South Asian culture has become embedded into every facet of life in the UK. Film, fashion, the way we eat and drink, gritty day parties, our architecture, local cafés and language to lavish wedding halls alike have become brighter through the influence of the South Asian diaspora.
South Asian musicians such as Arijit Singh are breaking Spotify records and sell out UK stadiums usually reserved for Beyoncé and Taylor Swift. “The size of India’s middle class is probably bigger than the entire population of America,” Arijit told The Guardian in May. “In terms of cultural power, you can’t just say it rests in the hands of the west any more.”
With said, there are entire communities, classes, genders and, frankly, entire swathes of the population who continue to be underserved. And that’s particularly true in the UK music industry.
It’s no secret that the inner workings of the music industry is a deeply hierarchal, well-protected industry where cousins of executives can quickly rise through the ranks. And when it comes to this industry – whether it’s those wanting to promote a small festival or others with aspirations of selling millions of records like Arijit Singh – there are clear barriers that remain. There’s important work being done to change this by organisations such as NOWIE, AIM to name just a smidge. But entering this industry remains an uphill battle for many different communities, classes, genders and those who experience geography-based prejudice.
“It is not always blatant, but I am constantly having to prove myself in ways that white artists do not.”
The South Asian Soundcheck is another such vital organisation working to change this. This newly released report acts as “the first comprehensive study into the South Asian experience in UK music,” says the non-profit organisation Lila. Lila works to uplift South Asian artists and music professionals, and as the organisation behind The South Asian Soundcheck, look to accomplish this through wider actions and inclusion from across the industry.
Lila surveyed 349 people, most of whom are “established music creators and professionals,” says the organisation. The report is also supported by industry bodies such as UK Music, British Recorded Music Industry (BPI), Musicians Union (MU) and PRS for Music.
The South Asian Soundcheck report acts as an insight into the South Asian experience within not just music festivals, but in the wider music industry. It aims to not only take a look into the current social and cultural issues South Asian people face when trying to break into and establish themselves within the industry, but also offers some invaluable insight in how changes can be made.
Here are five key insights we found in The South Asian Soundcheck report. The full report with more in-depth analysis, details and personal stories can be found here.
Industry limitations
A key finding in The South Asian Soundcheck “reveals a fundamental lack of support [for South Asian musicians and professionals],” while a lack of representation is holding back progress.
Only 28% of those who responded said they were able to rely on music as a full-time source of income. Furthermore, 68% of people also felt poorly represented or invisible in the industry, while 45% face stereotypes about what kind of music they should make.
Family dynamics can also play a part. In a June interview with Festival Insights, Lila founder Vikram Gudi described how he was “blackmailed,” into studying engineering. Ultimately, this choice secured his move to London and allowed him to pursue his true music industry ambitions, but with obvious challenges along the way.
This family element is shared with a large section of the South Asian community, with 40% of respondents having dealt with family concerns that a career in music is unstable. Visible success stories would “shift family attitudes alongside industry practices,” the report said.
32% of respondents also stated they had experienced direct racial discrimination within the industry. “It is not always blatant, but I am constantly having to prove myself in ways that white artists do not,” said one survey respondent.
The need for South Asian representation, on-stage and off
From making the big decisions at music festivals to being the one introducing new artists to major labels, people can thrive when they see people who look like them in these positions. But to make that happen demands collaborative effort and practical action.
Three quarters of survey responders noted three key requirements to help achieve this.
Industry mentorship and networking programmes are hubs of knowledge and connection for those breaking into the industry. Representation is not only who you see on stage. It’s seeing those who work in executive positions, at media platforms or as junior staff which demonstrates a trajectory is possible.
Funding, naturally, is also crucial, but routes to finding it can feel inaccessible. Over half of those surveyed (54%) had experienced trouble in getting funding, while democratised access to industry networks and essential business knowledge remains a core problem.
The South Asian experience
Nearly half (45%) of respondents stated they face stereotypes about what kind of music they should make based on their heritage. One in three has experienced direct racial discrimination.
“The number of labels that have told me their diversity quota is full, could you be ‘more Asian’ or ‘less Asian‘,” stated one respondent. “Despite having over 50 million streams as a writer I am still not taken seriously.”
The progress paradox
The study also identified what it calls a ‘Progress Paradox’. It’s a term that broadly describes how, while living standards in the Western world has improved dramatically over centuries, people still feel that most things is getting worse.
When applied to The South Asian Soundcheck report, 69% said they saw “improvements in South Asian representation over the past two years,” but that 68% still feel poorly represented or invisible in the industry.
The genre breakdown
You only need to listen to Radio 1 to know this is true, but it comes to genre South Asian musicians and professionals cover all bases. 31% work in hip-hop, 30% in pop, and 25% in electronic, while 24% of people work within the British Asian genre, 22% in Bollywood and 19% in Desi.
This, the survey describes, shows that South Asian musicians and professionals “feel proud to represent their heritage through music and believe they can explore any genre they want.” However, 71% believe the industry still has “limited acceptance for artists working outside traditional categories,” while “nearly half worry that specialising in South Asian music will limit their broader industry opportunities.“
“I want South Asian artists to be part of the collective mainstream industry, not just put on South Asian-specific stages or events,” added one survey respondent. “We need professionals who affirm we can do it – we do not see enough South Asians in those roles.”
