Landscape Sketch of the Arts 2025: Music

In this chapter we discuss so-called classical and non-classical music together. We work based on information we have gathered ourselves, the contributions of our editorial partner VI.BE, and existing data and research reports. Classical and non-classical are difficult to distinguish. When we hear the word ‘classical’, we think of early music, new music, and everything in between. ‘Non-classical’ includes pop and rock, hip hop, chanson, jazz, world and folk. Experimental or adventurous music and sound art, on the other hand, are more difficult to place into these categories. All these fields and genres, and the networks and circuits in which they operate, overlap strongly. We should use them sparingly, especially because they threaten to obscure new developments in music that are often cross-genre or transdisciplinary in nature. Classical roles such as composer and performer are blurring, and oeuvre is also increasingly fluid.

Moreover, the various circuits in the music field face similar challenges, which – despite the many differences – underlines their interconnectedness. In what follows, we will review these shared challenges step by step: the need for space for development, pressure on distribution, the challenges of working internationally, inclusivity, government regulation, digitalisation, artificial intelligence (AI), streaming, careers and business skills, and the financing of music.

Artistic development

Artistic development in music can take many forms: from developing new material and new techniques, to career and talent development. In most musical genres there is a lack of time, space and guidance for this. Lack of time and space for rehearsals, for example, can have an impact on artistic results and on the sense of community between musicians. They usually practice the parts for an existing repertoire outside of paid working hours, and only meet for a limited number of paid rehearsals. When substitutes are needed, this becomes extra difficult, as it does with projects with changing line-ups or when playing a new repertoire. The same applies when music undergoes an in-depth development and production process, such as music theatre or newly composed music, or in work that requires long, complex and technically highly specialised creative processes. Artists themselves invest a lot of time in development. In addition, many bands and ensembles that play their own work have no paid rehearsal time at all – this is time they invest themselves, hoping that it will yield something later.

Performing for an audience also contributes to artistic development. This can be more than just presenting a finished programme. Some artists and groups seek ways to allow for a gradual evolution of their work, for example, with regular semi-public try-outs. They also do this for their own talent development: exploring a different repertoire, style, genre, or approach; trying out new work, techniques, or instruments; conducting collective research into stage presence, dramaturgy, alternative presentation formats, and locations.

Through the Arts Decree, artists and groups can find support for their artistic development; as an individual, for example, they can apply for a grant. Grants are rarely used in music: only 10% of all grant applications reach the music committees. In addition, individual artists and groups (such as bands, collectives, ensembles) can apply for a project subsidy for development. This also happens very rarely in music: only 2% of project applications within this discipline check this box.

More often, applicants for music projects submit applications under the production function, with or without development. Especially for projects with greater complexity (stylistically eclectic, less common creative or production processes, experimental and investigative work), it is important that the necessary time and budget are allocated for development, and that committees understand and support this. 

Support by the Arts Decree for development mainly reaches artists indirectly, through supporting organisations that take on the development function: workplaces, residencies, management offices. In the assessment committee for classical music, no organisation with operating subsidies includes only the development function. For genres that require a lot of development time – think of some new music or music that borders on sound art – this is a clear lack. Structures that focus solely on the development function do exist in other assessment committees, such as those for music theatre, jazz and sound art. Alternative management agencies fulfil the development function not only artistically, but also as career support for artists (both individually and in groups).

Organisations that select functions other than development under the Arts Decree sometimes still play a role in this: all kinds of performance stages, festivals, ensembles and orchestras, as well as multidisciplinary activities. They provide rehearsal space, offer residencies, technical support or even co-productions, and business support. Ensembles and orchestras that can, share available space with artists in their networks. This is not a structural solution, and they are not supported for these initiatives under the Arts Decree (except when they appear in their plans and budgets). New talent finds it more difficult to access this support, while artists in mid-career require a more sustainable and persistent solution.

Art institutions are required to include all functions, including development. They are all active in music, and they fulfil the mission of supporting development in various ways. DE SINGEL supports resident artists, has a residency programme with try-outs, and collaborates with the Royal Conservatory on development. Concertgebouw Brugge supports two (classical) music ensembles as resident artists. Opera Ballet Vlaanderen focuses on experimentation and inclusion in their VONK pillar. Antwerp Symphony Orchestra invites international artists to give master classes. Brussels Philharmonic organises the LAB-SERIES, and the Vlaams Radiokoor has a studio available. VIERNULVIER has the Jeugd van de Nacht platform as a resident: they organise community meetings, provide more context about nightlife, offer young people opportunities for their artistic initiatives, and with all that input, they form a voice in policy making. Ancienne Belgique offers artists in residence the opportunity to perform: for example, they collaborate with Volta, an organisation that explicitly focuses on the development of artists.

Distribution: from opportunities to play to customisation

The most important data source for the distribution of live music in Flanders is currently the UiT databank of publiq, where artists and organisers enter their own tour data. This platform is not used intensively by all organisers. Commercial communication and promotional channels offer them more opportunities, but these data are more difficult or even unavailable for research.

A comparison of data in the UiT databank for the years 2014 and 2022 shows a decline in both the total number of concerts in Flanders and Brussels, as well as the number of organisers. This applies to various musical genres. What is particularly striking is that there was less initiative on the part of local clubs and associations in 2022. In 2022, there were fewer socio-cultural associations, youth centres and organisations, and amateur arts associations among the organisers than in 2014.

At the beginning of 2022, there were still a number of restrictive measures in place due to COVID-19 that had to be taken into account. These declines can probably also be linked to an increased preference for well-known artists and music among organisers and audiences. We have received signals in this regard from several genres.

The performance opportunities of artists depend largely on the cooperation of agents, bookers or impresarios with programmers. In addition, there are collective initiatives that attempt to address concerns about declining distribution. For chamber music ensembles, for example, there is Supernova. Through an open call, they are given the opportunity to build name recognition and stage experience through performance opportunities. Several programmers are involved in the process and are supporting a tour of the finalists.

Similar formats can be found in other genres, such as JazzLab or competitions like Sound Track by Clubcircuit, Ancienne Belgique, Entree, and VI.BE. These initiatives often offer the laureates, in addition to stage opportunities, a year of tailor-made guidance to link performance opportunities to talent development. 

Through performances and sales of recordings or merchandise, artists can recoup some of their investments in development and creation. Subsidies under the Arts Decree oblige presenting organisations to fair pay, but this obligation does not apply to initiatives that are financed differently. The question here is what fair pay entails, with the collective bargaining agreement as an explicit guideline for professionals, and the (implicit) standard of the target amount of the amateur arts allowance (AKV) for amateurs. In these negotiations, both artists and venues sometimes find themselves in financially challenging situations. For example, it can be difficult for a small hall for experimental music to not operate at a loss if they pay musicians in accordance with the collective bargaining agreement. This is a long-standing sore point, and an issue for which open discussion and an exchange of approaches and practices is of great importance.

Small-scale venues with an audience of peers or sympathisers play an important role in talent development. There are also valuable initiatives of public and private origin throughout Flanders, including hubs and breeding grounds, youth centres, cultural centres with a local character, cafés, municipal or urban part-time art educational institutions, and amateur art associations. These spaces do not always make the distinction between professional or amateur musicians as stated in the policy. This presents them with administrative and financial hurdles, such as the registration requirement for Working in the Arts in order to be able to work with an amateur arts allowance (AKV), or the mandatory correct compensation required by the Arts Decree. In sector sessions we heard many concerns about the possibilities for performing in such places, and about the barriers to setting them up.

Venues for music range from the living room, neighbourhood square or church, to the specialised music club and concert hall. Artists and venues sometimes collaborate on new ways to maximise the experience based on the context, the music and the audience they want to reach. This could, for example, lead to shorter concerts in more intimate settings or at special locations, or chamber music with sound amplification. Established codes are increasingly being questioned, which can lower the threshold. This concerns habits like loud volume and strobe lighting effects, sitting still and listening, clapping at the right time, or not entering late. The choice of the programme, the location, the experience and the communication tools do not follow a fixed pattern, and require even more customisation and consultation between the artist and the venue.

This diversity not only requires different presentation formats, but also a different financing logic. Experimenting with presentation formats requires extra work, and a large audience turnout is not guaranteed. In this sense, it is understandable that many artists and spaces prefer to seek out familiar contexts, especially when they work without direct subsidies. But experimentation also entails a risk for music organisations with an operating subsidy under the Arts Decree. They must be able to demonstrate a minimum of their own income, unless they request an exception.

Working internationally

Working internationally inspires and motivates musicians, it fuels artistic research and innovation, and supports professionalisation. It strengthens the competencies of both artists and their entourage. It leads to international visibility and recognition, and it increases market potential. International tour revenue, sales of merchandise, streaming, physical sales and copyrights are of great importance for sustainable careers for many artists and their support networks. A positive international dynamic also provides oxygen to the local market, providing incentives for emerging talent to develop.

Artists travel to give concerts or workshops, or to provide training, master classes and attend residencies. These are not always easy to combine with a permanent job or family life, and it is also not self-evident on an administrative level. Visa and customs formalities, and import duties or restrictions, hinder the international mobility of Flemish artists. For short periods and within the Schengen Area, obtaining a work permit may be straightforward, but once outside the Schengen Area, the complexity and cost increase. These difficulties have been further exacerbated by developments such as Brexit or the protectionist measures of the United States (together with the United Kingdom they are in the top five of countries where Flemish pop and rock artists most often play outside Belgium; VI.BE 2025; Leenknegt 2018a). Artists with expensive instruments or other valuable materials face customs regulations and slow procedures. Some have already built up knowledge and experience in this area, while others rely on first-line information from Cultuurloket and possible sectoral support centres, or they pay for tailored second-line assistance.

Globalisation and increasing competition characterise the international music market. Gaining visibility on streaming platforms, during showcases, with bookers or programmers of festivals and concert halls, is a major challenge. Several European countries are therefore specifically committed to supporting music exports and sometimes pay for stages at ‘showcase festivals’, which turn this into a revenue model.

In Flanders too, there is a demand for an overarching strategic plan for internationalisation. Roughly speaking, this comprises three steps: refining and strengthening existing policy instruments and creating new support options; expanding the resources and international actions of Belgium Booms (an initiative of VI.BE and Wallonie-Bruxelles Musique); and the creation of an export office similar to foreign examples (for an overview of existing institutions in different countries, see Sillamaa 2023). Not only is the support of live music important here, but also knowledge and advice regarding international work, practice development, co-creation, collective promotion and network strengthening actions. This requires a long-term vision from various policy areas and actors in the field.

Inclusive and safe

There is gender and educational inequality on the music stage. Of the artists surveyed for ‘Loont passie?’ (Ferwerda et al. 2022), three-quarters identify as male. This shows that there is a greater gender imbalance among artists (in different music genres) than in other disciplines. Similar to other disciplines, there are more long-cycle educated individuals among artists than among the general population. The findings from ‘Loont passie?’ are in line with those of other recent research into music professionals (such as Timmermans 2023; VI.BE and PXL Music 2024). 

Behind the scenes, people often work under high pressure. Financial expectations, competition, but also issues such as visibility pressure, fragmented employment, and administrative obligations erode the well-being of artists and music professionals. Discrimination and (sexual) transgressive behaviour can also be added to this list. Despite increased awareness and initiative, a safe working environment is not yet a given everywhere.

The Participation Survey (De Baere 2021a and 2021b) provides an insight into live music audiences in Flanders and Brussels, where educational, age and gender inequalities also prevail. The highly educated participate in greater numbers and more frequently attend concerts and festivals across all genres; the gap with the less well-educated has widened in recent decades. On average, visitors to classical concerts are over 40 years old; those under 25 years of age attend these classical concerts significantly less often. Visitors to concerts and festivals in pop, rock, electronic music, folk and music genres other than classical are generally just under 40 years old. Men attend non-classical music festivals more often than women.

For non-classical music, the latter can be linked to other research into the barriers that women experience at concerts and festivals (Onderzoekscentrum Publieke Impact 2023). The feeling of insecurity, whether or not fuelled by previous experiences of threats, discrimination, violence and sexually transgressive behaviour, is identified as the most important barrier (see also Onderzoekscentrum Publieke Impact 2025). 

Numerous initiatives in the non-classical music ecosystem are attempting to address the unequal access to music experiences. Go BOOM supports talent development of Flinta* artists in punk and other harder genres, the collective LEDA is committed to safer spaces in nightlife, Champion Sound Belgium organises, in collaboration with Trix, producer workshops for women and queer people, and there are the Flinta* network days and other Belgian initiatives linked to international movements such as Keychange or shesaid.so. Initiatives to lower the threshold can also involve a lower volume, an earlier (or more precise) start and end time, visibly displayed codes of conduct and reporting points for transgressive behaviour.

There are also ways to lower barriers in classical music. Here, some people sometimes feel intimidated by a rather exclusive atmosphere, or by codes of conduct that they are not necessarily familiar with or willing to follow. Initiatives for a more inclusive experience meet this need. People who want to immerse themselves in the experience can get an explanation of the codes and thus gain access to the tradition. Or concert organisers focus on a relaxed atmosphere through a warm welcome, clear explanation of the codes of conduct, and other locations with fewer barriers.

Yet another approach is to collaborate with amateur arts groups where people play music in their free time, and where the professional artist acts as choir leader, orchestra conductor, or accompanist for a concert programme. Participatory music practices explore people’s interests in experiencing live music, or in the music they want to make themselves. The latter mainly happens in music education initiatives that make room for the input of autodidacts and for different musical cultures.

Music education initiatives range from music associations – possibly as an alternative learning context (ALC) – to private music lessons and part-time arts education. Research shows that people who make music themselves are also frequent concertgoers, and experiencing concerts with the family at a young age increases concert participation later in life, in any genre (De Baere 2021a; Willekens et al. 2019, 77-82). Hence the focus on music education in compulsory education, because there everyone – including children and youth who do not experience it at home – can learn to make and experience music.

The prices of concert tickets or physical media of recorded music have risen sharply since COVID-19, and this can be a barrier for some. This also applies to transport to and from a music event, food and drinks on site and childcare (Onderzoekscentrum Publieke Impact 2023). Various initiatives – from UiTPAS to “pay what you can” – are attempting to lower these financial barriers.

Government: flexibility and regulation

The role of government goes beyond providing subsidies. It also concerns regulations such as copyright and neighbouring rights, the safety of live events, the artwork certificate, tax measures, or the provision of infrastructure. And this at various policy levels and in multiple policy domains: not only in culture, sport, youth and media, but also in well-being, employment and foreign affairs, or (at federal level) social security.

Many players in the music industry desire lower barriers on the part of the authorities. They want, among other things, greater flexibility in administrative obligations, noise and environmental standards or safety regulations. This would stimulate small-scale initiatives, which are crucial for artistic development (see also above). For example, the use of space is closely linked to permit procedures, parking policies, or strict standards regarding fire safety and noise pollution, which makes spontaneous rehearsals or concerts difficult.

Sometimes certain standards are seen as a threat to freedom of enterprise, sometimes it involves a difficult balancing of interests. In 2023, this debate was fuelled by the temporary closure of the Brussels nightclub Fuse, on which was imposed stricter noise standards and an earlier closing time after complaints from a neighbour. This kind of conflict is not new (see Huybregts, Vettenburg and Vanspauwen 2002; Muziekcentrum Vlaanderen 2014). It is about the place of collective music experience in society, and how to reconcile this with the interests of private individuals, entrepreneurs and the fair treatment of artists or groups. Governments then act as facilitators of the social dialogue and make the decisions, sometimes resulting in administrative hurdles.

In certain areas, however, we are hearing a plea for tighter regulation. For example, when it concerns the activities of multinationals, or when it concerns attention to music heritage. Although the importance of this was clearly emphasised during sessions with the sector, the Veldanalyse Dienstverlening Kunstenerfgoed [Field Analysis of Arts Heritage Services] (Rutgeerts et al. 2023) showed that only a few pay much attention to this. Government regulation could lead to a repository of recorded music, for example through the Flemish music archive. This awaits a sustainable policy solution to ensure both the updating of the unique physical collection and its digital translation, in line with other music (medium) collections in Flanders. The Arts Decree already includes an obligation to care for one’s own archive.

Digitalisation, artificial intelligence and streaming

Digitalisation has significantly shaken up the creation, distribution, marketing, sales and consumption of music in recent decades: from peer-to-peer networking and illegal downloading to the democratisation of ‘production tools’ and streaming services. In 2025, generative AI will be the big challenger. On the one hand, AI brings many promises. It can be applied to innovative artistic processes, automate repetitive or exhausting work, or serve as a tool to facilitate the business side of being an artist – on the other hand, it opens up a barrel of uncertainties. For example, when it comes to the impact on employment in music, the challenges it poses for regulations around copyright and neighbouring rights, or the potential competition between AI-generated music and music whose intellectual property rights belong to artists. It will be necessary to develop a vision – from the sector and policymakers – to sustainably deal with these digital developments in the long term.

Regarding the money flows around recorded music, global streaming revenues now account for the lion’s share. This is the case both globally (see for example the annual reports of the International Federation of the Phonographic Industry (IFPI)) and in Belgium (BRMA 2024; Flanders Arts Institute 2019, 59). The sale of physical media (CD, vinyl) now only accounts for a limited portion of revenue, in contrast to the situation at the end of the 20th century. In this shift, streaming platforms such as Spotify, YouTube or Apple Music have acquired a central position. Lists of the most economically successful music companies in Europe and North America include, alongside these new Big Tech players, the major record labels with roots in the 20th century (Universal Music Group, Warner Music Group, BMG) (Music Moves Europe 2025, 17-18). They have managed to consolidate the market and occupy a central position.

Organisations in the Flemish ecosystem see an opaque and one-sided way of working among these largely international players. This concerns the correct distribution of rights, the redistribution of income, and the limited access to data from streaming platforms, but also privacy, the phenomenon of ‘fake’ artists (who are deliberately used to out-compete real artists in playlists, see Drott 2024, 186-192) or the algorithmic methods behind music suggestions and visibility. A recent example of the latter was the discontent in the music sector after the dismissal of the only Spotify editor with a feel for Belgian music and the temporary disappearance of playlists that focused on Belgian music (VI.BE 2024).

A platform like Spotify has an international reach and offers access to music from millions of artists. The democratisation of ways to record and distribute music yourself, and the extensive globalisation of the music industry, contribute to the large playing field. But standing out on those platforms is a challenge that requires evolving strategies. During the rapid rise of streaming, a number of large-scale and multinational record labels were able to consolidate and strengthen their central position. This makes it more difficult for other players to be visible on these platforms, especially internationally, and many artists need this visibility for a diverse financing mix.

But streaming services and concerts aren’t the only way recorded music generates revenue or visibility. In 2024, 62% of Flemish people listen to (linear) radio daily. Radio broadcasters reach tens of thousands of people every day (CIM 2025b). By way of comparison: 52% of Flemish people listen to Spotify, 48% listen via YouTube (De Marez et al. 2025, 29). The most recent edition of the CIM Audio Time study (CIM 2025a) uses different calculations but comes to the same conclusion: radio is clearly listened to most often – both in Flanders and in Belgium.

Visibility therefore does not only depend on multinational companies. ‘Traditional’ gatekeepers such as public broadcasting also play an important role. Launched by the VRT and VI.BE during the COVID-19 lockdowns, Belgian Music Week illustrates how the music sector and public broadcasting are joining forces to highlight the richness, diversity, and value of music. Flemish players in the ‘old’ medium of radio mainly reach the domestic audience. This shows how important it is for the local music ecosystem to maintain good relations with these players as well.

Streaming revenues are often seen as inadequate and unfairly distributed. All revenue (from subscriptions, advertising) is thrown into a big pot and then the artists who are streamed the most each month – and their rightholders – get the biggest share of the money. Especially the major (world) stars with millions of streams per month benefit from this. Over the past five years, subscription costs have risen while payouts per stream have remained almost flat. The platforms release very little data about the money flows behind streaming. What is released lacks the detail for an informed discussion about what a fair (re)distribution of streaming revenue might be (Hesmondhalgh 2020).

Careers and business skills

What is success in the music industry? In the thematic chapter, ‘Success, Life and Well-being in the Arts’, we pose the question for art in general. In our society, a successful career is often equated with a focused growth path. In music, for example, the first steps are taken on a local scale, to then progress to the Flemish or even international level. In the same vision, this is accompanied by growth in income, recognition (winning a music competition, a prize, lots of positive reviews) and audience reach by playing in prestigious venues and at major festivals.

This linear story is true for some artists, but certainly not for everyone. Nor is it the ambition of every artist. There are variety artists who – sometimes with considerable commercial success – play their entire careers at private parties, local festivities, in cultural centres with a local character, and at the same time perform in larger concert halls or at major schlager festivals in Belgium and abroad. Metal bands can tour via an international, but also very specific, circuit of venues early in their career (Leenknegt 2017 and 2018a), even before they receive any recognition in their own country. Or an artist suddenly finds themself in the spotlight through a competition or a hit on social media, and has to put together a management, production, technical and promotional team in just a few months to seize all the available opportunities. 

Even sustained success cannot be taken for granted. Artists put their professional careers on hold for a variety of reasons, quitting or switching to other work, whether music-related or not.

A similar story can be told about views on professionalism and professional development. A dominant idea is that professionalism is about striving for growing financial opportunities (Keunen 2013). The reality of being an artist is often quite different, as the figures from ‘Loont passie?’ demonstrate.

The business skills that artists or their support staff need depend on their goals. Pursuing success in terms of audience reach and financial gain is different from seeking a funding mix that balances paid and unpaid work. Preparing a dossier for a subsidy under the Arts Decree requires different skills than applying for a work visa. Such diverse skills can either be acquired and maintained by artists themselves or outsourced to supporting business leaders, managers, bookers or agents. Not every artist has access to an entourage, hence the call for more business skills to be taught in music education.

An honest practice does not automatically mean a high fee, but rather an open conversation about what is possible financially and in terms of support, and is fair to all parties involved. Transparency and awareness of interdependencies are crucial, as Juist is Juist indicates. Artists work in a system that forces them to seek as much visibility as possible. This makes them vulnerable to unfair practices. Very often they work underpaid. Organisers are bound by administrative rules and obligations of which artists are not always aware.

The financing mix

The study “Loont passie?” (Ferwerda et al. 2022) provides insight into the composition of an artist’s average annual income. The average artist earns more net income from other activities than from their core musical activity. Only 9% of professional artists in Flanders and Brussels indicate that they can earn a full income from purely musical work.

The relationship between working hours and income speaks volumes. 40% of income comes from (musical) artistic and creative work, while 60% of working time is spent on this. 25% of income comes from other work as an artist, such as teaching or business management. These activities take up an equal percentage of working time. 13% of income comes from non-artistic work (such as a job in the hospitality sector, or teaching something other than music), which also corresponds to the working time it requires. The same applies to income and time spent on work in other art disciplines, for example when a musician is also an actor. The remaining 20% of the income comes from a replacement income: a pension, an art sector work allowance (at the time of the study still known as unemployment benefit), sickness or disability benefit, or a subsistence income. Income from intellectual property rights is significant for some artists, but low for most (Ferwerda et al. 2022). 

Sources of income from music include ticket sales, buyout fees, co-productions, sponsorship, direct subsidies (for example through the Arts Decree), Tax Shelter (only for classical music), hospitality sector activities, record sales and streaming, and merchandise. Numerous other sources can be part of the financing mix (for figures on subsidised organisations, see Leenknegt 2018b).

We heard artists and organisations talk about the pressure on income and the difficult balance with expenditures. Those familiar with older Landscape Sketches and overview analyses know that these challenges have existed for a long time (Flanders Arts Institute 2019, 50-59; Muziekcentrum Vlaanderen 2014; MuziekOverleg 2009). The pressure always comes from different places: inflation and rising production costs or personnel costs push up expenditures, while a decrease in paid performance opportunities pushes down income. Cuts in government spending are putting pressure on subsidy revenues, and those who operate their own infrastructure face management costs and mandatory investments such as ventilation for air quality.

Take concert halls and organisers as an example. Keeping income in line with expenditures can come into conflict with the artistic or social mission. Many concert halls and organisers rely largely or entirely on their own revenue, which may force them to schedule more frequently than desired to ensure good ticket sales, raise ticket prices or drink consumption, or rent out the infrastructure to acts or events that don’t necessarily fit their profile. The choices they make in terms of such revenue can clash with offering opportunities to lesser-known talent (so-called ‘risky’ programming), focusing on development opportunities through artistic residencies for artists, taking ecological considerations into account when programming international artists, a focused artistic profile, or investments in the physical accessibility of the concert hall for an inclusive music experience.

Download the full Landscape Sketch of the Arts 2025 (in Dutch)

Strengths, weaknesses, opportunities and threats

Strengths

• Music has a socially unifying power: making and hearing music together is self-evident for many people. The ecosystem itself is home to a wide range of artistic and organisational talent. Numerous players also turn music into an economic sector.
• Music interacts extensively with other art forms and other social domains, creating opportunities on an artistic, social and economic level.
• Flemish musicians, composers, bands, DJs, producers, ensembles, and orchestras from diverse genres enjoy international prestige, and Flanders is home to world-famous festivals, music clubs, and concert halls.
• Live presentation formats that go beyond the frontal concert experience continue to create different connections with the audience. Audience codes of conduct and expectations regarding the experience (for example, concentrated silence or applause after a solo) are self-evident, ritualised or even broken, to enable diverse forms of experience.
• The classical music sector is open to experimenting with longer development and production processes. For example, they provide space or share knowledge. The Arts Decree offers operating subsidies for development and production to support both supporting organisations and platforms.

Weaknesses

• Low-threshold venues, rehearsal spaces and breeding grounds for musical experimentation and talent development create a rich musical scene where artists can flourish. Many of them find it difficult to navigate between the Arts Decree, the Amateur Arts Decree and the Youth Decree, or between Flemish and local policies.
• A small minority of musicians and composers earn their income exclusively from core musical activities, and professional costs are high. Income flows are under pressure and fair pay is often still a utopia. Certain aspects of the artwork certificate reform have not yet been absorbed by the music sector. This puts a brake on sustainable careers and the inflow of new talent.
• Initiatives regarding safe(r) spaces, inclusion, safety, ecological sustainability, gender balance, transgressive behaviour, and ethical leadership exist, but the transition is slow.
• A fragmentation in taste preferences among the public makes it more difficult to reach broad audiences with a musical offering (and with the promotion of that offering), with the exception of large and experiential live experiences (such as very large concerts or festivals).
• Expensive live experiences compete with smaller-scale concert formats.
• Many artists and their entourage feel the need to be permanently visible on streaming platforms, stages, and social media. This is a facet of an overheating system that we see in other forms in other disciplines. It eats away at the well-being of artists and music professionals.
• Business knowledge is available but not yet well distributed or widely shared. Such knowledge, however, is necessary to understand the financing mix between art and economy, and at the intersection of subsidies and market income.
• There is little incentive to keep track of music publications, (live) recordings, music education methods, scores, legacies and other forms of musical heritage. The small number of existing initiatives find it difficult to access the heritage collection-managing field.

Opportunities

• A bundling of sector and policy forces is possible by combining resources from different policy domains and levels with private resources. The financing of international work, for example, can reap the benefits of this.
• The central location in Europe is an asset for international mobility and cooperation. At the same time, greater emphasis on participation can strengthen the recognition of the artistic, economic and social value of music in Flanders and Brussels.
• Digitalisation offers opportunities in the areas of automation, production, distribution, promotion, direct connection with the public and data collection. This is an opportunity provided that issues regarding fair revenue models, copyright and ethical implications are clarified.
• Moreover, building on existing training, and focusing on knowledge sharing through coaching and mentoring for artists and professionals can strengthen them in the business aspects of music.

Threats

• Gaps between policy levels and domains hinder initiatives, for example in the areas of music education, rehearsal spaces, concert organisation, distribution and internationalisation.
• Monopolisation and consolidation in the international music market by streaming platforms, record labels and concert organisers, among others, result in hyper-competition, unbalanced revenue models and inaccessible market data. With the artist usually paying the bill and with little room for small-scale players.
• Rising ticket prices threaten to make music and cultural experiences something exclusive.
• Complex administration and regulations regarding noise pollution, security and volunteer policy hamper the organisation and establishment of clubs and stages in the immediate vicinity of the public. This is certainly a challenge for many local or small-scale initiatives
• The rapid rise of AI raises concerns about copyright, fair compensation and the potential devaluation of human creativity.