Live performers’ experiences of precarity and recognition during Covid-19 and beyond

Covid-19 devastated the ability of self-employed and freelance live performers working in the UK’s live entertainment industries to sustain a living in an already precarious sector of employment. It also exposed the inadequacies of existing conceptualisations of precarity in allowing a complete understanding of performers’ experiences of precarious employment, particularly during such a crisis. Combining research into precarity, recognition theory, and qualitative data on how such performers experienced and responded to the pandemic, this article identifies two forms of precarity they experienced: socioeconomic and recognitive. In doing so, it contributes to the sociology of work by demonstrating how these two modes of precarity generated considerable operational and existential challenges for performers while extending the conceptualisation of precarity in such a way as to offer a more nuanced understanding of its impact, not only on the livelihoods of those undertaking it but also on their work identities and sense of self.