The CEO of Music Tasmania, Keith Deverell, has voiced criticism towards the recent music industry inquiry, stating that the benefits of the inquiry do not sufficiently reach smaller artists. The House of Representatives Standing Committee on Communications and the Arts conducted an investigation into the Australian live music industry, focusing primarily on venues and festivals. Deverell expressed concerns that the inquiry lacked progressive policies to support artists, emphasizing the need for a more artist-centric approach.
Deverell highlighted a key issue where the inquiry proposed tax cuts for venues, raising doubts about whether such benefits would effectively reach the artists themselves. He pointed out a common misconception in the industry where venues, often operated as hire spaces, do not directly cover artist fees, which are typically paid through promoters. This discrepancy underscores a fundamental misunderstanding of how artists are compensated within the music ecosystem.
Moreover, Deverell addressed the consolidation of ticket sales by major entities like Live Nation, leading to a shift in audience spending habits towards large international acts such as Taylor Swift. He noted the substantial financial investments audiences make in attending such events, including ticket prices, accommodation, travel, and merchandise. This trend of disproportionate spending on high-profile acts poses challenges for smaller, local musicians who struggle to compete for audience engagement and financial support.
In response to these challenges, Deverell suggested implementing a small levy on major international artists to redistribute funds back into the local music scene. He emphasized the need to reevaluate urban development strategies to create live precincts that can nurture emerging talent and provide platforms for artists to showcase their work. By fostering vibrant music communities and supporting grassroots venues, regions like Hobart can cultivate a thriving music industry with opportunities for artists to grow and potentially expand internationally.
As Music Tasmania explores avenues to empower local musicians, Deverell emphasized the importance of establishing dedicated spaces for live performances to address the decline in available venues. Drawing inspiration from successful models like Brisbane’s Fortitude Valley, known for its diverse range of music venues, he highlighted the significance of providing accessible platforms for emerging artists to gain exposure and experience. By investing in live music infrastructure and fostering supportive environments for artistic development, Music Tasmania aims to nurture a sustainable music ecosystem that enables artists to flourish and contribute to the broader cultural landscape.
In conclusion, Deverell’s critique of the music industry inquiry underscores the need for a more inclusive and artist-focused approach to policy-making. By prioritizing the needs of smaller artists and addressing systemic challenges within the industry, stakeholders can work towards creating a more equitable and supportive environment for musicians to thrive and contribute meaningfully to the cultural fabric of society.