Where’s my fucking money?
We track all the money as it goes from sale, sync and stream to artist and songwriter, via labels, distributors, publishers and collecting societies. How are your music rights really making money and where do all the royalties go? Including global collective licensing explained; the shift to direct licensing in live; and digital’s big transparency problem.

Morning sessions…

Where’s My Fucking Money? How The Cash Flows
Whether the money comes from a CD sale, a radio play, a download, a stream, a sync or a public performance, how does the cash flow as it goes from licensee through to artist and songwriter? We look at the royalties that come into the music rights business, for both songs and recordings, and track them as they flow, through both direct deals and collective licensing, seeking to answer on behalf of the artists and songwriters whose music is behind all the revenue, “where’s my fucking money?”

Afternoon sessions…

Direct Licensing In Live
Traditionally the live sector secured all of its licences to stage public performances of other people’s songs through the collective licensing system – ie PRS and all that. But now some artists are starting to move to a direct licensing model. Why? Adam Elfin from PACE Rights Management will outline why artists like Deftones, Dire Straits’ Mark Knopfler and Mr Big’s Paul Gilbert have chosen to go this route, while CMU’s Chris Cooke will explain to confused promoters everywhere what exactly it all means.

When Music Gets Synchronised
Everyone wants a sync deal, but what does that deal look like exactly? What money is there to be made and how do the royalties flow in? And how does the business of production music and original commissions work? We explore all the ways artists and songwriters can make money working with the TV, movie, gaming and advertising industries.

Where’s My Fucking Money? The Transparency Problem
As artists and songwriters call on government to put pressure on the big music corporations to be more transparent about their digital deals, we will reveal what information music creatives and their managers want access to and why they need it, based on the findings of the Music Managers Forum’s ‘Dissecting The Digital Dollar’ research. CMU’s Chris Cooke and Sentric Music’s Simon Pursehouse explore all the ways artists and songwriters can make money working with the TV, movie, gaming and advertising industries