If you’ve ever felt like turning the ignition back on and driving home...

If you’ve ever stood behind the stage curtain with your heart pounding so hard you thought the audience could hear it...

Congratulations. You’re a gigging musician. Despite what Instagram might have you believe, stage fright isn’t a sign you’re in the wrong profession. It’s practically part of the job description.

It’s one of the questions I hear most. “I’ve played over a thousand gigs. Why do I still get nervous before every single one?” Because your brain doesn’t know you’re about to play Wagon Wheel to 80 people at the local. It thinks you’re about to be eaten by a tiger.

The human brain hasn’t evolved fast enough to tell the difference between physical danger and social danger. Standing alone under lights while dozens—or hundreds—of people watch your every move triggers the same survival system that once kept our ancestors alive.

Your nervous system simply hears: “Everyone’s looking at me.” Then it responds exactly as designed.

The moment your brain senses a threat, your sympathetic nervous system hits the panic button. Adrenaline floods your body. Heart rate increases. Breathing speeds up. Blood moves away from your stomach and into your muscles. Your pupils widen. Your body prepares to fight… ...or run.

Unfortunately, neither option works particularly well when you’re halfway through Sweet Caroline.

This is why too many musicians often experience:

• A racing heart

• Dry mouth

• Tight throat

• Sweaty palms

• Shaky hands

• Wobbly knees

• Nausea

• Tunnel vision

• Racing thoughts

• The overwhelming urge to disappear into the loading dock.

None of these symptoms mean you’re weak. They mean your nervous system is doing exactly what it evolved to do. Those butterflies? They’re often strongest before the first song.

Research consistently shows that performance anxiety usually reduces once the performance begins. Why? Because your brain finally receives new information. “Hang on... nobody’s attacking me.” “They’re actually smiling.” “Someone just sang along.” “I’m okay.” Your nervous system recalibrates.

That’s why so many musicians say: “The hardest part is walking onto the stage.”

Before a gig, your inner critic becomes a full-time employee. “You’ll forget the words.” “You’ll stuff the intro.” “Everyone will notice.” “You’re not good enough.”

Here’s the clinical reality. Thoughts are not facts. An anxious brain is a prediction machine. It constantly overestimates danger and underestimates your ability to cope. The trick isn’t eliminating those thoughts. It’s recognising them as background noise rather than the headline act.

If anxiety lives in your nervous system… Then breathing is the mixing desk. One of the fastest ways to reduce stage fright is something every musician already carries with them. Their breath. The science is surprisingly simple. Longer exhalations stimulate the vagus nerve—the body’s natural brake pedal—which shifts your nervous system out of fight-or-flight and towards a calmer state.

When you get to the gig, try the Cyclic Sigh. Take a slow breath through your nose. Before you exhale, take one short extra sip of air. Then slowly let the entire breath out through your mouth. Repeat five times. It sounds ridiculously simple. It works ridiculously well.

And when you walk on stage, forget taking huge breaths. Instead try this rhythm: Breathe in for 4 beats. Breathe out for 6 or 8 beats. That longer exhale tells your nervous system: “We’re safe.” Not eventually. Immediately.

Now if you are on the road and you’ve driven six hours... Ate servo food… Slept badly… Loaded in… Sound checked… Waited around… Played… Loaded out… ...your nervous system has been working overtime. A few minutes of Box Breathing (4 in, hold 4, out 4, hold 4) between gigs helps reset your baseline.

Think of it as tuning your nervous system before you tune your guitar.

Here’s something every experienced muso eventually learns. The audience wants you to succeed. They’re not sitting there hoping you’ll miss the second verse. They’re there because they want a good night. So forget about trying to be perfect.

Miss a lyric? Smile. Play the wrong chord? Keep going. Forget the bridge? Half the audience won’t even know. Confidence isn’t playing perfectly. Confidence is recovering gracefully.

Here’s an old trick. When you walk on stage, don’t scan the whole room. Find one friendly face. One person smiling. Play your first song to them. Your brain immediately stops seeing “a crowd.” It sees another human. And that changes everything.

Musicians spend thousands maintaining guitars. Replacing strings. Servicing amps. Buying microphones. But the most important instrument you’ll ever own is your nervous system. So look after the instrument behind the instrument. Sleep. Movement. Good food. Hydration. Less caffeine before the gig. A short walk around the block. Five minutes of breathing.

None of it is glamorous. All of it works.

If your stage fright has become so overwhelming that you’re avoiding gigs, cancelling work, experiencing panic attacks, or finding anxiety follows you long after the show ends, it may be worth speaking with your GP or a psychologist. Therapies such as Cognitive Behavioural Therapy (CBT) or even NLP have strong evidence for treating performance anxiety, and in some cases a doctor may discuss medical options where appropriate.

Asking for help isn’t a career-ending move. It’s often the thing that amplifies it.

You are not alone. Adele has spoken openly about stage fright. Bruce Springsteen still describes feeling nervous before walking on stage. Countless Australian musicians who’ve played thousands of gigs will quietly admit they still get butterflies.

Maybe the goal isn’t to eliminate fear. Maybe it’s simply to understand it. Because courage isn’t performing without fear. It’s plugging in anyway.

See you on stage.

Nichola Burton is CEO of The Pushworth Group and author for Musoverse, where she writes about the business—and the human side—of live music. As a gigging musician, she knows stage fright isn’t just a theory—she lived it. After years of walking onto stages with a racing heart and shaky hands, she discovered practical strategies that helped her perform with confidence. Today, after more than three decades working alongside thousands of Australian musicians, she shares the lessons she wishes someone had shared with her.

Copyright 2026

No. It’s the moment your gut whispers: “Something’s off.”

And over the weekend, one Show Supplier heard that whisper turn into a full-throated roar.

Picture this: A solo muso in a bar, first set underway, doing his job. A group of patrons—already marinated in mid-afternoon bravado—plonk themselves right in front of him and begin the timeless cultural pastime of heckling.

At first, he ignores them. Professional. Patient. Hopeful.

But the more he pretends they don’t exist, the louder they get. Alcohol fuels courage, courage fuels stupidity…and stupidity always wants an audience.

Then the threats start. Not the funny kind.Not the “yeh mate play Khe Sanh” kind. The “we’ll bash you and wreck your gear” kind.

He finishes the set. Walks straight to the Duty Manager and says the six hardest words a performer can utter: “I don’t feel safe right now.”

Now here’s the kicker.That day? No security. Sick. Away. Dang.

So the Duty Manager did the only responsible thing. Told him to stand down, pack up, and go home. Stayed with him while he packed. He walked him to the car. Made sure the wolves stayed behind the fence.

A tough call. But the right call.

Now this Show Supplier has been navigating some heavy mental health terrain lately. And when your internal bandwidth is low, your tolerance for chaos is thinner than a bass string before it snaps. Could the escalation have been handled differently in the early moments? Maybe. But hindsight is always a smug little genius.

The truth is this: He was scared. He asked for help. The venue responded.
Everyone made the safest possible choice with the resources available.

And now it’s the task of the entire Musoverse—to make sure this never happens again.

Most Marketplaces already have a Safety & Security Policy. It’s written. It’s real. It’s not decorative.

So your first step:

1. Read each Marketplace Supplier Code

Yes, actually read it. Front to back. Every clause is a piece of hard-won experience paid for by the bruises of artists before you. This is the Pushworth Marketplace Supplier Code of Practice

2. Chat with Your Booker when you accept the Booking

Ask them:

• Has this venue had trouble patrons recently?

• Any history of aggression, unruly groups, problem corners?

• Any known “Friday Regulars” who act like they own the pub?

• Have other artists flagged similar issues?

• What strategies have worked in the past? (Often it’s surprising.)

Consider potential Strategies like:

• Early-warning communication between venue staff and performers

• Strategic placement: In consultation with the Duty Manager, shifting your setup away from high-conflict zones

• Setting expectations with management about backup, escalation points, and emergency protocols

• Break timing adjustments to defuse tension cycles

• Volume and repertoire shifts that soften or redirect crowd energy

• Direct staff support: a bartender or floor staff staying visible during vulnerable sets

• Clear codewords: if you need assistance mid-performance, you shouldn’t need to give a TED Talk about it

3. Lock Down Your Personal Wellness Strategy

You are your first line of defence. When life is heavy, gigs feel heavier.
So build yourself a buffer:

• Speak with a counselor or therapist weekly while you stabilise

• Create a pre-gig grounding ritual (breathwork, stretching, silence in the car before load-in)

• Establish a check-in system with a trusted friend:
  “At gig now → First break → Leaving venue → Home safe”

• Limit caffeine and adrenaline triggers pre-show

• Build your self-regulation toolkit:
  Coherent breathing, tapping, anchoring, visualisation

• Practice assertive communication scripts for early confrontation

• Keep your phone charged with emergency contacts pinned to your home screen

• Know your out — your pack-up plan, your exit route, your non-negotiable boundary line

None of this makes you weak. It makes you a professional. Venues should have security. Show suppliers should have backup. Crowds should behave like humans and not caffeinated baboons. But sometimes the world is imperfect.So we must be prepared. Together.

As David Bowie once said: “I think fame itself is not a rewarding thing. The most you can do is carve out your own space and protect it fiercely.”

He wasn’t talking about gigs. But he might as well have been.

Protect your space on stage. Protect your peace in your mind. Protect your right to go home safely.

The Musoverse is built on one truth: Your life is worth more than a gig.

Stay sharp. Stay grounded. Stay safe.

And when your gut whispers—listen …..and then activate your Gig Safety Plan.

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

Gratitude in Practice:

• ROI Review: After each gig, list what you gained beyond the fee (content, fans, contacts, practice).

• Celebrate Micro-Wins: First livestream, first merch sale, first Patreon supporter. They matter.

• Fan Gratitude: Share your appreciation. Fans want to feel part of your journey.

• Reframe Mistakes: That broken string or bad foldback? Content gold. People love the behind-the-scenes mess.

The Musoverse mindset: AI + Human + Audience = Return on Investment.

You’ve already invested years of sweat, gear, and late nights. Gratitude turns that into fuel. AI handles the admin so you can focus on the magic. And fans stick around because they feel part of something real.

ACTION BOX

• Write down 3 things your last gig gave you besides cash.

• Share one on socials this week — thanking your fans, your band, or even your dodgy cable for teaching you resilience.

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

There’s a peculiar heartbreak in watching a musician fall silent—not for lack of inspiration or opportunity, but because their body gives out before their spirit ever could.

Repetitive Strain Injury (RSI) isn’t glamorous. It doesn’t come with a triumphant comeback tour or a tearful reunion on stage. It arrives slowly, insidiously—one aching wrist, one throbbing shoulder, one stiff neck at a time—until the music itself becomes the cause of pain. And for gigging musicians, it’s all too common.

As someone who has walked the halls of green rooms for three decades, patched up broken stage gear, and comforted limping guitarists and exhausted drummers post-show, I’ve seen firsthand the toll that RSI takes on bodies, minds, and careers. It’s a crisis we don’t talk about enough—and in Musoverse, we believe it’s time we did.

Let’s get one thing straight: pain is not the price of passion. It’s a warning sign. You are not supposed to hurt to play.

James Hetfield (Metallica) once said: "When you’re young, you think you’re invincible. I used to play through the pain, thinking it was rock and roll. But pushing through RSI nearly cost me my hands—and my band.”

Evelyn Glennie (world-renowned percussionist) backs him up with this:
"Repetitive injuries are a silent scream. They creep in through the cracks of our overcommitment. Listen early—or you won’t be able to listen at all."

Two powerful studies shed light on the dark undercurrent of pain gigging musicians endure and offer the data that we simply cannot ignore:

1. Ackermann, B. & Adams, R. (2004)
   “Physical characteristics and pain patterns of skilled instrumental musicians” – Medical Problems of Performing Artists
   📈 Up to 86% of professional musicians report musculoskeletal symptoms linked to RSI during their career.

2. Zaza, C. (1998)
   “Playing-related musculoskeletal disorders in musicians: a systematic review of incidence and prevalence” – Canadian Medical Association Journal
   📉 Between 39% and 87% of instrumentalists experience some form of RSI, with many forced to take prolonged breaks or retire early.

So the big question is this: Why Is RSI So Prevalent in Gigging Musicians?

Because gigging isn’t just about playing.

It’s loading in gear at 4 PM, soundchecking in a freezing room, standing for 3-5 hours, carrying 25kg speakers out to the van at 2 AM, and doing it all again the next day. It’s sustained postures, repetitive movement, late-night kebabs, dehydrated muscles, and no recovery window. It’s culture, but it’s also conditioning. And we need to change it.

Here are the Musoverse Top 10 #wellplayed Strategies to Help

Whether you’re a drummer loading into a regional pub or a singer on a three-hour wedding set, these simple strategies can help you stay strong and pain-free:

At the Gig:

1. Warm-Up Ritual (5 mins):
   Roll your shoulders, flex your wrists, do slow neck circles. Your body is your first instrument—tune it.

2. Breath Breaks Between Sets:
   Four seconds in, four out. Calm your nervous system. Help your muscles release tension.

3. Hydration Before & After Sets:
   Dehydrated muscles cramp faster. Aim for 500ml water before load-in and post-show.

4. Smart Lifting Technique:
   Bend knees, keep gear close to your body. Use trollies. Protect your back like you would your guitar.

5. Post-Gig Stretch (2 mins):
   Focus on hamstrings, calves, wrists, and shoulders. This helps flush lactic acid and prevent tightness overnight.

Lifestyle Off-Stage:

1. Anti-Inflammatory Diet Swaps:
   Replace refined carbs with whole grains, swap out fried food for omega-rich meals, and add turmeric and ginger. Less joint inflammation = longer playing life.

2. 15-Minute Daily Mobility Routine:
   Pilates, yoga, or resistance band work to build core and joint stability—especially wrists, neck, shoulders.

3. Weekly Myofascial Release (Foam Roller or Massage Ball):
   Target your lats, IT bands, and traps. Relieve trigger points from long sets and bad posture.

4. Digital Detox Before Bed (30 mins):
   Reduce blue light. Sleep is your best regenerative tool for tissue repair.

5. Breath-Focused Meditation (10 mins):
   Even if it's just focusing on your breath in silence, it calms your nervous system, balances cortisol, and aids recovery.

Final Notes from the Back of the Van…..

If you’re touring, gigging, or even playing local weekend shows, your body is the unsung hero of every performance. You protect your pedals, polish your brass, string your guitar—start treating your back, your knees, your neck with that same reverence.

You deserve a long, pain-free life of music.

Play hard. Rest harder. And remember—being #thewellplayed musician isn’t just about performance. It’s about sustainability.

Until next time,

Sources Cited:

• Ackermann B, Adams R. "Physical characteristics and pain patterns of skilled instrumental musicians." Medical Problems of Performing Artists. 2004.

• Zaza C. "Playing-related musculoskeletal disorders in musicians." Canadian Medical Association Journal. 1998.

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 one’s for the ex-wives. The ex-girlfriends. The abandoned partners. The late-night text message readers. The people left at home while someone chased applause into the early hours.

And it’s for you, muso — whether you’re 23 and just discovering your fanbase, or 58 and wondering why you’re on your third divorce.

Because we need to talk about something bigger than your tour budget.

We need to talk about your relationship.

Or more specifically, why your career keeps trashing them.

Gigging musicians live on a totally different clock.
You don’t do 9 to 5. You do 5 to 9.
You work when the rest of the world plays — and sleep when they’re answering emails.

You live for connection on stage, but often struggle to offer it offstage.
You tour. You grind. You disappear.
And your partner? They’re left wondering if they even exist in your world.

According to Frontiers in Psychology (2025), musicians suffer higher-than-average rates of romantic breakdowns due to chronic sleep disruption, emotional dysregulation, and lifestyle incompatibility. The study found that more than 65% of professional touring musicians experience major relationship instability by age 40.

Another 2024 study published in Journal of Creative Work & Mental Health found that musicians are twice as likely to marry more than once, and experience a 30% higher rate of family estrangement and financial instability due to poorly managed relationships.

You can’t build a sustainable music career if you’re bleeding emotionally and financially from the fallout of unmanaged relationship chaos.
And you can’t build love on the wreckage of your gigs.

Billy Joel, who’s had more marriages than Grammy wins, once said:

“Being on the road destroyed every relationship I ever had. If I could go back, I’d take the phone calls seriously. I’d stop thinking that applause was love.”

Stevie Nicks put it even more bluntly:

“If you choose this path, you’d better choose a partner who can survive it. Because music will always come first — and if you don’t know how to manage that, you’ll lose everything else.”

HERE’S THE MUSOVERSE TOP 4 OF WHAT KILLS MUSICIAN RELATIONSHIPS:

1. Time & Lifestyle Conflict

You’re gone when they need you.
Gigs don’t make space for date night. Touring kills routine.
Sunday roast? You’re still in transit.

2. Emotional Whiplash

You swing between the post-gig high and the Monday crash.
You’re sensitive. So are they. But someone has to stay grounded.
If you’re always in performance mode — who are you at home?

3. Jealousy & Proximity Temptation

Yes — let’s say it.
The gig scene is soaked in flirtation and false intimacy.
The woman throwing herself at you after a show isn’t a threat.
But how you respond to it? That’s the line.
Not every hug is harmless. Not every connection is cute.

4. The Ego Equation

Artists need ego to perform. But it becomes toxic when it takes up the entire relationship.
If your partner feels like a background vocalist in your life — they’ll eventually stop singing along.

So HOW can you PROTECT YOUR RELATIONSHIP WITHOUT KILLING YOUR CAREER?

1. Have the Real Conversation Early

Don’t pretend your lifestyle is normal. It’s not. Be honest about what you do, how you work, and how it affects connection.

2. Schedule Love Like You Schedule Rehearsal

Block out time for your partner. Don’t squeeze them in between load-in and load-out. Make them part of your plan, not your post-show afterthought.

3. Set Clear Boundaries at Gigs

Yes, the audience loves you. But your partner should never have to question what happens after you leave the stage.
Get clear. Stay accountable. Don’t play games.

4. Check Your Inner Rockstar

You’re not above the laws of emotional maturity just because you can hold a note or shred a solo.
Your art matters. But so does your word.

5. Get Support

Couples therapy isn’t failure — it’s maintenance.
Just like vocal lessons or physio, it keeps your instrument tuned.

You might feel like you're chasing the dream.
But if that dream leaves a trail of broken hearts, estranged kids, and missed birthdays — was it really worth it?

Music doesn’t have to come instead of love.
But it sure as hell needs to come with a plan.

You want to write love songs, not post-breakup ballads?

Then treat your relationships with the same care you give your gear.
Maintenance. Attention. Respect.

Or risk losing everything offstage — while chasing a crowd that forgets you the moment the lights go out.

With love, clarity, and a little heads up,

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

A wobbly lighting rig drops.
A punter trips on your untagged lead.
Someone eats it on your pedalboard.

Cue panic. Cue lawyers. Cue… oh shit.

This is not the time to realise you never sorted your Public Liability Insurance.

“But I’m just a muso, not a construction site.”

Ah, yes. The sweet fantasy of rock ‘n’ roll invincibility.

But here’s the reality: live performances are WORKPLACES.
And under Queensland law?
You — the artist — are equally responsible for safety on that stage.
Not just the venue. Not just the agent.
You.

And while yes, you’re not legally required to have public liability insurance as a band, many venues and promoters will straight-up refuse to book you without it.

Why?
Because when things go south, they don’t want to be left holding the flaming amp.

Let’s Talk Fine Print….

Ever skimmed a contract and missed that cute little clause called “Hold Harmless”?
That’s lawyer speak for “if it goes to shit, it’s all on you.”
This is why you must read the fine print in every booking agreement.
(Yes, even the one from your mate's cousin’s wedding in the Gold Coast Hinterland.)

You’ve got to know:

• ✅ Who is legally responsible on-site

• ✅ What the venue or agent expects of you

• ✅ Whether your band’s ABN is the one that cops it if something goes wrong

Spoiler: it usually is.

Most venues and festivals require $10 million in Public Liability Cover.
Yes, it sounds excessive. Until it’s not.

If your rig catches fire, your mic stand knocks out a child (yikes), or your guitarist’s stage dive takes out a grandma — that payout is not coming out of your band fund jar.

Enter: Duck for Cover. Marsh. AON. Or your own trusted insurance broker.
These providers offer affordable public liability insurance tailored for musicians.

Still unsure?
Check out our starter pack:
👉 Time to Revisit Your Show Safety

“But who’s actually covered?”

You’ve all been busy little bees and sorted your cover, right?
Awesome.

But here’s the catch:
When a festival or agent asks for your insurance details — they want to know:
Which ABN is the show performing under? And where is that Pub Lib COC?

If you’re not all operating under one clearly defined Music Brand or show entity, you’re leaving it to fate. And fate’s a savage tour manager.

So, the smart move?
Get your collective agreement sorted.

👉 Read: The Music Brand Supplier Agreement

This spells out:

• Who holds the policy

• What each member is responsible for

• How the show operates as a legal and safe entity

Because when the amps blow and the promoter starts dialing their lawyer, the only thing that will save your arse is paperwork and planning.

Risk Management = Rock Management

We know — it’s not sexy.
But neither is bankruptcy.

Having a Risk Management Plan, SWMS, tagged leads, and clear safety roles in your band isn’t overkill. It’s overdue.

When the pressure’s on, and the glitter hits the fan, you need more than crossed fingers.

You need a plan.
You need cover.
And you need to know who’s actually in charge of sorting this stuff before someone’s lawyer finds your Instagram handle.

1. Sort your Public Liability Insurance. Now. Today.

2. Define who’s performing under which ABN.

3. Create a Music Brand Agreement. Yes, even if it’s your best mates.

4. Read all contracts before you sign. That “hold harmless” clause? Big deal.

5. Get your safety game up. Leads tagged. Stage clear. Risk plans ready.

6. Check out WorkSafe QLD and talk to your lawyer + accountant to get it airtight.

Protect your people.
Protect your brand.
Protect your business.

Because music isn’t just your passion.

It’s your workplace.

Stay loud. Stay smart. Stay covered.

With love and liability cover,

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

Through no fault of their own, musicians — our suppliers of sound — lost virtually all income for two years during lockdowns. When the lights finally flickered back on, it was these same people who worked their tails off to rebuild audience trust, coaxing punters out of lounge rooms and back into pubs and clubs, one set list at a time. And that is something to seriously respect!

But here’s the thing: the stress of those years didn’t just vanish when the amps were plugged back in. It stayed.

Depression, anxiety, and substance use spiked across the board. In the U.S., nearly 41% of adults reported at least one adverse mental or behavioural health condition during lockdown, including starting or increasing substance use to cope with stress and isolation (CDC, 2020). And the music world, where late nights, alcohol, and pressure are stitched into the fabric, wore that burden heavily.

As Lady Gaga once said: “I’ve suffered through depression and anxiety my entire life, and I still suffer with it every single day. I just want these kids to know that this modern showbiz is not easy.”

And she’s right.

So when we see sudden explosions of online outrage — the pile-ons, the name-calling, the all-caps moralising — it isn’t just drama. It’s biology.

Outrage is often a pressure valve, a way for a dysregulated nervous system to find release after years of pain. It’s less about the “villain of the week” and more about someone’s inner world crying for help.

A study published in JAMA Psychiatry echoed what many in the field already know: more than *40% of adult mental illness — anxiety, depression, substance use, suicidal ideation — can be traced back to traumatic events in childhood and adolescence. Add the pandemic, mandates, long Covid, and an industry marinated in substance use, and of course the pot was going to boil over.

As Chester Bennington of Linkin Park put it: “It’s not cool to be messed up. But it’s okay to admit you’re not okay.”

Outrage, in this sense, is honesty wrapped in noise.

Seen through an allegorical lens, online outrage is just the Victim–Villain–Hero drama triangle replayed:

• The Villain: whoever sets a boundary.

• The Victims: whoever paints themselves as oppressed.

• The Heroes: the baying crowd rushing to “save” them.

It’s theatre. Ancient, seductive, familiar. And it tells us less about the supposed villain, more about the pain and fragility inside the chorus.

Here’s the invitation: consider stop taking outrage at face value. Stop reading it as “truth” about its target. Start seeing it as communication — an overcharged nervous system looking for regulation.

That doesn’t mean excusing harmful behaviour. But it does mean refusing to be distracted by the smoke and instead tending to the fire underneath: poor mental health, economic insecurity, trauma, exhaustion.

If you’re a Music Supplier reading this, here’s what you can actually do:

1. Seek Professional Support Early
   Therapy is maintenance, not weakness. If 40% of mental health issues trace back to trauma, then getting help is prevention, not cure.

2. Create Healthy Business Boundaries
   Reliability is self-protection. Cancelling gigs chaotically isn’t just unprofessional; it feeds the stress cycle. Honour commitments where you can, communicate when you can’t.

3. Use Available Resources
   Many agencies and industry bodies now provide free admin and wellness guides. They exist because the industry knows musicians need scaffolding, not shame.

4. Regulate Before You Post
   Outrage feels good in the moment, but reputation is long. Pause. Breathe. Ask: Am I venting, or am I building my career?

5. Build Wellness Into the Gig Life
   Sleep. Hydrate. Rest. Alcohol doesn’t regulate stress, it fuels it. Make one healthy swap on tour — your body and mind will thank you.

Outrage is not the end of the world. It’s a signal. It tells the world that many people are hurting. It tells the world that the nervous system of an entire sector is crying for release after half a decade of brutal uncertainty.

The noise itself is temporary. What matters is what happens next.

We don’t need more dragons to slay. The dragons aren’t out there — they’re inside, in the form of wounds, fears, and addictions. And those dragons can be tamed, not by scapegoating, but by courage, compassion, and support.

So next time you feel the urge to jump on the band wagon and explode online, remember: the noise might feel necessary in the moment, but the real work is in tending to the root cause.

Because noise fades. But your wellness, your music, and your reputation — those are worth protecting.

Resources for Musicians

If you’re looking for tools to steady the ship — business, mental health, or wellness — here are some places to start:

Musoverse Supplier Resources (Free)

• Well Played – self-care for working musicians

• Pitching Your Show – how to sell your act

• Take Your Best Shot – promo and image essentials

• The Social Set List – social media made simple

• Smarter Time Management – balancing gigs and life

• The Art of Communication – getting your message across

• Rock Hard, Rest Harder – musician wellness tips

• 15 Steps to Your Music Brand Marketing

• A Muso Melting Pot – the medical and gig safety

• Command the Stage – stagecraft mastery

• Time to Revisit Your Show Safety – health & safety essentials

Wellbeing & Mental Health

• Support Act Wellbeing Helpline (Australia) – free, confidential 24/7 support for anyone in the music industry

• Headspace – youth mental health support

• Beyond Blue – anxiety, depression, and crisis support

• Lifeline – 13 11 14, 24/7 crisis support

Nichola Burton is the CEO for The Pushworth Group, Creative Director for A Little Pitchy,the Systems Designer for the PUSHWORTH LIVE Booking App and the author of Musoverse.

Nichola Burton Copyright 202

5

SOUNDTRACKERS & WEEKEND WARRIORS

You work your day job Monday to Friday.
Then Friday night hits — you pull on the gig shoes, throw gear in the van, and BOOM — you’re back on stage like a rockstar with a tax file number.

You live a double life — and the one thing that gets slaughtered in the process?
Your sleep.

By Sunday night, you’ve done 3 shows, loaded gear up and down stairs, driven 500km, eaten servo food at 2AM, and your eyelids feel like sandpaper.
But guess what?
You’re back at the desk Monday at 8AM.

Welcome to circadian chaos.

The Science Says...

According to Frontiers in Psychology (2025), musicians who juggle gigs on the weekend and traditional work hours during the week have some of the worst sleep metrics in the industry — including reduced cognitive recovery, poor decision-making, and increased mental fatigue.

In plain speak?
You’re frying your nervous system.

So if you want to keep doing this without collapsing face-first into a snare drum, you need a sleep strategy.

🔥 SLEEP TIPS FOR WEEKEND WARRIORS:

1. Nail Your Pre-Gig Nap:
   Schedule a 60–90 min nap Friday and Saturday afternoons. It’ll buy you 3–4 hours of alertness later.

2. Keep It Dark, Quiet & Cold:
   Blackout curtains, fan on, white noise app. Your bedroom = a sound booth for your brain.

3. Magnesium + L Theanine Wind-Down:
   Skip the beers post-gig and go for a sleep stack. Helps your nervous system come down without knocking you out chemically.

4. Avoid the Gig Hangover:
   Hydrate before bed. Snack with protein. Stretch. No screens in bed (and no, Insta stories of your set don’t count as recovery).

5. Monday = Reset Day:
   Block time Monday night for proper sleep — early dinner, no caffeine, in bed by 9. Let your body clock catch up before Friday hits again.

6. Ditch the “I’ll Sleep When I’m Dead” Culture:
   That’s not rebel — that’s reckless. You’ll just end up tired, bitter, and blaming the industry for what your body was never trained to do.

Real Talk

You can soundtrack the whole region every weekend and still keep your health in check — but only if you prioritise recovery.
No more calling fatigue “part of the job.”
That’s not pro. That’s avoidable.

TOURING ARTISTS ON THE ROAD

Different beast.
Different rhythm.
Still the same core problem: You’re not getting enough damn sleep.

Your show kicks off at 10PM.
You load out at 2AM.
You reach the hotel at 3:30AM.
And someone’s knocking on your door at 6:45AM for lobby call.

Repeat. For 6 weeks.

No one’s meant to live like this — and definitely not create like this.

Why It Matters More Than Ever

Dave Grohl once said:

“The real killer wasn’t the gigs — it was the four hours of sleep before the next city. It nearly broke me.”

And he’s not alone.
Frontiers in Psychology confirms that long-term touring artists experience neurological burnout, memory loss, and weakened immune function — all from chronic sleep deprivation.

And guess what breaks first?
Your voice. Your mood. Your relationships. Your business.

SLEEP TIPS FOR TOURING ARTISTS:

1. Pre-Tour Sleep Bank:
   Stack extra sleep in the week before tour starts. Just like athletes do before comps. Your body remembers.

2. Post-Show Protocol:
   Wind down ASAP post-gig. No after-parties. No midnight maccas runs. Chill, hydrate, and start your recovery routine.

3. Hotel Hack Kit:
   Travel with blackout eye mask, white noise machine, earplugs, and your preferred supplements (Melatonin, Theanine, Magnesium Glycinate).

4. Plan Nap Slots in the Schedule:
   Daily 30–60 min naps matter. Protect that time like it’s your vocal warm-up.

5. Use Sound Tech Strategically:
   No bunk next to the snorer. Noise-cancelling headphones on the bus. Protect your energy between sets, soundcheck, and sleep.

6. Travel Days = Sleep Days:
   If you don’t need to talk, don’t. Use that plane, train, or van time to rest and recharge.

7. Stop Normalising Breakdown Culture:
   You’re not weak for needing sleep. You’re wise. This is the secret sauce to career longevity.

Longevity Requires Discipline. If you want to be gigging at 60 and still loving it, you need more than talent. You need better sleep hygiene.

This is how we de-glamourise burnout and reclaim the real rockstar life — the one with longevity, clarity, power, and health.

Whether you're a part-time legend or a full-time road warrior —
your body doesn’t care what the gig pays. It only cares whether you’re letting it recover.

Stop treating sleep like an afterthought.
Start treating it like your headline act.

With love, pillows, and a three-hour nap,

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

Like so many of you out there gigging every weekend, Manny can seriously walk into any bar where there is live music and tell me exactly which frequency needs tuning. He feels it in his body.

But those flappy things on the side of each head?
Not so much.

It’s a more muffled sound these days.

And he is not alone.

Rock gods are deafinitely still rocking. But many of them are actually going deaf. Like, actually deaf.

Let’s take a quick roll call:

• Dave Grohl: “I’m a rock musician. I’m deaf. I can’t hear what you’re saying.” (Also reads lips like a ninja.)

• Sir George Martin: “Nobody warned us. Loud music? 14-hour sessions? Yep, damaged.”

• Roger Daltry: “Very, very deaf.”

• Mick Fleetwood: Raised awareness with a quiet rock concert.

• Sting: Knows he’s losing hearing but still won’t wear hearing aids.

• Alice Cooper: Calls his hearing aids “clearing aids” (respect).

If legends are battling hearing loss, what chance does the local guitar hero with a Marshall stack and a no-earplug policy have?

According to a 2023 study, 20–60% of rock, pop, and jazz musicians suffer from hearing loss greater than 20 dB in the 3,000–8,000 Hz range. That’s your sweet spot for clarity, detail, and those crispy highs.

Translation: your snare sounds dull, the vocals get muddy, and the punter’s experience goes flat — because you can’t hear it properly anymore.

Oof.

Let’s be honest: you’ll drop $2k on a pedalboard or stage outfit.
But when it comes to protecting the one thing you actually need to do your job — your hearing —you shrug, say “nah I’m fine” and blast your in-ears like it’s your last gig on Earth. This is truly the rock n roll injury that nobody talks about. But should.

You wouldn't perform with a busted guitar. So why play with busted ears?

Here’s the Musoverse Cheat Sheet to keep you hearing your art and your audience:

1. Get Your Ears Checked, FFS

Tinnitus? Ringing? Sudden dullness? Don’t Google it. Go. To. A. Doctor.
Audiologists aren’t just for retirees — they’re your sound engineer’s BFF.

2. Invest in Custom Musician Earplugs

Not foam from the servo. I’m talking precision-fit, decibel-smoothing plugs made for musicians.
They cut volume without cutting fidelity. Your ears will weep with gratitude.

3. TURN IT THE HELL DOWN

Yeah, you love the roar. We get it. But the CDC says anything over 70 decibels is a one-way ticket to Tinnitus Town.
Personal device rule: 60% volume, max 60 mins. Then pause. (Or go full Dali Lama for 10 mins.)

4. There’s an App for That

Download a decibel reader and actually measure the madness. Trust me — you’ll be shocked.
Don’t wait until the ringing won’t stop.

5. Take Sound Breaks

Every hour, 5–10 minutes away from noise. Step outside. Go hug a tree. Meditate. Breathe.
Your ears will love you. Your future self will buy you a beer.

6. Use In-Ear Monitors Properly

Not just for the pros. These help you control your stage mix without frying your hearing.
Work with an audiologist to get the right fit and training. Don’t DIY your way to deafness.

Remember its not just you on stage. Producers, front of house, lighting crew, bar staff, door bitches, and stage managers —this applies to you too.
We all live in the same sonic soup. Protect your gear (your body is your gear).

The world needs your music.

But your music needs you more— clear-headed, tuned in, and able to hear the nuance.

So be a badass and protect your ears.

Because hearing loss is permanent.
And the silence after a show should be a choice, not a consequence.

Take care of your ears.
So you can keep making noise that matters.

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

It starts the moment you walk in the door.
Before the first lyric.
Before the first note.
Before the first Insta story.

And it lives on long after the final chord fades out……

You're booked to deliver a live experience — not just a setlist.

That means you’re not just showing up to play music.
You’re stepping into a living, breathing, unpredictable environment where a dozen moving parts — patrons, kitchen chaos, safety concerns, layout changes, function conflicts, power issues — collide.

So when a Duty Manager asks you to move, adjust, pivot, or plug into a different power source on the fly, it’s not personal.
It’s operational.

It’s the live in live music.
And how you respond in that moment ……well that is as much a part of your performance as your playlist.

Just this past Saturday night, a venue had two major functions collide with regular trade. The Duty Manager, seeing the pressure building, made a professional call to shift the live music setup into another bar area—still within the venue, still fully staged, but adjusted to allow safe flow and crowd control.

The Artist was asked—calmly, reasonably—to move.
They refused.

“I was hired to play that bar. I’m not moving.”

Then they packed up, stormed out, and left the venue without entertainment, mid-service.
The venue was blindsided.
The patrons disappointed.
The music brand—damaged.

When the agent followed up, the Artist responded:

“I don’t need the money and I don’t give a f*** about that gig.”

This kind of response doesn’t make you powerful.
It makes you vulnerable.

Here’s the brutal truth:
By holding firm to a specific physical location in the contract, you’re no longer operating as a music entrepreneur—you’ve turned yourself into labour hire. A body hired to stand in a marked box for X hours. That’s not artistry. That’s factory-line thinking.

Live music is not about geography.
It’s a fluid, conscious exchange of energy between you, the audience, and the staff managing the space between.

A true live performer adapts.
A professional understands the room is alive—it shifts and breathes.
A brand collaborates under pressure.

We’ve said it before, but let’s make it even clearer:
The way you respond to a Duty Manager—especially in the face of grumpy, ineffective communication—matters.

When tension rises, try this:

• Take a deep breath

• Step back—literally two steps

• Hold your body language with calm authority

• Choose your words, tone, and posture with care

Then apply this wisdom from Jefferson Fisher, conflict resolution expert and author of The Next Conversation: Argue Less, Talk More:

“When someone is rude to you, insults you, or belittles you, a long pause is your greatest weapon.”

Fisher's Key Principles for Artists:

• Start with the Outcome: “I want to deliver a safe, great show for your patrons.”

• Set Boundaries: “I’m concerned about OHS; let’s find a safe option.”

• Listen Actively: Understand their position, even if you don’t agree.

• Don’t Take it Personally: It’s logistics, not a character attack.

• Be Direct, Calm, and Respectful: That’s how professionals win trust—and more gigs.

Every moment—on and off stage—either builds or breaks your brand.

How you enter a room
How you speak to the bar staff
How you respond to a changing brief

All of it communicates who you are as a business.

Think your job is done when you load in?
Think again.
Your job begins when things change.
Because when the room moves, you move with it.

Live music is about flow.
It’s energy.
And that energy is dynamic, shifting, unrepeatable.

So when the layout changes, or the stage gets pushed back, or the manager moves your rig to protect a function or fix a hazard—it’s not a betrayal. It’s the venue doing their job.

Do yours.
Adapt.
Serve the room.
Hold your head high.
And keep your brand bulletproof.

You were not hired to stand in a corner and tick a contract box.
Your act was contarcted to move the room.

When the brief changes, you’ve got two choices:

1. Fight for your corner and reduce your brand to labour hire,

2. Rise to the moment and become the artist venues fight to rebook.

The Art of Communication isn’t about winning arguments.
It’s about becoming unforgettable—for the right reasons.

A beautiful voice onstage means nothing if it’s attached to ego offstage.
A stunning venue renovation means little without staff skilled in conflict resolution.
Together, we build experiences.
Together, we serve the audience.
Together, we protect the future of live music.

Start there……

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 if you’re not protecting your income, your intellectual property, and your brand— you’re not building a career. You’re just playing dress-up in someone else’s game.

Let’s change that.

Welcome to Cover Your Ass(ets)—your no-nonsense legal starter kit for the live music business. This isn’t law school. This is the survival guide every working musician in Australia should have in their back pocket.

Why?
Because nothing kills momentum faster than unpaid royalties, cancelled gigs with no contract, or co-writes that come back to bite you.

Let’s make sure your art works for you—onstage, online, and in the bank.

🎯 How Do I Protect My Income and Music Legally?

Copyright, contracts, royalties—it’s a legal jungle out there.
But here’s the truth:

If you want to make money in music, you have to treat it like a business.

Here are 10 essential strategies we recommend to every artist, duo, band, and DJ in the Pushworth family. Simple, actionable, and game-changing.

✅ 1. Register with APRA AMCOS

If you’re writing original songs and not registered with APRA AMCOS, you’re leaving money on the table.
Every gig. Every stream. Every time someone sings your song in a cover band—you’re owed.

🔑 Tip: Sign up. Register your works. Log your gigs. Do it now, not “later.”

✅ 2. Use Split Sheets When Co-Writing

Your mate says “we’ll figure it out later.”
Nope. Figure it out now.

Split sheets document who owns what. Whether it’s 50/50, 70/30, or a four-way split—it needs to be in writing before the song goes anywhere.

📝 Rule: No pen, no pub rights.

✅ 3. Register Your Business Properly

Sole trader? Partnership? Pty Ltd?
Get clarity on your structure before the invoices start flying.

💼 Why it matters:

• Tax benefits

• Liability protection

• Easier to claim legit music expenses

• Professionalism (yes, venues notice)

✅ 4. Have a Basic Contract for Gigs

Verbal agreements? Not worth the beer coaster they’re written on.

A simple gig contract should cover:

• Fee

• Date

• Set times

• Load-in

• Tech needs

• Cancellation terms

📃 Bonus: A contract gives you leverage if a venue ghosts.

✅ 5. Get Public Liability Insurance

Some venues require it.
All venues respect it.
And if someone trips over your lead and sues? You’ll be glad you have it.

🎸 Reality check: You’re a business. Insurance isn’t optional—it's smart.

✅ 6. Understand Sync Rights and Licensing

TV ad wants your track? Game on. But make sure it’s licensed properly.

You should get paid when your music is:

• Used in film

• Featured in TV

• Played in ads or games

Know who owns your sync rights, or talk to someone who does.

✅ 7. Keep Backups of ALL Your Work

Digital age = data loss.
Back up lyrics. Demos. Session files. Release dates. Contracts. Everything.

Use the cloud, an external drive, and your mum’s garage if you have to.
Just keep your work safe.

✅ 8. Know the Difference Between Publishing and Distribution

Too many artists think putting a song on Spotify = published. It doesn’t.

🔍 Quick breakdown:

• Distribution = How people hear it (Spotify, Apple Music, etc.)

• Publishing = How you get paid when others use it

Get clear on this. It impacts how (and if) you get paid long-term.

✅ 9. Talk to an Entertainment Lawyer

You don’t need one on speed dial.
But book one session early in your career.

They’ll look over your contracts, help with IP, and give you a legal roadmap.
You’ll save time, money, and a whole lot of grief down the track.

✅ 10. File Your Taxes Properly

Claim your gear. Your travel. Your rehearsal space. Even your guitar strings.

Keep receipts. Log every music-related expense.
Use an accountant who understands creative industries—or risk missing out on $$$.

🎤 Final Word:
You don’t need to become a lawyer.
But you do need to become legally literate.

Because your music is more than a passion—it’s your intellectual property.
And in the business of live performance, your assets are only as safe as your systems.

Protect them. Respect them.
And watch your career become sustainable, profitable, and built to last.

🧠 Want help? Subscribe to the Musoverse to access our resources.

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

“Re: Asking your bandmates to reshare the flyer—most of them do. It's the venues that are slack in this department. Nothing more frustrating than creating a poster only to check the venue's page and see they've got a generic photo with the words ‘Live music this weekend.’ And then they have the hide to ask, ‘Can you pull a crowd?’”

It’s a valid comment and a mirror held up to a wider problem: a complete misalignment in who owns what in the music marketing machine.

So thanks to you, we will unpack your comment and address the wider problem at play.

What Artists Think vs. What Venues Do equals the great poster illusion. Let’s clear that up once and for all. Posters—once the sacred scrolls of gig culture—are now more nostalgia than necessity. While they still have a role in hyper-local, boots-on-the-ground marketing, the digital landscape has changed the game.

We surveyed 200 venues across Australia. Here's what the data screamed back at us:

• 65% said they avoid physical posters because of “eye pollution.”

• 90% considered artist-submitted posters “low quality.”

• 85% said posters didn’t match their venue branding or style guides

• 85% only display posters for major tours or branded feature acts.

• 87% said their audiences respond better to a good photograph than a designed flyer.

That’s a chorus of rejection that even the most catchy bass line can’t drown out.

Here’s the truth bomb many artists don’t want to hear:

Venue Strategy vs. Artist Strategy: You’re Not Playing the Same Game. You are not the venue’s brand. You are the product within their brand experience. Their job is to sell their space, their atmosphere, their food and drink margins. Your job is to bring your audience—not tell the venue how to market theirs.

Most venues now work with digital big screens, curated visual content calendars, and strict design protocols. That DIY poster you lovingly slapped together in Canva just isn’t going to cut it for their public-facing channels.

And we get it—frustrating, right? That’s why, at Pushworth, we made the executive call to edit all artist photos on our website into black and white. Why? Because consistency is king, and most artist-submitted hero images just didn’t pass the sniff test. Low-res selfies. Oversaturated colour bombs. Outdated fonts. Zero white space. If you're not telling a coherent story in one image, the venue won't amplify it.

So What Actually Works?

Let’s break it down.

Posters are still valuable—but their power is situational, not universal. They work:

• Inside the venue (if permitted),

• In nearby local businesses that serve the same demographic,

• On local gig walls (if they’re still active in your region).

But the real marketing juice? That’s in the following:

1. A Killer Hero Image

Your Hero Image is your visual handshake. It’s the thumbnail that stops the scroll. It needs to be:

• High-resolution (minimum 300 dpi for print; 1080x1350 for socials)

• Emotionally evocative

• Professionally lit and framed

• On-brand with your musical identity
  

2. A Relentless Social Media Strategy

Your fans aren’t walking past a bottle shop. They’re scrolling Instagram. They’re on Facebook. They’re watching TikTok while waiting for a latte. That’s where you grab them.

You need a strategy:

• Countdown content 7–10 days out

• Event pages created and shared on all platforms

• Teasers, rehearsal clips, soundcheck shots

• Collaboration tags with the venue (don’t wait for them to share—prompt them)

Let venues do what they do best: curate space and serve their crowd. Let posters serve their purpose: localized brand reinforcement when aligned to the demographic. And let the artist do what no one else can do: create a compelling brand identity and broadcast it like a rebel on fire. In short, stay in your lane but drive like hell. :-)

The real ROI for your gig? It won’t come from a blurry A4 poster taped next to the men’s room. It will come from your name becoming recognizable in a feed, shareable in a story, and memorable in the mind of someone who just clicked “Interested.”

Ditch the poster. Build the brand.

If you’d like a poster template that aligns with venue specs and boosts your brand visibility, Musoverse has you covered. But remember—branding is a battlefield. And your Hero Image is your flag.

Let it fly.

Subscribe to the Musoverse to access our resources.

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

You're not alone.

Welcome to The Social Setlist – where we cut the fluff and get down to what actually works when it comes to marketing yourself as a live music artist in Australia. You’re not just fighting an algorithm—you’re navigating the brutal reality of a crowded content economy, an attention span shorter than a TikTok loop, and the ever-elusive mystery of “engagement.”

But here's the kicker: it can work. You just need a system that aligns with who you are, what you’re offering, and how your audience wants to receive it.

Let’s break it down.

🎯 What Actually Works on Social Media and Marketing?

You post. You hashtag. You pray to the Algorithm God.
And what do you get?

Maybe a like from your mum. A spam comment from a crypto bot.
And a whole lot of meh.

So… what gives?

Let’s decode the noise with ten real-world strategies that artists in the Pushworth Network are using to convert their social media into actual audience growth, better venue relationships, and (yes!) more gig bookings.

✅ Strategy 1: Document, Don’t Perform

You’re already performing on stage. That’s where the show belongs.
On socials? We want process, not polish.
Rehearsals. Pack-ins. Soundchecks. The sleepy post-gig servo run.
This is the stuff that makes fans feel like they’re part of it.

📸 Tip: Snap that backstage moment. Record that mic check.
Let them in on the journey.

✅ Strategy 2: Be Consistent, Not Constant

Posting every day? Burnout.
Posting once a month? Obscurity.
You need rhythm—like a setlist.

🎶 Find your beat:
2–3 posts a week. Stories on show days. Monthly behind-the-scenes drops.
Build a pattern they can follow—like a tour schedule for the online world.

✅ Strategy 3: Stick to Three Platforms, Max

Facebook. Insta. TikTok. YouTube Shorts. Threads. X. BeReal. LinkedIn?!
STOP.

Pick three platforms where your audience already lives—and live there too.
Be present. Be active. Don’t spread yourself thinner than your gig paycheque.

✅ Strategy 4: Use Short-Form Video

There’s no excuse anymore.
Your phone shoots 4K. The tools are free.
And the algorithm loves moving pictures.

🎥 What works:

• 15–60 sec gig highlights

• Crowd singalongs

• Raw acoustic takes

• Fan reactions

• Tour life snaps

People want to feel the show before they buy a ticket.

✅ Strategy 5: Tag, Tag, Tag

Venues. Collaborators. Local journos. Community pages.
Every tag is a bridge. Every bridge builds reach.

And if they share it? You just doubled your audience.

✅ Strategy 6: Weekly Gig Calendar = Essential

Don’t post your gig list once and ghost.
Every week, make noise. Remind them where to find you.
Tag the venue. Add the set time. Share a story from your last gig there.

🗓 Repeat after me:
“Catch us at [Venue] this Friday! Tag your crew—see you front row!”

✅ Strategy 7: Build and Use Your Mailing List

Yeah, it’s not sexy. But email still converts.
Social platforms own your followers. Your list? That’s yours forever.

🎧 Drop a monthly gig update.
Include pics. Behind-the-scenes. Fan shoutouts. Merch drops.
Keep it personal. Keep it real.

✅ Strategy 8: Feature Your Fans

Someone posts a story from your show? SHARE IT.
A fan comments “Best night ever”? SCREENSHOT IT.
That’s not vanity—it’s community.

Make them the co-stars of your story. They’ll stay for the next chapter.

✅ Strategy 9: Always Have a Call to Action

Every post should lead somewhere.
📍“Come to the show.”
🎧 “Stream the track.”
📲 “Tag a mate.”
💌 “Join the list.”

Don’t post for the sake of it. Post with purpose.

✅ Strategy 10: Be Real

You don’t need to “brand” yourself into a box.
You are the brand.

Authenticity outperforms airbrushed perfection every single time.
Let them see you. The messy bits. The funny bits. The human bits.
Because that’s what builds loyalty. And loyalty brings bums on seats.

🎤 Final Note:
If you’re gigging regularly, socials are part of your toolkit, not your to-do list.
They exist to connect your audience with your live experience.
It’s not about chasing trends. It’s about creating touchpoints—moments where someone says,
“Hey, I wanna go see that!”

So no more shouting into the void.
Build a system. Tell the story. Book the gig. Repeat.

🧠 Want help? Subscribe to the Musoverse to access our resources.

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

Gigging is the fun part—chasing invoices, filing tax, and answering 3am texts? Not so much.

Let’s talk about the real backstage.
Not the green room.
Not the setlist.
Not the pre-gig ritual of fries and nervous pacing.

I’m talking about inboxes.
Spreadsheets.
Last-minute client changes, unpaid invoices, and tax-time meltdowns.

This is where most musicians crack.
Not on stage. In admin.
And when your creative energy gets buried under emails, receipts, and “just checking in” messages, something’s gotta give.

So here’s your cheat sheet to running your music like a business—without burning out in the process.

Because if Music Means Business™, then let’s treat it like one. On your terms.

✅ 1. Time-Block Your Week

Structure isn’t the enemy of creativity—it’s the scaffold that supports it.

• Admin Mondays

• Rehearsal Tuesdays

• Social Content Wednesdays

• Gig Days + Recovery Days
  Your calendar should reflect both your art and your energy. Protect both.

✅ 2. Use Templates for Repetitive Tasks

If you’ve written the same email more than twice—make it a template.
Booking confirmations, follow-ups, invoices, setlists, tech specs, gig-day reminders—get them all into copy-pasteable formats.
Free your brain for music, not admin déjà vu.

✅ 3. Automate What You Can

Let tech carry some weight.

• Auto email replies for gig enquiries

• Social media schedulers

• Recurring invoice reminders
  Automation doesn’t mean disconnecting. It means working smarter so your creativity has room to breathe.

✅ 4. Store Everything in the Cloud

Dropbox. Google Drive. iCloud.
Put your music files, artwork, tech specs, contracts, and bios in one neat folder.
Name your files clearly. Sync them across devices.
This way, when a venue calls and wants info now—you’ve got it at your fingertips.

✅ 5. Use a Real Bookkeeping System

Receipts in shoeboxes are not a vibe.
Try Xero, QuickBooks or Hnry.
Track every dollar in and out—from merch to parking. It’s not just for tax time—it’s for knowing your actual income, expenses, and profit.

✅ 6. Create a “Music Means Business™” Folder

A digital HQ for your music career.
Inside:

• Invoices

• Contracts

• Setlists

• Bios

• Tax records

• Tour budgets
  When everything lives in one place, nothing gets lost—or left till the last minute.

✅ 7. Outsource What Drains You

Hate spreadsheets? Hire a bookkeeper.
Not into editing gig clips? Get a content editor.
Can’t bear social posts? Bring in a VA.
You don’t have to wear all the hats. Especially the soul-sucking ones.

✅ 8. Set Business Hours

Your time is valuable—even when you’re not “working.”
Train your network.
If you reply to texts at midnight, people will expect that.
Set boundaries. Stick to them. Be consistent.
Respect for your time starts with you.

✅ 9. Keep a Gig Calendar + Business Tracker

Know what’s coming in and what’s already paid.
A shared calendar for shows.
A spreadsheet or app for earnings, expenses, and mileage.
Visibility = control = confidence.

✅ 10. Check In With Yourself Weekly

Every Sunday (or whatever day feels right), ask:

• What worked this week?

• What drained me?

• What do I need to shift?
  This is your weekly reset. Realign, re-energise, and remember why you do this.

Final Word

Running your music like a business doesn’t mean selling out or losing the art.
It means you’re in control.
Of your time. Your energy. Your income.
So the next time a 3am gig text rolls in, you won’t feel panic—you’ll feel peace.

Because you’ve got systems. You’ve got space.
You’ve got this.

🎶 Need help building your “Music Means Business™” folder? Subscribe to the Musoverse to access our resources.

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

Hey Muso,

This one’s for you.

Whether you’re loading in at your Friday night pub residency or loading out after an original gig you booked, promoted, and headlined to a half-full room—this post is for every musician who shows up, every week, for the love of the game.

There’s been a lot of talk over the years—covers vs. originals, commercial vs. indie, easy money vs. real art.

Let’s call time on that.

Because without cover bands, we don’t have venues with live music scenes.
And without original artists, there’d be no songs for those cover bands to play.

It’s one ecosystem. One soundtrack. One big, messy, glorious music industry that only works because both sides show up.

The Working Cover Musician: Keeping the Culture Alive

You’re the ones keeping the pub alive on a Sunday afternoon.
You’re the reason weddings end with a packed dancefloor.
You give punters a reason to stay for one more round.
You make local clubs, surf bars, RSLs, and bowls clubs feel like home.

Your job? It’s not just to play the hits—it’s to bring back memories, make people feel something, and keep the heartbeat of a live room pumping.

And you do it rain, hail, or gastro outbreak.

You gave us back normal after COVID. That first night back in a pub, cold beer in hand, crowd humming along to April Sun in Cuba—you made that moment possible.

You are the memory-makers, the music lifters, the vibe curators.
And every time you walk on stage, you're carrying the legacy of decades of songwriters, singing their stories into the present.

The Original Artist: Writing the Future, One Risk at a Time

And then there’s you—the original muso.
You’re not just performing, you’re creating.
You’re writing the songs that people don’t know they need yet.

You’re funding your own recordings, chasing venues, building fanbases from scratch, selling your own tickets, and hustling online like your rent depends on it—because it usually does.

You do all of it for the chance to one day hear your song sung back to you by a crowd. Or even better—sung by a cover band in a packed pub ten years from now.

You’re the ones who dare to speak the truth before it becomes cool.
You’re building the future set list of the nation.

It’s hard. It’s thankless. It’s often invisible.

And yet—you keep going. Because you have to. It’s who you are.

Here’s the Truth: One Can’t Exist Without the Other

The music industry needs both of you. Equally.

Cover bands keep the venues alive, the culture humming, and the crowds coming back.

Original artists fuel the next generation of songs, voices, and cultural shifts.

Together, you create the full spectrum of what music is meant to be:
Something we remember. Something we feel. Something we discover. Something we believe in.

This isn’t a competition. It’s a collaboration.
The muso playing The Horses on Friday night is reminding the crowd of who they were.
The muso debuting a brand-new track on Saturday night is showing us who we could be.

To Every Gigging Musician Out There

Whether you’re strumming Wonderwall to pay your bills
Or playing your heart out on a track no one’s heard (yet)
You are doing something that matters.

You are the pulse of a community.
The glue of a social ritual.
The engine of Australia’s live music culture.

So cover muso—keep showing up. You carry our musical past and present.

And original muso—don’t stop. You’re building what comes next.

The industry needs both of you.
The audience needs both of you.
The world is better because you’re both still out there, doing the work.

📨 Subscribe to Hacking the Musoverse™

If you’ve ever played for 10 people like it was 10,000—or written songs that only your dog and your best mate have heard—this Substack is for you.

For the believers, the builders, the lifers, and the legends.

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

Sometimes, life falls apart.

Relationships break down. Loved ones pass. Kids get sick. Mental health dips. Bills pile up. The van won’t start. Your landlord hikes the rent. You get ghosted by a venue you’ve played for ten years.

And yet—
The gig goes on.

There’s no sick leave in live music. No HR department. No mental health day unless you carve one out of thin air. So how do you show up, perform, smile, and keep the business side rolling when you’re barely holding it together?

This one’s for every muso who’s ever played through heartbreak, grief, burnout or chaos—and still tried to keep their business alive.

Here are ten practical strategies to help you keep the wheels turning when the personal storm rolls in.

🎯 1. Cut the Fat, Not the Core

First things first—strip it back. When life’s heavy, you don’t need to do everything. But you do need to protect the engine of your music business. Identify the bare essentials: paid gigs, essential comms, gear maintenance. If it’s not urgent, park it.

📱 2. Schedule Social Media When You’re Clear-Headed

On a good day, schedule content ahead—gig promos, throwbacks, snippets, thank-you posts. Use tools like Meta Business Suite or Buffer. That way, when life gets messy, your socials stay consistent without you having to fake it every day.

🎶 3. Learn One Song at a Time

Learning new material when your brain’s overloaded? Brutal. So don’t try to learn ten songs—just one. Break it into verses, not whole structures. A slow drip approach keeps your momentum without overwhelming your bandwidth.

🧰 4. Keep Your Gear Tight (Even if You’re Not)

When life’s out of control, your gear shouldn't be. Clean your leads. Service your PA. Tune your instruments. Put batteries in your tuners and pedals. When your emotional state is wobbly, working gear is stability. It’s something you can control.

🖼️ 5. Use Low-Energy Days for Brand Maintenance

Can’t face a crowd? Cool. Use quieter moments to update your EPK, refresh your bio, tidy your website, or rebrand your setlist artwork. These quiet admin tasks are gentle but powerful—and they pay off later.

🤝 6. Communicate Clearly With Your Crew

Your bandmates, agents and promoters don’t need the full story—but they do need clarity. Let them know what’s possible and what’s not. Be professional, not apologetic. “I’m going through a lot personally, but here’s what I can commit to” is enough.

📧 7. Use Templates for Tough Conversations

Too exhausted to type the same email three times? Create templates—for gig confirmations, invoice follow-ups, tech specs. Copy, paste, tweak. Save brainpower. Focus your energy where it counts.

📚 8. Automate Your Accounts

If the admin is slipping, lean on automation. Set calendar reminders for invoices. Use accounting tools like Xero or Wave. Auto-send invoices. File receipts into a cloud folder. Pay your tax office in micro-payments if needed. Don’t wait for a perfect day—just make it manageable.

🧠 9. Stay Connected, Even if Quietly

You don’t have to be loud to be present. Reply to fan DMs with a thank-you. Like a post. Drop a casual comment. Share a throwback. Let your followers see you’re still here—even if you’re not in full “promo mode.”

🔥 10. Remember Your Brand Is Bigger Than One Bad Season

You are not your worst day. Your brand is your body of work. Your resilience. Your story. People don’t buy perfect—they buy authentic. Let the season shape your next chapter, not end your story.

🎤 Final Word from the Frontlines

Being a musician isn’t just about the high notes—it’s about how you show up when the crowd can’t see the weight you’re carrying.

So if you’re gigging while grieving, rehearsing while healing, or invoicing through heartbreak—know this:

You’re not alone. And you’re doing better than you think.

Protect your business. Honour your humanity. Let the music be your anchor when everything else feels adrift.

Because even when life hits hard,
the music is still yours.

📬 Subscribe to The Musoverse for more real talk, raw truth and road-tested survival strategies for working musicians. We’re with you in the grind, not just the glam.

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

Got it?

When something happens to interupt your gig and you can no longer continue to perform, you MUST complete an Incident Report.

Head to The Pushworth Group Incident Report Form

Read below to give you context for each field.

1. Incident Overview

• Date and Time of Incident: Specify when the incident occurred during the performance.

• Location of Incident: The venue or specific location where the performance was taking place.

• Nature of Incident: A brief description of what happened to interrupt the performance (e.g., technical failure, medical emergency, crowd issue, external threat, etc.).

2. Band’s Response

• Initial Response to Incident: Explain what immediate steps the band or crew took in response to the incident.

• Actions Taken to Resume Performance: If applicable, detail any measures taken to attempt to continue or resume the performance.

• Time Taken for Resolution: Provide information on how long the interruption lasted and whether the performance was fully canceled, delayed, or resumed later.

3. Circumstances Leading to the Incident

• Description of Events Leading Up to the Incident: A detailed timeline or sequence of events that led to the interruption (e.g., malfunctioning equipment, hazardous conditions, audience disruptions).

• Potential Risk Factors Not Foreseen in the Risk Management Plan: Identify any unexpected factors that may have contributed to the incident, which were not covered or anticipated by the existing Risk Management or Safe Work Method Plan.

4. Why the Incident Could Not Be Managed Within the Existing Plans

• Limitations of Current Risk Management/Safe Work Method Plan: Outline why the situation could not be mitigated or controlled within the framework of the existing safety or risk protocols. This might include:

  • Lack of coverage for certain scenarios.

  • Insufficient resources or backup plans.

  • Unforeseen variables that were beyond control (e.g., acts of nature, external security threats).

• Gap in Preparedness or Training: If applicable, explain whether the incident was due to lack of training, preparedness, or unforeseen situations that the band or crew was not equipped to handle.

• Uncontrollable External Factors: If the incident was due to external elements (e.g., weather, medical emergency, technical failure by a third party), specify these and why they were outside of the band's or event's control.

5. Impact of the Incident

• Impact on the Performance: Explain how the incident affected the quality or continuity of the performance (e.g., canceled show, loss of audience engagement, reduced performance time).

• Audience Reaction: If relevant, describe any reactions from the audience (e.g., safety concerns, frustration, support).

• Financial/Contractual Impact: Outline the financial or contractual implications of the incident (e.g., reduced fees, compensation, or renegotiation of terms).

6. Post-Incident Actions

• Communication with Stakeholders: Detail any communication with event organizers, venue staff, or other stakeholders regarding the incident.

• Medical Assistance or Emergency Support: If applicable, document any medical or emergency support that was required during the incident (e.g., first aid, ambulance).

• Follow-up Plans: If the incident caused damage or required further action (e.g., rescheduling, additional safety measures), explain the steps taken post-incident.

7. Lessons Learned & Recommendations

• Analysis of Incident: Summarize the lessons learned from the incident and how it may affect future performances or risk management protocols.

• Recommended Changes to Risk Management or Safe Work Method Plan: Provide suggestions on how to improve existing safety plans or protocols based on the experience.

• Preventative Measures: If applicable, list any new measures the band or event organizers intend to put in place to prevent a similar incident from occurring in the future.

8. Supporting Documentation

• Photographs or Video Evidence: If relevant, include any supporting media that document the incident (e.g., photos of the damaged equipment or the crowd).

• Incident Log or Timeline: A chronological breakdown of the incident’s progression, including timestamps and actions taken.

The detailed incident report offers all parties the clarity, accountability, and transparency, to understand what occurred, why it happened, and how it can be prevented in the future.

Written by Nichola Burton. I work in partnership with Agents, Artist Managers and Event Producers, who juggle a diverse range of relationships in the Muso

verse, 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 2024

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Live performances present a variety of safety and operational risks. Although incidents at live shows are infrequent, when they do occur, they can cause significant disruption. To ensure the safety of all involved and to comply with relevant health and safety regulations, musicians and performance teams must implement proactive risk management strategies.

Make sure you read all contracts and Terms and Conditions from Agents and Venues that may include “Hold Harmless”conditions. The Queensland Workplace Health and Safety department advised us that the venue and the artist are jointly responsible to ensure that the performance on stage is safe.

This Risk Management Plan serves as a guide for working musicians to help identify potential risks, manage them effectively, and comply with legal obligations. By following this plan, artists and their teams can minimize hazards, protect their own safety and well-being, and ensure a successful performance.

Legal Requirements and Documentation for Artist Compliance

1. Public Liability Insurance:

   • Provide a copy of your current Public Liability Certificate of Currency, with a minimum coverage of $10 million.

2. Electrical Safety:

   • Ensure all electrical equipment is tagged and tested every 6 months. A valid Tag and Test Lead Certificate must be provided to the venue.

3. Safe Work Method Statement (SWMS):

   • Prepare and be able to provide a Safe Work Method Statement to the venue and buyer if requested. The SWMS should outline safety procedures and risk management measures for the event.

4. OHS Officer Designation:

   • Nominate one person within your team as the Artist OHS Officer. This individual will be responsible for conducting site inductions and overseeing safety management for all performances.

5. Unsafe Behavior Reporting:

   • Alert the venue's security team to any unsafe behavior during the performance, though the artist is not responsible for policing this behavior directly.

6. Fire Safety Protocols:

   • Pyrotechnics and flammable liquids are prohibited on stage. Open flames are not allowed during performances.

Induction and Venue Safety

Pre-Performance Safety Checks

1. Documentation on Hand:

   • Ensure that your Public Liability Insurance, SWMS, and Tagged Leads certificates are available on your mobile device for easy access.

2. Venue Induction:

   • Upon arrival, check in with the bar staff and request an OHS induction. If no OHS officer is present, ask the staff to brief you on potential risks and safety protocols. Show your safety documentation on your phone.

3. Venue Hazards:

   • Familiarize yourself with any specific hazards at the venue. This includes checking for trip hazards, crowd control measures, and emergency exit routes.

4. Observe SWMS:

   • Follow the guidelines set out in your SWMS and ensure that all band members and production crew adhere to safety practices.

5. Vigilance:

   • Be vigilant at all times for potential risks during load-in, performance, breaks, and load-out. Always look for potential hazards and take action to mitigate them.

Incident Management

Reporting and Documentation

1. Incident Response:

   • In the event of an incident, immediately report it to the venue's OHS officer.

   • Complete an Incident Report and submit it to the OHS officer.

   • Send a copy of the Incident Report to your booking agent for reference and future action.

2. Evidence Gathering:

   • Collect all relevant data, witness statements, and any available footage as part of the incident documentation.

Equipment Safety Measures

Maintenance and Use of Equipment

1. Safety Obligation:

   • It is your legal responsibility to ensure the safety of your equipment and how it is used. Check for any hazards related to your performance setup, and take steps to mitigate or eliminate them.

2. Risk Assessment:

   • For each performance, assess any potential risks related to equipment and setup. If a hazard cannot be eliminated, explore ways to reduce or control the risk.

   • An example includes the use of hard hats in areas where there is overhead work or securing speaker stacks to prevent them from falling.

Manual Handling and Personal Protection

Safe Equipment Handling

1. Lifting and Moving Heavy Items:

   • Ensure that heavy items are not carried manually unless absolutely necessary. Always use trolleys, ramps, or appropriate lifting aids to reduce the risk of injury.

   • Teamwork is essential; ensure sufficient people are available to help move heavy equipment safely.

2. Personal Protective Equipment (PPE):

   • Wear gloves when handling heavy or potentially hazardous equipment.

   • Depending on the situation, additional PPE such as steel-capped boots, hard hats, and high-visibility clothing may be required, especially if operating near moving vehicles or machinery.

Electrical Safety

Preventing Electrical Hazards

1. Safe Electricity Supply:

   • The venue is responsible for ensuring the electrical supply is safe, earthed, and adequately protected.

   • All portable electrical equipment must be inspected, tagged, and tested every 6 months.

2. Equipment Safety Checks:

   • Check for damaged casings, exposed wires, and other faults before using any electrical equipment.

   • Never use faulty equipment, and do not attempt to repair it with tape or other makeshift solutions.

Trip Hazards and Crowd Safety

Minimizing Trip Risks

1. Cable Management:

   • Avoid running cables across walkways or thoroughfares. Use cable strips or mats to cover cables, and ensure they are clearly marked with hazard tape.

   • Secure all cables to prevent tripping hazards, especially in high-traffic areas.

2. Speaker Stand Safety:

   • Ensure speaker stands are stable and properly positioned. Where necessary, use barriers or hazard tape to make them visible to avoid accidents.

3. Avoid Obstructions:

   • Ensure that there are no obstacles or trip hazards near emergency exits. Always keep these areas clear for safe evacuation if needed.

Noise Management

Hearing Protection and Safe Sound Levels

1. Hearing Protection:

   • High noise levels can cause hearing damage, especially during soundchecks or near loudspeakers. Always wear hearing protection in environments where there is a risk of high sound pressure levels.

2. Sound Level Monitoring:

   • Be mindful of your monitor levels, especially during setup and soundcheck. Ensure that crew members are not exposed to high sound levels when working near loudspeakers.

Wet Weather Preparedness

Preparation for Outdoor Performances

1. Equipment Protection:

   • Use splash-proof cable connectors and rainproof speaker covers when performing outdoors, especially if there is a risk of rain.

   • Keep a Wet Weather Prep Pack in your vehicle, including spare towels, non-slip shoes, and necessary PPE.

2. Vehicle Safety:

   • Before leaving for a performance, check that your vehicle is in good condition (e.g., tires, windscreen wipers, battery, lights).

3. Weather Monitoring:

   • Install weather and traffic apps (e.g., BOM, RACQ) to stay updated on inclement weather conditions and potential flooding.

   • Plan to leave earlier to account for potential delays due to wet weather.

4. Safe Load-in and Load-out:

   • Ensure that all equipment is kept dry during load-in and load-out. If performing outdoors, negotiate with the venue or duty manager for an alternative location if inclement weather arises.

Crowd Control and First Aid

Managing Crowd Safety

1. Crowd Control:

   • While the venue is responsible for crowd control, it is essential to be aware of potential crowd safety issues. Alert security if you notice any concerns.

2. First Aid:

   • Ensure that there is at least one qualified first aid staff member on-site. The venue is generally responsible for first-aid provisions, but you should be aware of their location and protocols.

Resources and References

1. Add the following Gig Compliance Documents to your phone for easy access:

   1. Certificate of Currency Public Liability Insurance

   2. SWMS - Safe Work Method Statement

   3. Tagged Leads Certificate

2. Add these apps to your phone:

http://www.bom.gov.au/

1. 1. https://www.racq.com.au/car/road-conditions#overview

2. Consider access the Injury Prevention and Management Program offered by Work Safe Queensland - access here https://www.worksafe.qld.gov.au/services/injury-prevention-and-management-program

3. Download a free SWMS Template - https://docs.google.com/document/d/1jLd5_zhW8zsOpQ84ppKf-KBnGKJR6ikVzRmP6rsrgMc/edit?usp=sharing

4. Download a free Incident Report Template https://www.worksafe.qld.gov.au/safety-fundamentals/reporting/template

Bottom Line

As an independent business owner, you are legally bound to manage risks and safety. Just because a venue doesn’t induct you, doesn’t negate your legal liability. Be accountable to your business safety at all times by following this Risk Management Guide. Proactive safety measures, proper training, and ongoing vigilance will help minimize risks and ensure that live performances are as safe and enjoyable as possible.

Always plan ahead, stay informed, and prioritize safety.

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 2023

Let’s talk about something that’s becoming more common in greenrooms than guitar tuners — medical marijuana.

According to the Australian Institute of Health and Welfare (2025), approximately 10% of Australians now use medical cannabis. Of those, nearly half (49%) cite anxiety as the primary reason for use.
📍 AIHW Report – Medical Marijuana in Australia

In our own industry survey here at Pushworth, we found that just under 40% of live gigging musicians use medical marijuana to manage pre-show anxiety. The reported benefits are no surprise:

• ✅ Lower cortisol

• ✅ Improved energy and presence

• ✅ Sharper focus

• ✅ Relief from performance-induced anxiety

For many artists battling the invisible weight of stage fright, cannabis has been a game changer.

🚩 But Here’s the Reality Check: Public Use Still Has Boundaries

We recently had our first official venue complaint — an artist, legally prescribed medical marijuana, took a pre-show session in their car parked outside the venue. The complaint? They smelled like pot on stage — and the venue felt it compromised their image as a safe, family-friendly space.

💡 Fair concern or overreaction? Honestly, it doesn’t matter. What matters is how we respond.

If you're using cannabis as part of your wellness routine and you’re stepping onto a stage in front of a public crowd, you need to factor in optics, legality, and venue policy—just like you would with tech specs or dress code.

🧠 So, What Should You Do? Here's the 2025 Playbook:

1. Carry Your Script

Always have your doctor’s letter or TGA approval notice on hand. Don’t assume everyone understands or accepts medical cannabis. Be ready to calmly educate if needed.

The Therapeutic Goods Administration (TGA) clearly states:
Medical cannabis cannot be smoked in public.
TGA Guidelines – Medicinal Cannabis

That includes carparks, alleyways, and loading docks — all legally ambiguous spaces where public safety laws still apply.

2. Use Discretion — Read the Room

If you're going to medicate before a set:

• Move away from public or staff-accessible areas

• Avoid proximity to other patron vehicles

• Make sure your hair, clothing, hands, and breath don’t carry the scent to the stage

You may be legally in the right — but remember, perception is part of your performance.

3. Respect Venue Culture

Every venue has its own vibe, values, and clientele. You may be helping yourself perform — but if your presence makes customers uncomfortable or makes the venue look careless, they may not rebook you.

🎯 Solution? Be proactive. Let your agent or the venue know in advance if you use medical cannabis. Ask about their policy. Show them you care about their business as much as your own health.

4. Curate Your Personal Health Plan for Performance

Medical marijuana is a tool — not a free pass.

Design your use around:

• 🕒 Timing (how long before a show you medicate)

• 🌬️ Method (consider vapes, edibles, tinctures where legal)

• 🧴 Hygiene (scent-free = distraction-free)

• 📋 Awareness (OHS, public safety, crowd comfort)

This is about professionalism. If Music Means Business™ — and it does — then your wellness strategy is part of your gig contract.

🎤 Final Word from Me:

You’re not just the artist.
You’re the product, the brand, and the public-facing experience.

Self-care is non-negotiable. But so is respect for the stage and the space you're playing in.

So be transparent. Be prepared. Be clean, clear, and fully PAP-PROOF.
Because the only thing that should be intoxicating at your show is the music.

#StageReadyAndSmokeFree #MusoWellness #PAPProof #ALittlePitchy #MusicMeansBusiness #LiveMusicCulture #MedCanInMusic #ArtistHealthPlan #PushworthStandards #BookedAndBalanced

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 #musicmeansbusiness

According to the NIH in the US, “Focusing on a woman’s body promotes objectification and decreases perceptions of her mental capacity and moral status. This relationship between body focus and objectification has been demonstrated through multiple lines of research including cognitive, visual processing and dehumanization research. Although active sexual goals are an important factor explaining many men’s objectification of women, there may be alternative factors or more fundamental reasons contributing to greater female objectification by other men and women.”

Now apply this to a woman performing on stage and consider the potential objectification opportunities in her workplace – Venue Manager, Bar Staff, Security, Agent, Manager, Publicist, Production Crew, Festival Producer, Stage Manager, Musicians on stage with her and of course the Audience.

“She looks a little too chunky. Don’t book her again until she loses those extra pounds.”

“The chick bent over and I could see what she had for breakfast. Don’t book her here again.”

“It’s a decent rack but she is a total psycho. Do you have someone else?”

“Bitch is 5 months pregnant – who wants to look at that?”

Or the golden chestnut for when I speak up and say something:

“Stop overreacting. Its just blokes being blokes. It means nothing.”

How would I feel if I overheard some blokes speaking like this about any of the small humans in my life? Would I dismiss it as harmless bloke bravado or should I be ok with this objectification of them not as human but as a thing to be looked at, touched, played with or just f**ked?

Years of working on and off stage could fill several books with comments like these uttered about women by blokes in the Musoverse. Anyone willing to label a woman on her f**kability is actively reducing her to an object of pleasure – and ignoring her value not only as an artist but as a human. That level of self-entitlement is the first step on a very slippery slope.

Our industry had a wakeup call this week, one which, I believe is not only timely but necessary.

This is a complex issue. There is no black and white predator and prey scenario.

Here is why……

One bad break up, unconscious childhood PTSD, a society actively playing the Holy Trinity game – Victim, Villain and Hero, and how easy would it be for someone to lose their livelihood based on hearsay and gossip. Unfortunately, I have witnessed first hand how, without appropriate controls and measures in place to manage an evidence based reporting system, some people have been easy targets – sitting ducks.

In our industry, its hallmark, shamefully, is that 90% of the industry information is based on hearsay and gossip. Urban Myths abound. I have heard the most insane gossip about myself over the years. None of it was true and quite honestly it gave me a giggle – it was so ridiculous. Ziad K. Abdelnour said 'For those who understand, no explanation is needed. For those who do not understand, no explanation is possible.'

Yet in the case of Sexual Misconduct accusations, hearsay could kill someone’s business or career without the appropriate legal pathways.

Concurrently, someone could easily get away with Sexual Misconduct for the very same reasons.

So we must always operate from the very tricky middle.

The cold hard truth here is that no amount of legislation or promotion will stamp out Sexual Misconduct in a workplace – including a Music workplace. Studies like the one I quoted above are filled with reasons why this is the case.

Therefore, the best place to start is to build capacity for women so that when faced with Sexual Misconduct they have strategies to manage it, report it and call it out.

Gazillions of years ago, as the lead vocalist, my job was to collect the payment at the end of the gig, - in the days where venues paid cash after the show. It was a gig in the country. I knew the venue manager well due to regular phone calls to book the band. In essence I trusted him. When he said that I needed to drive with him “just up the road” to collect the cash from the home safe, I had no reason not to think anything other than being paid.

Fast forward to the car on the side of the road, pitch black, miles from nowhere, no one else around with him trying to rape me in the front seat. When I registered in that moment, “Oh f**k!, this is happening” I quickly pulled myself out of the shock, faked my period and was able to vomit on his pants while apologising and promising “Next time.” I played the game well enough so that he believed me. It could have gone a whole other way.

The gift that this piece of shit gave me was a more refined sense of discernment. He shone a spotlight on my blind spots. I learned to convert what may have been interpreted as flirting into black and white business. This weak pathetic excuse for a man was brilliant at reading people. He used language to build trust and he bided his time. He was so good at this that I allowed myself to be alone in a remote place with someone that I believed that I trusted. How many women can relate to this?

It is time to face the music.

For women, it is key to get super real with yourself, look at your identity and values through a new lens and actively craft some new strategies to not only get yourself out of vulnerable situations like this but to avoid them altogether. Build capacity.

For men, the complete activation of a zero-tolerance zone for objectification. Zero.

Sexual misconduct is not limited to men over women so read Men Instead of Women and vice versa for the above two phrases.

Every single human needs to talk. Talk about your experiences and your observations without censure and hold a vision for a very different future for humanity.

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 2024