14.30 Welcome and introduction by 2Pears
14:35 Opening remarks by the chair
Marcus O’Dair, convenor of the Blockchain for Creative Industries research cluster and senior lecturer in popular music at Middlesex University
Part I – The Great Data Exchange
14.40 Interconnecting systems, platforms and technologies by data
What is the meaning of ‘free data’ in a world where data is more than the ‘new oil’, rather turning into the new currency to be traded between organisations as well as between organisations and individual consumers in order to link systems, platforms and technologies?
Robert Kaye, Founder, Metabrainz
14:50 Metadata, transparency and creating value – new revenue streams
From an artist as well as music and entertainment business point of view, it is not about the tech but what is it the tech can do? What is the blockchain technology’s potential to fuel “a lot of new applications that could bring new income streams” for artists? Following the Tiny Human project, what is next?
Carlotta de Ninni, Head of Research, Mycelia
15:00 Bridging siloes – creating a complete and accurate picture of rights data
After a couple of years of lots of talk and much less concrete activity, what are the real examples of how the blockchain technology has been used for and by the music industry? What are the practical results and learnings from collaborating in new ways with publishers and collecting societies?
Phil Barry, Founder, Blokur
15:10 Capturing and directing the flow of value back to creators
There are many varying solutions to capturing, organising, tracking and sharing creative content data. The lack of a consistent industry standard has long hampered the correct revenue pay-out to content creators. Increasingly data and metadata are being built into the content itself enabling content creators to control and track monetisation opportunities.
How can the new DRM-type ‘song wrappers’ work not just for new music but also for the legacy 55-60M tracks and 20M compositions in the world?
Helienne Lindvall, Head of Business Relations, Auddly
15.20 The chatbot sales and marketing channel for artists and the music industry
Chatbots can act as a powerful aid in conversion and as a personalised sales and marketing funnel. Key to successful use of chatbots as a consumer touch-point lies in integrating in the right services and data sources, and taking a long term view for maturing NLP and machine learning to deliver a consistent experience to every consumer. What are the learnings from chatbot trials in the music industry? What are the benefits of a chatbot for an artist, a record label, and a festival or venue?
Cameron Jenkinson, Global Head of Virtual Agents Design, Accenture, and the instigator of the Dialect chatbot research with the music industry
15.30 Panel Discussion: What do the new delivery technologies for music and entertainment mean to artists?
New processes accompany new technologies that enable new revenues. How are artists and the music business (re)organising themselves and their business models to take advantage of the new opportunities?
How can they profit?
Moderator: Marcus O'Dair, Middlesex University
Robert Kaye, Metabrainz
Carlotta de Ninni, Head of Research, Mycelia
Phil Barry, Blokur
Helienne Lindvall, Auddly
Cameron Jenkinson, Accenture
16:10 Coffee break
Part II – The Participation Model
16:40 The Chatbots – our new best friends
As chatbots are looking to become the new interface between consumers and technology delivering entertainment, information and services, while collecting consumer behaviour data, what does this mean for artists, music and entertainment businesses? How do these developments tie in with the General Data Protection Regulation, which comes into being next year to strengthen data protection for individuals? Open data or proprietary data?
Renaud Million, Founder, SPIXII
16:50 Consumer data as currency
As consumer data is worth gold, and consumers are increasingly put in control of their own data, it is becoming a currency for businesses. How to get consumers to share their data? What are the traditional models and potential reverse models for the sharing and reward of consumer data?
Paul Crick, Music Industry Lead, IBM Global Business Services
17.00 Inclusive data, inclusive models – go where the people are
If blockchain is to be used as the enabling technology for the existing music business supply chain, what needs to change? Do existing business models need to be re-engineered? What are the implications for artists and consumers? How do you engage creators, consumers and businesses?
Vaughn McKenzie, Founder, JAAK
17:10 The growing global data pool
More data is both created and harvested than ever before, but what data really matters for the music and entertainment industry? Who owns the really important data? And how can it be accessed?
Helena Kosinski, VP, Nielsen Music and Gracenote
17:20 Panel Discussion: Is the nascent economic model of participation realistic and sustainable?
Is a new market-place opening up for data to be used as currency underpinned by peer-to-peer data powered technology? Will we see subscription and advertiser-funded models give way to individual data-sharing in return for access to content? How do the new developments tie in with the new General Data Protection Regulation coming next year, strengthening data protection for individuals? And how does increasing regulation and legislation sit with the drive for open data?
Moderator: Becky Brook, Business Development, Licensing & Strategy Consultant
Renaud Million, SPIXII
Paul Crick, IBM Global Business Services
Vaughn McKenzie, JAAK
Helena Kosinski, Nielsen Music and Gracenote
18:00 Round-up by the Chair followed by Drinks and networking