Connection as Infrastructure: Lessons from a Statewide Listening Tour of Oregon's Music Communities6/17/2026  Participants gather after a MusicOregon listening session in Bend, Oregon, exchanging ideas, making connections. Photo by Cheri Jamison. Last month, I spent a week driving across Oregon as part of a statewide listening tour with MusicOregon. We met with musicians, venue operators, festival producers, educators, economic development directors, tourism professionals, arts leaders, and others who help make local music scenes possible. Before we started, I had a set of assumptions about what we’d hear. I expected conversations about funding (or lack thereof). I expected concerns about audiences, rising costs, and the challenges of earning a sustainable living in music. And yes, those topics came up everywhere we went. But after conversations with over 100 people across the state, the strongest message wasn’t about grants, venues, audiences, or government funding. It was about connection. People don’t just need resources; they need ways to find one another. They need ways to share information, collaborate, and feel part of something larger. In other words, what many communities were asking for wasn’t another program or initiative. They were asking for infrastructure. Not physical infrastructure, but social infrastructure in the form of connection. Connection as infrastructure Most people think music ecosystems are built from artists, venues, festivals, rehearsal spaces, audiences, and funding sources. Those things matter. But what I heard repeatedly was that many people felt disconnected from the larger network of musicians, organizations, and opportunities beyond their immediate community. Most participants had a strong understanding of what was happening locally. They could tell us which venues were thriving, who was struggling, and what the local scene felt like. They understood their community's challenges, strengths, and opportunities. What many lacked was visibility into what was happening elsewhere in Oregon. Some had never considered touring outside their region. Others were curious about opportunities in neighboring communities but didn't know where to start. Many wanted simple tools: a directory of musicians and venues, a place to ask questions, or a way to see what was happening across the state. In most places, there wasn’t a strong unifying force for the broader music ecosystem; people were largely creating their own opportunities when none existed. The desire wasn’t necessarily to be part of a large centralized organization, or to be told what to do, but to strengthen and better connect what is already there. It’s powerful just to show up. There’s a lesson I’ve heard many times about children and school performances: they remember who showed up. More than what was said, more than what was given, they remember who was there. I was reminded of that throughout the tour. In community after community, people expressed gratitude that someone had taken the time to travel to their town and ask how things were going. When we asked what it would take to build trust with MusicOregon, many didn’t offer a list of demands. Instead, they said some version of: “You came here.” “You listened.” “You cared enough to ask.” That mattered. Particularly in smaller communities, there was a sense that they are often overlooked in statewide conversations. Simply showing up created trust in ways that no survey or email campaign could. The tour also reinforced how much value there is in convening. In nearly every session, people introduced themselves to someone they had never met before, despite working in the same community. Musicians exchanged contact information with venue operators. Festival organizers discovered potential collaborators. People swapped ideas, resources, and opportunities. At one point, I found myself watching participants exchange business cards while saying some version of, “Wait, you do that? How do we not know each other? We should talk.” The energy in those moments was unmistakable. Not because anyone was solving every problem in the room, but because people were discovering they weren’t alone. In an era when so much work happens online and isolation is common, gathering in person still has real power. Even for those who don’t consider themselves extroverts, there is something energizing about being in a room with people who share your challenges, ambitions, and passion. You leave with a sense of solidarity. A sense that your struggles aren’t unique. A sense that someone else understands. What struck me most throughout the week was the pride people have in their communities. There was no shortage of challenges. We heard about shrinking opportunities, economic pressures, and barriers that make it difficult to sustain live music. But we also heard stories of people creating opportunities where none existed by organizing events, building venues, supporting artists, and finding creative ways to keep local music alive. The spirit wasn’t one of waiting to be rescued. Rather, it was one of independence, resilience, and local problem-solving, reflecting Oregon’s frontier ethos. What many people wanted wasn’t someone to come in and tell them what to do. They wanted stronger connections to one another. The listening tour reinforced something I’ve observed throughout my career, whether running a venue, consulting with nonprofits, or facilitating strategic planning processes: People often think organizations create community. More often, community creates organizations. The most important work isn’t always building something new. Sometimes it’s helping people find each other. Sometimes it’s creating spaces where conversations can happen. Sometimes it’s simply showing up. And sometimes, that’s enough to remind people they’re part of something larger than themselves. The full MusicOregon report on this Listening Tour will come out in July 2026.
Note on process: This article is based on my direct experience and perspective. I used AI tools to help edit and refine the writing.  In late March 2023, I was a guest speaker for University of Colorado, Denver's class on "Music Cities'' (via Zoom), alongside Meara McLaughlin (MusicPortland's Executive Director). We shared about the unique aspects of the Portland music scene, music community, and what we're doing to make Portland a better place to be a music industry professional.
In a way, it was a pitch to these young professionals to come live, work, and play here. Come be part of our music ecosystem and community! First, I shared my professional background: I am an Arts and Nonprofit Management Professional with more than 10 years of experience in strategic planning, streamlining operations, and community outreach. I earned my Master’s degree in Psychology from the University of Santa Monica, where my thesis focused on helping performers overcome stage fright and develop other skills for peak performance. I also graduated from the University of Southern California’s Thornton School of Music, with my Bachelor of Music degree in opera vocal performance. After graduating, I was hired at Long Beach Opera, as the primary singer for their Educational Outreach program where I sang for 7 years, while also working in the nonprofit sector. In 2015, I went into arts administration and became VP of Operations for an LA-based booking agency with a roster of artists (from rock bands to classical string quartets to Global dance troupes), booking national and international tours. I’ve served on the advisory board of the Arts Council of Johnson County. I’ve also offered career coaching for performing artists. Last year, my husband and I moved to the Portland Metro area and got connected with MusicPortland. Over the last several months, Meara and I worked together to manage the Oregon Music Census, gathering data for the first-ever benchmark economic study for the Commercial Music Industry and Live Performance industries statewide. This study is another step to strengthen Portland as a music city and Oregon as a music state! “A Music City, by its simplest definition, is a place with a vibrant music economy,” according to IFPI in their 2020 report on The Mastering of a Music City. “There is growing recognition among governments and other stakeholders that Music Cities can deliver significant economic, employment, cultural and social benefits.” “Music Ecosystems” is an alternative term to refer to "Music Cities," in a more accurate and inclusive way. Personally, I think "ecosystem" also better reflects the interdependent nature and intersecting business models in the music world. For now, let's consider these terms interchangeable. The Music Cities curriculum, developed and taught by Professor Storm Gloor at University of Colorado, Denver since 2019, has students examine the development and enhancement of music communities, using as templates the music communities in the city of Denver, the state of Colorado, and other cities throughout the world (such as Portland). Plus in an advanced class, students explore how investment in a city's music economy can be beneficial to the development of both a city's physical and economic landscape. Finally, students can also learn how to use music to drive local and regional tourism strategies. This concept has growing interest, funding, and research support. Nonprofit, commercial, consulting, and government/municipal entities are all getting involved to put forward the idea that Culture means business and economic impact. In fact, according to a recent report released by the Bureau of Economic Analysis (BEA), “Arts and cultural economic activity accounted for 4.4 percent of gross domestic product (GDP), or $1.02 trillion, in 2021.” This was still a year where the industry was just starting to recover slightly from the COVID-19 pandemic, so I’d expect future reports to have much higher numbers. The Oregon Music Census and economic study also showed that specifically commercial music and live performance industries were a huge economic driver and warranted greater attention and funding by lawmakers as "emerging economic sectors." Portland's music ecosystem is a unique one. We have a myriad of independent venues, artists, and music businesses that make up Portland's vibrant commercial music scene. We also have the standard “legacy arts” you may envision when you hear the term arts & culture, such as the opera, symphony, and ballet. Recently the Executive Director of The Old Church, Constance Bracewell, described Portland's music ecosystem as a “coral reef.” So much depends on it, yet you only recognize the devastating after effects when it’s no longer there. Much of society learned that the hard way during the COVID-19 pandemic. Music is part of the intricate fabric of the ecosystem that makes a community vibrant and prosperous. Research data is now proving this benefit to society and that's very exciting. In other words, music is meaningful and economically viable. Investing in music (and musicians) means better business! It’s not expendable, nor a luxury. It struck me however, as I gazed at this Zoom gallery of enthusiastic music business students and put myself in their shoes... Were we really answering the real questions in their hearts and minds?
As much as any city has to offer, there are so many things to consider when choosing a place to live (hard information, plus personal preferences). This huge decision deserves nuanced introspection, but often is made impulsively, by necessity, or unconsciously. Still, sometimes serendipity swoops in and guides you intuitively. There's room for it all, but who do you talk to about this stuff? (Hint: A neutral guide asking you quality questions may be helpful, perhaps even more than family and friends.) I felt uniquely qualified to offer my perspective because I consciously engaged in that inquiry relatively recently, made a huge cross-country move, and have been relaunching my life and career in my new home. When asked by Professor Gloor, "What advice, from any lens you choose, do you have for our students?" I shared something I only recently came to understand, one that I wish I knew as a young music professional: Career is just one aspect of life. Your personal goals and aspirations regarding lifestyle are equally important (i.e. buying a house, being close to family, nature, quality of life, etc). My career coach, Ford R. Myers, taught me, "It’s Not About The Job; It’s About Your Life," which has made a huge difference in my career approach in my new city. My “mini commencement speech” included several more poignant points on being very honest with yourself about who you are and what you want, taking care of your mental health, and doing the inner work it takes to develop the resilience you need to go into (or stay in) the music business. VIDEO: What I Wish I Knew as a Young Music Professional Improving the quality of life for artists and other music industry professionals is something about which I am deeply passionate. There are so many interpersonal and business skills needed to survive and thrive in this relationship-based industry that simply are not taught frequently enough. All of this fuels my own advocacy, engagement, and career motivation at this point. I'm grateful to know about and join a much larger network of passionate individuals involved in music cities/music ecosystems on a global scale. With all the data now showing the positive impact and economic viability of artists and music industry professionals, let's make sure empowerment, career development, and personal wellness is baked into the entire music ecosystem. |
AuthorCheri Jamison is an arts and nonprofit consultant who helps cultural organizations, creative leaders, and community partners strengthen organizational health, funding readiness, and long-term sustainability. Categories
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