ANNUAL REPORT2019 SOUTH AUSTRALIAN CONTEMPORARY MUSIC COMPANY LIMITED ABN 19 079 445 051

CONTENTS

Message Re: Covid-19...... 2 2019 Summary...... 3 Key Partners...... 4 Economic Impact...... 5 Key Performance Indicators...... 6 Key Marketing Campaigns...... 10 Social Media & Database Numbers...... 13 Umbrella: Winter City Sounds...... 14 SA Music Awards...... 17 Live Music Toolkit for Councils Project...... 21 Performance Opportunities for Musicians...... 22 Other Opportunities for Musicians...... 25 Products and Services offered to Musicians...... 30 Music SA Courses...... 31 Music SA Board and Staff...... 33 Audited Financial Statements and Audit Report ...... 34 ANNUAL REPORT 2019 AGE RE: COVI COVIDMESSAGE RE: COVID-19 -19 Music SA has pleasure in sharing with you our 2019 Annual Report.

However, at the time of publication (April 2020), we are in the thick of the COVID-19 era. Our hearts are aching. It’s a strange and unprecedented time.

Overnight our beloved music industry has been decimated. According to Music SA’s Live Music Census, which we have undertaken for the last 5 years, South Australians should be enjoying approximately 10,000 venue-based gigs over the first 6 months of 2020.

Due to COVID-19 it’s a very different picture. We set up the ilostmygig.net.au website on Saturday 14th March and since that time Australians have recorded a loss of $330 million in income.

However, musicians and venues are proving themselves to be inventive, resilient and creative and many are making the most of this time by live streaming, song writing, recording, making videos, registering with APRA AMCOS, getting the books in order, writing grants, offering take-away and taking up free online professional development.

We look forward to the recovery when people who have been forcible isolated are allowed to reunite. Hopefully they will be yearning for live music and will have an added appreciation for the community and connectedness that music gatherings provide.

In the meantime, here is what Music SA is doing early in 2020.

1. Promoting to South Australians the way in which audiences can support local musicians. 2. Providing free telephone consultations for musicians and industry practitioners on a range of professional development topics or COVID-19 questions. 3. Rescheduling Umbrella Festival to 18th September to 4th October and offering FREE REGISTRATIONS. https://umbrellafestival.com.au/ 4. Converting our gig guide to a live streaming gig guide. 5. Regularly updating our COVID-19 RESOURCES PAGE with tips, information, factsheets, help and advice. 6. Adding new releases to our Support Your Local Spotify Playlist. 7. Adding new music videos to our YouTube video channel. 8. Talking to the media about important COOVID-19 strategies. 9. Organising a VENUES webinar to see when and how our live music venues can reopen and get support to them in the meantime. 10. Advocating for government relief for musicians and venues. Music SA is part of the National Music Taskforce and also the Creative Industries Roundtable, which has met with the Premier. 11. Disseminating important news quickly via our social channels. 12. Talking to the Music Development Office and the UNESCO City of Music Office about quick and easy grants for musicians. 13. Converting our free workshops to webinars. 14. Offering our CUA30915 Certificate III in Music Industry (Performance) online. It is offered under a Third Party Arrangement with COSAMP RTO Code 41549 ANNUAL REPORT | PAGE TWO 019 SUMMARY SUMMARY2019 SUMMARY 2019 was a brilliant year for the contemporary music industry and cemented our global standing as a UNESCO City of Music! Music SA delivered an exciting array of achievements and provided new and ongoing benefits for contemporary musicians. We enjoyed displays and celebrations of music by talented South Australians, we worked across borders, industries and governments, our live music sector continued to grow with new offerings, and contemporary music training opportunities were embraced whole heartedly by emerging musicians. The team at Music SA is thrilled to present our Annual Report, highlighted by a list of achievements. In 2019 Music SA:

• produced Umbrella: Winter City Sounds a two-week live music festival of 380 music events in 111 venues presented by 1300 musicians across 26 music genres • staged the South Australian Music Awards with a record number of Peoples Choice voters • curated performance opportunities for Bands On Track, Adelaide Sounds, Music In The Square, Tea Tree Plaza Westfield, the Tour Down Under and Adelaide Fringe • provided education and career advice for over 700 artists • ran a comprehensive program of free music business workshops • conducted a Live Music Census for the fifth year in a row • promoted major marketing campaigns for SA musicians including FRUSIC and #ausmusicmonth • ran the Producer Series in Rundle Mall • facilitated the development of the SA Music Strategy with industry stakeholders, as part of the Government’s Creative Industries consultation process • saw over 40 students graduate from Music SA’s nationally accredited courses • worked alongside AIR to stage Indie Con, the AIR Awards and Scouted in Adelaide • ran a music video production initiative with the Media Resource Centre and a Clip Combat competition with the Music Development Office • contributed nationally to the Australian Music Industry Network and produced a national Live Remuneration Survey for contemporary musicians • delivered a Live Music Toolkit, a comprehensive resource for councils across South Australia on live music activation in local communities funded by the Local Government Association • delivered school holiday music boot camps including Autumn, Winter and Spring Jams • was nominated for a National Live Music Award for Umbrella Festival • secured philanthropic finding for an Indigenous Intern • received funding from the Marshall Government to take Umbrella Festival regional in 2020

ANNUAL REPORT | PAGE THREE KEY PARTNERS EY PARTNKEY PARTNERS We are extremely grateful for the collaborative support we received from our key partners including the SA Government’s Live Music Events Fund, the Department of Innovation and Skills through the Music Development Office, the Local Government Authority, the Adelaide Fringe, the City of Adelaide, Moshtix, the City of Prospect, the SA Tourism Commission, Young Henrys, headspace, the Rundle Mall Management Authority, the City of Mitcham, The Exeter, Scenestr, themusic.com, Channel 9 Adelaide, APRA AMCOS, the Australian Hotels Association (SA Branch), Movers and Shakers, Version, Derringers, Novatech, BigSound, Yalumba, Hills Cider Company, Aon Entertainment Insurance, Media Arts Law, the Media Resource Centre, Lion Arts Factory, AMIN, Picture Hire, the University of Adelaide, Bonython Hall, the Northern Sound System, Chateau Apollo, Sugar, Nexstage, the SA Screen Advisory Committee, Women of Steele and the City of Norwood, Payneham & St Peters.

We value Peter Hanlon’s continuing philanthropic support for our internship program and are proud of our collaboration with moshtix for a female study scholarship. We also appreciate the core funding support we receive from the AHA (SA Branch), the City of Adelaide and our friends at APRA AMCOS. We are also thrilled to be able to offer in 2019 our first Indigenous scholarship/internship through the generosity of a private philanthropist.

ANNUAL REPORT | PAGE FOUR CONOMIC IMP MICECONOMIC IMPACTIMPA OF MUSIC For the 5th year running Music SA undertook the Live Music Census to ascertain the health of live music sector. In summary, it shows that throughout May 2019 there were 1623 gigs in 309 licensed venues across the state. This extrapolates to nearly 20,000 gigs a year. In Adelaide metro there were 1315 gigs across 211 licensed venues, which is a 23% increase in gigs from last year’s census. 39 gigs were original and 61 were covers. Regionally, gigs showed a steady increase from 2018.

1,315 gigs at 211 Venues per month

In November 2019 (pre-COVID-19) CEO of Music SA Lisa Bishop said “The live music census reveals that the level of gigging live in licensed venues in Adelaide is positive and we have witnessed sustained growth over the last 5 years. This is grass roots testament that contemporary musicians and bricks n’ mortar pubs are contributing to the mantel of Adelaide as a UNESCO City of Music. Look no further than the amazing number of bushfire fundraiser gigsin your local gig guide to see this in action.”

Local economic research consultancy EconSearch undertook a comprehensive piece of research on the music industry supply chain. This is the first time that the full music supply chain in South Australia, including song-writing, retail, manufacturing, recording studios, dedicated music media, education, as well as live music gigs and festivals has been analysed. The report has found that South Australia’s music scene contributed $375 million to the economy in 2015/16, and the music industry generates employment of 6,300 South Australians. 375

millionCONTRIBUTED BY THE SA MUSIC $SCENE TO THE ECONOMY IN 2015/16 EMPLOYMENT GENERATED IN SA6,300 ANNUAL REPORT | PAGE FIVE ORMANCE IND EYKEY PERFORMANCE PERFO INDICATORS ARTIST DEVELOPMENT

1. A 10% annual increase in the number of SA artists registered on our Artist Directory. (LEAD)

2016 2017 2018 2019

900 981 1378 1047*

*after database cleanse in May 2019

2. A 20 increase in enrolments in Music SA accredited courses over the next three years. (LEAD)

Course 2017 2018 2019

Cert II in Music Industry (Pop Performance) 4 0 0

Cert III in Music Industry (Songwriting and 14 27 13 Performance)

Cert III in Music Industry (Sound Production) 0 0 14

Cert III in Music Industry (Festival and Event 7 0 0 Management)

Cert IV in Music Industry (Music Business) 12 17 17

TOTAL 37 44 44

3. Positive qualitative feedback from national attendees at Scouted each year. (LAG) Here is just one example:

“Scouted was one of the best small conference/ showcase events I have ever been to, anywhere in the world, and I have been to a lot of them. It was basically 20 bands across 5 venues - and the venues were all within walking distance - so the group I was in (which included Nick Findlay from Triple J, Maggie Collins from BIGSOUND, Greg Carey, another artist manager, Briese Abbott from Kobalt, Blake Reynor from The Orchid) - we were all able to virtually see every single band. We travelled in a pack - ran between venues - would watch 3-4 songs of each - and move on!!

It was so well done, the line up was fantastic, the bands were of a very high standard, and we really felt like we got a strong sense and a good taste of where Adelaide music was at.”

ANNUAL REPORT | PAGE SIX 4. A 10 % annual increase in attendances at Music SA run workshops and programs. (LEAD)

AVERAGE ATTENDANCE 2017 2018 2019 PER WORKSHOP 45 75 100

5. Annual achievement of one new artist-centric project as per Triennial Application. (LEAD

• Producer Series • Clip Combat • City of Music Mural • Eat Your Greens • Music SA Exchange • Indigenous Internship • SATC Rewards Wonder Campaign

INDUSTRY DEVELOPMENT

1. 100 % of Music SA Cert IV students obtain music industry work in the year after graduation. (LAG)

All our Cert IV students from 2018 are working in the music industry, albeit not in a full- time capacity.

2. 30% of CEO’s time is spent on Music SA leadership through national and state involvement with projects, services, committees, conferences, showcases, submissions and networks. (LEAD) Yes! • National Contemporary Music Roundtable • Australian Music Industry Network • UNESCO City of Music Executive Committee • SA Screen Advisory Committee • Music Research Roundtable • Indie-Con • Big Sound • APRA Awards, NIMA Awards, AIR Awards • State Arts Review • National Contemporary Indigenous Music Roundtable

3. 10 % annual increase in the number of Music SA web directory listings for venues and businesses. (LEAD) YEAR VENUES BUSINESSES

2016 80 100

2017 73 123

2018 72 123

2019* 86 147

*Database cleansed in May 2019 ANNUAL REPORT | PAGE SEVEN 4. Completion of an annual Live Music Census that shows over 1000 gigs per month. (LAG)

YEAR GIGS VENUES

2017 1108 211

2018 1227 201

2019 1332 209

5. Annual achievement of one new business-centric project as per Triennial Application. (LEAD)

• Live Music Toolkit • Music Traineeship Program • Student Training Database • Live Music Regulation Advocacy

AUDIENCE DEVELOPMENT

1. 20% increase in Music SA social media engagement. (LEAD)

Platform 2017 2018 2019

Facebook (Total) 12567 13629 16726

Instagram 4288 5419 6850*

Twitter 4838 4799 4783

E-Newsletter 14216 17839 17684

*Scouted Instagram account closed

2. Annual editorial media coverage for Umbrella valued at over one million dollars. (LAG)

2017 $835,228 advertising space rate 2018 $1,418,616 advertising space rate 2019 $1,987,875 advertising space rate

3. 40,000+ attendances at Umbrella Festival and 500+ attendances at SA Music Awards (LAG).

• SAM Awards 2017 436 attendances, 2018 460 attendances, 2019 429 attendances • Umbrella - we cannot measure attendances at present but we are investigating better evaluation.

ANNUAL REPORT | PAGE EIGHT 4. At least 3 new co-branded strategic performance opportunities for SA artists per annum. (LEAD)

• FRUSIC • Adelaide Sounds • Bands On Track

5. At least 3 major co-branded strategic marketing opportunities for SA artists per annum. (LEAD) • Guitars in Bars and Umbrella • Moshtix and SA Music Awards • Superloop and Bands On Track • Clip Combat and Scenestr • Yalumba and SA Music Awards • Young Henrys and workshops

ORGANISATIONAL DEVELOPMENT

1. 100% unqualified external audit report. (LAG) Yes, every year on record.

2. Reserves at 30% of annual turnover. (LAG) No, reserves are currently sitting at about 4.4%

3. 100% compliance with AQSA standards. (LAG) Yes. Music SA deregistered as a RTO in January 2020.

4. A healthy workplace culture with staff turnover between 15-25% . (LEAD) • In a 2019 staff survey every staff member rated the culture as “Excellent”. • Staff Turnover is low – we have had one departure a year for the last three years. • Sick Leave is sitting on an average of 2.57 days per annum per person.

5. One major fundraising initiative kicked off by the Music SA board in the next 12 months (LEAD) Yes “Governance: All A BOARD” workshop was held in November 2019.

ANNUAL REPORT | PAGE NINE NG CAMPAIGN ARKETINKEY MARKETING CAMPAIGNS JAN - NOV Cert III & Cert IV in Music Industry Summary: • Two boosted Facebook and Instagram posts in early January, mid June and mid Nov. • Features in each Music SA enews. • Two poster distribution runs – Dec & May

JAN - FEB Frusic (Fringe + Music) Summary: • Six week social media campaign • Features in Music SA enews • Ten Scenestr Interviews with events placed on Music SA website

MARCH Bands on Track Summary: • Poster creation via Version Design placed on Music SA website • Dedicated Bands on Track Website with entry form • Four Social Media Posts via Music SA channels • Publicity campaign across print, media and radio

ANNUAL REPORT | PAGE TEN

APRIL - NOV Music in the Square Summary: • $300 per event used for advertising campaign for each event (e.g of advertisers used include Happy Mag, Indaily, Adelady, Fest Mag). • Two week Social Media Campaign over each Event

APRIL 2018 Autumn Jams Summary: • Four week social media campaign (including $100 boost on Facebook Event) • 150 Posters distributed via Mad Promo • Poster included on Music SA website

MARCH– AUG Umbrella Winter City Sounds Summary: • Major Marketing Plan for 2019 • Dedicated Umbrella Website • Dedicated fortnightly Umbrella enews • Five Month Social Media Strategy/ Campaign • Advertising with APN Outdoor • Collaboration with ACC on activations around CBD • Digital and print advertising with The Messenger, Happy Mag, City Mag & Adelaide Review • Three Umbrella Info Sessions • TVC with Channel 9 and radio campaign with NOVA • Launch Party • Live performances on ABC 891 • Opening night Street Party • Dedicated Publicist

MARCH - JULY Scouted Festival Summary: • Dedicated Scouted Website • Three month Social Media Campaign • Featured in each Music SA & Umbrella newsletter from March Until event • Advertising in APRA AMCOS Awards program

SEP - NOV South Australian Music Awards Summary: • Dedicated SAMs website • Dedicated mail outs over a three month period • Dedicated Publicist • Three Month Social Media Campaign • Included on the Music SA website

ANNUAL REPORT | PAGE ELEVEN OCT - NOV Aus Music Month Summary: • Four week Social Media Campaign • Band T-Shirt market at Music In The Square • Live performances out the front of St Paul’s Creative Centre

ALL YEAR Workshops Summary: • Two week social media campaigns around each workshop • Dedicated tab on the Music SA website • Paid boosting around each workshop

ANNUAL REPORT | PAGE TWELVE OCIAL MEDIA & ALSOCIAL MEDIAMEDIA & DATABASE NUMBERS FACEBOOK INSTAGRAM TWITTER UMBRELLA 4,522 Followers UMBRELLA MUSIC SA MUSIC SA 1,965 Followers 4,783 Followers 9,076 Followers MUSIC SA SAM AWARDS 3,746 Followers 2,214 followers SAM AWARDS SCOUTED 1139 followers 914 followers

WEBSITE STATS Average Monthly views 12,934 Most popular page Homepage DIRECTORY NUMBERS EMAIL DATABASE ARTISTS NUMBERS

Music SA E-newsletter 17,684 Subscribers VENUES Umbrella E-newsletter 1047 1,603 Subscribers

86 BUSINESSES

ANNUAL REPORT | PAGE THIRTEEN 147 LA: WINTER CIT

UMBRELLA: WINTER CITY SOUNDS RELLA:In winter 2019 the fourth instalment of the Umbrella: Winter City Sounds live music festivalW was funded by the Live Music Events Fund of the South Australian Tourism Commission in conjunction with the Music Development Office. In a strong sign of support for SA’s strengthening music sector, Music SA was able to also secure new sponsors, additional funders, new musicians, new venues and new audiences for the 2019 festival. Delivered by Music SA Umbrella: Winter City Sounds delivered the following highlights:

111 venues

29 regional events

380 events (up from 201 in 2018)

267 media mentions across print, radio, online and TV

20,000 free copies of a 72 page program distributed

360,000 people exposed to outdoor Umbrella Festival activations

a far stronger indigenous component with 27% of curated events being indigenous and 12 Umbrella acts identifying as indigenous Distribution of a 4 page insert into street press magazines in Melbourne, Brisbane, Perth and regional NSW. Channel 9 TV campaign with 41 spots, and a NOVA radio campaign of 86 mentions valued at $18,644. 94% of Indie-Con delegates indicated that they would attend Umbrella events next year 18 curated events in the city selling 4727 tickets via Umbrella TIX

1300 Musicians

61 Competitions

ANNUAL REPORT | PAGE FOURTEEN The rate at which the Umbrella Festival has ascended Adelaide’s live music policy agenda has been nothing short of extraordinary in the last four years. This is evidenced with the growth statistics contained in this report, in particular the organic spread of Umbrella events outside the city. The UNESCO designation of Adelaide as a City of Music is a serious catalyst for taking the Umbrella festival seriously. This was beautifully embodied in the unveiling of Adelaide’s largest ever painted wall mural devoted to music during this year’s Umbrella Festival.

Umbrella Festival – Regional

In 2019, it was decided that Umbrella Music Festival would officially be expanded out to the rest of South Australia and remained the Umbrella Festival 2020, with a focus on regional events. A grant of $200,000 was provided by the Marshall Government to take the Umbrella Festival state wide in 2020 The regional umbrella team (Sian Walden and Joel Byrne) devoted much of the later months of 2019 to building relationships with regional councils, venues and event managers with the goal of planning large scale outreach programs which would be held in various cities throughout 2020. The predominant goal for the team was to organise and run information session and provide essential support around marketing and event facilitators with some opportunities for seed funding for event curators.

ANNUAL REPORT | PAGE FIFTEEN SCOUTED

The third edition of Scouted was held on Friday July 27th 2019 and saw 16 South Australian artists perform to international & national indus- try professionals – 8 of which were funded to attend Scouted, alongside delegates who were in town for Indie Con and the Air Awards. Pre- sented in the East End at some of Adelaide’s most prestigious venues including the Crown & Anchor, Exeter, The Stag and bringing long time late night venue Sugar into the fold. The 2019 event was supported by these venues, along with the Music Development Office, Scenestr, Themusic.com.au, Yalumba, Three D Radio, AHA, Young Henry’s, Derringers and the City of Adelaide.

Many people commented that with Scouted being boutique and well scheduled, it helps to capture the industry for an evening and really allows easy access to the best showcase for South Australian unsigned artists in compari- son to some other showcase festivals, which have musicians at all career points. Some of the industry in attendance were from Triple j, Handsome Tours, Dew Process, Select Music, GAGA Publishing, Golden Era Records, Cook- ing Vinyl, Inertia, APRA AMCOS, Whitesky, Fidelity Corp, Warner Music, Heartstop Music, Themusic.com.au, Sony ATV and more.

Artists were :

Dress Code Elsy Wameyo Eraser Description Glowing Homeward Bound Jess Day Local Revolution Oc3aneyes Pinkish Blu Ricky Albeck & the Belair Line Band Stacy Says Stellie The Montreals Towns Venice Queens Wanderers

ANNUAL REPORT | PAGE SIXTEEN MUSIC AWARD SA MUSIC AWARDS

SICThe 100% plant-based, three course gala AWA dinner awards night took place Friday 22 November 2019 at Adelaide University’s beautiful Bonython Hall.

2019 SAM Awards were presented in conjunction with major partners Government of South Australia via Music Development Office, University of Adelaide, Moshtix, Australian Hotels Association (SA Branch), The Music, beverage partners Yalumba, The Hills Cider Company and Young Henrys, in addition to AV partners Novatech and Nexstage.

Judges (SA) Alex Karatassa (Artist Manager), Brynna McPherson (Artist Manager), Ben Martin (Golden Era Records), Grayson Rotumah (CASM), Hannah Fairlamb (Girls Rock Adl), Jason North (Truth Inc Records), Laura Horvath (Clarity Records), Nick O’Connor (NSS), Sharni Honor (The Porch Sessions), Zane Dean (Fresh 92.7)

Judges (National) Grant Gilles (Gaga Music), Jess Beston (Tiny Monster), Nick Findlay (Tiple J), Rebecca Young (Collective Artists), Tyler Jenke (The Brag Media)

NUMBER OF SUBMISSIONS PROCESSED 297

NUMBER OF PEOPLE’S CHOICE NOMINATIONS 138

NUMBER OF PEOPLE’S CHOICE VOTES 8420 ANNUAL REPORT | PAGE SEVENTEEN Best Music Venue SPECIAL AWARDS presented by AHA (SA Branch) Crown & Anchor Hotel Jive Best International Collaboration Lion Arts Factory (Winner) presented by Adelaide UNESCO City Of Music The Hotel Metro Slava and Lenny Grogoryan with Beijing Duo, The Wheatsheaf Hotel as part of Adelaide Guitar Festival Best Manager Lifetime Achievement Award presented by Association of Artist Managers presented by Music SA Planet Shhh Neville Clark Stormfront Productions Sue Germein Emily Burrows Award Alex Karatassa (Winner) presented by APRA AMCOS Little Acorn Music Dead Roo Best Cover Art presented by VERSION Design INDUSTRY AWARDS Jack Fenby (Winner) Dress Code Best Studio Sam Kolesnik Adelaide Recording Studios Horror My Friend Ghostnote Recording Studio Todd Fischer Mixmasters Lost Woods Wizard Tone Studios Michael Belletti Wundenberg’s Recording & Rehearsal Sleep Talk Studio (Winner) Planet Lazuli The Camerman Best Live Engineer presented by Novatech Best Music Video Greg Sound Matthew Schirripa & Benjamin Dowie Kevin Farrant Beau Lightning Luke Hancock (Winner) Ryan Sahb (Winner) Liam Roche Horror My Friend Eli Green & Alex Robertson Best Studio Engineer Life Pilot presented by SAE Institute Capital Waste Pictures Alex Mader Planet Self Jimmy Balderston Crystal Arrow Films Lewis Wundenberg Sleep Talk Mario Spate (Winner) Neville Clark MAJOR AWARDS Best Music Festival / Event presented by moshtix Best Song Flipside Festival presented by APRA AMCOS Porchland (Winner) Collarbones – A.I. Spin Off Festival Electric Fields – 2000 and Whatever Stonecutters (Winner) Horror My Friend – Turned Loose (Winner) The Porch Sessions MANE – Save Yourself Stellie – Let’s Forget We Were In Love

ANNUAL REPORT | PAGE EIGHTEEN Best New Artist presented by WOMADelaide Dead Roo Dress Code Jess Day (Winner) Stellie Ukulele Death Squad

Best Aboriginal or Torres Strait Island Artist presented by WOMADelaide Eskatology UPK Nancy Bates Electric Fields (Winner)

Best Group presented by Music SA Germein Horror My Friend (Winner) Sleep Talk The Montreals Ukelele Death Squad

Best Solo Artist presented by Adelaide Fringe Adrian Eagle (Winner) Elsy Wameyo Jess Day Ollie English Stellie

Best Release presented by The Music Adrian Eagle – A.O.K. (Winner) Collarbones – A.I. Horror My Friend – Turned Loose MANE – Save Yourself Wing Defence - Hindsight

PEOPLE’S CHOICE AWARDS

Blues/Roots Award presented by Radio Adelaide Bortier Okoe Dieter Horvat Jimmybay Ollie English (Winner) Sturt Avenue

ANNUAL REPORT | PAGE NINETEEN Country Award Pop Award presented by Grace Emily Hotel presented by Lion Arts Factory Dead Roo Germein (Winner) Matt Ward MANE Nancy Bates Paper Sunsets Ricky Albeck & The Belair Line Band Pinkish Blu The Cut Snakes (Winner) The Montreals

Electronic Award Punk Award presented by Rocket Bar presented by Three D Radio China Roses Bear Claw Camp Electric Fields (Winner) Chainsaw Preachers Jethro Collateral Damage Luke Million Sleep Talk Theeves Wing Defence(Winner)

Experimental Award Rock Award presented by Ancient World presented by Crown & Anchor Girl Horror My Friend My Chérie Indiago Sons of Zoku (Winner) Towns (Winner) The Dunes Venice Queens The Empty Threats West Thebarton

Folk Award Soul/ Funk/ R’n’B Award presented by Wheatsheaf Hotel presented by Woodville Town Hall Alana Jagt Big Seventies Bush Alison Newman Dirtyfrank Anya Anastasia Eliza Dickson Bromham Isaac Thomas Ukulele Death Squad (Winner) Wanderers (Winner) Heavy Award For more information, head to presented by Underground Records https://southaustralianmusicawards.com.au/ Audio Reign Hidden Intent (Winner) Japan Life Pilot The Straight-Jacket Tailors

Hip Hop Award presented by The Gov Argus and The Liar Elsy Wameyo (Winner) Richysand Stefan Rossi We Move Like Giants

Jazz/Art Music Award presented by Elder Conservatorium Adam Page (Winner) Mike Tilbrook She Descends The Stairs Thomas Voss/ Lauren Henderson Big Band ANNUAL REPORT | PAGE TWENTY OOLKIT FOR CO IVELIVE MUSIC TOOLKIT MUSI FOR COUNCILS PROJECT With funding from the Local Government Authority Music SA finalised a project to research and provide guidelines and resources for councils to enable them to activate more live music. It resulted in the publication of a comprehensive Live Music Toolkit, distributed in late 2019. The project involved:

• Direct consultation regarding live music needs with Unley, Marion, Charles Stuart, Onkaparinga, Mount Gambier, Prospect and various Regional Development Associations around the State. • Email consultation and connection with the Live Music Office, Music Victoria and Creative Victoria • Working closely with the Music Development Office and the Department of Industry and Skills appointed Case Manager, Ivor Hay to reach out to local venue owners and key stakeholders around the state to consult on Live Music needs and gaps across the state. • Created and distributed a council focused survey to gather insight, statistics and direction surrounding resources required for councils, with over 60 responses. • Expansion on the Live Music Census to now include the entire State and bring light to regional South Australia. • Presentation to the Economic Development Australia – Adelaide branch on the Live Music Council project, the economic impact of Live Music and some easy steps to engage more live music in their regions. • Distributing a regular council focused newsletter to 50 council staff around the state with opportunities, resources and focus on various council’s positive efforts around live music to encourage and inspire more ideas. Regular features include the Music SA Venue Factsheets, links to the Music SA Spotify playlists and regulatory information. • Working closely with the Music Development Office and the Department of Industry and Skills to help shape and realise the Government’s Regional Accelerator Music Program, participating in their regional roundtables and providing a number of contacts and connections throughout the regions. • Drafting up the Live Music Toolkit for Local Government. A guiding document to assist councils in creating their own Live Music Action plan, with various resources and templates created for councils to use in conjunction with or without a Live Music action plan.

ANNUAL REPORT | PAGE TWENTY ONE ANCE OPPORT FORMANPERFORMANCE OPPORTUNITIES FOR MUSICIANS FRUSIC 2019

In 2019 Music SA once again had the pleasure of partnering with The Adelaide Fringe to again curate The Frusic stage for the Opening Night Launch Party.

Artists: Abraska Alex Rossi Dhungala Baarka Lost Woods Louise Adams Ruby Beats The Revolution

Bands on Track 2019

Bands on Track is a collaboration with the SA Motorsport Board and the SA Tourism Commission. The brain child of Brian Gleeson, Bands On Track is a showcase of local contemporary musicians who perform alongside international and national headliners.

To date Music SA has programmed 50 bands over 10 years as part of the Adelaide 500 (rebranded as Superloop 500) car race through the streets of Adelaide city.

Headlining acts for 2019 were Red Hot Chili Peppers Parliament-Funkadelic Jet The Living End Vance Joy Amy shark

Number of competition entries 286

Bands selected Burnside Mums Delia Obst Zen Panda Tales Ricky Albeck & The Belair Line Band The Montreals.

ANNUALANNUAL REPORT REPORT | PAGE | PAGE TWENTY EIGHT TWO Tour Down Under 2019

In a collaboration with SATC, Music SA programmed 3x local artists to perform at the after race concert in the TDU village.

Bands Selected Germein Neon Tetra In Debt

Adelaide Sounds 2019

Adelaide Sounds is a unique partnership between Adelaide Airport and Music SA and for the last 7 years it has offered an in-transit music experience for passengers, friends and families that highlights the original work of South Australian songwriters. The curated South Australian live music series is performed at Adelaide Airport every Friday afternoon, plus alternate Saturdays and Sundays. However half way though 2019 the days were reduced to every Friday to accommodate the terminal redevelopments. Since 2013 more than 60 artists have presented original live music performances in Terminal 1 and the ongoing success has seen well over 500 performances, with the total number of travellers experiencing live music performances reaching more than one million people.

This year there were a total of 80+ performances curated by Music SA.

Artists involved Ryan Martin John Kelly Mennhennett Sam Brittain Kaurna Cronin Hannah Yates Thom Lion Ollie English Nathan May Mason Lloyde Amy Jennifer Nice Verdes Joe Man Murphy Mary Webb Daniel Cameron Alice Haddy Paige Court Alycia Budd Georgia Germein Mark Curtis Cale Morgan Mel Pier Banjo Jackson

ANNUAL REPORT | PAGE TWENTY THREE Westfield TTP

Expanding upon the existing model implemented with the Adelaide Sounds project, Music SA was proud to partner with Westfield at the end of 2018 to bring a similar program to the newly refurbished Tea Tree Plaza out door site. This project continued throughout the first half of 2019 until it was temporary out hold from July. For that there was a total of 60+ performances programmed.

Artists involved Ryan Martin John Banjo Jackson Kaurna Cronin Sam Brittain Ollie English Thom Lion Amy Jennifer Mason Lloyde Mary Webb Kelly Mennhennett Paige Court Cal Williams Jr Mark Curtis

Music in The Square

A series of free lunch time performances of local original contemporary musicians in the major outdoor city square of Adelaide during the spring, summer and autumn months. A collaboration between the City of Adelaide and Music SA. This season saw an update to the program which saw each performance not being based on a theme and therefore contributed to a more fluid selection process when choosing acts. This season also saw us expanded the scope of the initiative to include Hindmarsh Square as an addition location for Music in The Square performances.

7th Feb 2019 Hannah Yates & Paige Court 7th Mar 2019 Wanderers & Hey Harriet 21st Mar 2019 Dead Roo & Manadi Lopa 4th Apr 2019 Nice Verdes & Elle Belle 2nd May 2019 Eliza Dickson & Alexander Wignall 19th Sep 2019 Teenage Joans & PNK FME 24th Oct 2019 Oopsie Daisy & The Empty Threats 14th Nov 2019 Diamond Skies & Stellie 5th Dec 2019 Bermuda Bay & Stacy Says ANNUAL REPORT | PAGE TWENTY FOUR IES FOR MUSI HEROTHER OPPORTUNTIES OPP FOR MUSICIANS ONE-ON-ONE BUSINESS MEETINGS

In 2019 Music SA introduced an online booking system at http://www.musicsa.com.au/ (scroll to bottom of page) dedicated to ONE ON ONE BUSINESS streamlining the process for the public to secure one-to-one industry meetings. This booking system *averagedMEETINGS for the year PER WEEK* proved successful and contributed to an increase in weekly meetings 5 across the three industry consultants. CLIP COMBAT

Clip Combat was a competition developed in collaboration between Music SA and the Government of South Australia’s Music Development Office, an initiative to encourage South Australian filmmakers under the age of 26 to build awareness of local SA musicians by submitting a video to the Clip Combat competition.

In order to enter the competition, interested filmmakers were required to engage with local, South Australian, original musicians and create a music video for either a current or upcoming song. Across the project, there were a total of 40 entries in its inaugural year, a sizeable result considering the level of communication and effort involved in entry.

The aforementioned entries were split into two categories; ‘Open’ (Ages 19 – 25) and ‘High School’ (Ages 10 – 18) – the winner of each of these categories were given a variety of prizes, as were the runner ups. Judging took place by means of a film industry panel including Liam Somerville (Capital Waste Pictures), Dave Gregan (Picture Hire Australia), Morgan Sette (Independent Filmmaker/ Photographer) and Lauren Koopowitz (Music Video Actress).

Each of the finalists were invited to a screening at Mercury Theatre; attended by Music SA staff, the finalists and their families, members of the local music and film industry, along with the Honorable Minister David Pisoni and Adelaide City Councillor Helen Donovan. The event was hosted by Music SA CEO, Lisa Bishop, each of the finalists’ videos were screened, with the winners announced and prizes presented by Minister Pisoni. ANNUAL REPORT | PAGE TWENTY FIVE CLIP IT!

A music video production initiative held in conjunction with filmmakers from the Media Resource Centre, designed to connect emerging bands and up and coming film makers to collaborate on Music Video.

Artists: Allume (Electronic) Sons of Zoku (Psych Rock) Loren Kate (Indie Folk) In Debt (Pop) Lucky Seven (Swing) Cassidy Rae Gaiter (Country) The Yorke Band (Indie Folk Rock)

ANNUAL REPORT | PAGE TWENTY SIX APRA AMCOS funded workshops Total of 5 workshops – Program SOLD OUT

EXCHANGE MUSIC SA NETWORKING MARCH 26TH

Attendees : 200 (sold out via pre-sale)

An event to network with the Music SA Team and your local music industry.

BROADCAST DIGITAL CONTENT CREATION MAY 2ND

Attendees : 68 Facilitated by Gareth Wilkes (Music SA )

Panel Lewis Brideson Fuller Brand Communication Adam Callen Made in Katana Paige Court MANE, Wing Defence Dave Gregan Picture Hire Australia Lauren Koopowitz Freelance Actress

REVERB THE ART OF RECORDING LIVE SOUND MAY 7TH

Attendees : 121 (sold out via pre-sale) Facilitated by Nick O’Connor (Northern Sound System)

Panel Antonia Gauci DMA’s, Cold Chisel, LANKS Jeremy Glover Slowdive, Julian Casablancas, Crystal Castle Michael Ellingford Lion Arts Factory, West Thebarton Sarah Madigan The Veronicas, The Preatures, Thelma Plum Dale Taylor Music SA

ANNUAL REPORT | PAGE TWENTY SEVEN MGMT THE INS & OUTS OF ARTIST MANAGEMENT OCTOBER 16TH

137 tickets sold (sold out via pre-sale) Facilitated by Joel Byrne

Panel Alastair Burns Heartstop Music Sue Germein GERMEIN Alex Karatassa 5/4 Entertainment Dan Radburn RAD Artists

ALL A BOARD! THE INS AND OUTS OF GOVERNANCE NOVEMBER 19TH (Music SA Fundraiser)

Attendees: 20 Facilitated by Lisa Bishop

Panel Maria Amato Nick Linke Peter Hanlon Anne Wiberg

Eat Ya Greens: All Ages Fest @ Jive April 14th

Eat Your Greens is an All Ages Festival, focussed on supporting the All Ages/Underage music scene in Adelaide, giving opportunities for young greenie punters and musicians to play alongside and watch Australia’s best bands in a safe and fun environment.

This event took place at Jive with support from Headspace Adelaide and the City of Adelaide. With a capacity of 300, this sold out on pre-sale.

308 Tickets sold

Line Up MANE TOWNS Oscar the Wild

U/18 acts: Teenage Joans Oopsie Daisy

ANNUAL REPORT | PAGE TWENTY EIGHT SCHOOL HOLIDAY BOOTCAMPS

The seasonal Jams Program is a series of two-to-three day song writing and performance workshops for 13-17 year olds, taking place within each school holiday period.

Participants are mentored by members of West Thebarton, Wolf & Cub, Horror My Friend, Wing Defence and more, along with qualified staff of Music SA. The program is then ended with a live performance of the songs produced through the program.

To achieve this, Music SA’s Industry Development Coordinator engages with Headspace and local councils to co-host the program and acquire funding. Within the last year, Music SA has worked with the City of Prospect, the City of Mitcham and the City of Norwood, Payneham & St Peters.

AUTUMN JAMS 2019 April 23, 24 Music SA, Club5082, City of Prospect, headspace Held at St. Paul’s Creative Centre, 200 Pulteney St, Adelaide

Sold out 25 participants

SPRING JAMS 2019 October 1,2,3 Music SA, City of Norwood, Payneham & St Peters Held at St Peter’s Youth Centre, Cornish St, Stepney

Sold out 25 participants

WINTER JAMS 2019 July 10, 11, 12 Music SA, headspace, City of Mitcham Held at Cumberland Park Community Centre, 308 Goodwood rd, Cumberland Park

Sold out 25 participants

ANNUAL REPORT | PAGE TWENTY NINE SOURCES PRO SICIANPRODUCTS & SERVICES OFFERED TO MUSICIANS R PRODUCTS OFFERED TO MUSICIANS

Resources on website Music Industry Courses Artist Directory Live Music Toolkit Venue Directory Band Merchandise Markets Business Directory Jams School Holiday Program Online Gig Guide Media Opportunities Performance opportunities Free Workshops Industry Development Meetings Facebook weekly gig alerts Umbrella curated events ABC Radio Adelaide 891 weekly gig alerts Umbrella open access events

WEBSITES

musicsa.com.au umbrellaadelaide.com.au bandsontrack.com.au musicsa.com.au/scouted southaustralianmusicawards.com.au

ANNUAL REPORT | PAGE THIRTY USIC SA COUR SA MUSICCOUR SA COURSES CERTIFICATE III IN MUSIC INDUSTRY (SONGWRITING AND PERFORMING ORIGINAL MUSIC) CUA30915

CUA30915 Certificate III in Music Industry is delivered under a third party arrangement with the College of Sound and Music Production (COSAMP) RTO Code: 41549. While courses were coordinated and delivered by Music SA, the AQF certifications were issued by COSAMP.

Students participating: 13 Qualifications Issued: 13

• Use of the St. Paul’s Creative Centre SongSpace recording studios for writing and recording demos • Multiple entries into JJJ Unearthed High Competition (three entries) • Creation of over 14 original compositions • Guest Speakers included Alana Jagt (APRA AMCOS), Rohan Watts (sound engineer, business owner – AJ Sound/Rohan Watts Entertainment), Tom Gordon (artist management – Planet Shhh, artist – Horror My Friend/West Thebarton), Caroline Tucker (producer/radio presenter – Fresh FM), Luke Penman (Play Pause Play), Jessi Tilbrook (manager – PAK, Umbrella Coordinator – Music SA), Alexandra Hosking (songwriter), Tom Wormald (producer), Sian Walden (Little Acorn Music), Travis Demsey (City of Onkaparinga, The Living End) • Student volunteering opportunities included Groovin The Moo, Umbrella Winter City Sounds Opening Street Party, SA Music Awards and Music SA workshops • Students attended multiple industry events • End of Year Showcase – FrightNight (Thursday 31st October at The Jade)

ANNUAL REPORT | PAGE FIFTEEN CERTIFICATE III IN MUSIC INDUSTRY (SOUND PRODUCTION) CUA30915

CUA30915 Certificate III in Music Industry is delivered under a third party arrangement between the College of Sound and Music Production (COSAMP) RTO Code: 41549 and Cardijn College. While this course was coordinated and delivered by Music SA at Cardijn College, the AQF certifications were issued by COSAMP.

Students participating: 15 Qualifications issued: 13

CERTIFICATE IV IN MUSIC INDUSTRY (BUSINESS) CUA40915

CUA40915 Certificate IV in Music Industry (Business) was under Music SA’s scope of registration, RTO Code 40381.

Students participating (FT) and (PT): 24 Qualifications issued: 15 Statements of Attainment Issued 8

• Tour of St. Paul’s Creative Centre and Lion Arts Factory (live music venue – North Terrace) • Students actively involved in volunteering opportunities – including Groovin’ The Moo, A Day of Clarity, Spin Off Festival, Umbrella Winter City Sounds events, Scouted, Australian Independent Record (AIR) Awards, IndieCon (AIR conference), Porchland, Music SA Workshops, Stonecutters Festival, Laneway Festival, Semaphore Music Festival, Eat Your Greens All Ages Festival, Dad’s Warehouse festival, Girls Rock! Adelaide Camp, FOMO Festival, Adelaide Fringe, BIGSOUND, Houndwave, Three D Radio, A Day of Clarity Festival, the South Australian Music Awards and various other local music events. • Successfully organised various individual music projects, including single releases and small festivals • Guest Speakers including Alana Jagt (APRA AMCOS), Sian Walden (Little Acorn Management, Live Music Coordinator – Music SA), Libby Parker (publicist – Expressions media), Tom Gordon (Planet Shhh artist management, artist – Horror My Friend/West Thebarton, Industry Development Coordinator – Music SA), Jesse Coulter (booking agent – Five Four Entertainment, artist – Grenadiers), Courtney Duka (marketing and events - Five Four Entertainment), Jessi Tilbrook (manager – PAK, Umbrella Coordinator – Music SA), Steve Pitkin (manager – Melt Frank, Events Coordinator – Music SA), Joel Byrne (artist – Wolf and Cub, Industry Development Coordinator – Music SA), Skye Walter (artist – Wing Defence, Marketing Manager – Music SA), Gareth Wilkes (film maker, Business Manager – Music SA), Shanelle Franklin (Jam Live TV), Elli Cleary (Girls Rock! Adelaide)

OTHER REGISTERED TRAINING ORGANISATION ACHIEVEMENTS • Successfully applied to deregister Music SA’s RTO Code 40381 • Commenced the planning of a new Industry Endorsed (non accredited) Diploma of Entrepreneurial Music Business Practice to replace the CUA40915 Certificate IV in the Music Industry for delivery in 2021.

ANNUALANNUAL REPORT REPORT | PAGE | PAGE THIRTY SIXTEEN TWO USIC SA BOAR SAMUSIC SA BOARBOARD AND STAFF MUSIC SA BOARD Anne Wiberg (Chair) Festival and Event Programmer and DJ Amanda Pepe (Deputy Chair) Managing Director of Publishing Company Craig McKay (Company Secretary) Lawyer and Musician Troy Sincock Radio Producer and DJ Tim Haslam (Treasurer) Accountant and Musician Madeleine Frost Education Executive Stu MacQueen Director of Wonderlick Music Company

The board and staff wish to acknowledge and thank retiring board members Laura Vozzo, Elizabeth Elliot and Brenton Gowland who generously gave hours of volunteer time to attend board meetings and contribute to the success of Music SA.

MUSIC SA STAFF (ALL STAFF PART TIME) Lisa Bishop CEO Gareth Wilkes Business Manager Kim Roberts Head of Training Skye Walter Marketing Manager Stephen Pitkin Umbrella Programmer SAM Awards Event Manager Jessi Tilbrook Umbrella Coordinator Dale Taylor Training Coordinator Joel Byrne Industry Development Coordinator Umbrella Regional Coordinator Tom Gordon Industry Development Coordinator Sian Walden Umbrella Regional Coordinator Scouted Event Manager Elli Cleary Training Administrative Support Officer Lauren Koopowitz Umbrella Marketing Coordinator Isabella-Rose Granger Marketing Coordinator Jonathan Stier Indigenous Intern

PETER HANLON INTERN Luigi Donnarumma MOSHTIX SCHOLARSHIP RECIPIENT Ashlea Crane PUBLICITY Libby Parker - Expressions Media

Copyright 2020 Music SA. Photography courtesy of Helen Page Photography, Morgan Sette, Nick Astanei South Australian Contemporary Music Company Limited ABN 19 079 445 051

Financial Statements

For the Year Ended 31 December 2019 South Australian Contemporary Music Company Limited ABN 19 079 445 051

Contents For the Year Ended 31 December 2019

Page

Financial Statements Directors' Report 1 Auditor's Independence Declaration under Section 307C of the Corporations Act 2001 6 Statement of Profit or Loss and Other Comprehensive Income 7 Statement of Financial Position 8 Statement of Changes in Equity 9 Statement of Cash Flows 10 Notes to the Financial Statements 11 Directors' Declaration 22 South Australian Contemporary Music Company Limited ABN 19 079 445 051

Directors' Report 31 December 2019

The directors present their report on South Australian Contemporary Music Company Limited for the financial year ended 31 December 2019.

Information on directors

The names of each person who has been a director during the year and to the date of this report are: Appointed Resigned Anne Wiberg (Chair) 26 April 2012 Brenton Gowland (Vice Chair) 26 April 2012 17 April 2019 Craig McKay (Secretary) 27 July 2016 Elizabeth Elliot (Treasurer) 16 December 2013 17 April 2019 Amanda Pepe (Vice Chair) 27 July 2016 Laura Vozzo 22 March 2017 4 February 2019 Troy Sincock 23 August 2017 Stu MacQueen 24 April 2018 Madelaine Frost 24 April 2018 Tim Haslam (Treasurer) 17 April 2019

Directors have been in office since the start of the financial year to the date of this report unless otherwise stated.

Principal activities

The principal activity of South Australian Contemporary Music Company Limited during the financial year was the commitment to promoting, supporting and developing contemporary music in South Australia.

South Australian Contemporary Music Company Limited delivers projects for the benefit of the South Australian music industry including:

- A comprehensive South Australian Music Industry website

- Contemporary music performances and showcases

- Professional development, advice and consultancy service for South Australian artists and practitioners

- Music, festivals and events

- Contemporary music business training programs

- Secondary school Vocational Education training programs

No significant changes in the nature of the company's activity occurred during the financial year.

1 South Australian Contemporary Music Company Limited ABN 19 079 445 051

Directors' Report 31 December 2019

Short-term and Long-term Objectives

The company's short-term objectives are to:

- Be a hub of relevant industry knowledge and discussion

- Have professionally trained people working in the industry

- Be a financially and operationally viable organisation

- Promote local SA original contemporary music

The company's long-term objectives are to:

- Build career and education pathways for emerging and established artists

- Continuously evolve as an organisation to meet the changing needs of the industry

- Grow local, national and international audiences for South Australian music

- Build industry capacity

2 South Australian Contemporary Music Company Limited ABN 19 079 445 051

Directors' Report 31 December 2019

continued

Key Performance Measures

The company measures its own performance through the use of both quantitative and qualitative benchmarks. The benchmarks are used by the directors to assess the financial sustainability of the company and whether the company's short-term and long term objectives are being achieved.

Artist Development

Achievements: - Certificate III and IV courses are offered annually with student numbers increasing incrementally each term. - Regular training was offered to industry practitioners for professional development and numbers of participants increased each quarter - Songwriting workshops and industry seminars were held regularly to ensure ongoing professional development with presenters from across the country. - Partnerships with corporate bodies, local councils and government projects have resulted in performance opportunities for artists.

Audience Development

Achievements: - Collaborations include Adelaide Airport, Clipsal Race Day Concerts, Westfield Tea Tree Plaza and Adelaide City Council are increasing the revenue for the organisation through event management fees. - SA Music Awards delivered outstanding feedback and promotional exposure for artists. - "Umbrella: Winter City Sounds" saw 40,000 attendances at 368 live music events across 110 venues. - Social media strategies are growing with significant online presence resulting in new followers and visitors.

Organisational Development

Achievements: - Development and improvement of the organisation's website has resulted in increased visitors each year as evidenced by website statistics. - A significant and successful funding application was submitted in 2018 for triennial funding for 2019 - 2021 from the South Australian Government. - The company's financial position was improved with a small profit and the building of positive reserves. - The company reached positive targets for philanthropy and sponsorship.

Industry Development

Achievements: - Addressed major industry issues including live music regulation. - Participation on statewide as well as local committees and networks has resulted in greater recognition of the organisation's work in South Australia.

3 South Australian Contemporary Music Company Limited ABN 19 079 445 051

Directors' Report 31 December 2019

Information on directors

Anne Wiberg (Chair) Bachelor of Social Work Event Management Certificate Associate Producer, Adelaide Festival - Artistic Development, Industry Development, Government Liaison, Sponsorship, Governance, Arts Consulting

Elizabeth Elliot (Treasurer) Bachelor of Business (Acc), Member of the Institute of Chartered Accountants Appointed Treasurer December 2013. Director of Perks Integrated Business Services

Brenton Gowland (Vice Chair) MD Nucleus Advertising Studio - CRM, Project Management, Strategy Development, Business Management and HR

Amanda Pepe (Vice Chair) Publishing Director, Opinion Media - Journalist, Management, Media, NFP, Publisher In Daily, Publisher Opinion Media Craig McKay (Secretary) LLB/LP, BSc, AMusA , Legal, Small Business Management

Laura Vozzo Public Relations, Entertainment Media, Celebrity Management, Events and Awards

Troy Sincock Radio management and programming Member Music Industry Council Events, ABC Producer

Stu MacQueen Co-founder Wonderlick Entertainment Group Director of Robert Stigwood Fellowship

Madeleine Frost GAICD senior education executive Consultant in educational leadership

Tim Haslam Chartered Accountant with Perks Musician Appointed Treasurer April 2019

4

South Australian Contemporary Music Company Limited ABN 19 079 445 051

Statement of Profit or Loss and Other Comprehensive Income For the Year Ended 31 December 2019

2019 2018 Note $ $ Revenue 2 958,326 871,607 Staff, Tutor and Consultancy Costs (547,894) (494,512) Production Costs (329,318) (268,738) Marketing (22,691) (45,816) Overheads (53,805) (60,725)

Profit before income tax 4,618 1,816 Income tax expense - -

Profit for the year 4,618 1,816

Total comprehensive profit for the year 4,618 1,816

The accompanying notes form part of these financial statements. 7 South Australian Contemporary Music Company Limited ABN 19 079 445 051

Statement of Financial Position 31 December 2019

2019 2018 Note $ $ ASSETS CURRENT ASSETS Cash and cash equivalents 3 225,734 121,847 Trade and other receivables 4 37,349 85,939 Other assets 3,809 2,859 TOTAL CURRENT ASSETS 266,892 210,645 NON-CURRENT ASSETS Property, plant and equipment 5 14,584 9,933 Intangible assets 941 1,412 TOTAL NON-CURRENT ASSETS 15,525 11,345 TOTAL ASSETS 282,417 221,990

LIABILITIES CURRENT LIABILITIES Trade and other payables 6 23,133 41,078 Other liabilities 7 196,026 122,466 Employee benefits 8 11,223 13,696 TOTAL CURRENT LIABILITIES 230,382 177,240 NON-CURRENT LIABILITIES Employee benefits 8 9,809 7,142 TOTAL NON-CURRENT LIABILITIES 9,809 7,142 TOTAL LIABILITIES 240,191 184,382 NET ASSETS 42,226 37,608

EQUITY Retained earnings 42,226 37,608 TOTAL EQUITY 42,226 37,608

The accompanying notes form part of these financial statements. 8 South Australian Contemporary Music Company Limited ABN 19 079 445 051

Statement of Changes in Equity For the Year Ended 31 December 2019

2019 Retained Earnings Total Note $ $ Balance at 1 January 2019 37,608 37,608 Profit attributable to members of the entity 4,618 4,618

Balance at 31 December 2019 42,226 42,226

2018 Retained Earnings Total Note $ $ Balance at 1 January 2018 35,792 35,792 Profit attributable to members of the entity 1,816 1,816

Balance at 31 December 2018 37,608 37,608

The accompanying notes form part of these financial statements. 9 South Australian Contemporary Music Company Limited ABN 19 079 445 051

Statement of Cash Flows For the Year Ended 31 December 2019

2019 2018 Note $ $ CASH FLOWS FROM OPERATING ACTIVITIES: Receipts from fees and services 853,573 744,230 Receipts from interest 97 47 Receipts from grants 220,000 211,534 Receipts from other income 26,426 25,409 Payments to supplies and employees (986,146) (1,136,088) 9 Net cash (used in) / provided by operating activities 113,950 (154,868)

CASH FLOWS FROM INVESTING ACTIVITIES: Purchase of property, plant and equipment. (10,063) (4,993)

Net cash (used in) investing activities (10,063) (4,993)

Net (decrease) / increase in cash and cash equivalents held 103,887 (159,861) Cash and cash equivalents at beginning of year 121,847 281,708 3 Cash and cash equivalents at end of financial year 225,734 121,847

The accompanying notes form part of these financial statements. 10 South Australian Contemporary Music Company Limited ABN 19 079 445 051

Notes to the Financial Statements For the Year Ended 31 December 2019

1 Summary of Significant Accounting Policies

The financial statements cover South Australian Contemporary Music Company Limited as an individual company, incorporated and domiciled in Australia. South Australian Contemporary Music Company Limited is a company limited by guarantee.

(a) Basis of Preparation

The directors have prepared the financial statements on the basis that the Company is a non-reporting company because there are no users dependent on general purpose financial statements. These financial statements are therefore a special purpose financial statements that have been prepared in order to meet the requirements of the Corporations Act 2001. The company is a not for profit company for financial reporting purposes under Australian Accounting Standards.

The financial statements have been prepared in accordance with mandatory Australian Accounting Standards applicable to entities reporting under the Corporations Act 2001 and the significant accounting policies disclosed below which the directors have determined are appropriate to meet the needs of members. Such accounting policies are consistent with the previous period unless otherwise stated.

The financial statements, except for the cash flow information, have been prepared on an accruals basis and are based on historical costs unless otherwise stated in the notes. Material policies adopted in the preparation of these financial statements are presented below and have been consistently applied unless stated otherwise. The amounts presented in the financial statements have been rounded to the nearest dollar.

(b) Comparative Amounts

Comparatives are consistent with prior years, unless otherwise stated.

(c) Going concern

The current triennial funding contract with Arts SA expires on the 31 December 2021.

As a result of the renewal of the company's contract with Arts SA for a further three years, the directors are of the opinion at the time of signing the financial statements that the company will continue as a going concern and that there is no reason to expect the funding not to continue into future financial years.

11 South Australian Contemporary Music Company Limited ABN 19 079 445 051

Notes to the Financial Statements For the Year Ended 31 December 2019

1 Summary of Significant Accounting Policies continued

(d) Revenue and other income

Grant revenue

Grant revenue is recognised in the statement of profit or loss and other comprehensive income when the company obtains control of the grant, it is probable that the economic benefits gained from the grant will flow to the company and the amount of the grant can be measured reliably.

When grant revenue is received whereby the company incurs an obligation to deliver economic value directly back to the contributor, this is considered a reciprocal transaction and the grant revenue is recognised in the statement of financial position as a liability until the service has been delivered to the contributor, otherwise the grant is recognised as income on receipt.

South Australian Contemporary Music Company Limited receives non-reciprocal contributions of assets from the government and other parties for zero or a nominal value. These assets are recognised at fair value on the date of acquisition in the statement of financial position, with a corresponding amount of income recognised in the statement of profit or loss and other comprehensive income.

Donations

Donations and bequests are recognised as revenue when received.

Interest revenue

Interest is recognised using the effective interest method.

Rendering of services

Revenue in relation to rendering of services is recognised depends on whether the outcome of the services can be measured reliably. If this is the case then the stage of completion of the services is used to determine the appropriate level of revenue to be recognised in the period.

If the outcome cannot be reliably measured then revenue is recognised to the extent of expenses recognised that are recoverable.

All revenue is stated net of the amount of goods and services tax (GST).

(e) Income Tax

The company is register as a non-profit organisation and is exempt from income tax under the Income Tax Assessment Act 1997 Div 50-5. Apart from the manager all Board members act on a voluntary basis.

(f) Leases

Lease payments for operating leases, where substantially all the risks and benefits remain with the lessor, are charged as expenses on a straight-line basis over the lease term.

12 South Australian Contemporary Music Company Limited ABN 19 079 445 051

Notes to the Financial Statements For the Year Ended 31 December 2019

1 Summary of Significant Accounting Policies continued

(g) Property, Plant and Equipment

Plant and equipment

Plant and equipment are measured using the cost model.

The carrying amount of plant and equipment is reviewed annually by directors to ensure it is not in excess of the recoverable amount from these assets. The recoverable amount is assessed on the basis of the expected net cash flow that will be received from the assets' employment and subsequent disposal.

In the event the carrying amount of plant and equipment is greater than the recoverable amount, the carrying amount is written down immediately to the estimated recoverable amount. A formal assessment of recoverable amount is made when impairment indicators are present for details of impairment.

Depreciation

The depreciable amount of all fixed assets is depreciated on a straightline basis over the assets' useful life to the company commencing from the time the asset held ready for use.

The depreciation rates used for each class of depreciated assets are:

Class of Fixed Assets Depreciated Rate

Plant and Equipment 33 - 50%

The assets' residual values and useful lives are reviewed, and adjusted if appropriate, at the end of each reporting period.

An asset's carrying amount is written down immediately to its recoverable amount if the asset's carrying amount is greater than its estimated recoverable amount.

Gains and losses on disposal are determined by comparing proceeds with the carrying amount. These gains or losses are recognised in profit and loss in the period in which they arise. When revalued assets are sold, amount are included in the revaluation surplus relating to that asset are transferred to retained earnings.

(h) Financial instruments

Initial recognition and measurement

Financial assets and financial liabilities are recognised when the Company becomes a party to the contractual provisions of the instrument. For financial assets, this is the equivalent to the date that the Company commits itself to either the purchase or sale of the asset (i.e. trade date accounting is adopted).

13 South Australian Contemporary Music Company Limited ABN 19 079 445 051

Notes to the Financial Statements For the Year Ended 31 December 2019

1 Summary of Significant Accounting Policies continued

Financial instruments are initially measured at fair value plus transactions costs, except where the instrument is classified 'at fair value through profit or loss' in which case transaction costs are expensed to profit or loss immediately.

Classification and subsequent measurement

Financial instruments are subsequently measured at either fair value, amortised cost using the effective interest rate method, or cost. Where available, quoted prices in active market are used to determine fair value. In other circumstances, valuation techniques are adopted.

Amortised cost is calculated as the amount at which the financial asset or financial liability is measured at initial recognition less principal repayments and any reduction for impairment, and adjusted for any cumulative amortisation of the difference between that initial amount and the maturity amount calculated using the effective interest method.

The effective interest method is used to allocate interest income or interest expense over the relevant period and is equivalent to the rate that exactly discounts estimated future cash payments or receipts (including fees, transaction costs and other premiums or discounts) through the expected life (or when this cannot be reliably predicted, the contractual term) of the financial instrument to the net carrying amount of the financial asset or financial liability. Revisions to expected future net cash flows will necessitate an adjustment to the carrying value with a consequential recognition of an income or expense in profit or loss.

Fair value is determined based on current bid prices for all quoted investments. Valuation techniques are applied to determine the fair value for all unlisted securities, including recent arm's length transactions, references to similar instruments and option pricing models.

(i) Financial assets at fair value through profit or loss

Financial assets are classified at ‘fair value through profit or loss’ when they are either held for trading for the purpose of short-term profit taking, derivatives not held for hedging purposes, or when they are designated as such to avoid an accounting mismatch or to enable performance evaluation where a group of financial assets is managed by key management personnel on a fair value basis in accordance with a documented risk management or investment strategy. Such assets are subsequently measured at fair value with changes in carrying value being included in profit or loss.

(ii) Loans and receivables

Loans and receivables are non-derivative financial assets with fixed or determinable payments that are not quoted in an active market and are subsequently measured at amortised cost. Gains and losses are recognised in profit or loss through the amortisation process and when the financial asset is derecognised.

(iii) Held-to-maturity investments

Held-to-maturity investments are non-derivative financial assets that have fixed maturities and fixed or determinable payments, and it is the Company's intention to hold these investments to maturity. They are subsequently measured at amortised cost. Gains and losses are recognised in profit or loss through the amortisation process and when the financial asset is derecognised.

14 South Australian Contemporary Music Company Limited ABN 19 079 445 051

Notes to the Financial Statements For the Year Ended 31 December 2019

1 Summary of Significant Accounting Policies continued

(iv) Available-for-sale financial assets

Available-for-sale financial assets are non-derivative financial assets that are either not suitable to be classified into other categories of financial assets due to their nature, or they are designated as such by management. They comprise investments in the equity of other entities where there is neither a fixed maturity nor fixed or determinable payments.

They are subsequently measured at fair value with any remeasurements other than impairment losses and foreign exchange gains and losses recognised in other comprehensive income. When the financial asset is derecognised, the cumulative gain or loss pertaining to that asset previously recognised in other comprehensive income is reclassified into profit and loss.

Available-for-sale financial assets are included in non-current assets, except for those which are expected to be sold within 12 months after the end of the reporting period. All other available-for-sale financial assets are classified as current assets.

(v) Financial liabilities

Non-derivative financial liabilities other than financial guarantees are subsequently measured at amortised cost. Gains or losses are recognised in profit or loss through the amortisation process and when the financial liability is derecognised.

Impairment

At the end of each reporting period, the company assesses whether there is objective evidence that a financial asset is impaired. A financial asset (or a group of financial assets) is deemed to be impaired if, and only if, there is objective evidence of impairment as a result of one or more events (a "loss event") having occurred, which has an impact on the estimated future cash flows of the financial asset(s).

In the case of financial assets carried at amortised cost, loss event may include: indications that the debtors or a group of debtors are experiencing significant financial difficulty, default or delinquency in interest or principal payments; indication that they will enter bankruptcy or other financial reorganisation, and changes in arrears or economic conditions that correlate with defaults.

For financial assets carried at amortised cost (including loans and receivables), a separate allowance account is used to reduce the carrying amount of financial assets impaired by credit losses. After having taken all possible measures of recovery, if the management establishes that the carrying amount cannot be recovered by any means, at the point the written-off amounts are charged to the allowance account or the carrying of impaired financial assets is reduced directly if no impairment amount was previously recognised in the allowance accounts.

When the terms of financial assets that would otherwise have been past due or impaired have been renegotiated, the company recognises the impairment for such financial assets by taking into account the original terms as if the terms have been renegotiated so that the loss events that have occurred are duly considered.

15 South Australian Contemporary Music Company Limited ABN 19 079 445 051

Notes to the Financial Statements For the Year Ended 31 December 2019

1 Summary of Significant Accounting Policies continued

Derecognition

Financial assets are derecognised where the contractual rights to receipt of cash flows expire or the asset is transferred to another party whereby the company no longer has any significant continuing involvement in the risks and benefits associated with the asset. Financial liabilities are derecognised where the related obligations are discharged, cancelled or have expired. The difference between the carrying amount of the financial liability, where is extinguished or transferred to another party, and the fair value of consideration paid, including the transfer of non-cash assets or liabilities assumed, is recognised in profit or loss.

(i) Impairment of assets

At the end of each reporting period, the company reviews the carrying amounts of its tangible assets to determine whether there is any indication that those assets have been impaired. If such an indication exists, the recoverable amount of the asset, being the higher of the asset's fair value less costs to sell and value in use, is compared to the asset's carrying amount. Any excess of the asset's carrying amount over its recoverable amount is recognised immediately in profit or loss.

Where the future economic benefits of the asset are not primarily dependent upon on the asset's ability to generate net cash inflows and when the company would, if deprived of the asset, replace its remaining future economic benefits, value in use is determined as the depreciated replacement cost of an asset.

Where it is not possible to estimate the recoverable amount of a class of asset, the company estimates the recoverable amount of the cash-generating unit to which the asset belongs.

Where an impairment loss on a revalued asset is identified, this is debited against the revaluation surplus in respect of the same class of asset to the extent that the impairment loss does not exceed the amount in the revaluation surplus for that same class of asset.

(j) Employee benefits

Provision is made for the Company's liability for employee benefits arising from services rendered by employees to the end of the reporting period. Employee benefits that are expected to be settled within one year have been measured at the amounts expected to be paid when the liability is settled.

Employee benefits are presented as current liabilities in the statement of financial position if the Company does not have an unconditional right to defer settlement of the liability for at least 12 months after the reporting date regardless of the classification of the liability for measurement purposes under AASB 119.

(k) Cash and cash equivalents

Cash and cash equivalents comprises cash on hand, demand deposits and short-term investments which are readily convertible to known amounts of cash and which are subject to an insignificant risk of change in value.

Bank overdrafts also form part of cash equivalents for the purpose of the statement of cash flows and are presented within current liabilities on the statement of financial position.

16 South Australian Contemporary Music Company Limited ABN 19 079 445 051

Notes to the Financial Statements For the Year Ended 31 December 2019

1 Summary of Significant Accounting Policies continued

(l) Goods and Services Tax (GST)

Revenue, expenses and assets are recognised net of the amount of goods and services tax (GST), except where the amount of GST incurred is not recoverable from the Australian Taxation Office (ATO).

Receivables and payables are stated inclusive of GST.

The net amount of GST recoverable from, or payable to, the ATO is included as part of receivables or payables in the balance sheet.

Cash flows in the statement of cashflows are included on a gross basis and the GST component of cash flows arising from investing and financing activities which is recoverable from, or payable to, the taxation authority is classified as operating cashflows. Revenue, expenses and assets are recognised net of the amount of goods and services tax (GST), except where the amount of GST incurred is not recoverable from the Australian Taxation Office (ATO).

(m) Critical accounting estimates and judgments

The directors make estimates and judgements during the preparation of these financial statements regarding assumptions about current and future events affecting transactions and balances.

These estimates and judgements are based on the best information available at the time of preparing the financial statements, however as additional information is known then the actual results may differ from the estimates.

17 South Australian Contemporary Music Company Limited ABN 19 079 445 051

Notes to the Financial Statements For the Year Ended 31 December 2019

1 Summary of Significant Accounting Policies continued

(n) New Accounting Standards and Interpretations

The AASB has issued new and amended Accounting Standards and Interpretations that have mandatory application dates for future reporting periods. The Company has decided against early adoption of these Standards .

18 South Australian Contemporary Music Company Limited ABN 19 079 445 051

Notes to the Financial Statements For the Year Ended 31 December 2019

2 Revenue and Other Income

Revenue from continuing operations 2019 2018 $ $ Sales revenue - Fees & Services 731,803 653,847

731,803 653,847 Other revenue - Grants 200,000 192,304 - Sundry 26,523 25,456

226,523 217,760 Total Revenue 958,326 871,607

3 Cash and cash equivalents 2019 2018 $ $ Cash at bank and in hand 225,734 121,847

4 Trade and other receivables 2019 2018 $ $ CURRENT Trade receivables 44,995 90,322 Provision for impairment (7,646) (7,646)

37,349 82,676 Other receivables - 3,263

Total current trade and other receivables 37,349 85,939

5 Plant and equipment 2019 2018 $ $ PLANT AND EQUIPMENT Plant and equipment At cost 36,142 26,079 Accumulated depreciation (21,558) (16,146)

Total plant and equipment 14,584 9,933

19 South Australian Contemporary Music Company Limited ABN 19 079 445 051

Notes to the Financial Statements For the Year Ended 31 December 2019

6 Trade and other payables 2019 2018 $ $ CURRENT

Trade payables 12,057 41,078 Sundry Creditors 11,076 -

Total current trade and other payables 23,133 41,078

7 Other liabilities 2019 2018 $ $ CURRENT Amounts received in advance - VET III + IV Enrolments 196,026 122,466

8 Employee Benefits 2019 2018 $ $ Current liabilities Provision for Annual Leave 11,223 13,696

11,223 13,696 2019 2018 $ $ Non-current liabilities Provision for long service leave 9,809 7,142

9,809 7,142

20 South Australian Contemporary Music Company Limited ABN 19 079 445 051

Notes to the Financial Statements For the Year Ended 31 December 2019

9 Cash Flow Information

(a) Reconciliation of result for the year to cashflows from operating activities 2019 2018 $ $ Profit for the year 4,618 1,816 Cash flows excluded from profit attributable to operating activities Non-cash flows in profit: - amortisation 470 705 - depreciation 5,412 5,249 - (reversal ) / write-off of bad/doubtful debts - (805) Changes in assets and liabilities, net of the effects of purchase and disposal of subsidiaries: - decrease / (increase) in trade and other receivables 48,590 24,998 - (increase) / decrease in prepayments (950) (435) - increase / (decrease) in trade and other payables (17,944) 18,937 - (decrease) / increase in other liabilities 73,560 (219,559) - increase / (decrease) in employee benefits 194 14,226 Cashflow (used in) / from operations 113,950 (154,868)

10 Company Details

The registered office and principal place of business of the company is: St Paul's Creative Centre 200 Pulteney Street ADELAIDE SA 5000

11 Members' Guarantee

The Company is limited by guarantee. Every member of the company has a liability to contribute towards any deficiencies in the event of the winding up of the Company, to the extent of one dollar ($1.00) per member.

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