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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?

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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.

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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? 

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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.

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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.

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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.

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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.

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Bingo Paradise Celebrates 65% Growth in First-Time Depositors in Q3 2024

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Bingo Paradise, a prominent UK iGaming affiliate, has announced its most successful quarter ever, achieving record growth during Q3 2024. The portal saw an unprecedented rise in first-time depositors (FTDs), a testament to its commitment to delivering value to players and operators in the highly competitive iGaming space.

“Q3 2024 has been a standout quarter for Bingo Paradise,” said Tom Waite, Manager of Bingo Paradise. “Our success is thanks to the hard work of our small team of talented writers and the oversight of our dedicated compliance manager. Together, they ensure that we provide honest, transparent reviews and operate within the highest industry standards. This, combined with our marketing efforts, including SEO and negotiating exciting player offers with operators, has been key to sending substantially more FTD’s to the operators.”

Bingo Paradise achieved a 65.24% year-over-year increase in FTDs compared to Q3 2023. This impressive growth underscores the affiliate’s focus on player-first strategies, such as creating honest, well-researched reviews that empower users to make informed decisions. The team’s compliance manager ensures every piece of content adheres to strict regulations, building trust with both players and operators.

A key factor in the platform’s success is its ability to negotiate exclusive offers with UKGC-licensed operators. These partnerships allow Bingo Paradise to provide unique deals that resonate strongly with players, enhancing its appeal as a go-to player resource. The focus on promoting only licensed operators also ensures fairness and security for users, which further solidifies the portals reputation.

The brands approach is a model of integrity and innovation. By prioritising compliance and transparency, Bingo Paradise, which itself is owned by Meteor Marketing Ltd has positioned itself as a trusted affiliate partner, both for operators seeking reliable collaborations and for players looking for guidance in the iGaming world. As the platform celebrates its Q3 2024 achievements, it remains committed to exploring new opportunities and maintaining its high standards.

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TWO NEW WORLDS WERE UNVEILED AT ZITRO EXPERIENCE MEXICO 2024

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Play’n GO announces network-wide US release of hit title Colt Lightning Firestorm

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Eagerly anticipated release now confirmed following a highly successful exclusivity period with Rush Street Interactive

Play’n GO has today announced the official US release of its hit title Colt Lightning Firestorm, following a three-week period of exclusivity with Rush Street Interactive brands BetRivers and SugarHouse.

Colt Lightning Firestorm was released in Europe and other jurisdictions in May 2024, and its release in the US comes with much fanfare following the game’s rave reviews in its short exclusivity period. The game is a sequel to the wildly popular Colt Lightning game which was released early last year, and indications at this stage suggest that this sequel may prove even more successful.

This announcement sees Colt Lightning Firestorm available to players in each state and operator with whom Play’n GO is licensed. Play’n GO first entered the online casino market in the US in 2022, and has reiterated its commitment to becoming active in every regulated market around the world.

Magnus Olsson, Chief Commercial Officer at Play’n GO said: “We’re excited to unveil Colt Lightning Firestorm to the wider online casino gaming community in the US, and have been very pleased to see its strong performance during its exclusivity period with Rush Street Interactive. We had high hopes for the game following the success of its predecessor, and we’re confident that these robust results will continue now that the game is available to an even bigger audience.”

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