As the music industry boomed in the 1980s and 1990s, the place to be for global business was MIDEM, the annual conference in Cannes. Over the past three years, though, an increasing amount of those deals have been made at the IMPF (Independent Music Publishers Forum) Global Music Summit in the fall in Palma de Mallorca, in Spain. I went for the first time this year, from Oct. 1 to 4, and it’s one of the best music business conferences I’ve ever attended. (I should point out that I got a press pass, but Billboard paid for my travel.) Now in its third year, the event drew 500 attendees, up from 320 last year. It’s the perfect size — small enough to see people you know, but big enough to meet people you should.
The vibe is very different. MIDEM was like the throne room of the Imperial Music Business, where dealmakers held court at high-end hotels and the hamburgers cost 35 Euros. But most labels now control recording rights in most of the world, so the focus of dealmaking has shifted to publishing. The Global Music Summit is more relaxed. It takes place at two hotels in the Mallorca marina that are nice but not over the top, and you could walk around and see everyone easily. By day, you could take meetings on one of the hotel terraces or walk to the marina. At night, you could have cocktails at the Budde Music-sponsored Budde Bar.
The IMPF itself only goes back to 2014, when a dozen or so independent publishers got together to form a trade association that would focus on their needs. The International Confederation of Music Publishers, which includes both majors and indies, has many of the same members and focuses on some of the same issues and the two organizations worth together frequently. Both are international but wield more power in Europe, where countries tend to have stronger copyright laws, and where the publishing business generates more revenue.
Much of the action took place in private meetings, but the panels were also smart — shortish and relevant, and held one at a time. The keynotes were also worthwhile. The first was from Reservoir Media founder and CEO Golnar Khosrowshahi, who spoke about how technology has helped music publishing expand. Reservoir’s first big investment was in Music Maestro, she recalled, and data tools helped the company grow. She predicted that artificial intelligence would create opportunities and efficiencies as well as challenges, a welcome message at a time when it seems like the wild elephant in the room.
The next day’s keynote came from BMI President and CEO Mike O’Neill, who gave an audience used to dealing with traditional, nonprofit collective management organizations a look at the alternative his company represents now that it’s owned by private equity investors. He pointed out that this might not be so different from the status quo, since SESAC has a similar ownership structure and GMR is said to have an “understanding” to sell some of the company to a private equity firm. “Why is that?” O’Neill asked. “I can only speak for BMI, and for us, it means a level of investment that we simply could not have achieved before.”
O’Neill also discussed BMI’s plan to distribute 85% of licensing revenue and retain 15% for overhead and investment and said that the company is on track to do so. “While we have not finished our audit for the last fiscal year, I’m extremely pleased with our results and how we’re tracking towards our goals,” he said. “We’ve had a series of record-breaking distributions this year and our final distribution growth will reflect that.”
NMPA (National Music Publishers’ Association) President and CEO David Israelite closed the event with a keynote about how the publishing business is both growing and at the same time closing the gap with revenue from recorded music, plus touched on “Spotify’s war against songwriters,” the MLC database, and how transparent collective management organizations should be. Israelite ended his speech — and, really, the entire conference, with advice for the publishing business. When Israelite started at the NMPA two decades ago, “we had a cultural problem” — the major publishers and the indies often pushed different agendas, which also differed from those of songwriters. One of Israelite’s key successes was to convince these groups to work out their disagreements in private and unite behind one agenda in public. In Europe, where collecting societies and songwriters groups have more power than they do in the U.S., this could be difficult. But it could also help the entire business get the influence it needs to make sure it can benefit from AI.
It’s never easy to get the various parts of the music business to unite behind anything, of course. But events like the IMPF summit, held in a cool place at a scale that makes sense, make it a lot easier.
