At a time when the cultural and creative industries are attracting increasing attention from public institutions, civil society and industry stakeholders, CIIIC brought together dozens of participants to share original research and recently released reports on Spain’s music sector. The congress took place during the 14th edition of BIME Bilbao, held from 27 to 30 October.

The event was opened by Isabel Villanueva, BIME director and dean of the Faculty of Communication Sciences, who highlighted the significance of the congress: "The music industry, with its growing potential, faces challenges such as sustainability, territorial diversity, synthetic creation arising from the interaction between people and technology and maintaining emotional connections with fans," she said. Ana María Castillo, vice-dean of the Faculty and co-organiser of the congress, added: “Through CIIIC, we help build connections between academia, industry and institutions, strengthening the social fabric around the sector.” “We want to contribute to transforming culture in ways that lead to better outcomes.” 

The transformative power of music

The keynote lecture was delivered by Justin O’Connor, cultural policy expert and professor at the University of Adelaide, who explored the role of pop music as a catalyst for social movements from the 1960s to the present day. “We find ourselves in a world where cultural algorithms are focused on capturing listeners’ attention; the public conversations and debates that once accompanied cultural production have largely disappeared,” he argued. “We are witnessing not only a deterioration in public debate, but also the erosion of the cognitive and social infrastructure that makes cooperation possible.”

Along similar lines, María Paz Palacios Rosa, a lecturer at Nebrija University, noted that the way people consume music has changed dramatically. "In music, we have moved from scarcity to abundance in the streaming era. We are now living in an age of delegation: algorithms filter content and make choices on our behalf," she explained.

Isabel Villanueva, Director of BIME, and Ana María Castillo, vicedean of the Faculty, during the opening of CIIIC

Generative AI, copyright and the music industry

The rise of recommendation-driven consumption has coincided with the emergence of generative artificial intelligence, which is capable of creating complete musical works and is raising new questions about authorship and intellectual property. Marc Simón, a lecturer in the UIC Faculty of Law, presented some of the research questions currently being explored in this field. “When does an infringement occur? How much human involvement is required? The imitation of artistic styles and the reproduction of artists’ voices present copyright law with challenges that current legislation does not explicitly address,” he explained.

Artificial intelligence also featured in a presentation by American producer Joe Marlett, who introduced NorthAaegis, a platform developed using his own professional knowledge and experience. Drawing on the musical expertise he has incorporated into the platform, Marlett has created a conversational tool designed to support music creation and also aimed at the education sector. “If people are going to use AI anyway, it should be drawing on the knowledge of professionals who have mastered the craft,” he argued.

The growing economic weight of music festivals

For the second consecutive year, CIIIC brought together academic researchers, industry professionals and representatives from professional associations in a shared space for discussion and exchange. The congress concluded with the presentation of two sector reports: one produced by the Spanish Music Festivals Association (FMA) and another led by the Association of Women in the Music Industry (MIM). The session was introduced by Núria Roca, vice-dean of the Faculty of Communication Sciences and co-organiser of the congress.

Paula Ráez, a lawyer and consultant specialising in the cultural and creative sectors and a member of FMA, presented findings on the economic contribution of music festivals in Spain. According to the association’s report, festivals generate tourism expenditure five times higher in the destinations where they are held. The study estimates that music festivals generate €3.22 billion in revenue, contribute €1.49 billion in gross added value, equivalent to 0.10% of Spain’s GDP, and support more than 27,000 full-time jobs, representing 0.13% of national employment.

The congress closed with the presentation of “Cartografía de Mujeres y Disidencias de Género en la Industria de la Música” (Mapping of Women and Gender-Diverse People in the Music Industry), a study examining the position of women within Spain’s music sector. Based on interviews and focus groups, the research found that although women account for an average of 61.1% of employees across the sector, 27.5% of organisations have no women in leadership positions. “The challenge is not access to employment, but progression into decision-making roles,” the organisation noted.

14th edition of BIME Bilbao

CIIIC is being held for a second year as a result of the collaboration agreement between UIC and BIME. BIME is an international gathering for the music industry that has been held in Bilbao since 2013 and in Bogotá since 2022. It aims to promote alternative pathways within the music industry that strengthen artistic and professional exchanges between Latin America and Europe. The programme includes live music, industry sessions, trend analysis, innovation and networking opportunities.