Abstract
In the last two decades the status of popular music as both a cultural activity and creative industry has changed significantly in Scottish and UK cultural policy. The change is in line with a broader shift away from thinking of the arts as cultural activity in need of subsidy and towards treating them as part of the creative economy. The current cultural policy landscape pertaining to popular music is mapped out, drawing on interviews and an online survey with members of the Scottish Music Industry Association (SMIA) and complementary interviews with stakeholders from relevant government and arms-length funding and development bodies. The Scottish Government's (SG) White Paper on independence highlighted the creative industries as one of five growth sectors key to the Scottish economy, but for popular music – and in line with the global music industry – many working in the Scottish music industry face acute challenges. Given EU regulations (and the Scottish Government's preference to remain in the EU) and international agreements in areas like broadcasting and copyright, if they are to flourish many members of the SMIA will likely need to strengthen their relationships with the wider UK and global music industry, regardless of the outcome of the referendum on independence.
Highlights
This article builds on research undertaken on a 2013 AHRC Cultural Engagement project in partnership with the Scottish Music Industry Association (SMIA) to examine state support for music businesses in Scotland
We examine the case of the SMIA, its role as the key Scottish trade association for the popular music sector, and its launch of the Scottish Album of the Year (SAY) award
Indications from history and the White Paper proposal are that pop policies would remain disjointed without continued engagement by the SMIA or a similar lobbying force to make the case for both its cultural value and economic contribution
Summary
This article builds on research undertaken on a 2013 AHRC Cultural Engagement project in partnership with the Scottish Music Industry Association (SMIA) to examine state support for music businesses in Scotland. Due to the SMIA’s membership being largely made up of smallto-medium enterprises (SMEs) operating in the commercial (popular) music field, our aim is to develop an overview of the funding landscape for popular music artists and businesses. These two categories are not mutually exclusive – there is significant overlap and concomitant confusion regarding support provision for them. This has consequences for content creators, businesses who exploit that content, and policymakers whose aim is to encourage both cultural provision and business growth.
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