AFM Indie

The following appears in the current issue (Sept/10) of AFM Local 802′s publication “Allegro”.

Indie Musicians Come Together

Earlier this year, Local 802 sponsored “Indie Musicians Unite!” a panel discussion on the future of indie music in New York City. It was held at University Settlement, on the Lower East Side.

Panelists included musician/activist Marc Ribot, Local 802 Recording Vice President John O’Connor, musician/playwright Hanifah Walidah, union activist Carrie Gleason, musician/producer Ray Chew and Jeremiah Hosea, founder of the art collective Earthdriver.

At the forum, there was a lively discussion about the state of independent music in New York.

Many of the musicians spoke about mistreatment and exploitation by club owners and the difficulty of making a living as a performing musician.

There was also a debate over the pros and cons of new media outlets and the online tools that musicians use to promote themselves, as well as the loss of revenue and control over product that results from the ease of sharing music over the Internet.

Musicians expressed a common sentiment as to how frustrating it can be to be working in a field where many acts work for little or no pay.

In some cases, bands are even required to pay the club in order to perform there, a scenario commonly referred to as “pay to play.”

To conclude the event, Matt Plummer spoke about the Venuology Web site (http://www.venuology.com), which musicians can use to rate local venues.

Users of the site can share info on a number of aspects of shows they have played, including how they were paid, how they were treated by management, and what equipment was available at the club.

This is a great tool for artists to give each other a heads up on bad working conditions, as well as promoting clubs that do right by the performers.

Independent musicians are a routinely marginalized and exploited group of artists, and it is increasingly hard for them to earn a living as the landscape for recording and touring is constantly changing.

This is an important population for Local 802 to work with because there has been little contact between these musicians and the union over the years, and 802 hopes to be a resource and help give voice to this group of struggling artists.

Moving forward, we are developing a core group of activists from these forum events.

This group will hopefully serve as 802’s link to the vast world of indie music, and helping to identify the issues affecting indie musicians. Additionally, tools like Venuology.com should continue to be developed and used by artists to collaborate and share ideas around the ups and downs of performing in NYC clubs.

To get involved, or if you have any questions, contact Organizing Rep Shane Gasteyer at email hidden; JavaScript is required.

Excerpted from the book Indie Business Power: A Step-by-Step Guide for 21st Century Music Entrepreneurs, by Peter Spellman

Whether you are starting a new band or founding your own recording company, your business’s name will be its number one asset, so it makes sense to take care in choosing one. The right name will help distinguish you from a sea of bland competitors, provide customers with a reason to hire you, and aid in branding your business or music. Here are five guidelines to help you decide:

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by Mike King, author and instructor for Berkleemusic.com

The music industry tends to be a jaded group to start with, and nothing raises the ire of these folks more than a poorly planned and executed press kit. A poor promo kit is sure to keep your demo or finished CD unopened and not listened to, and the rest of your kit is sure to be sent to the circular bin “with a bullet,” as they say. The good news is, the elements that make up an effective press kit are straightforward, and the essentials will not change much from band to band.

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Members of AFM Local 99 (Portland, OR) have formed a 200-plus group of musicians seeking fair pay in local clubs and establishments.

Although many places charge a cover fee to see a band, a very small portion of that money actually goes to the musicians, says Local 99 President Bruce Fife, who was quoted in the Willamette Weekly. There’s no set amount for a percentage of door sales that goes to musicians and payments vary from club to club.

“Money goes to the doorman and soundman before it gets to the band,” says Fife. “That money being paid at the door [should be] fairly distributed to the musicians.”

The movement for “fair trade” music hopes to establish a pay scale for Portland club gigs, depending on audience capacity and the type of liquor license. Venues that already participate with union musicians like Roseland and the Crystal Ballroom would not have to adhere to this new proposed pay scale, since they already work with AFM contracts.

Clubs and venues that participate in the pay scale would receive some sort of recognition like a sticker in their window, similar to coffee shops and chains that buy from companies who pay farmers and laborers fair wages.

It’s uncertain whether or not clubs would increase door fees or alcohol prices to cover the cost increase. In a progressive city like Portland, musicians believe people would be willing to the pay a higher price for a quality act. “This sticker means better entertainment and that your money goes to the musicians,” says Sean Hudson, an upright bass player and member of Local 99. “We think this will help increase attendance.”

Successful indie musicians understand that a lot of time and effort must be spent constantly improving their musical abilities. There is simply no substitute for talent and good chops, but are they enough in themselves to guarantee any amount of success in the music business? Of course not — they don’t call it “The Music Business” for nothing. Anyone considering a career in the live music business must learn that “Takin’ Care of Business” is much more than a ’70s rock anthem.

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For many years, Canadian composers and songwriters have received payment when their songs are played on the radio.  As most Canadian musicians know, these payments come from SOCAN – the organization that represents composers and authors of sound recordings in Canada.  However, what most Canadian musicians do not know is that musicians who perform on recordings can also receive a payment when their recording receives radio play! (more…)

As a Canadian artist, the first question you need to answer is whether your income is considered income from employment or self-employment. This distinction is important, since it will determine what expenses are deductible. (more…)

Tax season is here again, and that means musicians must turn their attention from counting bars to counting earnings. Freelance musicians should be especially aware this time of year. An independent musician’s tax return can be somewhat complicated because most self-employed artists get paid with “gross” dollars with no taxes withheld. This requires them to be disciplined enough to save and prepare for April 15.

If you’re a US citizen, remember that your worldwide income from all sources is considered taxable income. Income you receive from club dates, wedding gigs, music lessons, session work, drum-loop programming, royalties, or any other music related or nonmusic related work, is also taxable income. (more…)

by Liana White, AFM Canada Director Administration and Services, and Steve Gelfand, AFM Director of Touring/Theatre/Booking

If you plan on performing outside of your country, you must have all personal identification and travel documents in order, and specifically, ensure you have obtained the appropriate work permits.

The AFM assists US and Canadian musicians, and those from abroad, to obtain the appropriate North American work permits for bookings outside of their home country. (more…)