The inaugural Regional & Remote Music Summit, presented by MusicNT took place 7-9 August on Larrakia Country, Darwin
Next year's summit takes place in NSW - we can't wait!
Here we share the top 6 things we learned
According to researcher Dr Ben Green, the demographics of people living in regional Australia has shifted significantly over the past 20 years. More millennials and new Australians are moving to regional areas than ever before, with COVID speeding up the pace of movement.
The proportion of musicians living in regional areas has also grown over 20 years, as they seek out lower costs of living, stronger communities, fresh creative opportunities and more relaxed lifestyles.
As Ben says, ‘the flipside of isolation is freedom.’
Ben also said that it’s increasingly common to have arts and culture staff in local government, and that local governments are often at the front line of music program investment, and provide communities with local music events.
With such significant demographic changes in the regions, there is growing demand for cultural and creative experiences. This also ties with new opportunities for tourism.
Stu Watters at the Queensland Music Festival told the summit about the Queensland Music Trails program – a tourist experience that connects travelers with local music experiences, whether it’s in the Outback, the Reef, the Tropics, or more.
‘How do we make music a driver for tourism?’ asked Watters. ‘How do we extend peoples’ stays in the regions and give them a rich cultural experience outside of Brisbane?’
Part of the Music Trails’ remit is ‘to do things that a commercial promoter won’t do. It should be an experience that you will never do again.’
Between the tides
‘Between the Tides’
was a musical event that took place north of Mackay in July 2024. The concert series took place on a beach during low tide – ie on a site that is underwater every 6 hours. The enter event was set up, stage and packed down before the water rose again, only to repeat the next night.
The Queensland Music Trails offer once-in-a-lifetime experiences that are embedded in and celebrate the local community and environment.
To date, 1012 artists have been engaged in the program, 55% of which are First Nations artists.
In the ‘Growing Regional Touring Networks’ panel, Aimee Volkovsky and Shauna Upton both spoke of the positive community impact playing shows in remote areas can have.
If you pass through Katherine in the NT, play at the Godinymayin Yijard Rivers Arts and Culture Centre (GYRACC), suggested Shauna.
In Tennant Creek, Barkly Arts provides free A/V gear if the show is free, and if it’s a ticketed event then Barkly Arts will connect touring musos with the right local venues.
Delivering a music or songwriting workshop on the afternoon before you play a gig is a fantastic way to give back to those communities. ‘It’s time we do away with the idea of only doing gigs in pre-existing venues to a pre-existing fan base’, she said. ‘Think outside the box.’
Broken Hill creative Aimee Volkovsky echoed similar sentiments.
‘Connect with the right people in the community. Get in touch with the local health service and make it a health event. Put on a BBQ, invite the Elders, and then it’s something that gets embraced by everyone. But you have to knock your ego back a bit. Some musicians don’t want to play a community event and they really miss out.’
Aimee also has a rule of always having a local support act. ‘Even if it’s just two songs. Find someone local who could really use the opportunity.’
2024 NATSIMO Senior PDA winner Warren Mason spoke about how Tin Camp Studio offers a space for local story tellers.
‘For me, the concept of Tin Camp Studios is a healing practice. I call myself a space creator. I create spaces safe enough for people so share. The Tin Camp Studio is a 12x14 mobile shipping container that has offgrid power and a PA, and is a storytelling venue for everyone. Tin Camp is there for everyone to experience and share.’
Dr Shellie Morris AM spoke about her experience in 2013 when her album ‘Ngambala Wiji li-Wunungu (Together We Are Strong)’ was nominated for an ARIA Award. Morris worked with Borroloola Songwomen on the project, creating the first album by an Indigenous contemporary female singer/songwriter sung entirely in Indigenous languages of the Gulf Country.
She spoke of wanting to bring the bring the women from Borroloola up onstage with her, in front of a national broadcast audience, if she won.
When she got home disappointed for not winning in the category, her mum asked “why do you worry about the shiny things?”
The comment spurred Shellie to look at what success means for herself. “What’s working at home? Our languages are dying at home, but with projects like Ngambala Wiji li-Wunungu, all our kids are singing in four languages. That’s our shiny thing.”
Ted Albert Lifetime Services Award winner and esteemed music promoter Michael Chugg recalled a story about Elton John touring in the NT.
‘Elton John liked touring to Australia, but he couldn’t come to the same cities every year. So he would play regionally in places like Geelong and Launceston, just to break it up. In 2008, he played for the first time in Darwin.’
The show was epic, with 10 trucks from the southern states travelling north to provide stage and sound gear. 15,000 people attended.
Dr G. Yunupingu (Gurrumul) was the support act, and when Elton John heard Dr G sing, he summoned Chugg to his dressing room. ‘I need 30 of his CDs, do you have them?’
Chugg asked Skinny Fish’s Records Mark Grose for the records, but he only had 5 with him. ‘Mark had to drive 1.5 hours home, and 1.5 hours back again to bring Elton 25 more CDs.
Three weeks later, Skinny Fish Records was getting calls from the biggest agencies and bookers in the world. That was the start of Gurrumul’s career. It was a very special night that night.’
Next year’s Regional & Remote Music Summit will take place in NSW. Stay tuned to find out more!