But something interesting has happened. Business for many artists is running smoother, and for many, the changes clarified some sneaky cash in handers, shaky hobby statuses and a whole lot of dodgy doings that finally were dealt with. A good thing.

Since 1 July 2026, we’ve seen artists reconsider how they operate their music businesses. Some sole traders have moved to partnerships, trusts or companies, following advice from their accountants about the structure that best suits their commercial arrangements.

For bands operating as a shared business, this has prompted some overdue conversations. Who owns the Music Brand? Who signs contracts? Who receives the income? Who pays the performers? Who is responsible for the administration? Questions that should probably have been answered before the third rehearsal and the first argument about the drummer’s girlfriend.

Of course, changing your taxable entity doesn’t automatically remove Superannuation Guarantee obligations. The legislation looks at the actual engagement and payment arrangements, not simply the name on the ABN. But choosing the right business structure, with professional advice, can make the responsibilities considerably clearer.

And that’s progress.

Another interesting development has been the number of artists discovering the joys of accounting software. Platforms such as Xero, HNRY and QuickBooks are helping musicians better manage their income, invoices, expenses and business records. Depending on the platform and subscription, artists can also streamline supplier records, contractor payments and the administration associated with their shows.

Instead of searching through old text messages for somebody’s bank account details every Friday afternoon, they can keep their records in one place. Contractors can be recorded. Payments can be tracked. Expenses can be allocated. And the accountant doesn’t have to reconstruct an entire financial year from a shoebox and a vague recollection of what happened in March.

Who would have thought a superannuation shake-up might finally help music to mean more business? A really good thing.

And it is worth noting that some artists have taken a different approach. Rather than changing their taxable entity, they’ve worked with their accountants to examine the actual commercial costs of delivering their shows. Because a live show isn’t necessarily just a musician turning up with an instrument and collecting a fee. There may be equipment, production, insurance, transport, accommodation, marketing, additional performers, technical crew and other legitimate costs involved in delivering the entertainment product.

Pushworth has developed a Show Delivery Declaration (click here to access) for sole trader ABN holders to document those costs and have their accountant assess the labour component and relevant superannuation obligations. Under the general contractor labour test, whether a contract is principally for personal labour can be relevant to the SG assessment.

However, performers are also subject to specific provisions under section 12(8) of the Superannuation Guarantee (Administration) Act 1992. A labour component below 50%, or a letter from your accountant, does not automatically establish an exemption from superannuation for a performance engagement. The accountant needs to assess the actual contract, payment arrangements, applicable legislation and supporting records. The declaration provides a structured way to document the position.

Pushworth has developed a dedicated Super Artist Guide (click here to access) explaining how the superannuation arrangements work and what information you need to provide.

Here’s what to do:

1. Activate your Pushworth Live Portal access.

2. Open your supplier profile.

3. Enter your superannuation fund details.

4. Make sure you’ve selected or entered the correct registered Super Fund name. (Many funds bear the same brand name but have very different funds so add the correct one)

5. Check your membership number and any other required fund information.

6. Save your details.

Check your fund statement or member portal for the correct details, including the fund’s ABN and Unique Superannuation Identifier (USI), where applicable. If you operate a Self-Managed Super Fund, additional information will be required.

And if your business structure has changed, make sure you update it in the Portal to reflect the correct legal entity and ABN.

The introduction of PayDay Super has exposed something that has been sitting beneath the Australian live music industry for decades. Many musicians are running commercial businesses without the systems, structures or records normally associated with running a business. Because for years, the administration could be informal, the arrangements were familiar, and creative beings like musicians always find a way to make things work. New compliance requirements have made some of those informal arrangements harder to maintain.

The good news is that the vast majority have adapted and are no longer spending hours managing their music business. They’re talking to accountants. Reviewing their business structures. Setting up accounting software. Recording their costs. Formalising their band arrangements. And getting excited about all the opportunities around the business behind their Music Brands.

So now with fewer conversations about superannuation in the green room, there is time to focus more on the music, creating new shows and being seen by new audiences.

Don’t you just love it when music means business :-)

Nichola Burton is the co-founder and CEO of The Pushworth Group, with more than 35 years navigating the business behind Australian live entertainment. She founded Musoverse to give independent artists the business knowledge, practical tools and commercial confidence to build sustainable careers, protect their Music Brands and take control of their own success. Through straight-talking industry insight, education and real-world experience, Musoverse helps musicians become as capable behind the business as they are on stage. After four months at the coalface of PayDay Super, she’s still standing, still asking questions, and still convinced musicians should spend more time making music than managing paperwork. Copyright 2026

Eventually, the band became a business.

Maybe its time to set up your Band Agreement before someone leaves with the trailer and the Facebook password becomes a bargaining chip?

As bands formalise their trading arrangements, an internal agreement needs to address two connected questions:

How are we operating this business together?

How are we protecting what we’re building?

The accountant needs clear answers about the money. The people contributing their time, skills, equipment and ideas deserve clear answers about their investment.

The trading structure needs to reflect the actual business.

For bands choosing a partnership, that means identifying who the partners are, how the business operates and how its income and losses are shared. An ordinary partnership has its own ABN and tax file number and lodges a partnership tax return. The partnership generally doesn’t pay income tax itself; each partner reports their share of partnership income in their own return.

That gives the band a framework for trading. There are still decisions to make.

Who can accept a booking? Who approves expenditure? What happens when a show loses money? How much stays in the account to fund the next campaign?

A general partnership also carries personal exposure: partners have unlimited liability for its debts and obligations. Choosing that structure deserves proper advice and a clear understanding of the commitments involved.

“Let’s get a partnership ABN” should be the beginning of a business conversation.

So the goal here is for everyone on stage to understand their place in the business.

A band might have founding owners, a Music Brand Manager, regular performers and occasional substitutes. Those people can have different roles, responsibilities and liabilities.

Someone might receive an agreed performance fee. Someone might have an ownership interest. Someone might lend the business money or equipment. Another person might be paid separately for managing bookings and marketing. So take the time to outline those arrangements.

Playing the same show doesn’t explain who owns the business. Receiving the client payment doesn’t explain who is entitled to keep it. An internal agreement should make the relationships understandable to everyone involved, including the person joining next month.

The plan is obviously for the brand to keep growing between gigs. The audience sees the show. Behind it sits the work that makes the show bookable. The consistent presentation. The current promotional assets. The reliable communication. The rehearsed substitute who can step in without turning the night into an experiment.

Then there is the reputation built one successful booking at a time. And there is a value for that. An agreement captures that value.

If one member spends six hours a week administering the business, agree how that contribution is treated. If someone funds a recording, document whether the money is a loan, an expense or an agreed investment. If the group develops a show together, discuss ownership and permissions while everyone can still remember who contributed what.

And never forget about money; it changes everything. Start with an audit of payment for performing, managing, repayment of money and the ownership of assets as each will need their own explanation.

And start to ask these questions: Which people or entity own the name? Who owns the logo, recordings, arrangements, costumes and promotional material? Who has permission to use them? What happens to that permission when a member leaves?

Put the answers in an asset register and have the relevant terms checked. Include digital assets: domains, websites, social accounts, advertising accounts, mailing lists and booking records. Record authorised access and the handover process. To establish business continuity, consider setting up a band google drive where access is mapped out and easy to find when needed.

Songwriting and recording interests also need separate attention. A performance payment formula won’t answer every question about creative ownership or future income.

Start with the client payment and follow it through. Record the approved deductions, production costs, travel, accommodation, performer payments and any amount retained by the business. Explain who invoices, who receives the funds and when statements and payments are issued. Agree how additional expenditure is approved. Include cancelled shows, unpaid invoices and losses. A system that only explains the profitable nights leaves some expensive gaps.

The aim is simple: each person should be able to understand their payment without conducting an investigation.

Pay Day Super started this conversation, making contracting and payment chain particularly important.

Who is engaged by the client? Who engages the performers? Who is liable to pay them? Who maintains the records and administers any required contributions? Have those arrangements assessed. Australian SG rules include specific provisions covering paid performers, so the analysis needs to consider the actual engagement.

An agreement records responsibilities. Calling someone a partner or contractor cannot, by itself, settle their legal position or create an SG exemption.

And factor in an exit plan. People change direction. Health changes. Family commitments change. Sometimes the musical relationship simply runs its course. Agree what happens to confirmed gigs, outstanding payments, member loans, equipment, account access and use of the name. Discuss any buyout method before someone needs a valuation.

A clear departure process gives the leaving member a path out and the remaining business a path forward. It also helps protect the other people relying on the show: clients, crew, agents and audiences.

Sit down together and work through the business you are actually operating. Record the decisions. Identify the disagreements. Take both to your accountant and lawyer.

The Pushworth Internal Music Brand Agreement Checklist and Fact Sheet (Click on each to download a copy.) provide a practical starting point across the 12 areas covered in this Musoverse Substack Inside the Band.

You’ve already invested the rehearsals, the money, the weekends and the work.

Give that investment an agreement everyone understands.

General information for Australian music businesses. Obtain legal and accounting advice about your own structure, agreements and obligations.

Nichola Burton is co-founder and CEO of The Pushworth Group and the voice behind Musoverse. A performer turned music business operator, she writes about what it takes to build a show, run the business and protect the work behind it. Copyright 2026

So it’s time to retire the urban legend of what a hospitality rider actually is.

Having spent more than three decades working with artists on tour around Australia, I’ve collected some ripper backstage rider stories. Most are incredibly humble and gracious. A small percentage of artists are quite ridiculous, and there are some memorable moments where the long suffering hospitality staff exhibited a degree of patience normally reserved for negotiating with toddlers.

The hospitality rider emerged alongside the growth of international touring in the 1960s and 1970s. Its original purpose was to make sure that musicians and crews travelling from city to city had access to food, water, somewhere to change and somewhere to recover between shows. The technical rider specified what was needed to deliver the performance. The hospitality rider specified what was needed to look after the people delivering it.

Van Halen famously demanded a bowl of M&Ms with all the brown ones removed. David Lee Roth later explained it was a test to see whether promoters had read the band’s complicated technical requirements. While Iggy Pop’s rider famously requested a Bob Hope impersonator, other artists requested increasingly elaborate backstage comforts. The rider had become part of the mythology of rock and roll. Not just what you needed, but what you could get away with asking for.

And for some artists, it became the ultimate confirmation that they’d made it.

Cue one emerging international band, hot on the heels of their first number-one hit. We had booked their first Brisbane concert at the Entertainment Centre. One minute, they were young, hopeful up-and-comers. The next, their song, was sitting at number one, and they were embarking on a world tour. The transition had taken months, not years. A whirlwind of interviews, airplay, screaming fans and instant adulation. They’d gone from dreaming about fame to living it before they’d had much time to work out what it actually meant. And somewhere in that whirlwind, the vocalist apparently decided that the appropriate response to sandwiches arriving backstage with their crusts still attached was to slap the caterer. Hard. It was an extraordinary display of bad manners from someone who had apparently mistaken a hit record for a diplomatic passport.

But what fascinated me was the psychology behind it. To these young artists, the hospitality rider wasn’t simply a list of practical requirements. It had become a measure of their newfound power and value. The backstage treatment. The special requests. The people running around making everything happen. They’d made it. And the rider was proof. What they hadn’t yet worked out was how the business actually operated, or that the people delivering their sandwiches were professionals doing their jobs, not servants attending to royalty.

Interestingly, as their career progressed, so did their manners. The demands became more reasonable. The behaviour settled down. They gradually grew into the professional responsibilities that came with their success. Experience eventually caught up. And while the band may have moved on from that unfortunate afternoon, those of us standing backstage never forgot it.

Then there was a very famous Australian act. One enormous number-one hit that kept them in the public consciousness for decades. They didn’t perform very often. When they did, it was something of a reunion. The players got together, the old mates turned up, and memories and drinks flowed in equal measure. The green room inevitably filled with friends, acquaintances and the sort of hangers-on who can smell complimentary alcohol from three suburbs away.

And the hospitality rider? Well, apparently that was a community resource. We’d regularly hear from promoters afterwards. Not only had the entourage consumed the rider, but some had helped themselves to the stock behind the green room bar. Backstage at their concerts became known as an all-inclusive reunion package with the promoter being expected to simply absorb the cost.

It was a fascinating example of how something provided as hospitality could quietly become entitled ownership.

Those two experiences stayed with me over the years because they illustrated two different attitudes to success. One act was learning how to handle fame. The other had become rather comfortable with its privileges. Neither story was really about food or alcohol. It was about expectation and entitlement.

And all the while, the Australian hospitality industry was transitioning; the days of leaving several cartons of beer and a couple of bottles of spirits backstage and hoping for the best had become slightly more complicated.

In Queensland, licensed venues operate under the Liquor Act 1992 and the oversight of the Office of Liquor and Gaming Regulation. Responsible Service of Alcohol isn’t optional. Neither is compliance with the Work Health and Safety Act 2011. Musicians working as independent contractors are still workers for WHS purposes. Which means venues have to consider what happens when somebody who’s been enjoying the hospitality rider starts operating electrical equipment, navigating stage cables or dealing with an enthusiastic audience.

The venue also has to consider its licence conditions, insurance exposure and the other small administrative inconveniences involved in operating a legal business. None of this means a venue can’t provide complimentary alcohol. It can, subject to the applicable rules. It just means that “But it’s on our rider” isn’t a particularly compelling response to a liquor licensing inspector.

So here we are. The hospitality rider has survived rock and roll excess, the rise of responsible service legislation and several generations of questionable backstage behaviour. And yet we’re still weathering complaints about complimentary drinks.

Commercial arrangements for hospitality vary from promoter to promoter. Some offer meals. Some offer drink vouchers. Some provide water and soft drinks. Some negotiate comprehensive hospitality arrangements. Others provide exactly what was agreed in the booking contract. Yet unfortunately there are still occasions when an artist throws a tantrum when offered post-mix lemonade as though the venue has personally insulted their artistic legacy. Or demand free meals for themselves and their family, the odd vodka, lime and soda or a sneaky six-pack backstage.

We need to bring the whole Riders conversation back to business.

50% of show contracts will include hospitality riders. 50% won’t. I think it’s important to note that riders are not wish lists or standard industry arrangements. A touring act travelling hundreds of kilometres with a crew and a twelve-hour production schedule will have legitimate catering requirements. These will be negotiated in advance with the promoter signing off on their rider agreement. A local soloist driving twenty minutes to play a three-hour show may have a very different commercial arrangement in place.

Each independent music business negotiates the costs of delivering their show. Travel. Accommodation. Production. Hospitality. Tech. The promoter then decides whether those terms work for its business. If you are lucky enough to be employed by a producer or a promoter under the Live Performance Award, they may provide meals and other entitlements. However, the majority of independent contractors are subject to negotiation for rider arrangements as governed by liquor licensing and workplace safety obligations.

So in 2026, for the most part, the industry has traded the backstage free-for-all for contracts, compliance, commercial negotiations and the occasional complimentary chicken parmigiana. The hospitality rider still has its place. If you’re touring, negotiate what you need. If you’re playing locally, know what’s included. Agree before the gig, not during a spirited debate with the bar manager halfway through your second set. And when a venue offers a little extra hospitality, show your gratitude. Be gracious.

And next time somebody offers you a complimentary lemonade, remember: the rider might be rock and roll, but somebody still has to pay the bar bill.

Nichola Burton is the CEO and co-founder of The Pushworth Group, with more than three decades navigating the wonderfully ridiculous business of Australian live entertainment. Through Musoverse, she’s building a practical business education hub for independent Australian musicians, turning decades of industry experience into accessible knowledge, guides, tools and resources. The mission? Help artists move beyond simply playing gigs to building professional, profitable and sustainable music businesses. Less guesswork, more business nous, and plenty of backstage stories along the way. Preferably without slapping the caterer. Copyright 2026

You can record every note yourself and still need permission to use the song in a promotional video. The recording and the underlying composition involve separate rights.

This guide explains how Australian cover shows can prepare a promotional MP4, check the permissions they need and upload it to YouTube.

1. Choose five or six songs

Recommended showreel format:

• One promotional video.

• Five or six songs demonstrating your show’s appeal.

• Up to 15 seconds of each song.

• A short opening identifying your show.

• A closing frame with your booking contact details.

Choose sections that show your strongest vocals, musicianship and stage presence. Give the viewer enough time to hear the performance before cutting to the next song.

The 15-second limit is an editing guideline—not a copyright exemption. Even a few seconds of protected material can create copyright issues without permission.

2. Identify the songwriters and publishers

Create a record for every song you intend to include.

Song Title:

Songwriter/Lyricist:

Original Album and Year:

Record Label/Master Owner:

Publishing Rights:

Live Show Licence: Public Performance Licence under One Music Australia

Google can help you locate the appropriate information.

3. Record your own performance

Record your own vocals and instrumentation. Never use the original artist’s master recording.

Check the entire soundtrack for:

• Original recordings used during introductions or transitions.

• Samples taken from commercial tracks.

• Karaoke or third-party backing tracks.

• Venue background music captured before or after your performance.

A backing track needs permission appropriate to its use in a promotional video. Buying or downloading it does not automatically grant those rights.

Confirm recording ownership and promotional permissions with your musicians, producer and videographer.

Record your own performance. Using your own vocals and instruments avoids using the original master recording.

❌ Do not use any piece of the original artist’s backing track or studio audio.

❌ Do not use clips from the official music video or copyrighted live concerts.

Your own recording removes one clearance problem. It does not remove the songwriter’s rights.

4. Keep the proposed use clear

Show the publisher exactly what you intend to create.

If you plan to change lyrics, translate the song, combine songs into a mashup or substantially rewrite the music, disclose that and request the appropriate permission.

Straightforward cover performances are easier to describe and assess. They still require clearance for commercial video use.

5. Export your MP4

Recommended production settings:

• Format: MP4.

• Video codec: H.264.

• Resolution: 1920 × 1080 where the source footage supports it.

• Orientation: Landscape, 16:9.

• Frame rate: Match the recorded footage.

• Audio: AAC-LC, stereo, 48 kHz.

MP4, H.264 and AAC-LC are supported by YouTube’s recommended upload settings.

Check the finished file for balanced sound, clear vocals, readable contact details and abrupt edits. Give venues a fair representation of the performance they are booking.

6. Add accurate credits and a rights notice

Credits acknowledge the creators. They do not replace permission. Statements such as “we do not own the song” or “no infringement intended” do not authorise its use.

Use this description template, adapting it to your actual recording and licence terms:

ABOUT THIS SHOWREEL

[SHOW NAME] performs live/studio cover versions of the songs listed below. This promotional showreel showcases our own recorded performances.

PERFORMED BY

[SHOW NAME]
[PERFORMER CREDITS]

BOOKING ENQUIRIES

[BOOKING LINK OR CONTACT]

ORIGINAL SONG CREDITS

Repeat for each song:

[VIDEO TIMESTAMP] — [SONG TITLE]
Songwriters and lyricists: [ALL VERIFIED WRITERS]
Originally performed/popularised by: [ARTIST]
Original album and year: [IF APPLICABLE]
Publisher or administrator: [VERIFIED DETAILS]

RECORDING AND VIDEO CREDITS

Cover recording: [OWNER / PRODUCER]
Video: [OWNER / VIDEOGRAPHER]

RIGHTS NOTICE

The underlying musical compositions remain the copyright of their respective rights holders. No original artist master recordings are used in this video.

Include that final sentence only if it is true. Add any credit wording required by your permissions. State that synchronisation permission has been obtained only when you hold the relevant approvals.

Keep full licence documents in your business records.

7. Upload and review YouTube checks

Once permissions are in place:

1. Open YouTube Studio and select Create → Upload videos.

2. Upload your MP4.

3. Add the title, description, credits and thumbnail.

4. Select Private while reviewing the upload.

5. Allow processing and copyright checks to finish.

6. Inspect any restrictions and identify the claimant and affected excerpt.

7. Resolve issues before changing visibility to Public or Unlisted.

Private or unlisted uploads are useful for reviewing the finished video. They are not a licensing workaround.

YouTube warns that copyright check results are not final: later claims and removal requests can still affect the video. A clean check is therefore not proof of permission.

8. Understand claims and strikes

A Content ID claim can result in advertising revenue going to a rights holder, viewing restrictions or a block. A claim does not itself create a copyright strike.

A copyright removal request, if valid, can remove the video and result in a strike.

Some eligible cover videos can share advertising revenue with publishers. Monetisation outcomes depend on eligibility and the rights holder’s policy; they are not universally the same.

Do not dispute a claim simply because you performed the song yourself, credited the writers or used a short excerpt. Dispute only when you have a valid basis and supporting evidence.

Before you publish

• Five or six songs selected, with excerpts of up to 15 seconds each.

• Writers and publishers verified.

• Written permissions cover the intended commercial promotion.

• Every audio recording and video element is owned or appropriately licensed.

• Credits and any required licence wording are included.

• No unsupported claim of original artist endorsement appears.

• MP4 reviewed for picture, sound and accurate booking details.

• YouTube checks are reviewed, and any restrictions are addressed.

• Permissions, expiry dates and the final MP4 retained.

The showreel earns attention. The permissions protect the asset you have paid to create.

Nichola Burton is co-founder and CEO of The Pushworth Group and the voice behind Musoverse. With more than three decades connecting live shows with audiences, she helps artists turn their talent into a business—and navigate the fine print that applause doesn’t cover.

Apparently, everybody in the Australian live music industry, from artists to national bodies to venues to lawyers and accountants, all failed to read the same memo for 34 years. And the government bodies responsible for implementing it seem not to have noticed that almost none of the commercial systems operating across grassroots live music reflected it.

I am kinda curious about how a government passed legislation affecting an entire industry it did not properly understand, failed to connect that legislation to the systems through which the industry actually operated, provided inadequate practical guidance, and then left everyone to discover the consequences more than three decades later just in time for Payday Super.

To understand this failure, we need to time travel back to 1 July 1992, when under the Keating Government, Treasurer John Dawkins introduced a national system intended to expand retirement savings beyond the workers already covered by industrial awards.

The social objective was understandable enough. But sitting inside the legislation was section 12(8), which expressly deemed certain people paid to perform or participate in music, entertainment, sport, promotional activity, film, television, and related services to be employees for Superannuation Guarantee purposes. Yet, in the standard industrial sense, under commercial contracts, under OHS legislation, and in every other area in law, these people are not employees.

First question, “Why?”

Over the next 34 years, the Australian live music market overwhelmingly continued to operate as business-to-business commerce where artists controlled their repertoire, personnel, equipment, presentation, and delivery under contracts that were written around results.

My next question is “How could an entire industry ecosystem get it wrong?”

On 17 July 1991, I was awarded my Queensland Private Employment Agent licence. I joined the PEA Association, attended meetings with other agencies, and was invited to participate in a variety of national industry consultations over the decades where superannuation was never mentioned, and when I personally raised the matter, I was shut down immediately with a firm '“Agents issue Results Based Contracts”.

Lawyers, Accountants and Industry Advisors all noted that the Queensland private-employment-agent framework recognised that an agent who could negotiate contract work for performers, administer those result based contracts, and arrange payments under them. That model distinguishes an employment agent from a business supplying its own workers and carrying the obligations owed to those workers. The licensed performance agent facilitated a transaction between a customer buying a live show and a supplier delivering a live show offer. Industry-wide, contracts reflected that structure. Business to business.

So while this practice reflects the Australian music industry from 1992 up until 2026, I am interested in understanding how a law materially affects an entire commercial sector, leaves a collection of words on a government website, and waits for 34 years for everybody to trip over them. For the Keating Government to pass this legislation, wouldn’t it have required a concise understanding of the market being regulated? Therefore, wouldn’t it have required consultation, industry-specific guidance, the identification of existing contracting structures, clarity about who carries which obligation, and systems capable of administering the law? And wouldn’t someone be required to notice that an entire industry continued operating in a way that bears almost no resemblance to the statutory model?

So what happened? And how did it happen? Where is the missing bridge?

Let’s start here. A live show is not three hours of labor. One human does not simply arrive at 7 pm and apply its labor until 10 pm and then go home. The show contracted by the venue purchases includes but is not limited to the act’s name and brand, audience recognition, repertoire, intellectual property, rehearsal and preparation, instruments and equipment, transport and freight, production, public liability insurance, administration, promotional photography, video, social media reach, marketing obligations, ticket-selling capacity, audience-drawing power, and the subcontracting of additional musicians and the performance itself.

The show that is purchased exists way before anybody steps onto the stage.

Two acts can perform for exactly three hours and charge completely different fees because the customer is not merely purchasing three hours of physical labor. They are purchasing commercial value. One act may bring no audience. Another may fill the room, sell tickets, increase food and beverage revenue, and give customers a reason to return. The show is the delivery mechanism. So which proportion of the total commercial fee represents qualifying earnings?

The direct labor component of delivering a show may represent less than half the total cost to the venue. The rest may reflect equipment, production, travel, administration, marketing, insurance, rehearsal, intellectual property, brand value, and the cost of engaging other performers.

If the government consulted with this sector prior to the legislation in 1992, how does this clause assume the entire performance fee is simply payment for personal labor? I mean, if some fictional person turns up alone, owns nothing, risks nothing, promotes nothing, supplies nothing, manages nobody, and creates no commercial value beyond their physical presence on stage to deliver a show, then sure, it makes sense if you are a karaoke host employed by the venue to work 5 nights a week. But this is not reflective of the Australian music industry. Not in 2026 and not in 1992.

Queensland’s Work Health and Safety framework adds another layer of contradiction. A venue and an entertainment supplier may both be persons conducting a business. Their duties are concurrent with each party managing safety for the audience to the extent that it can influence or control the relevant matter. The venue controls the premises, access, emergency systems, patron environment, and many physical risks. The artist business controls its personnel, equipment, stage activity, and aspects of the performance. WHS law therefore recognizes the venue and supplier as operating businesses with their own expertise, control, and legal duties.

I would love to know the identity of the so-called industry consultants in 1992 who declared that an independent supplier under the performance contract can be a PCBU carrying non-transferable safety duties, the operator of an entertainment brand, a contractor engaging other subcontractors, a marketer responsible for promoting the show, and a deemed employee for SG purposes.

How did music-industry organizations fail to embed section 12(8) into standard contracts and professional guidance? How did venue associations fail to warn hospitality operators? How did accountants process artist invoices for decades without routinely identifying SG obligations? How did lawyers approve results-based performance contracts without consistently addressing the separate deemed-employee provision? How did booking agencies administer millions of engagements through accounts-payable systems rather than payroll? How did artists operate as independent suppliers without being told to provide superannuation details? And how did government regulators watch an entire market operate this way?

Until 1 July 2022, the $450 monthly threshold probably concealed much of the practical problem. A performer might receive one payment from a particular purchaser during the month and remain below the threshold. In 2022, this market, still in active recovery after the COVID lockdowns, was focused on rebuilding the market. Accountants were still processing Job Seeker and Keeper payments, and an industry operating model where contracts were results-based, with terms and conditions operated in compliance by applying standard contract law and the ATO’s own established guidelines. Agents operated under a standard tripartite (three-party) agency mode, being a licensed intermediary facilitating a business-to-business deal, with terms legally binding the artist to handle their own business affairs.

What changed on 1 July 2026 was not the industry model but a massive legislative and regulatory shift by the High Court and the ATO that effectively dismantled the “all-inclusive invoice” practice for independent contractors.

Interestingly, in October 2025, the Tax Institute wrote to the ATO about the administration of SG for performers, entertainers, and related service providers. It reported “considerable uncertainty” and a general lack of awareness about section 12(8). It provided eleven ordinary examples demonstrating the difficulty industry practitioners faced in applying the provision to common commercial transactions.

Thirty-three years after the legislation commenced, tax professionals were still asking the ATO to explain how it applied in practice. And so were many other industry companies.

The reality is that Payday Super finally turned the lights on and showed an industry caught with its collective pants down asking all those same questions while seated beside a government body that never built the machinery through which answers to those questions could be obtained.

So sure. Go ahead. Create a special statutory rule for performers. But then why not also integrate that rule with the commercial structures operating across their sector?

Here’s a thought. Maybe reconcile Commonwealth SG law with state-regulated agency models? Provide guidance for how the rule is applied to whole-act contracts. Resolve the intermediary payment chain. Capture the distinction between a performer’s labor and the composite commercial product being supplied. Account for marketing, brand value, production, and audience draw. Create practical systems for intermittent, high-volume engagements. Ensure professional advisers (lawyers and accountants) understand the provision consistently. Ensure industry bodies educate the market.

A New Approach (ANA): Australia’s federal, state, and territory governments combined historically commit between $5 billion and $7 billion annually toward arts and culture. Over a roughly 30-year span (1992–2025), total combined public funding allocated across the entire cultural and creative sector accumulates to an estimated $130 billion to $160 billion.

So my question for Australia’s federal, state, and territory governments is this.

How did you fund this sector between $130 and $160 billion dollars between 1992 and 2025 and not notice that the sector continued operating as B2B commerce?

Here’s the bottom line.

The government’s failure to bridge between their legislation in 1992 and the B2B commercial market practice does not suspend the current legislative requirements of Pay Day Super.

I mean, wouldn’t it be great if they were able to explain the policy foundations of section 12(8), disclose the consultation and evidence behind it, address its interaction with state agency legislation, provide workable rules for bandleaders and subcontracted musicians, establish credible apportionment standards, recognise the composite commercial nature of a live show and model the effect on purchasing behaviour, and review the law if its assumptions no longer fit the market?

And while we chuckle uneasily to ourselves muttering, “And pigs might fly,” perhaps the best thing for all music industry practitioners to do, is get back to business, obtain accounting and legal advice to clarify their own business structures, separate labor and non-labor costs properly, and continue to build the value of their music brands and show offers to reflect their value in this market.

Because, while this industry has inherited a retrofit of 1992 legislation into a commercial market that it simply does not fit, it should not necessarily follow that this market should dissolve into a civil war between musicians, venues, festivals, and agents.

Just because the government failed to get its act together doesn’t mean we shouldn’t.

Nichola Burton is the co-founder and CEO of The Pushworth Group, an Australian live-music agency established in 1991. After 35 years negotiating and administering performance contracts between artists and venues, she writes from inside the machinery of the industry—where legislation, commercial reality, and common sense do not always share the same stage.

We don’t know what your guarantee is. We don’t know what your Agent charges. We don’t know how many rehearsals you did, what your insurance costs, whether the Venue supplied production or why somebody is currently furious about the load-in. We probably don’t know how many followers you have either. And, with respect, we don’t really care.

We came out tonight for us. We have been working all week. We’ve dealt with bosses, staff, kids, parents, traffic, bills, grocery prices, relationships, deadlines and a phone that apparently believes we should be contactable by everybody we’ve ever met for 24 hours a day. We’re tired and friggin over it.

We could have stayed home. Home is actually pretty good these days. We have streaming services. Food delivery. Big televisions. Music on demand. A comfortable couch. Wine in the fridge.

You are competing with all of that.

So if we’ve showered, found something to wear, rounded up our mates, organised the kids, booked an Uber, driven across town, found a park, walked through the door and handed over our money… please understand what we’ve paid for.

We are not funding your labour. We are buying an experience.

Take us somewhere. Please. We want you to make us feel something. Make us dance. Make us laugh. Make us sing. Make us forget ourselves for a while. Play the song that takes us straight back to the summer we were nineteen and thought we knew absolutely everything. Give us the chorus that makes an entire room turn around and grin at complete strangers. Give Dad the song he played in the car when we were kids. Give Mum her favourite Fleetwood Mac song. Give us AC/DC so loud we temporarily forget our knees aren’t what they used to be. Give us some Bruno and Foo Fighters. Cotton Eye Joe. Horses. A little Bon Jovi. Spice Girls. Greenday. A bit of Kylie. The Angels. Pauly and Fat Pizza. Some chick trying to belt out Mr Brightside. A DJ who knows exactly when to drop the song everybody has been waiting for. And throw in some Alex Warren.

Read the room. Notice us. Talk to us. Feel when you’ve got us and know when you’re losing us. Don’t perform at us for three hours. Bring us with you. Because the great entertainers understand something that technically brilliant performers sometimes don’t.

The gig isn’t happening on the stage. It’s happening in the space between you and us. That’s where the magic is.

And Please Don’t Tell Us What We Should Value. This is where things get a little awkward. We hear a lot about what live music should be worth. What musicians should be paid. What Venues should spend. What tickets should cost. Which music should receive support. We understand everybody needs to make a living. So do we.

And we’re the ones reaching for our wallets.

You can calculate what something needs to cost. But you can’t calculate what we will value. We’ll tell you that. We tell you every weekend. We tell you when tickets fly out the door. We tell you when nobody buys them. We tell you when the dance floor fills. We tell you when the bar empties halfway through the second set. We tell you when we bring twelve friends next time. We tell you when we never come back. We tell you when a show becomes something we talk about for weeks.

That is market feedback. It isn’t always fair. It certainly isn’t always sophisticated. But it’s real. And if you’re running a music business, you need to listen to it.

Give Us Somewhere Worth Going. Now let’s talk about Venues. We don’t particularly need another building with beer in it. There are plenty of those. Give us somewhere that means something. Become the place we go on Sunday afternoon because the music is always great. Become the room that gets the brilliant tribute shows. Become the pub where everybody dances on Friday night. Become the home of country. Or rock. Or comedy. Or karaoke. Become the place where we know we’ll find our people.

Give us a reason to say: “Let’s go there.”

That’s when a Venue becomes more than a Venue. It becomes a destination where we want to be. We don’t have to investigate what’s on every weekend because we trust you. We know what you do. We know how it feels. We know there’s a good chance we’ll have a great night. So we come back. And we bring people with us.

Signed your Audience.

These notes came from a conversation I had with a group of mates last night as we shared a few hours in front of live band. They brought me down to earth with their observations.

“Nic, you have an audience looking for an experience, a Venue looking for an audience and an entertainer with something to offer. We are guessing that this is where you guys come in?”

Yes. This is the bit of the live music business most people never see. And probably shouldn’t have to. Between an entertainer creating a show and an audience standing in front of it is an entire marketplace. That is where businesses like Pushworth operate. Not on the stage. Not in the audience.

But in the middle.

The muso says: This is what I’ve got. The Venue says: This is the audience I’m trying to build. The market says: This is what people are currently responding to and what they’re prepared to pay. Businesses like Pushworth work between them.

Cue the daily questions that build any booking day. What is the offer? Who is likely to buy it? Where does it belong? What sort of room suits it? What price can the market tolerate? How should it be positioned? Can it tour? Is there demand? Are the promotional assets actually selling the experience? Does the Venue have the right audience for it? Can we take something an Artist has created and turn it into an offer a buyer can understand and an audience will want?

Know what this is? Translating the offer into the market.

Often that translation involves saying something an Artist doesn’t particularly want to hear. The price isn’t working. The offer isn’t clear. The show is good but you’re pitching it to the wrong market. The artwork tells us nothing. The Venue isn’t right. The audience for this isn’t where you think it is. Or the hardest one of all. People aren’t buying it.

And this is valid and important information. What the Artist does with that information is where the business begins.

Follow the Money and You Find the Audience. Where does the money actually enter this ecosystem? Ultimately, it comes from the audience. The tickets that they buy. The beers. The meals. Their night out. Their decision to leave home. One person spends $80. Another spends $180. A couple makes a night of it and spends $400. Multiply that across a room. Across a weekend. Across hundreds of Venues. Across Queensland. Across Australia.

And that money is paying for bar staff, security, artists, musicians, DJs, sound engineers, lighting operators, crew, management, ticketing companies, promoters, graphic designers, photographers and PAs. The booking systems, accountants, insurers, marketers, transport operators and all the other businesses attached to this strange little ecosystem get their slice. Then those people go home and spend their money somewhere else.

All this economic activity started because somebody decided to go out.

That is why the audience cannot be an afterthought in conversations about supporting live music. They are the source of its commercial vitality and stand in the centre of the musoverse.

As an artist, you are not there to perform songs. You are creating the reason somebody came. That’s a much bigger job. It means understanding the room. Understanding the audience. Understanding what you’re promising when somebody sees your poster. Understanding that the person buying a ticket doesn’t owe you their attention simply because you worked hard.

You have to win them. And then keep them. The extraordinary entertainers know how to do this. I’ve watched them walk into rooms full of people who barely know who they are and own the place twenty minutes later. Not because they’re necessarily the best musician in the room. But because they totally get punters.

They know when to push. When to pull back. When to talk. When to shut up and play the bloody song. They understand that entertainment is an energy exchange. And when that exchange works, audiences become advocates. They tell their friends. They buy another ticket. Venues want the Artist back. Agents can sell more dates. Shows become tours. Businesses grow.

We spend a lot of time asking how the industry can support Artists. But I think there’s another one we should be asking much more often.

How do we create experiences audiences can’t wait to buy?

Get that right and the energy moves through the entire ecosystem. The Artist creates the offer. The Agent takes it to market. The Venue gives it a home and builds a destination around it. The audience buys the experience. And that money flows back through hundreds of businesses and thousands of people who make live entertainment possible.

Then everybody gets to do it again next weekend. And the week after. And the week after that.

That’s a healthy music market! Not one where everybody is fighting over their piece of a shrinking pie. One where we’re giving the audience enough reasons to make the pie bigger.

So perhaps before we decide what live music needs next, we could ask the people standing in front of the stage?

Nichola Burton has spent 35 years in the Australian live entertainment market as co-founder and CEO of The Pushworth Group. She writes about the business behind the music — audiences, Artists, Venues, Agents and the market forces that determine what actually gets booked, bought and built. Through The Musoverse, she cuts through industry mythology to explore what makes live entertainment commercially sustainable. Because loving the music is one thing. Understanding the business that keeps it playing is another.

It worked. Until it didn’t.

Today, running a professional Music Brand means much more than turning up and playing great shows. It means everyone understands their role, their responsibilities and how the business operates.

An Internal Music Brand Agreement isn’t about distrust. It’s about removing assumptions before they become disputes.

Here’s what every professional Music Brand should be documenting.

1. Purpose

Every agreement should begin with one simple question:

What business are we actually operating together?

An Internal Music Brand Agreement records how the members work together to deliver a professional entertainment product under a shared Music Brand.

It establishes expectations before the first disagreement ever happens.

2. The Relationship

This agreement defines the commercial relationship between:

• the Music Brand

• the Music Brand Manager

• the performers delivering the show

It explains who is responsible for what. It doesn’t replace Australian law. It records how the parties intend to operate together.

3. Delivering the Show

Every performer is engaged to help deliver one outcome. A professional entertainment experience. That includes far more than simply playing the right notes. Professional delivery includes:

• learning the show

• arriving prepared

• presenting professionally

• supporting the production

• protecting the reputation of the Music Brand

4. Roles and Responsibilities

Every successful Music Brand has clearly defined responsibilities.

Who:

• books the gigs?

• manages clients?

• runs marketing?

• updates the website?

• maintains equipment?

• handles production?

• manages finances?

When everyone owns their role, the business becomes scalable.

5. The Brand

The Music Brand is one of the business’s most valuable assets. The agreement should clearly explain:

• ownership of the show name

• logos

• artwork

• costumes

• promotional assets

• social media

• recordings

• intellectual property

Everyone should know what belongs to the brand and what belongs to individual members.

6. Financial Expectations

Money causes more band break-ups than bad music. Your agreement should clearly explain:

• how show fees are distributed

• when payments occur

• who invoices

• how expenses are handled

• travel costs

• accommodation

• production expenses

• merchandise income

Transparency builds trust.

7. Superannuation and Business Responsibilities

PayDay Super has highlighted the importance of documenting business responsibilities. An Internal Music Brand Agreement should identify:

• who contracts with clients

• who invoices

• who receives payments

• each performer’s business obligations

• how the Music Brand intends to administer its engagements

While an agreement cannot determine whether Superannuation Guarantee applies under Australian law, it provides important context about how the Music Brand operates and how responsibilities have been allocated between the parties. Check out this stack for information about how many bands are dealing with this.

8. Availability

Professional brands protect their reputation. That means members should:

• provide unavailable dates early

• communicate conflicts immediately

• support substitute performers where required

The client booked the show. The audience expects the show. The agreement helps make sure the show still happens.

9. Professional Standards

Every member represents the brand. Professional standards should include:

• punctuality

• presentation

• communication

• rehearsals

• audience interaction

• venue etiquette

• safety

• confidentiality

A single poor performance affects everyone’s reputation.

10. Marketing the Brand

Marketing works best when everyone rows in the same direction. Your agreement should outline expectations around:

• social media

• photography

• video content

• promotional appearances

• sharing campaigns

• protecting brand consistency

Every post either strengthens the brand—or weakens it.

11. Decision Making

Not every decision requires a committee meeting. Professional Music Brands work best when everyone understands:

• who makes creative decisions

• who makes commercial decisions

• how disputes are resolved

• when consultation is required

Clarity prevents conflict.

12. Protecting the Business

Every agreement should include provisions covering:

• confidentiality

• client information

• intellectual property

• reputation

• legal compliance

• termination of membership

These aren’t signs of mistrust. They’re signs of a professionally managed business.

The Musoverse Take

The best bands aren’t just great musicians. They’re well-run businesses. PayDay Super has reminded the industry that informal arrangements often create formal problems. An Internal Music Brand Agreement won’t solve every disagreement. But it will answer many questions before they become expensive ones.

Because professional Music Brands don’t rely on memory. They build systems. And great systems create great businesses.

Nichola Burton is the CEO of The Pushworth Group and has spent more than 36 years helping musicians build sustainable careers beyond the stage. She believes the most successful artists think like business owners as well as performers—understanding contracts, protecting their brands and building structures that support long-term success. Through Musoverse and the Music Means Business philosophy, she encourages artists to make informed decisions, seek professional accounting and legal advice where needed, and build businesses that are as strong behind the scenes as they are under the lights. Copyright 2026 All Rights Reserved

But there’s one question we hear regularly: “Can I record myself performing someone else’s song and upload it?”

The answer depends on how and where you’re using it.

Here’s a practical guide to working with the working resources that Aussie Musos already have access to.

If you’re performing cover songs at licensed venues or promoted events, you do not need permission from the songwriter or publisher. The venue’s APRA AMCOS licence covers the live public performance.

There is one important responsibility: Submit your Performance Reports.

Every cover song you perform should appear on your set list so the original songwriters receive the royalties they’ve earned.

Submit Performance Reports here:
https://www.apraamcos.com.au/resources/get-paid/performance-reports

A part of a music brand marketing stratehy, some artists will release their cover as an audio recording.

If you release this in CDs or Vinyl, you’ll generally need an AMCOS Audio Manufacture Licence (AML) unless your manufacturer or record label already holds one.

This ensures the original writers receive their mechanical royalties.

If you’re releasing through Spotify, Apple Music, Amazon Music and other major digital services in Australia or New Zealand:

You generally do not need to obtain permission from the songwriter to release the audio recording.

These services are already licensed by AMCOS, and royalties are collected and paid to the original writers.

Most independent artists distribute through digital aggregators such as DistroKid, CD Baby, TuneCore or similar, who handle the delivery to these services.

If your cover recording is being commercially released into the United States, an additional mechanical licence is required.

Many digital distributors arrange this for you, but if not, licences are available through organisations including:

• Mechanical Licensing Collective (MLC)

• Harry Fox Agency

• Audio Network Licensing

So what about Showreels and Promo videos of you on stage or in your studio? This is where many artists become confused. If you’re creating a commercial promotional video featuring someone else’s song, different rules apply. A promotional showreel is considered part of your business marketing. That means you’re synchronising music with video — known as sync rights.

For commercial promotional videos, it’s a good idea to obtain permission from the copyright owner or music publisher before using the song. You can easily search publishers and copyright owners using the APRA AMCOS Works Search.

Now its a little different on Social Media Platforms such as Facebook, You Tube, Tik Tok and Instagram. These operate under licences that generally allow users to synchronise cover performances with video for personal, user-generated content. However that licence does not automatically extend to commercial marketing use.

If your video is primarily promoting your business, your show, or generating commercial bookings, different licensing considerations may apply.

A professionally produced showreel remains one of the smartest investments a working cover act can make. Venues buy confidence before they buy entertainment. But professionalism isn’t just about how your show looks. It’s also about respecting the creators whose songs helped build your career.

Knowing where the licensing boundaries sit protects your business, supports the songwriting community, and gives venue clients confidence they’re working with professionals who understand the industry.

Build the brand. Respect the songs. Understand the rules. Preserve the Industry.

Resource: This article is general information only and is based on guidance published by APRA AMCOS. Licensing requirements vary depending on how and where your music is used. For specific circumstances, always refer to the OG - APRA AMCOS or obtain independent legal advice.

Further reading:
https://www.apraamcos.com.au/music-creation/copyright/covers-and-remixes

Nichola Burton is the CEO of The Pushworth Group and has spent more than 36 years helping musicians build sustainable careers beyond the stage. She believes the most successful artists think like business owners as well as performers—understanding contracts, protecting their brands and building structures that support long-term success. Through Musoverse and the Music Means Business philosophy, she encourages artists to make informed decisions, seek professional accounting and legal advice where needed, and build businesses that are as strong behind the scenes as they are under the lights. Copyright 2026 All Rights Reserved

If you’re the person contracting with venues under your Sole Trader ABN, this stack is for you. You may book the shows. Negotiate the fees. Invoice for the show. Sub Contract the musicians. Arrange rehearsals. Provide equipment. Promote the gigs. Pay your subcontractors. Manage cancellations. Find replacements when someone gets sick. And ultimately make sure the show is delivered.

That’s not just playing music. That’s running quite a complex business.

When a venue books your show, unless otherwise stipulated, it is contracting with your business. It is not contracting every individual performer standing on stage. Likewise, the agent is facilitating the contract with your business, with you as the sole trader ABN holder. Neither the venue nor the booking agent is a party to the private commercial arrangements you have with the musicians you engage to help deliver your shows. Those arrangements sit inside your business.

Just as they would for a plumber employing an apprentice or a builder engaging subcontractors. Your internal arrangements are exactly that. Internal.

The music industry has never operated with a single business model. Neither should you. What we’re seeing across the industry is that artists are choosing different solutions depending on how their own businesses are set up and operate.

For example, some Sole Traders are setting up their own SuperStream clearing arrangements so they can administer Superannuation Guarantee payments to the musicians they ub contract within their own businesses. This keeps administration within the business that actually manages those performer relationships.

Others are reviewing the labour component of their contracts as the ATO (1) states that Super may apply where an independent contractor is engaged under a contract that is mainly for their labour, meaning more than half the dollar value of the contract relates to labour. For some businesses who deliver shows, the contract price also includes significant business costs such as: production, sound equipment, lighting, transport, insurance, advertising, administration, rehearsal space, subcontracted performers and other operating expenses.

Some artists are therefore working with their accountants to properly identify, receipt and document those business costs so their invoices accurately reflect the commercial nature of their business.

And others are reviewing their business structure entirely by consulting their accountant about whether a different business structure better reflects the way they actually operate. Depending on individual circumstances, that may include: Partnership, Trust or Company. The right structure depends on your own business, income, risk profile and long-term objectives. Every business is different. Professional advice is essential.

However you choose to manage your own business, simply communicate with your booking agent. If your business structure changes, your contracts should reflect that change. So should your invoices. So should your ABN details. Keeping everyone informed makes administration significantly easier.

Don’t Forget your internal Band Agreement. This might be the most important part of all. Many bands have operated for years on handshakes. Until something goes wrong. If you’re sub contracting other musicians, now is an excellent time to have a written agreement covering things such as: payments, IP, Brand, Ownership, Split, Permissions, SG, Tax, Substitute Engagements, Cancellations, Production Costs, Division of Labour, Division of Profit and Dispute Resolution pathways.

Solid agreements don’t create problems. They prevent them.

For years we’ve encouraged artists to think beyond the next gig. Build your brand. Protect your reputation. Know your contracts. Understand your numbers. Operate professionally. The current Superannuation changes haven’t altered that philosophy. If anything, they’ve reinforced it. Because whether you remain a Sole Trader, establish your own SuperStream arrangements, document your business costs more comprehensively or adopt a different business structure altogether, the decision is yours. Because after all it is your business.

So talk to your accountant. Understand your obligations. Choose the structure that best suits your business. Then let your booking agent know how you wish to be contracted. Because every successful music career eventually reaches the same conclusion.

Music doesn’t stop being art because it’s also a business. And if you’re running the business, make sure it’s structured like one and that your music means business.

(1) https://www.ato.gov.au/businesses-and-organisations/super-for-employers/work-out-if-you-have-to-pay-super/super-for-independent-contractors

Nichola Burton is the CEO of The Pushworth Group and has spent more than 36 years helping musicians build sustainable careers beyond the stage. She believes the most successful artists think like business owners as well as performers—understanding contracts, protecting their brands and building structures that support long-term success. Through Musoverse and the Music Means Business philosophy, she encourages artists to make informed decisions, seek professional accounting and legal advice where needed, and build businesses that are as strong behind the scenes as they are under the lights. Copyright 2026 All Rights Reserved

“Why isn’t my super 12% of my fee?”

Closely followed by... “Can I just charge it on top?”

The short answer? Yes.

The longer answer is where everyone seems to disappear down an accounting rabbit hole.

Before 1 July, life was pretty simple. The venue had an entertainment budget. The agent rang you. “We’ve got $800 for Saturday night.”

You had three choices. “Yep.” “Nope.” or “Make it $900.”

If everyone agreed, you turned up, played the gig, invoiced under your ABN and, as every agency contract terms and conditions reminded you, you were responsible for your own tax and your own super.

That commercial negotiation hasn’t changed. Venues still have budgets. Bookers still negotiate. Artists still decide what they’re prepared to work for. The only new kid in the green room is Superannuation Guarantee. And every venue is handling it differently.

Some are paying it on top. Some are asking for it to come within the entertainment budget they’ve already allocated. Neither is right. Neither is wrong. It’s simply how that venue has chosen to structure its entertainment spend. As it always has.

So what If your contract is $800, why isn’t your super $96? Because that’s not how the maths works. If the total contract value is $800, the earnings have to be separated from the super first. Like this. Contract Total: $800 First, remove the super component. $800 ÷ 1.12 = $714.29 Now calculate the super. 12% of $714.29 = $85.71

So the breakdown becomes:

🎤 Performance Earnings: $714.29

🎸 Superannuation: $85.71

💰 Total Contract: $800

The super is 12% of your earnings, not 12% of the final amount after the super has already been included.

As the supplier of the service that you contract with each venue, you absolutely are free to quote whatever your performance is worth. When a Booker extends a Gig Offer, you accept or negotiate. The venue then decides whether your offer fits inside their entertainment budget. Exactly the same way they’ve always decided whether your fee fits inside their entertainment budget.

Nothing magical happened on 1 July that suddenly made every venue’s entertainment budget bigger. Some venues have increased their budgets. Some haven’t. Some simply can’t. That’s commercial reality.

Your fee has never been determined by an accountant. It’s determined by the result that the venue is seeking and the value you bring. Can you fill a room? Keep people there longer? Sell more meals? Sell more drinks? Create the kind of night that has patrons booking tables for next month?

That’s your value. That’s your brand. And that’s what venues are buying.

The paperwork may have changed to now show the SG. But the negotiation hasn’t.

Know what you’re worth. Quote accordingly. And then go and play a cracking show. Because audiences still go out to pubs to hear great music.

Superannuation hasn’t changed your value as a performer. It hasn’t made your music worth more or less. What determines your fee is exactly what has always determined it: the quality of your show, the strength of your reputation, the audience you attract and the experience you create for the venue and its patrons.

Know your number. Quote with confidence. If you want Superannuation paid on top of your performance fee, ask for it. If a venue has a fixed entertainment budget, you’ll need to decide whether the offer works for your business. Every booking is still a commercial negotiation between two businesses.

The legislation may have changed. The fundamentals haven’t. Your music is your product. Your performance is your brand. Your fee is simply the price the market is prepared to pay for the value you bring to the stage.

Nichola Burton is the CEO and co-founder of The Pushworth Group, one of Australia's longest-established live entertainment agencies. For more than three decades she has worked at the intersection of artists, venues and the business of live music. Through Musoverse, she unpacks the contracts, legislation and industry changes that affect working musicians, translating complexity into plain English so artists can make informed business decisions and focus on what they do best—creating great live music. Copyright 2026 All Rights Reserved.

Do you click every link and read the information? Or do you simply rely on the spectrum of urban myths instead?

Since 1 July, inboxes across the country have been overflowing with questions like: “Why has my fee been reduced?” “Where did my super go?” “Who’s my employer?” “Why is my contract different?” “Why wasn’t it done this way before?” “Why is everyone telling me something different?”

Before 1 July 2026, if you were operating as an independent contractor under a Sole Trader ABN, you were running a business that might have consisted of one person and a guitar or six musicians, a lighting rig, backing tracks and a van.

It didn’t matter. You invoiced. You were paid. You managed your own taxation. Your own GST (where applicable). Your own superannuation.Any other performers you may have sub contracted in your show.

Post 1 July 2026, the current legislation now places responsibility on the customer engaging eligible entertainers to ensure Superannuation Guarantee is paid. If a venue books your show through a marketplace or agency, that marketplace or agency will often administer the payment of Superannuation Guarantee on the venue’s behalf.

That’s the one administrative change. Not your value. Not your talent. Not necessarily your overall engagement value. Just the pathway the money takes. The money is still yours it’s just that now one of the destinations changed. The ownership didn’t.

The biggest revelation of the past month has been that not every booker operates the same way. A few operate under a Private Employment Agent Licence. Most don’t. Some require every supplier to register and onboard before accepting work. Others don’t. Some provide comprehensive Terms and Conditions. Supplier Codes. FAQs. Privacy Policies. Contracts for every show booking. Clear explanations of how they operate. And others that operate with considerably less documentation.

Neither approach automatically makes one business right and another wrong. But the difference is much clearer post 1 July.

Whether you perform once a month or five nights a week, you’re not just a muso. You are a business owner. And this means that understanding your agreements is just as important as your set list.

I reckon that the past few weeks haven’t actually been about Superannuation at all. They have been about business literacy.

So tonight, instead of learning another song, consider spending thirty minutes learning all about your own business. Visit the websites of the agencies, marketplaces and businesses you work with. Read their Terms and Conditions. Read their FAQs. Find their Supplier Code of Conduct or Code of Practice. Then take a closer look at your Show contracts. Understand who is responsible for what. If you work with several different bookers, don’t assume they all operate the same way. They almost certainly do not. Every agreement creates a different commercial relationship. And every commercial relationship creates different rights, responsibilities and obligations.

Bottom line - when music means business, it’s not just what happens under the lights. It’s what happens before the first note is played—understanding your contracts, your obligations and the business you’re running every time you step onto a stage.

Nichola Burton is an author, music industry executive and systems thinker with an incurable habit of asking awkward questions. After more than three decades working behind the scenes of Australia's live music industry, she's learned that the biggest challenges rarely happen on stage—they happen in the paperwork, policies and systems that most people never read. Through A Little Pitchy, she translates complex industry issues into plain English, encouraging musicians to think not just as performers, but as business owners. Because talent gets you the gig. Understanding the business helps you build a career. Copyright 2026 All rights reserved.

Let us begin with the part nobody is arguing about. Artists deserve superannuation. That is not the dispute. The dispute is whether a legitimate business—delivering a complete show, carrying its own costs and accepting its own commercial risk—should be treated as though it is merely an individual turning up to supply labour.

Because that is not how most of this industry works.

For example, our business model (Pushworth) is built around brands that operate as legitimate businesses. They do not simply arrive, stand in a corner and transmit songs for three hours. They are contracted to deliver a result. That is the entire meaning of our trademarked phrase: Music Means Business™.

A venue books a gig because it wants something to happen. It may want to attract or retain patrons, increase food and beverage sales, create atmosphere, activate a quiet trading period, build a particular venue identity, sell tickets, support a promotion, increase repeat visitation or create an experience its customers will remember.

The Artist is contracted to help achieve that result and arrives with far more than a voice and a pair of hands. Some of the myriad of things they provide are a recognised artist or act name, repertoire developed over years, instruments, sound equipment, lighting, transport, production, rehearsals, arrangements, insurance, marketing assets, photography, reels, social media promotion, an existing audience, managed, substitute and/or subcontracted performers, and the commercial systems required to deliver the show.

I man, that is a business supplying a service. Except, apparently, when the invoice is paid to a Sole Trader ABN. At that moment, the performer may be treated as an employee for Superannuation Guarantee purposes.

Welcome to the current chaos.

The Superannuation Guarantee rate is 12 per cent. That is the simple part. The ATO now states that if an individual is paid to perform or present any kind of performance, that individual may be considered an employee for superannuation purposes. It also says SG is calculated on the component of the invoice relating to the individual’s work.

That last sentence opens a rather important trapdoor. What component of a Performer’s invoice relates to their “work”? All of it? Some of it? The time on stage? The rehearsals? The equipment? The promotion? The insurance? The production? The audience they bring? The Performers they subcontract? The intellectual property embedded in the artist brand?

Nobody from the ATO has supplied a workable formula. We have asked. Repeatedly. And yet…….Crickets. Will our third ruling application get answers? I mean, it’s bloody high time that they provided an answer that can actually be applied to thousands of real life engagements.

A Live Performer is not an empty handed unit of labour. The current interpretation begins to fracture the moment it touches the actual industry. A typical sole trader performer may:

• operate under an ABN;

• invoice for a completed engagement;

• work for dozens of unrelated venues;

• determine their own repertoire;

• own and maintain their equipment;

• provide their own production;

• carry Public Liability Insurance;

• advertise the engagement;

• engage other performers;

• arrange substitutes;

• control the artistic method;

• and accept the cost of delivering the contracted result.

None of that looks particularly employee-like. An employee does not ordinarily buy the principal equipment required to perform the work. An employee does not ordinarily insure the commercial activity. An employee does not usually pay to advertise the employer’s event. An employee does not generally arrive with a business name, a catalogue, an audience, a production package and several subcontractors.

Yet this is entirely normal in this industry.

The performer operates like a business before the gig. They operate like a business during the gig. They operate like a business after the gig. Then the payment is isolated from the rest of the commercial arrangement and labelled as though it were simply wages for personal labour.

That is the inconsistency.

The central unanswered question is this: Is the venue buying labour, or is it buying an product? In most cases, it is plainly buying the product. Consider the difference.

A producer may employ a musician to perform a specific part in a controlled production. The producer may determine:

• the material;

• the arrangement;

• the rehearsals;

• the presentation;

• the personnel;

• the production;

• and the method of delivery.

That relationship may reasonably resemble employment. But that is not the same as a venue booking an established act. An established act controls its own:

• identity;

• repertoire;

• style;

• personnel;

• equipment;

• presentation;

• promotion;

• and method.

The venue generally provides a date, time of convenience specifically FOR the result required, location, budget and broad brief. The artist delivers the result. These are two fundamentally different commercial arrangements. Yet the current guidance does not adequately distinguish between them.

Up until 30 June 2026, our advice was that our contracts were results-based. That makes commercial sense and reflects the spirit of our service. Venues book Artists because they want an outcome. But a gig is both commercial and subjective. So how should the result be measured? Is it:

• the successful completion of the performance;

• audience attendance;

• audience engagement;

• patron dwell time;

• bar revenue;

• ticket sales;

• repeat visitation;

• social media engagement;

• venue feedback;

• atmosphere;

• or the delivery of the agreed production?

What happens when the artist performs brilliantly but the venue fails to promote the event? What happens when it rains? What happens when another major event empties the suburb? What happens when the venue is understaffed, the food takes an hour and the customers leave? Has the Performer failed to deliver the result? Of course not.

The artist can control the performance. They cannot control the whole venue business. A commercial result does not need to be a guaranteed financial outcome. It can be the completion of clearly agreed deliverables. That is how service businesses operate every day. Yet there is no practical industry framework telling artists what result the ATO will recognise, how it should be documented or what evidence should be retained.

The performance fee is a composite commercial price. It may contain the cost of:

• the performer’s time;

• rehearsal;

• equipment;

• depreciation;

• transport;

• fuel;

• insurance;

• administration;

• sound production;

• lighting;

• marketing;

• social media content;

• wardrobe;

• Performanceal arrangements;

• intellectual property;

• subcontractors;

• and business risk.

The ATO says SG is calculated on the component of the invoice relating to the individual’s work. Great so show us the formula! How much of a $700 solo fee is labour? How much is equipment? How much is insurance? How much is promotion? How much is transport? How much is the commercial value of the artist brand? How much is the repertoire built over twenty years? How much is the sound system sitting in the back of the van? How much is the audience that follows the artist from venue to venue?

Without an objective method, the industry is being told to calculate 12 per cent against a number nobody can define. That is not clarity. That is arithmetic calculated on ignorance. Artists may own tens of thousands of dollars in instruments and production equipment. They pay to:

• purchase it;

• finance it;

• maintain it;

• test it;

• insure it;

• transport it;

• set it up;

• operate it;

• repair it;

• replace it;

• and store it.

This is capital investment. It is one of the clearest indicators that the artist is operating a business. Yet there is no usable guidance explaining when equipment is significant enough to change the character of the engagement or reduce the amount treated as payment for personal work. How can equipment be both material and irrelevant?

Is a microphone enough? A guitar? A keyboard? A complete PA? Lighting? A van full of production? Where is the threshold? If there is no threshold, say so. If equipment is excluded from the SG calculation, provide a valuation method. If it is not excluded, explain why the capital cost of delivering the show is being treated as payment for personal labour.

Artists are routinely expected to promote their shows. They create:

• posters;

• videos;

• social posts;

• event listings;

• mailing campaigns;

• reels;

• photography;

• and audience engagement.

They use their own platforms. They bring the value of their own following. They often pay for this promotion themselves. Promotion cannot be both free labour and a business cost at the same time.

So what is it then? Is it personal labour? Is it a marketing service? Is it intellectual property? Is it the commercial value of the artist’s brand? Is it access to an established audience? And why is a supposed employee expected to pay to advertise the purchaser’s event?

Again, there is no formula. No accepted valuation method. No practical rule separating performance from promotion, content production, audience access or brand value. Just a broad direction to calculate SG on the work component. And which component would that be, exactly?

Artists are routinely expected to maintain Public Liability Insurance. That requirement exists because the artist is recognised as operating a commercial activity carrying its own risk. They may be responsible for:

• instruments;

• electrical equipment;

• speakers;

• lighting;

• cables;

• manual handling;

• production decisions;

• subcontracted performers;

• installation;

• removal;

• and the safe operation of the show.

Under OHS legislation in Queensland, the artist and venue may hold concurrent and overlapping safety duties according to what each controls or can reasonably influence. So the performer may be treated as an employee for SG purposes while continuing to hold the responsibilities, costs and liabilities of an independent business.

Different legislation can use different definitions. That is legally possible. But “legally possible” is not the same as commercially coherent. The government still needs to explain how the classifications work together.

Is the venue expected to inspect and maintain the artist’s equipment? No. Is the venue expected to insure the artist’s business? No. Is the venue responsible for every Performer the artist subcontracts? No. Does the venue control how the artist delivers the production? Usually not. Then the artist is carrying the operational reality of a business while being selectively treated as an employee for one payment obligation.

The classification changes. The risk does not.

Then we arrive at the Door Deal where on 27 June 2026, the ATO updated its guidance for performers. One of the positions identified was a pure door or ticket-share model where the venue does not pay the performer a fee, but instead provides the room or acts as ticketing agent and allows the Performer to receive the door proceeds. In that model, no payment for performance services flows from the venue to the artist, so no SG applies. That may be legally neat. Commercially, it misses the vast majority of the industry by several post codes.

A pure door deal makes the artist the promoter. The artist may carry responsibility for:

• ticket sales;

• event marketing;

• performer payments;

• production costs;

• attendance risk;

• and event profitability.

At the other end is the individual hired and controlled as part of somebody else’s production. But 99% of live gigs sit between those two extremes. The ordinary model looks like this:

• the venue operates the hospitality business;

• the venue controls the premises;

• the venue retains food and beverage revenue;

• the venue controls its staffing and service;

• the artist operates the Performance business;

• the artist supplies the complete act;

• the artist provides equipment and production;

• the artist promotes the engagement;

• and the venue pays a fixed commercial fee for the result.

The artist is not an employee in any ordinary commercial sense. But the artist is not the event promoter taking 100 per cent of the door either. This is the missing commercial middle. It is not a minor corner case. It is how thousands of pubs, clubs, hotels, restaurants and community venues operate every week. Many of these venues do not charge admission. There is no door to split. The gig is funded from hospitality revenue because the Artist is there to support the broader venue business.

So what exactly is an independent artist meant to do? Demand the keys to the building? Take over the ticketing? Start pouring the beer? A door deal is not an alternative business structure for most venue Performance. It is an entirely different event model.

The current rules become even less workable when more than one performer is involved. Many bands and duos operate through one principal Sole Trader ABN holder. That person may:

• negotiate the engagement;

• invoice the venue;

• organise the lineup;

• supply equipment;

• pay the other Performers;

• manage substitutes;

• carry production costs;

• and guarantee delivery of the act.

Their only true business option now is to operate under a partnership, trust or company. And they will still have to figure out who owns the brand, the IP, the production? What happens when one person leaves? When one of the players has no ABN, TFN, Super Fund? What about if they are retired, a hobby or have already closed their Super Fund and don’t want to set up another one?

These are not exotic hypotheticals.

To administer SG properly, that data burden is enormous as businesses may need to collect:

• full legal names;

• residential addresses;

• dates of birth;

• Tax File Numbers;

• email addresses;

• phone numbers;

• Super Fund names;

• Fund ABNs;

• USIs;

• and membership numbers.

That is highly sensitive personal information. For every performer. For every changing lineup. Across potentially thousands of irregular engagements.

The industry has been given no credible explanation of how small businesses are expected to collect, validate, secure, retain and eventually destroy this data. Nor has anyone properly addressed the cybersecurity risk created by forcing small businesses to become warehouses of artist identity information. The administrative burden may exceed the value of the SG contribution itself. That does not make the contribution unimportant. It makes the system badly designed for the industry being forced to use it.

From 1 July 2026, Payday Super requires SG contributions to be paid in connection with payday and received by the fund within the required timeframe. The ATO describes the minimum contribution as 12 per cent of qualifying earnings. Given that the ATO permanently closed the Small Business Superannuation Clearing House at 11:59 pm AEST on 30 June 2026, for a conventional employer with regular staff, regular payroll, fixed employment records and stable Super Fund details, this may be manageable. But this industry does not exist in that environment. It contains:

• one-off engagements;

• irregular invoices;

• late-paying venues;

• changing lineups;

• last-minute substitutes;

• disputed fees;

• cancelled performances;

• partial payments;

• artists without complete fund details;

• and bands operating through one business.

The underlying performer provisions are not new. What Payday Super has done is remove the administrative breathing room that previously concealed how badly those provisions fit the real industry. The question is no longer merely whether SG may be payable. The question is how anyone is supposed to administer it accurately, securely and on time when the fundamental commercial facts may not be known until after the show.

Where was the Industry Consultation? I spoke to politicians, journalists, accountants, lawyers and industry bodies for over 18 months. No one would or could provide a solid meaningful answer. Interestingly, we have not seen evidence of meaningful consultation with the grassroots businesses expected to make them work:

• independent artists;

• bandleaders;

• booking agents;

• small venues;

• regional venues;

• hospitality operators;

• production suppliers;

• Performance software providers;

• or the people processing hundreds of irregular artist payments each week.

Of the State and Federal industry bodies, the Australian Live Performance Business Council was the only organisation we saw meaningfully discuss the SG issue. The silence elsewhere was extraordinary. Consultation would have revealed the central gap immediately. The industry is not divided neatly into:

1. an individual employee being paid for labour; and

2. an artist-promoter taking 100 per cent of the door.

The centre of the industry is made up of independent brands selling complete gig services for agreed commercial fees. That is the bit the guidance has failed to capture.

Here is the list of questions that Artists need answered immediately.

Business Status

• When does the ATO recognise a Performer as operating an independent Performance business?

• Does an ABN even matter now?

• Does working for multiple venues matter?

• Does carrying commercial risk matter?

• Does having an established artist brand matter?

• Does controlling the method of delivery matter?

• Does supplying substantial equipment matter?

• Does maintaining insurance matter?

• Does paying for promotion matter?

• Does charging GST matter?

• If I sub contract with someone who is retired, do I still pay SG?

• What about if they are a Hobby Status?

• What is the deal with 30 hours or less?

Results

• Can a live performance be a results-based contract?

• What result does the ATO recognise?

• Is successful completion of the agreed show a result?

• Can atmosphere, audience engagement or patron retention be a result?

• Must the result be measurable?

• What metrics should artists and venues use?

• How should the result be written into the contract?

• What evidence should be retained?

Labour and Business Costs

• What portion of the performance fee is labour?

• What portion is equipment?

• What portion is production?

• What portion is insurance?

• What portion is transport?

• What portion is rehearsal?

• What portion is advertising?

• What portion is intellectual property?

• What portion is audience access?

• What portion is payment for subcontracted performers?

• Who calculates those amounts?

• What formula should be used?

• What records will the ATO accept?

Equipment and Production

• At what point does equipment become commercially significant?

• Is a complete production package treated differently from one instrument?

• How should equipment hire or depreciation be valued?

• Is sound production a separate service?

• Is lighting a separate service?

• Is transport of production equipment part of labour?

• Why is equipment relevant to business risk but apparently invisible in the SG calculation?

Promotion

• Is artist promotion a separate service?

• Is social media content labour?

• Is the artist’s following a commercial asset?

• How is access to that audience valued?

• Should advertising costs be excluded from the SG calculation?

• Why is an artist expected to fund promotion if they are being characterised as an employee?

Insurance and Safety

• How can an artist be treated as an employee for SG while maintaining Public Liability Insurance as a business?

• How does the SG classification interact with the artist’s safety duties?

• Who is responsible for artist-owned equipment?

• Who is responsible for subcontracted Performers?

• Does the SG classification affect insurance coverage?

• Does it affect workers’ compensation?

Commercial Structures

• Why is a pure door deal recognised as outside SG while a fixed-fee independent Performance service is not clearly recognised?

• Must an artist become the promoter before being treated as a business?

• What happens with a guaranteed fee plus a door percentage?

• What happens with a ticket-share arrangement?

• What happens at free-entry venues?

• What is the test for the commercial middle between employment and artist-funded promotion?

• Will the ATO create a safe harbour for genuine independent Performance businesses?

Information and Administration

• What personal information must each performer provide?

• Who may collect and retain the information?

• How long must it be stored?

• What happens when fund details are incorrect?

• What happens when a contribution is rejected?

• Who carries responsibility for a data breach?

• How is a small Performance business expected to safely administer thousands of irregular performer records?

Timing

• What is the payday for a one-off engagement?

• What happens when the venue pays late?

• What happens when the fee is disputed?

• What happens when only part of the invoice is paid?

• What happens when the performer split is not yet known?

• What happens when the final performer changes after the payment process has begun?

• Who is responsible for delays caused by incomplete or incorrect performer information?

That is not a handful of loose ends. This is the operating structure of an entire industry.

We operate our own on line compliant digital booking platform that manages the SG obligation for Venues in compliance for Pay Day Super. But even with that system in hand, we do not have the answers that this industry needs to be provided with clarity by the ATO or the Minister for the Arts. All they can tell us is for each music business to seek its own legal and accounting advice.

Since 1991, we have worked with Music Brands who operate legitimate businesses and accept the responsibilities that come with doing so. They build the product. They own the equipment. They develop the repertoire. They carry the insurance. They engage the Performers. They create the marketing. They bring the audience. They deliver the result. They are not employees simply because recognising them as businesses is administratively inconvenient. Nor should an artist have to rent the room, become the promoter and gamble the entire event on ticket sales before their independent commercial status becomes visible.

The business model between employment and total artist promotion is where our industry actually lives. Those turning up on stage every week deserve clarity for their businesses. And the government is legally obligated to provide realistic relevant answers rather than offering examples that bear little relationship to the actual market.

Because the bottom line is remarkably simple: Music Means Business™. If the government wants artists to operate as employees, it must explain who pays for their equipment, production, insurance, advertising, administration and commercial risk. If the government accepts that they operate businesses, it must create rules that recognise the whole business—not isolate the human being on stage and pretend everything surrounding them appeared by magic.

Nichola Burton is the CEO of The Pushworth Group and the founder of A Little Pitchy and has spent more than 36 years working at the intersection of artists, venues and the business of live music. She has a long list of questions that need answers and until they come, she will continue doing what the live music industry has always done: asking difficult questions, challenging inconsistent systems and reminding government that Music Means Business™. Copyright 2026

The truth most Musos discover too late is that they are actually in the relationship business — one of the most emotionally complex professional ecosystems that exists.

Your career will depend on how you navigate relationships with agents, promoters, bandmates, venue managers, technicians, audiences, and the people waiting for you at home while you are loading into a venue on a Saturday night.

Every rehearsal. Every gig. Every text message. Every conversation backstage, quietly builds your reputation. Performance and songs may open doors. But relationships decide whether those doors stay open.

If you are a musician reading this, you have probably experienced at least one of these moments:

• A promoter or agent not returning your calls

• A bandmate quitting mid-tour

• A bar cancelling a show

• A family member asking when you’re going to get a “real job”

• A fan expecting access to your life

• A gig going wrong and everyone blaming everyone else

None of these are music problems. They are relationship problems. Shit will always happen but the quality and the power of your Relationships will determine how you navigate your way through every challenge.

“A music career is not built on songs and shows. It is built on trust.”

The Relationship Map of a Music Career

Every artist operates inside a relationship ecosystem. Your professional world includes:

• Agents

• Band Members

• Promoters

• Publicists

• Label Managers

• Social Media Managers

• Street Teams

• Production Suppliers

• Technicians

• Producers

• Venue Managers

• Bar Staff

• Music Retailers

• Industry Professionals

Then there are the people who make the whole thing possible. Your audience. Your fans. And occasionally… Your stalkers. Every performance creates emotional connection. And never underestimate that not everyone processes that connection the same way.

Then there are the relationships most musicians underestimate. The ones at home. Partners. Spouses. Children. Parents. Family. While families gather on weekends… Musos load into venues. Birthdays happen without you. Christmas celebrations. Anniversaries. Ballet Recitals. Soccer Games. School Reunions.

Over time this creates tension many artists are never prepared for.

Inside bands something else often happens. Because the same people rehearse together, travel together and perform together week after week…Bandmates can become band husbands and band wives. They understand the lifestyle in a way people outside the industry often cannot. That closeness can build powerful alliances. It can also blur boundaries.

The Relationship Most Artists Ignore

The most important relationship in your career is the one you have with yourself. You. Your nervous system. Your Stories. Your Triggers. Every time you perform you are exposed to:

• evaluation

• public feedback

• financial pressure

• emotional projection

If you have not learned how to regulate yourself under those conditions, something predictable happens. You begin assigning emotional roles to the people around you. Agents become rescuers. Managers become parents.
Bandmates become therapists. And when business inevitably fluctuates…because it does, those same people become villains.

If you expect someone else to make your career happen, you are also setting them up to become the villain when it doesn’t.

A Story From the Road

We once worked with a young solo artist I’ll call Indigo. He had extraordinary talent. A voice that could silence a room. Guitar playing that made audiences hold their breath. Venue managers loved him. So an agent built his calendar. Four shows a week across South East Queensland.

Then one day Indigo called the agent and said he was going through a messy divorce and needed to cancel all Friday and Saturday shows for six months to care for his children. But he was still available Thursdays and Sundays. The story didn’t sit right with the agent. Not because artists don’t go through divorces — they do. But in this industry, when someone suddenly removes themselves from their best earning nights, something else is usually going on.

Still, the agent supported him and reshuffled bookings. Two weeks later Indigo began advertising Friday and Saturday shows at other venues not booked through the agency. When the agent called, Indigo refused to answer. Soon mid-week gigs began being cancelled at the last minute. Venues were left scrambling. Relationships with venue managers were strained. Eventually the agent had to stop booking him.

A year later Indigo returned asking for another chance. The pattern repeated. Last-minute cancellations. Excuses. A rotating cast of villains in every story. Someone else was always to blame. The final moment came in a local club. By then the pattern was clear.

Indigo argued with the bar manager, packed his gear and walked out before the show. When the agent called to understand what happened, Indigo responded with abuse and told him to fk off**. Soon after he threatened another booker who had left a simple review describing him as unreliable. Later a venue that had been booking him directly learned the same lesson. Indigo cancelled a Saturday show the day before, citing illness. Another venue advertised him playing that same night. The manager called us and simply stated: “I’ll never book him again.”

So let’s conduct a Relationship Health Check!

How did this exceptionally talented young artist find himself in such an unbookable place? Well, Indigo forgot that his business, like yours, operated across three Touch Point environments. And each Touch Point built his reputation.

Digital

• Social media

• Emails to Agents, Promoters and Managers

• Messaging apps

• Streaming platforms

Organic

• Rehearsals

• Phone calls

• Meetings

• Backstage conversations

• Speaking at Gigs with Bar Managers, Bar Staff and Security

Visceral

• Stage performance

• Audience exchange

• Body language

• Eye contact

“The music industry is small. Your reputation travels faster than your marketing.”

The Foundations of Healthy Industry Relationships

Healthy professional relationships in music share these common traits.

• Transparent Communication - Clear expectations and open dialogue.

• Mutual Trust - People follow through on commitments.

• Mutual Respect - Everyone’s role is valued — from artists to technicians.

• Support and Sustainability - The industry is high pressure. People look out for each other.

• Shared Vision - Everyone understands the purpose of the project.

• Structure - Contracts and agreements prevent future conflict.

The Artist–Fan Relationship

Artists often underestimate the importance of their relationship with fans. Fans stay connected through:

• Stage Performance Audience Exchange

• Storytelling - live on stage or on line

• Authenticity

• Shared experience

As Bruce Springsteen once said: “The audience is not just there to hear you play. They’re there to feel something together.”

Why Some Musicians Work for 30 Years and Others Disappear in Five

After decades in the industry, one pattern becomes very clear. The artists who build long careers are not always the most talented. Some of the most brilliant musicians disappear within a few years. Meanwhile artists with far less technical ability work consistently for decades.

Why?

Because venues, promoters and agents are not just booking talent. They are booking risk.

One unreliable artist can unravel:

• marketing campaigns

• staffing rosters

• audience expectations

• venue reputation

So the industry quietly begins favouring a different type of musician. Not the most talented but the most trustworthy. The artist who:

• shows up on time

• treats staff with respect

• communicates clearly

• manages their emotions

• delivers the show promised

When you become easy to work with something powerful happens. People begin protecting you. They recommend you. They advocate for you. They bring opportunities your way.

“Talent gets you noticed. Character keeps you working.”

The Long Game

The music industry runs on something far more fragile than contracts.

Trust.

People remember how you treated them. Your shows and songs introduce you to the industry. Your relationships create the space for your future business in the market.

“The industry may forgive a bad night. It will not forgive a toxic relationship.”

Nichola Burton is a UX/UI designer at A Little Pitchy, working alongside agents, artist managers and event producers to design smarter systems for the music and live events ecosystem. Drawing on decades of industry experience, she specialises in structuring the flow of data, content and user experience across the Musoverse—helping creative teams organise complex relationships, streamline operations and make better decisions through clear, intelligent digital design. Copyright 2026

More platforms.
More exposure.
More content.
More hustle.

But ask any working musician what’s actually exhausting them, and the answer isn’t creativity.

It’s management.

Not talent.
Not demand.
Not drive.

Management.

Across every territory — Australia, UK, US, Europe — the pattern is the same:

Musicians are working. Gigging. Diversifying income streams. Teaching. Playing functions. Tracking. Touring locally.

But they’re running their businesses out of:

• Email threads

• Text messages

• Spreadsheets

• Memory

• And stress

The global market does not have a talent shortage. It has a systems shortage. And without systems, even good careers plateau.

As a working musician, you’re already operating as:

• A business operator

• A supplier

• A brand

• A logistics coordinator

• A marketer

• A bookkeeper

The musicians who scale aren’t necessarily the most gifted. They’re simply the most organised.

What working musicians need is simple:

• One place to see all gigs

• One place to manage promo

• One place to track invoices and payments

• One place to verify admin details

• One place to manage your calendar - Gigs as well as your Life.

• One structured pathway for bookings

Not another social media channel. Not another streaming metric.

Scaffolding.

So what does this look like?

You need a structured operating system designed for working musicians who are already in motion.

1. Centralised Gig Management

• View all gigs in one place

• Download gig calendars per act

• Reduce booking clashes

• Plan instead of react

2. Promo Asset Control

Upload and manage:

• Publicity photos

• Show reels

• Spotify playlists

• Social Media links

• Show copy

Everything stored once. Everything presentation-ready.

A place where you control your assets — within a professional framework that makes sense to venues and bookers.

3. Financial Visibility

Whether you use:

• Xero

• MYOB

• QuickBooks

• HNRY

You can:

• Upload tax invoices

• Check payment status

• See what’s processed

• Align records with your accounting software

No more guessing. No more chasing blindly. Cash flow clarity is professional stability.

4. Admin Integrity

You can view your administrative details anytime. If updates are needed, you re-onboard through the website so details are verified before being changed. Why?

Because banking, ABNs, and insurance aren’t casual edits. Verification protects:

• Your payments

• Your contracts

• Your compliance

It removes risk quietly and effectively.

5. Structured Booking Framework

Gigging benefits liks:

• Rates are consistent

• Contracts are clear

• Cancellation terms are enforced

• Payments are processed properly

One of the most consistent pieces of feedback from users of apps like the Pushworth Live Booking Portal has been this:

“It helped me to treat my music like a business — without killing the creative part.”

This is the balance the industry has been missing. Structure does not suppress creativity.
It stabilises it.

The global music market does not need more noise. It needs:

• Reliable suppliers

• Protected transactions

• Verified data

• Organised operators

Working musicians are the backbone of live music economies worldwide. But backbones need support.

If you’re gigging regularly, you already have proof of demand.

The real question in 2026 is: Can you scale? Do you have infrastructure?

So look for a free, structured system designed to help working musicians run sustainable businesses inside a live music ecosystem.

And in a market where margins are tight and professionalism is the edge, the musicians who endure won’t be the busiest.

They’ll be the most systemised.

Written by Nichola Burton. I work in partnership with Agents, Artist Managers and Event Producers, who juggle a diverse range of relationships in the Musoverse, to curate, manage and measure data in systems, experience, creative and content to support the entire Musoverse operation in my enterprise A Little Pitchy Copyright 2026

There’s a tremor moving through the creative world right now — a low, anxious hum whispering that “everything is changing on December 10.” Talk of social media lockouts. Rumours of mandatory ID uploads. Warnings that artists will lose access to the only lifeline many feel they have: their audience.

So let’s begin with the truth, clean and bright:

No — you are not required to upload your ID on December 10.
No — social media is not banning musicians.
No — your accounts are not disappearing overnight.

But yes — the digital terrain is shifting.
The era of the anonymous, chaotic, wild-west social platforms is fading.
A new landscape is rising — one shaped by identity, clarity, authenticity, and AI.

This is not an ending. It’s a levelling-up. And musicians who prepare now won’t just survive — they’ll rise above the noise.

Here’s how to walk into December 10 and beyond with confidence, clarity, and professional grace.

1. Know the Truth: No Mandatory ID Upload on December 10

Let’s clear the smoke first.

You will not lose your account if you don’t upload ID. Meta has not announced any such requirement. Google has not mandated a universal identity scan. There is no global “lockout date” for musicians.

What is happening:

• Platforms are tightening security triggers.

• Some accounts — not all — may be asked to verify identity if suspicious activity is detected.

• AI moderation is becoming stricter.

• Businesses and creators with complete, consistent profiles will experience fewer disruptions.

Verification remains optional but beneficial, not compulsory.

You are not preparing for a shutdown — you’re preparing for a smarter, cleaner, more structured digital environment.

2. Clean Your Digital House (This Is the Real Work)

Your online presence is your storefront. If it’s messy, outdated, inconsistent, or full of broken links, AI systems will quietly push you aside.

Before December 10:

✔ Update every bio on every platform

Make them match.
Same photo.
Same handle.
Same website.
Same genre.
Same story.

Fragmented identity = reduced visibility.

✔ Check all your links

Broken links hurt your reach. Fix them now.

✔ Refresh your profile photo

Sharp, clear, recognisable. Not a dark gig shot from 2014.

3. Strengthen Your Security (Optional but Highly Recommended)

While ID upload isn’t required, this is becoming a best practice for serious artists.

✔ Turn on two-factor authentication

Because losing your account to a hacker is still the fastest way to kill your career.

✔ Review who has access to your pages

Old managers? Ex-bandmates? Producers from two albums ago? Remove anyone who isn’t in your current circle.

This is housekeeping. This is power reclamation.

4. Create Content That AI Trusts and Humans Feel

From December 10, every post goes through an AI moderation layer. That means blurry images, vague captions, and chaotic promotion will be quietly down-ranked.

What works now:

✔ Clear storytelling

Tell us what the song is about.
Tell us why you wrote it.
Tell us what it means to you.

✔ Crisp visuals

AI punishes low quality.
Your content must be readable, watchable, understandable.

✔ Short-form honesty

Reels, Shorts, TikTok — your voice, your truth, your process.

5. Build Your First-Party Data (The Gold You Actually Own)

If social media hiccups, your mailing list becomes your anchor.

✔ Start a newsletter

Doesn’t matter if it feels small. It’s yours.

✔ Add a signup link in your bio

Make it obvious.

✔ Capture first names

People follow artists. Algorithms follow patterns. Your email list follows you.

6. Polish Your Artist Identity for the New Era

Platforms increasingly favour creators who look real, stable, and serious.

✔ Update your About sections

Where you are. What you play. How you can be booked.

✔ Make your contact details easy to find

✔ Use consistent branding

Your artist identity must feel anchored, not improvised.

7. Stop Relying on Bots, Hacks, and Shortcuts

The next era will be merciless toward automated junk.

Avoid:

• Auto-DMs

• Follow/unfollow tactics

• Engagement pods

• Fake followers

• Scheduling tools posting without human review

If it feels ethically off, the algorithm will bury it. Authenticity wins every time.

8. Build Community, Not Just Content

In this new world, the algorithm rewards connection — not noise.

Ideas to deepen your ecosystem:

• Weekly behind-the-scenes reels

• Voice memo demos

• Rehearsal-room lives

• Fan shoutouts

• Polls letting your audience shape your shows

People don’t follow artists. People follow a world they want to walk inside.

Build that world.

BOTTOM LINE: YOU ARE NOT IN DANGER. YOU ARE EVOLVING.

December 10 isn’t a cliff — it’s a checkpoint. A moment to pause, realign, and lift your digital presence into its next, more powerful shape.

Music Brands who prepare now will:

• Reach more people

• Experience fewer restrictions

• Build stronger communities

• Protect their creative identity

• Expand their opportunities in 2025

No drama. No panic. Just clarity and action.

You’re not just preparing for December 10. You’re preparing for the next decade of being seen, heard, and felt in a digital world that is finally beginning to favour the real over the fabricated.

This is your moment.
And the Musoverse stands with you — helping you build a music brand that cannot be shadowed, throttled, or silenced.

Written by Nichola Burton. I work in partnership with Agents, Artist Managers and Event Producers, who juggle a diverse range of relationships in the Musoverse, to curate, manage and measure data in systems, experience, creative and content to support the entire Musoverse operation in my enterprise A Little Pitchy Copyright 2025

Not because they’re unprofessional. Not because they’re disorganised. And definitely not because they’re divas.

It’s because music itself is the priority. The sound, the connection, the energy — that’s the centre of their universe. Everything else — the admin, the promo, the paperwork — naturally drifts to the back of the stage until someone drags it into the spotlight.

And onboarding does exactly that. It doesn’t judge.It doesn’t accuse. It simply illuminates the things that have been waiting quietly in the wings: the scattered files, the old bios, the certificates buried in inboxes across five different email accounts.

For many musicians, that sudden floodlight feels intense. And last week alone, we had three incredible acts — seasoned, talented, respected — who were so overwhelmed by what they needed to provide that they simply couldn’t onboard at all.

This isn’t weakness.This is the reality of the working musician: You were never given a simple, safe system to hold your business life together.

So instead of pushing you into meltdown territory, let’s offer a gentler path — one that’s smarter, calmer, and built for the long haul:

The One Folder That Will Change Everything

You only need ONE folder. In ONE cloud service.

• Google Drive

• iCloud.

• Dropbox.

Pick the one you like. Call it: SHOW NAME – MASTER FILES

Inside that single folder, you’ll slowly build the backbone of your business — one file a week, one small step at a time. Not for onboarding. Not for Marketplaces. Not for Promoters.

For you.

Your professionalism. Your peace of mind. Your future gigs. Your future self.

THE ULTIMATE MUSICIAN MASTER FILE CHECKLIST

Start small. Add one thing per week. No overwhelm. No panic. Just steady progress.

1. MARKETING ASSETS

Folder: Marketing – 2026

• Hero Image — High Resolution
  ActName_Hero_2026.jpg

• Six Alternate Images
  ActName_1 … ActName_6

• Logo (PNG & SVG)

• Style Guide (if you have one)

2. COMPLIANCE & LEGAL

Folder: Compliance & Business Docs

• Public Liability Certificate of Currency

• Renewal Date (add to your calendar)

• Motor Vehicle Registration Renewal

• Tag & Test Certification (every 6 months)

• Signed Act Agreement

• ABN Current Details

• Household Bill (address proof — redact financials)

• Screenshot of Bank Details
  (Name, BSB, Account # — balance hidden)

3. RIDERS & SPECS (GOOGLE DOCS)

Folder: Riders & Specs

• Show Pitch - Quick Look, Biography, Press Release

• Hospitality Rider

• Production Rider

• Tech Rider

• Marketing Rider

• Backline Specifications

• Partnership Agreement (Band/Duo/Show)

4. BUSINESS INFORMATION MASTER DOC

A single Google Doc that holds every crucial detail in one place.

Call it: ACT NAME — BUSINESS INFORMATION MASTER

Include:

Business Identity

• Business Name

• ABN

• ACN

• GST Status

• Entity Type

• Registered Address

Contacts

• Primary Contact Name

• Phone

• Email

• Website

Accounts

• Accounts Contact

• Phone & Email

• TFN (secure)

• Bank Name, BSB, Account Number

• Swift Code

Compliance

• Public Liability Provider

• Certificate Number

• Insurance Renewal Date added into Google Calendar

• Tag and Test Renewal Date added into Google Calendar

• Trademark # (if applicable)

• CRN for QLD Transport (if applicable)

• Show Vehicle Registration Renewal Date added into Google Calendar

• ASIC Key

• ASIC Account Number

Why This Matters (Far Beyond Onboarding)

This isn’t busywork. This isn’t bureaucracy. This is sovereignty. This is clarity.
This is you stepping into the truth of your business with confidence instead of chaos.

When you build this one folder:

• Your stress drops.

• Your admin becomes effortless.

• You respond faster.

• You look sharper.

• You get booked more easily.

• You avoid last-minute meltdowns.

• You stay in control.
  

  

Because the world doesn’t need more overwhelmed musicians — It needs musicians who are steady, organised, and ready to play.

Build the folder. Add one item a week. Let the foundation grow beneath your feet.

And when onboarding comes around again — you’ll breeze through it with the calm of someone who knows their house is in order.

Written by Nichola Burton. I work in partnership with Agents, Artist Managers and Event Producers, who juggle a diverse range of relationships in the Musoverse, to curate, manage and measure data in systems, experience, creative and content to support the entire Musoverse operation in my enterprise A Little Pitchy Copyright 2025

Over the past year, the music marketplace has been awash with confusion — shifting interpretations of legislation, misinformation circulating with Music Suppliers rightly asking what they must do to stay compliant. Many are questioning whether they should remain Sole Traders, change business structures, or take steps to protect themselves from the fallout of inconsistent industry practice.

To cut through the noise, we’ve created a simple, practical guide outlining one legitimate pathway available to Music Suppliers who are looking at transitioning from a Sole Trader to a Partnership. *This information is provided purely to help you understand your options in a rapidly changing environment. It is not a recommendation.

Before taking any action, you must speak with your own Accountant or qualified financial advisor. Your business structure, tax obligations, and superannuation responsibilities are personal to your own business structure — and only your Accountant can advise you on what is right for your situation.

This guide is designed to offer you clarity, not instruction. We not providing legal or financial advice. This guide is general information only.
The final decision remains yours, and the responsibility sits where the law places it — with the business owner.

1. Why Move From Sole Trader to Partnership?

A Partnership lets you:

• Share income and expenses with another person (partner).

• Operate as a legitimate business structure.

• Meet your own superannuation, tax, and compliance requirements — independently of any agent or venue.

• Move away from the “hobby/sole trader” grey zone that’s causing problems across the music sector.

It is not any Agent, Marketplace, nor any Promoter or Venue, who manages your superannuation or tax. A business owner does that — and Partnerships are business structures.

2. Steps to Set Up a Partnership

STEP 1 — Choose Your Business Partner

A partnership needs two or more partners.
This can be a spouse, friend, bandmate or anyone you’ll operate the business with.

STEP 2 — Apply for a Partnership ABN

You cannot legally operate as a partnership without:

• A Partnership ABN (Australian Business Number)

• A TFN (Tax File Number) for the partnership

Apply here (free):
https://www.abr.gov.au/business-super-funds-charities/applying-abn

When asked for “Entity Type,” select:
➡ Partnership

Cost: $0

STEP 3 — Create a Partnership Agreement

This document outlines how income, expenses, responsibilities, and profit-sharing work. For that one live show on stage, there are multiple tasks that are required to get that show on stage. Outline who does what.

A simple agreement template is provided below in this document.
(Music Suppliers should ideally have a lawyer review it — typical cost: $500–$1000 if they want something tailored. Around the cost of half an average guitar)

Email business@pushworth.com to get a copy of a basic template.

STEP 4 — Register a Business Name (Optional)

If you want to trade under a name other than the partner names, you must register a Business Name.

Register here:
https://asic.gov.au/for-business/registering-a-business-name/

Cost:

• 1 year – $42

• 3 years – $98

STEP 5 — Set Up a Partnership Bank Account

All business income should go to the Partnership account, not personal accounts.

This helps with:

• Audit protection

• Clear bookkeeping

• Tax and super compliance

Cost: Usually free, depending on your bank.

STEP 6 — Register for GST (If Required)

If Partnership turnover exceeds $75,000 per year, GST registration is mandatory.

Register here:
https://www.ato.gov.au/business/gst/registering-for-gst/

Cost: $0

STEP 7 — Partner Superannuation

In a partnership, each partner pays their own super, from their own share of the profits.
No one else pays it.
No Marketplace, booking agent or venue pays it.
That is the law in its present interpretation.

Superannuation info:
https://www.ato.gov.au/individuals/super/working-out-if-you-are-employee-or-contractor

STEP 8 — Partnership Tax

The partnership itself doesn’t pay income tax.
It “distributes” income to partners, who pay tax individually.

Lodgement details:
https://www.ato.gov.au/business/other-business-structures/partnerships

Cost: Accountant fees vary — usually $350–$900 per year.

Final Note

The industry is shifting, and every Music Supplier stands at a fork in the road: remain reactive, or step up as a true business operator. This guide is a map, not a mandate — a way to steady yourself amid the noise and make decisions from a place of clarity rather than confusion.

Should the ATO issue a formal ruling or binding guidance that changes the obligations of marketplaces, venues, or contractors in the entertainment sector, the Pushworth Live booking portal — which Music Suppliers who work in that particular Marketplace will have access to very soon — will activate its Super.Live tool and notify all Suppliers immediately. No guesswork. No mixed messages. Straight facts, delivered fast.

Until then, the wisest move you can make is to sit with your Accountant before changing anything. Get informed. Get aligned. Move with intention.

The marketplace rewards the prepared.
Make sure you’re one of them.

Written by Nichola Burton. I work in partnership with Agents, Artist Managers and Event Producers, who juggle a diverse range of relationships in the Musoverse, to curate, manage and measure data in systems, experience, creative and content to support the entire Musoverse operation in my enterprise A Little Pitchy Copyright 2025

But now, the tools at your disposal have. We’re living in an age where Artificial Intelligence can write you a string section, master your track, split your stems, design your website, and even protect your royalties — all before you’ve had your first coffee.

I’ve pulled together 30 of the best AI tools for musicians in 2025 — not as a gimmick, not as a “pep talk,” but as a practical business plan toolkit. Because let’s face it: between family, day jobs, late-night gigs, and endless admin, musicians don’t need more hustle. You need smarter systems.

Here’s the kicker: AI isn’t here to replace your artistry (no algorithm can bottle the sweat, tears, and magic of live performance). But it can give you back time, streamline the boring bits, and make your creative and business life lighter.

Think of it as your digital road crew: the bots carry the cables so you can play the show.

Let’s walk you through tools that may help to:

• Write and compose on demand (without waiting for “the muse” to return your texts)

• Polish and master tracks at pro level (without selling your kidney for studio time)

• Protect your rights and credits (because your name deserves to be on the liner notes)

• Distribute, promote, and sell (minus the spammy email vibe)

• Even take care of your mental wellness on the road

If you’ve ever thought: “I’d run my music like a business, if only I had the time” — this is for you.

Because your songs are not just passion projects. They’re assets. And the Musoverse is here to make sure you treat them that way.

Read the full list below:

Music Creation & Composition

1. Suno AI
   Text‑to‑music and vocal‑instrumental generation via prompts.

2. Eleven Music (ElevenLabs)
   AI-generated full songs (vocals + instruments), trained under licensing agreements for legal commercial use.

3. AIVA
   AI composer specializing in classical and symphonic styles, generating up to 3‑minute compositions in various genres.

4. Boomy
   Instant song creation and publishing — ideal for beginners and viral hits.

5. Amper Music
   Generate royalty‑free tracks, customizable background music.

6. Magenta Studio (by Google Magenta)
   Experimental MIDI generators, plugin for Ableton Live for melody/groove generation.

7. Vozart.ai
   End‑to‑end AI music studio: text‑to‑music, lyric‑to‑song, vocal separation, video generation.

8. Soundraw
   AI for generating music (often used for background tracks and creative video content).

9. Hookpad Aria (by Hookpad)
   AI “copilot” assisting songwriters: melody/harmony continuations, fills, generation.

Production, Mixing & Mastering

10. LANDR
    AI mastering, distribution to DSPs, samples library, VSTs/plugins, collaboration tools.

11. iZotope Neutron / Ozone
    Advanced AI-assisted mixing (Neutron) and mastering (Ozone).

12. RipX
    AI-powered DAW for stem separation, note‑level editing, instrument isolation, pitch/tempo edits.

13. LALAL.AI
    Vocal/instrumental stem separation—for remixes, mastering.

Rights, Metadata & Legal Protection

14. Vermillio
    AI licensing & rights protection platform—monitors IP, takedowns, handles licensing administration.

15. Jaxsta
    Official music credits database—metadata, royalties, licensing, sync sourcing.

16. Eleven Music (again relevant)
    (Repeated for legal-safe music generation via licensed data.)

Creative Workflow & Idea Capture

17. Dubnote (by Vochlea)
    iOS app for capturing ideas: auto‑tagging, section splitting, tempo detection, lyric transcription.

18. FYI.AI / CONVOS (by will.i.am)
    AI-driven creative brainstorming chats, lyric generation, idea feedback.

Background Tracks, Jingles & Marketing Music

19. Platforms for branded music (e.g. Soundraw, Amper, Boomy)
    Create mood-/length-tailored tracks for YouTube, podcasts, branding.

Promotion, Distribution & Fan Engagement

20. LANDR Distribution
    (Included earlier under LANDR, but worth noting separation of service.)

21. Bandzoogle
    Direct‑to‑fan websites, merch sales, mailing lists, smart links, EPKs, crowdfunding.

Next Steps for Your Music Business Plan

Identify your needs: Are you focused on creation, polishing, rights management, or fan engagement?

Mix tools wisely: For example, create with Boomy, polish with LANDR, capture ideas with Dubnote, and distribute via Bandzoogle.

Watch legal trends: Note licensing-first approaches like Eleven Music (vs. controversy around Suno or others)

Stay adaptive: Integrate tools like Vermillio or Jaxsta as your catalog grows.

22. Endlesss
    AI-powered collaborative jam platform — musicians can co-create loops, beats, and full tracks in real time with a global community.
    🔗 endlesss.fm

23. Moises.ai
    AI stem splitter, chord detection, pitch shifting, metronome — popular for practice, remixing, and live set prep.
    🔗 moises.ai

24. Audialab – Emergent Drums
    Generates never-before-heard drum samples using AI, perfect for producers looking for unique percussive textures.
    🔗 audialab.com

25. Ecrett Music
    Royalty-free AI background music generator for content creators, games, and advertising.
    🔗 ecrettmusic.com

26. Brain.fm
    AI-generated functional music for focus, relaxation, or sleep — musicians can study how AI alters cognitive states or even use it for wellness on tour.
    🔗 brain.fm

27. Melody ML
    AI vocal and instrument isolation — great for remixers and DJs building custom edits.
    🔗 melody.ml

28. Spleeter (by Deezer)
    Open-source AI stem separation tool (vocals, drums, bass, others) widely used in live/DJ sets and production.
    🔗 github.com/deezer/spleeter

29. Alysia
    AI lyric-writing assistant — helps songwriters generate ideas, rhymes, and themes for new songs.
    🔗 withalysia.ai

30. Musico
    AI engine that creates adaptive music in real-time, used for games, interactive experiences, and live improvisation.
    🔗 musico.io
    

    Written by Nichola Burton. I work in partnership with Agents, Artist Managers and Event Producers, who juggle a diverse range of relationships in the Musoverse, to curate, manage and measure data in systems, experience, creative and content to support the entire Musoverse operation in my enterprise A Little Pitchy Copyright 2025

    

    
    

This is where AI steps in as your unpaid intern. It doesn’t replace you. It takes the boring 80% so you can focus on the 20% that matters.

What AI Can Handle:

• Bookkeeping & Tax: Apps like Xero or QuickBooks with AI categorise gig expenses, flag deductions, and draft BAS reports. You just hit approve.

• Invoices & Contracts: AI templates auto-fill with your details → you review, personalise, send.

• Marketing Content: Upload your gig video → AI clips it into TikToks/Reels, adds captions, cleans sound.

• Promo Assets: Canva AI generates posters and gig flyers → you tweak fonts and colours to fit your vibe.

• Fan FAQs: Chatbots answer “what time’s the gig?” or “where can I buy merch?” → you handle the human replies.

What AI Can’t Do:

• Build your reputation.

• Decide which fan gets a personal reply.

• Feel the vibe of a room and adjust.

• Represent your authentic voice.

You’re still the boss. AI just works the desk job so you can stay on stage.

ACTION BOX

• Pick one admin task you hate most (e.g. invoicing, editing, posting).

• Ask CHATGPT to find an AI tool to handle 80% of it.

Set it up this week. You’ll never go back.

Written by Nichola Burton. I work in partnership with Agents, Artist Managers and Event Producers, who juggle a diverse range of relationships in the Musoverse, to curate, manage and measure data in systems, experience, creative and content to support the entire Musoverse operation in my enterprise A Little Pitchy Copyright 2025

Cue the magic word: Grants.

Yes, those mysterious golden tickets handed out by government bodies, arts organisations, and philanthropic foundations. Unlike loans, grants don’t need to be repaid (hallelujah). They exist to help you create, tour, record, market, and grow.

But here’s the catch: they’re competitive. You don’t get them because you’re lucky — you get them because you’re Grant Ready.

So what does Grant Ready look like?

• Your bio, socials, and website are all polished, consistent, and professional.

• You know your artistic purpose — not just “I wanna make an album” but why it matters.

• You can show how your project benefits more than just you (audiences, communities, industry growth).

• You have an accurate budget (no magic money trees).

• You’ve got recommendations, support letters, and strong examples of your work.

• You’ve fact-checked, spell-checked, and had a second set of eyes check everything else.

Grant Ready means your music business looks as professional on paper as it does on stage.

Tips for Musicians Applying for Grants

1. Purpose first. Know what you need the grant for (recording, touring, festival, etc.) and don’t bend your purpose to fit a grant that doesn’t actually fund it.

2. Do your research. Read the guidelines. Check eligibility. Call the grants officer (seriously, they exist to help you).

3. Budget like a grown-up. A budget that doesn’t balance will sink you faster than a dodgy guitar cable.

4. Clarity wins. Panels read hundreds of apps. Keep it simple, plain, and focused.

5. Proof read. Typos don’t scream “rock star,” they scream “I don’t care.”

6. Outcomes matter. Show the ripple effect — jobs created, communities engaged, skills shared.

7. Be professional. No Comic Sans. No glitter. Definitely no pity plays.

8. Follow through. If you win, acquit the grant properly (track outcomes, file reports, say thanks). Skip this and you may as well torch your future applications.

9. Persistence pays. Didn’t get it first time? Welcome to the club. Don’t give up. Give it another crack. :-)

Current Funding Opportunities in Queensland & Beyond

Here’s a starter list (not exhaustive, but a solid launchpad).

🎶 Creative Futures Fund (Creative Australia) – Major funding for works of scale. Closes 11 Nov 2025
👉 Apply here

🎶 Contemporary Music Touring Program – Up to $50k to support national tours of original Aussie music. Closes 14 Oct 2025
👉 Apply here

🎶 Playing Australia – Touring investment to reach regional & remote communities. Closes 14 Oct 2025
👉 Apply here

🎶 Quick Response Grants (Flying Arts/RAF) – Small, fast grants for pro development or projects. Closes 30 Sept 2025
👉 Apply here

🎶 Creative Sparks (Brisbane City Council/Arts QLD) – Supports artists and organisations creating work to share publicly in Brisbane. Closes 10 Nov 2025
👉 Apply here

🎶 Touring Queensland Fund (Arts QLD) – Supports touring gigs across the state, including schools. Opens March 2026
👉 Details here

🎶 Sidney Myer Fund & Myer Foundation – Philanthropic funding for arts and culture. (Currently closed, but keep checking)
👉 Explore here

Why This Matters Now

Queensland is rolling out its Time to Shine 10-year arts and culture strategy, gearing up for Brisbane 2032. That means investment, visibility, and opportunity for musicians who are ready to step up.

👉 Read the strategy

This isn’t just about you and your next release. It’s about our shared story as artists and storytellers. Your music contributes to the cultural legacy we’re building for generations.

Final Notes from the Musoverse

Grants aren’t scary. They’re just paperwork with purpose. And being Grant Ready is one of the smartest investments you can make in your music career. Plus they offer an additional layer of promotional content.

So — clean up your socials, sharpen your bio, call your mentors for recommendations, and start applying.

You’ve already written the songs. Now write the applications that help the world hear them.

Written by Nichola Burton. I work in partnership with Agents, Artist Managers and Event Producers, who juggle a diverse range of relationships in the Musoverse, to curate, manage and measure data in systems, experience, creative and content to support the entire Musoverse operation in my enterprise A Little Pitchy Copyright 2025