Dear PCAM Member,
This is the latest in a series of Newsletters that we publish five times a year, following meetings of the PCAM Committee. Each Newsletter contains a brief report from the recent Committee meeting, plus other current news and views and case studies from the PCAM Helpdesk.
We would like to receive more contributions to the Newsletter from PCAM members. If you want to write something for inclusion or send us a link to something interesting you have read or seen, please contact PCAM Administrator Bob Fromer on: [email protected].
Best regards,
The PCAM Committee
CONTENTS
— Message from the Chair
— PCAM “Back to Basics” Seminar Rescheduled for 18 March
— More PCAM Sessions for Lewisham Music
— PCAM Mentoring Programme to Re-Launch for 2026
— Feature Story: Update on Government Approach to AI and Copyright
— PCAM Nominations for Camille Awards
— Notes from the PCAM Committee Meeting: 10 February 2026
— Remaining PCAM Committee Meeting Dates in 2026
— Music Industry Assistant
— PCAM Q&As Volume 6 Coming Soon
— Case Studies from the PCAM Helpdesk
— PCAM Social Media
MESSAGE FROM THE CHAIR
Dear PCAM Members,
Welcome to the first PCAM Newsletter of 2026. As we settle into the new year, I want to share some important updates on the shifting landscape of our industry and highlight a few upcoming PCAM initiatives designed to support you.
Industry Shifts and Agency Consolidation
We are closely monitoring the continued structural shifts across the major advertising networks. Following previous consolidations, WPP is now undergoing a major restructuring, which involves actively consolidating their creative, media, and production operations to streamline services, cut costs, and integrate AI capabilities. They are reportedly merging major agencies (including Ogilvy, VML, and AKQA) under a single ‘WPP Creative’ umbrella.
Furthermore, WPP is taking this a step further by consolidating all of its production arms into a single entity: ‘WPP Production’. For composers, this development is complex and daunting because it drastically cuts the available routes to market. The primary concern is that with fewer access points to secure work, we risk a handful of large music businesses or in-house capabilities sweeping up the entire market, effectively closing it off to independent creators. However, as these traditional agency players consolidate, remember that other routes to market, such as going brand direct, are actively growing.
Trading Realities and The 2025 Q4 Bellwether Report
Despite these agency contractions, it is highly encouraging to note that general levels of trade appear to be up across the board for many of our members. Interestingly, this isn’t necessarily coming from traditional advertising work. Instead, we are seeing a significant surge in sonic branding, experiential projects, long-form content, and re-record work.
This anecdotal experience aligns perfectly with the recent 2025 Q4 IPA Bellwether Report. The report revealed that total UK marketing budgets effectively flatlined at the end of last year (0.0% growth), with traditional main media channels like audio and video experiencing noticeable budget contractions. However, the report also highlighted that brands are shifting their spend toward real-world engagement, with Events (+1.4%) and PR (+3.5%) being the rare categories to see budget growth.
For UK media composers, the takeaway is clear: while traditional TV ad budgets may be tightening and holding companies are consolidating, diversifying your portfolio into events, brand identity, and long-form formats is an excellent way to maintain a resilient and thriving business.
Calling All Mentors for 2026
On a very positive note, our 2026 Mentorship Programme will officially launch on 8 March, aligning with International Women’s Day. We are initially offering places to the approximately 90 women who applied but were unsuccessful during our inaugural 2025 programme.
To make this initiative a success, we need more mentors. The commitment is highly manageable: the programme consists of six hours of mentor-mentee contact over a six-month period. Mentors and mentees have complete flexibility to agree on how best to structure these sessions. If you have experience to share, please consider volunteering — it’s incredibly rewarding and vital for the health of our community.
If you would like to volunteer as a mentor, there is a contact link in the story on the Mentorship Programme below.
PCAM/PRS ‘Back to Basics’ Event
I would also like to invite all members to our upcoming PCAM/PRS Seminar on the latest developments in music administration, which has been rescheduled for the evening of Wednesday 18 March at the PRS headquarters near London Bridge.
We will cover the latest updates from PRS on royalties available from digital platforms alongside a deep dive into works registration. Soundmouse, which is now owned by Orfium, will update us on their latest developments to help ensure that you get your music earning royalties. Crucially, the evening will feature a panel and an extended Q&A session where you can ask us anything, including navigating the legal issues around AI and copyright. It promises to be an informative night of knowledge-sharing and networking, and we hope to see many of you there. The invitation details are below in the story on this event.
Collaboration with the Ivors Academy
Finally, earlier this month, I sat down with Tom Gray, Chair of the Ivors Academy. We are actively exploring ways for PCAM and the Ivors to collaborate more closely on the critical industry issues affecting all composers. I will share more details on this partnership as it develops.
Wishing you all a creative and prosperous Spring.
Best regards,
Paul Reynolds
PCAM Chair
PCAM AND PRS “BACK TO BASICS” SEMINAR
RESCHEDULED FOR 18 MARCH
As mentioned above, PRS For Music and PCAM invite you to join top industry speakers and panelists for an evening reviewing the latest developments in music administration on Wednesday 18 March from 5.30 to 8.30 pm at the PRS ‘Arena’ in their offices near London Bridge (2 Hay’s Lane, London SE1 2HB).
This is an area that composers working in media and advertising often overlook, yet it can be one of your most important income streams when you manage the administration correctly. We will cover basic things you need to know to maximise your royalties, using the latest tools, and we’ll explore digital media royalties and the latest developments in this space.
The evening will also feature a panel and an extended Q&A session where you can ask us anything, including how to navigate the practical and legal issues surrounding AI and copyright. We will also have an opportunity to network and discuss any issues you may have on a 1:1 basis.
The schedule for the event is as follows:
5.30-5.45 pm: Welcome and latest news from PCAM and the PRS, with David Newton (PRS Media Member Account Manager) and Paul Reynolds (PCAM Chair).
5.45-6.05 pm: David Newton from PRS for Music will cover everything you need to do to ensure you get your royalties.
6.05-6.35 pm: Joel Stoner, Senior Onboarding and Implementation Manager at Soundmouse by Orfium, will talk about how to register your works and why it’s so important to do so.
6.35-7.00 pm: Break.
7.00-8.00 pm: Panel and Q&A featuring PCAM Committee members Amelia Vernede (Head of Production, Father), Chris Green (Founder/Composer/Creative Director, Blurred Edge), and Bankey Ojo (Composer, Sound Designer and Creative Consultant), plus Aifric Lennon (Managing Director, Father) and other key industry figures. The panel session, moderated by PCAM Chair Paul Reynolds, will cover various topics including the latest developments in AI.
8.00-8.30 pm: Closing drinks and mixer.
Here is the link to register to attend this free Seminar:
By clicking this link and signing up, you consent to your details (just your name) being shared with PRS for entry/security reasons only.
MORE PCAM SESSIONS FOR LEWISHAM MUSIC
In conjunction with PRS, PCAM will be at the heart of two additional sessions to be presented this spring for Lewisham Music, the award-winning youth charity that aims to create positive change in young people’s lives through music.
The first session, on Wednesday 22 April at PRS, will be the latest in the Music for Media series that PCAM and PRS have delivered over the past 15 months, and will focus on Film Composition.
Then, in May (date TBC), there will be an evening at a venue in Lewisham beginning with two short keynote-style presentations from PCAM and PRS giving a clear overview of each organisation’s role and why they matter for young composers.
This will be followed by a panel discussion focusing on the fundamentals of composing for media, with time at the end of the evening for networking, conversation, and creative exchange.
PCAM Mentoring Programme TO RE-LAUNCH FOR 2026
Following the huge success of PCAM’s inaugural mentoring scheme in 2025, we are thrilled to announce that the programme is returning for a second year in 2026.
The scheme pairs experienced mentors with emerging female and gender-expansive music producers and composers, supporting them as they navigate the media music industry. Over six months, mentees receive six hours of one-to-one mentorship, with sessions structured in whatever time configurations work best.
Sessions are flexible, allowing mentees to focus on what matters most to them — whether that’s creative guidance, industry insights, or personal support. The programme’s goal is to uplift under-represented voices, build confidence, and foster a sense of community in what can often be an isolating career path.
Mentees who are not already PCAM members will receive a free six-month membership, giving them access to valuable resources during their mentorship including contract support, industry advice, and guidance on AI in music.
The 2026 mentorship scheme will launch on International Women’s Day, 8 March, when applications will open. Applicants will only need to complete a short form outlining their background, experience, and motivations in music composition and/or production.
After the application period, mentees will be carefully matched with available mentors. We already have some wonderful mentors on board and are keen to welcome more. Mentors can be of any gender, and if you’d like to volunteer or know someone who might, please get in touch with Michelle Murchan at [email protected].
FEATURE STORY:
UPDATE ON GOVERNMENT APPROACH TO AI AND COPYRIGHT
This update on the government’s evolving approach to AI and copyright was presented to the PCAM Committee meeting on 10 February by Committee member Simon Surtees:
On December 2025, the Government published a Statement of Progress updating Parliament on its work on copyright and AI, as required by amendments to the Data (Use and Access) Act 2025.
The statement provides a high-level summary of around 11,500 consultation responses from February 2025, noting strong support for robust copyright protections.
96% of online responses supported making no changes to copyright law or strengthening copyright to require licenses in all cases.
The statement also details that expert working groups were convened in November-December 2025 comprised of stakeholders from the tech and creative sectors. PRS has participated in the Licensing Working Group, while other groups focused on control and technical standards, information and transparency, and wider support for creatives. It had been suggested that these groups would meet again in February 2026, but nothing has been scheduled to date.
As required under the Data Act, the Government must publish by 18 March 2026:
- A report on the use of copyright works in the development of AI systems. This will provide a detailed summary of consultation responses and consider specific areas of access to and use of data, technical measures and standards, disclosure of information by AI developers, and licensing and enforcement.
- An economic impact assessment of each policy option in the consultation. The government has commissioned Alma Economics to support its economic analysis. Alma published a call for evidence with a two-week deadline of 30 January 2026 seeking quantitative research on the value of AI licensing, AI adoption in the creative industries, market size for generative AI outputs, and employment and earning effects.
Secretaries of State Lisa Nandy (DCMS) and Liz Kendall (DSIT) appeared in front of the Lords Digital and Communications Committee on 13 January 2026 to give evidence to their AI and Copyright inquiry.
PCAM Committee members can read the transcript of that session here, which covers the government’s position.
PRS continues to engage with the government to represent the interests of its members, both in formal expert working groups and in bilateral meetings with officials.
During the PCAM Committee meeting, Simon noted that the Australian government has explicitly rejected a “text and data mining” exception that would have allowed for free, unlicensed use of copyright-protected material for AI training, and that the Australian government has taken a strict stance in siding with creators to ensure they are fairly compensated. Will the British government do the same, given that they now seem to be taking the issues raised by the creative industries more seriously?
There is also the question of compensation for creative materials that have already been scraped.
At the moment, there is no timetable for government legislation in this area, but the government is taking a close look at what other countries are doing.
The negative and positive effects of AI for music creators will also be a topic at the rescheduled PCAM/PRS Seminar on the basics of music administration, now set for Wednesday 18 March at PRS headquarters.
PCAM NOMINATIONS FOR CAMILLE AWARDS
PCAM will be putting forward a number of nominations for the 2026 Camille Awards, a set of awards given to composers of exceptional pieces of film and audio-visual music across Europe.
For Best Original Music for a Drama Series, PCAM will nominate Ruth Barrett’s score for The Girlfriend.
PCAM’s nomination for Best Score for a Feature Film will be the music for The Substance, composed by Raffertie (Benjamin Stefanski).
For Best Score for a Feature Documentary, PCAM will nominate Nainita Desai’s music for Murder in Monaco.
The awards will take place in Vienna in September, within the framework of the autumn conference of the European Composer and Songwriter Alliance (ECSA).
In 2024, the award for Best Original Music for a Drama Series went to PCAM nominee Blair Mowat for Nolly.
The full list of nominations for this year’s Camille awards can be seen here: Camille Awards 2026: pre-selected scores – Camille Awards.
NOTES FROM THE PCAM COMMITTEE MEETING: 10 FEBRUARY 2026
The PCAM Committee’s most recent get-together was on 10 February.
Those present in person at our London meeting venue were Paul Reynolds, Simon Surtees, Jonathan Watts, Simon Elms, Bob Fromer, and Michelle Murchan.
Those who attended remotely were Tony Satchell, Bankey Ojo, Blair Mowat, Chris Green, and Greg Owens.
Apologies were received from Chris Smith and Becky Wixon.
PCAM member Michael Blainey from Sniffy Dog Music also attended the meeting.
Almost all of the topics covered at the meeting are set out in articles earlier in this Newsletter.
REMAINING PCAM Committee meeting dates in 2026
Remaining PCAM meeting dates in 2026 will be:
- Tuesday 21 April (Remote)
- Tuesday 9 June (In person — plus Summer Social)
- Tuesday 8 September (Remote)
- Tuesday 10 November (Remote)
Any PCAM member interested in attending any PCAM Committee meeting should contact PCAM Administrator Bob Fromer ([email protected]).
MUSIC INDUSTRY ASSISTANT
With extensive experience across the music and creative industries, I’ve worked with organisations including BASCA/Ivors, BBC, Arts Council England, TV production companies, and numerous media composers. This background gives me a deep insight into the unique needs of creative professionals.
I’d love to discuss how I can support your projects and help streamline your workflow.
Thanks, Michelle [email protected]
PCAM Q&As VOLUME 6 COMING SOON
Over the past few years, an edited selection of questions sent to the PCAM Helpdesk, and the answers provided by PCAM Committee member Tony Satchell, who runs the Helpdesk, have been published annually on the PCAM website: https://www.pcam.co.uk/pcam-helpdesk-faqs.
Helpdesk Volumes 1-5 is available on this page, and Helpdesk Volume 6 should be published soon, hopefully before Easter.
Because PCAM members often run into similar kinds of problems, and ask the Helpdesk similar kinds of questions, perusing these questions and answers can often be helpful, especially for newer members.
CASE STUDIES FROM THE PCAM HELPDESK
Below are two question-and-answer exchanges from the PCAM Helpdesk (the questions are in black type and the Helpdesk answers from Helpdesk guru Tony Satchell are in blue).
Q: I just wanted to check what your policy/recommendation would be about charging fees for unlicensed use, where an agency has just told us that a commercial with our music aired six months ago in a couple of territories long after the existing license had expired, so the use was never agreed, licensed, or paid for.
The use was over a five-month period. Would you simply recommend “backdating” the standard one-year rates for the territories, or are “fines” for unlicensed use appropriate?
A: Spot on – I’d just charge a one-year License Fee for the territories concerned, backdated to the first air date of the unlicensed usage.
Obviously, if you wished to charge a penalty you could, as they’ve illegally broadcast your works. But I’d prefer to make the point that although I could have charged them a penalty I’m not — unlike the main-stream publishers (Chappells/Warners/EMI etc), who certainly would!
Q: We get a lot of questions about budgeting, so I’d like to stress that it is always worth using the three steps below
A: Master Budgets are made up of three elements:
1 The Production Fee – covering the cost of production: musicians, singers, studio, musical direction, etc (even if they are all you in your bedroom!).
2 The Composition Fee – whatever you charge. Current Composition Fees range from £1,000 to £5,000 depending on your experience (and self-belief!).
3 The Licence Fee – based on a percentage of your Composition Fee (see PCAM Website – Guidance/Fees & Usages), the Medium (TV, Internet, radio, etc), and the territory (UK, France, Worldwide, etc).
Three more extremely important things to bear in mind:
First, 99% of Demos are recorded as Masters, but charged at a much lower (Demo) rate, as clients want to understand exactly they will be paying for and, being “deaf and stupid” (ok, not always!), they often only know what they like or not when they hear it! This is the nature of our industry. Sometimes, Demos go ahead “as is” and sometimes you tweak or re-do parts of the track to make it an approved Master. If a Demo doesn’t go ahead, then you just get the Demo Fee, but if it does, then you top up the total fee to that of a Master.
Second, you should NEVER agree to a “Buy-Out” as a professional composer – your Copyrights are your reason for working in this industry and you are not a charity!
Third, before embarking on any work, you need to lay down and clarify the parameters as to exactly what work you will be doing and at what cost. This should include the numbers of revisions, etc, and anything outside this original agreement should be charged as extra. This stops misunderstandings arising at a later date.
PCAM SOCIAL MEDIA
For all the latest news on PCAM seminars and workshops, our new series of podcasts, plus industry-wide events and initiatives, be sure to follow PCAM on our socials.
Our podcast series are now available on SoundCloud.