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At a time when streaming reigns supreme and there’s an illusion of “getting everything for free”, the fair remuneration of artists is more than just a concern: it’s an absolute necessity and one in which Valentin GUILLOUX (who graduated the Grande École Program in 2014) plays an important role. We get the inside track on the workings of the music industry and London’s thriving music scene…

Valentin GUILLOUX, people rarely choose to work in the arts by chance. What is your connection

I’ve always been strongly attracted to all forms of art, and it’s no coincidence that I took over as head of the Bureau des Arts at the IÉSEG Paris campus when it was first established. Initially, I was more attracted to cinema, but an unhappy work experience in my third year led me to branch off into music. It was a logical choice for someone who grew up in a family of music lovers! I went on to focus on my various internships, dissertations and other work experience in this sector in areas as varied as digital at IDOL, communications at the PIAS label, sales at Universal Music and marketing at Believe. I finally left the industry at the same time as I left France in the summer of 2017…

What led you to leave?

In reality, it was a decision driven more by my heart than for professional reasons. After several requests for a transfer to my employer at the time, I ended up resigning to follow the woman who was to become my wife. It turned out to be more complex than expected: the country was in a kind of limbo on account of Brexit-related negotiations, particularly for work visa applications. I went to around 50 interviews with record companies, with no success whatsoever, until one day a friend told me about an opportunity in the media with the Ericsson Group. I spent four demanding and exciting years there, and then my near visceral need to work in the music world made itself felt again…

How did you get a job in a sector which has a reputation for being very difficult to break into?

By this point I had what is known as “settled status” in the UK, which made it much easier to find a job, but more importantly I had a great deal of experience on my CV. My first targets were record companies, but also distribution platforms such as Spotify, Facebook, YouTube and so on. I didn’t immediately choose PRS, as collective management firms had a somewhat dusty image at the time. I decided to dig a little deeper into the subject, setting aside my preconceptions, and was in for a surprise: a wind of change was blowing through these copyright businesses which, like SACEM in France, were investing heavily to return to the forefront of the music industry. I approached them and there was an immediate connection. I quickly realized that this was going to be a great adventure for me, both personally and professionally, and I was going to face many challenges.

What can you tell us about PRS?

PRS is a collective management company in the UK, responsible for collecting music copyright royalties. In other words, we protect the work of lyricists, composers, etc. wherever they are likely to be commercially exploited. My role as Senior Partner Manager of the International Department is to develop relations with our “sister companies”, i.e. our counterparts in other countries. I’m in charge of the Southern Europe region (which includes France and SACEM, our third largest territory after the USA and Germany), representing 65 million euros in annual turnover.

What are the most important aspects of your day-to-day work?

The basis of our business is the law since it’s all about protecting something that’s been created. Without it, works could be used without any remuneration, undermining the very process of artistic innovation. Then there’s the political aspect: each sister company is governed by its own rules, voted for by its board of directors. It’s up to us to understand how they work, to ensure that commitments are respected and decisions are transparent. Secondly, it’s about negotiation, since our relations are governed by a contract between two parties, and we have to defend our repertoire. Lastly, I would say technology, because these days, our fuel is data. Data processing requires a great deal of development to extract the maximum amount of information necessary for our work.

What are the most rewarding aspects of your job?

Nowadays, my role is more strategic and I really enjoy it! Knowing that, what I do protects several million euros for the artists we represent is a real source of satisfaction. Being in contact with the countries I deal with is also an aspect I particularly enjoy, though there’s a degree of complexity that requires a great deal of diplomacy: we are partners (we protect their repertoire in the UK, they protect ours in their territories), but also competitors. Ego is a factor you have to take into account in this business, and a great deal of tact is required to ensure negotiations go smoothly.

You’re lucky enough to live in one of Europe’s most cosmopolitan cities. Was it love at first sight?

Of course, it was! London is buzzing with life, even though – like every other city in the world – it has changed a lot since the COVID pandemic. Even so, what a pleasure it is to leave work and go to a concert by an AC/DC covers band on the pavement opposite! The city is so multicultural, open and relaxed: drinking an IPA beer at the pub in Shoreditch and discussing the latest rugby match with an Indian banker from the City and a Polish punk from Camden is par for the course. As a new dad, I have a little less free time to enjoy all the city has to offer, but there is something for everyone, to suit all tastes and sensibilities.

Valentin GUILLOUX, what differences did you notice in the approach to work compared with France?

I really appreciated the freedom and sense of responsibility I was very quickly given: you get an assignment, you’re in charge and you’re trusted. You can ask for help or go it alone and no one checks what time you arrive or leave the office… but you have to achieve your goal and deliver what’s expected and that’s your sole responsibility. I also appreciated the easier access to management teams and the international approach: my previous manager was Ukrainian, the new one is Spanish.

The music industry is facing a number of challenges for the future. Which ones spring most readily to mind?

Listeners and society itself are constantly changing, and music consumption has never been so important. We must continue to develop our various sources of revenue, such as streaming, but also VOD platforms like Netflix and video game platforms like Playstation, with whom we are still negotiating. Each of these platforms distributes music for commercial purposes and must therefore pay royalties to the artists. We also keep an eye on the Meta-Verse, places that can play tracks by the artists we represent. And finally, Artificial Intelligence, which will undoubtedly have a big effect on our sector and change the landscape. There are still many unanswered questions on this subject, and we’re going to have to come to agree quickly because the development of A.I. models is happening very fast and it’s very worrying.

How do you see your career developing in the short and medium term?

For the moment, things are going well at PRS, and my aim is to gradually cover as many subjects as possible to complete the large-scale projects I’m working on. Whether it’s a record company, a label or a distribution platform, the future of the sector is full of challenges and opportunities: you’re going to need to be reactive, creative and open-minded. I’m preparing for that right now…