L-R: Nick Mackay, Collette Williams, Sam Jordan and Jess Craig. Photo: ©The MU.
Chaired by MU Licensing Official Nick Mackay, the panel featured Blossoms session musician Collette Williams alongside MU Acting Organiser for Recording and Broadcasting Sam Jordan and MU Royalties Official Jess Craig. Together they explored rates of pay, collective agreements, royalties and the wider challenges facing musicians today.
“A paid gig is not just a paid gig”
Collette opened the discussion by reflecting on the uncertainty many musicians face when transitioning from education into professional work. “I did what every student does… you have a breakdown and wonder how you're going to connect the dots… with actually making money,” she said, capturing a sentiment familiar to many early career musicians.
A key theme throughout the session was the misconception that any paid opportunity is inherently worthwhile. Collette challenged this directly, noting that “a paid gig is a paid gig and they’re not all created equally.” She highlighted how accepting low paid or poorly defined work can have wider consequences for the industry as a whole.
She also spoke candidly about the pressures musicians face to accept unfavourable terms. “If people are underpaying or undervaluing musicians… saying yes to things just from fear is not good for anyone and doesn’t create a sustainable industry,” she said, encouraging musicians to think critically about the value of their work.
Understanding minimum rates and collective agreements
Sam outlined the role of the MU in negotiating minimum rates and conditions through collective bargaining agreements across recording and broadcasting. These agreements provide a foundation for fair pay and define the terms under which session work should take place.
Sam emphasised that these agreed rates represent a baseline rather than a limit, explaining that musicians should view them as a starting point for negotiation rather than a ceiling. Ensuring that these minimums are respected is critical in maintaining standards across the industry and preventing downward pressure on fees.
The discussion also highlighted how these agreements cover more than just time in the studio, setting out provisions for usage, reuse and other rights that can significantly affect a musician’s long-term income.
Beyond the session: royalties and secondary use
Jess focused on the importance of understanding what happens after the initial session fee has been paid. She explained that recordings often continue to generate income long after the original work is completed, particularly when they are reused across different platforms.
“If your particular recording or performance is generating any value, then that is secondary,” she explained, outlining how musicians can receive additional payments when their work is broadcast or otherwise reused.
The panel stressed that while these payments can be valuable, they are not guaranteed or consistent. Securing a fair initial fee remains essential with secondary income seen as an additional benefit rather than a reliable foundation.
The risks of buyouts and unclear contracts
Contracts were identified as a critical area where musicians must exercise caution. The panel warned against the increasing use of buyout agreements, which exchange future income for a higher upfront payment.
Collette reflected on how difficult these decisions can be in practice. “It does feel like it’s a ‘you say yes’ or someone else will take the gig,”, highlighting the imbalance of power that often exists in session work.
The panel encouraged musicians to take time to understand the terms they are agreeing to, particularly where rights are assigned on a broad or indefinite basis. Seeking advice before signing was strongly recommended as a way to avoid unintentionally giving up valuable income streams.
Documentation and education are key
A consistent message throughout the session was the importance of keeping clear records. Whether through formal contracts or simple written confirmations, having documentation in place is essential for protecting rights and resolving disputes.
Jess stressed this point, noting that documenting agreements “is really important,” even in situations that may feel informal.
The panel also emphasised the need for ongoing education. Collette described contracts and rights as “a complete minefield,” encouraging musicians to seek out reliable information and support networks to better understand the business side of their careers.
Collective strength in a changing industry
The session concluded with a forward-looking discussion on the challenges ahead, including technological developments and changing industry practices. Despite these shifts, the panel reinforced the importance of collective action in protecting musicians’ interests.
The overall message was clear that musicians need to understand their value, engage with the structures that exist to support them and approach each opportunity with a clear awareness of both immediate and long-term implications.
Sound City Conference brought together industry experts, emerging talent, and innovators to share insights, foster connections, and explore the future of music. From panels and talks to networking opportunities, it remains the place to grow your career and your network.