San Francisco Music Week took place this past week, from Monday, February 23 to Saturday, February 28, offering a number of events and panels highlighting the city’s vibrant music scene. It also sparked conversations surrounding the survival of independent artists and businesses in a city facing high cost of living, corporate take-overs, and artist relocation.
I’ve been an avid participant in the Bay Area DIY music scene as both an audience member and an independent journalist writing about and photographing the scene. But attending an event like SF Music Week–a large and official gathering of the music industry’s movers and shakers –is a first for me.
Though there were several live shows and events sprinkled throughout the week, I attended the Industry Summit and tabled at the Artist Development Day. Each day buzzed with the excitement of coming together with like-minded people and sharing what we love about the scene. But there was also this sense of fight in people, with many panelists calling for solutions to navigate the challenges of a changing industry.
Ruby Ibarra, winner of 2025’s Tiny Desk Contest, was perfectly situated to be the opening keynote of the Industry Summit, as her interview with KQED’s Pendarvis Harshaw acted as a table of contents for many of the conversations and ideas that would come up in panels to follow. Here were my takeaways:
Community First
Ibarra emphasized how community and place have shaped so much of her identity. She praised hip-hop artists from both the Philippines and California who inspired her to start rapping. For Ibarra, music became a vehicle for her to share her identity and build self-empowerment. Panel speakers throughout the days spoke in different ways about the idea of music’s impact on culture and identity, and vice versa. All of the panelists on Bay Area Sounds:The State of Independent Radio spoke about how Bay Area independent radio stations aim to reflect the diverse culture of their DJs and listeners. Moreover, each panelist spoke about how music–whether live, recorded, or transmitted through radio–has the ability to facilitate authentic and very human connections. During her keynote, Ibarra shared the powerful story of having to reschedule the opening night of her Tiny Desk Tour at the Regent Theater in Los Angeles, after a city-wide curfew was implemented in response to civil unrest. As a woman of color, Ibarra found the moment pivotal. She decided that if she was going to use her voice to say anything, this was her moment to speak out against such censorship and suppression. For the rest of the tour, Ibarra spoke out against injustices targeted towards immigrants, her performances shedding light on the struggles of marginalized peoples.
Uplifting Artists
Bottom of the Hill’s Lynn Schwarz passionately spoke to the collective space shared through music. She highlighted how Bottom of the Hill and many of the city’s smaller venues are a launchpad for local artists and bands who are just getting their start. She emphasized the importance of supporting and taking care of their independent artists stating that, “Artists are the lifeblood of our industry.” In addition, independent venues also act as a bridge between independent artists and local audiences. The panelists on State of Independent Venues: Survival, Innovation, & the Future of Live Music in San Francisco all spoke to the magical moment and memories collectively created when people get to experience live music.
Sharing the Wealth
However, as Ibarra brought up in her conversation with Harshaw, “Existing is political right now.” In all of the panels I attended, almost all sectors of independent music face the same challenges, including funding and sustainability, competition with streaming and the algorithm, and fighting for space. Though the overall tone of the Industry Summit and Artist Development Day were hopeful, the reality that we are fighting to keep independent music alive and thriving in San Francisco was inescapable. Rent and insurance is rising, causing venues who can’t afford it to close. For those that do remain, as Schwarz noted, the high costs tighten their budgets, which leads to performing artists being underpaid. The rising industry costs also means rising costs for the consumer, as ticket prices also sky rocket.
Collectively, many of the panelists want to see more support for independent artists, businesses, and media. Those running venues propose creating a collective fund, moving money from corporations and the tech industry to help pay artists, so venues can focus on paying their staff and upkeep. When asked how the general public could help support artists, members of the music collective, Oakland Rising, encouraged everyone to just follow the music. They discussed changing the narrative of where music could be made and showcased and to redirect more opportunities to all parts of the Bay. They also highlighted the need for more funding.
With this in mind, while the mayor’s office has funded and offered a series of events recognizing the impact of San Francisco’s music scene, I am curious to know what active steps will be taken to respond to the needs of independent artists, businesses, venues, and music communities of the Bay Area.
