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Interviews

Exclusive Q&A with Paul Sampson, CEO of Lickd

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One quick thing that came to mind after conducting the interview was: this man knows the industry. So Ladies and Gentlemen, meet Paul Sampson, CEO of Lickd.

For starterrs, Lickd is a micro-licensing and music solutions company that caters to the creator economy. If that sounds obscure, jump straight to the interview, where Paul Simpson talks in simple terms about Lickd and the present and future of the online music industry.

Q. Let’s start with a brief personal profile. Tell us about your background and career?

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A. I’ve been working in music licensing since 2005. I’ve worked specifically with stock music, commercial music, and more recently, exploring ways of strengthening the creator economy.

For around five years, straight out of university, I worked in television at a small production company, climbing through the ranks. Throughout this time, I encountered the difficulties of licensing music several times, and so began to take an interest in understanding the nuances and problems that needed solving.

I’d gotten to know several renowned music licensing companies, and in 2005, one of them, Extreme Music, offered me a job in New York and with that, I followed my passion and began my career jump into the music industry. Within about two and a half years in the role, they relocated me out to Los Angeles as the Head of US.

In 2010, a new role brought me back to Europe and I was a key figure in launching the European arm of another U.S. music licensing company. This time, it was not just stock music, but a focus on more commercial music, and unsigned independent acts.

After this, I knew it was time to start acting on the music opportunities that were becoming more prevalent with the boom of the creator economy, and so following that channel, Lickd was born in 2017.

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Q. Now let’s move on to Lickd. What led you to found Lickd?

A. Two words led me to found Lickd: Creator Economy. As social media became more prevalent in everyday life in the late 2000’s, the opportunities for music and creators were plentiful and so Lickd was born. A few years later, as the effects on the media landscape following the pandemic have increased the creator economy twofold, we see even more opportunities to continue to seize the moment, and the market.

Lickd is the first music company to ever develop a major music solution for content creators of all kinds. We licence music from major labels and publishers, including current music that’s in the charts and make it available for licensing, legally. Our unique software protects our users on the platform that they place music on, for example, YouTube and Instagram. Platforms like YouTube have built in music recognition software that identifies popular music being used in content, and presumes that all music uses are some sort of infringement of copyright, therefore, persecuting the creator and attempting to police them out of earning revenue.

Lickd’s software is really the magic solution that the platform sits on top of to ensure that not only can creators licence the music but that they’re taken care of and we’re protecting their revenue all the way through to the end of the content journey.

Q. What is Lickd’s specialty? 

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A. What sets us apart is that we are unique in our offering. We’re working with 10,000+ labels and publishers that are linked to the Lickd platform, including Universal, Warner, Sony, BMG and Kobalt. To engage labels and publishers like that and to preclear their music for any content vertical is something that was once largely thought impossible, but Lickd has made it happen and is helping to secure new revenue streams for creators globally.

Q. Could you talk about your work with key gaming powerhouses?

A. Gaming is obviously an enormous industry, bigger than music and film combined. Any content vertical with that sort of reach has a huge platform, a huge audience to work with and promote music too.

In terms of how Lickd got together with Fortnite and Epic Games; essentially music became part of their engagement strategy, and they started paying more attention to it. Senior teams were asking key questions like: ‘how can we work with artists’ and ‘what sort of artist does our audience want to hear within a game’?

With this comes complexities around licensing and demographics. Gamers who are also content creators often live stream their content or create highlights videos for YouTube. At Lickd, we already know that in-video music on YouTube is an issue and so we collaborate with Fortnite to bridge that gap so that gamers can enjoy the wonderful events that are put on for them, while also being able to then promote and share that content in the ways that they normally would.

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Whether this is for ancillary income or additional income on top of a salary, if content creation is a full-time job, Lickd protects creators on those platforms, to enable a more effective creation and lifecycle process for the content they’re publishing.

Q. Could you briefly narrate the content deals you have with music companies and bands?

A. Over the past five years we’ve built a platform that is made up of popular music from 10,000 labels and publishers, including Universal, Warner, Sony BMG and Kobalt. We also work with lots of independent distributors. There’s around 1.4 million songs on Lickd, and another 6 million delivered and waiting to go live. The vast majority of them would be emerging acts and we certainly do our best to help and encourage discovery on the platform.

Q. In what ways does Lickd help creators to monetise their content?

A. I think it’s important to outline that wherever there is opportunity for the music industry online, it will require some sort of micro licensing commercial model, and some sort of proprietary tech, either to enable the licensing or to protect the end user.

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That’s where Lickd is perfectly positioned. Our mission is to democratise music for the world’s creators. Our first product looked at creators as video content creators, but as the world changes and the digital landscape evolves, creators will also include builders in the metaverse and big brands on social platforms.

Q. How do you see the possibility of an AI text-to-background-music generator?

A. There’s various ways that AI will impact music. It’s something we’re following closely and it would be foolish for anyone to suggest that any part of the music industry isn’t already seeing some element of business being affected directly by AI. So far we’ve seen AI generated songs, well known songs of one artist being sung in the AI voice of another, and the fact that chords and melodies can be created by simply inputting into an AI, and we’re always expecting more.

The uptake of AI in music creation won’t be instant, but at some point, creators will become of faith with smart tools that allow them to generate music through these new means for use in videos. Although, once created, that music will still need to be licensed, and there will be commercial models that give users access to the tools and/or licensing opportunities for the music created by said tool.

In the metaverse, there will be music collaboration spaces and music  production event areas or venues. Generative AI is useful for creating ‘music stems’, and building a sort of catalogue of music elements that can then be used by people collaboratively to start making an entire song – something that was not happening in the past.

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An AI can continuously keep churning out new beats and new melodies and new riffs and new instrumental sounds, and people will get together to create music on the fly, and that will require AI generative tools at some scale. I think you’ll see things like musical skins, where Avatars might want their own soundtrack or music identifier. How do I know someone entered the room? Well, I just heard their music handle to signify they’re here. Like boxers have ring walks, there’ll be a version of that somewhere in the metaverse.

We know that there are music metaverses and venues, and metaverse platforms based around music creation already, and there are others on the way. A good example of this is Pixelynx, Deadmau5’s music based metaverse platform. He founded the platform, one that was completely based around the music, but then was acquired by Animoca Brands, a brand with a broad portfolio of web3, blockchain and traditional games, which is a huge web3 holding company, so from launch to exit, Deadmau5 did very well out of the partnership.

Holly Fairweather Head of Account Management at House of Brands provider White Hat Studios

Women in iGaming Interview: White Hat Studios’ Holly Fairweather

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Holly Fairweather, Head of Account Management at House of Brands provider White Hat Studios, sits down with Gaming Americas to discuss the growing influence of women in the iGaming industry, and highlights how more can be done to improve the overall gender imbalance

 

Gaming Americas: Since joining the industry in 2018, have you noticed a change in how women are represented within iGaming companies, as well as general attitudes?

Holly Fairweather (HF): When I reflect on the past six years, it feels great to say I have seen a lot of positive changes in our industry and more importantly, an ever-increasing drive to address gender diversity. There is still work to do, and I am reminded of this attending our industry events, where it’s very evident we still lack female presence in C-level roles and on expert panels. It’s also not hard to see walking around conferences the overall gender imbalance that exists. With that being said, I do feel it’s moving in the right direction and I am regularly inspired by women around me being promoted to senior management roles, providing great mentors and role models. Awareness of gender diversity and celebrating success is continually being pushed via various channels, and for me plays a big part in why we are seeing more women have the confidence to progress in their careers and more women enter the industry. It’s also important to say, and why I think change is happening more, that the want of women to succeed and to increase female presence in our industry, is indeed backed by a strong support network of women supporting women, but also of the men in our industry.

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Gaming Americas: How important are groups like Global Gaming Women? What kind of initiatives have they offered to help your own career development?

HF: I’ll be honest, I’m still learning about all that Global Gaming Women offers. Working in the US market I see GGW as a substantial network which offers reams of support from training courses, lean in circles and mentorship and networking events just to name a few. I have taken part in a few of the industry wide networking events, and really enjoyed them, connecting with some amazing people, learning more about the industry. One of my objectives this year is to participate in more events, adding value where I can whether that’s within the GGW network or through other avenues.

 

Gaming Americas: What more can the industry do to make it more appealing to women and ensure they are better represented within organizations?

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HF: It’s got to start within each individual company taking responsibility for equal representation. This is not a tick box exercise to achieve a target on a gender split % by x date but must be about promotions and roles being rewarded to the best candidate for the role, regardless of gender, ethnic background, or sexual orientation. We need to shout about the success stories of DEI within the industry, creating an inclusive work environment will attract not just more women but more candidates overall, increasing the talent pool.

There is also a piece around exposure and shining the light on the fantastic women we have leading the way. Sharing their career paths, the good, and the challenges, to provide relatable examples of success. To make women in gaming not about the stats or portray the headline as a negative but more around showcasing the women that are successful and why, helping more women relate and pursue a similar path if this is what they wish to do.

 

Gaming Americas: What advice would you give to the next generation of women that are looking to make a breakthrough in the industry?

HF: This is a good one! First and foremost, you lead your own progression. Be proactive in building your network, push yourself out of your comfort zone to attend networking events. Reach out to other women in the industry for support and mentorship. That is on you to drive.

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Immerse yourself in a team with values that align with yours, a team that welcomes and promotes diversity of all types and supports and rewards on merit are key.

Build your knowledge, for me knowledge is confidence. Quickly realise it is ok not to know everything, ask the questions and find out. Be solution-oriented, supporting your superiors will get you noticed for going over and above and adding value to your team and company.

I was told ‘people do business with people,’ which I stand by and could not be truer in the igaming industry. Always treat everyone with respect, be kind, be yourself, but don’t forget to back yourself! Relationship building is so key in this industry and has helped me progress to where I am today.

Lastly, take risks. And by this, I mean sometimes you must step out your comfort zone and push yourself to try something different to progress to the next stage. So far, the most pivotable moment in my career and biggest risk I have taken, and I’m sure Andy Whitworth (CEO) and the White Hat Studios (WHS) team won’t mind me saying, was accepting the job at WHS. A brand-new supplier to the US, no content live alongside the fact I had never worked in the US market, so of course there was an element of risk. It was, however, a calculated risk as I was joining a team of experts, senior level management I had worked for previously, in an ever-growing US market. A no brainer now when I look back.

 

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Gaming Americas: From a White Hat Studios perspective, what DEI initiatives does the company put in place?

HF: DEI of all types is something I believe increases the performance of a team, and is something we are extremely passionate about at WHS. As we grow and expand, maintaining a strong culture has never been more important. We recently held a WHS workshop in Prague, with one section of our day spent holistically agreeing and locking down our values as a team, ‘Who we are, what we stand for ‘and ‘treating everyone equally’ is now embedded in our company culture as one of our five core values.

I have been lucky in the fact I have never felt that my gender has held me back in my current role and previous igaming companies. Although I understand this has not been everyone’s experience, I truly believe the more we celebrate success, drive awareness, embed inclusion within our companies, and work together across DEI as a whole, we will continue to see women progress and take on careers in igaming.

 

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Compliable

Reputation matters – the importance of supplier licensing

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More and more jurisdictions are introducing licensing for B2B providers in an attempt to boost regulatory oversight and restrict black market activity with Sweden and Denmark recent examples. In this piece, we talk to Greg Ponesse, Chief Revenue Officer at Compliable, about how the increased compliance burden can favour suppliers’ standing in the iGaming ecosystem.

 

Have you seen a shift in attitudes from suppliers to only provide products in regulated markets?

We have seen that suppliers that have traditionally taken a .com approach are starting to move towards being licensed to secure additional revenue and more customers but also to improve their overall reputation and standing. The perception of brand integrity plays a big part of the decision-making process because some operator partners might be reluctant to work with suppliers if they have a mainly grey-market approach.

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In the US, supplier licensing has always been the norm, so where we are seeing attitudes changing is primarily with European suppliers. Although most suppliers might have a few licenses that they need to manage in key markets, they are now better understanding the importance of being seen as fully compliant across the board as regulation changes and operators are looking for trusted partners.

Some of these brands are massive enterprises who are now trying to get a handle on how to manage all their licenses across multiple regions, and we have seen an increased interest in our software to support that.

 

What has been the driving force for this – regulator pressure or business strategy?

It’s a little bit of both. Regulator pressure is definitely a big one as gambling becomes more ubiquitous and mainstream. It’s the responsibility of the government to provide structure and regulation to ensure safety for consumers and many are starting to realize that suppliers play an equally important role in that as operators. We have recently seen examples of locally licensed suppliers being fined by regulators for offering their products to unlicensed operators, so providers need to be on the ball to ensure their reputation stays intact.

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That said, the grey market suppliers up to this point have stayed in grey markets because that’s what was available to them. Now you’re seeing new markets opening up like North America, which has been huge, where all states require suppliers to be licensed. These grey market players that have previously focused on Europe now see that there’s revenue over there to be gained, so they need to pull up their socks and play the game.

As a business strategy, suppliers can only remain in black markets for so long, avoiding paying taxes and declaring revenue. In a competitive marketplace, suppliers can definitely benefit from being more established and having numerous licenses. Operators might be wary to work with companies that don’t take compliance seriously so being able to show that you have X number of licenses and that you have infrastructure in place shows that you’re serious, and that you know what you’re doing. It kind of sets the table for you to have a soft landing and to be able to begin those discussions with potential partners.

 

A sole focus on regulated markets would suggest a negative impact on profits so what benefits do suppliers see from being licensed?

If the train is only going in one direction, you eventually have to hop on it. Moving away from grey markets will inevitably have a negative impact on profits but you then have to look at where you can find additional revenue. If you are a licensed supplier, it does allow you to work with the big local operators. You have to decide on whether you can make more money as a grey-market supplier or by going into markets being licensed and making the most of what that offers.

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Do you expect more jurisdictions will introduce B2B licensing going forward?

Yes, for sure. Gambling is ubiquitous now and governments recognise that it’s a great revenue generator for them and it also helps with ensuring responsible gambling. With licensing, you provide a framework, infrastructure, and environment that is safe, and it ensures that everyone is on a level playing field. That needs to include all different sides of the industry such as operators, suppliers, affiliates etc. If everyone in the ecosystem follows the rules, it will be a better place for all.

 

What are the big challenges that suppliers face when it comes to licensing in 2024 and beyond?

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Your licensing strategy, so basically, where you are going to go get licensed. This process takes time and resources, and you want to make sure you are prepared before you start talking with operators. They will want to know, just like as with any other vendor, if you are licensed as a supplier.

If we use the US as an example, there is no shortage of suppliers that want to partner with the available operators, so you need to know who you want to work with and where, and then you have to make sure you sort those applications properly. That is all about getting the right advice or using software because if you fail the process, you will end up at the back of the queue and your go-to market strategy will be delayed.

 

What, if any, are the key differences between licensing in the US and regulated markets in Europe and other regions around the world?

For starters, every state in the US acts as if it is its own country and the licensing process is very complex and rigorous. In Europe, it was initially somewhat more relaxed. You got your Malta licence, and that was then good for all countries in Europe. We’re now seeing a bit of backtracking, with more and more countries getting tougher on rules and regulation.

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Increased supervision, with regulators having more oversight, means there is no hiding and I think that is what we’re moving towards on a global scale.

I do believe that most suppliers and operators prefer a regulated market because it separates proper companies from the bad ones. If I was a large operator or supplier that invested time and money into licensing and establishing a compliance team, I would feel good about that because there are so many companies that can’t do it. There’s this element of pay to play, so to speak, in order to really maximize your profits in a region.

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Interviews

Changing the game for content aggregation

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We sit down with Dee Maher, CEO of La Royale Gaming Investments, to learn more about her recent appointment as CEO and how the company is set to challenge the gaming industry’s conventions.

La Royale Gaming Investments has bold plans to become a true power player and redefine industry standards. Through acquisitions and mergers, it intends to build an “ecosystem” of online and offline companies, covering both B2B and B2C. Its first play is Quanta, a unique content aggregation platform designed to leverage a high volume with a focus on delivering unparalleled value at a fair price, aiming to introduce innovative solutions for both operators and suppliers. To learn more about La Royale and its goals for the coming 12 months, we spoke with recently appointed CEO, Dee Maher.

 

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Tell us more about your journey to being appointed as CEO of La Royale Gaming Investments.

I’ve been working in the global online gambling industry for many years now in roles covering legal and compliance leadership. Over the past 15 years, I have had the privilege to work for some of the biggest organisations in the business including the likes of Genesis Global, Betclic, Vera&John and Evolution Gaming. When I was approached about joining La Royale Gaming Investments as CEO, it was an offer that I couldn’t turn down. Recognising the company’s ambition to forge a transformative path in the gaming sector, I was compelled by the vision to lead change and drive innovation. My decision to accept was driven by a profound commitment to spearhead our mission, leveraging the remarkable talents of our team to redefine industry standards and make a lasting impact.

 

What are your main responsibilities and where are you looking to progress most?

I have been tasked with supervising the expansion of our investment portfolio by recognising opportunities that are aligned with our online and offline strategies. I am also overseeing the day-to-day running of Quanta, our inaugural venture, which stands out in the crowded marketplace as a game aggregation platform like no other. In terms of where we are looking to make the most progress, we plan to curate a unique ecosystem of innovative offline and online gaming companies through strategic mergers and acquisitions which combined will make La Royale Gaming Investments a real tour-de-force in the sector and one of the top tier companies with interests across both B2B and B2C.

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How is La Royale Gaming Investments going to disrupt the industry? Is it taking a different approach?

La Royale Gaming Investments is poised to redefine the gaming industry with a strategy rooted in bold vision and innovation. We have built out the best team to deploy these ambitious plans and achieve our strategic goals. We are well-capitalised and have lined up our first run of acquisitions, starting with Quanta. Our approach focuses on identifying USPs within each business we engage, introducing ground-breaking offerings to the market. With Quanta, that is being the first mass-market game aggregation platform, creating value for both operators and suppliers. This is an industry where many follow the same blueprint, but we know that to pull distance from our competitors, we need to do things a little differently.

I think our biggest point of difference is that we are curating an ecosystem of innovative businesses across all areas of gambling and gaming. This includes both online and offline, and both B2B and B2C. There are not many organisations in the industry that are this broad and diverse so again this is an area where we can really stand out.

 

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You mentioned that Quanta is the first mass-market game aggregation platform. What does it offer operators and suppliers and how is it different to other solutions in the market?

Quanta has been developed so that it can handle the largest possible volume of games from a diverse array of providers and seamlessly integrate with a vast network of operators. Due to this volume, we can offer the best commercial deals to both parties. Our scale, in collaboration with leading studios and casinos, positions us as a frontrunner in content distribution. Furthermore, we are committed to achieving certifications across all significant regulated markets. For operators, this means they can quickly and easily add games to their lobbies and for studios, it means access to the widest distribution network and thanks to our minimum reseller fee structure, we make this access available to all providers from the established titans to the rising stars.

But just to be clear, Quanta transcends the ordinary, offering not just a cost-effective solution but a sophisticated high-performance platform. The platform is state of the art, allowing for seamless integrations for both operators and suppliers while ensuring the highest standards of resilience and performance. The concept is simple – high volume, low cost – but the advanced technology and strategic foresight required to realise this vision set us apart from conventional solutions in the market.

 

Content provision is highly competitive so what makes you confident that Quanta will be heard above the noise being made by other providers and aggregators?

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Our mass market approach is unique and is already helping us to stand out and generate significant interest from both studios and operators. In the current challenging economic landscape, efficiency and cost-effectiveness are paramount for all stakeholders. But our advantageous commission structure is not the only way we are helping here. At present, operators often have many integrations with various aggregators and directly with game providers. This is inefficient and expensive. With Quanta, operators can plug into a single platform and access all the content they need for each market they target allowing them to save significant resources or to deploy these resources elsewhere.

 

On the subject of the current economic climate. Is now a good time to be building a business based around M&A?

That depends on how you are approaching your M&A activity and whether an organisation is taking on debt. Timing can be crucial here – you just have to look at the likes of 888 to see how a change in the direction of the wind can have a brutal impact on the wider organisation. That said, there are always plenty of opportunities to acquire great businesses, technologies, solutions and so on, and part of my remit as CEO is to spot these and if they align with our wider approach, make a move. I think the 12 months ahead will be incredibly exciting when it comes to M&A, with some truly transformational deals taking place – something that La Royale Gaming Investments intends to be a part of.

The post Changing the game for content aggregation appeared first on European Gaming Industry News.

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