AFM Indie

We recently posted a blurb about SoundExchange’s concise and genuinely useful New Artist Checklist. If you haven’t seen it yet, here it is.

The checklist is great. But take a look at the number of items on it. Putting aside the work of practicing, rehearsing, composing, booking gigs, networking, promotion and performing, there are thirteen, count’em, thirteen potential areas of exploitation.

We are all responsible for our own careers; it is each musician’s job to ensure that he or she is protected. However, let’s not lose sight of the forest for the trees. The music industry is huge, and in it are many individuals, companies and corporations whose business plan fundamentally involves exploiting musicians.

There is no substitute for careful attention to the financial aspects of your career, but at the same time, an exclusively individual outlook (aka DIY?) leads to the same old story of musicians getting the short end of the stick, again and again and again.

That’s why we think a union of musicians is so important. The AFM has a large dedicated staff, working day in and day out on behalf of musicians. Artists need somebody to push back and help shape an industry that by and large has made a ton of money off musicians but not returned a lot of it to us.

Back to personal responsibility… labor unions, including the AFM, are democratically-run, grass-roots organizations. The only way that we can be effective is for our members — working musicians — to be involved. So get involved! If you haven’t joined the AFM, consider joining. If you have, start making your voice heard.

And the next time you see helpful career advice for musicians, think about how much money is riding on us not following through.

by Dee Dee Acquisto, Senior Director, Health & Human Services, MusiCares

In the wake of the recent deaths of Michael Jackson and DJ AM, it is starkly apparent that substance abuse and dependence remain life-threatening hazards in the music industry.

One would think, after years of public consciousness and industry awareness, including televised interventions, celebrity overdoses, and countless education efforts, that we would see a decrease in substance-related problems and deaths and that the industry would be better informed and vigilant. However, in the 20 years that MusiCares (The Recording Academy’s charitable foundation) has been serving the industry, we have witnessed firsthand the many aspects of the music industry that both facilitate substance abuse and act as impediments to recovery.

What are those aspects and how can they be overcome? This article discusses challenges faced by musicians considering recovery and reviews the resources and supportive strategies available to them or those who are trying to help them.

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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…)