Blog

<blockquote><h2><strong>Don't get off your face. It’s easy to be scared and to get drunk. A little bit of Dutch courage is fine, but don’t come up to people completely out of it. And don’t be too tired either, falling asleep in sessions or being on your phone is not a good look.</strong></h2></blockquote><figure id="figure-t7lxm5hau5mg3tos8g" class=""><img id="t7lxm5hau5mg3tos8g" src="https://cdn.durable.co/blocks/3312JV7dGHRA43qa8v7OS6y5JQuVS7pKBoZG1UERUdVSAH4ZI5LHQ6nbSmA3SCQM.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="Amsterdam Dance Event" data-positionx="undefined" data-positiony="undefined" data-fullwidth="false" data-mce-src="https://cdn.durable.co/blocks/3312JV7dGHRA43qa8v7OS6y5JQuVS7pKBoZG1UERUdVSAH4ZI5LHQ6nbSmA3SCQM.jpg" data-mce-style="aspect-ratio: 1/1; object-position: center center;"><figcaption class="body-normal text-gray-500 mt-2">Amsterdam Dance Event</figcaption></figure><h3><span style="font-size: 25.28px;" data-mce-style="font-size: 25.28px;">I was recently invited to share advice on preparing for ADE. </span><strong style="font-size: 25.28px;" data-mce-style="font-size: 25.28px;"><a data-mce-href="https://www.emcaustralia.org/" href="https://www.emcaustralia.org/" target="_blank" rel="noopener">EMC</a></strong><span style="font-size: 25.28px;" data-mce-style="font-size: 25.28px;"> hosted the call in collaboration with </span><strong style="font-size: 25.28px;" data-mce-style="font-size: 25.28px;"><a data-mce-href="https://associationforelectronicmusic.org/" href="https://associationforelectronicmusic.org/" target="_blank" rel="noopener">AFEM</a></strong><span style="font-size: 25.28px;" data-mce-style="font-size: 25.28px;">, </span><a data-mce-href="https://mixmag.asia/" href="https://mixmag.asia/" target="_blank" rel="noopener" style="font-size: 25.28px;" data-mce-style="font-size: 25.28px;"><strong>Mixmag Asia</strong></a><span style="font-size: 25.28px;" data-mce-style="font-size: 25.28px;">, </span><strong style="font-size: 25.28px;" data-mce-style="font-size: 25.28px;"><a data-mce-href="https://soundsaustralia.com.au/" href="https://soundsaustralia.com.au/" target="_blank" rel="noopener">Sounds Australia</a></strong><span style="font-size: 25.28px;" data-mce-style="font-size: 25.28px;">, and a diverse group of artists, managers, labels, and startups. We compared notes on markets, shared what was working, and provided first-timers with practical ways to make ADE useful rather than overwhelming. I was asked to close with my tips on preparation and networking at the event.</span></h3><h3>These are my notes, tidied up and shared here because they apply to any music conference, not just ADE.</h3><h3><strong>1. Be observant</strong></h3><p>No matter who we are, whether we’re newcomers or people who’ve been around a bit longer, we all like to sit when our legs are tired. We all enjoy a cup of coffee or a soft drink. We all take a wee. We all like to shelter from the rain. I’ve met amazing people in the loos or while waiting in line, just by being observant.</p><h3><strong>2. Stand out from the sea of black clothing</strong></h3><p>At ADE, so many people dress in black! If you want to be remembered, give people an easier way to spot you.</p><p>Wear one recognisable item - a red jumper, a yellow scarf, a cap, whatever feels natural for you. It makes it easier for people to remember you and for others to say, “<em>That’s the person in the red jumper,</em>” instead of “<em>the one in the black top.</em>” (er, like, which one in black?!).</p><figure id="figure-lzt66askymg3txwei" data-full-width=""><img id="lzt66askymg3txwei" src="https://cdn.durable.co/blocks/3OkzaM03PmsqyGmgRLSTxBSLYXVROcQsnfbybAt8lfdCvLY54BaKad7WKC1n1xKH.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/3OkzaM03PmsqyGmgRLSTxBSLYXVROcQsnfbybAt8lfdCvLY54BaKad7WKC1n1xKH.jpg" data-mce-style="aspect-ratio: 3/2; object-position: center center;"></figure><h3><strong>3. Beware of judgement</strong></h3><p>If you look at me, what do you see? I’m 55, I’m a mum, I speak the way I speak. I have no tattoos or piercings, and I enjoy wearing white, fluffy jumpers. But did you know that I have worked closely with numerous metal bands, including Slipknot, Machine Head, and Soulfly, and maintain those contacts today? Or that I am connected to one of the most highly regarded Nigerian lawyers specialising in Afrobeats, and that during my time at Songtrust, we signed over 100 clients from Africa? Or that two of my current clients specialise in Gospel and Christian music, and I am also a conference programme coordinator for Athens Music Week. You can’t tell any of that by looking at me. So don’t assume what you see is everything about a person. Be curious, ask questions, and you’ll often find common ground you never expected.</p><figure id="figure-qnf7jh5e1mg3u0a0y" data-full-width="" class=""><img id="qnf7jh5e1mg3u0a0y" src="https://cdn.durable.co/blocks/2a9W9tlzZeAQEazTyJtw3tYfjnR74mmNHtGo2AQUAF1QGvxGI1cRFJUYBVH4MOFe.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 for Roadrunner, Sweden @ 2004" data-positionx="undefined" data-positiony="undefined" data-fullwidth="true" data-mce-src="https://cdn.durable.co/blocks/2a9W9tlzZeAQEazTyJtw3tYfjnR74mmNHtGo2AQUAF1QGvxGI1cRFJUYBVH4MOFe.jpg" data-mce-style="aspect-ratio: 16/9; object-position: center center;"><figcaption class="body-normal text-gray-500 mt-2">Slipknot promo tour for Roadrunner, Sweden @ 2004</figcaption></figure><h3><strong>4. Sit near the front, but not the very front</strong></h3><p>Get to sessions during the changeover, as the next ones are setting up. You will be noticed. Speakers are people. They get nervous. If you sit close to the front, not in the very front row, but in the second or third row, you help them feel supported.</p><figure id="figure-3l890xzorpmg3u5p33" data-full-width=""><img id="3l890xzorpmg3u5p33" src="https://cdn.durable.co/blocks/fNF65eBmvhw3Wi5BqXOpz7PTdR0l6fgJU8aHxU0JRB0Hy4LllaHtc4LuGJm8sra2.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/fNF65eBmvhw3Wi5BqXOpz7PTdR0l6fgJU8aHxU0JRB0Hy4LllaHtc4LuGJm8sra2.jpg" data-mce-style="aspect-ratio: 3/2; object-position: center center;"></figure><h3><strong>&nbsp;5. Believe in yourself</strong></h3><p>You are just as important, worthy and interesting as the next person. Practice saying what you do in two sentences with friends or family. Don’t be too monology.</p><h3><strong>6. Connect before ADE</strong></h3><p>Look at the schedule. Write to people on LinkedIn. Say, "<em>I see you’re speaking at this session, I’ll be there, and I look forward to it.’</em>&nbsp; Don’t worry if they don’t reply. I notice these things, and others do too.</p><h3>&nbsp;<strong>7. Offer practical help</strong></h3><p>In my sessions, I sometimes ask someone approachable in the audience to take photos or short videos. I genuinely need the help, and I’m always grateful for it, because I can use the images and footage afterwards on my website or socials. It also provides us with a natural reason to connect immediately after the session. And I like to return the favour. For example, by offering a complimentary mentor session. It turns a simple favour into the start of a real exchange.</p><h3><strong>8. Be interested in the person, not just the job</strong></h3><p>It’s you first, then the job. I care that someone cares about me, and then about what I do. Same with founders. It’s not only about the startup, it’s about the person behind it. Just don’t be <strong>too</strong> personal, it’s nuanced.</p><figure id="figure-2ksa4sn0ibmg3xi1qy"><img id="2ksa4sn0ibmg3xi1qy" src="https://cdn.durable.co/blocks/0Tp9wy768sx1cW4n09NkX4mAo0GrSpPhqeBYXZHTp1PXB0cciMlwI8FTzz8MhtGK.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/0Tp9wy768sx1cW4n09NkX4mAo0GrSpPhqeBYXZHTp1PXB0cciMlwI8FTzz8MhtGK.jpg" data-mce-style="aspect-ratio: 16/9; object-position: center center;"></figure><h3><strong>9. Don’t always pair up with someone in the same line of work</strong></h3><p>It’s fine if you’re from the same business. But if you’re looking for an opportunity for yourself, you’re cutting your chances if you always share.&nbsp;</p><p>If your goal is to meet people or close a business deal, attending a mixer with someone who has a very similar skill set can divide the attention. Of course, introduce the person you’re with, but be aware that it can make it harder for the conversation to be about you.</p><h3><strong>10. Follow up quickly</strong></h3><p>Don’t wait too long to follow up. Write to people afterwards to say you enjoyed their session. Don’t be too clever. Don’t overthink it. Just say, "I really liked your session, thank you, I gained a lot from it. Here’s my website, and my email address if you’re looking for a designer, publisher, distributor, etc." That’s enough.</p><p>The same applies to meetings. A short, polite message afterwards can make all the difference. Keep it simple, acknowledge the value of the exchange, and leave your details so the next step is easy.</p><h3><strong>11.</strong> <strong>Don’t get off your face</strong></h3><p>It’s easy to be scared and to get drunk. A little bit of Dutch courage is fine, but don’t come up to people completely out of it. And don’t be too tired either, falling asleep in sessions or being on your phone is not a good look.</p><h3><strong>12. Plan your evenings</strong></h3><p>Conference days are easier. Evenings can be harder. Everyone seems to disappear to different places, and sometimes no one tells you where. Don’t assume you’ll just know. Find out what clubs or meetups people are heading to. Plan dinners too. Amsterdam restaurants are small and busy. If you are alone and don't know anyone, you can usually find like-minded people in the same situation as yourself in meeting spots, just waiting to find someone to hang out with, too!</p><figure id="figure-gfstho2d4lmg3x7t2p" data-full-width=""><img id="gfstho2d4lmg3x7t2p" src="https://cdn.durable.co/blocks/10Y7RSvjUqyKU8KiRRbrQ8pcDgE5gKpCFM7AACawzmHvP8zB5mEPmIsiRNVplb27.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="Gallya's DJ set at ADE 2023" data-positionx="undefined" data-positiony="undefined" data-fullwidth="true" data-mce-src="https://cdn.durable.co/blocks/10Y7RSvjUqyKU8KiRRbrQ8pcDgE5gKpCFM7AACawzmHvP8zB5mEPmIsiRNVplb27.jpg" data-mce-style="aspect-ratio: 3/2; object-position: center center;"><figcaption class="body-normal text-gray-500 mt-2">Gallya's DJ set at ADE 2023</figcaption></figure><h3><strong>13. Use anchor points</strong></h3><p>For first-timers, a hub like Australia House is a lifesaver. It provides a space to meet, recharge, and connect with others. Use these kinds of spaces as anchors so you don’t get lost in the chaos.</p><blockquote><p><strong>“At ADE, we create Australia House as a home base for our delegation. It’s not just a showcase stage, but a space where people know they can always find us. Delegates can schedule meetings there, and for first-timers it’s a safe anchor in the middle of a very spread-out event. By having one clear hub, it’s easier for us to connect Australians with internationals and make introductions that actually stick.” - Glenn Dickie, Sounds Australia</strong></p></blockquote><h3><strong>14. Think about your budget</strong></h3><p>Tickets, travel, and accommodation - it’s expensive. Especially if you’re not speaking. You’re investing a lot, so manage it carefully. Staying a bit outside the centre can save money, and sharing taxis makes late nights manageable. The expenditure can be considerable, so ensure you get value from it.</p><h3>&nbsp;<strong>15. Make sharing your details simple</strong></h3><p>I used to try QR codes but found them cumbersome. Now I just put my website on my card, because everything I want people to know is there. Whatever you choose, make it quick, easy and reliable.</p><h3><strong>16. Be strategic about goals</strong></h3><p>Don’t be too broad. Saying "<em>I want to get into Live</em>" is too big. Perhaps focus on meeting one manager who has successfully got their artist into live performances at places you want to focus on. That can be a more approachable step than trying to meet every agent. Narrow it down. From there, you can build on that.</p><h3><strong>17. Remember the person first</strong></h3><p>Treat speakers and industry people as human beings, not as figures on a pedestal. The strongest connections come when you recognise the person before the job. Many of my lasting relationships began because someone approached me in that way.</p><figure id="figure-kbgc1qzcijmg3wwbn9" data-full-width=""><img id="kbgc1qzcijmg3wwbn9" src="https://cdn.durable.co/blocks/21fXFHvgF7H3GWu5dfEP0t46bge7P51H4R19yyPivzA0v3RKDwBbS1ts0o0xoWpm.jpg" alt="" title="" class="object-cover bg-gray-100 " style="aspect-ratio: 1/1; object-position: 50% 20%;" data-corners="default" data-aspect="1:1" data-caption="Referenced 'white fluffy jumper' (ADE 2023)" data-positionx="50%" data-positiony="20%" data-fullwidth="true" data-mce-src="https://cdn.durable.co/blocks/21fXFHvgF7H3GWu5dfEP0t46bge7P51H4R19yyPivzA0v3RKDwBbS1ts0o0xoWpm.jpg" data-mce-style="aspect-ratio: 1/1; object-position: 50% 20%;"><figcaption class="body-normal text-gray-500 mt-2">Referenced 'white fluffy jumper' (ADE 2023)</figcaption></figure><h3><strong>18. Don’t be afraid to leave</strong></h3><p>If you don’t like where you’re at, that’s fine. Don’t stay. Take a break or go somewhere else. Your people are out there, and they’ll find you, too.</p><h3><strong>19. Follow up without being too clever</strong></h3><p>You don’t have to show off what you know. Don’t write asking about the latest hot topic. Just thank them, say you enjoyed the session, and provide them with your details. Keep it simple.”</p><h3><strong>20. Networking is ongoing</strong></h3><p>This is not your only opportunity. A network is a work in progress. It takes time, commitment, authenticity and reliability. It has taken me years, and it wasn’t always good. But over time, it builds.</p><h3>These 20 tips are drawn from my three decades of trial, error and persistence. Whether it’s ADE, Eurosonic, SXSW, or a local industry meet-up, the principles don’t change. Show up as yourself. Be present. Listen. And remember that the real value of networking is in the relationships you build over time.</h3><figure id="figure-kksdqouvrmg3xaohf" data-full-width=""><img id="kksdqouvrmg3xaohf" src="https://cdn.durable.co/blocks/2alWke5D5pCLsdprzxkH04SdKKsEdqLm7LEskL1X1svpJMyhifcjGjCJuw3p4nwj.jpg" alt="" title="" class="object-cover bg-gray-100 " style="aspect-ratio: 1/1; object-position: 50% 15%;" data-corners="default" data-aspect="1:1" data-caption="" data-positionx="50%" data-positiony="15%" data-fullwidth="true" data-mce-src="https://cdn.durable.co/blocks/2alWke5D5pCLsdprzxkH04SdKKsEdqLm7LEskL1X1svpJMyhifcjGjCJuw3p4nwj.jpg" data-mce-style="aspect-ratio: 1/1; object-position: 50% 15%;"></figure><p><strong>About EMC</strong></p><p>EMC builds a thriving, independent, electronic/dance music ecosystem through programmes, events, initiatives, storytelling, supportive day-to-day actions and advocacy. Founded in 2012, EMC has hosted 12 conferences, close to 100 music and cultural events and three international exchanges.&nbsp;</p><p><strong>About Mixmag Asia</strong></p><p>Since debuting in Asia eight years ago, Mixmag Asia has been the leading media delivering on-the-pulse stories about music, artists, parties, festivals and trailblazing topics linked to electronic music and club culture across the region. Through its access and influence in the industry, Mixmag Asia connects brands with engaged and passionate audiences around the world through game-changing digital delivery and audience activation.&nbsp;</p><p><strong>About AFEM</strong></p><p>AFEM is an independent, not-for-profit, democratically run global trade association. &nbsp; The AFEM team works in a way that reflects, promotes, and preserves the best of electronic music culture, bringing members together as a community to solve issues and ensure a vibrant and successful future for our ecosystem. &nbsp;We have over 290 members in 41 countries across all key industry verticals.</p>

How to network at ADE and other music conferences: What 30 years in the biz has taught me.

<blockquote><h2><strong>AI is not a magic fix. It’s a tool. But when shaped by judgement and experience, it can change what publishers can do.</strong></h2></blockquote><h3>This blog is based on<strong> Publishing 2.0: How AI is Streamlining Rights, Royalties, and Sync, </strong>a panel I moderated at<strong> Music Frontiers 2025 </strong>with<strong> Laura May (May Music), Henry Marsden (Fix Music), Ben Charlton (Middle8) and Antonio Di Puorto (Monetunes). </strong>The session focused on where AI is already making a difference in publishing, and where people still play an irreplaceable role.</h3><figure id="figure-3u6a9atljimfd0cnug" data-full-width=""><img id="3u6a9atljimfd0cnug" src="https://cdn.durable.co/blocks/2ab3wEv9mUoI29zA9ao8jeDxFk2mVF0iOCZdeT3HuFdRsOHfBfnheO1IBHvuc0RE.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/2ab3wEv9mUoI29zA9ao8jeDxFk2mVF0iOCZdeT3HuFdRsOHfBfnheO1IBHvuc0RE.jpg" data-mce-style="aspect-ratio: 3/2; object-position: center center;"></figure><h2><strong>What we looked at</strong></h2><h3><strong>Rights registration and conflicts</strong></h3><p>Rights data must be in order before royalties can flow. <strong>AI is already helping to check registrations, flag inconsistencies and close gaps</strong>. As Antonio put it, </p><blockquote><p><strong><em>“No matter how big or small, good or bad: every song deserves to be published. Perhaps it will not have thousands or millions of streams right away, but it could always get picked up by a radio station, get played live, or chosen for a sync placement opportunity. And then you wish it was registered before rather than having to catch up later on.”</em></strong></p></blockquote><figure id="figure-scx0ttg6rmfd050oh"><img id="scx0ttg6rmfd050oh" src="https://cdn.durable.co/blocks/224Th8U78bHbtF7WvbZQvaGMKgnpl6jBBIsZ7ippYl6XjfEl3BJI6ZTauhZfIz2z.jpg" alt="" title="" class="object-cover bg-gray-100 " style="aspect-ratio: 1/1; object-position: 50% 70%;" data-corners="default" data-aspect="1:1" data-caption="Antonio Di Puorto (Monetunes)" data-positionx="50%" data-positiony="70%" data-fullwidth="false" data-mce-src="https://cdn.durable.co/blocks/224Th8U78bHbtF7WvbZQvaGMKgnpl6jBBIsZ7ippYl6XjfEl3BJI6ZTauhZfIz2z.jpg" data-mce-style="aspect-ratio: 1/1; object-position: 50% 70%;"><figcaption class="body-normal text-gray-500 mt-2">Antonio Di Puorto (Monetunes)</figcaption></figure><h3><strong>Royalties and payouts</strong></h3><p>AI can trace missing or misallocated royalties and has the potential to <strong>facilitate faster payouts</strong>. The panel discussed the trade-off between speed and risk. Mistakes happen whether the process is slow or fast. </p><p>As Henry asked, </p><h3><em><strong>“Would you rather be slow and make mistakes or be faster and still make mistakes?”</strong></em></h3><figure id="figure-uthjv7rlqpmfd0fzzg" data-full-width=""><img id="uthjv7rlqpmfd0fzzg" src="https://cdn.durable.co/blocks/10S6fKJ8MIGvrJHBFVJFf9q77bXHuz4nmhjWDL8NdY0I7JeMzsbxYuM6mj2VlkG8.jpg" alt="" title="" class="object-cover bg-gray-100 " style="aspect-ratio: 1/1; object-position: 50% 0%;" data-corners="default" data-aspect="1:1" data-caption="Henry Marsden (Fix Music)" data-positionx="50%" data-positiony="0%" data-fullwidth="true" data-mce-src="https://cdn.durable.co/blocks/10S6fKJ8MIGvrJHBFVJFf9q77bXHuz4nmhjWDL8NdY0I7JeMzsbxYuM6mj2VlkG8.jpg" data-mce-style="aspect-ratio: 1/1; object-position: 50% 0%;"><figcaption class="body-normal text-gray-500 mt-2">Henry Marsden (Fix Music)</figcaption></figure><h3><br><strong>Sync placement</strong></h3><p>Matching songs with sync opportunities is becoming more automated. <strong>AI tools are helping to surface relevant placements in film, TV, advertising and gaming</strong>. The challenge is ensuring that matches remain accurate, fair, and aligned with the creative intent.</p><figure id="figure-wn9ei0xudpmfd0lmct" data-full-width=""><img id="wn9ei0xudpmfd0lmct" src="https://cdn.durable.co/blocks/2dleoabYjEEgeL6Tu5jZI2XoSUID65Mom0Rh9OgoaQKvdFZCW3SAyRj7RgBboxja.jpg" alt="" title="" class="object-cover bg-gray-100 " style="aspect-ratio: 1/1; object-position: 15% 45%;" data-corners="default" data-aspect="1:1" data-caption="Ben Charlton (Middle8)" data-positionx="15%" data-positiony="45%" data-fullwidth="true" data-mce-src="https://cdn.durable.co/blocks/2dleoabYjEEgeL6Tu5jZI2XoSUID65Mom0Rh9OgoaQKvdFZCW3SAyRj7RgBboxja.jpg" data-mce-style="aspect-ratio: 1/1; object-position: 15% 45%;"><figcaption class="body-normal text-gray-500 mt-2">Ben Charlton (Middle8)</figcaption></figure><h3><strong>Humans and AI</strong></h3><p>There was agreement that <strong>automation should take on repetitive, data-driven work, while publishers maintain oversight.</strong> Trust, quality and nuance still rest with people.</p><h3><em><strong>"AI tools will help speed up administration, allowing us to focus on growth and achieving sustainable success." (Laura May)</strong></em></h3><figure id="figure-ooaahhc6wtmfh04bfp" data-full-width=""><img id="ooaahhc6wtmfh04bfp" src="https://cdn.durable.co/blocks/15ocffjhVGR2LgirocAwGCYaCQ3QKYMzetp6k2WLnM9QjjlK0Z2fK4v9pmUPM3R4.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="Laura May" data-positionx="undefined" data-positiony="undefined" data-fullwidth="true" data-mce-src="https://cdn.durable.co/blocks/15ocffjhVGR2LgirocAwGCYaCQ3QKYMzetp6k2WLnM9QjjlK0Z2fK4v9pmUPM3R4.jpg" data-mce-style="aspect-ratio: 3/2; object-position: center center;"><figcaption class="body-normal text-gray-500 mt-2">Laura May</figcaption></figure><figure id="figure-jgrutcvmudmfdv7qpl" data-full-width=""><iframe id="jgrutcvmudmfdv7qpl" src="https://www.youtube.com/embed/g9Z2NH2dEzM" class="w-full bg-gray-100 " style="aspect-ratio: 16/9;" allowfullscreen="" data-url="https://youtu.be/g9Z2NH2dEzM" data-corners="default" data-fullwidth="true" data-mce-src="https://www.youtube.com/embed/g9Z2NH2dEzM" data-mce-style="aspect-ratio: 16/9;"></iframe></figure><h3><strong>Final thoughts</strong></h3><p><strong>The session highlighted that AI is already reshaping publishing workflows, making rights clearer, royalties faster, and sync more accessible. But the technology works best when guided by human expertise and judgement. Publishers who take a thoughtful, balanced approach can make real progress without sacrificing trust.</strong></p><figure id="figure-szahakyg3mfd1by88" data-full-width=""><img id="szahakyg3mfd1by88" src="https://cdn.durable.co/blocks/18OLy5EfO2GosHkVxOsYNvqFq1bJBTgRW9m5W7BfiZw2WDW0B5L5szcv0pdqpmi4.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="Happy panellists!" data-positionx="undefined" data-positiony="undefined" data-fullwidth="true" data-mce-src="https://cdn.durable.co/blocks/18OLy5EfO2GosHkVxOsYNvqFq1bJBTgRW9m5W7BfiZw2WDW0B5L5szcv0pdqpmi4.jpg" data-mce-style="aspect-ratio: 16/9; object-position: center center;"><figcaption class="body-normal text-gray-500 mt-2">Happy panellists!</figcaption></figure><h3><strong>Thanks to Laura, Henry, Ben, Antonio and the Music Frontiers team for making this such a valuable exchange.</strong></h3><p><strong>Recommended reading: <a href="https://www.linkedin.com/pulse/ai-implementations-today-tomorrow-henry-marsden-snuwe/" target="_blank" rel="noopener" data-mce-href="https://www.linkedin.com/pulse/ai-implementations-today-tomorrow-henry-marsden-snuwe/">AI Implementations of Today and Tomorrow</a>, by Henry Marsden</strong></p><p>"‘Artificial Intelligence’ is no longer a theoretical technology hovering on the horizon, but is quickly (and with ever-increasing speed) being embedded into everyday workflows- powering products and increasingly shaping entire industries. For the music business, as for every other sector, the question is no longer if AI will matter but how it is being applied in practice today- and where it is likely to drive competitive advantage tomorrow."</p><figure id="figure-0lqu74e32xmfd1cqc7"><img id="0lqu74e32xmfd1cqc7" src="https://cdn.durable.co/blocks/20oW1ryw5fjv1yE7G0AaVSdnWEz62DKnsGf2RVZHGTA1mA4oP85jlJjUYhgzBJ0V.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="The green room!" data-positionx="undefined" data-positiony="undefined" data-fullwidth="false" data-mce-src="https://cdn.durable.co/blocks/20oW1ryw5fjv1yE7G0AaVSdnWEz62DKnsGf2RVZHGTA1mA4oP85jlJjUYhgzBJ0V.jpg" data-mce-style="aspect-ratio: 16/9; object-position: center center;"><figcaption class="body-normal text-gray-500 mt-2">The green room!<figure id="figure-7tfiujf5qmfd1duvh"><img id="7tfiujf5qmfd1duvh" src="https://cdn.durable.co/blocks/16vP5Y7MmdpTUBXrX36LOrjUJtOhrAw765a2XsI0TsS2UCX1a6m97mWkjTEyEh5F.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/16vP5Y7MmdpTUBXrX36LOrjUJtOhrAw765a2XsI0TsS2UCX1a6m97mWkjTEyEh5F.jpg" data-mce-style="aspect-ratio: 16/9; object-position: center center;"></figure></figcaption></figure>

Faster, but still human: AI in music publishing

<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>

Blog

How to network at ADE and other music conferences: What 3...

Faster, but still human: AI in music publishing

Why income tracking might be the most fun you can have in...

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

Crafting a winning pitch deck

Live plays, real income: how to stop leaving performance ...