Latest News
Exclusive Q&A with Paul Sampson, CEO of Lickd
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?
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.
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?
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.
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.
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.
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.
Hydro was crowned the tournament’s MVP with 27 finishes, while TraceGod received the TVS Most Wicked Player award for his 113 finishes across the season
The three-day LAN finals garnered over 10 million views on YouTube and more than 500k views on JioHotstar across the Hindi, English, and Gujarati live streams.
The curtains have come down on the OnePlus Android Battlegrounds Mobile India Masters Series (BGMS) Season 4, with Team K9 Esports emerging as the undisputed champions of India’s most-watched esports tournament. After three days of high-octane LAN action at the NODWIN Gaming Arena in Chhatarpur, New Delhi, the champions walked away with the coveted BGMS trophy and the lion’s share of the INR 1.5 crore prize pool.
The grand finals, held from September 12 to 14, brought together the top 16 teams in the country for 12 intense matches and were broadcast live on NODWIN Gaming’s YouTube channel as well as on Star Sports Khel and JioHotstar, making it the only esports tournament in India with a national television presence. On YouTube, the finals drew more than 10 million views across Hindi, English, and Gujarati broadcasts over the three days, while on JioHotstar, they registered over 500k views during the same period, surpassing 200k on the final day alone.
OnePlus K9 Esports, led by in-game leader (IGL) Sahil Jakhar (Omega) and comprising Akshit Kumar (Arclyn), Harshit Yadav (Beast), Tanjot Singh (NinjaBoi), and Raghuraj Singh (Slug), dominated across all three days of competition. After topping the table on both Day 1 and Day 2 with consistent performances, the team carried their momentum into the final day to finish with a total of 107 points and three Winner Winner Chicken Dinners, claiming the BGMS Season 4 championship and securing INR 60 lakh in prize money.
They were followed closely by Sinewy Esports, who had qualified through the Battlegrounds Mobile India Challenger Series (BGCS), finishing second with 96 points and earning INR 22.6 lakh. iQOO SouL also ended with 96 points but were placed third on tiebreakers, recording 53 finishes compared to Sinewy’s 54. Infinix True Rippers and iQOO Revenant XSpark rounded off the top five with 93 and 89 points, respectively.
The MVP of the tournament was awarded to TRHydro of Team True Rippers, whose 27 finishes stood out as the highlight of the grand finals. The TVS Most Wicked Player award went to Joel Thomas (TraceGod) of Team Revenant XSpark for his remarkable tally of 113 finishes throughout the tournament.
When asked about their hard-fought victory, Sahil Jakhar, aka Omega, IGL of OnePlus K9 Esports, summed up the team’s emotions perfectly: “One in the bag, more to go!”
Organised by NODWIN Gaming, South Asia’s leading gaming and esports company, the fourth season of BGMS spanned over 28 days in its innovative dual-format structure. This season marked a significant evolution with the introduction of the BGCS as the official feeder league, giving grassroots talent the chance to rise to the professional stage. Through partner-led qualifiers such as OnePlus Campus Dominate and TVS Raider Wicked Battles, new teams and young players earned the opportunity to compete alongside India’s top-tier squads. In a historic step towards inclusivity, all-women rosters also took part in BGCS, breaking barriers and inspiring a new generation of female gamers to envision a future in competitive esports.
“BGMS Season 4 has truly set new benchmarks for esports in India. From the introduction of the dual-format league and the inclusion of all-women teams to welcoming new brands into the fold, this season has been about opening doors and broadening horizons for the entire ecosystem. Congratulations to K9 Esports for delivering an outstanding performance that defined this season. What makes me especially proud is that we continue to bring this action into Indian homes on national television and OTT platforms, ensuring that the very best of esports reaches the masses and cements its place in the mainstream. This journey was also strengthened by the trust and commitment of our Title Sponsor, OnePlus, along with all our partners whose support has helped BGMS evolve from a tournament into a movement that truly resonates across the country,” commented Akshat Rathee, Co-founder and Managing Director, NODWIN Gaming.
BGMS Season 4 was powered by an exceptional lineup of partners, each playing a vital role in making the tournament a success. OnePlus returned as the Title Sponsor and Official Smartphone Partner, while Android continued its association as the Co-Title Sponsor.
TVS Motor Company marked its third consecutive year of partnership, and Red Bull returned for the second year to energise players throughout the competition. Duolingo English Test made its debut as the Official Learning Partner, promoting accessibility and global opportunities for India’s youth. Swiggy came on board for the first time as the Official Food Delivery Partner, keeping players and crew fuelled, while Bisleri joined as the Official Hydration Partner. In a landmark moment, Tesla also made its esports debut in India by showcasing its Model Y cars at the BGMS Grand Finals.
With BGMS Season 4, NODWIN Gaming has not only redefined the scale of competitive gaming in the country but also cemented the tournament’s status as a cultural phenomenon that embodies the energy and aspirations of India’s youth.
The post Team K9 Esports crowned champions of BGMS Season 4; secure INR 60 lakh in prize money appeared first on European Gaming Industry News.
Latest News
Rocket League World Championship concludes in Lyon: NRG Esports crowned champions in front of nearly 10,000 fans; Major 2 comes to Paris La Défense Arena next year
- Record-breaking Rocket League World Championship 2025 concluded yesterday with around 10,000 fans per day at LDLC Arena
- NRG takes home the $300,000 prize as this year’s Rocket League World Champions
- Paris La Défense Arena (25,000 capacity) confirmed to host RLCS Major 2, May 20-24, 2026
After two landmark weekends for global esports with the Fortnite Global Championships and the Rocket League Championship Series in France, Rocket League is set for an even bigger arena in 2026.
Following a record-breaking World Championship in Lyon, the Rocket League Championship Series (RLCS) Major 2 will take over La Défense Arena in Paris from May 20-24, 2026, marking the largest venue to host a Rocket League event in history.
The Rocket League World Championship 2025 came to a thrilling close on Sunday evening as NRG Esports lifted the trophy in front of nearly 10,000 fans at the LDLC Arena in Lyon-Décines, France. Taking in the glory, the champions secured $300,000 and were declared Rocket League World Champions!
20 of the best Rocket League teams and 60 players from across the globe were onstage all together, representing every major region. North American team NRG’s Massimo “Atomic” Franceschi, Landon “BeastMode” Konerman and Daniel “Daniel” Piecenski dominated through the Group Stage before delivering a statement performance in the Grand Final, with a decisive 4-1 victory over Raleigh Major winners and RLCS 2025’s highest-scoring LAN team, Team Falcons.
Esports has dominated the French spotlight these past two weekends – with the Fortnite Global Championship and the Rocket League World Championship 2025 drawing record crowds and combining to deliver $50 million in economic impact for the city of Lyon.
Spectators from across more than 26 different countries travelled to France to watch 20 of the world’s best Rocket League teams compete for the title of World Champion. The energy of the Lyon crowd confirmed France’s status as one of esports’ true global homes, setting the stage perfectly for next year’s RLCS Major 2 in Paris.
Looking ahead to the 2026 season, the RLCS will scale up once again as La Défense Arena – Europe’s largest indoor venue and a regular home for large-scale sporting events – will welcome an expanded three full days of live audience action next May. With a capacity of 25,000, the arena will be one of the biggest venues in Europe to host an event in esports.
Additional details of the 2026 season were also revealed in Lyon, with the new season set to kick off this November with online Opens, followed by a brand-new Kick-Off LAN studio event in Copenhagen, Denmark this December. The RLCS Major 1 will take place in North America with further dates and locations for the first Major of the year and the Rocket League World Championships to be announced in the coming months.
For more details on the 2026 Rocket League Championship Series, including sign-up information and full schedules, visit the Rocket League Esports official site.
In case you missed it, Rocket League also announced Season 20 this weekend, which will be live on September 17 – check out the blog for more details on the new season.
The post Rocket League World Championship concludes in Lyon: NRG Esports crowned champions in front of nearly 10,000 fans; Major 2 comes to Paris La Défense Arena next year appeared first on European Gaming Industry News.
Latest News
Infront Bettor expands tennis portfolio through exclusive Australian Open video and data rights partnership
New agreement with Tennis Australia (TA) includes top grand slam event, Qualifying and TA tournaments
Infront, through its dedicated division Infront Bettor, has significantly broadened its footprint in tennis after being named the data and video streaming partner for Tennis Australia.
The multi-year agreement includes the Australian Open, one of tennis’s four grand slams, and will provide licensed sportsbooks access to high-quality live content and reliable data thanks to market-leading strategic partners for streaming and data distribution. It marks the latest step in Infront Bettor’s growing presence in top-tier tennis, building on the five-year Official Data partnership with the International Tennis Federation (ITF).
In addition, Infront Bettor will collaborate closely with Tennis Australia’s Game Insights Group, focusing on exploring opportunities in data innovation and commercial data strategy.
Drawing on experience from its ITF partnership, Infront Bettor will also bring an emphasis on data harmonisation across the sport. This allows consumers of data to have consistent definitions regardless of the tennis competition and supports Tennis Australia’s ambition to create products and platforms that enhance the way fans and partners experience tennis.
Tennis Australia’s Chief Commercial Officer Cedric Cornelis said: “Partnering with Infront Bettor ensures we can deliver the highest standard of content to audiences globally, while maintaining a strong commitment to integrity and innovation. Their platform and experience in the sport will help us identify, reach, and delight new markets.”
Chris Catling, Head of Infront Bettor, added: “This is a landmark addition to our tennis offering and a major step in strengthening our global footprint in the sport. The Australian Open sits at the very top of the calendar and complements our existing partnership with the ITF by extending our reach across both elite and grassroots levels. We’re proud to be trusted by Tennis Australia and look forward to delivering value through reliable content, integrity-led operations, and a truly global distribution network.”
The partnership will also see Infront work closely with Tennis Australia’s Integrity Unit, combining best-in-class monitoring tools, risk assessments, and global market analysis to help uphold the integrity of all covered matches.
Infront Bettor is part of the Group’s Media, Betting and Technology unit led by Amikam Kranz as Senior Vice President. This combination of Infront’s media rights business with betting and technology provides more holistic commercial opportunities to rightsholders and innovative technology solutions to the betting industry.
The post Infront Bettor expands tennis portfolio through exclusive Australian Open video and data rights partnership appeared first on European Gaming Industry News.
Team K9 Esports crowned champions of BGMS Season 4; secure INR 60 lakh in prize money
Rocket League World Championship concludes in Lyon: NRG Esports crowned champions in front of nearly 10,000 fans; Major 2 comes to Paris La Défense Arena next year
Infront Bettor expands tennis portfolio through exclusive Australian Open video and data rights partnership
Race Estoril Track With F1 Legend Barrichello During SBC Summit 2025
GLI Returns as Sponsor of the Regulators’ Roundtable at EEGS 2025
Trigger Xtreme Power: A 400% Deposit Bonus Plus 30 Free Spins Await on Thor Hammer Strike at SlotsCapital.lv
Boomerang Partners will hold a raffle for unique sports items at the SBC Summit 2025
GoldenRace unleashes the season with updated Euro Champions and Euro League 2025/26!
GamCare Releases Evaluation of its Money Guidance Service
Relax Gaming appoints Antonia Svensson as Chief Commercial Officer
-
Latest News3 months agoBrand-new projects debuting at iGB L!VE: Casino&You and Win&You Partners!
-
Latest News1 month ago
Light & Wonder to Participate in the 2025 Australasian Gaming Expo
-
Latest News1 month ago
ReferOn Shortlisted for Acquisition & Retention Partner of the Year at SBC Lisbon 2025
-
Latest News1 month ago
Gavin Hamilton Joins Sports & Wellbeing Analytics as Chairman to Accelerate Global Expansion
-
Latest News2 months ago2025 PUBG MOBILE WORLD CUP KICKS OFF WITH GROUP DRAW AHEAD OF ESPORTS WORLD CUP
-
Latest News3 months agoHIPTHER Community Voices: Interview with the CEO and co-founder of Nordcurrent Victoria Trofimova
-
Latest News2 months agoCEO of MEDIA24 Interviewed: Industry Scams, Business Insights and SEO
-
Latest News2 months agoHIPTHER Community Voices: Interview with CEO of Media 24 Martins Lasmanis
You must be logged in to post a comment Login