In March 2025, the research report ‘Fair Pop Pilot – towards fair pay for live performances’ was published. It was conducted by researchers from the Erasmus School of History, Culture and Communication on behalf of the Pop Musicians Chain Table as part of Platform ACCT’s fairPACCT program. The results provide valuable insights into the current state of the Dutch live pop sector and emphasize the previously identified need for a functioning system regarding appropriate compensation for Dutch pop musicians.

The report has since been discussed and evaluated by the Chain Table. Despite the valuable steps taken, the main obstacle to the actual implementation of fair pay in the sector remains financial coverage, for which no structural solution has yet been found. In a general sense, the Chain Table considers the Fair Pop Pilot an important step toward a more sustainable, robust funding structure, particularly for pop artists and venues. Furthermore, it offers an opportunity to work collectively toward a stronger and future-proof live pop sector. The following recommendations from the study are being adopted with the aim of bringing fair pay closer to reality.

Calculation tool, rates, and application route

The online calculation tool, developed by Bureau Ipsis on behalf of the Chain Table and fairPACCT, has proven practical for determining the five career stages of pop musicians. The classification of career stages was also positively received. The criteria for these stages will be further examined by the Calculation Tool working group. For instance, live performances will likely be given more weight, and streaming numbers will take more account of genre-specific norms. Additionally, the recommendation to investigate how data input can be verified and how criteria for grants can be checked through random sampling is being adopted.

The recommended rates, particularly those for headliners, have generally been well received. The recommendation to further investigate fees for support acts is being adopted by the Chain Table.

Based on the report, the Chain Table is moving toward the idea that the application route for fair pay funds is most efficient and financially advantageous when handled by the pop artists themselves. This approach reduces the risk of conflicts of interest, decreases the number of steps in the process, and minimizes errors in information transfer. Moreover, this can ensure that more resources reach the pop artists directly. The decision regarding the application route and the exact implementation are subjects of further discussion within the Chain Table, in light of the research report.

Seeking structural coverage

The support from various funds, the constructive collaboration at the Chain Table, and the positive outcomes of the Fair Pop Pilot highlight the progress the Chain Table has already made in the pursuit of fair practice. Nevertheless, finding structural financial coverage for the entire live pop sector remains a significant challenge.

The Chain Table considers it important that the report ‘FPP – towards fair pay for live performances’ be used in conjunction with the research report ‘The gap between effort and income of pop musicians’. In January 2023, Berenschot concluded from this study that the necessary additional financial resources could not be raised within the live pop sector at that time. Since Berenschot’s observation, financial pressure on pop venues has increased significantly. It is therefore economically irresponsible to enter into structural financial obligations without certainty regarding the necessary resources. This would not demonstrate good governance and would jeopardize the continuity of the live pop infrastructure, which naturally affects the entire pop sector, including pop artists.

The situation for both pop venues and pop artists underscores the importance of further exploring funding possibilities, both within and outside government channels. Through joint efforts, the live pop sector continues to seek additional resources, as recommended by the report.

Further exploration

The Pop Chain Table will further explore these recommendations and investigate how fair pay can be introduced in a responsible and structural manner within the live pop sector. Furthermore, it thanks the Performing Arts Fund NL, Fonds 21, the Cultuurfonds, and the VSBfonds for their generous contribution to this specific project and for the support the sector receives in general in its pursuit of fair compensation.

Fair pay for live performances for all Dutch acts at venues must be implemented structurally. This is the opinion of a large majority of respondents who participated in the Fair Pop Pilot in the autumn of 2024. The study evaluated the implementation of fair compensation for artists performing at eight Dutch venues between September and November 2024. The results of this pilot were presented during a panel at ESNS on Friday, January 17, 2025.

Between September and November 2024, a pilot was conducted with both emerging (Phase 1) and developing (Phase 2) artists. They performed at eight participating locations where they received fair compensation. This remuneration is based on eleven criteria established in the (online) Fair Pay Calculation Tool for Pop Musicians. This tool was developed by the Pop Chain Table of Platform ACCT but had not been tested in practice before. For the purpose of the study, this was done by 604 musicians during 151 performances, divided into 76 headlining shows and 75 support shows.

The participating artists completed the Fair Pay Calculation Tool for Pop Musicians (‘Calculation Tool’) themselves, which then determined the artist’s career phase. Based on this, a fee established by the chain table was awarded, amounting to 284 euros per person (Phase 1) or 456.50 per person (Phase 2) per performance. This is the net amount individual musicians should earn per performance to reach a fair pay level. This was further supplemented by compensation for travel and technical costs, and potential fees for management (15%) and booking agents (15%). Added together, these amounts constitute the fair pay compensation. The difference between this fair pay compensation and the performance fee as determined by the venue leads to a fair pay supplement.

Key findings from the study:

   •      Unfair compensation widespread: 76% of the surveyed artists rate current fees as (totally) unfair.

   •      Large disparities in fees: For support acts, current fees are often only at the level of expense reimbursements, with amounts far below the fair pay levels established by the Calculation Tool. Despite lower expectations for a support show, current fees are so low that they result in a financial loss.

   •      Costs of fair pay: The pilot demonstrated a clear gap: for current fees of headlining shows (excluding support shows), as much as 35% to 72% in additional funding was required to reach a fair pay compensation.

The Fair Pay Calculation Tool is rated positively for user-friendliness and validity but can be further optimized. The pilot has resulted in a blueprint for fair pay, and there is more clarity regarding the financial support needed for its implementation.

Furthermore, the introduction of fair pay can have a significant positive impact on the sector. This includes better development opportunities for artists, a healthier working environment, and greater equality of opportunity. At the same time, the study points to challenges such as the funding of fair pay and potential increases in ticket prices.

Possible solution & funding
With the successful completion of the pilot, a possible solution for structural fair pay is being explored. There is significant support and motivation within the constituency of the VNPF (pop venues) to work toward this. The Performing Arts Fund NL, co-funder of the pilot, is also willing to engage in further discussions on this matter.

In addition, sponsors from the market are being considered. Heineken N.V., among others, is investigating whether a contribution can be made to fund fair pay.

The Fair Pop Pilot was carried out by Platform ACCT and researched by Erasmus University Rotterdam. The pilot was funded by the Performing Arts Fund NL, the Cultuurfonds, Fonds 21, and VSBfonds.