Touring for Today's Musician
Last month I discussed the current state of new music (conclusion: it isn’t good, not because of the music, but because of nearly everything else), and I questioned how a smaller artist can financially justify touring. More specifically, I estimated how much the artist Sammy Rae and her amazing band might have earned at a show in Milwaukee that I attended last November. I concluded very little, if anything.
Right on cue, bassist and YouTuber Adam Neely posted a video this week on how his band, Sungazer, barely broke even on their recent tour of the West Coast. Neely is far more eloquent than I am, and I highly encourage anyone who wonders about how their favorite artists survive to check out this video. In it, Neely specifies the costs associated with his tour, some of which may surprise you. Neely discusses how important the size of the band is in determining the cost-effectiveness of touring. For Sungazer’s tour, they typically played with four musicians, and the fourth was sometimes a luxury they weren’t so sure they could afford. Compare that to Sammy Rae’s six-piece backing band; I have no idea how she was able to pull this off and whether any of her band made enough to justify being away from home and, presumably, away from their other gigging or teaching jobs that pay the bills.
A few years ago, touring was challenging enough for independent artists, but Neely highlights just how precarious such an endeavor is in the age of COVID, as his band had to postpone tour dates when two of its members contracted the virus. This took away from the bottom line, as it extended lodging requirements and added costs to its van rental and gas. There’s also the issue of insurance, and Neely points to a CBC article from last September that examines this issue.
What was most illuminating about the video for me were the negative comments Neely shared about people’s perceptions of how touring musicians “should” live: to-wit, destitute, sleeping in vans, unshowered, presumably living off of nothing but the thrill of playing music. Worse, many of these vitriolic viewpoints were from fellow musicians who, as Neely states, “had sacrificed personal comfort indignities to stretch thin budgets on the behalf of those who might exploit their labor” and were now eager to chastise those who have chosen to live the way most sane human beings live.
Neely concludes (I’ve edited his remarks for smoother reading): “Musicians are expected to struggle. It is part of the narrative. The idea of a bed to sleep in seem(s) especially controversial. But this DIY ethos metastasizes quickly into anti-labor rhetoric. and (in) relentlessly questioning the necessity of fair working conditions and compensation, the argument being made, effectively, is that living expenses are shameful and the idea of paying for labor is downright offensive.
“I would argue that live music has value. It is work. And those who do it deserves to do it with dignity, like anybody who works.”
Nicely said, Adam. Please consider subscribing to his channel.
Neely also refers to several other worthy reads, including the following:
the band Pomplamoose’s balance sheet from its 2014 tour.
Stereogum’s article, “Why Are Musicians Expected to be Miserable on Tour Just to Break Even?”
If you have access, you can also check out Rolling Stone’s article that references some of the above, including the band Wednesday’s tweet about it’s appearance at South by Southwest Festival, which earned the band a net of $98.39.
I’ve been writing about music for the past couple of months. Next week I’m going to start addressing some other issues that have been on my mind, starting with the importance of physical labor for one’s well-being.