ACCESSING SHOWS
All-Ages Shows : Perpetuating Our Industry
All-ages ( AA ) shows can be the driving factor in helping youth develop a passion for music that later brings them into the music industry . They provide community , opportunities for performance , and let youth experience the magic of live music at an impressionable age . Despite their benefits , AA shows are often overlooked , seen to be less valuable to our industry than standard 18 + shows .
Cody Kivell ( 24 ) has been in multiple bands since age 13 . He teaches guitar and bass at the ‘ Try Music ’ school in Palmerston North , and also runs music programs at a local school . From the age of 16 , Cody began running AA shows in his hometown of New Plymouth . He wanted a platform for his band and for fellow musicians to perform in a welcoming environment , and a place for his peers to enjoy live music .
After starting an online campaign for more AA shows , Cody found leads on venues from more experienced musicians . He approached local bar Rhythm , who let him run a ‘ test ’ show without any hire fees . Expecting around 30 people to show up , the 150 that actually came showed both parties that these shows were worthwhile . Each was held in the basement , away from the upstairs bar , which meant those under 18 were kept away from alcohol , while Rhythm still made sales . The shows continued over the next few years , growing increasingly important to the youth of New Plymouth .
Cody emphasises the importance of access to shows at a young age . ‘ It ’ s a great escape for people . I met a lot of people at these events , who I ’ m still friends with today . It provides a safe and social environment for kids with the same interests , and for many this is a vital part of their social lives , as it ’ s their main or only hobby . It gives people the confidence to play in a friendly environment , and helps bands to improve through healthy competition . Because I got to play as a kid , I discovered how much I loved it and continuing to pursue music has brought me many more opportunities .’
Ian Moore ( 21 ) is a multi-instrumentalist who works in freelance production and ghost-writing , as well as running multiple DIY shows around Wellington under the title ‘ Necropup Productions .’ He also has a Bachelor of Commercial Music from Massey University . Ian started attending Zeal DIY hardcore metal shows around age
14 , which provided an important sense of whānau for him , because being one of the only people at his school that listened to heavier music could be somewhat isolating . They also taught him what he refers to as the right ‘ gig etiquette ’, something that has carried over to shows he attends now .
Now , actively involved in the industry , and running his own shows , Ian feels that exposure to these types of shows in his formative years informed his own DIY ethic in most aspects of his career . ‘ Knowing that the all-ages community did so much for me as a teenager , I ’ ve always felt like I ’ ve had to give back to the community through running my own AA hardcore shows .’ He also notes that AA shows are vital in encouraging new artists . ‘ Without new musicians coming through and forming bands , the Wellington scene will slowly start to fizzle out .’
Curtis Gosling ( 22 ), has just graduated with a degree in Commercial Music from Massey University , and spends his time working on hosting AA shows with his business ‘ Playground Live Music .’ This came from the lack of AA shows for him to attend in Wellington at a young age . He believes that AA shows act as a building block for those under 18 in music . ‘ For bands , it can be the first place where they can hone their talent onstage with their friends in the audience . For audience members , it can be a place where they start to familiarise themselves with the ways of live music in a safer , friendlier place .’
It ’ s evident that the AA scene is important to encourage youth to pursue music as they get older and gives many a lifelong passion for attending shows . Though most people involved in AA shows speak so positively of them , Cody , Ian and Curtis all cite very similar reasons as to why AA shows are often overlooked by the broader industry . A large portion of venues in Aotearoa rely on income from their alcohol sales , rather than venue hire fees or shows , to stay afloat , something that has become even more prevalent after the Covid-19 pandemic . Many bars cannot afford to lose out on an entire night of sales to host an all-ages show , at least not without a venue hire fee . This then prices out a lot of AA organisers and means that venues automatically favour 18 + shows .
While AA organisers can seek out community venues like halls , this means more work to source backline and audio equipment . There can also be uncertainty when allowing ‘ less experienced ’ youth bands to play as to whether they will draw in a large enough crowd .
The three all agree that often a show being advertised as ‘ all-ages ’ can also be off-putting to those over 18 who want to buy alcohol , and aren ’ t particularly keen on being surrounded by young people on their night out . Curtis also notes that ‘ 18 + audience members are reluctant to mosh or dance with those under 18 due to their size , and are concerned they might hurt a smaller audience member .’
While hosting AA shows can be different and potentially more challenging than a standard gig , they have immense social and cultural value to the industry , and often taking on a DIY mindset helps , as Cody , Ian and Curtis prove .
If you ’ re over 18 , spend time going to local shows and supporting venues . Financial stability for venues means that they may eventually be in a position to sometimes lose out on alcohol revenue in favour of hosting AA shows . This also directly benefits the local bands who perform , who can act as mentors to younger artists .
There are also several New Zealand institutions currently encouraging AA participation in music , including Rockquest and Girls Rock Aotearoa . Cody and Ian cited Rockquest as something incredibly beneficial to the AA scene throughout Aotearoa , with Ian saying ‘ we ’ re lucky our country is small enough that Rockquest can propel bands into popularity .’ Curtis also mentions Girls Rock Aotearoa , who are also fantastic , especially in terms of encouraging equal representation of AA minorities within the industry , and providing performance opportunities .
The most important way to preserve the AA scene is for musicians and practitioners that are in a more successful or experienced industry position to foster the passions of youth in music , much like Cody , Ian and Curtis have done . This way , we can perpetuate a cycle that will bring new talent into the industry for years to come .
By Sam Stonnell , Bachelor of Commercial Music Honours College of Creative Arts Massey University
NZ MUSIC COMMISSION MAY BOOK 2021 • 15