Summer Conference Season: Strengthening Our Union’s Connections

September 1, 2025

Tino A. Gagliardi  -  Theatre, Touring, and Booking Division Director

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.

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