The Freelance Pool Is Shrinking

Every conversation about the labor shortage lands on the same false choice: eat the rising freelance rates and hope the pool refills, or start converting show ops to full-time staff and eat the overhead instead. Both are wrong moves. The pool isn’t refilling on its own, and building full-time crew for show operations defeats the entire point of running a lean production company. Your overhead should live in admin, not in bodies you’re paying to sit idle between bookings.

The data explains why the pool is shrinking, not why the freelance model itself is broken. Nearly nine in ten event professionals say the labor shortage is directly affecting their events, and the driver isn’t a pandemic hangover working itself out. It’s a generational shift: younger skilled workers are choosing full-time employment with benefits over flexible gig work, the reverse of what the industry assumed when it built its staffing model around a deep freelance bench over the last decade.

That’s a real supply shift. It is not proof you should abandon the bench model. It means the freelancers still willing to work the gig side are becoming a scarcer, more contested resource, and the owners who get first call on the best of them are the ones who win the next few years. Everyone else is going to be scrambling a call sheet two weeks out, every time, paying premium rates for whoever’s left.

So the real question isn’t full-time versus freelance. It’s what makes a freelancer pick up your call before a competitor’s, in a market where they have more leverage than they’ve had in a decade.

Pay above scale isn’t overhead, it’s retention insurance for a bench you don’t carry on payroll. Booking cadence matters more than any single rate: a tech who gets twenty calls a year from you doesn’t need your benefits package, they need to know you’re a reliable source of income, and that beats a slightly higher one-off rate somewhere else. Payment speed is a real lever too. Net-7 versus net-30 sounds like a back-office detail until you realize freelancers are choosing who to work for based on who pays them fastest, not just who pays them most. And the owners treating their best freelancers as season-long relationships, checking in between gigs, giving first right of refusal, remembering what they’re good at, are the ones building a bench competitors can’t poach.

The instinct right now is to panic about rising day rates. Rates rising isn’t your problem. Losing your best freelancers to a competitor who calls them first and pays them faster is your problem. Fix that, and the labor shortage stops being a shortage. It’s just a market you’re better positioned in than everyone else still treating freelance talent like a commodity instead of a relationship worth protecting.

The Three-Part Framework for Making AI Actually Useful

Most conversations about AI start in the wrong place. Which platform should we use? Which model is better? Which tool should we buy? What can we automate? Those questions matter eventually, but they are not usually the reason companies struggle to get useful results from AI. In his AI workshops at Jumpstart Vegas, Mark Wells argued that the bigger problem comes much earlier. Most businesses have not captured enough of what they already know for AI to do much with it. The useful framework he offered was simple: capture, context,

Read More »

You Already Know Your Next Best Client. You Just Haven’t Asked.

Most live production company owners treat new business as a single event: send the proposal, win the job or lose it, move on to the next name on the list. Karl Becker led two sales sessions at Jumpstart Las Vegas this July, and both were built around taking that idea apart. His argument was that almost nobody arrives ready to buy the moment you meet them, and the reason so many pipelines feel thin isn’t a shortage of prospects, it’s that most owners are only paying attention to the very

Read More »

What a Used Car Salesman Can Teach You About Your Next Proposal

The AV industry has spent years complaining that clients treat production services like a commodity. Then we hand them proposals that make it almost impossible to evaluate anything except the final price. A typical proposal may include dozens of pages, polished renderings, equipment descriptions, labor categories, bundled services, list prices, and multiple layers of discounts. The document looks substantial, but the client is often left with a basic question: What am I actually paying for? The experience is not that different from shopping at a stereotypical used car lot. There

Read More »

Subscribe

* indicates required