Sarah Thompson

‍"Do we want the nice answer?": Behind the drum kit and the desk with one of Melbourne's music mavens
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If you've spent any time in Melbourne's music scene, you've likely crossed paths with Sarah Thompson—or at least heard her work. Whether she's behind the drum kit with Camp Cope or managing multi-award-winning rap artist Baarka, Sarah's fingerprints are all over the city's vibrant music scene.

Who knows, maybe you've picked up a record she's helped release through Poison City Records—the fiercely independent label that's become something of an institution in Australia's punk and indie scenes.

Sarah has been actively shaping Australia's independent music landscape for more than 20 years, forging a unique career path in music that spans performance, artist management, and record label operations. When we caught up with Sarah after a guest lecture in our Live Music Business class, she laughed when I asked her about the changes she’s seen in the music industry since she first started out. "It's definitely changed a lot!" she says. 

Her work with Poison City Records puts her at the coalface of Melbourne's thriving independent music community. Founded in 2002, the label is renowned for its commitment to DIY ethics and authentic artist development. With a roster that features renowned artists such as Leah Senior, Cable Ties and Flyying Colours, Poison City has also served as the launch pad for some of Australia’s most well known music exports such as The Smith Street Band, Clowns, The Bennies, and Luca Brasi.

Beyond just releasing records, Poison City has fostered a genuine community where artists have the space to create without the pressure of the major record companies. The label runs the much-loved Poison City Weekender festival that highlights and celebrates the importance of authentic music, community and family. This artist-first approach demonstrates the vital role that event production and artist development play in today's music ecosystem—expertise Sarah shared during her recent guest lecture with Industri Education students, drawing from her years of nurturing talent and running festivals.

Sarah has witnessed an ecosystem transform before her eyes. There was a time, not too long ago, where if you wanted to listen to an artist, you had to actively go to a shop and buy their record. It also meant that discovering new music involved taking a chance on an album based on a friend's recommendation, hearing new music on the radio or a music magazine review. 

The breakneck pace of technological change has revolutionised how we consume music, making more music available at lower costs than ever before and putting independent artists within reach of listeners who might never have discovered them otherwise.

"With streaming, it's really easy for bands to get their music heard these days, which is amazing," she points out with a genuine enthusiasm in her voice. "Fifteen years ago, you couldn't have someone listening to your song in the Czech Republic quite as easily as you can now." This unprecedented global reach, brought on by the advent of digital music distribution, has created new opportunities for digital marketing specialists and music distribution professionals – emerging music business roles that didn't exist when Sarah started her career.

But the streaming revolution has become a double-edged sword. While Sarah is cautiously optimistic about the opportunities that streaming has provided for artists, she’s also painfully aware of the caveats and pitfalls of a business model that is draining independent artists of a sustainable livelihood. Many of the independent musicians Sarah works with struggle to pay rent and buy food, even with millions of streams to their name – a reality that hits close to home for a label built on authenticity, DIY and community support. The digital landscape continues to evolve and has forced independent artist managers and music publishers to develop innovative revenue strategies beyond traditional models.

"We need to figure out a way to monetise this (streaming) business model that goes back to supporting the artists, so we still have them in 10 years time," Sarah explains with a tone that's genuinely hopeful.

Despite the chaos that has come with an entire business model in upheaval, Sarah remains upbeat and optimistic about the future of the music industry and the emerging artists and new possibilities that come with it, even though she has witnessed firsthand how streaming has squeezed many musicians she cares about. It could be her decades of experience riding out industry changes and trusting that the streaming situation will resolve in the years to come. There's also the daily reminder from the Poison City family that genuine passion and authentic music are too important for the music community to lose—there will always be passionate support from the true believers. And perhaps it's that punk rock ethos that's always driven independent music: when the system doesn't work for you, you create your own. Whatever the source, Sarah's optimism feels earned rather than naive, grounded in the belief that the creativity and resilience that built independent music will always find a way to adapt and flourish in whatever comes next.

When I asked Sarah what advice she'd give to people wanting to build a career in the music industry, her answer was refreshingly direct.

“Be nice to everyone you meet," she says without hesitation. "Community is the way that you're going to meet everyone that you're going to get a job with." Whether you're pursuing roles in tour management, venue operations, music promotion, or artist representation, being genuine and decent to work with remains fundamental to success. For Sarah, this isn't about networking for the sake of it—it's about building real connections with people who share your passion for music.

It's advice that captures Sarah perfectly – relationships have shaped her two-decade journey through an industry in constant flux. 

Sarah's journey shows there's no single path into the music industry—but having a solid foundation helps. For those looking to follow in her footsteps, programs like the Live Music Business course at Industri offer diplomas and associate degrees that cover the realities Sarah deals with every day: artist management, music publishing, event production, and navigating the digital landscape. Just as importantly, students develop real connections with industry professionals and gain hands-on experience that prepares them for whatever comes next in Australia's ever-changing music scene.