New South Wales is rolling out significant reforms designed to invigorise the live music scene, particularly by making it easier for venues to host events for younger audiences. Historically, iconic venues like Sydney’s Metro Theatre regularly held gigs for those under 18. However, the COVID-19 pandemic delivered a severe blow to the music industry, and the state has also grappled with challenges like the now-repealed lockout laws, which previously deterred artists from performing in NSW.
In a move described as a “world first,” the state government has introduced new legislation aimed at bolstering the live music sector. This landmark bill introduces a revised approach to measuring event noise, preventing one-off sound spikes from triggering hefty fines for venues. Furthermore, it establishes a tailored support system for live music establishments, offering crucial protections against unfair fees and biases that might target specific music genres.
The overarching goal of these initiatives is to revitalise the all-ages live music scene. A dedicated $500,000 fund has been established, offering grants of up to $100,000. This funding is intended to assist venues in covering the costs associated with booking, staging, and presenting a minimum of three all-ages live music experiences annually.
The Shadow of Lockout Laws and the Road to Recovery
The impact of the lockout laws, implemented in 2014, on NSW’s live music scene was profound. Introduced with the intention of curbing alcohol-fuelled violence, these laws mandated a 1:30 am lockout and a 3 am cessation of alcohol service in designated areas. Data from APRA AMCOS in 2016 revealed a stark 40 per cent decrease in live music revenue within these lockout zones. The legislation was also widely blamed for the closure of numerous live music venues, further fracturing the music ecosystem until their eventual repeal in January.
A New Dawn for Live Music Operators
The recent reforms have been met with considerable optimism from those within the industry. Sam Nardo, CEO of the Metro Theatre, expressed his enthusiasm, stating, “It’s a really encouraging time to be a live music operator in New South Wales.” He elaborated on the previous challenges, noting, “In the past we were running programs specifically for under 18s… COVID put an end to that, and we’ve had to focus our efforts on that 18 to 25-year-old cohort.” He added that the current announcement “potentially provides us that opportunity to fast-track those sorts of programs.”
Nardo also highlighted how past difficulties had led to talented artists opting for cities like Melbourne and Brisbane. “We’ve never really seen that level of recognition before, so we’re excited to see what comes next,” he remarked. “Hopefully, that means that we’re a scene of choice for musicians and bands.”
John Graham, the Minister for Music and the Night-time Economy, affirmed the government’s commitment to rectifying NSW’s previously poor standing in the live music industry. “We nearly lost it all together with the lockouts and then the COVID lockdowns, and this legislation is really about backing it for the long term,” Graham stated. “New South Wales has had a reputation of being the worst when it comes to all-ages gigs across the country.”
Connecting Generations Through Music
For musicians, these changes are significant not only for expanding performance opportunities but also for ensuring accessibility for all age groups. Dave Symes and John Hart, members of the band Boy and Bear, emphasised their commitment to creating inclusive shows.
“There’s something very special about it and I think it’s amazing for the next generation to have those experiences and there might be musicians in the crowd,” Symes commented. Hart added, “When you see parents and kids enjoying the same music together. I think it’s pretty special.” He shared a personal anecdote: “I had that with my parents. I went and saw Elton John and Billy Joel at the Sydney Cricket Ground sometime in the 90s.”
Enhancing the Festival Experience
The new legislation also promises improved protections for music festivals concerning noise restrictions. Graham explained that outdated noise regulations could lead to festivals being shut down or penalised due to factors like wind affecting sound dispersal.
“We’re moving to an average way of measuring. It just gives them a little bit more flexibility… and the good news is that’ll allow them to cut their costs,” he said. He clarified that while the overall loudness is still monitored, the new approach offers greater certainty for festivals operating in large outdoor spaces. Graham expressed his hope that these changes would translate to lower ticket prices for fans.
Adele Robinson, chair of the Australian Festivals Association, anticipates improvements in sound quality at live events. “It’ll improve the way that it’s measured while also obviously protecting residents for disturbances as well,” she noted.
