There is cause for celebration as legislation is introduced to NSW parliament that would greatly improve the security of venues hosting live music, and bolster an industry kept quiet for too long.
A bill aimed at fostering the revival of live entertainment was presented this week by Arts, Night Time Economy and Music Minister John Graham, and may spell the end of venue closures from a single noise complaint.
Since the start of the lockout laws in 2014, the live music sector and Sydney’s night-time economy have been decimated. Although the lockouts were finally scrapped in 2021, the culture of late-night activity had shifted in many precincts and most venues doing live music have come to fear any complaints, with a sole ‘NIMBY’ complainant sometimes triggering major consequences.
There are currently seven separate government agencies involved in managing noise complaints. The new regulations would see this streamlined to be the role of only Liquor & Gaming, which would need to receive noise complaints from at least five different individuals before it considered taking action.
Other measures incorporated in the reforms include:
- ‘Order of Occupancy’ as a key determinant in assessing complaints, to protect venues from issues raised by people moving into established nightlife districts, and
- Live music venues allowed to trade an additional two hours
Premier Chris Minns suggests a city that thrives on tourism should not shut down “as if we were a country town” and told media the proposal was simply common sense in the goal of making Sydney better for both residents and tourists.
“[It’s] another step in removing the nanny state restrictions, the red tape that have really stifled the vibrancy, the life and the fun out of Sydney for the past 10 years.
“We need to act and work and live like we are a major, vibrant city.”
Meanwhile, South Australia’s liquor watchdog has officially announced the lockout laws applying to the Adelaide CBD have been extended for another three years, and expanded.
Having now been in place for a decade, the development follows eight months of consultation with community groups and venues, including pubs, hotels and nightclubs.
The regulator blames the extension on an increase in violence and drunken behaviour in the CBD.
From 1 November:
- After 2am, shots and shooters (etc) are banned and there is to be no advertising of ‘rapid consumption’
- CCTV cameras must be good enough to identify troublemakers
- Metal detectors must only be operated by licensed security agents
- Drink marshals should intervene when patrons are being abusive or visibly drunk, and
- Patrons will continue to not be allowed to enter licensed venues from 3.01am to 7am
Also, by request of the Liquor and Gambling Commissioner, Dini Soulio, the Adelaide Liquor Accord will be brought back, designed to assemble Adelaide City Council and police with venue operators, community groups and health services, to address the issues of crime, violence and enforcement in the vicinity of late-night venues.
The Accord also strives to improve patrons dispersing safely, including ensuring enough taxis are available.
These initiatives come as acclaimed supporter of up-and-coming musicians, Triple J, releases its latest ‘What’s Up In Australian Music?’ report, providing insights into the lives of Australian artists.
The work was an “eye-opening experience” according to Triple J Unearthed executive producer Tommy Faith, painting a sorry picture of the music industry in Australia.
“To see how many artists were working second jobs or considering leaving music altogether was sobering information.
“Ultimately, we hope the wider music industry and music media (ourselves included) will look at these findings and use them to make empathetic decisions about artists and shape content and policy, knowing just how hard it is to be a music-maker in 2023.”
Key findings include:
- 48 per cent of all artists have considered bailing on the music industry in the past year. Thankfully, 62 per cent still feel optimistic about the future of their music career
- Live gigs are the primary (57.9 per cent) source of income for most artists. The only common exception is the Hip-hop genre
- Most artists (83 per cent) work extra jobs, outside the industry, with 78 per cent saying they make more from their other job. Only 31 per cent believe they will eventually earn enough from their music
- Many respondents expressed their discontent that social media skills had become more important to labels in promoting music than musicianship
- Most artists under 24 years are choosing the solo path, which it’s suggested may be a result of the continued pressure to keep down costs in recording time and touring
