Music industry protests lack of funding for Sounds Australia
Image: Harts at Sounds Australia’s Aussie BBQ at SXSW.Photo Credit: Bianca O’Neill & Cian Davis
The music industry has been quick to condemn lack of Federal Government Catalyst funding for export development body Sounds Australia.
APRA AMCOS, a primary sponsor alongside the Australia Council for the Arts, said it was “extremely disappointed”. It went on to point out, “Sounds Australia provides an invaluable service to hundreds of touring artists, and has been instrumental in helping some of Australia’s largest musical exports make the leap to the global stage.
“Contemporary musicians are amongst Australia’s smallest and most innovative businesses, but they will suffer without a dedicated commitment towards a service that supports the export of Australian music.”
Current funding for its Contemporary Music export initiative ends on December 31
Laura Wallbridge of Walls and Bridges launched a change.org petitioncalling on Fifield to find a funding solution for what she described as a “desperately needed service”, warning that the local industry “simply cannot function on the global stage without these people and this service in place.”
Speaking exclusively to TMN, Laura explained: “This petition needed to happen. There was an outpouring of shock and distress from the industry after the announcement – but we do not have to accept this decision.
“[…] On a more personal note, without the assistance of the Sounds Australia team Gossling would have been unable to secure an album release in 23 countries or tour the US, UK and Europe. They have provided showcase opportunities and networking opportunities that I just simply could not have secured on my own.”
The petition has since reached close to2,000 signatures (in less than 24 hours) with calls for support from as far afield as SXSW and Liverpool Sound City, UK. Scroll down to read reactions from the industry at large via social media.
A real shame. Aussie BBQ has been a huge part of Sound City over the years. @SoundsAustralia you have our support! https://t.co/0ErpEYaf3C
— Liverpool Sound City (@SoundCity) May 10, 2016
Millie Millgate Export Music Producer and Sounds Australia told TMN that with “With no strategic or coordinated effort at international showcase conference events, artists would be left to navigate festival juggernauts by themselves.
“There would be no opportunity for artist managers and other Australian industry in attendance to sit down at a lunch with some of the most key influential tastemakers and decision makers worldwide (including Agents, labels, promoters, media, music Supervisors).
“There would be no additional showcase opportunities for valuable second plays for artists including THE AUSSIE BBQ, Sound Gallery, Beat Pie or 2 For the Showcase – CMJ College Day, all of which double as instrumental networking events.”
The Gooch Palms at Sounds Australia’s Aussie BBQ atSXSW 2016. Photo Credit: Bianca O’Neill & Cian Davis
Millgate told TMN that without funding Sounds Australia’s partner stakeholders would no longer be able to share their knowledge and understanding of overseas music markets.
“The crucial advice and what’s needed for artists to prepare for “export readiness” wouldn’t be disseminated through the multiple domestic engagement the Sounds Australia team undertakes year round and at domestic events like BIGSOUND, AWME and EMC.”
Dean Ormston, Head of Member Services Group at APRA AMCOS, told TMN Sounds Australia is highly reliant on government funding.
“Sounds Australia was set up as an industry and government funded partnership. We think government should be investing and we can’t run the service at its current level without substantial government investment.
“Sounds Australia provides a broad based international in-market service to Australian artists. Current government funding structures seem to support projects and programs. We continue to lobby the government to find a mechanism to support an export investment strategy.”
Set up in 2009, Sounds Australia has helped 619 acts at 48 trade events in 52 cities in 19 countries that it identified as gateways to the international marketplace.
These include SXSW, CMJ, Canadian Music Week, Folk Allied International, Music Matters, MIDEM, A2IM, the Australian BBQ Tour India and The Great Escape, with showcases, stands and the Australian BBQ series before bookers, agents and promoters.
It also provides networking and business matching for associations and executives, and maintains a presence at major Australian events as BIGSOUND, EMC, the Australasian Worldwide Music Expo, WAM Festival and Northern Territory’s inTune, which are attended by global delegates.
It has as a result delivered 1291 gig opportunities and 1593 business opportunities, including record and booking agency deals, sync placements, brand endorsements and media activity.
The international presence of Courtney Barnett, Chet Faker and Vance Joy started at Sounds Australiashowcases. It estimates a 300% growth of earnings for top tier acts within the three years since their first Sounds Australiainternational gig.
Artist managers including Maggie Collins and Jesse Barbera point out that the global achievements of their acts like Hungry Kids of Hungary, DZ Deathrays, The John Steel Singers, The Creases, Velociraptor and Jeremy Neale would not have been possible without the association.
Mel Lewis, SPUR: Presence Agency is another admirer. “They were reaching out to me with ideas and solutions before I even knew I needed them, had told everyone at the overseas conferences about us before we arrived and made meaningful introductions, and let helping hands and welcoming hugs at every leg.”
Many were angry that at a time when the success of Tame Impala, Sia, Iggy Azalea, Courtney Barnett and Vance Joy is seeing more global attention turning on other Australian acts, vital funding is being cut – especially when the Australian Ballet copped $1 million of funding.
Catalyst was controversially set up as an “alternate” funding scheme by the Federal Government. But compared to other artforms, contemporary music had a minimal boost in its latest near-$12 million in funding to over 45 organisations. The names recipients are gradually released by the Federal Government, and with little fanfare.
As reported recently by TMN, West Australia’s WAM association received $104, 036 towards its export programs.
In the latest round, Arts House in Melbourne got $400,000 to develop the Dance Massive festival. The Australian Art Orchestra collected $24,400 to get 20 young musicians from Australia and Asia to workshop together for a week and perform at Tasmanian festivals.
Sound experimentalist festival Flux accepted $50,000 and the Adelaide Festival, which features contemporary live music, almost $250,000.
The Performing Arts Touring Alliance had $55,000 earmarked towards its schemes to grow the sector through setting up of a touring network and data collection.
Carriageworks in Sydney received $150,000 for New Normal, a national initiative it is developing a contemporary arts and music disability practice. The Belconnen Arts Centre’s move to help Canberra artists with disabilities can now take a further step with $47,000. The Footscray Community Arts Centre’s grant was $150,000 for a series of live performances and visual art by indigenous creatives.
INDUSTRY REACTIONS
Nick O’Byrne– Manager: Courtney Barnett, Frazer. A. Gorman,MilwankeBanks, Gang of Youths
Outside of the artists that I get to work with,SOUNDS AUSTRALIAis probably the single most important factor that has allowed me to have a continuing life in the music industry. Every single artist on our roster has benefited immensely from their support.
As an export body, Sounds Australia have been world-leaders since inception – total best practice – and now they’ve now been told that they won’t receiveCatalystfunding from the Australian Government beyond 2016. I know there are dozens of businesses out there like LookOutKid (that’sKatie Besgrove,Ellen Jane Kirkand me) that feel the same.
Sounds Australia is a program which taught us “how to fish” – they’ve provided support and relationships all over the world so we can keep investing in Australian music throughBarely DressedRecords and LookOutKid Management for many years to come.
Meanwhile – The Turnbull Government has promised millions to major performing arts companies without increasing the capacity orself sufficiencyof the arts-sector at all. It’s really stupid and short-sighted but frankly not surprising.
Daniel Nall– Manager:Safia, Thief
SOUNDS AUSTRALIAhas been REJECTED in thisyearsfederal budget. Probably the greatest blow to the Australian Music Industry sincefilesharingdecimated the industry. Australian music is a not only a hugely important cultural export but alsoanvery real ECONOMIC EXPORT. Sounds Australia is a not aaflippant cultural exercise,itsa trade mission, designed to give a platform forfledgelingAustralian Artists achieve REAL economic goals be they RECORD LABEL DEALS, PUBLISHING DEALS &/or TOURING OPPORTUNITIES. They have helped garner crucial INCOMING REVENUE results for huge AUSSIE EXPORT artists such asFlume,The Temper Trap,courtneybarnett,San Cisco,SAFIA,Flight Facilities,PekingDuk,DMA’S,PekingDuk, amongst manymanyothers. The reality is that the these trade missions help to drive the continued employment of many music industry professionals and id warrant 10’s OF MILLIONS OF DOLLARS OF REVENUE FOR THE AUSTRALIAN MUSIC INDUSTRY IN OVERSEAS REVENUE FOR ARTISTS, MANAGERS, CREW, LABELS, PUBLISHERS. Real Australian Business. Ifthatsnot an economic imperative to support a low cost export initiative, i don’t know what is.
Guy Blackman– Chapter Music (Twerps, Crayon Fields, many others)
Since 2009,SOUNDS AUSTRALIA, anAPRA AMCOSinitiative, has been of huge benefit to Australian bands and labels struggling to get their music heard overseas. Sounds Australia headMillie Millgateis one of my all-time life inspirations, the hardest working and most supportive person in the entire Australian music world. It is incrediblyshortsightedthat they have been denied funding post-2016 through the Ministry for the Arts’CatalystProgram. Australian artists are getting so much attention internationally right now and Sounds Australia have played a massive role in that success.
Devastated to hear about @SoundsAustralia’s #Catalyst funding cuts. There is a petition open here: https://t.co/r7m5C6fTXy #SaveOurSounds
— SXSW (@sxsw) May 10, 2016
ARTISTREACTIONS
We’re currently on our second album in Nashville and @SoundsAustralia have been integral in our development internationally leading us here
— KINGSWOOD (@KINGSWOODBAND) May 10, 2016
Guys, please sign this so @SenatorFifield realises what @SoundsAustralia means to Australian Artists @triplej https://t.co/vesS8pBgZ8
— Demi Louise (@DemiLouiseMusic) May 10, 2016