A committee from the Australian House Of Representatives has issued a report following its inquiry into the challenges and opportunities within the Australian live music industry.

The report, fittingly titled Am I Ever Gonna See You Live Again? after The Angels song from which its name is inspired, was put together by the Standing Committee On Communications And The Arts, and was the result of a lengthy nation-wide inquiry into the live music sector.

The Committee held a total of 18 public hearings over the course of the inquiry in Canberra, Brisbane, Sydney, Melbourne, Adelaide and Perth. Additionally, submissions from a “wide range of stakeholders” were also received, including those from “all levels of government, artists, broadcasters, promoters, venues, festivals, service providers and peak industry bodies”.

The Committee’s Chair, Brian Mitchell, Tasmania’s Federal MP for Lyons, said in a statement that the inquiry’s recommendations, if taken up by Government, would help ensure a strong and sustainable future for live music in Australia.

“It was clear to us that many people across the country are doing a lot of work on live music,” Mr Mitchell said. “There was broad agreement about the myriad challenges and a lot of good ideas about how to grasp the opportunities of a fast-changing technological landscape.

“Our Committee hasn’t sought to reinvent the wheel, but rather bring all that work and evidence together in a report and a set of recommendations that are practical and achievable.”

In the lengthy foreword to the report, Mr Mitchell outlined the importance of live music, and specifically explained how the likes of the report’s namesake would never have become a cultural touchstone had it never been played live. 

Elsewhere, he also acknowledged the shifting goalposts of the industry, touching on how consumers now largely stream music as opposed to buying it outright, and how tours and ticket sales are now vital for musicians to make a living.

“There are fewer pubs willing to accommodate live acts and those who do make less money because drinking habits have changed,” he explained. “Making money from playing music has always been hard but it’s harder now than ever.

“But there’s also opportunity, and young, innovative artists are finding their way to make a living. Relationships with audiences are more direct and can be more authentic – traditional powerbrokers have less authority; the music executives, the producers, the FM DJs can’t make or break artists in the way they used to (Spiderbait’s Buy Me A Pony comes to mind). Artists can have more control over their art and – importantly – their own merchandising and image.”

The report also includes a total of 20 recommendations, including the Government investigating the potential benefits of a tax offset for the live music industry; amending consumer law to ensure transparency over fees and charges in ticket sales; exploring the viability of a rebate or voucher scheme to incentivise younger audiences to attend live music; and looking into the creation of “special entertainment precincts” within state, territory, and local governments.

“We’ve recommended that more work be done to encourage an appreciation of music education, mainly because it’s great for kids’ brains, but also because it fosters a love of music that will remain into adulthood, creating a new generation of music appreciation,” Mr Mitchell added.

“Of all the recommendations we’ve made, that to me is the most important: teach kids how to play music, not just how to stick airpods in their ears.”

Furthering his commitment to the live music scene, Mr Mitchell closed the report (his final as Committee Chair) by evoking the words of Bill and Ted as he wrote, “On that note: be excellent to each other, and party on, dudes”.

In response to the inquiry, APRA AMCOS CEO Dean Ormston said, “This report delivers a roadmap for a stronger, more sustainable Australian music industry that can thrive both at home and on the world stage.

“This is a chance to get the policy settings right, to build on the co-investment of successive Australian governments, back the venues and festivals that bring live music to audiences and ensure that our artists have the opportunities they deserve, both here and internationally.”

Ormston added, “Live music is a $16 billion industry supporting 41,000 jobs, yet the venues, festivals and events that take the risks to put on shows have been left without the same level of support as other creative industries.

“That’s why a tax rebate for live music is such a critical reform—it would be an investment in jobs, cultural vibrancy and ensure live music remains central to Australian life. We’ve been advocating for this since 2016, and it’s time to get it done.”

Indeed, APRA AMCOS has recommended a tax offset for live music and the expansion of the federal government’s Revive Live program. It has also advocated for the importance of Special Entertainment Precincts, the boosting of Australian live music exports, and strengthening local output on streaming services.

Ormston continued, “The Committee’s recommendations validate years of advocacy from APRA AMCOS and our partners across the ecosystem, ensuring live music, venues and artists have the policy support they need to thrive.

“Australia is home to some of the most innovative, world-class songwriters and performers on the planet, but without confident policy interventions, the gains we've made will be hamstrung.

“We need to shift gears and get serious about securing a thriving future for Australian music. This isn’t just about the music industry, it’s about who we are as a nation. Australian music tells our stories, shapes our identity, and is one of our most powerful global exports.”

The full Am I Ever Gonna See You Live Again? report can be viewed here.