With a career spanning over two decades in finance, how have you come to work in the music industry?
I moved to the UK in May 2000. For the first year, I worked as a Senior Accountant at the BBC. Following a summer travelling around Europe, I decided to focus on the creative sector and applied for a job at the classical music publisher Boosey & Hawkes. Through 15 years of substantial M&A activity, both acquiring catalogues and businesses, the company I worked for was acquired by Concord (my current employer).
Talk to us about what a typical day might look like in your role as CFO for Concord?
I don’t tend to have a typical day. Today, I spent time preparing and sending ad hoc board reporting with respect to our recent $1.75B debt refinancing, spent an hour discussing a long form partnership agreement on an opportunity to acquire South-East Asian music rights, two meetings to discuss the integration of recent acquisitions, and a one-on-one with a team member.
You recently spoke to IP law and music rights on the CFO Thought Leader Podcast. Why are these important and necessary parts of the music industry?
Property rights are the fundamental building blocks of a market economy. Intellectual property right protection was internationally recognised after the Berne Convention of 1886. The convention harmonized global protection of authored works for the creator’s life plus 50 years (later to be adjusted to life plus 70 years).
This is hugely important for two reasons:
1) It protects authors, artists, and songwriters’ works against unlicensed usage of their music.
2) The copyright protections created an environment where music intellectual property is treated like other asset classes, allowing capital to flow towards funding the acquisition of music catalogues, and the creation and release of new music.
Concord works with an impressive range of artists and bands. Any highlights or memorable meet and greets while working here?
To be honest, if the CFO is meeting the talent, there is usually something wrong in the structure of the company. Nonetheless, I attend and really enjoy various annual music events – the Grammys, Songwriter Hall of Fame, the Ivor Novello UK songwriter awards.
What have been some of your favourite parts of living in both London and Nashville, Tennessee?
I lived for 20 years in the UK. I loved the history and relentless energy of the city. Living minutes from Richmond Park, the largest royal park in London, afforded plenty of open green space and a great place to jog.
Moving from London to Nashville brought a substantial change of pace. Nashville is substantially smaller than London but has many positives. It is such a music city - with live performances from the moment you arrive at the airport, to the bars and hotels around town. My commute is considerably easier and within 5 minutes’ drive from where we live, I can be out in the countryside.
Looking back on your time at UC, are there any fond memories that have stuck with you?
I remember my time at UC as an enjoyable and social time. I worked at Spagalimis pizza restaurant on Victoria Street, flatted in Riccarton, and spent too much time at the Dux de Lux at the Arts Centre!
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