Australia’s independent music industry conference Indie-Con Australia returns to Adelaide in July to address the issues facing the independent music sector.
This year, Indie-Con has secured Helen Smith, the Executive Chair of Impala Independent Music Companies Association, as one of two eminent keynote speakers.
Impala works to represent independent musicians across Europe, taking the fight for fairness in the music industry right up to the front doors of major international music companies.
Ahead of Indie-Con, Helen shares with us her thoughts on the conference itself, her work for Impala, the future of independent music and what can be done about it now.
Can you briefly explain your role at Impala and the work you do?
Impala is the Pan-European voice of the independents. Our overall aim is to grow the independent sector. I run the organisation’s secretariat which is based in Brussels, along with three colleagues.
How does Impala help support independent operators in the music industry?
We work across various collective initiatives: political, commercial, finance, PR etc. By working with national associations across Europe, our initiatives have a multiplier effect.
What issues and topics will you be discussing in your keynote at this year's Indie-Con?
Independents as leaders, access to finance, copyright and other tools of the trade, the sale of Universal, the value of being able to work with AIR and other [music] associations worldwide.
Why are conferences and summits like Indie-Con so important for independent artists and companies?
Networking and brainstorming give the sector collective intelligence, so conferences like Indie-Con are essential.
At this point in time, what do you see as the number-one concern facing independent bands and companies?
Concentration of power in the online market among a few worldwide players, as well as moves by some of them to acquire music companies.
In March, the European Parliament voted in favour of much-lobbied copyright reform; what does this decision mean for the region's creatives?
It gives artists and their partners more of a say in how their music is used online. Platforms like YouTube and others have to play by the same copyright rules as other services like Spotify, Deezer.
This is what the courts had already said in Europe, but now we have legislation to point to. The package also includes new provisions for artists and writers, as well as improving the position of fans and small start-up platforms.
What role did Impala play in this decision?
We were one of the first organisations to flag the need for legislation. We worked with decision makers and other stakeholders to ensure the outcome was reasonable and counter the many myths circulating about what impact it would have. When you represent 80 per cent of the new releases, you hope you have a compelling story to tell.
Impala has also been a key player in opposing mergers between major record companies (Sony, BMG, EMI, Universal etc.) Why? And what successes have you had doing so?
It’s because before Impala, no one told the independents’ story to the regulators in the EU.
The biggest case was of course when UMG had to sell two-thirds of EMI Records and accept ten years of scrutiny over its digital deals. Out of that, Impala and Merlin secured a hefty divestments package with WMG when it bought Parlophone.
The next case will be the sale of Universal, which will require regulatory approval in all key jurisdictions, from the EU to Australia to the USA and beyond. Google and other possible purchasers have been referred to in the press.
The list is surprising as the risk of extreme harm from Google or others buying UMG would make any regulator run a mile. It would be impossible for Google or any company with power in a vertical market to secure approval and acquire influence over the world’s biggest set of repertoire.
Closing in on 20 years of impala in 2020, what improvements have you seen in the European independent music sector in that time?
Continuing to be leaders in the digital market through Merlin. Establishing the sector as key interlocutors with decision makers, financiers’ etc., building a stronger identity and visibility as a sector.
Similarly, what work still needs to be done?
More needs to be done to promote the commercial value of diversity and secure more space for independent artists. More visibility for label brands on streaming and other digital services is also important.
Better access to finance will help the sector grow. Building the value of local music and artists outside their own country is also vital.
Given what's been achieved by Impala so far, what position do you see the independent sector being in in another 20 years time?
How about we aim for an extra 20 per cent market share and getting a premium for independent music?
