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Indie Publicists Persist Through COVID-19 Pandemic independent-publicists-persist-through-coronavirus-impact-music-industry

Independent Publicists Persist Through The Coronavirus Impact On The Music Industry

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A part of the greater fabric that helps the music industry run, indie publicists are re-strategizing their approach while facing financial hardships during this unprecedented COVID-19 "new normal"
Jennifer Velez
GRAMMYs
Mar 27, 2020 - 3:43 pm

On the morning of March 16, Loren Medina sent an email very different from the kind she's used to sending. The Los Angeles-based publicist behind Jessie Reyez and Kali Uchis wasn’t running business as usual. She wasn’t sending a new single or album press release announcement. Instead, she found herself sending out a plea to the music industry.

"Dear colleagues and media partners, it is our duty to find creative solutions to keep our industry afloat," she began."With lockdowns enforced and more travel restrictions soon to come, we must not let the current situation paralyze us and/or allow the virus to take up all the space in the media."

By now, there is no doubt the music industry will come out of the coronavirus pandemic as one of the hardest-hit fields worldwide. Live music is gone: Tours and concerts, which serve as both a space for music discovery and the primary source of income for artists, have been universally canceled or postponed. Already, the loss of live music events alone could potentially be in the billions in the U.S.

GRAMMYs

Loren Medina

Other areas have not gone unscathed. Although Medina says her clients are not pausing their record releases, other artists, including Lady Gaga, Haim and Kehlani, have postponed or rescheduled major projects, citing the coronavirus as the reason. Elsewhere, Amazon is prioritizing deliveries of essential goods and has stopped CD and vinyl orders for the time being, a move that could ultimately hurt smaller labels the most. Across the pond, musicians in the U.K. have so far lost 13.9 million pounds (+$17 million) in estimated earnings, according to the Guardian.

Medina’s home has become a type of ground zero. She now works remotely, just like the possibly millions of other people across the U.S. under the government's direction to stay home in an attempt to flatten the coronavirus (COVID-19) pandemic curve in the county, which now faces upwards of 86,000 cases. At her newfound home base, she assesses how to move forward day-by-day as the music industry faces such an unprecedented time.

A part of the greater fabric that helps the music industry run, Medina, who owns Guerrera PR, Marketing & Management and also represents acts like Omar Apollo and Cuco, among other artists, has been forced to re-strategize. Other publicists, tour managers, festival organizers and countless more in the music industry ecosystem are on the same boat. The new reality consists of social distancing and quarantining, a scenario that creates a challenge for parts of the modern music industry to function. Beyond it all, the virus is stripping music of its magic; no longer can people from all over the world come together in one place to enjoy it.

Independent publicists and smaller PR agencies now face their own unique challenges. Many run on project-based work focused on touring and album campaigns. With artists now canceling tours and rethinking album releases, the music publicity sector now faces a potential, and significant, loss in income—if not now, then in the future. On top of that, there is no option of severance for many publicists if they lose their jobs or clients.

While Medina isn’t experiencing a loss of work now, because she works on project-based campaigns, future clients might be at stake as some artists are holding off on releasing new music until the current situation is alleviated.

RELATED: How The Global Coronavirus Pandemic Is Directly Impacting Songwriters, Musicians And Artists

For Detroit-based publicist Nathan Walker, tour-related press comprises 50 percent of his work. Nearly every tour date he was working through his boutique PR company Riot Act Media, whose roster includes Clap Your Hands Say Yeah, Young Jesus and STRFKR, was canceled last week or was on "the wait" to see what happens. 

Part of his new normal, which also means working from home with his wife and a four-year-old, has been trying to uncrack the new pitching protocol. There is an ongoing conversation among publicists about how to pitch music media during a never-before-lived pandemic that only seems to worsen by the day and continues to dominate headlines. How should they be pitching about music now?

"I'm just trying to be really calculated with my pitches so that I'm not just blanketing people with lots and lots of music," Walker says.

And he isn’t only practicing caution with media, but empathy as well.

"When I pitch an album during this time, I’m including a note sincerely hoping, because these are people I’ve worked with for years. I'm sincerely hoping they're in a good place right now," he says. "I'm just trying to keep the train on the tracks and send them a record that I think they'd love, and if they want me to stop pitching them, that's OK. I will understand."

Walker, who is staying hopeful about the situation and doing what he can for his artists, is not alone. Sarah Avrin of Girlie Action Media, Marketing & Management, home to Bikini Kill, Imogen Heap, Palehound and more, is pitching with thoughtfulness, too.

"I’m really focused on carefully and thoughtfully reaching out to journalists to make sure that they’re in the headspace to be accepting pitches and discussing new art at the moment," she says.

A Desire For Escapism

Artists continue to put out work, whether or not pitches about it are accepted, and publicists will continue to push for their clients. "It may be a little less busy right now," Avrin says. "But I think it’s going to pick up as artists have time on their hands to create and want to get engage, whether it’s livestream performances or just putting out new singles and sharing."

Although initially she felt panic, Medina's email to media partners was one of her first steps toward regrouping her approach to engaging with the media. "I was just like, OK, technology can definitely make us rethink the way we do things and can provide us the opportunities to keep going and not completely stay stagnant,” she says. "We still want to consume content, we want to be distracted, and there's a need for artists to continue to push out content.”

Phoebe Smolin, who owns Locamotive PR and has worked with Caloncho, Mon Laferte, Carla Morrison and more, says culture is needed now more than ever. 

"We can't lose sight of how important [culture] is, and in a time where we’re all connecting in a way that we haven't before, I just think it's necessary," she says.

https://twitter.com/mdoukmas/status/1242591460022763520

The @Chicago_Reader has lost 90% of its advertising revenue and we're now relying on individuals and foundations more than ever to keep us afloat. Please consider giving or becoming a member at this critical time! Every $1 helps us survive another week 🥰https://t.co/zDD3YaYZyc

— Maya Dukmasova (@mdoukmas) March 24, 2020

Smolin spent two days just replying to cancelations and has seen a loss in work in Europe, the U.S. and Latin America. She has also brainstormed with artists and media on how to move forward. 

But Walker says sending pitches to some publications can be tough right now as they face their own troubles. Amid a constantly changing landscape dominated by digital giants like Facebook and Google, the virus has caused even more economic strain on traditional print magazines and newspapers as well as digital publications relying on ads.

Playboy announced its magazine will fold, stating: "the disruption of the coronavirus pandemic to content production and the supply chain became clearer and clearer, we were forced to accelerate a conversation we've been having internally: the question of how to transform our U.S. print product to better suit what consumers want today."

Alt-weeklies, which largely specialize in covering regional music and arts scenes and local live events, across the nation have announced layoffs and staff salary cuts. The cancelation of this year's SXSW greatly impacted the Austin Chronicle. Seattle's The Stranger and the Portland Mercury both announced layoffs, with the Mercury also announcing it would temporarily stop its print edition. Ad sales are cutting back and have affected newspapers like the Chicago Reader.

RELATED: Resources For Music Creators & Professionals Affected By COVID-19: West Region

“The other biggest challenge is promoting something like music to the press, who are currently worried about losing their jobs and also worried about a global pandemic," Walker says. "It's hard to be a publicist in these times because … It just seems frivolous to try and cheerlead music to people that have been crying, worried and stressed all day."

Change Needs To Happen

Just as the coronavirus has shed light on the weaknesses of governments around the world, this pandemic is highlighting how unfeasible the music industry has become for artists in the age of digital streaming. Music artists still heavily depend on touring and live events as a major income stream. While streaming comprises a majority of the industry's revenue, low royalty rates are not enough to make a living for some—the average musician makes between $20,000 and $25,000, according to a 2018 survey. Ultimately, the coronavirus will change the world and it will change the music industry along with it. How and if it will benefit artists remain the million-dollar questions.

For now, some artists have pivoted to livestream concerts. Erykah Badu, who had concert postponements due to COVID-19 precautions, is doing a series of streaming performances for which she is asking fans to pay $1, essentially sidestepping the middleman. Other artists have used "digital tip jars" to which fans can donate, while some have asked for nothing at all.

The rise of livestreams has become one of the industry's reactions to the pandemic, giving publicists material to help spread the word on what their artists are doing now. But livestreamed sets will never replace a live set, according to Medina, who's also an adjunct professor at the University of Southern California’s Thorton School of Music.

https://twitter.com/baduworldmarket/status/1240134275971899400

Apocalypse One. Live interactive experiment from @fatbellybella. This weekend. YOU choose the songs. $1 to get in. Stay tuned for details. pic.twitter.com/qdqNzNQr8q

— baduworldmarket (@baduworldmarket) March 18, 2020

Walker agrees: "Cybersex isn't sex. It's a temporary adjustment. Whether it's something that we can make financially viable during this time, depending on how long this time extends to, I'm not certain," he adds. "It has to come from the fan's heartfelt desire to support the artist."

Everyone in the industry is bracing, day by day, for what the repercussions for the loss of revenue and income will be. The situation has brought Walker to think about what it could mean for publicists specifically. "If I'm being honest, it's made me afraid that my work will no longer be viable," he says.

The uncertainty in the industry is at an all-time high and people are scared, but the situation has brought publicists to find solace in each other. "We're in a music community, so we're trying to be there for other people, even though we're indie publicists at other companies; we’re a friendly company and there are other friendly indies out there, so we're all putting our heads together," Avrin says.

Smolin says she's become a "pseudo- psychologist" for her artists who fear what the pandemic's outcome could mean for them. Ultimately, the situation has caused relationships with her clients to strengthen. 

Medina feels her extensive experience as an indie publicist has made it easier to survive such times of uncertainty. "Last week, I was very worried. I actually felt a little bit depressed," she says. "This week, I'm like, it's fine. I'm going to figure out what else I can do. If I have to put a pause on PR, I'll figure out what else I can do. It's nothing that I've never had to do before."

Avrin is taking things one day at a time. She believes this experience will force everyone in the industry, from artists to media, to get creative while also potentially opening unique opportunities for independent artists. All in all, "It’s hard to say there is a silver lining," she says. "People are in pain and people are dying."

Recording Academy And MusiCares Establish COVID-19 Relief Fund

GRAMMYs
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Recording And Monetizing Music In The COVID-19 Era best-apps-tools-recording-and-monetizing-music-covid-19-era

The Best Apps & Tools For Recording And Monetizing Music In The COVID-19 Era

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Here's a rundown of some easy-to-use apps and tools for recording and monetizing your music in the COVID-19 era
GRAMMYs
Jun 9, 2020 - 3:04 pm

We are currently living in an unprecedented era around music creation and touring. Due to the ongoing COVID-19 pandemic, all business has been forced to become remote, making it difficult for artists to maintain their usual level of activity. Of course, though the music landscape looks totally different right now, artists are finding new and innovative ways to get their music heard, be it through livestreams, engaging with fans via social media or launching subscription models that offer exclusive content to fans. To that end, here's a rundown of some exciting new apps and tools for recording and monetizing your music in the COVID-19 era. 

Recording Tools

There are plenty of social media options for getting your work out there: Facebook, Instagram, YouTube, TikTok and Twitch are just some of the possible platforms you can use to capture your recording. 

There's also a new all-in-one app called RMusic, which allows songwriters to collaboratively write music on the go. Not only does RMusic let you to record ideas directly onto a virtual project file, but you can punch in new lines, edit takes, invite other collaborators from your address book, type lyrics, undo takes and communicate with project members from within the app.

Live Broadcast & Streaming Channels

Facebook: According to a new Remote Musicians Handbook put together by the Berklee College of Music, Facebook is the best venue for livestreaming if your audience skews a little older. 

Instagram: Meanwhile, Instagram, which has a feature that allows other people to join your live stream as guests, is ideal for younger audiences. "Based on your social media engagement on each platform, you can make an informed decision about which platform will be best for your fans," the handbook writes. "Both of these are well-suited for unannounced livestreams as notifications will go out to engaged fans, as well as letting your fans know ahead of time when you will be streaming."

YouTube: Then there's YouTube, which offers a number of monetization options and scheduling tools, such as pre-stream and in-stream ads, donations and merch sales. YouTube will even notify your followers when you go live and will allow you to schedule a live stream ahead of time. And as the stream takes place, YouTube lets viewers ask questions and interact with the streamer. 

TikTok: If you're on the super music-friendly app TikTok, did you know that you can activate a live stream if you have more than 1,000 followers? Once watching your livestream, viewers can purchase stickers, and a portion of the money is donated to the streamer. According to the aforementioned handbook, on TikTok these purchases are made using "coins." Coins start at $0.99 for 65 coins and go up to $99.99 for 6,697 coins. In turn, users can buy stickers, called "Virtual Gifts," for anywhere from 1 to 100 coins.
     
Twitch: The video game streaming platform can be useful for engaging new fans. Because this app hosts as many as 4 million viewers at once (according to TwitchTracker) actively encourages discovering new streamers, artists can show up under Twitch's "Music & Performing Arts" section (with 2.3 million followers). Here, according to the handbook, "the music ranges from metal to violin covers to singer-songwriters, and is generally more diverse genre-wise than more mainstream platforms."

If you want to monetize your work on Twitch, know that streamers get paid when new subscribers follow them and viewers donate to the streamer. Some streamers use new followers and donations as mechanisms to unlock new content or segments. Some will take requests at certain follower count or donation levels, others run merch giveaways, or give followers access to exclusive content.

OBS Software: OBS (Open Broadcaster Software) is free and open source software for video recording and live streaming. Stream to Twitch, YouTube and many other providers.

Nugs.net: Get live music on demand. Nugs.net offers a collection of more than 15,000 full-length concert recordings from the likes of Pearl Jam, Widespread Panic, Umphrey’s McGee, Dead & Company and more. Try it free with a 30-day trial.

Houseparty: This social networking service enables group video chatting through mobile and desktop apps. Users receive a notification when friends are online and available to group video chat. 

StageIt: Founded in 2009, Stageit is a web-based performance venue that hosts paid livestreamed performances. Artists choose when they want to perform, for how long, and how much they want to charge. 

Crowdcast: This video platform hosts live video Q&As, interviews, summits, webinars and more.

Streamlabs: This streaming platform can stream audio to Twitch, YouTube and Facebook. 

BandsInTown: Use BandsInTown to promote your live stream shows. You can even engage new fans and monetize shows through BandsInTown's Twitch partnership.

Fan & Membership Platforms

Patreon: Patreon gives fans access to exclusive artist content for a monthly fee, might be the first option that comes to mind when it comes to fan and membership platforms. But Patreon is only the beginning. Gumroad lets creators offer digital and physical products for sale, while its dashboard provides insight into how your sales are doing and how fans are consuming your content.

Squarespace: Offers subscription products in their store, integrating directly with your website and can be sold alongside your other merch products. 

Shopify: For $40/month, Shopify offers apps that allow you to offer subscriptions from your Shopify ecommerce store, which is helpful if you are offering physical goods as part of your subscription. 

Bandzoogle: Sell music, merch, downloads  and tickets, commission-free. Once you add a store, you can start selling music, downloads, tickets and band merch. Monthly fees start at $8.29.

Ghost: With Ghost, which is free to join, you can publish content online, grow an audience with email newsletters and make money from premium memberships.

Memberful: Memberful helps independent publishers, educators, and creators sell memberships to their audience and build sustainable businesses. You can integrate with Wordpress, send email newsletters, create private podcasts and more. Pricing is free to start and goes up to $25 or $100 per month.

Digital Production Marketplaces, including licensing and sell music, samples, and custom sounds:

Splice: Splice Studio gives you access to millions of royalty-free samples, MIDI and presets on mobile, web and desktop for $7.99/mo. 

ScoreAScore: This music production, licensing and supervision company puts producers in need of original music directly in contact with the composers who create it.

Beatstars: Beatstars is an online marketplace to buy and sell beats.

Putting The Plan Into Action

Now that you have the tools, all you need is to put a plan into action. The Remote Musicians Handbook suggests that you first analyze your audience to get a sense of their social media profiles. Then, you may want to run an unnanounced test live stream, just to get a sense of who's showing up. Then, schedule a series of announced live streams on the platform(s) of your choice. Once livestreams are part of your routine, consider partnering with artist friends on YouTube where you can cross-promote each other's work. From there, consider monetizing your work on Patreon with exclusive content. All the while, to engage new fans, hop on music-discovery tools TikTok and Twitch.

Now that you have the resources to build a fully functional music online platform from the safety and comfort of your home, the rest is up to you. Good luck!   

How Musicians Are Staying Positive & Productive Amidst A Pandemic

Bandcamp

Bandcamp

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Musicians Earn $4.3 Million From Bandcamp musicians-earn-43-million-bandcamp-nearly-800000-items-sold-friday

Musicians Earn $4.3 Million From Bandcamp With Nearly 800,000 Items Sold On Friday

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"On a typical Friday, fans buy about 47,000 items on Bandcamp, but this past Friday, fans bought nearly 800,000, or $4.3 million worth of music and merch"
Rachel Brodsky
GRAMMYs
Mar 23, 2020 - 12:34 pm

Last Friday, March 20, in an effort to help artists impacted by coronavirus-related concert cancelations, music discovery and streaming platform Bandcamp waived its revenue shares for 24 hours, with a number of independent record labels following suit. 

Now, according to a statement from Bandcamp co-founder Ethan Diamond, the streaming platform has reportedly had its biggest sales day ever, with nearly 800,000 items sold. 

Last Friday, fans spent $4.3 million—15x a normal day of sales—in support of artists on Bandcamp https://t.co/ElpCIN3s4f

— bandcamp (@Bandcamp) March 23, 2020

"The numbers tell a remarkable story," Diamond wrote today (Monday, March 23). "On a typical Friday, fans buy about 47,000 items on Bandcamp, but this past Friday, fans bought nearly 800,000, or $4.3 million worth of music and merch. That’s more than 15 times our normal Friday, and at the peak, fans were buying 11 items per second.

"We don’t yet know the long-term impact of Covid-19, but we know that we all need music—to uplift and inspire us, to heal us, and to give us hope,” the message continues. “We’ll continue working to make Bandcamp the best place for fans and artists to come together and sustain each other in the challenging times ahead. Thank you again, and we wish you all good health!”

In support of keeping the music community alive and thriving, you can also donate to the MusiCares COVID-19 relief fund here.

MORE RESOURCES FOR MUSIC CREATORS & PROFESSIONALS:

Resources For Music Creators & Professionals Affected By COVID-19: West Region
Resources For Music Creators & Professionals Affected By COVID-19: East Region
Resources For Music Creators & Professionals Affected By COVID-19: South Region

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Crowd shot at SXSW 2019

Crowd shot at SXSW 2019

Photo: Hutton Supancic/Getty Images for SXSW

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How Coronavirus Is Impacting The Music Community how-global-coronavirus-pandemic-directly-impacting-songwriters-musicians-and-artists

How The Global Coronavirus Pandemic Is Directly Impacting Songwriters, Musicians And Artists

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With the worldwide concert industry now in flux, the coronavirus disruption has created a volatile environment for artists, musicians, songwriters and producers on every level
John Ochoa
Advocacy
Mar 13, 2020 - 3:35 pm

By now, the detrimental effects of the global coronavirus pandemic on the music industry are loudly heard. Major festivals around the world are postponing or outright cancelling their 2020 editions. This month alone, Coachella and Stagecoach, Ultra Music Festival, SXSW, Lollapalooza Argentina, Treefort Music Fest, Brussels' Listen! Festival and several other major events were called off or postponed due to the coronavirus. The aftermath has impacted everything from music conferences and award shows—this year's Winter Music Conference, ASCAP Experience, Nickelodeon Kids' Choice Awards and BMI Latin Awards were all cancelled or postponed—while the amount of cancelled national and international tours continues to grow seemingly on the daily.

As the coronavirus itself continues to spread, so too does its ramifications on the music industry. While industry experts and analysts are projecting that the live concert business could stand to lose billions, the financial fallout is virtually immeasurable at this point.  

But music's financial collapse is already taking its industry-wide toll. 

"You have people delaying on-sales for tours, and you have people who are going to postpone tours. It's chaotic and stressful, from agents and managers to artists, their families and their support teams," Allen Kovac, an artist manager who represents Mötley Crüe and other acts, told The New York Times.

The downfall of the live music space comes in the streaming era when the majority of professional recording artists and performing musicians rely heavily on touring and live performances as their main source of income. A 2018 survey by the Music Industry Research Association and the Princeton University Survey Research Center, in partnership with the Recording Academy's MusiCares, found that live performances were the "most common income source for musicians," according to Rolling Stone. (Pitchfork's in-depth feature on the booming music streaming market visualizes these financial percentages in a helpful graph.) 

Crowd shot at SXSW 2018

Still, even as the streaming industry continues to grow, with streaming accounting for 80 percent of the music industry’s overall revenue, the low royalty rates make it difficult for small and independent artists to even earn a minimum wage through streaming. And artists continue to make nothing from traditional AM/FM radio platforms (a major reason why Congress needs to pass the AM-FM Act). 

This all makes the live music industry all that more important for artists and musicians, especially for those considered to be non-superstar acts who rely on paychecks from touring and live gigs just to make a living. A coronavirus-sized pandemic that causes festival cancelations and cuts touring schedules short will undoubtedly impact the bottom line of artists and creators of every size on a global scale. Simply put: No shows = no paycheck. 

The coronavirus cancellations will also trickle down to songwriters, who depend on performance royalties from the live performances of their songs. A decrease in shows unquestionably equates to a decrease in potential gains via live performance royalties.

Then, of course, there's the legion of audio engineers, sound and light crews, backstage teams, tour managers and other behind-the-scenes hands who have doubtlessly lost work due to canceled tours, conferences and festivals. As DJ TechTools, a DJ- and gear-centric outlet, points out, audiovisual technicians are reporting a massive wave of job cancellations as more and more music conferences are cancelled in the wake of the coronavirus pandemic. 

With the global concert industry now in flux, the disruption has created a volatile environment for artists, independent musicians, songwriters, producers and the like on every level. As tours and festivals continue to cancel, these same industries are, too, impacted, leaving session players, live musicians and all sorts of creative workers to face potentially empty touring and recording schedules for months on end. Worst of all, there is no end in sight just yet. 

Still, as the coronavirus story develops and the world continues to adapt, so will our beloved music industry. The artist and musician community can tap into the national and local resources available to alleviate any financial, mental and social distress caused by the coronavirus pandemic.

If you are an artist or music professional who has been impacted by this unprecedented circumstance and are in need of assistance, please visit our MusiCares page to learn more about the financial, medical and personal emergencies services and resources offered by the Recording Academy.

For more information and developments related to the coronavirus, visit the World Health Organization and Centers for Disease Control and Prevention for ongoing news and updates.

Going Viral: The Music Industry Grapples With The Worldwide Coronavirus Outbreak

Jealous of The Birds perform at Independent Venue Week 2018

Jealous of The Birds perform at Independent Venue Week 2018

Photo: Carrie Davenport/Redferns

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Independent Venue Week: Independents Day 2020 Info independent-venue-week-announces-programming-independents-day-2020

Independent Venue Week Announces Programming For Independents Day 2020

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The two-day virtual event, taking place July 29-30, will examine the challenges and opportunities within the grassroots live music community, including the "immense impact" the COVID-19 pandemic has made on the live events and concert industry
John Ochoa
GRAMMYs
Jul 24, 2020 - 12:11 pm

Independent Venue Week, a weeklong series celebrating indie venues across the U.K. and the U.S., has announced the programming for its second annual Independents Day event.

The two-day virtual event, taking place July 29-30 and streaming via StreamYard, YouTube, Facebook and the Independent Venue Week website, will examine the challenges and opportunities within the grassroots live music community, including the "immense impact" the COVID-19 pandemic has made on the live events and concert industry, according to a post on the organization's website announcing the series. 

The 2020 program will also cover topics like minority representation at a grassroots level, applicable actions resulting from the Black Lives Matter movement in grassroots venues, the vital role of livestreaming in live music, venue sustainability, wellbeing and mental health and more. 

Check out the full schedule and list of panels and panelists on the Independent Venue Week website.

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Since early March, the coronavirus pandemic has virtually shut down the worldwide live event and concert industry, forcing many independent venues around the world to close their doors for good. 

Earlier this month, the U.K. government announced a £1.57 billion (approximately $2 billion) support package to help fund the country's arts, culture and heritage industries, including music venues, which have been heavily impacted by the COVID-19 pandemic, NME reports.

Last month, in a survey conducted by the National Independent Venue Association (NIVA), 90 percent of independent venue owners, promoters and bookers said "they will have to close permanently within the next few months, if they can't get an infusion of targeted government funding," NPR reports.

Read More: 4 Independent Record Stores Across The U.S. Weigh In On Their Struggle To Survive During COVID-19

On Wednesday (July 22), U.S. senators introduced the "Save Our Stages Act," a new relief bill aimed at supporting independent music and entertainment venues that have been impacted by the coronavirus pandemic. (The Recording Academy has endorsed two new bills that aim to support creators, venues and small music businesses: the RESTART Act and the Mixed Earner Pandemic Unemployment Assistance Act.)

Launched in 2014, Independent Venue Week is a nationwide initiative championing indie music venues as well as "the people that own, run and work in them, week in, week out," according to the organization's website. In 2018, the event expanded into the U.S. for the first time ever.

Learn more about how you can donate to or apply for assistance via the Recording Academy's and MusiCares' COVID-19 Relief Fund.

Learn more about the financial, medical and personal emergencies services and resources offered by the Recording Academy and MusiCares.

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Some of the content on this site expresses viewpoints and opinions that are not those of the Recording Academy. Responsibility for the accuracy of information provided in stories not written by or specifically prepared for the Academy lies with the story's original source or writer. Content on this site does not reflect an endorsement or recommendation of any artist or music by the Recording Academy.