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From 22 to 24 October, AEPO-ARTIS member Apollon and FIM organised ‘Music in the digital age’, a three-day conference that brought together more than 150 representatives to discuss music’s most pressing topics: streaming and AI. Filled with musical intervention and most interesting discussions, Apollon and FIM set a new standard for the future of conferencing. The focus during the first day was put on streaming and the fact that a decade after it became the biggest source of revenue for the music industry, the turnaround is still not felt by musicians in the same way, particularly when it concerns their capacity as performer. |
After providing a full overview of how 25 years of digitisation has changed the music industry Dinnos Giorgountzos (Apollon) entered into discussion with Xenia Manning (Spotify), David Martin (FAC), Lauri Rechardt (IFPI), Manos Dedevesis (Stay Independent) and our own Ioan Kaes. The debate focused on the purely exclusive right as the cause of the lack of proper remuneration for musicians and the total lack of any compensation for non-featured musicians.
The opportunity was also used to clarify that the remuneration right that AEPO-ARTIS has been fighting for for years is in the first place a tool to achieve an objective and that performers are open to any alternative model that pursues the same objective. However, any model claiming to be artist centric should put that same artist at the centre of the remuneration and not just the centre of attention.
The afternoon panel, moderated by Christophe Van Vaerenbergh (PlayRight) brought together the worlds of performers CMOs, Unions, government representatives and academics to discuss possible solutions. Especially the passion with which Marcos Alves de Souza of the Brazilian Ministry of Culture defended the concept of a remuneration right and the need to make it an international standard was particularly motivating.
Day two revolved completely around how AI is manifesting itself. Via in-depth technical analysis and hands-on presentations, participants received a much-needed insight into what Artificial Intelligence is and how this new technology is making its way into every aspect of our (musical) existence.
Day three then sought confrontation again. In two separate panels, the industry and the creators were asked for their perspectives. AI developers (Microsoft), streaming platforms (DiMA), and research institutions (IRCAM) emphasised their respect for the music industry and the care with which they develop and use AI to support our sector. This narrative turned out to not correspond with that of Patricia Riera Barsallo (AISGE), Marc du Moulin (ECSA), Chris Castle, and Giorgos Andreou. They debunked a few myths and exposed the flawed legal framework and the ongoing infringement of copyright and related rights by an industry that is at the same time competing with our performers.
The conference concluded with an extensive panel, chaired by Yiannis Maragoudakis (Apollon), listing all possible solutions. Our own Xavier Blanc and Pal Tomori were joined by Roberto Mello (ABRAMUS), Marcos de Souza (Brazil), and Ben Kessler (AFM). Here too, it became clear that any scenario that envisions a fair balance and fair remuneration for performers cannot avoid legislative intervention. This requires consideration of the differences between how music is handled on the input and output sides. Both require a tailored approach.
AEPO-ARTIS would like to thank the whole Apollon team for the enormous effort put into the organisation. With more than 150 in-person attendants and a thousand online participants, this will without a doubt be remembered as the biggest conference of 2025.
