How artists are rewriting the touring playbook from the ground up.
As part of the wealth of knowledge shared at this year’s Regional & Remote Music Summit, the panel DIY Or Die? Touring Regional & Remote Australia cut straight to the reality of road-tested independence. Moderated by APRA AMCOS’ Chris O’Neill, the discussion brought together four working artists and industry operators deeply embedded in the grassroots: Ashlyn Jada Koh, Matt “Magpie” Johnston, Jack Parsons, and Raechel Whitchurch shared their careers' stories, jam-packed with seasoned advice.
“You are literally driving the bus”
Magpie, a seasoned musician and festival organiser responsible for the Hunter Valley’s Dashville, nailed the tone early when he shared that despite his years in the game, he's still “stubbornly waiting for someone to draw up a stage plot” for his next gig. “I’ve done everything else,” he said. “I’m dragging the PA, talking to the venue, getting up to play… that’s the reality of being a musician.”
Jack Parsons, co-founder of Guts Touring, chimed in with a dry jab: “I was just thinking about how hard you’re gonna be gripping the mouse disappointedly when you’re doing that stage plot.” Parsons knows the grind well. Through Guts Touring, he’s led multiple regional and remote circuits that defy the traditional pub-to-club touring logic. “We’re doing less regional now and more fully remote stuff,” he explained. “That seemed to be the most memorable. We fundraise, so they’re free shows. We take the risk out of it, because counting pennies was getting a bit tough.”
Community As The Engine
Ashlyn Jada Koh, an entrepreneur working extensively across the West Kimberley region, offered a more nuanced view of regional engagement, one rooted in cultural exchange and relationship-building. Her touring often includes community workshops, often co-led by local artists, in places such as Broome, Derby, and Fitzroy Crossing. “I think I’ve worked backwards,” she explained. “I have, like, workshops or shows and performances in communities and have a local person be a part of it to deliver and facilitate that workshop as well. It's just building relationships.”
The Ethics of Exploits
Whitchurch, who also runs a touring agency, didn’t shy away from industry critique. In her early twenties, she witnessed how easily agents and promoters could exploit regional venues — driving up artist fees, knowing full well that the shows wouldn’t recoup their costs. “I do think that, if you're good at your job, you are in a position where you probably are able to exploit people, if that makes sense. Because that's our entire job - exploiting demand to create opportunities for our artists,” she says, clarifying that the semantics of exploit aren’t necessarily only negative.
The Long Haul (Literally)
Logistics aren’t just a hurdle; they’re often the deciding factor. Getting from Brisbane to Darwin, for instance, is no quick hop — it’s a multi-day drive with real financial weight. Spare tyres, water, gear redundancy, and even basic reception can be unreliable or nonexistent. “You’ve got to call people,” Jack insisted, reminding a grimacing audience of the existence of landlines. “Pick up the phone. You can’t email your way out of this one; you’ve just got to call.”
Localised Loyalty
Another standout thread was how regional audiences differ from their metro counterparts — not just in size, but in loyalty and etiquette. “Metro fans can be a little fickle,” Raechel said. “In regional and remote areas, you work harder to win them over, but once you do? They’re yours for life.”
Payoff & Purpose
Magpie put it plainly: “Given the choice between Sydney or Dungog, I’ll take Dungog every time.” He spoke about his work with the Dashville Bowlo and building community through performance - even in towns that, frankly, didn’t always know what to do with him at first.
Leaving Advice: How to Prep
Asked for practical tips for artists considering their first regional or remote tour, the panellists didn’t sugarcoat it. “Use your connections,” Ashlyn said. “Ask questions. People will tell you what you need to know.” “Accept that it’s part of the job,” said Jack. “You just gotta do it. It’s good for you. You get better. You get to hang out.” “Be the change,” Magpie said, simply. “Touring regionally adds to the culture. You don’t have to play the big rooms. Just play the good ones.”
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