Insight. 1988, The music business

For many musicians struggling to survive, recording is just a dream.
This Insight looks at the music business and the problems of surviving as a musician in New Zealand.
Produced and presented by Penny St John.

Simon Raven, a classical musician who founded the Tudor Consort choir in Wellington, says that the small population of New Zealand leaves live performing musicians with a limited market. They can only perform once every two months or so without overburdening the local populace. The best way to become well-known is to record.

Part of the problem is the lack of record-pressing facilities in New Zealand. The last record-pressing factory - EMI in Lower Hutt - closed down as it was financially unviable. Now the nearest facility is in Australia. The higher cost means it is more difficult for New Zealand artists to record. Trevor Reekie of Pagan Records says it is harder for new artists to break through as a result. They have to be sure of a band's financial viability before they will sign them.

John Button, music critic for the Dominion, explains how recording is the only way for artists to become internationally well-known, and for New Zealand's artists to become internationally acclaimed. Currently New Zealand is limited by its lack of record industry, which makes it harder for New Zealand artists to break into overseas markets.

John Mark, international writer, producer and director, says New Zealand does not have a proper music industry with international expertise. The local industry functions but are not recognised overseas. It is difficult for any major talent to become famous and remain in New Zealand. New Zealand doesn't lack talent, but the music business is a money-making business.

Trevor Reekie says that it is possible for musicians to succeed internationally without huge financial backing, although it is unusual.

Graham Cockroft of the Netherworld Dancing Toys says that the members are pragmatic about their livelihoods - they have completed degrees in 'sensible subjects' in order to support themselves. The band has enjoyed some success but the members are realistic about its financial viability, although they are going to try and make a go of it overseas. Band member Nick Sampson says they decided against touring overseas because they would be unknown in the new market and it would be too expensive for them. A record company told them their music was excellent but production quality was not up to international standards.

Christchurch singer Helen Mulholland is trying to break into overseas markets. She says she was lucky to have a good producer and sound engineer, but most musicians do not have the amount of capital to make a good quality recording. She also says radio stations do not play enough local artists, making it harder to become well-known.

Adrienne Simpson, founder of a small classical recording company, saw a niche in the market as young classical musicians were not being recognised. She feels that large recording companies are prejudiced against New Zealand artists, wrongly believing them to be inferior because they are less likely to have commercial recordings and any backing. This is simply due to lack of recording companies rather than talent. Their first recording was the Tudor Consort.

Simon Ravens says the type of music produced by the Tudor Consort is better heard on a recording than in concert; it was not written to be performed in this way. They are touring Britain soon and it will be interesting to see how they are received. If they manage to impress the critics they will have a potential future there. They are not receiving any funding help for the tour.

John Button believes it will be possible for New Zealand to create a niche market that is successful in the world as it has been done in other places. He cites folk music in Wyndham in the USA, fresh air recordings from Nebraska, ambient new wave music in Europe and America. There is no limit to the range of niche marketing.

The New Zealand Symphony Orchestra is looking to fill a niche in the classical catalogues - recordings issued by American and Hong Kong labels. General manager Peter Nisbet says that popular symphonies have been recorded by every orchestra all over the world. Members of the public are less likely to choose a recording by a small, relatively unknown orchestra.
John Button believes the NZSO could create a name for themselves in the same way that New Zealand sports teams have become internationally renowned.
John Mark and Trevor Reekie agree that New Zealand's profile overseas need to be raised.
John Mark believes that young, struggling musicians currently have a choice. Move overseas and pursue their dream of being a professional musician, or stay in New Zealand as a part-time musician while writing radio jingles.