: undefined undefined;"><figcaption class="body-normal text-gray-500 mt-2">Photo credit: Thodoris Sanidas</figcaption></figure><p>This blog is based on the panel <strong><a data-mce-href="https://www.athensmusicweek.gr/el/events/live-plays-real-income/#:~:text=When%20your%20music%20is%20played,how%20to%20claim%20these%20royalties." href="https://www.athensmusicweek.gr/el/events/live-plays-real-income/#:~:text=When%20your%20music%20is%20played,how%20to%20claim%20these%20royalties." target="_blank" rel="noopener"><em>Live plays, real income</em></a></strong>, which I moderated at <strong><a data-mce-href="https://www.athensmusicweek.gr/" href="https://www.athensmusicweek.gr/" target="_blank" rel="noopener">Athens Music Week 2025</a></strong>. We discussed the reasons these royalties are often unclaimed, and what can be done to change that. The message was simple:<strong> if you wrote the song, you're owed the money. But the system doesn't pay you automatically – you have to ask.</strong></p><p>As someone who works across rights, publishing, and administration, I see how often this area is overlooked. Many artists focus on the visible side of their careers – streaming, social numbers, content output – but not on the money they're quietly missing. This session was a chance to speak openly about that gap.</p><figure id="figure-rp2o2cmzimmasrp7ra" data-full-width=""><img id="rp2o2cmzimmasrp7ra" src="https://cdn.durable.co/blocks/174JpeNlqA2rfNgH4C7HsxC52ZdwaQugvpQnCZHpjhG55tkTISKfKtWOxwd0gpue.jpg" alt="" title="" class="object-cover bg-gray-100 " style="aspect-ratio: 1/1; object-position: undefined undefined;" data-corners="default" data-aspect="1:1" data-caption="Photo credit: Thodoris Sanidas" data-positionx="undefined" data-positiony="undefined" data-fullwidth="true" data-mce-src="https://cdn.durable.co/blocks/174JpeNlqA2rfNgH4C7HsxC52ZdwaQugvpQnCZHpjhG55tkTISKfKtWOxwd0gpue.jpg" data-mce-style="aspect-ratio: 1/1; object-position: undefined undefined;"><figcaption class="body-normal text-gray-500 mt-2">Photo credit: Thodoris Sanidas</figcaption></figure><h3><strong>Speakers:</strong></h3><p><a data-mce-href="https://www.athensmusicweek.gr/speakers/andres-payne-gb-es-ch/" href="https://www.athensmusicweek.gr/speakers/andres-payne-gb-es-ch/" target="_blank" rel="noopener"><strong>Andres Payne</strong></a> – CEO, Vollou<br><a data-mce-href="https://www.athensmusicweek.gr/speakers/george-myzalis/" href="https://www.athensmusicweek.gr/speakers/george-myzalis/" target="_blank" rel="noopener"><strong>George Myzalis</strong></a> – COO, EDEM Rights<br><a data-mce-href="https://www.athensmusicweek.gr/speakers/nikolaos-chrysoulakis-nick-devon-gr/" href="https://www.athensmusicweek.gr/speakers/nikolaos-chrysoulakis-nick-devon-gr/" target="_blank" rel="noopener"><strong>Nick Devon</strong></a> – Music Producer / Artist<br><a data-mce-href="https://www.athensmusicweek.gr/speakers/marko-anastasov-bg/" href="https://www.athensmusicweek.gr/speakers/marko-anastasov-bg/" target="_blank" rel="noopener"><strong>Marko Anastasov</strong></a> – CEO, MUZE Corp.<br></p><h3><strong>Moderator:</strong><br></h3><p><a data-mce-href="https://www.athensmusicweek.gr/speakers/mandy-salem-aubry-nl/" href="https://www.athensmusicweek.gr/speakers/mandy-salem-aubry-nl/" target="_blank" rel="noopener"><strong>Mandy Salem-Aubry</strong></a> – Founder, MSA Music Services / Conference Programme Coordinator, AMW</p><h3><strong>Why are live royalties so often overlooked?</strong></h3><p>Live royalties remain under-claimed for a few key reasons:</p><ul><li><strong>Artists chase visibility over income.</strong></li><li><strong>Setlist reporting isn't widely explained or encouraged.</strong></li><li><strong>Royalties from gigs seem less tangible than a streaming count.</strong><br></li></ul><p>Yet live plays are often worth much more. The issue isn't the value – it's the lack of awareness.</p><h3><strong>Why don’t more creators claim?</strong></h3><p>Many creators simply don’t know where to start:</p><ul><li>No one tells them it's their responsibility.</li><li>The process feels complicated and uninviting.</li><li>Admin doesn’t feel "creative".</li></ul><p>As a result, even proactive artists often leave this income behind.</p><h3><strong>What’s needed to actually get paid?</strong></h3><p>Three things need to be in place:</p><ul><li><strong>Your songs must be registered with a collection society.</strong></li><li><strong>Each performance must be reported with an accurate setlist.</strong></li><li><strong>Metadata needs to be correct and matchable.</strong></li></ul><p>If even one part is missing, your royalty can fall through the cracks.</p><figure id="figure-0u1upm5u8masrklki" data-full-width=""><img id="0u1upm5u8masrklki" src="https://cdn.durable.co/covers/22AY1Y3DFxiE8398VVPBv0N9j0hft3NHjYdjGaAxa8RsLbtoyrJSCro4v0Xp2r3e.jpg" alt="" title="" class="object-cover bg-gray-100 " style="aspect-ratio: 3/2; object-position: undefined undefined;" data-corners="default" data-aspect="3:2" data-caption="Photo credit: Thodoris Sanidas" data-positionx="undefined" data-positiony="undefined" data-fullwidth="true" data-mce-src="https://cdn.durable.co/covers/22AY1Y3DFxiE8398VVPBv0N9j0hft3NHjYdjGaAxa8RsLbtoyrJSCro4v0Xp2r3e.jpg" data-mce-style="aspect-ratio: 3/2; object-position: undefined undefined;"><figcaption class="body-normal text-gray-500 mt-2">Photo credit: Thodoris Sanidas</figcaption></figure><h3><strong>How does it work across countries?</strong><br></h3><p>Setlist submission rules vary. Some countries require them. Others ignore them. Cross-border payments also depend on how well societies communicate. Venues aren’t always helpful. <strong>Many artists don’t realise they can claim for gigs outside their home territory – and often no one tells them.</strong></p><h3><strong>Why are DJs and electronic artists especially underserved?</strong><br></h3><ul><li>Long, informal, or improvised setlists.</li><li>Lots of unreleased or self-released material.</li><li>No culture or expectation of submitting setlists.</li><li>Authorship and performance roles often overlap.<br></li></ul><p>It makes a rights system built for traditional live shows feel hard to navigate.</p><figure id="figure-zxwl3ym8s5masrjow2" data-full-width=""><img id="zxwl3ym8s5masrjow2" src="https://cdn.durable.co/blocks/2bQQsKDXwkosCbmX6FWaOUeNBmMtbWPVb9aLOzdhfiomZXQAeIiiQ6g2D1MLQEYu.jpg" alt="" title="" class="object-cover bg-gray-100 " style="aspect-ratio: 3/2; object-position: center center;" data-corners="default" data-aspect="3:2" data-caption="Photo credit: Thodoris Sanidas" data-positionx="undefined" data-positiony="undefined" data-fullwidth="true" data-mce-src="https://cdn.durable.co/blocks/2bQQsKDXwkosCbmX6FWaOUeNBmMtbWPVb9aLOzdhfiomZXQAeIiiQ6g2D1MLQEYu.jpg" data-mce-style="aspect-ratio: 3/2; object-position: center center;"><figcaption class="body-normal text-gray-500 mt-2">Photo credit: Thodoris Sanidas</figcaption></figure><h3><strong>Where does technology help – and where not yet?</strong><br></h3><p>Tools like music recognition software are making a difference, especially for DJs.</p><ul><li><strong>MRT (music recognition tech)</strong> helps automate tracking.</li><li>Useful in clubs and festivals.</li><li>Still limited for bands, hybrid sets, or traditional gigs.</li><li>Adoption varies from country to country and venue to venue.<br></li></ul><p>Technology helps, but it’s not a full fix.</p><h3><strong>What can publishers or admin teams do?</strong></h3><p>A good publisher or admin partner can:</p><ul><li>Register your works properly.</li><li>Submit and track setlists.</li><li>Handle international claims.</li></ul><p>But many creators don’t have this support, and do-it-yourself platforms often don’t offer enough. This is a major reason royalties go unclaimed.</p><h3><strong>What practical action can creators take?</strong></h3><ul><li><strong>Submit setlists after every gig – make it part of your routine.</strong></li><li><strong>Register your songs early, even before release.</strong></li><li><strong>Use tech tools where they help.</strong></li><li><strong>Get help where you can – or talk to someone who knows how.</strong></li><li><strong>Encourage others to claim too – create a culture of reporting.</strong><br>&nbsp;<h3><strong>Final thoughts</strong></h3>The most valuable takeaway from this session? <strong>Don’t leave money on the table.</strong></li></ul><p>If you're a writer, and your music is being performed live, you can be paid for it. But no one is going to do it for you. You have to set up the systems or find someone who will.</p><p><strong>If you’re unsure how to begin with setlists, registrations, or live royalty claims – or you’re supporting a roster who could use help – feel free to get in touch.</strong></p><p>You might also like my reflections on <a data-mce-href="https://msamusicservices.com/blog/towards-a-syndicate-of-music-recognition-technologies" href="https://msamusicservices.com/blog/towards-a-syndicate-of-music-recognition-technologies" target="_blank" rel="noopener"><em>the future of music recognition technologies</em></a>, especially if you're interested in how technology can support performance tracking and live royalty collection.</p><figure id="figure-32z84mqz09masro0pn"data-full-width><img id="32z84mqz09masro0pn" src="https://cdn.durable.co/blocks/dU0zsPDKD9xsiPbKkHnVU1zT787EKKVgx0LG8eBlew25VTpEiviRhUuxzE2S98Bz.jpg" alt="" title="" class="object-cover bg-gray-100 " style="aspect-ratio: 16/9; object-position: undefined undefined;" data-corners="default" data-aspect="16:9" data-caption="Photo credit: Thodoris Sanidas" data-positionX="undefined" data-positionY="undefined" data-fullWidth="true"/><figcaption class="body-normal text-gray-500 mt-2">Photo credit: Thodoris Sanidas</figcaption></figure>

Live plays, real income: how to stop leaving performance royalties behind

<h3>In today’s independent music landscape, <strong>collaboration is essential</strong>.</h3><p>This blog follows on from my earlier post, <a data-mce-href="https://msamusicservices.com/blog/the-current-state-and-future-of-european-indie-record-labels--reflections-from-esns-2025" href="https://msamusicservices.com/blog/the-current-state-and-future-of-european-indie-record-labels--reflections-from-esns-2025" target="_blank" rel="noopener">The current state and future of European indie record labels – reflections from ESNS 2025</a>, which focused on how labels across Europe are evolving and adapting. At <a data-mce-href="https://www.athensmusicweek.gr/" href="https://www.athensmusicweek.gr/" target="_blank" rel="noopener">Athens Music Week 2025</a>, I moderated <a data-mce-href="https://www.athensmusicweek.gr/el/events/collaboration-is-key-how-independent-labels-drive-artist-success/" href="https://www.athensmusicweek.gr/el/events/collaboration-is-key-how-independent-labels-drive-artist-success/" target="_blank" rel="noopener"><em>Collaboration is key: How independent labels drive artist success</em></a>, a session that took that conversation further – focusing on what’s really working for independent labels and artists in Southeast Europe and beyond.</p><p>I started out at <strong>Roadrunner Records in the late '90s</strong>, when building artist careers meant direct relationships, hands-on planning, and tight-knit teams. We relied on clear communication and mutual respect between artists, labels, tour managers, and press. </p><figure id="figure-nb7dwkbx6nmasph695"><img id="nb7dwkbx6nmasph695" src="https://cdn.durable.co/blocks/7Hsf1XwNmS76pAaxe9K3PxgCdwykEgU4sqe7Lj6PZzS3Xr7yJkxLurBme6rCJoiv.jpg" alt="" title="" class="object-cover bg-gray-100 " style="aspect-ratio: 16/9; object-position: center center;" data-corners="default" data-aspect="16:9" data-caption="Slipknot promo tour, Sweden, circa. 2004" data-positionx="undefined" data-positiony="undefined" data-fullwidth="false" data-mce-src="https://cdn.durable.co/blocks/7Hsf1XwNmS76pAaxe9K3PxgCdwykEgU4sqe7Lj6PZzS3Xr7yJkxLurBme6rCJoiv.jpg" data-mce-style="aspect-ratio: 16/9; object-position: center center;"><figcaption class="body-normal text-gray-500 mt-2">Slipknot promo tour, Sweden, circa. 2004</figcaption></figure><p>That approach still applies – even if the landscape looks very different now. Today, through <a data-mce-href="https://www.msamusicservices.com" href="https://www.msamusicservices.com" target="_blank" rel="noopener">MSA Music Services</a>, I support independent labels, startups, and artists looking to build solid structures, develop catalogues, and make good decisions about revenue, rights, and growth.</p><p>This panel brought together people actively working across different corners of the independent ecosystem, each offering insight into how collaboration – in many forms – is helping them stay resilient and move forward.</p><h3><strong>Speakers:</strong></h3><p><a data-mce-href="https://www.athensmusicweek.gr/speakers/momcilo-saric-rs/" href="https://www.athensmusicweek.gr/speakers/momcilo-saric-rs/" target="_blank" rel="noopener"><strong>Momcilo Saric</strong></a> – Label Manager, Generation Zed<br><a data-mce-href="https://www.athensmusicweek.gr/speakers/maja-vidmar-klaric-cr/" href="https://www.athensmusicweek.gr/speakers/maja-vidmar-klaric-cr/" target="_blank" rel="noopener"><strong>Maja Vidmar Klaric</strong></a> – Executive Director, Croatia Records<br><a data-mce-href="https://www.athensmusicweek.gr/speakers/dario-drastata-hr/" href="https://www.athensmusicweek.gr/speakers/dario-drastata-hr/" target="_blank" rel="noopener"><strong>Dario Drastata</strong></a> – Chair of IMPALA / President of RUNDA / Executive Director, Dallas Records<br><a data-mce-href="https://www.athensmusicweek.gr/speakers/chris-manning-uk/" href="https://www.athensmusicweek.gr/speakers/chris-manning-uk/" target="_blank" rel="noopener"><strong>Chris Manning</strong></a> – Managing Director, UK &amp; Europe, The Orchard</p><h3><strong>Moderator: </strong></h3><p><em><strong><a data-mce-href="https://www.athensmusicweek.gr/speakers/mandy-salem-aubry-nl/" href="https://www.athensmusicweek.gr/speakers/mandy-salem-aubry-nl/" target="_blank" rel="noopener">Mandy Salem-Aubry</a></strong> – Founder, MSA Music Services / Conference Programme Coordinator, AMW</em></p><h3><strong>Why collaboration matters more than ever</strong></h3><p>Independent labels may not always have the biggest budgets, but they are often the closest to the artist and the audience. <strong>Collaboration helps fill the gaps</strong> – by expanding reach, sharing resources, and strengthening networks. It also allows for more sustainable growth, especially when money and time are tight.</p><figure id="figure-np5ulhzjysmasq1kr6" data-full-width=""><img id="np5ulhzjysmasq1kr6" src="https://cdn.durable.co/blocks/5ejjSUWGEhji4bahxf5r3ZfkIArw2Q1wrl64nGZg4IImi6SlDLVSwjiytZmxppf8.jpg" alt="" title="" class="object-cover bg-gray-100 " style="aspect-ratio: 16/9; object-position: center center;" data-corners="default" data-aspect="16:9" data-caption="" data-positionx="undefined" data-positiony="undefined" data-fullwidth="true" data-mce-src="https://cdn.durable.co/blocks/5ejjSUWGEhji4bahxf5r3ZfkIArw2Q1wrl64nGZg4IImi6SlDLVSwjiytZmxppf8.jpg" data-mce-style="aspect-ratio: 16/9; object-position: center center;"></figure><h3><strong>Artist-label partnerships that work</strong><br></h3><p>The most effective artist-label relationships now are built on <strong>honesty, shared expectations, and long-term thinking</strong>. Labels are playing a much wider role than simply putting out music. They’re guiding, planning, and investing time. We heard examples like <strong>co-run promo campaigns and training sessions</strong> offered by The Orchard to help their partners stay sharp.</p><h3><strong>What strong label-to-label partnerships look like</strong></h3><p>The panel shared clear examples of how labels are working with each other, not just with artists:</p><ul><li><strong>Sub-licensing agreements</strong> to extend the life of a release.</li><li><strong>Joint marketing efforts</strong> that stretch across borders.</li><li><strong>Shared infrastructure</strong> to cut costs and keep things manageable.<br></li></ul><p>Croatia Records, Dallas Records, and Generation Zed all contributed stories of how <strong>collaboration makes local scenes stronger</strong> – and keeps things moving even when resources are limited.</p><h3><strong>Distribution should be a partnership, not a pipeline</strong><br></h3><p>Chris Manning talked about what good distribution support looks like: <strong>access to data, transparency, and real dialogue</strong>. On the flip side, the panel agreed that <strong>lack of visibility, unclear reporting</strong>, and a lack of proactive support are warning signs. <strong>Distribution should offer insight and support</strong> – not just technical delivery.</p><h3><strong>Working with majors: different dynamics in different places</strong></h3><p>In Southeast Europe, we heard that majors often work with indies to reach audiences they can’t access directly. This isn’t about rivalry. <strong>It’s about using each other’s strengths.</strong> Indies bring cultural understanding and artist trust. Majors offer reach. That mix, when it works, can be powerful.</p><h3><strong>Regional strength builds global relevance</strong></h3><p><strong>RUNDA’s work in the region is a good example of what can happen when independents come together with a shared purpose.</strong> The panel also discussed the importance of <strong>metadata, regional showcases, and smart export strategies</strong> to help bring local music into bigger conversations.</p><figure id="figure-vditxqrdilmasq3qoo"><img id="vditxqrdilmasq3qoo" src="https://cdn.durable.co/blocks/14QEvlcifHtjzfwcY49WXmUtSgdwN48ubx0V8SqulEoKAXptZ9esEx1TnhSgo9Rg.jpg" alt="" title="" class="object-cover bg-gray-100 " style="aspect-ratio: 16/9; object-position: center center;" data-corners="default" data-aspect="16:9" data-caption="" data-positionx="undefined" data-positiony="undefined" data-fullwidth="false" data-mce-src="https://cdn.durable.co/blocks/14QEvlcifHtjzfwcY49WXmUtSgdwN48ubx0V8SqulEoKAXptZ9esEx1TnhSgo9Rg.jpg" data-mce-style="aspect-ratio: 16/9; object-position: center center;"></figure><h3><strong>Ongoing challenges for the independent sector</strong></h3><p>Access to DSP editors and playlisting opportunities remains uneven. Export support is lacking in many places. And there’s a need for more complete teams – <strong>publishing, management, sync</strong> – to support growth. These things aren’t luxuries. They’re infrastructure.</p><h3><strong>YouTube, diaspora, and focused content</strong></h3><p>Generation Zed has found success reaching global audiences by using YouTube strategically, especially among diasporic communities. What made it work? <strong>Content that reflected their identity and respected their audience.</strong></p><h3><strong>Is now a good time to start a label?</strong></h3><p>It can be. But only with the right intent. Be clear on your role. Be honest about what you can offer. And think carefully about who you work with. T<strong>his isn’t about building fast – it’s about building well.</strong></p><h3><strong>Final takeaways</strong></h3><ul><li><strong>Independent doesn’t mean alone.</strong></li><li><strong>Be intentional, be transparent.</strong></li><li><strong>Shared values matter more than size or structure.</strong><br>&nbsp;<br><h3><strong>Closing thoughts</strong></h3></li></ul><p>This session reinforced something I’ve seen throughout my career – from Roadrunner to today:<strong> success in the independent space comes from the relationships you build</strong>. Working together is what makes independence possible.</p><p><strong>If you’re building a label, leading an artist team, or figuring out how to scale in a smart way, feel free to get in touch. I work across catalogue, rights, infrastructure, and business planning, and I’m always open to new conversations. More on that at <a data-mce-href="https://www.msamusicservices.com" href="https://www.msamusicservices.com">MSA Music Services</a>.</strong></p><p>You might also find this recent blog on <strong><a data-mce-href="https://msamusicservices.com/blog/-blog-funding-and-entrepreneurship-in-music" href="https://msamusicservices.com/blog/-blog-funding-and-entrepreneurship-in-music" target="_blank" rel="noopener">funding and entrepreneurship in music</a></strong> useful – especially if you're thinking about business models, investment, or how to structure your next steps as a label or artist-led team.</p><figure id="figure-q65vg4ij7imasq2dup" data-full-width=""><img id="q65vg4ij7imasq2dup" src="https://cdn.durable.co/blocks/2cnhOxuxtFkBeyuaBwZxpwIC38XKWXyYpto9N7jdRMaGJR24i8R0eGXSw0gzeCWk.jpg" alt="" title="" class="object-cover bg-gray-100 " style="aspect-ratio: 3/2; object-position: center center;" data-corners="default" data-aspect="3:2" data-caption="" data-positionx="undefined" data-positiony="undefined" data-fullwidth="true" data-mce-src="https://cdn.durable.co/blocks/2cnhOxuxtFkBeyuaBwZxpwIC38XKWXyYpto9N7jdRMaGJR24i8R0eGXSw0gzeCWk.jpg" data-mce-style="aspect-ratio: 3/2; object-position: center center;"></figure>

How independent labels build artist success through collaboration

<figure id="figure-ob703uc6ekmaso0r9y" data-full-width=""><img id="ob703uc6ekmaso0r9y" src="https://cdn.durable.co/blocks/8gJSPQbVVTvk4jcA1ri3llgZ1zMSJ50bVV0LLXEJYGD1y3rKyaaYdndBYeAkwKAx.jpg" alt="" title="" class="object-cover bg-gray-100 " style="aspect-ratio: 16/9; object-position: undefined undefined;" data-corners="default" data-aspect="16:9" data-caption="" data-positionx="undefined" data-positiony="undefined" data-fullwidth="true" data-mce-src="https://cdn.durable.co/blocks/8gJSPQbVVTvk4jcA1ri3llgZ1zMSJ50bVV0LLXEJYGD1y3rKyaaYdndBYeAkwKAx.jpg" data-mce-style="aspect-ratio: 16/9; object-position: undefined undefined;"></figure><h3><strong>Whether you’re planning a debut release, running an independent label, launching a festival, or building a music-tech startup, knowing when and how to access funding is critical</strong>. This blog is based on <em>Funding &amp; entrepreneurship in music: From idea to impact</em>, a panel I moderated at <a href="https://www.athensmusicweek.gr/" target="_blank" rel="noopener" data-mce-href="https://www.athensmusicweek.gr/">Athens Music Week 2025</a>.</h3><p>I work with a wide range of music professionals, startups, and creative entrepreneurs, so I see first-hand how complex this space can be – especially when funding and business development are concerned. <strong>My goal for the session was to create a practical, honest conversation</strong> that would help demystify funding in the music and music-tech sectors.</p><p>We aimed to cut through vague advice and instead offer real insight into what works, what’s available, and what needs to be in place before chasing funding. <strong>Whether you’re at the start of an idea or already running something, these are key questions I help many of my clients navigate.</strong></p><h3><strong>Speakers</strong><br></h3><ul><li><a data-mce-href="https://www.athensmusicweek.gr/speakers/mara-doukidi-gr/" href="https://www.athensmusicweek.gr/speakers/mara-doukidi-gr/" target="_blank" rel="noopener"><strong>Mara Doukidi</strong></a> – Creative &amp; Startup Teams Growth Specialist, ACEin</li><li><a data-mce-href="https://www.athensmusicweek.gr/speakers/marko-anastasov-bg/" href="https://www.athensmusicweek.gr/speakers/marko-anastasov-bg/" target="_blank" rel="noopener"><strong>Marko Anastasov</strong></a> – CEO, MUZE Corp.</li><li><a data-mce-href="https://www.athensmusicweek.gr/speakers/andreas-stefanidis-gr/" href="https://www.athensmusicweek.gr/speakers/andreas-stefanidis-gr/" target="_blank" rel="noopener"><strong>Andreas Stefanidis</strong></a> – President, Academy of Entrepreneurship</li><li><a data-mce-href="https://www.athensmusicweek.gr/speakers/yannis-iliopoulos-gr-uk/" href="https://www.athensmusicweek.gr/speakers/yannis-iliopoulos-gr-uk/" target="_blank" rel="noopener"><strong>Yannis Iliopoulos</strong></a> – Senior Programmes Manager, ICMP London / Founder, The Sound of Everything</li></ul><h3><strong>Moderator:</strong></h3><p><strong>Mandy Salem-Aubry – Founder, MSA Music Services / Conference Programme Coordinator, Athens Music Week</strong></p><figure id="figure-durtx38iwmasnxnh4"><img id="durtx38iwmasnxnh4" src="https://cdn.durable.co/blocks/117FHs4EQYdWF5XHmcBKaEDNuEI9PUkk4AaF22YDygOanvWTkr64qSV7bSCE9QJJ.jpg" alt="" title="" class="object-cover bg-gray-100 " style="aspect-ratio: 1/1; object-position: center center;" data-corners="default" data-aspect="1:1" data-caption="Photo credit: Thodoris Sanidas" data-positionx="undefined" data-positiony="undefined" data-fullwidth="false" data-mce-src="https://cdn.durable.co/blocks/117FHs4EQYdWF5XHmcBKaEDNuEI9PUkk4AaF22YDygOanvWTkr64qSV7bSCE9QJJ.jpg" data-mce-style="aspect-ratio: 1/1; object-position: center center;"><figcaption class="body-normal text-gray-500 mt-2">Photo credit: Thodoris Sanidas</figcaption></figure><h3><strong>What we covered</strong></h3><h3><strong>1. Do you actually need funding – and what for?</strong></h3><p>Not all music projects need investment. Sometimes validation, support, or clearer structure should come first. If you’re seeking funding to cover basic running costs or salaries, it may be too early. The panel emphasised that <strong>funding should support growth – not simply keep something going.</strong></p><h3><strong>2. What validation do funders expect?</strong></h3><p>Funders – whether public bodies, incubators, or private investors – want to see evidence. That includes demand, traction, or early success stories. The panel underlined the importance of <strong>clear KPIs, realistic projections, and a focused plan</strong> for how funds will be used.</p><h3><strong>3. What are the key funding routes for music projects?</strong></h3><p>The panel outlined several funding pathways available to music businesses and creative professionals:</p><ul><li><strong>EU programmes</strong> like Erasmus for Young Entrepreneurs and EIT Culture &amp; Creativity</li><li><strong>National and regional support</strong> for cultural startups</li><li><strong>Incubators and accelerators</strong>, such as <strong>ACEin</strong> in Athens</li><li><strong>Private and angel investment</strong>, particularly for scalable music or tech ventures</li></ul><p>Whether you’re developing a music-tech solution, launching a sync agency, or expanding a label, <strong>there’s more support out there than many realise – if you know where to look and how to position yourself.</strong></p><h3><strong>4. Common red flags when applying for funding</strong></h3><p>The panel flagged several pitfalls: vague plans, inflated budgets, no real sense of how the funds will be used, or unrealistic expectations. Funders are wary of <strong>generic language like “we’ll spend it on marketing”</strong> unless it’s backed by a clear strategy.</p><figure id="figure-bnpwrizw2nmaso2365" data-full-width=""><img id="bnpwrizw2nmaso2365" src="https://cdn.durable.co/blocks/23mALSd0etfn5vdRflQi8DZLJGTUVsaEeItbJbPOAnzCF7tOK638i9ivq80RLTsH.jpg" alt="" title="" class="object-cover bg-gray-100 " style="aspect-ratio: 16/9; object-position: undefined undefined;" data-corners="default" data-aspect="16:9" data-caption="" data-positionx="undefined" data-positiony="undefined" data-fullwidth="true" data-mce-src="https://cdn.durable.co/blocks/23mALSd0etfn5vdRflQi8DZLJGTUVsaEeItbJbPOAnzCF7tOK638i9ivq80RLTsH.jpg" data-mce-style="aspect-ratio: 16/9; object-position: undefined undefined;"></figure><h3><strong>5. Tools and organisations that can support you</strong></h3><p>We discussed a range of programmes and organisations that help turn music ideas into real businesses:</p><ul><li><strong>ACEin</strong> and similar incubators</li><li><strong>Academic bridges</strong> like ICMP London that connect education and entrepreneurship</li><li><strong>Non-profit and public sector support</strong>, such as the Academy of Entrepreneurship</li><li>E<strong>U schemes</strong> that encourage exchange, learning, and development<br></li></ul><p>These aren’t just for tech founders. <strong>Artists, label teams, and music professionals can all benefit</strong> from targeted support if they have the right setup.</p><h3><strong>6. What does sustainable entrepreneurship in music look like?</strong></h3><p>It’s not always about fast growth or scale. <strong>Building with intention, working within your values, and knowing when collaboration or slower progress is the better path</strong> – these are all valid strategies. The panellists spoke about resilience, community impact, and staying focused on long-term goals.</p><h3><strong>7. How to approach funders and partners</strong></h3><p>If you’re preparing a pitch or application, <strong>think like the person reviewing it. Be specific. Know your ask. Show why it matters.</strong> The panel shared examples of good and bad approaches – including why sending a deck too early, or with little context, usually doesn’t help.</p><figure id="figure-jv5yv8va1maso3gst" data-full-width=""><img id="jv5yv8va1maso3gst" src="https://cdn.durable.co/blocks/29fFGupcvpWbtUK6f0tXR2ZjsgG357yaiHJZJeAk6UFtyrOZmvSWuLiKQEHRTMlo.jpg" alt="" title="" class="object-cover bg-gray-100 " style="aspect-ratio: 3/2; object-position: center center;" data-corners="default" data-aspect="3:2" data-caption="" data-positionx="undefined" data-positiony="undefined" data-fullwidth="true" data-mce-src="https://cdn.durable.co/blocks/29fFGupcvpWbtUK6f0tXR2ZjsgG357yaiHJZJeAk6UFtyrOZmvSWuLiKQEHRTMlo.jpg" data-mce-style="aspect-ratio: 3/2; object-position: center center;"></figure><h3><strong>8. Final advice for music entrepreneurs</strong><br></h3><ul><li>Not every idea will get funding – but <strong>your skills may still open doors</strong>.</li><li>Focus on <strong>partnerships, clarity, and consistent learning</strong>.</li><li>Be honest about the journey – <strong>entrepreneurship is not the only valid path</strong>.</li><li>Build from where you are, <strong>using the tools available</strong>.&nbsp;<br><h3><strong>Closing thoughts</strong></h3></li></ul><p>The panel reinforced that there’s <strong>no one-size-fits-all route to building a successful music business</strong>. But with the right preparation, and a clear sense of purpose, you can make use of what’s out there and move with intention.</p><p>Thanks to Marko, Andreas, Yannis, and Mara for their insight, and to the audience for the thoughtful questions. <strong>If you’re figuring out how to grow or fund your next move in music, whether as an artist, label, or startup founder, I’d be happy to hear from you</strong>. You can find out more about my work via <a data-mce-href="https://www.msamusicservices.com" href="https://www.msamusicservices.com" target="_blank" rel="noopener">MSA Music Services</a>.</p><p>For a related perspective, you might also like my post on <strong><a href="https://msamusicservices.com/blog/music-conferences-how-startups-can-network-and-build-industry-connections" target="_blank" rel="noopener" data-mce-href="https://msamusicservices.com/blog/music-conferences-how-startups-can-network-and-build-industry-connections">how music startups can network and build industry connections.&nbsp;</a></strong></p><p>It covers:</p><ul><li><strong>Choosing the right events</strong> for your stage and goals.</li><li><strong>Practical strategies </strong>for starting conversations and following up.</li><li><strong>Tips on preparation</strong>, from setting clear objectives to tailoring your pitch.</li><li><strong>Advice on turning introductions into lasting partnerships</strong>.</li></ul><p>If you’re wondering how to leverage face‑to‑face gatherings to find mentors, partners, or funders, that post will give you a clear roadmap.</p><figure id="figure-arjbhse5jdmasnw7wj" data-full-width=""><img id="arjbhse5jdmasnw7wj" src="https://cdn.durable.co/blocks/dDSAbGd9I5JojcXtREQZaeBlM4AktpeREJK51z94w9HAG9hx4Mq4eRSCYDeJM43S.jpg" alt="" title="" class="object-cover bg-gray-100 " style="aspect-ratio: 3/2; object-position: 50% 25%;" data-corners="default" data-aspect="3:2" data-caption="Photo credit: Thodoris Sanidas" data-positionx="50%" data-positiony="25%" data-fullwidth="true" data-mce-src="https://cdn.durable.co/blocks/dDSAbGd9I5JojcXtREQZaeBlM4AktpeREJK51z94w9HAG9hx4Mq4eRSCYDeJM43S.jpg" data-mce-style="aspect-ratio: 3/2; object-position: 50% 25%;"><figcaption class="body-normal text-gray-500 mt-2">Photo credit: Thodoris Sanidas</figcaption></figure>

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