Filipa Aurélio

“Being as close as possible to the needs of creators”: an interview of Julie Poureau from la Sacem and Chloé Nataf from Trempo

For its second season, the European training program Slash, produced by Trempo as part of the pilot program Music Moves Europe, co-financed by the European Union, also benefits from the support of Sacem. Julie Poureau, Director of the Cultural Engineering Office within the Cultural Action Department of Sacem, talks to Chloé Nataf, Head of Cultural Entrepreneurship and European Projects Coordinator at Trempo, about the reasons that led the French authors’ society to support this program.

Julie Pour­eau, why did Sacem decide to sup­port Slash 2?

JP: Our interest in Slash 2 goes back two years ago. At the time, we were ques­tion­ing the field of entre­pren­eur­ship, which is increas­ingly present in the music world. At the time, Sacem was con­duct­ing a study on this top­ic, which was also sup­por­ted by the Min­istry of Cul­ture via the DGMIC (Gen­er­al Dir­ec­tion for Media and Cul­tur­al Indus­tries). It was a theme that we had to tackle for our mem­bers. So we con­tac­ted Trempo, a bene­fi­ciary of the European Com­mis­sion’s Music Moves Europe scheme. This oppor­tun­ity came at the right time in our thinking.

Chloé Nataf, why did Trempo talk to Sacem?

CN: There was a desire to move in the same dir­ec­tion. At MaMA 2019, we presen­ted our dif­fer­ent mis­sions and dis­cussed par­ti­cip­at­ory fin­an­cing in par­tic­u­lar. Then we talked about entre­pren­eur­ship and men­tioned a pro­ject to sup­port artists. We felt that there was a com­mon desire then.. For Trempo, regis­ter­ing the sup­port of the Sacem allowed us to diver­si­fy our sources of fin­an­cing. It showed our abil­ity to innov­ate in our search for fund­ing. And Sacem is a net­work of experts, a slightly dif­fer­ent per­spect­ive… We were inter­ested to bene­fit from this sup­port. We had not yet worked on the optim­isa­tion of pat­ri­mo­ni­al rights. Sacem was there­fore the ideal partner.

Why is Sacem, the French authors’ soci­ety, involved in a European programme?

JP: In 2020, we had already car­ried out a European cooper­a­tion pro­ject, “Future Song­writ­ing”, sup­por­ted by Sacem Uni­versité. The idea was to take sec­ond­ary school stu­dents behind the scenes of the cre­ation of a song. The fact that we went for a second European pro­ject with Slash is a response to the expect­a­tions of our mem­bers. We are devel­op­ing our pro­grams to be as close as pos­sible to the needs of cre­at­ors. With the sub­ject of entre­pren­eur­ship, the idea is not for the artist to do everything on his own, but for him to be able to sur­round itself and, above all, to be aware that tools exist. It comes a time when the artist can­not always do everything alone.

CN : The idea is not to work on the dis­in­ter­me­di­ation of the artist. At the begin­ning of their career, artists have to prove them­selves on their own in order to be iden­ti­fied. Once they have man­aged to get past this stage, it is import­ant to give them the tools to struc­ture them­selves and to provide them with a pro­fes­sion­al entour­age. With Slash, the object­ive is to pre­pare them for their rela­tion­ship with the eco­sys­tem to make a sus­tain­able career.

In the cur­rent con­text, made dif­fi­cult by the pan­dem­ic, do you think it is import­ant to sup­port « slash artists »?

JP: This is a shift that Sacem had to make even before the health crisis. The cre­ation of the engin­eer­ing office, offi­cially launched in Septem­ber 2021, is an example. We want to strengthen sup­port, and the engin­eer­ing office will give impetus and provide tools for this. Our voca­tion is to fol­low new trends, includ­ing the one of of entrepreneurship.

Slash team in, Lisbon
Slash team and artists gathered at MIL fest­iv­al, Lisbon.

How quickly did you set up this partnership?

CN: With Slash 1, we had already anti­cip­ated the sub­mis­sion of the file for Slash 2 to the European Com­mis­sion. If we had waited, we would not have been right on course. The file was writ­ten quickly because the work phase had been car­ried out before­hand. Sacem was very prompt to pro­pose experts on the sub­ject of entrepreneurship.

JP: Yes, we quickly mobil­ised intern­al con­tacts with­in the vari­ous depart­ments of Sacem: Sacem Innov­a­tion, Sacem Uni­versité, the com­mu­nic­a­tion depart­ment and the insti­tu­tion­al rela­tions department.

How was this part­ner­ship organ­ised in con­crete terms? Did you work togeth­er to choose ment­ors, speak­ers, themes and artists?

CN : The themes and mobil­it­ies were defined from the out­set because they had to be included in the file sent to the European Com­mis­sion. For the choice of ment­ors, there was obvi­ously con­sulta­tion. We pro­ceeded by going back and forth. Sacem was also involved in the artist’s selection.

How were Slash’s tech­nic­al part­ners chosen, such as Pro­mus (Den­mark) and MIL (Por­tugal)?

JP: We relied on Trem­po’s expert­ise in choos­ing part­ners. Den­mark came into play quite quickly with the Pro­mus struc­ture, which is the loc­al equi­val­ent of Trempo. The Nor­d­ic coun­tries are very advanced in busi­ness and artist train­ing issues.

CN: We already knew Jes­per Mer­dahl, dir­ect­or of Pro­mus, whom we had invited to speak at the Slash con­ven­tion organ­ised with the European Music Incub­at­or. Pro­mus has entre­pren­eur­i­al pro­grams for artists. As for Por­tugal, we were in touch with the MIL via Fabi­en Miclet, who works as a con­sult­ant for Europe and for this event. MIL is a part­ner of Jump, a train­ing pro­ject for entre­pren­eurs in the music industry. We have been want­ing to make this part­ner­ship a real­ity for a long time.

What bene­fits do you expect from Slash 2?

JP: It’s a basis for con­tinu­ing to work because we still have a long way to go. I see it more as a first step, the first stone of a stra­tegic pro­ject for Sacem.

CN: The same goes for Trempo, even though we are already at the third step. We are con­tinu­ing to test edu­ca­tion­al con­tents, speak­ers, etc. After­wards, we will carry out an eval­u­ation and draw con­clu­sions about what works and what we could adapt to oth­er systems.

JP: These assess­ments will provide a wealth of inform­a­tion and will allow us to record feed­back. We will see what this can bring to Sacem’s mem­ber artists and how to con­tin­ue to build and consolidate.

Julie Pour­eau, is Sacem think­ing of renew­ing its sup­port for Slash 3?

JP: As long as it fits in with our pri­or­it­ies, of course, we will obvi­ously be will­ing to start the adven­ture again. Espe­cially if we go down the path men­tioned, which is the link between artists and territories.

A few num­bers about Slash Pro­gram — Sea­son 2 :

Num­ber of applic­a­tions for Slash 2: 180
23 dif­fer­ent nationalities
Num­ber of final­ists: 9
Amount of the oper­a­tion: 112,500 euros, includ­ing 90000 euros from the European Uni­on (Music Moves Europe pilot pro­ject) and 22500 euros from the Sacem

Inter­view : Sylvain Chantal
Pho­tos © Filipa Aurélio

Slash Program

Slash is a Europe-wide train­ing pro­gram build-up by Trem­po with the great sup­port of SACEM. It aims to train emer­ging pro­fes­sion­al musi­cians in their career devel­op­ment. It is co-fin­anced by the European Uni­on through its Cre­at­ive Europe pro­gram (Music Moves Europe).

The European Commission’s sup­port for the pro­duc­tion of this pub­lic­a­tion does not con­sti­tute an endorse­ment of the con­tents, which reflect the views only of the authors, and the Com­mis­sion can­not be held respons­ible for any use which may be made of the inform­a­tion con­tained therein.