Good morning, everyone, and thank you for joining us. I am Rufina Pavry, Head of Investor Relations for Hipgnosis Songs Fund, and we're here to run you through the interim results for the six-month reporting period ending 30 of September 2021. You will hear from both Merck Mercuriadis, the founder of Hipgnosis Songs Fund Limited, as well as Chris Helm, our CFO. We have pre-recorded this due to everyone's travel schedules for the holidays, but we would welcome any questions you may have by email. My email address is rufina@hipgnosissongs.com, or you're welcome to give me a call. Many thanks, and I'll now hand over to Merck. Hi, everyone. I'm Merck Mercuriadis, the founder of Hipgnosis Songs Fund Limited and its investment advisor, Hipgnosis Song Management Limited. Thank you for joining us for our report on our interim period for the first six months of the year from March 31st, 2021, through September 30. It's incredible to believe that we are halfway through our fourth year. The last nine months, including this reporting period, have been a very important and exciting time in our company. In July, we were delighted to complete another oversubscribed placing, raising over GBP 156 million, and immediately we deployed this capital into some of the most influential song catalogs of all time, including Christine McVie, best known as one of the principal writers and vocalists of Fleetwood Mac, arguably the most successful band of the seventies. With Lindsey Buckingham, we now own the song catalogs of two of the three principal songwriters of the most successful version of Fleetwood Mac. Moving on, the Red Hot Chili Peppers, Flea, John Frusciante, Anthony Kiedis, and Chad Smith, one of the most important and best-selling bands of all time, with over 100 million records sold worldwide. Ann Wilson, one half of Heart, the female-led U.S. rock band who had multi-platinum success in the 70s and the 80s. Rhett Akins, who was just inducted into the Nashville Songwriters Hall of Fame, one of the great country and western songwriters. Stephan and Jordan Johnson, known as The Monsters & Strangerz, who've had enormous pop success with Zedd, Justin Bieber, Miley Cyrus, Dua Lipa, the Jonas Brothers, Katy Perry, and have been a constant in the top 10 pop charts throughout this last year. Our thesis has always been that songs of extraordinary success and cultural importance produce long-term and reliable income streams and therefore are highly investable assets. With these acquisitions, Hipgnosis now owns 146 catalogs, over 65,000 songs with a fair value of over $2.5 billion. Most importantly, the Hipgnosis portfolio is built around songs that have achieved the highest level of success and influence as can be measured on any basis. For example, we own 47 out of the 190 songs in Spotify's Billions Club. That means there are 190 songs on Spotify that have achieved 1 billion streams each, and we own 47 of those 190. We own more than 25% of the Billions Club on Spotify. We own 51 of Rolling Stone's 500 Greatest Songs of All Time, 20 out of Billboard's Greatest of All Time Hot 100 Songs, 10 of the top 30 YouTube's Most Viewed Videos of All Time, and four of the top five Billboard Songs of the last decade. While we're in an incredibly strong position with our portfolio, this period has been challenging. As we've previously stated, the time lag between the consumption of songs and the royalty statements being processed, which is the point at which we recognize revenues, means that the impact of COVID-19 is now being fully felt within our results. Along with the wider music industry, the closure of live music venues, pubs, bars, and restaurants during various lockdowns impacted like-for-like performance earnings of our catalogs during this period. This has been felt most in our younger catalogs that rely on promotion and live music events to drive consumption. Our vintage catalogs have made up for a fall in their performance earnings with outstanding streaming earnings as consumers turned to classics during lockdown. Overall, our catalog's revenue fell by 7.9% in 2020 on a like-for-like basis as a result of the impact of the pandemic, in line with our internal expectations. Despite this, we still delivered a fully covered dividend, a vindication of the reliability of songs as an asset class in what has been the most economically challenging time of our lives. Going forward, we see promising signs for the music industry and our portfolio of iconic songs. Over the last six months, we've seen that live venues, bookings are at a capacity through 2023, pubs, bars, restaurants, shops, and gyms are full, and streaming growth continues to exceed all expectations. This is compounded by the constant and now paid use of music in social media, lifestyle, and games, such as best evidenced by TikTok, Peloton, and Roblox respectively. This optimism in future is shared by our independent valuer, who's increased future earnings for our catalogs in their valuation models, resulting in a 3% growth in their valuation of our catalog. As Chris Helm, our CFO, will run through, this valuation growth has led to a 2.5% increase in our Operative NAV to $1.7242 per share over the six-month period. When including the dividends we've paid to our shareholders, we've delivered a six-month total NAV return of 4.63%, taking our total NAV return since IPO to 46.7%. However, we are proactive and do not take this recovery for granted, something highlighted by the current uncertainty caused by the Omicron variant and stay-at-home procedures. Therefore, in order to ensure our catalogs outperform, no matter the wider market conditions, we continue to increase our song management efforts. We've hired experts in all parts of song management as we explore every opportunity to innovate and maximize earnings from our songs. Our focused and conscientious model provides the bandwidth to be able to manage great songs responsibly as we maximize the revenues while enhancing their long-term legacies. Highlights of our song management in the period include a 20% increase in the number of sync deals in the calendar third quarter compared to second quarter. This includes Eurythmics' Sweet Dreams Are Made of This, written by David A. Stewart in the main trailer for House of Gucci, one of the big films of the year. The initial trailer for the same movie was also soundtracked by Hipgnosis' song, Heart of Glass by Blondie. Mariah Carey's All I Want for Christmas Is You is soundtracking McDonald's Christmas 2021 campaign globally. There's Nothing Holding Me Back by Shawn Mendes is the main song for the new Sing 2 animated feature for the holiday season. Nobody Does It Better by Carly Simon, the classic Bond theme from The Spy Who Loved Me, is the soundtrack for DHL's global advertising campaign, which was launched in conjunction with the latest James Bond film, No Time to Die. There's a longer list in our sync section within the interim report. Hipgnosis now has the largest presence on TikTok as a song management company with over 334,000 followers. This channel has seen phenomenal growth as we had 100,000 followers only a few short weeks ago when we spoke at our Capital Markets Day. The Peloton exercise classes featuring our songwriters, including songs by Beyoncé, Bon Jovi, Britney Spears, The Chainsmokers, Ed Sheeran, Justin Bieber, Lady Gaga, The Red Hot Chili Peppers, Shakira, and Chris Cornell have been a massive success. We launched our first NFT, Hack the Borders, a crypto art collaboration between Blondie and Hackatao. We've continued the adoption of innovative technologies to deliver maximum value across all parts of our song management. The U.S. administration of a further 19 catalogs have been transferred to HSG during this period, taking us to a total of 30 for the year. Continued progress with our advocacy for songwriters, most notably with the DCMS committee. Following the report into the economics of music streaming, the government referred the case to the Competition and Markets Authority to undertake a full market study into the economic impact of the major music group's dominance. That's completely in keeping with the written evidence that Hipgnosis gave to the DCMS. In the last two months, we've seen some of the largest and most sophisticated investors globally committing capital to invest in songs. This was the final step in establishing songs as an asset class, as was our goal when we started three and a half years ago. Most importantly, with your support, Hipgnosis is the first mover, and our catalog is therefore perfectly positioned to experience the growth in valuations that will come through as more institutional money joins the market. Following the period end, as you know, and as we went through in a lot of detail at the recent Capital Markets Day, we, the investment advisor, are now called Hipgnosis Song Management Limited. We also entered into a partnership with Blackstone, one of the most highly thought of private equity companies in the world. Key to the partnership with Blackstone was their significant investment into the investment advisor in order to expand our capabilities across the board, including song management and data science. I'm very grateful to all of our shareholders that have helped us create Hipgnosis and equally to the songwriters who've entrusted us with custody of their iconic songs. This new partnership allows us to bring new scale and world-leading investment, and data expertise into the investment advisor with the core goal of maximizing the returns for our shareholders and enhancing the legacies of our great songs. In summary, despite the recent disruptive events of COVID-19, the outlook for the asset class remains as strong and resilient as ever. It remains our mission that the board and the investment advisor will continue to work tirelessly to ensure the implementation of the company's investment strategy and that we continue to deliver strong returns for our shareholders. I'm now handing you over to Chris Helm, our CFO. Hi there. I'm Chris Helm, the CFO for Hipgnosis Songs Fund. Today, I'm gonna talk you through the financial results for the six-month period to the 30th of September 2021. In summary, revenues in the period have continued to be impacted by COVID-19, which have temporarily reduced performance income as this relates to monies paid out from shops, bars, and restaurants. However, there are strong signs going forward. We have started to see TikTok settlements being paid through for major publishers, and we're encouraged to see Warner Music Group's recent Q3 2021 earnings improvement in performance income, which strongly indicates that we will receive the benefit of an improvement in performance revenue when they are processed and paid through from the major publishers in 2023. This is also the view supported by the portfolio independent valuer for Hipgnosis. With regard to the Operative NAV per share, this increased by 2.5% to $1.72 over the six-month period, which when including dividends paid, represents a six-month total NAV return of 4.63%. Based on the sterling to dollar exchange rate, as at today, the Operative NAV per share is GBP 1.30. In total, the company has delivered a 12-month total NAV return of 10.82%, including dividends paid of GBP 0.0525 per share, and a total NAV return of 46.7%, including dividends paid of GBP 0.1375 per share since Hipgnosis' IPO on the 11th of July, 2018. The growth in the Operative NAV over the period shows a 3% like-for-like uplift in the fair value of catalogs to $2.55 billion as appraised by the portfolio independent valuer. The growth in the value of the catalogs was driven by both an upward revision of forecast streaming growth rates, given strong growth in paid subscribers in excess of expectations and an anticipated recovery of performance income, with full year 2023 income projected to recapture the FY 2021 levels. Just to also note, the portfolio independent valuer calculated the catalog fair value using a discount rate of 8.5% in line with 31th of March, 2021. The value uplift is therefore a function of the fundamental prospects for growth. Gross revenue and net revenue both increased by over 30% to $85.3 million and $74.1 million, respectively. Net revenue is stated after royalty cost deductions of $11.2 million, and which relate to contractual royalties due to writers of Hipgnosis Songs Group and Kobalt Fund I. Despite the uncertainty of COVID-19 on earnings, we are pleased to report that royalty statements and cash receipts received in the second half of this year are in line with the revenue accruals recognized in the previous period. The conservative accrual process has meant that accruals have been effectively managed over the earnings time lag, which can be as much as 24 months on some international income. The investment advisor will continue to manage accruals conservatively as we move towards full recovery. Given these results reflect the disruption created by various lockdowns associated with the COVID-19 pandemic, the mix of revenues has changed against the comparative period. Performance income declined as a percentage of overall net revenue to 27%, compared to 29% for the 12 months ending March 31st 2021. We have recently seen evidence implying a strong bounce back in performance income, with bars and restaurants becoming full, Live Nation highlighting that their concert pipeline was up double digits from two years ago, and the calendar Q3 results from major music companies, including Warner Music Group, showing a partial recovery in certain COVID impacted night revenue streams. Due to the differing timelines of income reporting, it is difficult to say when the recovery from COVID-19 will be seen in our revenues. The expectation of a bounce back, however, is shared by Massarsky, the portfolio independent valuer, who's predicting a full recovery in these performance revenues by 2023. Lockdowns have accelerated the change in consumer behavior to consuming music by streaming, which has driven an increase in the proportion of revenues derived from streaming from 32%- 36% of total net revenue. There has also been an increase in our earnings from synchronization income, which includes digital streaming income from TikTok and Peloton. This is most evident on steady state catalogs, where the average release year of the song is over 10 years old and therefore have no expected decay in revenue, where there was a 15% growth on streaming and a 34% growth on synchronization income compared to the prior six-month period. This growth has offset the decline seen in performance income from our steady state catalogs. It is still the case that the majority of settlements from emerging platforms are yet to be paid through by the publishers, and we expect this to be reflected in future royalty statements. As a testament to the resilience of Hipgnosis, despite feeling the full force of COVID-19 during the period, dividends paid were fully covered by adjusted profit after tax by 1.03x, and the company continues to target a dividend of 5.25 pence for the current financial year ending the 31st of March 2022. I would now like to talk about our KPI PFAR, which shows the royalty revenue earned in a calendar year based on royalty statements received irrespective of the rights of ownership, which we believe provides a relevant like-for-like full year income comparison. Due to the time lag on receiving international royalty statements, the latest PFAR reports the royalty earnings in the 12 months ending December 31st, 2020 for catalogs owned as at September 30th, 2021. In line with our internal expectations, the PFAR for 2020, which includes the most up-to-date earnings, was $121.3 million, compared to $131.7 million from the 12 months ending 30th of June 2020, which represents a decline of 7.9%. This decrease was primarily driven by the performance income, which fell by 19.5% over the same period due to the disruption caused by COVID-19 lockdowns. During the lockdowns in 2020, listeners quickly turned to consuming music via streaming, with an acceleration of paid subscribers reported by the major streaming platforms. This was most evidently seen in our steady-state catalogs, where growth isn't distorted by its expected decay, which shows streaming income growth of 4% compared to 12 months ending the 30th of June 2020. This shows continued growth after impressive calendar H1 2020 growth of 22.5% compared to H1 2019. Our second KPI, the variance against forecast, is the difference between the total cash of the royalty statements received from each catalog since acquisition and the internal acquisition model forecast over the same period. In the period from acquisition up to the 30th of September 2021, the VAF was -7.9%, which reflects both the decrease in performance income as a result of the COVID-19 restrictions, as well as the original acquisition model forecast, which assumed that the uplift from the CRB ruling would be paid through. Going forward, the company will no longer present the variance against forecast KPI and will introduce new additional disclosures at the time of the annual results, which will provide a more insightful analysis of how the company's catalogs are performing against current expectations, given the variance against forecast compares the catalog performance against forecasts made at the time of acquisition, and therefore, in most instances, does not take into account the significant changes in the music industry caused by COVID-19. I am pleased to announce that within the interim report, we have provided new disclosure on the right to income. On acquisition of a catalog, the accounting policy of the company is to allocate the full purchase consideration to the cost of the catalog's assets. Income is therefore recognized on acquisition via two separate mechanisms. Firstly, income that is derived from cash receipts from the vendor, representing royalties collected by the vendor starting from the date determined by the purchase agreement, which precedes the date of acquisition. Secondly, accrued receivables are recognized for any revenues generated by ownership of the IP to the extent that these are not yet collected. If the income due under these mechanisms is for a period that precedes the start of the financial year that the catalog is acquired within, that income is booked within the financial year in which the catalog is acquired. Previously, RTI was solely defined as including revenue that was recognized on the acquisition of a catalog that preceded the financial year, so that investors could clearly identify all revenues which were not from the financial period being reported on. We have now redefined RTI to show both revenue recognized in the pre-financial year and within financial year. Within financial year, RTI is considered as recurring as it relates to a revenue period that will be collected and received by Song in the following financial year. The combined RTI recognized in the period was $17.97 million, of which the pre-financial year RTI was $14.09 million, and the within financial year RTI was $3.88 million. Finally, onto costs and EBITDA. Adjusted operating costs increased to $31.2 million from $12.4 million in the comparative period, primarily due to recognizing the full six months of operating costs for Hipgnosis Songs Group, compared to less than one month in the prior period, as well as increased investment advisory fees due to the growth of the company since the prior period. Within the period, there was also an increase in interest costs associated with a higher leverage facility to reflect the growth of the company. EBITDA for the six months ending the 30th of September 2021 increased by 29.7%- $54.6 million, reflecting the growth in net revenue. EPS for the six months ending the 30th of September 2021 is -$0.0169, compared to the six months ended the 30th of September 2020 at $0.0204 because of the high amortization charge during the period. The group amortizes the catalog of the songs with a limited useful life using the straight-line method of 20 years. The EPS has fallen significantly due to the higher royalty income booked in the prior year, given the higher volume of acquisitions, as well as a full period charge of amortization, which reduces the tax charge in the company. Adjusted EPS, which adds back the non-cash charges for the six months ended the 30th of September, is $0.0385. Ongoing charges as a percentage of the average operative NAV increased from 1.59%, as at the end of March 2021, to 1.77%, primarily driven by the annualized impact of HSG operating costs and higher fees associated with the leverage facility. If HSG operating costs of $4.2 million were removed, the ongoing charge ratio would be 1.39% compared to 1.33% as at the end of March 2021. As at 30th of September 2021, net debt had increased to $550 million, reflecting a net debt to Operative NAV of 28.7%. The gross amount drawn of $600 million was equal to the cap on the facility. Finally, in summary, despite the recent disruptive events of COVID-19, Hipgnosis Songs Fund remains dividend-covered. Even though we expect further impacts to come in the short term, the outlook for the asset class remains as strong and as resilient as ever. Thanks. Thank you, Chris. The travel schedules around the holidays have meant that we've not been able to do a live Q&A, which we would've liked to do for you during this presentation. Please do email Rufina Pavry at rufina, R-U-F-I-N-A, @hipgnosissongs.com with any questions you may have. Rufina, as you'll know, is our Director of Investor Relations, and she'll ensure that we get responses out to you ASAP, hopefully before the holidays. Again, we're very grateful to all of you for helping us to establish songs as an asset class and to define song management as a new paradigm for how songs are managed responsibly, and to have created a structure where what's in the best interest of the songwriter is also in the best interest of you, our shareholders. For that, we thank you. Finally, I'd like to wish you and all the songwriters who have entrusted us with their great work a merry Christmas and a happy, healthy and prosperous 2022. It would not be Christmas without Mariah Carey's All I Want for Christmas Is You single and Michael Bublé's Christmas album at the top of the charts. I'm delighted at the time of speaking to you that the former is number one on the Spotify Global chart, number two on the Billboard Global chart, number three on the Billboard Hot 100, and also number three on the official U.K. singles chart. The latter, Michael Bublé's Christmas album, is number three on the Apple Music Global chart, number three on the Billboard 200 in the U.S., number four on the Spotify Global chart, and number five on the Official U.K. Albums Chart with just over 10 days to go until the big day. All I Want for Christmas Is You has also just hit 1 billion streams on Spotify. It's been certified diamond for sales in excess of 10 million copies and has been named the number one of greatest of all time holiday 100 songs by Billboard. We also own the rights this week to 12 of the top 50 albums in the U.K. That's almost 25% of the chart. Merry Christmas, everybody. Hopefully we'll own that by this time next year as well.