2022 Pacific Music Awards

The Pacific Music Awards Trust is very happy to announce that the 2022 Pacific Music Awards will be held on Thursday 4 August, at the Vodafone Events Centre, Auckland, Aotearoa. The awards will celebrate Pacific music, bringing our communities together to honour our Pacific music artists.
The Pacific Music Awards Trust affirms their commitment to the awards and Pacific music. The Trust has observed the strength of our artists and communities during these challenging times and want to honour their resilience, by hosting the annual awards event. We are proud of the online awards we have presented in the last two years and we hope we can return to a live event this year. The Trust sincerely thanks all the sponsors, funders and the team that work on the awards event, for their dedication to the Pacific Music Awards.
Entries for the 2022 Pacific Music Award officially open Monday 11 April and are due by Friday 6 May 2022. Local Pacific artists, i.e. New Zealand citizens/residents, can be nominated for all the entered award categories except for the Best International Pacific Artist Award, which is open to Pacific artists from overseas. The recordings eligible for entry, can be singles, EPs or albums that have been released during the year of 1 January – 31 December 2021.
For all the information about nominations for the 2022 Pacific Music Awards, including the 2022 PMA Terms & Conditions of Entry, please go to the Entries page on the awards website. All nominations for the awards need to be submitted online through the official entry system and the entered categories for the 2022 Pacific awards are as follows:

• Best Pacific Female Artist

• Best Pacific Male Artist

• Best Pacific Group

• Best Pacific Gospel Artist

• Best Pacific Hip Hop Artist

• Best Pacific Soul/RnB Artist

• Best Roots/Reggae Artist

• Best Pacific Language

• Best Pacific Song

• Best Pacific Music Video

• Best Producer

• Best International Pacific Artist

• Best Pacific Music Album (Aotearoa Music Award)

If you have any questions about the awards or the nomination process for entries, please contact the Trust on: pacificmusicawardstrust@gmail.com

The Pacific Music Awards Trust are also continuing their Tautua Programme, to provide support to Pacific artists. In the plans are online and in person workshops, providing a bridge between Pacific artists and music industry organisations; as well as mentoring and artist development support for artists. We will also provide assistance to NZ On Air for the New Music Pasifika funding rounds.

Save the date of Thursday 4 August for the 2022 Pacific Music Awards! We are planning a wonderful celebration of Pacific music and look forward to sharing all the details with you over the coming months.

Introducing Lil Sister as part of NicNak Media

NicNak Media has launched a new initiative - Lil Sister. A subsidiary PR agency of NicNak (which is owned and operated by Nicole Thomas and Paula Yeoman), Lil Sister will cater to Aotearoa’s thriving independent music scene and will be fronted by Kate Orgias, who has an extensive background in media and publicity. Lil Sister is fuelled by a passion for local music and acknowledges that all artists/bands deserve the best shot possible when taking those first important steps. 

“It’s what, and who, Lil Sister stands for that's exciting. We have such incredible talent in Aotearoa, all deserving of support. It’s an absolutely privilege to champion them, alongside the amazing NicNak team." – Kate Orgias.

NicNak Media – fronted by Nicole, with support from the rest of the team (Paula, Bridie Chetwin-Kelly and Rachel Hamilton), will continue to deliver campaigns for more established NZ and international acts. Paula and Nicole also look after a successful roster of NZ artists and Paula maintains day-to-day management of this side of the business. 

Follow Lil Sister:
Instagram / Twitter

2022 Taite Music Prize: Independent Music New Zealand Classic Record Announced + NZ On Air Outstanding Journalism Award Finalists

Independent Music NZ announces the 2022 recipient of the Classic Record which aims to acknowledge Aotearoa New Zealand's rich history of making fine albums that continue to inspire us and define who we are.

This annual award acknowledges one Aotearoa New Zealand record released over 20 years ago on an independent label. Whether a 12”, a compilation, EP, or full-length album, these records have become quintessential gold nuggets of our musical history. Like the Taite Music Prize main prize the Classic Record is a critically judged award for originality considering the artistic merit, creativity, innovation and excellence of an album in its entirety irrespective of album sales, artist popularity, previous awards or international achievements.

This year's judging panel has recognised the 1994 New Zealand album; PROUD - An Urban-Pacific Streetsoul Compilation.  Encapsulating and showcasing the incredible talent of young artists from South and West Auckland that were yet to come into mainstream consciousness, producer Alan Jansson worked with Tim Mahon (from Otara Music Arts Centre and Blam Blam Blam) and Phil Fuemana to bring in a range of artists representing the contemporary Māori and Pacifica music of the time. The result was the hugely influential 1994 compilation PROUD, featuring Sisters Underground, Pacifican Descendants, Semi MCs, MC Slam, Radio Backstab, DJ Payback, and Otara Millionaires Club.

In his book, 100 Essential New Zealand Albums, music writer and broadcaster Nick Bollinger wrote, “It was Jansson’s instinct to emphasise elements of the music that reflected the Pacifican background of the artists, and throughout the album one could hear log drums, ukuleles and the so-called ‘Māori strum’ which Jansson had first encountered at after-work parties on the building sites where he had worked as a teenager. The result was a sound uniquely New Zealand, and strikingly different from the R&B and hip-hop coming from anywhere else at the time.”

The most successful tunes off the compilation were Sisters Underground’s ‘In The Neighbourhood’ and ‘We R The OMC’ by The Otara Millionaires Club.

Jansson continued working with Pauly Fuemana, who had taken the OMC name after the group had split. Their collaboration eventually gave the world ‘How Bizarre’, described on British TV show Top Of The Pops as “the biggest song ever to come out of New Zealand”. ‘How Bizarre’ reached the Top 10 in 15 countries, and reached No.1 in many places, including Australia, NZ, Austria, Canada, Ireland and the United States.

Listen to PROUD - An Urban-Pacific Streetsoul Compilation

 on Apple Music HERE  or on Spotify HERE

The NZ On Air Outstanding Music Journalism Award is the first of its kind for Aotearoa New Zealand and comes with a $2500 cash prize. The ground-breaking addition to the Taite Music Prize for 2022 celebrates special individuals who made a creative contribution and significant impact with coverage of Aotearoa music in 2021. For the award’s inaugural year, finalists are shortlisted by the IMNZ board.

The finalists for the NZ On Air Outstanding Music Journalism awards are:

●       Undertheradar.co.nz – Editorial Team; Chris Cudby and Annabel Kean

●       'Aotearoa Hip Hop: The Music, The People, The History' - Podcast creators; DJ Sirvere and Martyn Pepperell

●       RNZ Music’s The Sampler - Producer and journalist; Tony Stamp

●       95bFM’s Long Player “Milk III - Reuben Winter” episode - Producers; Jess Fu and Reuben Winter

IMNZ chairperson, Pippa Ryan-Kidd, says, “ The addition of the NZ On Air Outstanding Music Journalism award is in the spirit of legendary broadcaster Dylan Taite and our wish to congratulate those who give media space to New Zealand music. We found the decision on finalists a difficult one as many dedicated individuals do much of this work purely out of passion with no recompense. Our criteria for this award is to highlight “creative contribution and significant impact” and our judges had to hone in on the best of the best under this guise. Our hope and aim is to encourage new and young writers to take up the voice that some of our leading music journalists have worked so hard to give a platform to over the years. ”

The Independent Music NZ Classic Record Award and the NZ On Air Outstanding Music Journalism Award will be presented at the official Taite Music Prize 2022 online ceremony on April 20th, 2022 broadcast via the IndependentMusicNZ YouTube Channel. More information to come.

The Show Must Go On

The Show Must Go On

Music Photos by Murray Cammick

April 9 - May 28, 2022 

photospacegallery.nz

1st floor, 37 Courtenay Place, Te Aro, Wellington

10am-3pm Mon-Fri, 11am-2pm Sat

After the success of the 2020 Flash Cars show, Murray Cammick returns to Photospace.nz Gallery in Wellington with a selection of his classic music images. This music show is based on the earlier 2017 punk & new wave focussed exhibition that was shown in Sydney and Auckland. Additions to this show include photographs of Bob Dylan, Roxy Music, Kate Bush, Tina Turner and previously unseen Bob Marley images.

The Show Must Go On is a phrase we associate with the history of music, theatre and the arts. It is an ironic title in that music venues have been among the activities hardest hit by Covid-19 due to their being inoperable due to the nature of the pandemic.

The photographer is using this title to encourage people to once again visit and patronise the small art galleries of inner-city Wellington and inner-city Auckland. Many of those galleries have survived the pandemic and now need to regain their audience.

“I’m saying the art show must go on,” says Cammick, “and inner-city culture must thrive.  We can start by planning an inner-city exercise route that takes us to the galleries of Cuba St and Courtenay Place in Wellington or Karangahape Rd and Lorne St in Auckland. Viewing art is compatible with mask-life and Covid-19 passports. Safety must be our first concern but we all need to put on our Autumn bucket lists: spend some money at an inner-city business,” suggests Cammick. “We have to avoid the cultural hearts of our cities becoming ghost towns.”

The exhibition of music images largely consists of high-quality black and white images printed using the traditional silver gelatin process by top New Zealand printer Jenny Tomlin.

The Wellington show has also added a few colour photographs of local legends from the 1980s and 1990s including Herbs and Shihad. These colour images utilise digital printing.

When RipItUp magazine started in June 1977, co-publisher Cammick and original editor Alastair Dougal were not aware of how radical the changes in music culture would be as the decade ended. Foreign punk / new wave acts like The Ramones, Iggy Pop and Blondie visited and locals like Suburban Reptiles, The Scavengers and Toy Love put some energy into the scene. These local musicians appeared on the classic New Zealand punk compilation AK•79.

New Zealand musicians were inspired by the success of Split Enz overseas and original writers like Hello Sailor, Th’ Dudes and Sharon O’Neill found respect for their own songs. In a time of cultural change, RipItUp and Cammick’s camera documented important cultural events such as Bob Marley’s 1979 visit to New Zealand and suburban cultural events like young band Screaming Meemees playing in a packed North Shore suburban hall.

For those who liked their music raw, seedy local venues were the place to worship and the Zwines and Mainstreet mosh-pits were where alienated youth gathered to enjoy the company of kindred-souls. Cammick captures the tribal, sweaty audience as well as the musicians.

Prior to starting RipItUp in 1977, Cammick was the designer of Craccum, Auckland student newspaper in 1976. He studied photography at Elam School of Fine Arts 1973 to 1975 with lecturers John B. Turner and Tom Hutchins who encouraged him to take socio-political photos for the student newspaper. Cammick took the first photos of the Flash Cars series at Elam and learnt a respect for the documentary tradition in photography.

Reflecting on his music photos for the Capture blog, Cammick wrote: “I tried to document the music and the scene as a ‘fly-on-the-wall’ documentary photographer. You either contribute to the myths / bullshit of rock n roll or you try and show some of the reality of the grind of promotion and touring. I recall being at Craccum in 1976 and being delighted that our music editor John Robson came back from a press conference with a photo of Frank Zappa drinking a cup of tea. How sublimely un-rock n roll!

“Shooting un-rock n roll photos became something to aspire to, so I was pleased to get Iggy Pop in his clunky reading glasses laughing at the Talking Heads story in RipItUp magazine. As we arrived at Iggy's White Heron Hotel room he was still in his pyjamas and I sneaked a shot but he heard the camera and made it clear, “No photos in my pyjamas.”

“For years I've regretted that I did not capture the glamour of Debbie Harry in my 1977 photos, but now I am starting to appreciate that they show a tired young woman who briefly leaves an international flight in Auckland to do a day’s promo. She is giving copies of the New York “Punk” magazine to the RipItUp writer Jeremy Templer.” Arrive from the USA at dawn – a day of interviews in Auckland, then on a plane to Melbourne for a TV interview that night. That’s life.

Cammick’s black & white music photography was featured in Art New Zealand Autumn 2015 issue.

“In the early days I chose to define myself as a photographer – an identity for myself – my Minolta SLR camera was almost permanently around my neck,” says Cammick. “I guess that gave me the purpose and status that young people seek in life. I was part of the ‘taking photographs’ gang. In the early days it was easier to be a ‘fly on the wall’ when photographing musicians who were near to my age. As I grew older and got busy as RipItUp editor, it is was enjoyable to give the opportunities to take photos to younger photographers.”

The photographer’s notes on photos;

Bob Marley

Anyone who asks me to play soccer has smoked too much dope. Marley asked me that question – after I had retrieved a stray ball, by the park outside his hotel, the White Heron. I interpreted his question, as an indication that he would prefer that I stopped taking photos. As a young photographer

Our RipItUp writer had gone home and there no longer much point in me staying. Crafty Liverpudlian, TVNZ reporter Dylan Taite had brought his soccer boots to the non-existent press event that day, so he could cunningly play soccer to achieve an exclusive interview. He achieved his goal – i.e., the interview of a lifetime. Marley obliged and even spoke rather clear English in the interview, rather than patois that he might use if he was in a less communicative mood. Dylan’s interview, with Auckland harbour in the background, features in most Bob Marley documentaries.

I was not too keen on doing ‘music industry’ style photos of a Platinum album presentation or the traditional Māori welcome, the powhiri - but “Yes” was the answer when the visitor to New Zealand was Bob Marley.

Chris Knox

When RipItUp decided to put five new bands on the cover of the April 1979 issue, the ‘group’ interview soon came upon insurmountable ethical and regional issues.

Louise Chunn wrote, “To Chris Knox, expatriate Dunedin boy and don’t ever forget it, Aucklanders don’t dance, they pose rather fast. And any way Toy Love don’t want to have people showing enthusiasm or approval through dancing. ‘We’d rather stun them,’ said Knox.”

Iggy Pop

We arrived at the White Heron hotel, to find Iggy in his room, still wearing his pyjamas, playing guitar. I took a subtle snap on my camera but Iggy heard the click and turned to me, “No photos in my pyjamas!”

During the interview Iggy said: “You have to remember, I was in — will the real Sex Pistols please stand up? — I was in the Stooges.” 

It was curious to watch Iggy reach for his clunky reading glasses to peruse a Talking Heads story in the current RipItUp. I recall Iggy saying, “Here I am traveling the world, alone in my hotel room, except for my pyjamas.” Due to the writer’s discretion this comment – whether taking the piss or not – did not run in RipItUp.

Dolly Parton

Hippies, freaks, punks and members of Split Enz, I could cope with, but meeting Dolly Parton was a culture shock. The singer visited New Zealand in 1979 and ended up in the RipItUp centrespread sandwiched between Iggy Pop and Toy Love. I understood the country outlaws Cash, Jennings and Willie Nelson but most country music made my stomach uneasy. Dolly knew how to work a room. Making eye contact with every writer and every photographer. Dolly was in control of the room and soon showed her down-home smarts and taught us the basics in controlling your own career. “I moved to Nashville, still with the big hair-do, long since out-of-style. People started telling me I should change my look. And I thought — well, for somebody to tell me that ­– only means they’re noticing the way I look. So, I decided to change it alright, by exaggerating it.”

Girls and beer cans

The early 1978, Hello Sailor gig at Auckland University Recreation Centre was excellent – that translates, I thought I had taken some great pix. After the gig I got a cool backstage photo of singer Graham Brazier. I think I was too shy to ask the singer if I could take a photo, and he asked me if I wanted to take a photo. As I walked towards the exit, the beer cans caught my eye. Before I pressed the shutter two young women walked into the frame and gave me the photo. The photographer is only one participant in the making of a photo.

Kim Fowley

When LA legend Kim Fowley visited Auckland in January 1979, I was in awe of his intelligence, his humour and his namedropping. He was in awe of the fact that I was in awe of him. He’d book toll calls to rock royalty like Bruce Springsteen to impress us locals. One call was timed to take place when I visited the studio. Fowley liked music journalists dropping by – he liked to hold court. Even in the photo – Kim spun me – so he ended up looking like the President of the USA. I ended up with a ‘portrait’ of Kim Fowley. I was not a portrait photographer, I was a documentary photographer, but Fowley only did portraits! Great to see this image in the recent Joan Jett documentary, nobody asked me, but it was cool that they liked my photo.

Graham Brazier

I have more good photos of Graham Brazier than every other local musician in total. To be blunt, Graham was into having his photo taken and I think he liked to help me get a good shot. The musician who performs off stage as well as on stage, to some, is a ‘rock star poseur’ but photographers appreciate a little bit of help. Graham was a poet and a book collector – he had empathy for poets and writers, and he was not above helping me to get a good photo. On occasions when I had camera in hand, I’d get a nod from him that said: “this will make a great photo.” This is what happened backstage at Mainstreet.

Screaming Meemees

In 1981, Screaming Meemees played the Northcote Netball Hall and proved that there was life on the North Shore – beyond the toll gates. One of my favourite gigs ever! In the sandpit and the mosh-pit, you learn to enjoy life and negotiate with other people. I respect bands that make you want to jump up and down and celebrate being alive.

Siouxsie Sioux

By the time Siouxsie and The Banshees made it to Auckland in 1983, punk had become post-punk and Siouxsie was post-punk too. She was polite and pretty and seemed to enjoy being surrounded by adoring music fans masquerading as journalists. Robert Smith was there too, having a cup of tea, making this suburban hotel press conference, a very cool occasion.

The Ramones

I am not sure why I have a photo of Johnny Ramone as our interview was primarily with Joey Ramone. As Johnny was later revealed to be a redneck Republican, I am quite pleased that in my photo, he is upstaged by wall phone.

April 9 – May 28, 2022 

photospacegallery.nz 

1st floor, 37 Courtenay Place, Te Aro, Wellington

10am-3pm Mon-Fri, 11am-2pm Sat

NZ MUSIC T SHIRT DAY 2022

NZ Music T-shirt Day 2022 is on  27 May.  MusicHelps are inviting any bands who have t-shirts and would like to be included in the listing of where to buy t-shirts to get in touch.  Send the name of your band and a link to the online store to carmelb@musichelps.org.nz by 31 March to be included.  They’re also on the look out for photographs of local acts wearing other local acts t-shirts.  If you have any that can be used publicly – please send them to the same email address.

NZ Music T-Shirt Day is a nationwide celebration of kiwi music and the power music has to make a positive difference in our lives. It also highlights the work of MusicHelps, a charity that supports projects across Aotearoa that use the power of music to help disabled people, people with serious health conditions and people that are at risk and vulnerable. MusicHelps also provides a 24 hours, seven day a week helpline, professional tailored counselling, crisis support and emergency financial assistance to kiwi music workers experiencing illness, distress and hardship.

Government delivers further support for arts and culture sector

The Arts and Culture Event Support Scheme will be boosted by $70 million, enabling the coverage of the Scheme to be extended right through to 31 January 2023 for events that were planned before the move to Red. Key eligibility criteria have also been extended.

• The Cultural Sector Emergency Relief Fund has been provided an additional $35.5 million to fund more direct support for individuals and organisations

• The limit on funding for individual organisations has been increased from $100,000 to $300,000.

• A one-off grant of $5,000 will be available to eligible self-employed individuals/sole traders in the arts and cultural sector who have lost income or opportunities to work.

• The Screen Production Recovery Fund has been boosted by a further $15 million.

Following the Government’s shift to the Red traffic light setting and ongoing pressures on the arts and culture sector, the Government is moving swiftly to cushion the blow, providing further support for the sector, Minister for Arts, Culture and Heritage Carmel Sepuloni announced today.

“The Government has been actively engaging with the arts and culture sector to understand their needs as the pandemic has progressed, and we’re responding by delivering much-needed financial relief,” Carmel Sepuloni said. “The arts and culture sector contributes approximately $10.9 billion to the New Zealand economy, making up about 3.4% of GDP.

“Our strategy continues to be to slow the spread of Omicron down. New Zealanders have helped put us in a position to fight Omicron, but as we’ve said before, when COVID changes, we change. 

“The Red traffic light setting, whilst needed to protect the health and safety of New Zealanders, has had an impact on the livelihoods of those who make a living out of arts and culture. That’s why we’re committing to a one-off $5,000 grant for self-employed individuals/sole-traders who can show proof of a loss of income or opportunity to work.

“We’re also extending the Arts and Culture Event Support Scheme, the Cultural Sector Emergency Relief Fund, and the Screen Production Recovery Fund.

The Arts and Cultural Event Support Scheme will receive a financial boost, extending coverage to events scheduled to take place before 31 January 2023, that were planned before the move to Red. This also includes extension of criteria to cover cancellations due to a lead performer getting Covid or needing to isolate.

“It’s important to reassure artists and crew that they will get paid despite their event being cancelled due to Red. The Scheme includes an obligation to make full payment, as if the event had gone ahead, to artists, performers and production crew and/or organisations.”

The Government are also making it easier for people to apply for the Cultural Sector Emergency Relief Fund and increasing financial support available for organisations by making changes to payment limits and the eligibility criteria. This will include setting up an application stream dedicated to self-employed people and sole-traders, in addition to the application stream for organisations.

“Internationally, Omicron is having a significant impact on the film industry, with cast/crew sickness in some cases causing productions to shut down, resulting in higher costs. Aotearoa New Zealand’s screen industry will not be immune from these pressures, so we are acting now to provide extra support for this key sector of our economy.

“The Screen Production Fund will receive a boost to enable an extension of the fund through to 31 December 2022, to maximise production activity and minimise the impacts of any COVID-19 outbreaks.

“I’m confident that our move to extend critical support schemes for New Zealand’s arts and cultural event sector will provide some relief and help our wonderful creative communities to get back on their feet. 

“I want to acknowledge the huge financial and emotional strain and uncertainty that everyone in the sector is facing, but I want to underline our Government’s commitment to supporting the revival of the arts and culture sector,” Carmel Sepuloni said. 

 HEADLINE DETAILS

·         The Arts and Culture Event Support Scheme will be boosted by $70.7 million – giving arts and cultural sector event organisers the confidence to deliver planned events right through to the end of January 2023. Key eligibility criteria have also been extended and consideration is being given to how new events can be supported in the latter half of 2022. 

·         The Cultural Sector Emergency Relief Fund has been provided an additional $35.5 million to fund more direct support for individuals and organisations most affected by the restrictions introduced in January 2022 to slow the spread of COVID-19.

·         The limit on Emergency Relief Funding for individual organisations has been increased from $100,000 to $300,000.

·         A one-off grant of $5,000 will be available to eligible self-employed individuals/sole traders in the arts and cultural sector who have lost income or opportunities to work as a result of the restrictions introduced in January 2022 to slow the spread of COVID-19.

·         The Screen Production Recovery Fund has been boosted by a further $15 million.

The newest big name in New Zealand music ‘Loane Records’, opens its doors to artists

Co-founders Jacob Loane and Zhayne Candy-Doolan are both artists and wanted to create a space where artists are free to express themselves through their music with as much support as they need to boost their music careers. Jacob and Zhayne both know how hard the music industry can be and offer much needed support to those who may be struggling with the concept of being signed to major labels.

Loane Records is a record label and recording studio that opened its doors to the public in late 2021 and is now taking bookings with artists from all over New Zealand.

Loane Records is an independent label which means the artists keep all their creative freedom, rights to their music and get the most royalties from their projects.

Loane Records are currently working with some upcoming and established artists in New Zealand and abroad and are looking for new artists to add to their roster of releases.

If you would like Loane Records to join you on your musical journey, would like to book studio time or would like to know more please visit www.loanerecords.co.nz

Music industry bodies call on government to urgently reinstate financial support

Yesterday music industry bodies wrote to the Prime Minister and Ministers Grant Robertson, Carmel Sepuloni, and Kiritapu Allan, on behalf of Aotearoa’s contemporary music industry: artists and songwriters who write, perform and record; and the many workers and organisations who support them. 

The letter asked the government to urgently reinstate the Wage Subsidy and Resurgence Support Payments for music sector businesses and sole traders while New Zealand remains is in the red traffic light setting.

The change to red light means that all imminent significant size shows, festivals and events have been cancelled or postponed, with no certainty as to whether any event will be able to safely proceed in coming months, which is already having a significant impact on the lives and livelihoods of artists and the entire music sector.

While the music sector is very grateful for the targeted assistance from the government to date, and supports the government’s health response to protect all New Zealanders, the current move to Red sees the music sector in the most precarious position it has faced since the start of the pandemic. The summer festival and touring period accounts for the majority of annual live music income and provides a financial buffer for the rest of the calendar year. The 2022 ‘earning season’ has been drastically reduced, and many have already depleted their reserves surviving the uncertain times so far.

The MCH Event Support Scheme and the MBIE Events Transition Support Payment scheme (ETSP) are useful tools which provide assistance to the live sector, but only within certain parameters and criteria. 

A reinstatement of the Resurgence Support Payment and Wage Subsidy would assist artists and  music sector businesses and sole traders to survive through this next phase of the government’s health response to COVID-19. It would support artists and performers, music venues, live music workers and technical crew, along with assisting the rest of the music sector who will be affected by the ensuing impact.

We are respectfully asking government to act urgently, and we stand ready to provide any information or assistance that is needed.

The Resurgence Support Payment and Wage Subsidy schemes have already proven to be effective tools which can be quickly and efficiently implemented for the music sector. The eligibility criteria centred on decreases in revenue and income ensures the support is being targeted at the most affected people, and artists themselves can access both schemes.

The music industry bodies are united in their support of this request, and ready to provide further information to the government should they need it.