Global Journal of Human Social Science, C: Sociology and Culture, Volume 23 Issue 2

© 2023 Global Journals Volume XXIII Issue II Version I 23 ( ) Global Journal of Human Social Science - Year 2023 C “If you haven’t been Exploited, you are not in the Live Music Industry”: Decent Work and Informality in the Live Music Ecosystem in South Africa 2. Adequate earnings and productive work • Live music is not only one of the highest earners in the music value chain with related revenue streams that can be leveraged off of it (CSA 2016, p. 7), but it also provides income to a range of artists, cultural workers and cultural and non-cultural professionals in the sector. • Income can be earned from a range of sources such as “fees, branding, merchandising, royalties 2 and sync deals 3 ” (Joffe and Wangusa 2022). • Since musicians do not expect to work every day of the week, many rely on 2- 3 gigs per month to earn fairly. • MIA’s recent Revenue Streams for Music Creators in South Africa report (2022) reported an average income of R13 000 per month. • Live music is seasonal, meaning that it is exceedingly difficult to earn income all year round which results in hardship and mental health challenges. This may be different in the informal economy where micro live shows abound although these are not always fee paying. “It is only in places such as New York or Los Angeles where musicians can expect to earn a living from being in live music: even in London only 5% of musicians earn an income solely from the music”. • Some good practices emerging from established promoters included payment of a 50% upfront fee with the balance paid a week before the live show. • Musicians must fund costs when these are not borne by venues such as backline, rehearsal costs, hospitality in addition to regular layout of funds for transport and the purchase 4 and maintenance of instruments. • During Covid 19 additional costs related to high data costs, energy blackouts and poor cellular connectivity all with implications for livestreaming. Livestreaming was rejected by some since it would not reach their target audiences in the townships. 3. Working time arrangement • Working time arrangements show a wide range in live music. Trading time for live music used to be mostly 7pm until late but with the Covid-19 pandemic, day time sets became popular, especially Sunday afternoons. • There is little uniformity with respect to many elements: a signed contract or any contract at all; negotiations with band leaders on price or working conditions; agreement on set lengths (50-60 mins), number of sets (1, 2 or 3) or rest times (30-40 mins); specification about responsibilities related to occupational health and safety. • Good practice is evident from established festival promoters to formal live venues but how contracts are structured depends variously on the band, the genre, the day of the week, the deal (combination of flat fixed fee and door takings). It is negotiated band for band and changes over time. • The Event Technical Production Services (ETPS) forum submitted draft guidelines to the South African Department of Employment and Labour for unique sector employment codes which, if approved, will delineate standards of practice, minimum wages, working conditions, ethics and rights of workers. • Poor practice is evident in some established live music venues with reports that in one establishment: “sets are played for 5 hours with food provided to the band only at the end of the evening”. • These poor practices are linked to the absence of contracts for most musicians. For those who sign contracts, respondents noted how easily these are breached with some musicians so financially desperate that they opt to play for food in some of the smaller venues or for ‘exposure’. 2 More info: http://www.concertssa.co.za/wp-content/uploads/2015/04/Digital-Futures-online.pdf. 3 More info: https://diymusician.cdbaby.com/music-career/sync-licensing/ 4 Tax relief is only attached to stringed instruments (Gwen Ansell).