Career path can generate little money despite city's reputation
Music is more than a recreational activity in Austin—it is major business. Yet many local artists struggle to turn their passion into a full-time livelihood.
Fortunately for Austin musicians a growing number of support groups exist that recognize local live music's value—approximately $1.6 billion in annual economic impact, according to city estimates. The newest such organization, Black Fret, is set to celebrate its first major milestone Nov. 8 when the music advocacy nonprofit plans to award $100,000 worth of grants to 10 recipients at its first annual Black Ball.
All 20 grant-nominated acts have played private gigs for Black Fret members who pay $1,500 each year to join. In exchange for membership, attendees receive a more intimate live music experience, co-founder Matt Ott said.
"We're not trying to fix the music industry," Ott said. "There is just beautiful music that is not being heard."
Ott and Black Fret co-founder Colin Kendrick will cap membership at 1,333. More than 170 people have become members since the group launched in January 2013.
More members equals more money available for middle-class musicians seeking sustainable careers, he and Ott said. One nominee, singer/songwriter Elizabeth McQueen, is transitioning back to full-time Austin living after eight years touring with country act Asleep at the Wheel.
"[Becoming a solo act has] allowed me to walk out of the more traditional world and into this more experimental electronic music world," she said.
McQueen, a mother of two, performed in early October at the Austin City Limits Music Festival family-friendly stage. She also received $3,200 in city funds to create an interactive art installation that will debut next spring after a chance encounter.
"To me, that's what I love about Austin—you meet a guy at a South By Southwest party, and the next thing you know you're combining to do something amazing together," McQueen said.
Taylor Muse and Tommy Blank, the lead singer and guitar player of Austin–based rock band Quiet Company, said they also balance family life with national music aspirations. The band assists many of the major local music nonprofits, having consulted with Black Fret before the nonprofit officially formed. The band also performed at the mid-September opening of the new Austin Music Foundation office and during HAAM Benefit Day on Sept. 23, the same day Quiet Company signed its new record deal.
"That deal is going to relieve a lot of stress because we were shamelessly grassroots before," said Blank, who said he considers Austin five years to a 20-year music revolution. "It's starting to happen here."
City policy can drive a lot of the local music industry's success, said Jennifer Houlihan, executive director of music policy advocacy group Austin Music People. AMP co-hosted a series of City Council candidate forums leading up to November's election. The music advocacy group also released candidate questionnaires in mid-October.
"We believed it was worth the candidates' times to answer some questions related to the creative sector," Houlihan said. "It's been very interesting."
The more attention paid to Austin's music sector, the closer the city comes to realizing its "Live Music Capital of the World" mantra, said David Cotton, a longtime talent booker for The Saxon Pub and Threadgill's in South Austin. The 30-year industry veteran recently opened his own live music venue called The Roost in Wells Branch.
Cotton's line of work often forces him to be brutally honest with musicians seeking gigs, he said, but Austin is far more forgiving than more established music cities.
As more groups such as Black Fret organize to help Austin artists find the limelight, he said the city's positive musical reputation should only continue growing.
"The plan is laid out—it's sitting right in front of us," Cotton said. "It's just a matter of society getting to the point of recognizing Jimi Hendrix as a fine artist."
