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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.
Reading Time: 7 minutes
At SiGMA Central Europe in Rome, European Gaming Media sat down with Yevhenii Yankovyi, Vice President of Technology and Deputy CTO at RedCore, for a deep look into what truly powers RedCore’s large-scale engineering operations.
RedCore is known for innovating at enterprise level, yet moving with the agility of a fast-growing tech company. In this conversation, Yevhenii breaks down how the organization manages that balance: how engineering teams maintain both speed and reliability, how automation empowers creativity, and why culture must remain a daily practice rather than a one-time achievement.
Can you introduce yourself and RedCore’s approach to engineering at scale?
Sure. My name is Yevhenii, I’m the Vice President of Technology at RedCore and Deputy CTO. RedCore is a large company with many products and projects, so everything we do operates at a significant scale. And when people hear “enterprise-level engineering,” the usual assumption is that scale automatically means slowness: slow decision-making, slow implementation, slow testing, slow time to market.
That’s the mindset we challenge. We don’t believe speed and stability are opposites. In our experience, at this level of complexity, the two actually reinforce each other. When you build the right processes, the right technical foundations, and the right organizational structure, speed becomes a natural result of stability – not something that contradicts it.
We plan for scaling from day one. For us, that’s a fundamental requirement. We build products with the expectation that they will grow, and growth means scale. So we design with that in mind from the very first line of architecture.
But that doesn’t mean disappearing for six or ten months to design the “perfect” system. That’s the common mistake people make when they hear “design for scale.” Our approach is different: we keep the long-term vision in mind, but we move fast, iterate, and make sure the product can evolve without slowing the team down. Stability and speed working together – that’s the engineering culture we build at RedCore.
How does RedCore balance speed and stability in daily engineering?
I will explain this with a simple metaphor: think about a car. Everyone talks about acceleration and top speed, but none of that matters if you can’t take a corner. Speed alone is not the winning formula – you also need control.
That’s exactly how we look at engineering at RedCore. We want to accelerate, make decisions quickly, and develop fast. But we also need the ability to slow down at the right moment, change direction, and stay agile. Balancing speed with stability is the only way to move at scale.
There are many layers to this – it’s a topic I could talk about for days – but in a nutshell:
at a big scale, you must have strong standards, clear policies, and a high level of automation. We rely heavily on automation: infrastructure as code, CI/CD pipelines, automated testing, and all the tools that remove repetitive, routine work from engineers’ daily lives. When the routine disappears, people can focus on what humans actually do best: creativity, problem-solving, and innovation.
However, automation doesn’t build the software for you. It creates a safety net. It catches mistakes, guards quality, and supports engineers when their creativity pushes boundaries. In other words: tools give freedom, and also protect that freedom.
And of course, this includes AI and many other modern tools. We use whatever helps us keep the balance: give people space to think, create, and experiment, while ensuring the system stays stable, predictable, and high-quality.
How does RedCore’s management keep teams aligned yet fast?
First of all, we provide clear goals. As I mentioned earlier, we always design for scale from day zero – but you can only do that if you know exactly what you’re building, for whom, and why. We have a very strong business team that understands the market and what needs to be delivered. The technology team works side by side with them, reinforcing them.
Once the goals are clear, we begin small. If you try to build a huge system from the beginning and get it wrong, you create a nightmare: something no one can support, change, or grow. Complexity grows exponentially, and humans don’t think exponentially; we think linearly. That’s where companies often get lost.
So we avoid that by validating early and validating often. We start with small steps, keep a close eye on every direction we take, and confirm that what we’re building is truly needed by the market. When we see that the direction is right, then we scale – and by that point, the foundation is already in place. It’s like preparing a launchpad so that when the time comes, the team can accelerate immediately.
We build block by block and work in iterations. We take a small team – one, two, maybe three people – and let them experiment for a week. We test the idea fast, get quick feedback, and bring it to the business side: “Do you like it?” If the answer is yes, then we continue, still following all the proper engineering practices before anything goes into production.
This constant loop between business and technology keeps everyone aligned. We give feedback, we receive feedback, and we move together. That’s how we stay both fast and coordinated, always ready to scale when the direction is confirmed.
How does automation empower engineers without slowing them down?
When we talk about automation, we’re really talking about optimization at scale. It doesn’t make sense to over-engineer small things, but at the scale we operate, the cost efficiency and speed gains are enormous. And people often assume that big systems and automation automatically slow everything down. For us, it’s the opposite.
The tools we introduce are not meant to tie engineers’ hands with bureaucracy. We don’t force strict guidelines or heavy processes that kill creativity. Our tools exist to help: to prevent mistakes, to collect feedback quickly, and to give teams the shortest possible path from idea to validation.
Here’s a simple example: we start experimenting with a small feature. We build a tiny prototype to see if the idea works. If it’s promising, the next step is testing, pipelines, deployment – all the things that normally take time. In many companies, engineers would try to do all of this manually because “building the tools will take too long.” But with us, the tools are already there. The infrastructure, the CI/CD, the automation – everything is ready to use. Our engineers are essentially customers of this internal platform that supports fast, safe delivery.
We have many different teams that have different great ideas. If one team tries something new and it works better, great – we learn from it. If another team has a different approach because of product specifics or release schedules, that’s fine too. We give freedom to the teams to work, share their experiences, and then scale.
Of course, there are non-negotiables. When it comes to security and data privacy there is zero tolerance. These are areas where strict rules are absolutely necessary. I always tell the security people: everyone should be a little afraid of you, because these things must be perfect. But outside those critical areas, we don’t impose rules that slow teams down. We experiment, gather feedback, adjust, and keep improving.
We’re constantly researching, experimenting, and customizing our automation depending on the product and the market. But when it comes to system design, we don’t reinvent the wheel. We choose globally recognized tools and industry-validated technologies. So yes, we empower engineers with automation and the right tools, built on a solid, modern foundation.
How does culture work for you – is it an achievement, or part of your routine?
Culture is a critical element in balancing speed and stability. Tools and processes matter, but culture is what truly empowers a team and keeps everything together at scale.
For us, culture starts with giving people freedom: the freedom to experiment, the freedom to make mistakes, and the freedom to challenge ideas. We don’t want engineers to be afraid of trying something new. We build a culture where mistakes are acceptable and manageable. If we try something and it doesn’t work, great – now we know better. We learn, adjust, and move on.
We encourage ideas from every level. Some of our most interesting insights come from developers who notice something while working on a small task. They can come directly to me or to the CTO and say, “I see a problem here.” It’s completely okay. A small detail in one corner of the system can become a huge issue at scale, so we listen. That’s how we avoid blind spots.
We also give teams autonomy. Small teams can make their own decisions and experiment in their own ways. If different teams want to do things differently, that’s fine – as long as they validate everything and share their findings. We want people to help each other and to understand that even top engineers have ups and downs. Even senior management makes mistakes. I constantly ask my team: “If I make a wrong decision, tell me.” It’s not about transparency as a buzzword – it’s about behavior. People observe how you respond, and they learn from that.
The biggest mistake any leader can make is demotivating people. We work with intelligent, educated, passionate professionals. They want to contribute. You just need to give them the space to do it. That’s when you see people shine and bring forward brilliant ideas.
As for the question of whether culture is an achievement or a routine – for us, it’s definitely a routine. People often talk about “building a strong engineering culture” as if it’s a success. We treat it as a routine as a process. Culture is the daily interactions between people in an organization. Those interactions change: people come and go, someone has a bad day, someone disagrees with a decision. Culture is shaped every day by how we communicate, how we argue, how we respect each other, and how we resolve differences.
Going to a colleague in the kitchen and asking, “Hey, what do you think about this?” – that’s culture. Anyone can talk to anyone, openly. And when engineers realize they can make a real impact, that they are heard, that they can influence the product — that motivates them. That’s what keeps the culture alive.
How do you balance standards with creative freedom?
The first thing is that we don’t pressure people. We set strict standards only where they are truly critical for the business. Security, data privacy, stability at scale – those areas demand clear rules. But everywhere else, we try not to push people. And when we do introduce a standard or guideline, we listen carefully to feedback. If the team tells us we made the wrong call, that’s okay – we rethink it and look for better approaches.
The second thing is that as the projects grow, the teams scale as well. Even in the design phase, we don’t start with a huge team. I prefer a small group: one key person who leads the design initiative, plus two or three contributors who constantly review, test, question, and give feedback. If three or four people align in one direction, that’s a good signal we’re on the right track. Then we take that proposal to a larger group – people who might use it or need it.. We refine it again based on their input. The idea evolves, but we don’t need to start from the beginning.
Finally, when we have a strong direction, we present it to the entire tech team. And even then – even if top management already supports the decision – it’s completely acceptable for a mid-level developer to raise concerns. Maybe they’ve seen something before, maybe they read an article, maybe they faced a similar issue. We listen, because at scale, one overlooked detail can cost millions.
So once again, balancing standards with creative freedom is about scaling the processes step by step: we start with a small group, validate in small cycles, and then scale the decision up gradually. This approach protects creativity, ensures high quality, and keeps us aligned. And combined with our culture, it makes the process both fast and safe.
The post Scaling With Purpose: RedCore’s Tech Vision Explained appeared first on European Gaming Industry News.
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Super Group (SGHC) Limited, the parent company of Betway, a leading online sports betting and gaming business, and Spin, the multi-brand online casino, notes the United Kingdom Autumn announcement:
In this Autumn Statement, the UK government announced increases to gambling duties: Remote Gaming Duty (iGaming) will rise by +19 percentage points (from 21% to 40%), effective April 2026 and General Betting Duty (Online Sports Betting) will rise by +10 percentage points (from 15% to 25%), effective April 2027.
Neal Menashe, Chief Executive Officer, stated: “Super Group supports the reasonable taxation of online gaming in the UK. We rely on the government to ensure that today’s very substantial increase should be paired with robust and strict enforcement against non-paying offshore operators. This is essential to protect the regulated sector’s investment in jobs, technology, and responsible gaming in the UK.”
Alinda van Wyk, Chief Financial Officer, commented: “Going forward, we estimate that these new tax increases will have an impact of approximately 6% to our 2026 Group Adjusted EBITDA. However, Super Group already has several mitigation levers in motion, which are intended to offset the tax impact. Our strategy remains unchanged: sustainable growth and disciplined capital allocation. We don’t expect today’s news to alter our long-term trajectory nor our capital return priorities.”
The post Super Group Comments on United Kingdom Autumn Statement appeared first on European Gaming Industry News.
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TVC Technology Solutions has completed a comprehensive AV installation for leading Scottish bookmaker ScotBet. Reinforcing how cutting-edge audiovisual technology can dramatically elevate customer engagement, brand impact and operational flexibility in betting shops, ScotBet is another in a list of betting shop makeovers for TVC, including a significant number of independent bookmakers throughout the UK.
The project saw TVC partner with ScotBet to modernise digital infrastructure across a number of stores, delivering high-quality visuals, streamlined content distribution and a unified signage platform. The aim was to create a premium experience that draws in customers, enhances dwell time, unlocks in-shop promotional opportunities and underpins ScotBets’ competitive positioning.
TVC’s campaign started with a deep dive into ScotBet’s existing estate, identifying inconsistent screen sizes, dated display technologies and poor content manageability. Working alongside ScotBet’s retail operations and brand teams, TVC created a future-proof AV design plan encompassing ultra-slim large format displays in key customer zones, dynamic digital signage driven by branded content and a centralised control system for roll-out calability.
In each store, TVC installed industry-leading large-format commercial LCD and LED displays, including high-brightness 75″ panels in customer-facing zones, complemented by multiscreen TV gantries above key counters to deliver live odds, race streams and promotional content. These displays were mounted via low-visual-impact brackets to preserve the sleek interior design while maintaining full service access. The project also included a dedicated network of digital signage screens in foyer spaces, driven by the MySign digital signage platform. This enabled ScotBet to push up-to-the-minute messages and odds, event-based campaigns and third-party partnerships with minimal delay.
What sets the TVC-ScotBet collaboration apart from a typical AV and digital signage installation is the seamless integration of content and infrastructure from a single company.
Beyond hardware, TVC delivered a tailored content-creation service, to produce a range of dynamic content. This included templated campaign animations, in-store clock-in of live odds tickers, game-day social-feed overlays and fast-paced screen-fillers that mirror the fast-moving world of wagering.
Andy Greaves, sales director at TVC, said: “Our employee-owned structure means everyone at TVC is passionately behind every project. We instantly become partners to our betting shop customers, rather than just supply vendors, and the ability to supply and install an end-to-end video, signage and content integration seamlessly makes for a smooth project from start to finish.”
TVC brings nearly three decades of experience to the AV installation in hospitality, leisure, gambling, gaming and retail spaces. The portfolio spans F1 gaming arcades, bars and pubs, hotels, care homes, boardrooms and retail spaces, with specialist knowledge in the complexities of high-traffic public environments and the regulatory demands of leisure and betting retail. From bespoke mounting solutions in confined shop-floor footprints to full networked AV infrastructures across multiple sites with cloud-integrated content, TVC tailors its system design to each customer’s requirements and backs each project with ongoing service and maintenance support.
“With surveys showing increased dwell time, engagement and sales through digital signage advertising, and with many better retailers seeing over 10% of their revenue attributed to virtual and e-sports, now is the time to maximise your AV impact and ROI,” said Greaves.
The post TVC Completes AV Installation at ScotBet appeared first on European Gaming Industry News.
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