A word on the individualism of artist labour and the future of creative work

Many artists are aware of the change in landscape brought about by digital media and how it has pushed the majority of creatives to do a lot more than just make art. There is a growing demand for artists to not only stay relevant through what they create, but also to take on a set of entrepreneurial skills that they were not taught at the onset of their careers. The self-made, self-published, and self-promoted artist is becoming a necessity in order to stay afloat in today's world, and the environment that created this demand will never be the same again.

One could argue that this shift towards independence is a good thing, as we see the global rise of DIY musicians with no label, who are diversifying their income streams and skill sets while interacting directly with their own fan base. However, what really goes on in the mind of a young creative? Is the pressure immense? It must be hard to know where to start. Do competitive and administrative demands overwhelm day-to-day life? It certainly makes sense for artists to control their own brand and content, but with day jobs and other responsibilities, are people equipped to manage such a large workload?

The reach offered by social media has undoubtedly created opportunities for independent artists. It allows musicians to connect directly with audiences, build communities, and promote their work without relying entirely on labels, managers, or traditional media outlets. Yet this accessibility comes with its own challenges. Artists are competing for attention in an online ecosystem saturated with content for content’s sake, much of which is designed to maximise engagement rather than encourage meaningful discovery. Viral trends, trolling, fake news, advertising, influencer content, misinformation, AI-generated sludge, and fake accounts all contribute to a network that can feel difficult to capture. For emerging artists, the skill lies in cutting through the noise of the digital world, and that requires some exceptional strategy; not impossible, but not necessarily skills that everyone possesses or is intrinsically motivated towards.

Most artists don’t seem to be afraid of this construct, as they have accepted that independence comes with hard work and accountability. We all know that building a career today is far more than just releasing music. What is important to know is that there’s a difference between empowering and promoting artists with the tools and platforms to succeed, and actually expecting them to carry industry demands on their own.

As Aotearoa’s music community continues to endorse local talent, perhaps the conversations we should be having are more centred around how audiences, organisations, media, music journalism, and industry leaders can better support the people creating the art we love and consume. How can our local ecosystem uphold artists while allowing them to continue being themselves? Will a modern shift naturally happen where we reinvent the community we live in, or will it forever be consumer meets artist meets greater business? Perhaps the controversy of this article is that people are already trying to do this. But is it really a foundation that functions and thrives off one another, or do we have room for real growth and, perhaps, a new sector?

Basically, with this understanding, how do we protect creativity when it has become a business? Is there room for the business of creativity to become its own discipline? Perhaps educational facilities and industry professionals themselves will democratise this skillset, making it more accessible and recognised than it is today.

The business of creativity is at a point where it can begin to exist as its own field. We know there is knowledge and there are workshops available on navigating contracts and ensuring money stays in the right hands. However, do we have enough widespread access to understanding how to manage creative media, build audiences, and develop a sustainable creative business?

We know AI will continue to reshape the industry, but the world did not stop turning because certain processes became automated or fast-tracked. Perhaps the future is not about protecting creativity from change, but about creating the structures that allow creativity to survive within it.

If we separate creative business from the creative process itself, we may create room for a versatile and expanding discipline that supports what we all fundamentally want to see thrive. Because, ultimately, a world where art cannot thrive is no world worth creating.

Maybe this is not the death of the creative at all. Maybe it is simply the creation of a new discipline.