In many areas of Germany (even in schools) freelancers are seen as a remedy for the shortage of skilled workers and specialised staff. However, in the music industry, especially in live entertainment, where the self-employed have long (always?) been an indispensable part of the “workforce” (apart from the fact, that most artists themselves also work as self-employed), a shortage of freelancers is already noticeable. Not least, it is also about fees and the demands for increases in these.
The Corona breaking point has made all the problem areas of the freelance economy even more obvious than they already were: opaque laws and tax regulations (keyword: false self-employment), a lack of protection (social, old age, against abuse) and a lack of tariff principles the area. Models such as the currently discussed minimum fees for funded institutions do not really seem to reflect market reality.
Many people would rather work independently than employed, and without the flexible structures of the freelance industry, the constant change in order situations, short-term planned tours, temporary productions, etc. cannot be managed.
But is the self-employment model actually a socially acceptable position in the current market or is it just a safe route to self-exploitation without contributing to social solidarity systems?
How can the situation improve for these previously underrepresented participants in the industry, what are the realistic foundations for these work structures, where does the money come from?
Various activists and stakeholder discuss the situation and possible concepts for the future of a music world that will probably continue to be dependent on freelancers.