A full day of talks, discussions, case studies and insights on music and data on Thursday 12 May 2022 – presented in association with the BPI

The basics…

The Great Escape and CMU put the spotlight on all the ways data now drives success in the music business.

The data that gets artists and songwriters paid. The data that will help #fixstreaming. The data that informs music discovery. The data that powers music marketing. The data that profiles fans and fanbases. The data that sits at the heart of ticketing. The data that is powering new direct-to-fan products and opportunities.

Who creates this data? Who controls this data? And how can artists, songwriters, labels, publishers, agents, promoters, venues, artist managers and music marketeers ensure that all the data is accurate, accessible and driving that success?


Join CMU’s Chris Cooke as we follow a new track on its data journey – as it is created, distributed, released, marketed, streamed, broadcast and sold – and understand how different categories of data help get music played and musicians paid.

Kicking off the proceedings, Geoff Taylor – CEO at BPI – will discuss why data is now so important to the functioning of the music industry, and how music companies have invested heavily in music data standards, systems and expertise.

We’ll then unveil our new track – a full-length version of the theme tune to CMU’s podcast Setlist – produced by CMU Editor Andy Malt. What rights have been created and who owns them? We’ll discuss what needs to be agreed with lawyer Raffaella De Santis from Level.

We’ll then release the track. What data is required as the music is delivered to the streaming services? Why is that data needed and how is it used? We’ll discuss with data generated around music distribution with Sarah Wilson, Head Of UK at TuneCore.

We’ll then log the recording and the song with the collective licensing system. How is this done? Why is it so important? What revenue streams do we unlock? Shauni Caballero – Founder 0f The Go 2 Agency – provides some practical advice and useful case studies.

Plus, there are a lot of collecting societies around the world, each of which will be licensing the rights in the track. How do we push that data to every society on the planet? Stuart Fitzsimon – Repertoire Senior Product Manager at PPL – will discuss some of the initiatives to make it easier for artists and labels to get this crucial data into the system.

But once our music is out there being played, how do we track those plays in order to get paid? The music industry is increasingly using music recognition technology to help with this process – online, on air, and in pubs, clubs, bars and cafes. Chris Lewis and Damon Rickard from PRS For Music will discuss how they and PPL are already making use of MRT – and how artists and songwriters can ensure their music is in the MRT system.

Plus we’ll be joined by Ryan Edwards – Founder & CEO of Audoo – to discuss his technology and ambition – how extensively might MRT be used by the music industry in the years ahead, and what are all the different ways it will benefit music-makers?

Throughout this entire process we’ll be constructing a big old rights and track data to do list. But who takes responsibility for each of the data tasks? We ask a label, a publisher and a manager…

Kristian Davis-Downs – Head Of Digital Operations, Secretly Group
Laura May – Director, May Music
Jazz Rocket – Artist Manager / A&R, 67 Artists

As we follow our track on its data journey, we’ll identify a number of data challenges that can negatively impact on how music is discovered and tracked – challenges that affect the accuracy and efficiency of royalty payments, and can lead to the moral rights of creators being infringed. But for each of those challenges, there are solutions!

It starts with education – ensuring everyone in the wider music community understands what data is required and how to get it in the system. We’ll discuss educational initiatives in the UK and around the world with…

Crispin Hunt – Board Director, Ivors Academy
Lucie Caswell – Chief Policy, Rights + Public Affairs Officer, Music Publishers Association
Opeyemi Iredumare – music and digital lawyer and consultant

There are a plethora of start-ups out there developing data solutions for music-makers and the music industry – and providing new approaches to organising, managing and sharing rights and track data. Find out about some of them with…

David Campbell – COO, Session
Kevin Bacon – Chief Innovation Officer, Family In Music
Philippe Rixhon – Founder & CEO, Digiciti

We’ll also hear from Gee Davy – COO of the Association Of Independent Music – about the organisation’s Digital Distribution Switch Code – an industry best practice initiative for distributors to follow informed by the ‘Distribution Revolution’ report produced for AIM by CMU in 2019.

And we’ll find out about proposals from the Music Managers Forum regarding songs data and the processing of song royalties, based on its long-running ‘Dissecting The Digital Dollar’ research project with CMU.

The organisation’s CEO Annabella Coldrick and music rights consultant Becky Brook will outline those proposals and how they might be achieved, and explain why the wider music community should join the ongoing debate about how better data can help ensure artists and songwriters always get paid when their music is played.

FAN + MARKETING DATA 1.45pm-3.00pm
Music marketing is increasingly digital marketing – and digital marketing is powered by data. But what data? And how can we ensure everyone involved in an artist’s business has access to the data they need – and the legal right to use it?

We’ll run through the key categories of fan and marketing data, providing a practical guide to the role each category of data plays in helping artists profile the fanbase, target their communications, assess the effectiveness of marketing activity, and connect with the individual fan. With insights from Matt Cheetham at Motive Unknown and Tom Burris at Prime Element.

We’ll put the spotlight on the latest developments in ticketing – and how the live side of the business is generating ever more sophisticated fan data. How are promoters and the artists they work with capitalising on these innovations? We’ll find out from Andrew Parsons at Ticketmaster UK and Sophia Burn at Live Nation.

And finally, how does fan data power and inform the direct-to-fan opportunity? Let’s go on another journey – this time the fan journey. How can artists and their teams effectively use data to map and manage the journey from potential fan to casual fan to committed fan to super-fan? And with direct-to-fan increasingly about premium digital content and experiences, how is data unlocking the new D2F opportunities?

We discuss with Jessie Scoullar from Wicksteed Works, Kaiya Milan from The Floor, and music and digital lawyer and consultant Opeyemi Iredumare.

CMU’s Sam Taylor presents a no bullshit guide to NFTs, blockchains and the metaverse – often bracketed together as Web3. We’ll explain how these technologies might create significant opportunities for artists and the wider music industry but also look at how not to get caught up in the hype.

We’ll then take a look at the products and services being developed in and outside the music tech sector that are using blockchains to help manage fan funding, fan communities, digital collectibles and ticketing, with insights from Des Agyekumhene at Soga World and Max Shand at Serenade.

And we’ll consider the legal and licensing questions that the music community should be tackling now to ensure the music industry is ready for the opportunities and challenges of Web3 with Sophie Goossens at Reed Smith and Marcus O’Dair at UAL.


MUSIC+DATA takes place on Thursday 12 May 2022 at Jury’s Inn Waterfront and is open to anyone with a TGE delegate or conference pass.