President’s Message

As we usher in the promise of a new year, it’s a moment of reflection and tremendous optimism. The AFM is not just holding steady; we are growing, evolving, and most importantly, organizing. Our success in 2025 has laid the foundation for the future, and I want to share the progress we’ve made together and the strategic steps we are taking to ensure our influence reaches every corner of the Federation.

This coming year will also be marked by a momentous event in our union’s history: the 103rd AFM Convention to be held in Ottawa, Canada, this June (more information can be found on page 21). This will be our first convention held in Canada since 1973, and it offers a pivotal opportunity to meet, deliberate, and solidify our shared vision for a stronger North American Federation.

A Year of Organizing Momentum

Our ability to organize and fight for better wages and working conditions is stronger than ever before. The rollout of our new officer training programs has been overwhelmingly successful. We are seeing a dramatic increase in engagement with freelance and independent musicians, who are stepping up to help define the future of the union. Every local that has participated in our training has responded enthusiastically and established local Freelance Organizing Committees.

AFM Director of Organizing Gabe Kristal has followed up with dozens of locals, strategically prioritizing and assisting locals who demonstrate initiative to grow. This systematic approach is already yielding landmark victories.

Local 47 (Los Angeles, CA) has filed for recognition for three distinct bargaining units with Youth Orchestra of Los Angeles (see article on page 10). Similarly, strong majorities are in place at the Orchestra of the Southern Finger Lakes, with filing for recognition with Local 380-443 (Twin Tiers, NY) imminent. Beyond these, we are actively building committees in at least a half-dozen other bargaining units, all poised to go public very soon.

In the freelance sector, the momentum is also undeniable. We continue to advise the Freelance Musicians Association. Our work with local unions to establish Freelance Local Organizing Committees is creating the critical mass necessary to collaborate with Fair Trade Music and achieve enforceable local standards for all gigging musicians. This is how we bring dignity and stability to the lives of working musicians.

The Strategic Investment in Our Future

At the December International Executive Board meeting, we recognized that, to sustain this growth, we must bring our organizing expertise closer to our members. I am proud to announce the creation of a new regional organizing structure at the international level. These regional roles will drive our growth across all sectors by providing specialized expertise and targeted support to locals and community initiatives.

•Western Region: To build on our existing momentum, we’ve already hired Ed Gutierrez as assistant director of organizing in the Western Office. He will also augment this region as a dedicated West Coast organizer.

•Eastern Region: The recent victories at Vista Philharmonic, Media Theater, and Arden Theatre Company, alongside active symphonic campaigns, demonstrate the necessity of having an organizer permanently stationed in this vital region.

•Southern Region: The Latin music scene is one of the most active live performance sectors, and this role will allow us to organize effectively within this dynamic community. With vibrant activity in Puerto Rico, Florida, and Texas, to name a few, we intend to hire a Spanish-speaking organizer.

•Midwestern Region: Following the officer training at the Midwest Conference in Cleveland, Ohio, this summer, the demand for organizing assistance has been overwhelming. While some larger locals like Local 10-208 (Chicago, IL) have staff organizers, many smaller locals need guidance and hands-on assistance—the regional organizer will provide just that.

•Canadian: Following inspiring discussions at the Canadian Conference, the potential for organizing independent and freelance musicians in Canada is massive. A dedicated Canadian organizer is essential to advocate for agreements for regional music festivals and to advance the rights of Canadian musicians wishing to work across the border.

This is a deliberate and strategic investment that will transform how we grow. To staff this vital initiative, we are actively looking to hire four new international representatives/field organizers. You can find the job posting for these positions on page 32 of this issue. We encourage qualified, energetic individuals to apply and join us in this exciting chapter of the AFM’s history.

While the Federation is making this significant investment in regional growth, the ultimate strength of our Federation lies in the locals. I encourage locals to follow suit and hire their own organizers. The greater your local organizing presence, the greater your influence and potential for growth.

We understand that funding is often the primary constraint. That is why I want to draw your attention to a critical resource: Freelance Co-funding. Freelance Co-funding can directly assist locals in developing and maintaining programs beneficial to freelance musicians and remove financial limitations on vital organizing movements. (More information can be found in the article on page 12.)

During 2026, we will capitalize on the momentum we built in 2025. We begin the year by charting our course, and we will spend the rest of the year deepening our roots through regional organizing and local action. By working together—the Federation supporting the locals, and the locals engaging their members—we will continue to grow, secure landmark contracts, and create a sustainable, prosperous future for all professional musicians. Let’s make some noise in the new year!

The language of music is universal, and the fight to protect the livelihoods of the people who create and perform it knows no borders. As generative artificial intelligence (AI) increasingly ingests and mimics the work of human artists without consent, compensation, and credit, national boundaries have become obsolete.

During 2025, I have worked to strengthen national and international relationships. This year’s Year in Review (on page 10) highlights some of the allies we have worked with and coalitions we are building. In February, we joined the Entertainment Union Coalition in California, and at this year’s Game Developers Conference in March, the AFM announced a new partnership with the Communication Workers of America to organize video game workers.

We continue to work with our allies in the AFL-CIO Department of Professional Employees toward solutions to the ongoing border issues faced by our Canadian members wishing to work in the US under P-2 visas (see AFM Director of Government Affairs Ben Kessler’s column on page 7).

For the first time this year, the AFM was invited to speak at the International Alliance of Theatrical Stage Employees (IATSE) 70th Quadrennial Convention of Delegates. Our members and IATSE members work side by side in nearly every sector of the entertainment industry. Our solidarity in navigating common workplace issues is essential.

Early in 2025, the AFM hosted the UK Musicians’ Union (MU) General Secretary Naomi Pohl and Head of International Services Dave Webster at our office. In return, I had the honor of being invited to speak at the MU Delegates’ Congress in Liverpool, England, where I addressed delegates on our shared challenges, including the impact of AI and securing fair compensation.

Along with AFM Vice President from Canada Allistair Elliott and Symphonic Services Division (SSD) Director Rochelle Skolnick, I attended the FIM 23rd Congress in Geneva, Switzerland. At the congress, I was elected as a FIM vice president with four other musician union leaders from around the world.

During October, we participated in “Music in the Digital Age: Streaming and AI” in Greece. The gathering hosted by FIM and APOLLON (Greek Musicians’ Collective Management Organisation) brought together artists, industry professionals, legal experts, policymakers, and more to shape the future of music rights. Our involvement in the International Federation of Musicians (FIM) is not merely an idealistic goal—it is a strategic imperative. We are actively working to establish worldwide standards for consent, compensation, and credit for all artists. 

We saw a clear demonstration of the power of our national and international relationships during the challenging Broadway negotiations in October. We worked closely with our Actors’ Equity Association allies, providing mutual support as both our unions nearly went on strike. Critically, we received powerful letters of support from both the MU and FIM—a testament to the strength and immediate value of our transnational alliances.

Building on this momentum, in November, I met with the leadership and musicians of the Jamaica Federation of Musicians and Affiliates Union (JFMAU). This initial meeting was very interesting, and I look forward a collaborative relationship with our neighbors in Jamaica, with more meetings already planned. Artists worldwide are all bound by a shared, existential threat to the profession and an urgent need to push for protections for all musicians.

Looking Ahead to 2026

Closer to home, we are preparing for the 103rd AFM Convention to be held June 20-23 in Canada’s beautiful capital city of Ottawa, Ontario. This is the first convention held in Canada in more than 50 years. If planning to attend, now is the time to ensure your passports are current as the process can take several months. (Additionally, passports should be valid for six months after your date of travel.) More details will be forthcoming from the Federation in January.

In addition to being a convention year, 2026 will also be busy with critical negotiations. Talks for a successor Integrated Media Agreement (IMA) with symphonic media employers began in November. The IMA is vital, covering more than 8,000 orchestral musicians who work under locally negotiated symphonic agreements. The initial conversations have been productive, but we are currently working through several difficult issues. Negotiations will resume in 2026, and I am confident that we will reach a progressive agreement that benefits both the orchestras and the musicians.

Also on the forefront are negotiations for a successor Sound Recording Labor Agreement (SRLA), set to begin the second week in January. This agreement covers the essential terms and conditions under which musicians are hired to produce sound recordings, and it is one of the most significant agreements for professional recording artists. Negotiation preparations have been ongoing for several months and have included a bargaining group survey to identify priorities, Contract Action Team (CAT) meetings to develop and refine our demands, and open forum member meetings that began this fall.

One centerpiece of the SRLA negotiations will be consent, compensation, and credit for the use of musicians’ tracks in machine learning. In November, AFM leadership met with a contingency of independent recording musicians to discuss how they will best be served as we negotiate a progressive agreement.

In Conclusion

As 2025 draws to a close, I look back with immense pride on the progress we’ve made. The solidarity we’ve seen is inspiring, especially as we stand united against anti-union challenges and an unsettling political climate. I remain committed to strengthening these international ties and working to secure protections for our US and Canadian musicians.

Thank you for your dedication, solidarity, and support this year. I wish you and your loved ones a joyful holiday season filled with peace, music, and celebration.

As I write this column, I am preparing to travel to Athens, Greece, for an important conference that will discuss artificial intelligence (AI) and streaming on the global stage. “Music in the Digital Age: Streaming and AI” is an international gathering that brings together artists, industry professionals, academics, journalists, legal experts, policymakers, and technologists to study the future of music rights.

Creative industries worldwide are being reshaped by the rapid rise of AI-generated content and the dominance of streaming platforms. As musicians, we join other creatives who face unprecedented challenges as revenue streams are disrupted and legal frameworks have not kept pace. The conference will provide me with an opportunity to explore, with other leaders in our global creative economy, how performers, unions, and collective management organizations (CMOs) can adapt, negotiate, and shape a better future. I will provide a synopsis next month.

Preparations for negotiating a successor Sound Recording Labor Agreement (SRLA) with the major labels continue. Details of this agreement covering musicians hired to produce sound recordings was the subject of last month’s column. We are asking for member input and support as we work toward a progressive agreement. I will keep you informed as negotiations develop.

Strikes Averted on NYC Stages

October has been a busy month for Broadway negotiations with AFM musicians and actors threatening strikes over stalled contracts with The Broadway League. Both the AFM Local 802 and Actors’ Equity Association began negotiations in August but had seen little progress by mid-October.

The League had offered unacceptable wages along with reduced benefits and jobs, yet these workers risk their health and safety, while sharing their talents, so the shows can go on. Both Local 802 and Equity demanded that their members be treated with dignity.

While Broadway pit musicians represent a small fraction of AFM membership, what happens on Broadway reflects what is happening in theaters in North America and Puerto Rico. These negotiations have implications for musicians working in the theatrical trade industrywide, as well as other entertainers. Their priorities—livable wages, fair work rules, and health care—are important to all working musicians.

The struggle of Broadway musicians is a cause close to my heart, as I played trumpet in Broadway shows during the early years of my career. I served for many years as a member of the contract negotiation team for the Broadway Theatre Committee, as president of Local 802 (New York City), and as a member of the AFM Pamphlet B and Short Engagement Touring Theatrical Musicals agreement.

More than 14,000 members of the public signed a letter of support for Broadway musicians and actors, recognizing the humanity of workers and the value of their labor, and promising not to cross the picket line in the event of a strike.

The letter began: “I am a Broadway supporter, someone who loves spending my time being transported by the exciting, moving, and often magical worlds created on stage by the most talented artists in the world. The actors, musicians, stage managers, and everyone else who create these experiences eight times a week are why I spend my money on tickets, show after show.” It continued with a pledge of solidarity with the musicians, actors, and stage managers who make Broadway the best theater in the world.

The AFM received letters of support from elected leaders, including New York City and New York State politicians, as well as bipartisan members of Congress. They all recognized the cultural and economic contributions of Broadway musicians. (See article on page 6.)

These important negotiations were also watched internationally, with letters of support coming from both the British Musicians’ Union and the International Federation of Musicians (FIM). The FIM letter read, in part: “We commend your steadfast dedication to securing fair wages, stable health care, job security, meaningful employment, and the safeguarding of vital benefits for all musicians. The demands you have raised—reflecting the urgent need for remuneration that aligns with Broadway’s success, strong and reliable health benefits, protection against reductions in orchestra minimums, and stabilizing freelance musicians’ income—are entirely justified and align with the core principles we advocate for professional musicians worldwide.”

FIM’s willingness to stand with us shows that the fight for dignity, fair wages, and secure working conditions for musicians transcends borders. The international music community was united in support for this cause. The world was watching as we urged The Broadway League to recognize the artistic and economic contributions of these incredible artists and negotiate a fair agreement.

On October 18, Equity announced it had reached a tentative agreement on its Production Contract with the League after an all-night negotiating session. Al Vincent, Jr., Actors’ Equity executive director and lead negotiator, said they would now bring the deal before their members for ratification and that they were putting their “full support behind Local 802 as they work with the League to reach a deal that averts a strike.”

Less than a week later, on October 23, Local 802 Broadway musicians announced that a tentative agreement with the League had been achieved after another all-night session, thereby averting a planned strike.

Meanwhile, singers, dancers, and staging staff of the American Guild of Musical Artists (AGMA) have been bargaining for a new contract with the New York City Ballet (NYCB) since May. Their current contract expired August 31, and they are now performing without one. AGMA has been negotiating in good faith, and while they have seen some progress, management’s current proposal does not recognize the value of the performers’ work or even meet the rising cost of living in New York City.

An AGMA post from October 8, the evening of the Ballet’s annual Fall Fashion Gala, states, “The AGMA dancers and stage managers at the New York City Ballet are united. We remain optimistic that we can work with the NYCB so it can remain an industry leader in its treatment of artists. We’ll keep you updated as we continue pushing for a fair contract that reflects the value of our work.” The musicians of the NYCB, members of Local 802 (New York City), stand united in solidarity with these performers.

First, I must say, I am proud to see so many musicians standing up during this time of political turmoil. During the past few months, we have witnessed unprecedented attacks against due process and freedom of speech on our streets, in our classrooms, and in our workspaces, most recently with the suspension of the Jimmy Kimmel Live! show.

Now is the time to make good trouble and not to remain isolated in our homes and silent in our grief. I am proud that so many of you took up the challenge at the Musicians Against Dictators Rally in Cleveland and Labor Day marches held around the country (see page 20). We are not only fighting for our right to organize, but we are fighting for the constitutional freedoms we once took for granted.

Preparations for SRLA Negotiations

The SRLA—the Sound Recording Labor Agreement with the major labels—is set to expire on January 31, 2026. This contract covers the essential terms and conditions under which musicians are hired to produce sound recordings, and it is one of the most significant agreements for professional recording artists. Our collective goal is simple: to secure a fair, forward-looking agreement that fully addresses the realities of the modern music landscape.

We want every working musician—from independent creators to those working in major studios—to know that your voices and concerns are driving this entire negotiation strategy.

Protecting Artistry from AI Displacement—Musicians’ creative control and financial future are at stake, particularly given the rapid advances in artificial intelligence (AI) technology. AI threatens to diminish the value of human artistry, making it an urgent priority to negotiate strong protections and fair compensation.

Beyond the bargaining table, the union is providing the structure for musicians to be a leading voice in the international conversation on rights. We are actively working in Washington to ensure musicians have a decisive say in how their work is used, sampled, or imitated, advocating for strong mandates that require consent, credit, and compensation.

Expanding Economic Security and Benefits—For too long, access to critical benefits like health insurance and retirement plans has been uneven. We recognize that every working musician deserves these safety nets. Musicians are actively working to expand and improve health and welfare benefits within this contract. Furthermore, the union is actively lobbying Congress and collaborating with the AFL-CIO to advocate for a single-payer system that would provide universal relief to our members.

The Bargaining Mandates Come from the Musicians

The union is building its strategy and demands directly from musician input in order to negotiate an agreement that protects and uplifts their work in the digital age. This contract must ensure that musicians are not only protected from technological displacement but are also fairly compensated for the value their artistry generates.

To achieve this, the following steps are being taken to build the demands directly from the musicians’ ranks and ensure a contract that reflects their needs:

• Bargaining Group Survey: As the union works on priorities for the SRLA contract’s overall structure, members who have worked under previous SRLA contracts will receive a survey. The survey will help identify priorities, including questions about wages, AI protections, health benefits, workload, safety, workplace policies, and organizing independent labels. Your responses increase our power.
• Contract Action Team (CAT): This group of musicians includes voices from all sectors of the recording industry. The CAT will meet regularly to develop and refine the demands, which will be directly incorporated into our core bargaining proposals.
• Open Forums: We are launching a series of member meetings with the CAT, Electronic Media Services Division (EMSD), and AFM leadership beginning this fall. These platforms will give direct feedback to the negotiation committee and provide an opportunity for members to ask questions about the process. Our ability to secure progressive agreements that include these essential protections comes from our unity.

The AFM has the collective power and resources to negotiate with the major labels, production companies, and government entities. Together with EMSD Director John Painting, who continues to provide expertise and guidance on contract language, I am committed to securing contractual provisions that guarantee AI acts as a creative tool rather than a substitute for human artistry. This involves advocating for safeguards that protect musicians’ income and artistic legacy.

The AFM’s strength comes from our collective voice, and that voice is loudest when we create fair standards for everyone in the music industry. However, indie labels are not signatories to the SRLA contract. To close this gap, we’re launching a new initiative through the AFM Organizing Department to work directly with independent musicians, to bring awareness to the various AFM agreements that may more appropriately provide the compensation and protections they deserve.

In addition to contributing your voice through the CAT and the survey, I hope you will become an advocate for this effort. Tell others about AFM recording contracts and how they benefit and protect musicians. Invite nonmember musicians to learn more and join our union.

Your participation in the coming months will be the single most important factor in securing a groundbreaking and equitable SRLA for every working musician. Let’s build a strong contract and a stronger union, together!

As I write this column, I am headed to Cleveland, Ohio, to attend the Theater Musicians Association (TMA) and the International Conference of Symphony and Opera Musicians (ICSOM) conferences. These are the last two events of a busy conference season. I feel inspired by meeting so many officers, delegates, and union members in person this summer. The players and regional local conferences offer opportunities to hear directly from AFM officers, voice concerns, and build solidarity.

The past few months have been a blur of travel, with navigating ever-changing flight schedules and battling jet lag, while hopping between time zones posing a logistical puzzle. This summer’s travel challenges were a stark reminder that I can’t be everywhere at once. I was very disappointed to miss the Midwestern Conference due to a flight cancellation, and the Regional Orchestra Players Association (ROPA) conference because of a schedule conflict with the International Alliance of Theatrical Stage Employees (IATSE) convention.

However, sometimes tough choices must be made. The essential work of the Federation continues, and expanding our union presence and building relationships with our allies must be a priority. You have heard me say before that now, more than ever, it is crucial to build relationships with allies both in other unions and internationally. To that end, I attended the International Federation of Musicians (FIM) Congress held in June in Geneva, Switzerland, along with AFM Vice President from Canada Allistair Elliott and Symphonic Services Division (SSD) Director Rochelle Skolnick. I described this conference in more detail in my column in the August issue of the IM.

Also on the international stage, I had the honor of being a featured speaker at the British Musicians’ Union (MU) Delegates’ Congress held in Liverpool, England, in July. I updated the MU delegates on the current political and labor challenges in the US. I discussed common priorities and concerns, such as prohibitions on the export of Pernambuco, copyright issues, and the threat of artificial intelligence. It was fascinating to learn more about their processes and hear from British musicians who face many of the same challenges we do. The MU and the AFM will continue to have a close and collaborative relationship.

Returning to the US, I had the privilege of being invited to address the IATSE 70th Quadrennial Convention of Delegates. Speaking before the convention was a powerful sign of our continued solidarity, especially as we navigate common workplace issues around artificial intelligence and copyright protection. There isn’t a single sector of the entertainment industry that the AFM participates in that doesn’t include our colleagues in IATSE. It is critical that the AFM and IATSE maintain a strong relationship.

Because of a scheduling conflict with the IATSE Convention, I had to make the very difficult decision to miss the ROPA Conference. While it was disappointing not to be there, the Federation was well represented by AFM Secretary-Treasurer Ken Shirk, Government Affairs Director Ben Kessler, and SSD Director Skolnick. The SSD staff was on-site in Philadelphia, presenting a full-day workshop on negotiating for orchestras to nearly 30 delegates and local officers.

In August, this year’s Organization of Canadian Symphony Musicians (OCSM) Conference and Canadian Conference were held together in Toronto, Ontario, for the first time since 2012. It was encouraging to see many Canadian Conference leaders and OCSM delegates working together to improve our union. The gathering also celebrated the 50th anniversary of the first OCSM Executive Board.

Attending the conference in Toronto provided me with an opportunity to address the inequity that Canadian musicians face when crossing the border to perform in the US. The present timetables and costs for P-2 visas are unacceptable. We will continue to push for policy change through meetings with members of Congress who have jurisdiction over immigration policy and oversight of the Department of Homeland Security. Music is an economic driver, and we must demonstrate the harm caused when shows and tours are canceled. Please continue to share your stories with us. We are listening and tirelessly working to fix this broken system.

Ahead of the Western, Eastern, Southern, Midwestern, and Canadian conferences, the Federation hosted two-day educational sessions for local officers. These sessions, led by Director of Organizing Gabe Kristal, Electronic Media Services Division Director John Painting, and Freelance Services and Membership Development Director Wages Argott, provided officers with valuable resources and a forum to exchange ideas. I couldn’t be prouder than I am right now with the level of engagement all of our AFM directors have with AFM local officers and members.

AFM Secretary-Treasurer Shirk represented the AFM at conferences this summer, along with many of our department directors. I would like to thank all the AFM directors and staff members who also spent much of the summer traveling. Our staff returned from player and local conferences tired but energized, with many ideas for improving conditions for locals and members.

September brings with it a return to a more regular schedule, but the work doesn’t stop. In fact, it’s ramping up with the start of new negotiations. The AFM International Executive Board meeting this month will be an opportunity to regroup and strategize following our busy summer. A major focus of our agenda will include preparing for the upcoming Symphonic, Opera, and Ballet Integrated Media Agreement and Sound Recording Labor Agreement (SRLA) negotiations.

This is a critical moment for our union and our members as we strive to secure a strong agreement that addresses the economic realities of today’s music industry, including issues of streaming royalties, residuals, and the use of new technologies. We are committed to fighting for a contract that protects and elevates the work of our professional recording musicians.