The prospect of a music industry tax incentive is exciting for Georgia’s music community. I have worked in this industry for 27 years, the last four with the University of Georgia Music Certificate Program. Its grads are making their way in the entertainment industry. They work with major music labels, publishers, talent agencies, management companies, independent boutique firms and entrepreneurs.
The common thread among our graduates is that most of them leave the state to pursue careers — in Los Angeles, Nashville and New York. We are extremely proud to have our graduate network expanding to these key music centers, but what about Georgia?
Georgia is known as a net exporter of music. The amount of successful musical talent produced here is impressive, covering a broad array of styles that include Outkast, R.E.M., Widespread Panic, Deerhunter, Drive-By Truckers, Cee Lo Green, Jason Aldean, Zac Brown and many others. This wealth of talent is not only artists, but songwriters and producers like Dallas Davidson, Jermaine Dupri, John Keane and Ben Allen, who may not be known to the casual fan. They are vital to the creative process.
How is it that we are a net exporter?
Talented individuals choose to conduct business in the epicenters of the entertainment industry for obvious reasons. While combating that may seem unrealistic on the surface, the same could have been said a few years ago of the film industry, now booming in Georgia thanks to a tax incentive.
What would make more music recording projects come to Georgia?
The basics are the same as many industries: talent, facilities and infrastructure. We have the talent base. We also have many excellent production facilities and ancillary service providers. I believe these would grow in number and stature if we had a unique identifier that set us apart as a destination for recording projects.
A tax credit for recording projects could help accomplish that, but it would look different from one for motion pictures. While $1 million is a modest budget for a motion picture, it is extraordinarily high for a recording project. A large sector of studio production budgets for commercial releases are in the range of $10,000 to $150,000. Setting a reachable threshold for a tax credit could spur an influx of mid-level recording projects.
Clearly, this would be attractive to larger-budget productions. Beyond direct support of our music industry, there are peripheral benefits. Visiting artists, producers and crew would patronize our equipment suppliers, rental companies, restaurants and hotels.
State Rep. Ben Harbin’s attempts to explore music as an economic tool for the state is a progressive idea that could yield far-reaching benefits. His proposal deserves strong consideration.
David Barbe is director of the Music Certificate Program at the University of Georgia.
