The Music Industry – Meritocracy or Daddy’s Walletocracy?

I’m sure many saw Sam Fender’s recent comments. The three-time Brit winner has had an incredibly impressive career so far; his debut album soared to the top of UK charts, with his most recent also enjoying similar success.

North Shields-born, Fender’s lyrics often address the working-class experience; now, he extends this dialogue to outside of his music...

Sam Fender recently commented:

"The music industry is 80% kids who are privately educated. A kid from where I’m from can’t afford to tour, so there are probably thousands writing songs that are ten times better than mine, poignant lyrics about the country, but they will not be seen because it’s rigged” (NME). 

This is no new conversation - the aftermath of Brexit, Covid, a struggling economy and changing consumer habits have made touring harder than ever. The Guardian reports that 74% less bands from the UK are venturing to Europe post-Brexit; they compare 12 moderately established to newer acts, almost all resulting in losses, some healthily in the thousands. A recent article from the Yorkshire Post estimated for a 3-person band embarking on a four-gig tour of the UK, wage, transport, living costs, sound tech, marketing and promotion, kit and amps, PA system, and odd bits and bobs would tot up to around a grand in fees. So clearly, it’s not the musicians that are pocketing the dough. 

In general, things are getting more expensive; concert prices are certainly on the rise. One would think that paying an arm and a leg for tickets would be enough, yet this ‘cost of-touring-crisis’ has meant the costs of going on tour usually still outweigh any profits made. In recent years, many semi-established acts have been forced to cancel tours. Among many others, Leicester indie pop group Hard Life (formerly Easy Life – if that name change doesn’t say it all), cancelled their 2023 North American tour, citing a minimum £50k in costs. Just last year, Rachel Chinouriri was also forced to cancel her tour around the States, yet now she’s on the road opening for Sabrina Carpenter. For want of funding sourced from elsewhere – the Bank of Dad or artists’ own back pockets, for example - touring with bigger, more established names might be the only way to do it. 

Queen concert ticket, 1974 – 66p to see Queen, not too shabby 

So, what options does this leave for smaller bands? “Pay to play” or sketchy arrangements that benefit agents and promoters while sucking the profits from the musical talent themselves. Although helpful for grassroots music venues, the Musicians’ Union writes that pay-to-play gigs “may be unfair”. It seems the nebulous array of options on offer has the potential to act as a breeding ground for exploitation. We caught up with independent northern alt/prog rock group King Liar (@kingliarband) to hear their thoughts.

We discussed everything from musical opportunities up North to the motivations behind getting into the industry. For the group, their musical beginnings were forged by upbringings in musical households, an appreciation of dad’s banging music taste and teachers who went the extra mile to encourage creativity. They acknowledged being lucky enough to have more opportunities than some – namely, having parents who could afford the guitar lessons - but also that this doesn’t equate to a shoo-in into the industry.  

Speaking of their touring experience, the independent band seemed refreshingly hopeful for the possibility of touring for smaller-scale groups – self-financing, promoting and planning their own 3-venue UK tour last year “signalled that there is still a place for touring for bands of our level. It took us a year of planning. It was amazing. It’s definitely viable but it’s also unbelievably difficult.” Getting financially creative was a must for the group – selling merch on a pay-what-you-want basis restored a bit of faith in humanity, showing that “there is still generosity towards artists”. 

Latterly, I have posed the question: is it all just a game of chance? “A game of weighted chance” was the response. Success in music isn’t just about talent - it’s about reaching the right people at the right time. Fans who attend gigs, buy merch, and share your music are crucial, but exposure requires money and means that breaking through becomes a struggle. It’s also a game of longevity - we discussed that many bands burn out from pouring everything into an industry where success often feels like a gamble. 

“You have to be a master of so many careers to make it in the music industry…we  are having to be as a band the mixing, production… we don’t have professional video editors, we don’t have a social media manager, we don’t have a fund manager, so we have to do it all ourselves” 

So, going forward, what is there to be done? The government recently announced £1.6 million in funding as part of the Music Export Growth Scheme (MEGS). This will support  58 UK artists from a range of genres and backgrounds. Although undoubtedly helpful, grants are still nearly impossible to come by; perhaps more practical solutions are the answer – “a middle ground for radio stations and festivals that aren’t for complete beginners but also aren’t aimed at majorly successful groups”. King Liar praised The  Amazons in their backing of newer artists, choosing their support acts from different local bands across their various legs of touring.  

Massive costs of touring aside, can it be true that working-class artists just aren’t making it big anymore? A 2022 study found that since the 1970s, the percentage of creative professionals—such as musicians, actors, and artists—coming from working-class backgrounds has sharply declined to a shocking 7.9%. Speaking to Hyperallergic,  Andrew Miles (University of Manchester) claims that;

"Overall, people from the higher middle classes are four times more likely to be in a creative job than people from the working class, and this hasn’t changed over 40 years".

For some successful groups of the 90s – take Oasis and The Happy Mondays - being working-class was a massive part of their creative identities. The voice of the working class hero brought authenticity and a fresh perspective that many could relate to,  Fender himself arguably fitting into this category. Although the working-class narrative cannot be reduced to a singularity, it’s one that many relate to. Musicians who haven’t lived through the struggles of growing up in less affluent areas with less opportunity naturally don’t make music about it; it would feel uncomfortable otherwise.  

Inclusion issues in the industry aren’t only related to those privately educated but are more complex, particularly when considering intersections of gender, race and sexuality. Artists from minority backgrounds – because of one or multiple factors – being unable to tour or make music could further alienate those who already feel underrepresented in an industry largely dominated by the privately educated. This creates a vicious cycle that certainly contributes to the idea of it all being rigged.  

Artists like The 1975 and The Last Dinner Party had connections to get their foot in the door but have nonetheless proven their talent and graft over the years. The artists themselves aren’t to blame but can certainly help to bring about the change we all recognise needs to happen. A championing of diversity itself, instead of being overly critical of those who have taken advantage of the opportunities that surround them, seems the way to go. (Forgive me, but) holding space for the multitude of voices and perspectives on offer, alongside a realisation that more needs to be done to even the playing field. 

The main takeaway is getting the ball for discussion rolling. Fender is undoubtedly right that thousands of undiscovered artists will remain so for lack of opportunity. Artists who have managed the incredible feat of breaking into the mainstream can bring this conversation to attention and hopefully breed change.  

Community music outreach programs, funding, sponsorships, free studio days, mentorship and educational opportunities in music creation, production, and social media management are a start. But Sheffield Uni’s cultural and creative industries  professor, Dave O’Brien, says;

"We need to do something more than just create access courses…this is a big social problem, not just something that the BBC or the Arts Council or these kinds of organisations should be addressing.” 

Maybe a musical meritocracy, in the true sense, will never be possible, but steps can be taken to make the industry more reflective of the diverse backgrounds, voices and identities that dream of being a part of it. At the very least, it’s clear that we’ve got to keep talking to find out what more can be done to encourage and inspire the next generation of undiscovered musical talent, wherever they come from.