Introduction
Being a resident musician is a broader concept than that of an artist in resident, though derived from the same definition. Cambridge dictionary (2025) defines resident as “…an artist, writer, dancer, or musician who is invited to work for a particular amount of time in an organization”. As a musician, a performance residency refers to the connection between an artist and a venue, such as hotels or shopping centers, in which a musician or group of musicians will be given a performance slot on a given nightly basis (Musicians Union, 2023). Although perhaps the most common type of residency as a musician, models vary and some take the more tradition approach, relative to that of the definition coined in the early 1900s, providing the visual artist with a space to develop networks and creativity (Barnes, 2023). For musicians, programs such as such as the Jazz Navigator Jazz Residencies, focuses more on allowing artists to have the resources to expand, create and teach their music through workshops and collaborations with art centers around the country (IMC, 2025). This research project will however focus on the resident musician as a performer, exploring the skill and academic requirements, professional progression, legal considerations, as well as responsibilities and challenges faced by the individual in the field.
Skills and Academic Requirements
Working as a resident artist heavily relies on skill, personality and networking, with arguably no academic requirement. A unique quality about the creative industries is that, unlike other linear career paths, those who choose to study the arts do not necessarily do it for formal qualification and guaranteed employment, as much as for the skills and connections they develop within their institution. Littleton and Taylor (2008) discuss this idea in relation to fine art, whom in their findings, they discovered many students began the courses simply to successfully obtain the skill of undergraduate level, and those who continued to study did so to grow further creatively in a stimulating environment with adequate facilities. The same applies for music, evident in the results from Bennet and Lopez-Iniguez (2019) research, in which students were interviewed about how their musical education impacted their profession. One graduate quote, “…education did not prepare me for my music career… The communication of art in the highest form was just us playing the cello, as it was taught.” (Bennet and Lopez-Iniguez, 2019, pg. 5). It could be argued that these examples confirm that many careers within the creative industries, including that of a resident musician, do not have academic requirements per se, although this doesn’t mean that the technical and networking abilities obtained from a formal education are not extremely beneficial to the performer.
An example of how performers obtain residencies, can be seen in that of the famous jazz club Village Vanguard in New York. The club was founded in 1935 by Max Gordon, originally hosting spoken word poets, however Max auditioned performers of satirical song such as Judy Holliday; he liked what he heard, and so hired her on the spot (Distler, n.d.) This reflects a common theme within the music industry, and to this day, that is how the club operates. In 2015, bassist Christian McBride recorded his album Live At The Village Vanguard in the venue, and told NPR, “The Vanguard still handpicks what talent plays there because they like you… So when you play there, you certainly get a sense of validation” (Cornish, para. 11, 2015). Thus, the entry requirements for residency work within an establishment boils down the performers’ appeal to management. It could be argued that academic achievement is irrelevant in the career, however a unique skill and personality that appeals to a venue, alongside punctuality and reliability, would secure the performer with an invite, a re-invite and potentially a residency.
Professional Progression and The Portfolio Career
The professional progression for the resident performer, like that of the music graduates, is far from a linear trajectory. Resident musicians may be offered a fixed-term or full-time contract; however, residencies are more likely to be provided on a temporary basis (Robertson, 2025). It is likely unrealistic to rely on a residency as the performer’s sole income, as illustrated in Brook, Renihan, and Schnitzer’s (2023) research. The paper includes a case study of opera performer Morgan, whose performance career was “…based on a series of short-term contracts.” Their performance career was thus unreliable, requiring additional flexible employment, such as in this case, translation work (Brook, Renihan and Schnitzer, 2023, p. 634). Multiple streams of income from different roles like this are what is referred to as a portfolio career. The portfolio career is especially common for resident musicians, as it allows them to progress their performance career despite its unpredictable nature. Economically challenging times, in which technological advancements continue to disrupt income, means diversity of revenue streams for the emerging performer is not merely a career strategy, it is a necessity for long term career progression and sustainability (Coles, 2025).
As a performer, successful career progression correlates with the volume of shows that are performed, increasing chance of revenue from ticket sales, as well as general exposure to potential industry professionals. There are multiple factors to consider when aiming to secure regular performance residencies, one of which being genre. Research has shown that the variation in number of live shows performed in relation to genre is vast, with pop, rock and electronic music accounting for 73.6% of total live music performances (Everts, 2023). It therefore cannot be denied that the aspiring resident performer must evaluate which genre they can execute efficiently to appeal to a majority within the venues of their choosing. The surging popularity of tribute acts is a prime example of how effective this approach is. Dolly Parton tribute act Kelly O Brian reports playing between 75 to 100 gigs a year and claims to be earning an above satisfactory income (Cunningham, 2025). Employment for such acts can be found in venues like the Cavern Club in Liverpool. Famously regarded for historically employing The Beatles to play a regular residency in the early 60s, the venue now attracts hundreds of thousands of visitors each year and employs around 38 resident tribute covers bands to play regular slots each week (Cavern Club, 2025). Career progression as a performer requires adaptability and a willingness to engage in work they perhaps did not initially intend on pursuing.
Legal and Financial Considerations
Compared to the more traditional job roles, the resident musician arguably has more considerations and responsibility for finances. Most revenue for musicians derives from copyright law and contracts, though for the resident performer; it is most likely the latter. Performance fees are often paid via contracts for private performances, or through a booking agent if the musician is on a touring basis (Garcia, 2020). Thus, they must examine and negotiate their contracts when beginning a residency, to ensure it is worth the commitment, and they have a period of stability. One thing the performer should consider is which functions they gravitate toward, for both contractual stability and economic gain. In Garcia’s (2020) case study, they interviewed a mid-level pop artist who made half of their income through performing. It was found that the artist performed in an abnormal number of private events, which were found to be higher earning gigs. Furthermore, private functions had fewer overhead fees to consider in comparison to the touring musician, and the gigs are negotiated directly with the artist which avoids agency commission fees (Garcia, 2020). Though there is still a lack of security, and the musician must carefully consider finances to sustain their career, for a performer, it could be argued that private residencies are a more sustainable way of pursuing a performance career for smaller artists.
A contract for a performer sets out the conditions of the performances, for if disagreement arises; mutual understanding is ensured. Conditions include notions such as, legally binding proof that the musician is owed upon whatever payment may be stated (Independent Society of Musicians, n.d.). However, these contracts are not like those of an employer, and likely are event (or series of events) specific. The UK government website defines self-employment as, “if they run their business for themselves and take responsibility for its success or failure.” (gov.uk, para 1, 2025). It is very likely that this is the way a resident musician would operate, unless they secure an extremely regular performance slot on an annual contract. If PAYE is not stated on the contract, it is a strong indicator that the musician is being treated as self-employed, thus does not possess the rights as an employee and has the responsibility to declare their earnings to HMRC (gov.uk, 2025).
Personal Challenges as a Resident Artist
Though it is possible to become officially employed as a resident musician, most performers are self-employed. Thus, not having the rights of an employee constitutes many of the personal challenges the individual will face. Employment rights implement national minimum wage, mandatory holiday pay, and protection against overworking employees (gov.uk, 2025). Firstly, this means the self-employed resident artist has no guaranteed wage or hours, which does have its benefits, allowing for flexibility and full autonomy over their work life balance. This, however, comes with the immense responsibility to obtain work, and ultimately a choice to pursue a career with no set income. Furthermore, self-employment in the UK is concentrated within the low wage sectors of the economy. Evidence suggests this instability leaves the individual in a position where they are unable to plan for their futures; their social and family lives become precarious, and ultimately, has a negative impact on one’s mental health (Hancock and Tyler, 2025). With a lack of sick pay or holiday pay entitlement, if the musician is to fall sick, or decide to take time off, they are either left in a position where they make no money during said period, and thus overwork to prepare, or take a massive financial hit.
Another challenge that is prevalent for the resident musician is hate and harassment. In the UK, an employee is protected against unlawful discrimination within the workplace (gov.uk, 2026), however being a self-employed musician not only means there isn’t that official protection; their work by its complete nature demands for a wider audience, thus the “workplace” becomes ubique. As their career progresses, securing residencies in multiple locations to a variety of audiences, the musician becomes vulnerable to criticism and abuse. This is especially prevalent with online platforms, where comments can be made anonymous, and algorithms can be biased, potentially reinforcing societal discrimination. It’s important to take this into consideration, as social media can be used as a highly effective form of self-advertisement (Jones, 2018), though one must consider the risks for their own safety and self-preservation.
Summary
To summarize, academic achievement, though useful for connections and skill development, is not compulsory to pursue a career as a resident musician; with personality and professionalism being the preferred appeal to the recruiter. Career progression relies on the portfolio of careers, with steady streams of income from multiple different sidelines. This allows the resident musician to cultivate audiences and find residencies without suffering immense financial hardship. Evaluating demand and reviewing trends withing the music industry is incredibly beneficial to progress within the career, and setting aside self-interest may work in the performers’ advantage. Resident artists are likely self-employed, meaning financial and legal considerations are crucial. Financial shrewdness is instrumental, as the self-employed do not have the same wage protection as the employee. Thus, the musician must evaluate what residencies are worth the commitment and consider the terms within each contract they may be offered. Additionally, the resident musician must educate themselves on the HMRC taxing systems and be fully aware of their annual income, unless their contracts state otherwise. The self-employed nature of the performer allows for full autonomy and freedom over their career; however, this in return means sacrificing their rights as an employee. Finally, resident musicians must consider the risks to their mental health that the career leaves them vulnerable to, through potential financial hardship, lack of stability and susceptibility to harassment.
Reference List
Barnes, M (2023) The Growing Role of the Artist in Residence. Available online: https://www.artiststudiomuseum.org/blog/the-artist-in-residence/ [Accessed: 20th December 2025].
Bennet, D and Lopez-Iniguez, G (2019) ‘A lifespan perspective on multi-professional musicians: does music education prepare classical musicians for their careers?’, Music Education Research [Online], 22(1), pp.1-14. Available at: https://www.tandfonline.com/doi/epdf/10.1080/14613808.2019.1703925?needAccess=true [Accessed: 20th December 2025]
Brook, J, Renihan, C and Schnitzer, B (2023) ‘Creativity, agency, and stability: Perceptions of Canadian musicians working across the cultural domains’, International Journal of Music Education [Online], 42(4), pp.630-643. Available at: https://journals.sagepub.com/doi/10.1177/02557614231191144 [Accessed: 20th December 2025]
Cavern Club (2025) Resident Bands [online]. Available at: https://www.cavernclub.com/resident-bands/?srsltid=AfmBOooqrIJUkw3Trq1qtAa4Z1LPkp9DNJh6PqPL0xEEExDcmxBLOPgY [Accessed: 23rd December 2025]
Coles, D (2025) ‘Reimagining Career Clarity in Music Professions, Defining Success in Boundaryless Music Performance Careers’, College Music Symposium [Online], 58(2), pp.1-7. Available at: https://www.jstor.org/stable/26564887 [Accessed: 20th December 2025]
Cornish, A (2015) Why Everyone Wants To Record ‘Live At The Village Vanguard’. Available Online: https://www.npr.org/2015/10/22/450908686/why-everyone-wants-to-record-live-at-the-village-vanguard [Accessed: 20th December 2025]
Cunningham, K (2025) ‘We’re so big we could do a gig on the moon’: tribute acts on fame, money and what it takes to make it’. The Guardian [online]. 15th June. Available at: https://www.theguardian.com/music/2025/jun/16/were-so-big-we-could-do-a-gig-on-the-moon-tribute-acts-on-fame-money-and-what-it-takes-to-make-it#:~:text=6%20months%20old-,’We’re%20so%20big%20we%20could%20do%20a%20gig%20on,it%20takes%20to%20make%20it&text=Pink%20Floyd%2C%20Queen%2C%20AC%2F,but%20they’re%20close%20enough. [Accessed: 23rd December 2025]
Distler, J (n.d.) Downtown, You’re Legendary. Available online: https://www.steinway.com/news/features/village-vanguard [Accessed: 20th December 2025]
Everts, R (2023) Making it big in live music: a multilevel analysis of careers in live music, Cultural Trends [online], 33(5), pp.660-679. Available at: https://doi.org/10.1080/09548963.2023.2255849 [Accessed: 23rd December 2025]
Garcia, K (2020) ‘Contracts & Copyright: Contemporary Musician Income Streams’. The Oxford Handbook of Music Law and Policy, Forthcoming [Online], Law Legal Studies Research Paper No. 20-32. Available at: https://papers.ssrn.com/sol3/papers.cfm?abstract_id=3620401 [Accessed: 23rd December 2025]
Gov.uk (2025) Employment Status. Available online: https://www.gov.uk/employment-status/selfemployed-contractor [Accessed: 23rd December 2025]
Hancock, P and Tyler, M (2025) Performing Artists and Precarity Work in the Contemporary Entertainment Industries [online] Switzerland: Palgrave Macmillan. Available at: https://link.springer.com/book/10.1007/978-3-031-66119-8 [Accessed: 23rd December 2025]
IMC (2025) Navigator Jazz Residencies. Available online: https://www.improvisedmusic.ie/supporting-musicians/development-programmes/navigator-jazz-residencies [Accessed: 20th December 2025].
Independent Society of Musicians (n.d.) Performance Contracts: A Guide. Available Online: https://www.ism.org/advice/performance-contracts-a-guide/#:~:text=What%20is%20a%20performance%20contract,booked%20for%20a%20live%20performance [Accessed: 23rd December 2025]
Jones, E (2018) Platform DIY: Examining the impact of social media on cultural resistance in contemporary DIY music [Online] Ph.D thesis, University of Leeds. Available at: https://etheses.whiterose.ac.uk/id/eprint/21036/1/ENJones%20PhD%20thesis%20final.pdf [Accessed: 7th January 2025]
Littleton, K and Taylor, S (2008) Creative Careers and Non-Traditional Trajectories [Online]. London: National Arts Learning Network. Available at: https://www.researchgate.net/publication/42795642_Creative_Careers_and_Non-Traditional_Trajectories [Accessed: 20th December 2025]
Musicians Union (2023) Function Bands And Music Residencies. Available online: https://musiciansunion.org.uk/working-performing/gigs-and-live-performances/working-as-a-live-performer/function-bands-and-music-residencies [Accessed: 20th December 2025].
‘Resident’ (2025) Cambridge Dictionary [online] Available at: https://dictionary.cambridge.org/dictionary/english/resident [Accessed: 20th December 2025].
Robertson, A (2025) Are Residencies For Musicians And Artists Worthwhile. Available online: https://www.festivalpro.com/festival-management/3790/news/2025/5/26/Are-Residencies-for-Artists-and-Musicians-Worthwhile.html [Accessed: 20th December 2025]
