As the nation digests the budget and ministers go out hyping its initiatives, the nightlife business, which revolves around live entertainment, remains abandoned.

Nightspots have been among the hardest hit by social distancing measures, but have been left behind in economic recovery plans even as the extensive collapse of such establishments loom.

This sector is important in terms of its economic footprint, employment and the dynamics that vary across sub-sectors. The financial ramifications have been severe with venue-based activities and the related supply chains most affected.

The forsaken owners, particularly of nightclubs, pubs, resto-bars and karaoke lounges, are engulfed by a sense of anger and frustration at being ditched.

They see other sectors moving ahead while they continue to bleed financially.

They are agreeable to strict Covid-19 safety protocols to operate, but nobody is looking their way. They want clarity, such as under what circumstances they can operate, but are shunned.

Some wish to reinvent their businesses but there are no government measures such as simplifying the application process to help them transit to new operations and areas.

Others want to exit the business but are conscious the move will create more problems and higher unemployment. Landlords and tenants are at a loss over how to preserve their businesses in time of crisis.

There is no official data on the number of outlets that have closed because no one keeps track.

Are establishments that serve liquor being crippled because they are viewed as a sub product of alcohol?

In the mix are entertainers on the live circuit – the helpless, lost and depressed artistes who have faced misery at every corner since the Covid-19 outbreak eight months ago.

For the artistes and employees of support services to the nightlife industry, any light at the end of the tunnel could well be that from an oncoming train.

The RM15 million allocated to the Cultural Economic Development Agency (Cendana) under the budget is not meant for live musicians, singers, actors and behind-the scene workers affected by the pandemic.

Suggestions to allot some of the money from Cendana to the struggling artistes do not address their insecurities and concerns.

After months of upheaval and suffering emotionally, the artistes don’t need to be told “time will heal” and be given a paltry one-off payment.

Time doesn’t heal, it just passes. Healing requires action, not passivity.

Malaysia’s distressed creative assets and entertainment sector support workers need jobs.

One way they could get back to work is to initiate the re-opening of nightlife outlets, complete with Covid-19 safety rules, under a pilot programme.

The participants could be monitored over a period of between three and six months to assess the viability of the scheme.

The venues could be in neighbourhoods and communities where there isn’t a worrying coronavirus problem.

Local authorities could invite venue owners to pioneer the project.

Naturally, a pub for instance, would not be in its original form but a soloist or duo could provide the entertainment under strict guidance while sale and consumption of alcohol could stop at 10pm.

The success of the pilot project does not mean nightlife will be back in full swing because the robust safety guidance is a work in progress.

The nightlife industry will not return to its old form for a considerable period, maybe never, but without a plan businesses and jobs will be crushed.

The bottom line is that the government needs to listen to a wider cross-section of voices from all corners of Malaysia and every part of life.

The views expressed are those of the author and do not necessarily reflect those of FMT.