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

© 2023 Global Journals Volume XXIII Issue II Version I 26 ( ) 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 “[Here] you would typically just have one person with a backing track, they would sing or maybe play a few instruments, maybe they've got loops going … the same artists play in the same venue three or four nights a week … but these days it's different. People want instant gratification … just one night a week … just the sort of background music”. As musicians move through the hierarchy they discover “less and less enforcement of decent work standards and norms” (Joffe and Wangusa 2022). These decent work deficits have been severely impacted by the Covid-19 pandemic with key fault lines exposed especially in relation to remuneration, working conditions, social protection, and gender inequality. Decent work, while visible in the more formal areas of the live music ecosystem (dedicated live music venues, established festivals and the like), is largely absent in the rest of the live music ecosystem especially in informal establishments and for many musicians working informally. Importantly this formality/informality duality exists throughout. The same is true of festivals, concerts and other gigs were the formality/informality distinctions for decent work persist. A few established live venues and some promoters provided evidence of good practice (standard fees, contracts, attention to occupational health and safety, working time). For live venues this included either full flat fee or part fixed fee and a door percentage as well as payment 24-48 hours after the gig, while live venues and festivals offered contracts that specified fees, hospitality, promotion responsibilities, rehearsal and call times. However, for others, some problematic practices persis t. While venue owners and festival promoters tend to hav e a contract with the band leader band members are n ot always paid or not paid appropriately. This non-payment is justified by some as it is considered an ‘honour’ to be part of the band or play with the band leader especially if a recording might result; delayed payment to band members even if the band leader was paid timeously; a lack of consistency with respect to hospitality, set times or number of sets played. Venue owners believe this practice is out of their hands. The third pillar “Social Protection”, when not provided by the state, needs to be individually accommodated. However the lack of regular income and the few existing opportunities means that for many, there is simply insufficient earnings to ensure protection. Notable exceptions include the formal structures of orchestras or ensembles that “may offer additional permanent employment benefits like medical aid, life/disability insurance and retirement annuity, as well as instrument insurance and an allowance for reeds and strings” (Gcingca 2022). Working with corporates also does not necessarily mean that there is surplus on the income to accommodate social protection requirements. During the pandemic corporates were also under huge financial strain so that some managers and agents had to make exceptions about using backing tracks (two or three songs in a maximum of 30 minutes). Some music practitioners found a solution to the low fees earned by musicians and produced pre- recorded tracks. These tracks earned a usage fee with the agents or managers producing additional content for the online event both at the front and back of the pre- recorded track. With many puzzling over how to monetise these online performances, one respondent concluded that 1 million streams would be needed to “earn an equivalent to a performance by a mid-tier artist at a large music festival”. Musicians and cultural practitioners in the live music ecosystem rely on festivals to boost their earnings. Usually (outside of Covid-19), South Africa has a vast array of festivals across many genres from electronic music 6 , popular music (Splashy Fen Music Festival), jazz festivals 7 , Rock, pop, indie, hip hop and dance music festivals 8 , and a host of gospel music festivals (Cape Town International Gospel festival, Gospel Under the Stars, Macufe 9 ). Respondents noted that rather than standard rates, fees are based on several criteria such as the presence of a sponsor, what the ticket price is, where the venue is (urban centre or smaller town, indoor or outdoor). For some, flat fees are most acceptable as its “too risky” to rely on door takings. Promoters, on the other hand, seemed cognisant of exploitative arrangements and argued that a standard fee for backup musicians is necessary to avoid these. However, many noted how poorly understood contracts were explaining that “Artists are unable to justify their charges. Basic accounting of what band leader wants, what each member needs to receive, administration costs, sound engineering, rehearsal, drummer base etc. is often not known […] 6 https://onthebeatingtravel.com/electronic-music-festivals-in-south- africa/ 7 http://www.joyofjazz.co.za/home and https://www.capetownjazzfest . com/ 8 https://www.festicket.com/countries/south-africa/ 9 https://www.facebook.com/OfficialMacufe/ The “Employment Creation” pillar is likely to follow from the slow expected recovery largely on the back of “paid-for music streaming services, increasing from R1.73bn in 2016 to R2.05 billion in 2020” (PWC, 2016). However the lack of consistency in income ge neration means that multi-tasking and multi-skilling within live music is common, with one musician explaining that “I am at different times an Artist Manager, Booking Agent, Promoter and Creative Producer”. Opportunities are driven by a vibrant festival and night- time economy in some areas. Established artists are o ften dependent on their man agers and booking agents to perform the role of securing income opportunities.