The Welsh Music Industries in a Post Covid World

This extensive report is for the Culture, Welsh Language and Communications Committee, but will also be available publicly. It examines the ways in which Welsh Government can support the music industries in Wales as it progresses through the pandemic. Chapter 1 outlines the contextual backstory of the emergence of private and public support for the music industries in Wales since the pandemic commenced, with the later falling into the following categories: ‘music specific’(for example the Grassroot Music Relief Fund managed by Creative Wales), ‘creative/performing arts sector specific (For example the £53 million ‘Cultural Recovery Fund’ allocated in July to the arts and culture sector as part of the £59 million allocated to Wales by the UK government), or indeed focused pan UK/pan sector, via the Coronavirus Jobs Retention Scheme (CJRS) or the Self-Employment Income Support Scheme (SEISS). Due to many music industry stakeholders being ineligible for any of this public funding, this initial chapter will also outline the pan UK private sector initiatives instigated by the likes of Help Musicians UK, the Musicians Union and the Association of Independent Musicians.

Chapter 2 begins by examining advice given to the music industry by the UK and Welsh Governments concerning roadmaps out of the pandemic, with both noted as being on similar trajectories, although implementing distinct methodological approaches. As the pandemic progressed, these distinct approaches have resulted in Welsh performance venues still not being open for business, which caused concern and at times confusion, as other nations such as Germany, Southern Ireland, France, Finland and indeed England appeared to have clearer more rapid protocols.

In order to provide further context on the impact of the pandemic on the Welsh music industry, chapter 3 focuses on current research, ranging from UK based industry surveys (including the analysis of a project instigated by the Forté Project) to academic research, including journal articles, research projects, symposia and more informal ‘thought pieces’.

Entitled ‘What Wales Can Learn and How Does it Compare to Other Nations’, chapter 4 initially compares the support packages of the Home Nations, before examining available support mechanisms in other parts of the world. The chapter highlights the problems of comparing support in Wales to many other European nations, who have a history of supplying far greater sums of money to artists and art-based organisations—which obviously leaves UK venues and other music industry stakeholders more exposed during a pandemic such as Covid-19. The chapter also highlights some of the problems with comparing ‘like for like’, as many funding packages elsewhere in the world are not clear how music is included. The chapter concludes with an overview of initiatives from around the world to support and kick start their respective music industries.

The report concludes by considering a series of recommendations for the Culture, Welsh Language and Communications Committee to consider, prior to making suggestions to Welsh Government.