“ Before, we saw Ferrari parades, millions of dollars in cash behind the stands », remarks Pierre Quirin, publisher of Congolese music, regular at the International Record and Musical Publishing Market (Midem). 2024 marks a new era for professional music gathering, which highlights artificial intelligence and live performances.
After moribund years for music, and the health crisis of 2020, the festival is reborn in 2023, under the leadership of Cannes town hall, which bought the brand. “ The music market has regained color. The creation of the streaming tax is a good indicator of this dynamic. In France, when things are going well, we create taxes », declared David Lisnard (LR), mayor of Cannes, in his opening speech.
To dust off this institution deserted by the profession, a new formula has been developed, with a new spelling: MIDƐM + 24. The stands have been replaced by conferences, workshops and a digital application. But the event created in 1967 intends to continue to bring together music players to discuss the issues affecting their sector, network, form partnerships, sign contracts.
“We are fucked”
For three days, majors, independent labels, artists and politicians gathered to talk about the opportunities and threats that artificial intelligence represents for the music industry. Stewart Copeland, former drummer of the group Police and godfather of Midem +, slipped in a bit of humor: “We are fucked”. Jean-Michel Jarre, sponsor of the entire event, was more enthusiastic: “ Contrary to what many people think, this technology is neutral. It all depends on what you do with it. Today, the tools that use it are primitive in the field of sound, but more developed in writing and imagery.e. »
Less common topics were also discussed. Christophe Rioux, professor specializing in cultural and creative industries at Sciences Po, spoke to raise awareness among professionals about “ side effects of sound industries “. “ Sound is a public health issue. Studies prove that sound compression damages the ear canal and alters the brain. Access to quality sound is a real social issue “, he says.
To embody the newfound vitality of this musical event, streaming platforms were there. Spotify and Deezer have spoken about the distribution of remuneration in streaming. And shared their desire to better compensate artists through the fight against fraudulent streams and the limitation of “noise” tracks, this ambient music which eats into listening volumes. An intervention which did not escape Iban Garcia Del Blanco, European parliamentarian who authored a report on the subject. Social networks – Meta, Tiktok, Youtube – which play an active role in the dissemination of music, were absent.
You have 40% of this article left to read. The rest is reserved for subscribers.