Musicians around the world are hungry for money and hungry in general, especially now, thanks to a three-year pandemic that has torn up the playbook. Pixie Weyand’s Feed Music is here to help.
Weyand is behind Feed Music, an online tool that connects artists to their favorite businesses to take the pressure off, whether it’s food, transport or other services, and help them on their way. .
Feed Music was conceived in 2014 and introduced in 2017 at BIGSOUND in 13 venues with hundreds of artists showing interest. The following year, it earned its founder an Industry Impact nomination in the inaugural Industry Watcher Awards.
As the health crisis crushes the live industry, Weyand is dedicated to restarting Feed Music, a project whose ambitions have become urgent.
“I literally gave this project everything I had and spent all my savings to get it off the ground,” Weyand said. OTI“so it’s time for me to stop stalling and officially put it back in the universe.”
It’s a pass-it-forward concept, a collaboration that benefits both parties, explains the Queensland entrepreneur.
“We want to change this paradigm, channeling these resources into unique and authentic artist partnerships based on integrity, purpose and passion,” she explains in a video introduction. “It’s time we brought the power couple of artist and brand back in a big way.”
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Weyand will carry the Feed Music flag when she showcases the platform next month at SXSW in Austin, Texas.
A growing list of artists have signed up, including Adrian Eagle, Bugs, Ecca Vandal, Hope D, Golding and Boo Seeka, as Weyand continues to work through conversations with participating companies.
Weyand knows more than anyone about the crippling effects of the pandemic on the live community.
She is the former booker and co-owner of The Zoo, the Fortitude Valley venue that is part of the fabric of Brisbane’s music scene.
When health and safety protocols came into effect in March 2020, everything changed.
Weyand did not play the wait-and-see game.
In July 2020, it reopened with its week-long anti-social campaign, some of the first socially distanced gigs since the WHO declared a pandemic.
Typically, the zoo operates at a capacity of 500. Initially, these Anti-Socials played to 100 spectators, twice a night, an experience that would keep the doors open and the music playing.
Most musicians typically live a frugal existence in the “gig economy,” the vast majority of which rely on performance to keep their fridges stocked.
The challenges of working in the live music industry and as a touring artist are nothing new, Weyand notes in a statement featuring Feed Music. COVID-19 “simply amplified pre-existing conditions of below-average income, financial instability, and poor mental health.”
It’s hard there. Prior to the pandemic, research published by APRA AMCOS showed that live music provides $16 billion in economic, cultural and social benefits to the nation, with every dollar spent on live music providing three dollars of benefits returned to the community. at large.
Most of that was wiped out. According to data released by the PRO, live music activity in December, the industry’s traditional peak season, was 6% of the pre-COVID period.
“I poured my heart and soul into the project in hopes that it could provide meaningful support to musicians as well as small businesses,” Weyand says. “I’ve seen the reaction the concept received when it first debuted and now it’s time to bring Feed Music to the world.”
Feed is officially opening its waitlist to artists of “all sizes” and businesses who want to get involved in supporting live music.
Sign up at FeedMusic.org.