Around The World in Music Policy

What to celebrate...and what to protest

Hello everyone. Welcome back.

I’m en route to Riyadh, Saudi Arabia, today to speak at the XP Conference and run our first-ever Middle East version of the Music Cities Convention. I thought it would be a good time to round up the policies, programs, and changes in music and cultural policy that I’ve encountered over the past few months. This has been the year of elections, and every incumbent has lost. This has also led to changes in music and cultural policy, much of it for the worse. When belts are proverbially tightened, or politics takes a turn inwards, often, we lose sight of the most important resource to invest in - ourselves. Still, there have been a few shining stars as well. So, here we go. If you’d like any further information on these stories, or would like to get in touch with the folks in each of these places, let me know.

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Stop 1: New South Wales, Australia

New South Wales is the only government in the world with a ministerial post of music. The man with the job, John Graham, led a series of reforms in 2024 that directly and tangibly supported the state’s music, cultural and night time economy workers. $1.66bn AUD (around $1bn USD) was allocated to support the music ecosystem, and a new strategy was launched with direct policy changes to support night-time shift and hospitality workers. Planning and land use policies have been amended to be friendlier to venues and businesses that trade at night. A priority to highlight First Nations voices and businesses has been introduced. It’s an ambitious strategy, and having one ministerial post opens up the opportunity for more.

Stop 2: Algiers, Algeria

This is not place-specific, but it’s an exciting development anyone interested in improving places should know. The African Import-Export Bank held a conference in October called CANEX (Creative Africa Nexus), where they announced that there doubling a credit facility they launched for the creative economy to $2bn USD over the next three years. Over the past few years, there’s been increasing interest in the broader creative economy as a development tool. But this is the largest ‘put one’s money where one’s mouth is’ I’ve seen, and it should be applauded. There’s much to learn about the program (which will include film studios, arenas and stadiums but has also financed a few musical works), but the fact that this money has been earmarked for investment - not simply giving - shows the opportunities across the African continent to incorporate music and culture into making places - and the people who live in them - better.

The Nigerian government has followed this by announcing a $1bn creative development fund—more good news.

Stop 3: North Carolina USA

I am immensely proud of this one, as the team at Sound Diplomacy is involved. Earlier this summer, the State of North Carolina announced the creation of a full-scale music office - the first for the region. This happened in June, so a few months before the unspeakable tragedy of Hurricane Helene, which impacted Asheville and the Western part of the state. The work with the office has continued, which is even more encouraging. It is one of a few states that have set up music offices. Texas is the oldest (and most extensive), but developments have occurred in Tennessee, Louisiana, Missouri, Delaware, Georgia, Alabama, Washington, and Colorado. I have high hopes for 2025 - regardless of political affiliation - that more states will see the economic potential of music and create offices to support investment.

Stop 4: Antwerp, Belgium

I want to highlight a local organisation that few people have heard of but is delivering incredible work across their local and regional ecosystems. Vi.be, the Flemish (Dutch-speaking part of Belgium), is the regional music office. Over the last few years, by creating what they call ‘Pop Councils,’ they have built a network of 80+ communities in Flanders that meet twice yearly to discuss music policy. It’s in Flemish, but more information is here. It’s a terrific example of a local organisation quietly impacting its regional partners - through music engagement.

Stop 5: Wellington, New Zealand

This one isn’t about the City of Wellington (not much good news here) but the work produced by Massey University around the economic and social value of live music in Zealand. Last month, a landmark study was published - one you should all read, showing both the monetary and societal benefits of live music in Aotearoa. Here are some key findings:

• For every $1 spent on live performance, $3.20 is returned in benefits to the wider community

• Audience spending motivated by live performance contributes 1.4 percent to Aotearoa’s Gross Domestic Product (GDP)

• Live performance activity supports 60,500 full-time equivalent roles

• Over 2.3 million people attended at least one live performance between July 2023 and June 2024

• Attending live performance provides an immediate boost to life satisfaction and contributes to a lasting improvement in overall well-being.

Other studies have examined the benefits of attending concerts, but this is the most robustly researched one I’ve seen.

And Finally, Stop 6: Newcastle, UK

I want to highlight this partnership - between Generator (a local music nonprofit) and Warner Music UK to build, staff, and invest in Tyneside Studios - to find and develop local talent and infrastructure in England’s Northeast. The UK remains a profoundly unequal country - much of the investment remains in the south. Yet, talent is everywhere. I hope this investment (similar to UMG’s partnership in Leeds a few years back) will help reduce this inequality.

And now, a few places that need to do better:

Nantes, France

France is the world leader in cultural policy. Hands down. They were the first collection society (SACEM), the Ministry of Culture (1961), and the first to develop a network of provincial music offices (Le Pole) to invest in talent. They have a cultural development bank. They created and put €80m into CNM - essentially the first Ministry of Music in the world. Their research output is enormous. They progressively tax more prominent players and direct that investment into the grassroots. Much of this flies under the radar elsewhere unless you speak French (and I don’t). But France is, time and time again, a leader. So, reading this article proposing a 100% cut to all cultural organisations in Nantes (and the protests that have occurred because of it) is disheartening. One of those organisations is Trempolino, one of Europe’s best music hubs. If France stops investing in culture, then we all have to worry. WTF.

Berlin, Germany

Another world leader in investing in music, culture, and nightlife is facing political and fiscal headwinds and has proposed to reduce its cultural budget significantly. Like in France, if Berlin is turning inwards and not valuing its cultural and creative industries as economic and social investments, then what hope do we have?

Hackney Council (London, UK)

If you don’t live in London, then I’m sure you aren’t aware of a petition being circulated to save the Moth Club, a terrific venue in East London. Two planning applications (both housing) have been submitted that will see flats built close to the venue’s outdoor area, invariably leading to complaints. This is unlawful in the UK - as the Agent of Change principle (written into the National Planning Policy Framework) - would prohibit this from happening. The housing should still be built in consultation with - and ensure the venue's protection. I have learned that just because the law changes doesn’t mean those who make decisions based on it have any idea. This is infuriating for someone who spent years working on these issues.

So there you have it. I know I haven’t included examples in Latin and South America or mainland Asia, but I will in the future. If you have any enlightening or infuriating examples you want to share, please share them in the comments.

Back soon.