Interviews
Exclusive Q&A with Paul Sampson, CEO of Lickd
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
Rewarded User Acquisition: Transforming Mobile Gaming with James Crabb, Head of Gaming Partnerships at Almedia
Introduction:
In the rapidly evolving world of mobile gaming, innovation is the key to staying ahead. Rewarded User Acquisition (UA) is emerging as a game-changing strategy, enabling developers to attract and retain players by incentivizing engagement. At the forefront of this movement is James Crabb, Head of Gaming Partnerships at Almedia, a leader in Rewarded UA through platforms like Freecash. With over a decade of experience in mobile gaming and partnerships with major titles, James provides invaluable insights into the potential and challenges of Rewarded UA, the shifting landscape of the mobile games industry, and trends shaping the future.
Rewarded UA: Transforming Mobile Gaming Engagement – An Interview with James Crabb, Head of Gaming Partnerships at Almedia
Can you describe Rewarded UA to our readers?
Rewarded User Acquisition is a marketing strategy commonly used in mobile app and game development. It involves incentivizing users with rewards like Amazon or Google Play vouchers for engaging with an app or game. This approach not only increases engagement but also helps developers acquire high-quality users more likely to make in-app purchases or interact with ads. Platforms like Freecash excel at scaling this model without relying on third-party networks, creating a frictionless experience for studios.
“The key to success in Rewarded UA,” James explains, “is continuously testing different rewards and strategies, adding deeper-level events to maintain user engagement and maximize outcomes.”
What is your career background?
With over 13 years in the mobile gaming space, James started his journey at Kabam, working on the successful Kingdoms of Camelot: Battle for the North. He has since held pivotal roles at renowned studios like Outfit7 (My Talking Tom), Huuuge Games (Huuuge Casino), and Wargaming (World of Tanks, World of Warships). Recently, he ventured into the web3 space with MoonGaming (Medieval Empires).
James joined Almedia nine months ago, diving deep into Rewarded UA through the Freecash platform. “We’ve seen tremendous growth as developers realize how scalable our audience is,” he shares.
How do developers benefit from giving away cash?
“The idea that developers are ‘giving away cash’ is a misconception,” James explains. Instead, developers pay a cost per install (CPI) to platforms like Freecash. This investment is structured to drive user engagement with short-, mid-, and long-term activities. As players progress through challenging levels motivated by rewards, developers monetize through in-app purchases and ad engagement.
By carefully designing reward structures, developers ensure they acquire users who remain invested and engaged in their games while generating revenue.
Why is Rewarded UA growing?
Traditional UA channels have become competitive, expensive, and difficult to scale, especially after privacy regulations like Apple’s App Tracking Transparency. Rewarded UA, by contrast, bypasses these challenges, offering direct access to users keen to engage with games and earn rewards.
James notes, “Rewarded UA platforms provide an invaluable alternative, especially for studios looking to scale effectively amidst increasing privacy constraints.”
You’re based in Berlin; how is the mobile games industry performing locally?
Berlin continues to thrive as a gaming hub with notable studios like Wooga, Wargaming Mobile, and Ubisoft’s Kolibri Games. It also fosters a vibrant ecosystem of newer studios such as TrailMix, Metacore, and Playflux. “The city’s talent pool spans developers, producers, designers, and marketing specialists, all supporting the local industry,” James says.
What are some common misconceptions about ‘Rewarded UA’?
Many in the industry still equate Rewarded UA with the outdated concept of incentivized traffic, which focused on boosting app store rankings without delivering quality users.
James points out that modern Rewarded UA is far more sophisticated. “Platforms like Freecash are delivering measurable results for studios like Plarium, where new user registrations rose by 30%, and the lifetime value (LTV) of users was 20% higher compared to other channels.”
While the model is powerful, James emphasizes the importance of anti-fraud measures to maintain trust and quality.
At Almedia, you lead gaming partnerships. How do you approach building connections in the games industry?
“The gaming industry is incredibly well-connected, so we focus on building relationships for the long term,” James explains. Events play a significant role in fostering these connections, and maintaining authenticity in conversations is key. “Don’t treat discussions as transactions; view them as opportunities to build meaningful partnerships.”
As we look toward 2025, what industry trends are on your radar?
James predicts a more equitable and accessible mobile games industry, driven by policy changes like Epic’s court victory against Google. Additionally, he foresees a surge in user-generated content (UGC), with platforms like Roblox and Unreal Editor for Fortnite paving the way for new creative opportunities.
“Increased payouts to creators and emerging platforms to support UGC will be a significant trend,” he adds.
Conclusion
Rewarded UA is reshaping mobile gaming, providing scalable and effective user acquisition strategies while enhancing the gaming experience. With industry leaders like James Crabb championing innovative approaches, the future of mobile gaming looks brighter than ever. From advancements in Rewarded UA to new opportunities in UGC, developers have much to look forward to as the gaming landscape evolves.
The post Rewarded User Acquisition: Transforming Mobile Gaming with James Crabb, Head of Gaming Partnerships at Almedia appeared first on European Gaming Industry News.
Interviews
FTDx Wins Xanada Startup Contest: Unlocking Untapped iGaming Traffic with Innovative Monetization Solutions
Recently, Xanada Investments announced FTDx as the winner of this year’s Xanada Startup Contest, an investment initiative of the fund. FTDx has demonstrated outstanding innovation in traffic monetization within the gambling industry, earning them the top spot.
In the interview below, Vladimir Malakchi, the CEO and Managing Partner of Xanada Investments, and Björn Nilsson, CEO and co-founder of FTDx, share their perspectives on this achievement and what lies ahead.
Vladimir Malakchi, CEO and Managing partner at Xanada Investments:
What were your overall impressions of this year’s Xanada Startup Contest participants, and why did you choose FTDX as the winner? What key factors stood out about their solution that aligned with Xanada Investments’ vision?”
VM: This year’s Xanada Startup Contest had nearly 250 applications from all over the world. The range of ideas was incredible, everything from gamification to AI-driven user engagement. What made FTDx stand out was how practical and impactful their solution is. They’ve tackled a big issue in iGaming, what to do with traffic that doesn’t convert because it’s from regions operators usually ignore. Their system turns that missed opportunity into real revenue while also encouraging first-time deposits.
We loved how FTDx backed up their idea with real numbers and a solid strategy. They’re not just solving a problem; they’re doing it in a way that scales and adds value for operators. That’s exactly the kind of project we look for at Xanada Investments-solutions that deliver results and create meaningful change in the industry.
Xanada Investments has a history of backing scalable solutions. How do you assess the scalability of FTDX’s technology, and what competitive advantage do you believe this gives them over other monetization platforms in the market?
VM: At Xanada Investments, scalability is a key factor in evaluating projects, and FTDx has shown a strong foundation for growth with its lightweight, adaptable platform. Its seamless integration with operators’ systems and focus on real-time revenue generation make it ideal for scaling across regions, especially in today’s fast-moving digital landscape.
FTDx’s major advantage is efficiency,it captures value from active users during live sessions, reducing the need for costly re-engagement strategies. This cost-effective approach works well in markets with varying tech infrastructure, including those with high mobile traffic but limited resources, enabling FTDx to tap into a wider audience.
The platform’s data-driven design supports continual optimization, allowing operators to refine strategies based on real-time insights. This adaptability keeps FTDx competitive in a rapidly evolving industry. Overall, FTDx’s scalable and proactive monetization tools provide operators with a reliable solution for driving revenue in diverse global markets.
Looking ahead, how do you envision FTDX evolving with the support of Xanada Investments? What role does their team’s expertise play in ensuring the successful execution of these growth plans?
VM: With Xanada’s support, FTDx is well-positioned to expand its reach and develop its platform to meet the growing demands of the iGaming sector. Our resources and strategic network will provide FTDx with the connections and insights needed to enter new markets, particularly in regions like Europe and Latin America, where demand for gamified, real-time engagement solutions is on the rise. Xanada’s role will not only be financial but also advisory-we’ll work closely with FTDx to refine their approach and scale their operations effectively.
The expertise within the FTDx team is a major asset in executing these growth plans. Their background in data analytics and monetization strategies means they have a clear understanding of the market’s demands and a precise approach to addressing them. This technical and strategic expertise allows them to develop solutions that are not only innovative but also grounded in practical applications. Their ability to anticipate and adapt to industry trends is a valuable strength, ensuring they can keep up with evolving customer expectations and continue delivering results as they scale.
FTDX’s ambitions to provide measurable outcomes, whether through immediate revenue generation or long-term user retention aligns closely with Xanada’s vision for sustainable growth. By leveraging our network and expertise, FTDx will have the support needed to continually innovate while expanding into new markets. Together, we envision FTDx not only as a leader in iGaming monetization but also as a standard-setter for efficiency and effectiveness in player engagement solutions.
Björn Nilsson commenting on the win of FTDx in the Xanada Startup Contest:
Congratulations on your victory! What was your strategic motivation for participating in the Xanada Startup Contest, and what advantages do you see from this win in terms of your future development?
BN: Thank you very much! I’ve had experience participating in startup contests before, including one with Triggy. While we didn’t win that time, we made it to the top 10 finalists, which was an invaluable experience for the company’s growth. As I mentioned during my podcast with Vladimir Malakchi, contests like these sharpen your game. As a former athlete, I know firsthand that nothing improves you more than competing. Whether you win or not, participating forces you to refine your pitch, clarify your message, and solidify your business plan.
Beyond this, I genuinely enjoy the thrill of competition.
Your product offers a unique approach to monetizing global visits. What inspired you to develop FTDx? What market challenges did you identify that led you to create this solution?
BN: My co-founder, Fredrik Selin, and I were active in several areas, primarily on the affiliate side, when we had a conversation with Jon Bowden, the CMO of New Jersey-regulated casino PlayStar. Jon mentioned that they were receiving a significant amount of traffic from states other than New Jersey and asked if we had any ideas about how to utilize that traffic. Intrigued, we promised to explore the issue further.
Using tools like Similarweb and Ahrefs, we analyzed traffic data from various brands, both large and small. What we discovered was staggering-there’s an immense amount of “lost” traffic out there. Millions of visits end up on 403/404 blocked pages every month, representing a massive untapped resource.
Ten years ago, this issue wouldn’t have existed. At that time, being online inherently meant being “global.” However, with increasing regulation and rising competition, operators must now specialize and dominate local markets to remain relevant. This focus inevitably results in excess traffic from markets where they aren’t operational. That’s where FTDx comes in-to unlock the value hidden within this overlooked traffic and turn it into a new revenue stream.
How do you see the success of the FTDx solution based on your clients’ experiences? How does their traffic volume change, and what positive side effects have you noticed from implementing your solution?
BN: Though we’re still early in our journey with live clients, the results so far have been extremely promising. For example, blocked traffic from our largest client has generated over 8,000 new accounts with other brands in just the past three months. This is traffic that would have otherwise gone unnoticed and unrealized.
When we enable traffic exchanges—allowing clients to receive blocked traffic from other operators—the volume of relevant traffic in their target markets grows significantly. One of the most notable positive side effects, and a point we’ve emphasized from the start, is how operators begin to see the extended value of brand marketing. They realize that their efforts reach far beyond their primary focus markets and, thanks to FTDx, can now monetize that extended reach.
The post FTDx Wins Xanada Startup Contest: Unlocking Untapped iGaming Traffic with Innovative Monetization Solutions appeared first on European Gaming Industry News.
David Natroshvili, Founder of SPRIBE, talks about company culture and why office working is the key to communication for any organisation
Home working, office working or hybrid working. What’s best when it comes to fostering a successful company culture?
SPRIBE started off as a hybrid working company with our employees having a lot of flexibility over where they worked from and the schedules they worked to. This served us well during the pandemic when companies were forced to send staff home during the height of lockdowns. But since then, and given the rapid growth we have experienced, we have opted to gradually switch to a full-time office set-up for our employees. Why? Because there are so many benefits to having employees working from the office, for both the organisation and those working for it. We’ve tried to make the transition as seamless as possible by creating comfortable and inspiring workspaces, offering regular team-building activities and ensuring we run plenty of social events each month, including poker tournaments and Happy Friday which brings together all team members to round off the week.
Can you talk through some of the benefits of office-based working?
The biggest benefit is the connection that forms between team members and the different teams that make up the organisation. Communication is key to a business – and individuals – achieving objectives and reaching its/their full potential, and communication is so much easier when everyone is under the same roof and can speak face to face. It allows for deeper collaboration, faster problem-solving and more cohesive processes. I think there are serious mental health benefits, too – by working from an office, people feel part of a community and don’t become isolated from their team and the wider organisation. Without its people, company culture is little more than a document of ideas and processes but when you bring the people that make up the organisation under the same roof, it comes to life.
What does SPRIBE’s company culture look like?
We have always focused on helping our employees strike a good work/life balance, and we go to great lengths to support their well-being and mental health. This includes fun activities like our weekly Happy Friday and regular social events but also ensuring that each team member feels valued and that they are supported and encouraged by senior management and team leaders. Personal development is a big part of employee well-being, so we offer plenty of opportunities for personal and professional development. This, combined with providing the right environment for our employees to work in, ensures each member of the team can thrive, develop and grow, which in turn makes them feel like they have a long future with SPRIBE and that their position within the company is valued and secure.
How will you ensure your company culture evolves alongside changing employee expectations and wider working trends?
The way I see it, talented people want to contribute to a successful business so long as their involvement is valued and rewarded. This has always been the case and won’t change anytime soon. At SPRIBE, we want to attract the best talent in the business and so long as we ensure this talent feels valued and is given the environment and opportunities to reach its full potential, while striking the right work/life balance, we will remain a highly attractive organisation to join regardless of the latest company culture trends and employee expectations.
When you founded SPRIBE, did you expect it to become the success that it is today?
Yes and no. I knew that we had an incredibly strong founding team and that when we came up with the concept for Aviator, the original iGaming crash game, that we’d come up with something big. But no, I couldn’t have seen it becoming the phenomenon that it has – Aviator is now live with more than 4,500 online casinos and has 42 million active players a month. This has allowed us to continue to innovate and be pioneers, especially when it comes to our marketing deals with the UFC and A.C. Milan. It’s this that ultimately makes SPRIBE such a great place to work – we are doing things that other companies could only ever dream of.
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