This research follows up the SACO survey on the impact of COVID-19 across the whole South African creative and cultural industry landscape, published in May 2020,
by applying a more detailed lens to the specific impact on the live music industry and its venues.
The research gathered 697 responses by means of an online qualitative and quantitative survey, conducted seven in-depth case interviews, and undertook extensive desk research on the most recent international publications and research on the impact of COVID-19 on the creative and cultural industries. Survey respondents came from all South Africa’s provinces (with Gauteng, the Western Cape and KwaZulu Natal dominating), worked along all segments of the music value chain and included representatives of all music genres.
The data presents a picture of a highly interconnected value chain, where venues and other music delivery mechanisms serve as hubs for music practitioners; the loss of one venue impacts on the work and revenue opportunities of multiple other industry professionals. Multiple revenue interdependencies emerge, with 47% of artists, promoters, freelancers and venues highly dependent on confirmed local engagements, but also revenue from food, bar and ticket sales, door takings and other sources.
A majority of the sample had previously been operating for more than five years, but the impact of COVID-19 has been devastating even on these established practitioners. 90% of the live music industry lost income due to COVID-19 and 25% indicated that they would not be able to continue with any elements of their business under lockdown.
Industry professionals have attempted to respond flexibly and with agility to the crisis, with 88% attempting various online music alternatives in a very short space of time.
However many had to resort to more severe measures such as terminating short term contracts (23%), retrenching employees (13%) or cutting employee salaries (18%).Only 6% of respondents could continue to pay all employees. Recent research by Concerts SA also revealed that while the online platforms have been essential to ensure the survival of the sector under lockdown, the revenue levels from live streaming and Video-on-Demand (VOD) work have not matched earnings from live performance in the case of almost all role players. Just under 50% of the sample expressed significant concerns about their future prospects in the music industry, citing the ongoing uncertainty with respect to the longer term impact of the pandemic on audiences and society and concerns with respect to their ability to operate without an integrated recovery plan.
The predominantly informal and project-based nature of all music-related work means that many industry actors were unable or ineligible to apply for or secure any form of
government COVID relief support, since all required extensive formal documentation. Only 7% reported that they had successfully applied for the various SMME support
mechanisms available while 21% indicated that they had successful applied to the .Department of Sport, Arts and Culture for funding. Without access to support, many
have resorted to the sale of equipment and assets, and reliance on financial support from friends and family.
Respondents appealed for flexible, integrated support across administrative boundaries and government portfolios, both financial and in-kind. The participants also called for decentralisation of programmes, projects and infrastructure, with a focus on the local – from compliance with local content quotas to a funding shift away from largescale events towards local music initiatives, venues and performance spaces. They requested access to a range of government-controlled spaces to conduct safe music activities, including recording for live streaming, and support for the purchase of digital equipment, as well as training opportunities in utilising digital technology.
However, many noted that inequality, and especially the country’s digital divide, precluded many from participating in the pivot to online music, significantly hampering the efforts of many who may have intended to adopt digital transformation strategies to survive and secure their future. Another significant factor was a perceived lack of efficiency, integrity, effectiveness and practical industry understanding among the officials at all levels of government with whom they had to deal.
Yet despite these issues, South Africa’s live music practitioners expressed a high degree of – albeit conditional – hope about the future of the industry. With appropriate and relevant supports in place, just under half declared themselves optimistic about their future in the industry.
