In academic research on popular music, the framing by musical genres and styles such as ‘Rock’, ‘Jazz’, and ‘Electro’ often seems obvious to social sciences scholars. The history, aesthetic features, and boundaries of musical idioms are major concerns for cultural studies, and the notion that musical styles shape the professional musical landscape is commonly accepted. This article is based on a survey involving 125 respondents in French-speaking Switzerland. It combines network analysis based on musical pairings during the year before the survey, with a typical socio-economic approach to understanding the features and resources of musicians. We demonstrate that the conventional approach of classifying musicians by ‘musical styles’ is not the most effective way to understand the structure of the musical occupational group. Instead, work pairings in music, and more broadly, sub-networks that emerge within our population, effectively group musicians according to their ‘professional style’ rather than their ‘musical style’. The focus is not on playing ‘Rock’, ‘Pop’, or ‘Jazz’, but rather on performing original compositions or covers, and whether one is a unique creative artist playing concerts or a service provider performing for entertainment gigs.