Résumé
The music industry, although not a recent activity, has been under new configurations since digital platforms and recording tools became popular among freelance musicians. The emergence of new artists in this market makes us think about how subjects are mobilized to deal with these devices and, more than that, how contact with the new labor front enhances informal work. Through a theoretical essay that correlates the concepts of "shock doctrine" (KLEIN, 2 2007) and "neoliberal understanding " (FOUCAU, 2001) with musical work, it is sought as an autonomous musician to incorporate neoliberal behaviors and discourses. More than observing the causes and consequences of this outbreak, the movement that has been transforming a creation of itself, the entrepreneur of respect. Thus, it is intended how the artists -namely: new autonomous musicians -deal with the work of phonographic production in digital. As a focus of analysis, I sometimes use experiences of Aracaju singers, who work actively, at least in productions, the beginning of 2021, when the Aldir Blanc law, instituted during the COVID-19 pandemic, stimulated the artistic class through public notices.