Unconventional Entrepreneurs: working conditions and enterprise in the music industry.

Entrepreneur-ism and enterprise take on many different forms and produce a multitude of benefits in the Australian music industry, rather than simply making a lot of money for a single business. While there are a few large, multinational labels that control a disproportionate amount of profit and influence mainstream music taste, the industry is de-centralised and made up of vibrant communities of independent artists, labels and media outlets. The Internet has had a huge impact in the past decade, flattening traditional power structures and enabling every musician with an entrepreneurial spirit to connect with audiences and market their music. For many people, live music is a very meaningful part of their lives and a source of deep connection to other people. Despite often low wages and a lack of job security, working in the industry remains an attractive career choice for many and people within the industry are still able to carve out rewarding careers. The focus of enterprise is shifted to creating an interactive community and increasing the cultural value of music, which contributes to the economy in important ways.

While many people think of the music industry as a cohesive whole, it is made up of decentralised communities or scenes based around various genres that people interact with in many diverging ways. The industry consists of businesses as diverse as event management, music journalism, promotion and PR, venues and government-funded organisations. According to IBIS World, “Popular music concerts are expected to account for the largest proportion of industry revenue in 2015–16” in the entertainment industry while online ticket sales and entertainment in pubs and clubs is growing steadily. Major labels still have a huge influence on what is played on mainstream radio stations, aired on TV and essentially which artists will become widely popular. However, across Australia there are hundreds of interconnected scenes with their own venues, record labels, artists and fans. While it is very difficult to break into the mainstream, there are many people who invest their time, money and emotional labour into these scenes, starting enterprises that contribute to the exposure and enjoyment of the music they love.

The Internet has dramatically changed the music industry, having a democratising and further decentralising effect. New technology means that artists can record an album in the comfort of their own home and share it with the world digitally. Independence from traditional recording contracts has resulted in more creative autonomy for independent artists but has simultaneously necessitated learning a host of new skills, from marketing to booking to PR and promotion. In a world flooded with music across Spotify, Bandcamp and iTunes, every musician has to be an entrepreneur just to be heard. And with major labels reluctant to hand out lucrative contracts, some report that the digital revolution has actually decreased average earnings for musicians and increased the amount of hours they work. The same can be said for music journalists, with the Internet providing a platform for any aspiring media entrepreneur to start a new blog, magazine or website but not actually delivering quality working conditions. Indeed, there are many media outlets willing to take on volunteer writers and photographers but there has been no resulting increase in paid opportunities.

The music industry relies on unpaid or very low-paid labour. There is a huge pool of mainly young people who are willing to work for free in the hope of gaining a foothold in what is a very competitive industry. This surplus labour is often exploited by large labels with diminishing profit margins or the inherently small and fragile independent labels. Interns in particular are targeted, with many aspiring promoters or bookers taking on long-term unpaid internships in the hope of achieving eventual employment. These ‘internships’ often consist of nothing more than menial tasks and coffee runs, with stressed staff in uncertain jobs too time-poor and disinterested to teach them real skills.

For many people, a career in the music industry is less about striving for the corner office and more about finding a way to earn money while staying close to their passion and contributing to something meaningful. The industry is full of diverse and creative enterprises that improve the quality of life for a lot of people and contribute to the economy in important ways. Entrepreneurism takes form in creating spaces for alternative communities to come together, giving marginalised people a voice and validating their creative endeavours. Alternative enterprises abound, from LISTEN Records, a label dedicated to music by women and LGBTQIA+ people that started in Melbourne last year to Indigenous Hip Hop Projects who engage and empower young people through music. While many of these ventures will be financially viable, their real value lies in connecting people and providing relief from the mundaneness and stress of everyday life so that they are refreshed and ready to contribute to society. The benefits aren't exclusive to artists or industry professionals either, with these initiatives leading to an interactive culture where fans are valued as individuals and participate on an equal level.

The economic value of these creative enterprises is widely recognised and appreciated by government and business alike. A recent report from the ABC showed that investment in live music has a benefit to cost ratio of 3:1, meaning that every dollar spent returns three times its value to the wider economy. This is reflected in the wide range of music grants from the Australia Council and government-funded bodies like Music Australia or The Push. Local councils recognise the contributions that live music makes to their municipalities, with Yarra Council’s Leaps and Bounds Music Festival and City of Melbourne’s very popular Melbourne Music Week promoting local artists and venues. Everyday people also support a range of music-focussed organisations like community radio station PBS 106.7fm and have come out en masse in the largest arts-related protest in our history when Melbourne institution The Tote threatened to shut its doors.

The working conditions within the music industry are not ideal, with musicians receiving low remuneration for hours of work and many aspiring professionals undertaking arduous unpaid internships before finding a paid position. In this decentralised, somewhat democratised industry, an entrepreneurial spirit is required to carve out a rewarding career and promote a particular music scene. This creative spirit flourishes in the form of enterprises that connect people and provide a voice for alternative communities, instead of simply returning a profit to a small group of people. Ultimately, the unconventional entrepreneur-ism within the music industry provides myriad benefits to the lives of everyday people, wider society and the economy.