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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?

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.

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? 

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.

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.

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.

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.

Interviews

Christos Zoulianitis: How ENJOY is shaping the next generation of iGaming

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Christos Zoulianitis was recently installed as the Chief Commercial Officer of ENJOY, the industry’s newest kid on the block, which is already building a reputation for developing deeply memorable iGaming experiences that resonate with operators and players alike.

We caught up with the former Playson exec to find out how Enjoy aims to differentiate itself with its Slots and Live Game Shows portfolio, and why its experienced and diverse team is well positioned to make a major impact in the global iGaming industry.

 

Christos, what excites you most about joining Enjoy?

The most exciting part of joining ENJOY was the opportunity to build again something new — from the ground up — by combining the team’s extensive and diverse expertise with my own. Together, we have the power to shape fresh formats, blending the best of slot and live game development. It’s incredibly inspiring to be part of this journey and create a proposition even greater than what you’ve done before.

From a top-management perspective, it’s also thrilling to witness the team’s rapid evolution. We move fast, we grow daily — and we thrive on momentum. Every milestone we hit is not just a testament to our pace, but to our purpose. I can say that we are a very strong team that shares the same ambition of building exceptional experiences, and I believe that is the most important factor of our future growth.

 

Talk us through Enjoy content offering, what sets it apart from existing competition within the market?

At Enjoy, we’re focused on one factor above all: quality. Our core principle is simple — quality comes first. We create timeless slot games, but at the same time we are introducing a new experience of live game shows.

We have the market’s knowledge of what players like to play within a game and keep coming back. As I usually say, we focus on the post-entertainment factor, which is the feeling you receive after a game session ends. Because that feeling translates into long-term player loyalty in our games. What truly sets us apart is our team mindset and experience — we know exactly what works and how to do it right.

 

The live dealer space is a very competitive space – how has the company ensured its live game shows are appealing to operators and players?

The reason for starting to develop Live Game Shows is to redefine what live game entertainment can be through the creation of unique, next-gen Live Game Shows. Our Live titles merge the excitement of real-time interaction with the dynamic mechanics mix of slots, roulette, and wheel-based games, offering a hybrid experience that appeals to both traditional and modern players. Stepping into our studio feels like entering an entirely different universe. From the moment you walk onto the set, you’re transported into a world that rivals top-tier TV productions.

Our mission is to make players feel truly inside the game. A good example is the unique zoom-in effect we have implemented into our latest blockbuster Enchanted Forest, which makes the player feel like they are walking inside the forest of this magic studio.  So, whether you’re spinning the vibrant Wonder Wheel, diving into the mystical vibes of Enchanted Forest, or experiencing the luxury of x320 Roulette, each of our game shows offers a unique gameplay that grips the player.

This level of immersion doesn’t happen by accident — it’s the result of meticulous work and passion poured into every single production.

 

What can players expect from the Slots that you’re developing?

We’re bringing together the charm of classic mechanics with the polish of modern execution, delivering gameplay that is both instantly familiar and deeply memorable. Our best-performing titles Hot Fire Coins 2, Fire Express, and 3 Mariachi showcase the brilliance of our team to maximise the quality of the Hold and Win format – visually pleasing with plenty of features to experience.

Early performance data illustrates that these games have not only captured the attention of players across numerous international markets but also set a new standard within iGaming. Our commitment to delivering engaging and memorable gaming experiences has already helped us to gain the trust amongst operators and players alike.

 

Finally, can you provide us with further details on how you intend to shape ENJOY’S commercial growth?

Focusing on high-potential regulated markets is a top priority for us. Countries that we believe will provide ENJOY with the greatest opportunity to make an instant impact include Italy, Greece, Portugal and Brazil, while we’ll also be keeping a very close eye on other regions that embrace iGaming legislation.

Despite our journey being in its infancy, we’ve already secured important distribution deals with respected industry leaders such as Reevo, Digitain, Softswiss, and Slotegrator. For me, this speaks volumes about the supreme quality of our offering, with key industry players identifying the value of our dynamic roadmap. That really excites me and provides the belief that we can take the ENJOY experience to a vast global audience.

Above all else, we have an unwavering commitment to innovation, quality, and long-term relevance on the iGaming global stage. I have no doubt you’ll be hearing a lot more about ENJOY over the coming months!

The post Christos Zoulianitis: How ENJOY is shaping the next generation of iGaming appeared first on European Gaming Industry News.

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HIPTHER Community Voices: Interview with CEO of Media 24 Martins Lasmanis

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From his early days in digital marketing to leading one of the most dynamic affiliate networks in iGaming, Martins Lasmanis brings nearly two decades of hands-on experience and strategic insight to the table. In this edition of Community Voices, Martins reflects on the evolution of the industry, the bold moves that shaped Media 24’s growth, and how the company is embracing AI and a product-first mindset to stay ahead. Dive into his story of resilience, speed, and smart risk-taking — and what it takes to build a future-ready affiliate powerhouse.

 

Can you tell us about your journey into the iGaming industry, how your role and experiences have grown over the years, and what key lessons you’ve learned along the way?

I started in digital marketing about 18 years ago, focusing on SEO. I remember spending my first two weeks just reading everything I could find online. A lot of it turned out to be useless, but it gave me the basics. From there, I worked at a few companies, launched and sold my own digital marketing agency, and later became a freelancer.

In 2016, an affiliate marketer reached out to me through a mutual connection who recommended me based on previous work. I joined his company in 2017 as an employee. That move felt like a risk, but I saw potential.

I spent about four and a half years there. Over time, I started to see big opportunities in markets the company wasn’t willing to explore. Eventually, I decided to leave, sold my shares, and took a break. In May 2022, I joined Media 24.

One key lesson I’ve learned is that long-term consistency often matters more than one brilliant idea. And when you’re scaling fast, being agile and willing to adapt quickly is sometimes more important than being perfect.

 

After 8+ years in iGaming, what are the biggest changes you’ve seen in the industry, and how has Media 24 kept up with them? What key things have helped Media 24 stay strong?

Even though the industry never stops evolving, the fundamentals of affiliate marketing haven’t changed much. What has changed is the pace of Google updates. They are a constant source of stress for many SEO-focused affiliates. They now come one after another and sometimes have a big impact.

And now when AI begins to reshape how people search, affiliates will need to rethink how they attract organic traffic. In some cases, we’ve already seen that AI-driven results take away up to 30% of traffic from organic searches. Its growing impact means we should prepare for fundamental changes coming ahead.

What’s helped us most is staying extremely focused. We ran at a loss for almost two years after starting the company. It is often the reality when you are starting a SEO based business. It was incredibly stressful, we nearly ran out of money for salaries at one point. But we kept going with one plan — to make it work.

Now we have grown to 60+ websites, 300 partners and a team of over 50 people. And we didn’t aim for perfection, we aimed for progress. That speed-first mindset helped us significantly.

 

In a competitive industry like iGaming, looking back, can you think of an idea or plan that felt very risky at first but ended up being a big success for Media 24? What did you learn from that?

One of the riskier moves was our “plant seeds everywhere” strategy. We decided early on to enter almost every market where sports betting was popular. Around 90 GEOs in total. In some cases, the numbers said we shouldn’t bother doing that. But we trusted our instinct.

In that way we were able to quickly identify promising markets, then double down where the data started to make sense. It taught us that data is crucial, but so is intuition. Especially in an industry where emerging markets can surprise you.

It also helped us distribute risk. With presence on so many markets, external factors like Google updates or website blocking had a much smaller impact on the overall business. That made Media 24 much stronger and agile in the long run.

 

Does Media 24 use new technologies like AI? If so, how does using these technologies help the company get stronger or better at what it does?

Definitely. AI-powered tools have already helped us a lot. For example, we noticed a content formatting task that took our managers hours every day. It was repetitive and added up to dozens of lost hours weekly. So, we built an AI-powered algorithm to automate it. Now it takes just minutes, saving our team days and weeks of work each year.

We’re watching AI closely and see a lot of potential. A few months ago, we started developing an AI-first mindset across the team, setting up bi-monthly meetings and workshops to explore how we use these tools and what’s possible. It’s already changing how we work, and we hope to build up on that. The goal is to figure out how we can optimize our work processes and eliminate as many routine, repetitive tasks as possible. We want to free our employees as much time as possible to think, to create, to be proactive, and to create value.

 

If you could give one piece of advice to someone wanting to build a successful company in iGaming today, what would it be?

Focus on building something future-proof. That means strong partnerships, transparency, and a long-term mindset. In affiliate marketing, a lot of your success depends on trust. Both with users and with operators.

Also, don’t wait for everything to be perfect before launching. Start fast, learn fast, and improve as you go. The ability to move quickly is still one of the biggest advantages you can have in this space.

 

What are the main future plans for Media 24, and what kind of impact do you hope the company will have on the iGaming world in the years to come?

Our focus is on becoming a product-driven company. We’re seeing a shift in the industry, many affiliates are building tools and user experiences that go far beyond what was considered enough a few years ago. That’s the direction we’re heading as well.

The new generation of players wants better experiences. We hope Media 24 can play a leading role in creating what the future of affiliate marketing looks like. Agile, technological, and always focused on the user.

The post HIPTHER Community Voices: Interview with CEO of Media 24 Martins Lasmanis appeared first on European Gaming Industry News.

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Crush Test for iGaming Projects: SOFTSWISS on Why High Load Performance Defines Operator Success

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For iGaming operators, success depends not only on content and marketing but on their ability to stay online when it matters most. We spoke with a SOFTSWISS expert, Deputy CTO Denis Romanovski, to understand what’s really at stake during high load events, what mistakes others make, and what architectural decisions allow platforms like the SOFTSWISS Game Aggregator to consistently deliver 99.999% uptime – even at peak moments.

 

When a platform fails under high load, what are the main negative consequences for operators?The fallout hits three fronts at once. First of all, you lose revenue. Every failed bet is a direct GGR gone. In a one-minute outage during peak hours, you could lose tens of thousands of euros before you even spot the issue. Second, frustrated players flood the support team with refund claims and bad reviews. Most of them switch to your competitor. Getting those players back costs far more than keeping them happy in the first place. And third, in the scramble, tech teams try to spin up extra cloud capacity at premium rates or engage pricey third-party consultants. Those crisis-mode costs often hit the usual infrastructure budget for weeks afterwards.

So in short, downtime isn’t just an IT problem – it’s a full-blown business crisis that affects finance, marketing, and customer experience.

 

How does SOFTSWISS prevent those failures? Which patterns are most effective for operating without breaks?

Our resilience comes from layering proven patterns. We run Kubernetes in multiple regions – Europe, Latin America, and South Africa – so player connections go to the nearest point of presence. Databases replicate asynchronously, enabling instant failover if one zone degrades.

We develop containerised microservices, which means that some of our features and tools run in isolated pods. Rolling updates and canary deployments let us push fixes to a tiny slice of traffic first; if any metric goes beyond the threshold, Kubernetes automatically rolls back.

Static assets and game binaries are cached on regional Content Delivery Networks to reduce the load on central servers. Players receive data from the closest edge node with round-trip times of under 100 milliseconds, even on 3G connections. We also have an efficient system for DDoS Defence. Our stable partnership with Cloudflare provides multi-terabit scrubbing. Malicious traffic is cleanly filtered at the network edge, leaving genuine players uninterrupted.

But one more piece is just as crucial as technology: the team behind it. You can invest in the cutting-edge hardware and build the best architecture, but if engineers lack experience working under pressure, reaction times slow down, and players notice. 

SOFTSWISS brings together experienced SREs, database experts, and network architects with deep knowledge of real-world stress situations. This means we don’t just detect issues quickly – we fix them before operators lose trust.

Together, these layers of design and expertise ensure that, no matter what stress tests occur, our platform consistently delivers on its 99.999% uptime promise.

 

From an operator’s standpoint, what scenarios trigger the greatest anxiety during traffic surges – flash promotions, major sporting events, or something else?

Operators worry most about the unknown spikes. Scheduled events are planned for, like a Champions League kickoff or a midnight bonus reset. But unexpected surges, for example, when a progressive jackpot hits 10 million euros or a social-media post goes viral, can triple traffic in hours, if not minutes. These are the moments when lobbies freeze and players see spinning wheels that never load. 

The fear is not theoretical. I think every operator is familiar with this feeling when you see the queue at the support service filling up with complaints. Every frozen second undermines the player trust that operators spent months building. That’s why they need a reliable tech partner with proven protocols for handling traffic spikes and a track record of keeping the software running without downtime.

 

Can you walk us through a real “crash test” you’ve seen: what operators see on their dashboards when systems go down?

I can describe a typical scenario that happens in one form or another quite often. Let’s say it’s a Saturday free spins sale on a new slot, paired with double loyalty points. Traffic can jump from 5,000 to 15,000 concurrent users in ten minutes. On the dashboard, CPU usage rises above 90 per cent, Redis cache miss latency jumps from 5ms to over 50ms, and the error rate exceeds 5 per cent. Players see “502 Bad Gateway” errors or simply blank game tiles.

Behind the scenes, operators struggle to issue refunds, while marketing watches their promotional budget turn into failed KPIs. That kind of slippery slope, where one service slowdown affects another, can turn a simple spike into a full-scale outage.

Another case we had at SOFTSWISS involved a live stream event run by one of our operators. They hadn’t properly forecasted the traffic surge, and the load hit fast. We saw system strain building within minutes – API response times climbing, queues backing up. Our team had to act quickly to rebalance and optimise the infrastructure on the fly by adding resources and redistributing load.

 

Are there any general recommendations or lifehacks operators can use to ensure the stability of their platforms under high load?

Sure – stability is not just about servers and code; it starts with the way people work together and the processes they follow. Regardless of the platform, there are some crucial questions and data points operators should agree on with their provider’s technical account manager before any big launch. 

First, operators need to track traffic dynamics closely – how many players arrive, how many register, and how many stay in play. They should share these forecasts with their provider and flag any risk of actual traffic far exceeding expectations.

The provider, in turn, will map its load models against planned promotions or events. That way, capacity gets reserved in advance instead of scrambling when reality outpaces the plan. At SOFTSWISS, for example, we continuously monitor load on our core components and build in redundancy to absorb traffic spikes.

Operators also need clarity on which SLAs guarantee that extra capacity or failover will be authorised the moment it’s needed. When seconds count, no one should be hunting for the required approvals.

Finally, a new brand or promo campaign must be introduced gradually. Operators can start with low-traffic markets or off-peak windows, verify performance in real‐world conditions, and only then ramp up traffic. This approach will let them avoid unpleasant surprises when the big day arrives.

Nevertheless, high-load incidents do occur. If this happens, blaming is the last thing to think about. However, the tech partner must provide a copy of its post-mortem playbook with root cause analysis, updated runbooks, and clear remediation steps.

Following these checkpoints, operators can trust their tech partner to handle any traffic surge. Potential failures that once threatened to crash the system become routine operations, no matter how intense the load.

The post Crush Test for iGaming Projects: SOFTSWISS on Why High Load Performance Defines Operator Success appeared first on European Gaming Industry News.

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