Madam the sub-prefect,

Ladies and gentlemen parliamentarians,

Dear Pascal Bois,

Dear Françoise Bruneteaux, Regional Vice-President,

Dear David Lisnard, Mayor of Cannes,

Chairman of the Reed MIDEM, dear Paul Zilk,

Dear Alexandre Deniot, Director of MIDEM,

Ladies and gentlemen professionals in the music industry,

Ladies and gentlemen artists,

Dear friends,

It is a great pleasure for me to take part, alongside you, in this beautiful and great event, MIDEM.

Great pleasure to see the world of music come together, as every year.

However, this ambition was not obvious in 1966, when MIDEM was created.

I want to pay tribute to Bernard Chevry, who passed away a few weeks ago.

He is the reason these meetings took place. He is the reason for his audacity, his initiative. He chose to put them at the service of music. At the service of culture. Thank you for that.

Yes, the strength of MIDEM is to bring the sector together in all its diversity: diversity of its actors, diversity of its professions.

Here, you don’t all have the same jersey, but you have the same passion.

Some participate in the production of works and artists; others promote them; others, still, focus on their dissemination.

But each and every one of you contributes to something absolutely crucial; to something beyond us.

You are guided by the same conviction: the conviction that we need music.

For all that it allows to transmit and words cannot express; for the Beauty it brings to the world; for its ability to unite.

I saw her last night.

I was at the Olympia for the concert of Roger Hodgson, the singer of Supertramp, to whom I presented the insignia of Chevalier de l'Ordre des Arts et des Lettres.

In the audience, all generations mingled: the parents, who had bought the vinyl of «Breakfast in America» when it was released in 79, came with their children, who were then not even born. Everyone smiled as they thought about what this timeless music meant to them. They all vibrated to the sound of the same songs.

This is the strength of music. In front of it, there is nothing but our shared emotions. It is to defend these moments of sharing and life that we must fight.

And, at a time when the sector continues to undergo profound changes, there is no shortage of fighting.

We will lead them together.

I see two that will mobilize us.   

On the one hand, it is up to us to protect and develop the French ecosystem: its artists, its entrepreneurs, its start-ups. They are responsible for the vitality and economic dynamism of the music industry. Today, this ecosystem is being put to the test. Faced with increasingly fierce international competition, with digital giants with considerable investment capabilities, we must preserve cultural diversity.

On the other hand, we must collectively take advantage of the return to growth in the music sector. This is a considerable opportunity not to be missed. It is up to us to establish an export conquest strategy.

To achieve this, we must facilitate the emergence of national champions who can promote our creation and reach out to the world and continue to adapt the industry to digital and new ways of consuming music.

I have no doubt about our ability to succeed.

You have already shown that the music industry in France knows how to adapt, to renew itself, to question itself.

You have been the first to experience the effects of the digital revolution; but you have also been the first to respond by bringing out a sustainable growth model.

We will succeed, with three key words, three priorities, three values that will be our compasses: creation, innovation, and union.

Creation, first of all.

There is no music without creators: without authors; without composers; without performers.

At a time when economic models are being restructured around creators, we too must place them at the heart of our cultural policies.

And we have to wonder about their place in our society. They alert us to their precariousness.

I hear their concerns, their concerns, their lack of recognition.

To answer them, I wanted to start a reflection on the author and the act of creation.

I entrusted a prospective mission on the subject to Bruno Racine.

It must enable us to find the most favourable framework for the development of creation and cultural diversity in the coming years.

The upheaval in the value chain has significant effects on their remuneration, and their social and legal systems must take these developments into account.

I wanted this reflection to be ambitious and realistic, concerted and open, multidisciplinary and prospective, at the service of all creators.

In this capacity, Bruno Racine has set up a group of experts to provide a cross-section of perspectives on a creative economy whose diversity implies the sharing of analyses from different disciplines.

I also asked for a study on the self-production of artists-musicians, a phenomenon in full development.

The results of this study will be presented to you during the IRMA days in June.

This is an old trend, but in full recomposition and on which we have few elements.

It is important to try to determine its scope, its effects and its perennial or cyclical character.

If self-production is a key to unlocking diffusion, I am convinced that publishers and producers are indispensable to artists to accompany them in their development in a market of profusion.

The relationship between the artist and the entrepreneurs is a strength, a wealth, and a chance.

That’s why I wanted to start my visit to MIDEM with the “centre des artistes” in good French, which you called “Artist Hub”.  

By offering artists all the tools, all the advice, all the connections that allow them to deploy their talent, the Artist Hub perfectly embodies this desire to place the artist at the center.

I would like to congratulate MIDEM for this initiative and the International Organization of Artists for their contribution.

It’s a wonderful innovation.

Innovation is the second key word in our future battles.

This is the key to success in a more global and competitive economy than ever before.

I was pleased to meet start-ups who demonstrate that France has become a key player in the tech market.

I have to say, I admire the work you do.

The future you’re preparing for. Everything you invent.

Not only do you take part in innovation, you often shape it.

I am thinking in particular of the French start-ups finalists of the MIDEM Lab: Muzeek, LonofiI, Clapcharts, Joué and Odiho.

I also welcome the partnership between IRMA, CapDigital and French Tech, which aims to enhance the value of music and tech start-ups.

To all those who are committed to innovation, I want to tell you that the Ministry of Culture will be at your side.

He will be by your side through his support devices.

I am thinking in particular of support for innovation and digital transformation in the music sector.

He will be at your side by improving the knowledge of the sector. This is essential not only for the design of public policies, but also for allowing economic actors to anticipate and thus innovate.

The creation of the National Music Centre, to which I will return, will finally provide an opportunity to create the Music Economy Observatory. Finally! Because its implementation, many times desired, was too late.

The department will be with you to share best practices.

The Entrepreneurship in Culture Forum – held two weeks ago and which I had the pleasure of visiting – is a good example.

He will be at your side, finally, to study the effects of new uses on cultural diversity.

In this regard, my teams started a reflection with Deezer initially, then with all the digital services gathered within the Union of Online Music Service Publishers, on how to measure cultural diversity in the era of playlists, algorithms and personalized recommendation.

Instead of imagining in the urgency of hypothetical regulatory mechanisms, let us first take the time to identify the phenomenon together and highlight the potential problems it raises.

The digital revolution requires more agility from everyone, both economic actors and public authorities.

This is the message that the President of the Republic is carrying.

This is the message he took to the Elysée on May 13 – some of you were by my side.

In particular, he announced an unprecedented effort in favour of access to finance for the cultural and creative industries, through the creation of an investment fund of 225 million euros managed by BPIfrance, and strengthening IFCIC’s interventions in participatory lending.

I hope that your companies will benefit fully.

I know the difficulties they may have in raising funds and accessing bank financing.

I firmly believe in the usefulness of these devices.

They are designed to meet your specific needs.

The significant strengthening of the means devoted to it will, I am sure, help many musical undertakings in their development.

In this same ambition to foster innovation, the President of the Republic announced the organization of States General to lead to the creation of a committee of cultural and creative industries.

The aim is to encourage music professionals and cultural industries in general to take rapid, concrete and coordinated action to innovate.

Because it is through industrial innovation that we will be able to respond to new technological challenges: think of the challenge of the blockchain in terms of securing rights and raising revenues, or the contribution of Artificial Intelligence.

The music industry has always been a pioneer in digital adaptation.

I am waiting for her to take her full part in this unprecedented exercise.

The President of the Republic also called on the cultural industries to overcome divisions and unite.

The third key word that will guide us will be this: union.

Because union makes us stronger.

The adoption of the copyright directive in the digital single market on 17 April is further proof of this. This is a major step forward for the recognition and consecration of copyright in Europe.

We must now move quickly to transpose it. 

We will work with our European allies, and France intends to lead the way with an ambitious text.

I would like to thank all those of you who were with me, and all those involved in the profession who weighed in the debates in European bodies.

Your mobilization has been crucial: it has greatly contributed to the success of our approach.

Union is what presides over the National Music Centre project.

It prevailed in the National Assembly, during the examination of the bill to create it, since it was adopted almost unanimously.

This is a sign of broad support, which goes beyond political divisions.

I’m glad you did.

And I thank Pascal Bois, who is here with us today and who carried this text with remarkable commitment.

The union also prevails to best prepare the creation of the NJC.

In parallel with the review of the legislative text, I called for the establishment of a steering committee chaired by Catherine Ruggeri, whose presence I welcome today.

The role of this committee is crucial: it aims to address all the issues that condition the effective and successful creation of the NJC.

And if we want it to be effective and successful, this creation will have to be achieved through membership and consultation.

This is why a dialogue and consultation body has also been set up, in order to associate you closely with this work.

The union will obviously prevail within the future NJC.

It aims to bring together, within a common house, the tools of support, accompaniment, and observation of the musical sector. I count on you to make it a place of exchange between all the actors.

I know that some of you are looking forward to hearing from me today on the governance and funding of the future NJC.

I am aware of the structuring nature of these two issues: we will not build the CNM without a financial effort commensurate with the challenges and without a governance that allows to reconcile efficiency, agility, and association of the music industry in all its diversity.

But there is a time for everything: the funding of the NJC will be specified when the draft finance law for 2020 is presented, and governance will be defined in the statutory decree being prepared.

I think it is essential that the subject be tackled in budgetary terms from a multi annual perspective, with a gradual increase in the burden of measures and support.

I’ve also heard concerns from some of you about continuity with the current funding system.

While it is not desirable to rigidify the structure with a signposting policy, it is clear that current contributors to the NVC – National Centre for Song, Variety and Jazz should not see their support diminish.

More specifically on the issue of NVC reserves, it is essential that they be used within the current scope of the public establishment.

I therefore invite you to continue to feed the reflections conducted under the aegis of Catherine Ruggeri.

It is by confirming, through our joint work, the existence of a virtuous dynamic already highlighted during the examination of the bill in the National Assembly, that we will succeed.

The CNM’s mission will be to support the development of the export sector.

Make no mistake: we are at a historic moment with the emergence in many developing countries of a middle class, and therefore of new markets.

In the music sector, the share of revenues generated internationally now represents more than 20%.

Through the Export Office, the Ministry of Culture continues to encourage the presence of French artists throughout the world.

Jean-Noël Tronc, along with others, is working on this project as part of his mission to support and federate cultural industries in their export development.

We had the opportunity to reaffirm our ambition in this area a few weeks ago with the Minister for Europe and Foreign Affairs, Jean-Yves Le Drian, by convening the strategic committee on cultural and creative industries for export.

The European Union also has a role to play in supporting the sector.

In the coming weeks and months, a new European Commission will be set up in the wake of the European elections.

France will be vigilant to ensure that the Commission includes an ambitious cultural component in its agenda for the next mandate.

I am already pleased with the progress of work on Creative Europe, which should soon provide specific support to the music sector.

I welcome the Commission’s desire, initiated in the framework of a dialogue held since 2015, to provide specific support to the music sector.

The vote in September 2017 by the European Parliament was followed in June 2018 by the publication of calls for projects in a preparatory action «Music moves Europe».

I would like to congratulate the Export Bureau, together with the network of European Export Offices, which was selected for the first call for tenders.

Another European initiative that is close to my heart is the adoption of the Platform to Business Regulation.

This initiative, encouraged from the outset by France, aims to establish a framework of trust for companies - including those offering online music services - that use the services of intermediation of digital platforms (I am thinking in particular of app stores on mobile devices).

It is essential to reaffirm fair competition in the digital world and to promote an effective European regulatory framework.

The adoption of these Regulations is a significant first step and brings transparency to user companies.

Tomorrow, we will have to go further by setting more binding obligations on major platforms – we will work on that.

Ladies and gentlemen,

Dear friends,

Those are my priorities, our priorities, and I wanted to share them with you.

Creation, innovation, union.

These three words must be our guides for the future.

It is on these three conditions that we will be able to defend and grow our music industry and its diversity – the diversity that is so dear to us and that owes you so much.  

Thank you.