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How Councils Kill Culture: A Manchester Music Scene Case Study

Posted on 3 May 2025

For a city with a global reputation built on music, Manchester is playing a dangerously offbeat tune. While its legacy is still being shouted about in documentaries and tourism campaigns, grassroots music venues are being erased from the landscape in real time, with barely a nod to their historic, social, or artistic relevance. Retro Bar is the latest name to be scribbled onto the cultural kill list — a venue with 35 years of service to Manchester’s subcultures, music scenes, and creative lifeblood. And now? It’s scheduled for demolition. Because someone decided a multi-billion-pound science redevelopment mattered more than the community it will displace.

This isn’t just about a basement bar. It’s about a cultural artery being clamped shut by suits and a nefarious pattern of neglect, short-sightedness and cultural vandalism that’s unfolding across the country. It needs to be called out for what it is: a systemic issue that devalues culture in favour of sterile “progress.”

The Retro Bar Case: A Wake-Up Call Disguised as a Eulogy

Retro Bar’s impending closure in July 2025 should never have been on the cards. Not in a city that claims to champion music. Not when over 200 gigs a year have rung out from its two floors, drawing in over 20,000 punters annually. Not when it gave early stages to Frank Turner, Everything Everything and became the birthplace of The Chemical Brothers’ DJ career.

But the £1.7 billion Sister Masterplan between Bruntwood SciTech and The University of Manchester has other ideas. Ideas which, conveniently, didn’t include any meaningful protection or relocation for Retro. According to the venue team, the two sites offered as alternatives were unworkable. They weren’t offered relocation – they were offered what amounted to business funeral costs. A nod, a handshake, and a payout for winding everything down. A payout which wouldn’t cover half the costs of restarting somewhere new.

The venue team have done the legwork. They’ve scouted new locations. They’ve stayed in conversations. But conversations are meaningless when one party holds the power to bulldoze, and the other is left screaming into the dust.

The silence from decision-makers is deliberate. This is how councils kill culture: not with malice, but with omission. With selective inaction. With polite meetings, backhanded praise and a complete refusal to grasp the urgency and value of what they’re destroying.

Cultural Strategy Means Nothing Without Action

Manchester City Council has long boasted about its cultural capital. On paper, the city has a “world-class” cultural strategy. In practice, it’s handing eviction notices to the people who built its reputation. Retro Bar is one of the few remaining venues actively sustaining grassroots music in the city centre. And when you lose your grassroots, you lose your future.

Music Venue Trust has rightly pointed out the hypocrisy of councils waving the banner for music when it’s profitable or politically expedient – but refusing to legislate or advocate for the people who make it possible. The Council’s failure to intervene meaningfully doesn’t just reflect poorly on Manchester. It sends a message to every small venue in the UK: your heritage means nothing. Your impact means nothing. If we want the space, you’re gone.

And the gall of it all? The same people who want Retro gone will be the first to cite The Chemical Brothers as part of Manchester’s cultural heritage. They’ll happily slap their names on tourism campaigns, shout about local legends, and milk nostalgia for every drop it’s worth. But when it comes to doing the actual work of preserving cultural infrastructure, they vanish.

It’s not that the Council can’t protect spaces like Retro. It’s that they won’t. Because to do so would mean standing up to developers, pushing back on commercial pressure, and acknowledging that ‘regeneration’ is often demolition dressed up as progress.

Why It’s Never Just About One Venue

When venues like Retro go under, it’s easy to treat them as isolated losses. A sad footnote in the endless churn of urban development. But these closures are cumulative. They erode the connective tissue that binds music communities together. They erase training grounds, disrupt industry pipelines, and tear holes in cultural ecosystems that take decades to rebuild.

Retro Bar is an employer, training space, a platform for grassroots artists, a launchpad for national tours, a home for LGBT club nights during Manchester Pride, a rehearsal and recording space, a host to spoken word performances, film screenings and festivals. And, most vitally, it has offered all this not for profit, but because it mattered.

Everything Everything described it as a “vital training ground.” Frank Turner stressed how Retro gave him one of his first real platforms. These aren’t nostalgic endorsements – they’re statements of fact. Without spaces like Retro, scenes shrink. Talent pools dry up. And the next generation of artists has nowhere to start.

The numbers back it up. A recent Music Fans’ Voice survey revealed that nearly 94% of Mancunians want culturally significant music venues and nightclubs to be given protected status. The public wants these spaces to be preserved. But public will counts for nothing if councils and developers continue to sideline it.

We Know the Solutions. They’re Just Being Ignored.

The most infuriating part of this whole situation is its preventable nature. Solutions already exist. Councils could introduce protected status for culturally valuable music venues. They could integrate cultural infrastructure assessments into every major redevelopment plan. They could ensure viable relocation support and implement legal frameworks that give these spaces the same kind of stability given to heritage buildings and commercial tenants.

But they don’t. Because cultural spaces, especially ones associated with youth, marginalised communities, and subcultures, still aren’t seen as economically or socially essential. That’s the real sickness here. Councils are failing to understand that culture is infrastructure. It’s not an add-on. It’s a core component of what makes a city liveable, meaningful, and human.

Retro Bar’s team has done everything right. They’ve stayed in dialogue. They’ve offered solutions. They’ve rallied the community. Their crowdfunder isn’t just a desperate plea for survival — it’s a rallying cry for cultural continuity. They are not asking for a handout. They’re asking to keep doing what they do, in a new space, with dignity and support.

Conclusion: If They Can Bulldoze Retro Bar, They Can Bulldoze Anything

The demolition of Retro Bar isn’t just a threat to one building. It’s a warning shot to every grassroots venue across the UK. If this can happen in Manchester — a city synonymous with music — it can happen anywhere. And unless councils start prioritising cultural infrastructure with real, enforceable protection, we’ll keep watching our music scenes be razed to the ground.

But here’s the hope: this isn’t over. Retro is still fighting. So are its supporters. And if the outrage generated by this closure gets channelled into political pressure, we can change the tide. Music communities are used to being underestimated. But they’re also used to organising, campaigning, and surviving.

If every one of the 20,000 annual visitors donated just £2.50, Retro Bar would smash their £50,000 crowdfunding goal. Think of your donation as a democratic vote. 1 vote doesn’t matter, but if everyone parted with some digital spare change, the future of Retro Bar would be far more certain. Donate to the crowdfunder here.

Article by Amelia Vandergast

The Music Industry’s Role in Supporting Trans Rights Amid Legal Setbacks

Posted on 22 April 2025

The UK Supreme Court’s recent ruling on the legal definition of “woman” has sent ripples through society, particularly affecting the trans community. By determining that “woman” refers strictly to biological sex under the Equality Act 2010, the court has excluded transgender women, even those with Gender Recognition Certificates, from this legal category. While the ruling maintains certain protections for transgender individuals, it has sparked concerns about increased marginalisation and the potential erosion of rights.

In this context, the music industry, known for its history of embracing diversity and challenging societal norms, has a pivotal role to play. Beyond entertainment, music can be a powerful platform for advocacy, inclusion, and support. This article explores how the music industry can actively support transgender individuals in the UK, fostering safe spaces, amplifying voices, and promoting understanding. Even though the music industry and many other industries are suffering under the weight of the cost-of-living crisis, and our government seems to be actively making life more difficult for the most vulnerable members of our society, that doesn’t mean we have the right to turn away. Trans burnout is real, and the trans community needs allies more than ever. It may not be our fight, but that still doesn’t mean complicity through silence is right.

Understanding the Impact of the Supreme Court Ruling

The Supreme Court’s decision has significant implications for transgender individuals in the UK. By legally defining “woman” based solely on biological sex, the ruling excludes transgender women from certain legal recognitions and protections. This decision has been met with concern from LGBTQ+ advocacy groups, who fear it may legitimise exclusionary practices and increase discrimination.

Transgender individuals already face disproportionate levels of discrimination, mental health challenges, and violence. The ruling has already exacerbated these issues by reinforcing societal biases and limiting access to gender-affirming spaces and services. If you go on X, it’s already more of a dumpster fire of transphobia. TERFS feel vindicated after the success of the JK Rowling-funded court case. Of course they do, they feel like it’s a victory for women’s rights, but the belief that trans people were ever attempting to diminish women’s rights is a barefaced lie, a conduit for the contempt for a misunderstood minority in society. It is crucial to recognise that legal definitions have real-world consequences, affecting the daily lives and well-being of transgender people.

Creating Safe and Inclusive Spaces in the Music Industry

The music industry has long been a haven for self-expression and community building. However, it must continually assess and improve its inclusivity, particularly for transgender individuals. Creating safe spaces involves more than just open-mindedness; it requires intentional actions and policies.

Venues and festivals should implement clear anti-discrimination policies, provide gender-neutral facilities, and ensure staff are trained in inclusivity and sensitivity. Organisations like the Musicians’ Union offer resources and support for LGBTQ+ musicians, including safe space services and legal assistance.

Moreover, representation matters. Booking transgender artists, featuring their stories, and promoting their work can foster a more inclusive environment. Initiatives like TransForm Music in Wales highlight the importance of creating spaces specifically for transgender and non-binary musicians, providing platforms for their voices and experiences.

Amplifying Trans Voices Through Music and Media

Music has the power to tell stories, challenge norms, and inspire change. By amplifying transgender voices, the industry can contribute to greater visibility and understanding.

Artists can use their platforms to address transgender issues, collaborate with transgender musicians, and support LGBTQ+ causes. Media outlets and music publications should prioritise coverage of transgender artists, ensuring their work and perspectives are shared widely.

Educational initiatives, such as workshops and panels, can also play a role in raising awareness and fostering dialogue. By engaging audiences in conversations about gender identity and inclusion, the music industry can help dismantle prejudices and promote empathy. So much of the media representing trans people has portrayed them in a negative light. The Disclosure documentary tracks how, throughout history, trans people have been depicted as nothing more than the butt of jokes, horror-esque villains or victims. It’s time to ensure representation is realistic, depicting the true diversity of the trans community and celebrating what they individually bring to society.

Advocating for Policy Changes and Support Systems

Beyond individual actions, the music industry can advocate for systemic changes to support transgender individuals. This includes lobbying for inclusive policies, supporting organisations that provide resources and assistance to the transgender community, and investing in programs that address the unique challenges faced by transgender musicians.

Collaborations with advocacy groups can amplify efforts to promote equality and challenge discriminatory practices. By uniting voices and resources, the industry can contribute to a broader movement towards inclusivity and justice.

Conclusion

The Supreme Court’s ruling presents a challenge to the progress made in transgender rights in the UK. However, the music industry has the opportunity—and responsibility—to respond with solidarity and action. By creating inclusive spaces, amplifying transgender voices, and advocating for systemic change, the industry can play a crucial role in supporting one of society’s most vulnerable communities.

In times of adversity, music has always been a source of comfort, resistance, and unity. Let it continue to serve as a beacon for inclusivity and a catalyst for change.

Article by Amelia Vandergast

Isolation in the UK: How Politics Has Tainted the Touring Circuit

Posted on 17 April 2025

For decades, the UK’s live music scene hasn’t just been a domestic force to reckon with – it’s been an unstoppable export. We’ve seen artists go from sticky pub stages in Salford to sold-out stadiums in Seattle. But now, as political borders thicken and international tensions ramp up, the dream of breaking out across the Atlantic or even the Channel is starting to curdle. Touring has always been hard graft, but it used to feel possible. These days, it’s starting to feel more like a political obstacle course than a rite of passage.

From the layers of Brexit-induced bureaucracy to the casual criminalisation of UK musicians entering the US under Trump-era policies, it’s becoming clear that if you’re a UK artist with international ambitions, your government isn’t exactly batting for you. With musicians getting hauled off planes, grilled at customs, and sometimes falsely arrested just for carrying a guitar, it’s less about where we went wrong and more about whether there’s any way out of this touring hellscape.

The American (Border) Nightmare

If you thought clearing US customs was already a stressful endeavour, spare a thought for the UK musicians who’ve been arrested under false pretences since Trump resumed the presidency. It’s not just a case of awkward questions at passport control anymore – we’re seeing legitimate artists, who’ve followed the rules, getting thrown into detention over supposed “work visa” violations, even when they’re on promotional visits or have everything in order. The policy might not be written in neon, but the treatment suggests that British musicians are being viewed as threats, not guests.

Trump’s policies have always leaned towards heavy-handed nationalism, but the impact on the arts has often flown under the radar. That’s no longer possible. With reports mounting about musicians being wrongfully detained or sent back on the next flight out, there’s a worrying precedent forming – one where artistic exchange is being flattened under the weight of political paranoia. For emerging artists trying to make it in America, the cost isn’t just financial – it’s psychological. Who’s going to book a showcase gig in Brooklyn if there’s a chance they’ll be arrested before soundcheck?

Even with the correct documentation, British bands are facing a roulette wheel of subjective decisions made by under-trained and over-empowered border officials. It’s become a gamble where the stakes include missed shows, lost money, damaged reputations, and sometimes, the end of a tour before it begins.

Europe Isn’t Much Better

While America’s customs chaos is grabbing headlines, Europe’s post-Brexit touring terrain isn’t exactly welcoming either. Since we gleefully cut ourselves adrift from the EU, artists now face a labyrinth of red tape that can strangle even the most meticulously planned tour. Carnets are the new boogeymen – the bureaucratic bundles of joy that require artists to document every bit of gear they’re taking with them, right down to the last guitar pedal. Forget your socket adapters at your peril.

Once you’ve waded through the paperwork, you’ll still need to contend with snide border checks and ‘random’ searches that suddenly feel less than random when they keep happening at the same checkpoints. European promoters are equally frustrated, but it’s the bands bearing the brunt – forced to hire customs consultants, fork out for permits, and absorb the extra costs without passing it onto already cash-strapped fans.

There’s also the classic logistical mind melt of sending merch overseas. For small artists selling a few limited-edition vinyls to French or German fans, postage has become a joke. With customs charges slamming fans and delays rendering delivery dates meaningless, some bands are ditching EU fans altogether to save themselves the grief. Touring Europe used to be a way to break even, build an audience, and make memories. Now it’s an expensive endurance test.

Staying Home, Staying Sane

With all this considered, it’s little wonder that so many UK bands are choosing to stay on home turf. You might still break down on the M6 or lose your voice halfway through a set in Hull, but at least you won’t end up in a holding cell in New Jersey or get turned away from the Netherlands because someone misread your carnet.

The cost of living crisis hasn’t skipped past musicians either. When every litre of fuel feels like it’s been blessed by Midas and venue fees are climbing, why risk international chaos when you can play to a loyal UK crowd who’ll buy a pint, a t-shirt, and tell their mates? The problem is, that safe choice often means playing to the same audience over and over again, limiting growth and long-term sustainability.

For the artists who thrive on international stages – the ones who built their fanbases city by city in Europe or the States – this isolation is more than a logistical nuisance. It’s an artistic prison. Global exposure isn’t just about streaming numbers; it’s about building real communities in real places. When artists lose access to those stages, they lose a major part of their identity.

What Now? What Next?

So, where does this leave the UK music industry? In a bit of a mess, to put it bluntly. The question isn’t how we got here – that’s painfully obvious to anyone who’s been paying attention since 2016. The real question is whether there’s a way out.

There have been campaigns. There have been petitions. There have even been half-hearted murmurs from the government about making things easier for musicians. But so far, those murmurs haven’t translated into policy change. It feels like the government is far more interested in regulating protest songs than supporting the people who write them.

Some artists are adapting by taking fewer band members abroad, using session musicians overseas to cut complications, or turning to digital performances and livestreams. Others are forming alliances with European artists to navigate the mess together. A few are risking it all and touring regardless – sometimes without permits, sometimes with just enough documentation to squeak by. It’s not ideal. It’s not sustainable. But when has music ever been about playing it safe?

There are also grassroots collectives springing up to support touring musicians, offering guidance on paperwork, pooling transport and gear to cut costs, and sharing contacts to avoid dodgy agents or hostile promoters. These underground networks are doing the work that the government refuses to do, but even they can only go so far without structural change.

Conclusion: The Music Is Willing, the Borders Are Not

The UK has never had a problem producing talent. What it’s got now is a logistical nightmare that’s clipping the wings of its artists before they’ve even left the ground. Touring has always been a slog, but it used to come with the promise of growth. Now, it comes with spreadsheets, legal risks, and border interrogations.

We’re past the point of gentle frustration. This is an industry-shaking problem, one that punishes creativity and encourages insularity. And while fans will still show up, buy merch, and shout lyrics back to the stage, we’re all losing out when artists are

Article by Amelia Vandergast

High Suicide Rates in Music: The Cost of Creativity and Calls for Reform

Posted on 31 March 2025

The rising suicide rates among musicians have shocked the industry into confronting its long-neglected mental health crisis. Research highlighted in The Guardian reveals how pervasive mental health struggles are within the artistic community, painting a grim picture of an industry where depression, anxiety, and unresolved trauma are widespread. At the same time, psychologists have urged the sector to provide better mental health support to artists, as outlined in London Daily News. While these calls for change are promising, the broader context of the issue—and the deeply personal battles faced by artists—reveals a more complicated picture.

Many musicians turn to art not just as a career, but as a lifeline. For some, creating music is a way to process trauma, manage mental health challenges, or bring meaning to life’s more painful experiences. But when these same individuals are thrust into a competitive, high-pressure environment, the weight of these unresolved issues can become unbearable. As the industry grapples with how to move forward, it must reckon with the fact that the very qualities that drive artistic expression often leave individuals vulnerable to a range of mental health difficulties.

The Fragile Path of Artistic Minds

It’s no secret that creative individuals often experience a heightened sensitivity to their emotions. Many musicians have lived through personal hardship, trauma, or long-standing mental health challenges before stepping into the spotlight. Studies consistently show that artists are more likely to struggle with depression, anxiety, and other mental health conditions than the general population. The reasons for this are complex: heightened emotional awareness, the pressure to maintain authenticity while meeting public expectations, and the isolating nature of the creative process all play a part.

Music, for many artists, serves as an emotional release—a way to channel pain into something productive. However, relying on creativity as a form of therapy can only go so far without proper support. When coupled with the stress of an unforgiving industry, even the most resilient individuals can find themselves overwhelmed. The tragic result, as the data makes clear, is that too many talented musicians find themselves unable to see a way forward.

An Industry Ill-Equipped to Support

The music business has long been known for its relentless demands. From touring schedules that leave little time for rest, to the unyielding expectation of public engagement via social media, the industry’s structure often exacerbates existing mental health challenges. For independent artists who lack label backing, the strain is even more severe. Without the resources for professional help or the support of a dedicated team, many musicians are left to fend for themselves.

This is where the calls for reform come in. Psychologists and mental health advocates have urged the industry to provide accessible, affordable mental health services tailored to artists’ unique needs. But implementing these changes on a large scale is no simple task. For independent musicians—who make up a vast portion of the creative workforce—the prospect of receiving adequate support remains slim. Financial barriers, stigma, and a lack of clear pathways to care continue to prevent many from accessing help.

Creativity as a Double-Edged Sword

What makes this crisis particularly heartbreaking is the fact that music itself often stems from an attempt to heal. Artists who have experienced trauma frequently turn to songwriting, performing, or composing as a way to process their emotions. This act of creation can be profoundly therapeutic, not just for the artists but also for their audiences. The shared vulnerability and honesty in their work provide solace and connection for countless listeners.

However, while music can be a powerful coping mechanism, it is not a substitute for professional mental health care. The Guardian article’s dismissal of creativity as a valid emotional outlet overlooks its importance in the healing process. That said, it’s clear that art alone cannot carry the weight of severe mental health issues. Without systemic changes and accessible support networks, the cycle of artists turning to creativity for relief—only to be crushed under the pressures of the industry—will continue.

A Way Forward

The recent calls for better mental health services are a critical step, but they must be accompanied by meaningful, industry-wide changes. It’s not enough to acknowledge the problem—tangible solutions must follow. This includes establishing affordable therapy options, creating safe spaces for open dialogue about mental health, and addressing the systemic issues that make the industry so damaging in the first place.

Most importantly, we need to remember that the people behind the music—their struggles, their pain, and their resilience—are just as vital as the art itself. By fostering an environment where musicians can safely process their emotions, we not only improve their well-being but also ensure that they can continue to create the music that inspires and heals so many. The world depends on their creativity; it’s time we offered them the care and understanding they deserve.

Conclusion

The intersection of creativity and mental health is complex and deeply personal, and the music industry must do more to support those navigating this precarious path. The high suicide rates among musicians are a stark reminder that the sector needs systemic change. By recognising the unique vulnerabilities of artistic minds and investing in meaningful reform, the industry can begin to reverse this troubling trend. Until then, we will continue to lose talented voices to a cycle of trauma, creativity, and isolation. It’s time to break that cycle and ensure that every artist can find both solace in their art and the support they need to thrive.

Article by Amelia Vandergast

Diversity vs Meritocracy: What the Music Industry Really Needs

Posted on 25 March 2025

The gender representation debate in music refuses to fizzle out, and when festival season rolls around, the same scrutiny makes the rounds again. Social media erupts with line-up graphics covered in red ink, blotting out every act not fronted by a woman or non-binary performer. The intention is always the same: to hold organisers accountable for inequality. But in aiming for fairness, are we risking meritocracy in favour of optics? And more crucially, are we asking the right questions when we demand more diversity on the main stages of male-dominated festivals, especially in genres like rock?

There’s no denying that there are institutional problems in the industry that need addressing. But the call for representation for representation’s sake doesn’t solve the deeper issues—it just papers over them. When there are already hundreds of fiercely talented female artists dominating the charts and reshaping genres on their own terms, the argument that women are being universally shunned starts to collapse under the weight of its own simplicity.

Let’s step back and actually look at what the music industry needs right now, and whether the fight for better representation is addressing the real causes of inequality—or just its symptoms.

Festival Line-Ups: Visibility or Virtue Signalling?

Each year, line-up announcements for major rock festivals are met with outrage. It’s always a similar narrative: the top slots are packed with male-fronted bands, and women are relegated to the small print. The reaction is understandable; representation matters, and the optics of a line-up send a message about who belongs in the scene. But in some cases, the demand for an equal split starts to look more like a numbers game than a push for quality.

If the goal is fairness, forcing balance without addressing the pipeline that feeds these stages ends up being superficial. Are there as many active, high-profile female-fronted rock acts currently touring as there are male bands? Possibly not. But is that a reflection of discrimination on the part of festivals, or is it a result of fewer women currently pursuing rock as a genre in comparison to others?

It’s easy to point fingers at curators, but if we want true parity, we need to ask why the representation isn’t naturally more equal—and whether manipulating line-ups to appear balanced is actually achieving anything meaningful.

Merit Should Always Come First—But the Playing Field Must Be Level

It’s possible to advocate for both meritocracy and diversity without letting one undermine the other. The music industry should always prioritise talent, originality, and audience connection over identity politics. No artist wants to get a slot because of their gender; they want to get it because they deserve to be there. And as much as organisers have a responsibility to open doors, pushing artists into spaces they haven’t earned, just to appease a demographic expectation, helps no one—least of all the artists themselves.

But meritocracy only works when the playing field is level. If women are struggling to access rehearsal spaces, gear, mentors, or even the confidence to enter traditionally male genres, then of course fewer of them will climb to the level where festival slots make sense. So while the aim should never be to artificially inflate numbers, the responsibility lies in creating an environment where anyone, regardless of gender, can thrive and compete on equal terms.

The Problem Isn’t Visibility—It’s Pigeonholing

It’s disingenuous to suggest that women aren’t visible in music. Some of the most influential and commercially successful artists of this generation are women—Taylor Swift, Charli XCX, Sabrina Carpenter, SZA, Olivia Rodrigo, Lana Del Rey. In pop, RnB, indie, folk, soul, and electronica, women are leading the charge. The genre-specific disparity in rock is real, but it doesn’t reflect a systemic shunning of female artists across the board. It reflects the entrenched cultural associations of certain genres.

Rock has long been framed as a boys’ club, rooted in machismo and mythologised male rebellion. Women in rock are not new, but they’ve always had to fight for space in a scene that was never built with them in mind. That cultural coding matters. It’s what keeps some women from even picking up a guitar. But the answer to that isn’t to shoehorn women into line-ups—it’s to reframe the genre and who it belongs to.

Artists like Nova Twins, Pale Waves, and Chappell Roan are already proving that women are reshaping rock on their own terms. The genre doesn’t need charity; it needs cultural rewiring.

Gatekeeping vs Demand: What’s Actually Holding Women Back in Rock?

For all the noise about male-dominated scenes, it’s worth asking whether gatekeeping is the main reason women aren’t headlining rock festivals—or whether it comes down to demand. The live music industry, particularly festivals, is commercially driven. Curators book what sells tickets. If an all-male headliner lineup consistently sells out faster than a gender-diverse one, that tells us something—not necessarily about misogyny, but about market forces.

Of course, those forces are shaped by decades of inherited bias. But if the goal is sustainability, we can’t ignore the economics. Pushing female rock artists to the top of bills before they have the same level of fanbase, reach or impact doesn’t challenge the status quo—it just risks creating resentment and tokenism. It would be better to invest in building those artists up through media support, radio play, playlist curation, grassroots events, and fair funding opportunities—giving them a chance to naturally reach headline potential.

If anything needs to be dismantled, it’s the infrastructure that prevents female artists from building that reach, not the headliners already sitting on top of it.

Real Diversity Goes Deeper Than Gender

The fixation on gender representation often overshadows other, equally important diversity gaps—race, class, disability, sexuality. The music industry still leans heavily towards artists who can afford to take the financial risk, who live in cultural hubs, who have the confidence and networks to navigate the scene. That’s the deeper rot that needs addressing.

Equity doesn’t mean equal numbers across every metric; it means dismantling the specific obstacles that stop talented people from progressing. In some cases, that’s misogyny. In others, it’s poverty, neurodivergence, or a lack of industry connections. There’s no one-size-fits-all solution, and trying to enforce surface-level representation won’t change the industry unless it’s part of a wider cultural shift.

What the industry really needs is to stop treating identity like a box to tick and start creating conditions where merit and representation are aligned—not at odds.

Conclusion: Representation That Isn’t Earned Doesn’t Fix the Problem

No one is arguing against the value of representation. Seeing someone who looks like you on stage or at the top of the charts is powerful. It sends a message that you belong. But if that representation isn’t earned through merit, it rings hollow—and it risks undermining the very people it’s meant to support.

The music industry needs to keep breaking down barriers—but it also needs to resist the temptation to turn identity into a marketing tactic. There’s more than enough female talent to warrant fairer line-ups without forcing the issue. The problem isn’t that women aren’t capable or interested; it’s that the industry hasn’t made it easy for them to thrive in every genre.

Diversity and meritocracy aren’t opposing forces. They can—and should—exist together. But the push for gender balance must be rooted in honest critique, not reactive politics. If the goal is a healthier, more inclusive industry, we need to look beneath the surface of the line-ups and ask what’s really stopping artists from getting the recognition they deserve.

Article by Amelia Vandergast

The Music Industry’s Role in Musicians’ Mental Health: A Critical Examination

Posted on 11 March 2025

The recent article published by The Guardian on 7 March 2025, titled “High suicide rates show music industry ‘profoundly dangerous’, researchers say,” has reignited discussions about the mental health challenges faced by musicians. The article presents alarming statistics indicating that musicians have one of the highest suicide rates among occupational groups, both in England and the United States. While the piece attributes these rates to the inherent dangers of the music industry, it is crucial to adopt a balanced perspective that considers both the industry’s systemic issues and the individual mental health challenges that artists face.

The Music Industry: A Breeding Ground for Mental Health Challenges?

The Guardian article highlights several factors within the music industry that contribute to mental distress among musicians:

Economic Insecurity: Many musicians grapple with unstable income, leading to financial stress and uncertainty.
Performance Anxiety: The pressure to deliver flawless performances can result in heightened anxiety levels.
Intense Touring Schedules: Prolonged periods away from home, coupled with demanding tour schedules, can disrupt personal relationships and lead to exhaustion.theguardian.com+2theguardian.com+2scholarlycommons.pacific.edu+2

These challenges are corroborated by other studies. For instance, a 2019 survey by the Swedish digital platform Record Union revealed that 73% of independent musicians reported struggling with mental illness, with the figure rising to 80% among those aged 18-25.

However, attributing high suicide rates solely to the industry’s environment may oversimplify a complex issue. While the industry’s pressures are undeniable, individual factors, such as personal history, genetic predisposition, and pre-existing mental health conditions, also play significant roles.

The Therapeutic Role of Music: Expression and Self-Awareness

Music has long been recognised as a powerful medium for emotional expression and self-reflection. For many artists, creating music serves as a therapeutic outlet, allowing them to process personal experiences and societal observations. This form of artistic expression can lead to (or be reflective of) heightened self-awareness and a deeper understanding of both personal and collective struggles.

However, this heightened sensitivity can be a double-edged sword. While it enables artists to produce profoundly moving work, it can also make them more susceptible to mental health challenges. The constant introspection required for artistic creation may amplify feelings of anxiety and depression, especially when combined with external pressures from the industry.

Systemic Issues vs. Individual Responsibility: A Balanced Perspective

The Guardian article emphasises the need for systemic changes within the music industry to address these mental health challenges. Recommendations include implementing a “zero suicide framework” and providing better support systems for artists.

While systemic reforms are essential, it is equally important to recognise the role of individual responsibility and proactive mental health management. Artists, like professionals in any field, must be encouraged to seek help when needed and to develop coping strategies to navigate the unique challenges of their careers.

Moreover, the romanticised notion of the “tortured artist” can be detrimental, perpetuating the idea that suffering is intrinsic to creativity. This stereotype not only stigmatises mental health struggles but may also discourage artists from seeking help. Just think about the societal backlash faced by musicians who decide to go sober to improve their mental and physical health and how this is often met with resistance by people who think that artists should live up to the sex, drugs and rock n roll stereotypes. Musicians are expected to live a life of hedonistic excess, only for music fans to act surprised when living a self-destructive life leads to an early death.

Moving Forward: A Collaborative Approach

Addressing the mental health crisis among musicians requires a collaborative effort between the industry, mental health professionals, and the artists themselves:

Industry Initiatives: Record labels and management companies should prioritise artists’ well-being by offering mental health resources, establishing reasonable work schedules, and fostering supportive environments.
Mental Health Education: Providing education on mental health can empower artists to recognise signs of distress and seek timely intervention.
Community Support: Peer support networks can offer a sense of community and understanding, reducing feelings of isolation among artists.

By adopting a holistic approach that addresses both systemic issues and individual needs, the music industry can create a safer and more supportive environment for its artists.

Conclusion

The high suicide rates among musicians are a grave concern that necessitates immediate attention. While the music industry does present unique challenges that can exacerbate mental health issues, it is overly simplistic to hold the industry solely accountable. A balanced approach that considers both systemic reforms and individual mental health management is crucial. Recognising the therapeutic potential of music, fostering open discussions about mental health, and implementing comprehensive support systems can collectively contribute to the well-being of musicians. By doing so, we not only preserve the lives of artists but also enrich the cultural tapestry they so profoundly influence.

Article by Amelia Vandergast

Brit Awards 2025: A Glorified Infomercial for the Industry’s Chosen Ones?

Posted on 6 March 2025

The Glitz, The Glam, and the Glaring Disconnect of the Brit Awards 2025

The Brit Awards 2025 came and went, and if there was one prevailing sentiment from those outside the industry’s golden circle, it was a resounding sigh. Not of awe, but of exasperation. The Brit Awards were once a genuine celebration of musical innovation, a chaotic but memorable spectacle where talent and unpredictability thrived. Now, it has all the authenticity of a corporate PowerPoint presentation, complete with pre-approved narratives (despite Jack Whitehall’s attempt at off-the-cuff banter-comedy) and an unshakable feeling that you’re watching a sanitised highlight reel of the major labels’ latest investments.

The entire event, which aired after the equally as nauseating show, Britain’s Got Talent, felt like a slap in the face to the thousands of artists struggling to survive in an industry that is buckling under the weight of the cost-of-living crisis. While grassroots venues are shutting down at an alarming rate and independent musicians are fighting algorithms for crumbs of exposure, the Brits paraded a reality where none of that seemed to matter. The night wasn’t about the state of music—it was about selling records. Sure, a few artists had a go at using their platform to try and advocate for positive progressive change, but given the setting, it felt like it was more of an attempt at virtue signalling than actual action. The crowds played along, clapping and cheering for the spectacle of benevolence, but unless anyone in the industry is prepared to fight tooth and nail to save the UK’s culture sector, words are just as empty as the promises the new Labour government made to try and get into power.

Who Needs Merit When You Have Marketing?

It has long been whispered that the Brit Awards are little more than a vehicle for major label artists, but in 2025, the machinery has never been more exposed. To break through, you don’t just need talent—you need to be hand-picked, repackaged, and relentlessly marketed. There’s a glass ceiling for anyone who isn’t ushered into the limelight by media giants, and for every emerging star who gets a shot, hundreds of equally deserving acts remain in obscurity.

The Last Dinner Party are the poster children for this phenomenon. They tick every box required for a 2025 industry darling: retro aesthetics, ethereal harmonies, and the air of an underground act—despite being anything but. Their rise felt inevitable, not organic. The same can be said for Lola Young, whose studio output is undeniably polished but whose live performance left many questioning how much of the heavy lifting is done in post-production. When the stage demands more than production wizardry, the cracks begin to show. Their voices, while strong, lacked the magnetism of genuine live talent. The carefully curated mystique shattered under the weight of expectation, and what remained was a stark reminder of just how much modern success is engineered rather than earned.

What may evade most people watching the Brit Awards is how the awards show is funded. In addition to its sponsors, such as Mastercard, the big four oligarchs of the music industry, all chip in, ensuring the best talent on their roster gets their screen time.

An Industry in Crisis, But Don’t Mention That On TV

While the awards were busy celebrating preordained success stories, the wider industry is teetering on collapse. Small venues are disappearing faster than the organisers of the Brits would like to admit, touring is becoming financially unviable for independent artists, and streaming services continue to pay peanuts. The severity of this situation failed to make it into the pristine script of the night’s proceedings. Instead, Jack Whitehall, looking like he was coked to the gills, attempted to make the event a pantomime. While this may make the awards show palatable to the wider masses, no discerning figure within the industry could ever mistake the carnival of culture capitalism for any more than a gaudy exhibition of pomp, pretension and favouritism.

The uncomfortable truth is that the Brit Awards exist in a separate reality to the actual music industry. The ceremony still operates as though we’re living in a pre-digital, pre-cost-of-living-crisis world where album sales are soaring and music is a viable career for anyone with enough talent and drive. The real world, however, tells a different story. Musicians are now expected to juggle multiple jobs just to afford the privilege of making music. Yet, for one night only, we’re meant to suspend disbelief and buy into the fantasy that everything is fine.

The Future of the Brits: A Lost Cause or Just Lost?

At what point does the Brit Awards become so disconnected from the industry it claims to represent that it collapses under its own weight? Some would argue it already has. What we witnessed in 2025 was a broadcast-friendly illusion—one where the industry’s problems don’t exist, where only a select few are invited to the top, and where the night’s real winners are the labels, not the artists.

If the Brits want to remain relevant, they need to stop pretending. They need to acknowledge the grassroots crisis, champion independent artists without token gestures, and stop force-feeding the audience a reality that only benefits a tiny fraction of the industry. Until then, it remains little more than a slickly produced advert, broadcast to remind us who we’re meant to be streaming next.

Article by Amelia Vandergast

Have Your Say: The Music Fans’ Voice Survey Is Your Chance to Shape the Future of Live Music in the UK

Posted on 25 February 2025

The Live Music Industry Is at a Crossroads—Your Voice Matters

Live music in the UK is at a breaking point. Years of uncertainty, relentless financial pressure, and a system that often seems to prioritise profit over people have left the industry in a precarious position. After Covid-19 forced venues into extended closures, many never recovered. Those that did are now struggling to stay afloat amid the ongoing cost-of-living crisis. Skyrocketing ticket prices, venue closures, the suffocating grip of dynamic pricing, and ongoing concerns over safety and accessibility have made it harder than ever for fans to support the artists and venues they love.

This is where the Music Fans’ Voice Survey comes in. Unlike the usual industry-led discussions that happen behind closed doors, this initiative is putting fans at the centre of the conversation. Whether you’re fed up with exploitative ticketing practices, struggling to afford gigs, concerned about venue sustainability, or have strong views on accessibility, now’s your chance to be heard.

With high-profile backing from names like Danny Dyer, Edgar Wright, Matt Smith, Kate Nash, Soft Play, Lambrini Girls, and many more, this is a once-in-a-generation opportunity for live music lovers to shape the future of the industry. But there’s a deadline—the survey is only open until 3 March. If you want your voice to count, now is the time to speak up.

👉 Take the survey now at MusicFansVoice.uk.

Why You Should Fill in the Survey

For too long, fans have been treated as an afterthought in conversations about live music. Decisions about pricing, venue closures, and industry policy are often made without the input of the people who actually keep the sector alive. The Music Fans’ Voice Survey is changing that.

This survey isn’t just a token gesture. It’s part of a wider effort to give fans a data-driven seat at the table, following in the footsteps of the Fan-Led Review of Football Governance. The findings will be used to influence decision-making at government level, within the music industry, and across city regions, ensuring that the future of live music isn’t dictated solely by industry giants and corporate interests.

Commissioned by Greater Manchester Combined Authority, The Mayor of London, Liverpool City Region Combined Authority, West Midlands Combined Authority, Tees Valley Combined Authority, Cardiff City Council, Belfast City Council, and Glasgow Music City, this initiative has support from some of the UK’s most influential cultural and political bodies. They’ve recognised that fans aren’t just passive consumers—they are the backbone of the industry, and their concerns need to be addressed.

By taking the survey, you can highlight the issues that matter most to you, from:

🎟️ Ticketing and pricing – Are you being priced out of gigs? Are dynamic pricing models exploiting fans?

🏢 Venue sustainability – How can we protect grassroots venues from closure?

♿ Accessibility – Are live music spaces truly inclusive?

🎤 Safety concerns – Are venues doing enough to create safe environments for fans?

Your input will shape policies that directly impact the future of live music. If you’ve ever felt like your concerns have been ignored, now’s the time to make sure they aren’t.

👉 Take part before the 3 March deadline at MusicFansVoice.uk.

The Harsh Reality of Live Music in the UK Right Now

Live music in the UK isn’t just facing challenges—it’s in crisis mode. While mainstream festivals and major touring acts continue to thrive, the infrastructure that supports grassroots and mid-level live music is crumbling. More than 125 grassroots music venues closed in 2023 alone, with industry bodies warning that dozens more are on the brink. The Music Venue Trust has repeatedly highlighted that without urgent intervention, small venues—which serve as vital incubators for emerging artists—may not survive.

For fans, it’s becoming increasingly difficult to attend gigs at all. The rise of dynamic pricing has pushed tickets for major tours into unaffordable territory, while the cost-of-living crisis has left many unable to justify spending on live events. Transport issues, poor accessibility, and a lack of investment in smaller venues have also created unnecessary barriers for those who want to support the industry but feel shut out.

Even beyond affordability, safety remains a pressing issue. Reports of spiking, harassment, and poor security measures at venues have made live music environments feel unsafe for many. Fans have a right to demand better, and the Music Fans’ Voice Survey provides the perfect platform to do so.

Governments, councils, and industry leaders need to hear directly from fans about what’s working, what’s broken, and what needs to change. This is your chance to make sure those in power can’t ignore the realities facing music lovers across the UK.

👉 Fill in the survey now at MusicFansVoice.uk.

A Rare Opportunity for Fans to Have a Say

The Music Fans’ Voice Survey has already gained support from influential figures, but for it to have real impact, it needs as many responses as possible. High-profile names backing the initiative—from actors like Danny Dyer and Matt Smith to musicians like Soft Play and Kate Nash—have helped bring attention to the cause. Now, it’s up to fans to make sure their collective voice is heard loud and clear.

With councils and combined authorities across the UK throwing their weight behind this survey, the findings will be impossible to ignore. Whether it’s Andy Burnham (Greater Manchester Mayor) calling for greater protection of grassroots venues, Sadiq Khan (London Mayor) recognising the economic and cultural value of live music, or Steve Rotheram (Liverpool City Region Mayor) urging fans to highlight ticketing concerns, the momentum for change is growing.

As Katie Duffy from Glasgow’s UNESCO City of Music put it, “Live music is part of our city’s identity… we also know how vital our audiences are in keeping this ecosystem thriving.” Fans aren’t just spectators—they’re the ones who make live music possible. If the industry is going to be rebuilt in a way that benefits both artists and audiences, it needs direct input from the people who experience it first-hand.

Don’t Let This Chance Pass You By—Fill in the Survey Today

Opportunities like this don’t come around often. This first-of-its-kind initiative is a real chance to influence the future of live music in the UK, but only if fans take the time to share their views. Whether you’re passionate about keeping ticket prices fair, ensuring venues remain open, improving accessibility, or making live music safer for everyone, your input matters.

The deadline is 3 March. If you care about live music, don’t miss your chance to be part of the conversation.

👉 Head to MusicFansVoice.uk and complete the survey today.

Article by Amelia Vandergast

Young People Are Being Priced Out of the Nightlife Economy – And It’s a Disaster for More Than Just the Music Industry

Posted on 23 February 2025

For an increasing number of young people in the UK, the nightlife economy is slipping out of reach, and not by choice. The UK’s Night Time Industries Association (NTIA) recently conducted a survey of 18-30-year-olds, and the results paint a grim picture. A staggering 61% of the 2,001 respondents admitted they are going out less frequently than they did a year ago. Meanwhile, 68% reported that the current economic climate has forced them to reduce their social outings.

The financial burden of a night out is heavier than ever. Skyrocketing rent, inflation, and stagnant wages mean that a ticket to a gig or a club night is now a luxury rather than an expectation. Between entry fees, drinks, and transport, the cost of a single evening can be equivalent to a week’s worth of groceries or an electricity bill. For many, the decision is simple: staying in is the only affordable option. This has major consequences for the live music industry, already on its knees after the pandemic, but the ramifications stretch far beyond the venues and artists feeling the financial pinch.

The Loneliness Epidemic: A Generation Left Disconnected

Nightlife has long been one of the primary ways young people connect, form friendships, and experience real-world interaction. With fewer opportunities to meet people in person, a generation is retreating further into isolation.

The consequences of this shift are already evident. The UK is experiencing a loneliness crisis, and younger demographics are disproportionately affected. The shift towards remote working and studying has already reduced organic social encounters, and the loss of nightlife as a space for connection only exacerbates the problem. Socialising is increasingly restricted to the digital world, which, while convenient, lacks the depth and spontaneity of in-person interactions.

The psychological effects are devastating. Loneliness is linked to higher rates of depression, anxiety, and even physical health problems. Young people who are unable to afford social experiences are missing out on formative life moments—dancing with strangers to their favourite song, discovering new music in a club, or simply sharing a pint with friends after a long week. These experiences help form social skills, confidence, and a sense of belonging—elements that no online platform can truly replace.

The Music Industry’s Bleak Future

For decades, nightlife has served as the breeding ground for musical innovation. From punk in dingy basement clubs to the rise of dance music in underground raves, the night-time economy has always been integral to the UK’s musical landscape. If young people can no longer afford to participate, the repercussions will have ripple effects for years to come.

Grassroots venues are already in crisis. With fewer attendees, ticket sales are dwindling, and venues are struggling to justify the cost of staying open. Many are being forced to shut their doors permanently. This isn’t just about economics—it’s about cultural erosion. If young people are absent from nightlife spaces, there’s no new generation to drive musical evolution, no fresh faces to support emerging artists, and no organic growth for new scenes.

The pipeline from local gigs to mainstream success has always relied on an active grassroots ecosystem. Without it, we risk losing the next wave of groundbreaking artists before they even have a chance to be heard. The major labels and streaming platforms don’t invest in unproven talent—they wait until an artist has built their own audience. If the spaces for that audience to exist are vanishing, so too is the opportunity for artists to grow organically.

The Online World: A Poor Substitute for Real Connection

As young people spend more time online and less time in real-world social spaces, the cultural landscape is shifting—and not for the better. Social media, once hailed as a tool for connectivity, has become a breeding ground for division, misinformation, and polarisation. Instead of fostering genuine relationships, many online interactions are driven by outrage, algorithms, and echo chambers.

The absence of in-person interaction makes it easier for harmful narratives to take hold. The rise of online extremism, conspiracy theories, and xenophobia isn’t a coincidence. When people aren’t engaging with diverse groups in real life, they’re more susceptible to manipulated narratives that fuel division. Historically, nightlife and music have served as spaces where different backgrounds collide, where new ideas are exchanged, and where community is built. The decline of these spaces means fewer opportunities for people to challenge their perspectives and break free from the silos of online discourse.

It’s not just about missing out on fun nights out—it’s about the long-term social consequences of a generation growing up with fewer real-world interactions. If young people can’t afford to participate in communal experiences, we risk an increasingly fragmented society, where online engagement replaces genuine connection, and misinformation thrives in the absence of reality checks.

A Crisis That Demands Action

The current trajectory is unsustainable—for young people, for nightlife, and for the wider cultural landscape. The government’s lack of intervention in the night-time economy is short-sighted at best. Without support for venues, transport infrastructure, and fair wages, the decline will only continue.

The NTIA’s findings confirm what many have long suspected: young people are being priced out of nightlife, and it’s not just about affordability. Safety concerns, particularly for women, are another significant factor keeping people at home. The rise in spiking incidents, harassment, and concerns over public transport at night make the already expensive proposition of going out even less appealing. Addressing these issues requires a multi-faceted approach, from subsidised public transport to stronger safety regulations for venues.

For the music industry, the warning signs couldn’t be clearer. If the spaces for discovery and connection disappear, the long-term damage will be irreversible. But this isn’t just about the industry’s bottom line—it’s about ensuring that young people have access to the cultural experiences that shape their lives. The solution requires investment, policy change, and a recognition that nightlife isn’t just a luxury—it’s an essential part of a thriving society.

If things don’t change, the consequences will be felt far beyond the empty dancefloors and shuttered venues. A generation without real-world social spaces is a generation left to navigate an increasingly hostile digital landscape alone. And that is a crisis none of us can afford to ignore.

Article by Amelia Vandergast

When the Underground Goes Mainstream: The Realities of Popularity and Fan Loyalty

Posted on 9 February 2025

If you’ve spent any time skulking around grassroots gig venues or digging through crates of self-released EPs, you’ve probably seen it happen: a band emerges from a local scene, becomes a beloved mainstay in the underground, and suddenly, that hush-hush secret is plastered all over mainstream media. The next thing you know, the once-beloved group is getting a barrage of side-eyes, and the diehard fans who used to gush about their brilliance now accuse them of abandoning their roots.

But what’s really happening behind the scenes to cause this fallout? Part of it is tied to the tribalism that fuels any music culture. We’ve all felt that sense of pride from discovering a band before the masses and latching on to them when they were fresh-faced underdogs playing sweatbox gigs. Once that air of exclusivity fades and the mainstream gatekeepers start calling, all the warmth and excitement that once pulsed through the scene can morph into scepticism. Because once a band’s name is up in lights, the show suddenly feels less personal.

It’s not always the artist’s fault. Growth in popularity often comes with external pressures that nudge a band towards changes in style or image. Sometimes, it’s a label’s demand for a more radio-friendly track. Other times, it’s the natural creative evolution of musicians who, ironically, run the risk of being called sell-outs for doing exactly what they set out to do: make their mark on the wider world. But how much of this change is acceptable, and how much is a betrayal of everything that made them special?

The Grassroots Connection: Seedbeds of Devotion

There’s an undeniably special connection formed between artists and fans when music is discovered on a grassroots level. It’s the kind of loyalty forged in intimate venues, with sweat-soaked walls echoing back songs that may not even have an official release yet. When fans first connect with a band in this raw setting, it’s natural for them to feel a certain kind of ownership. They were there before the major labels swooped in, before the hype machines powered up, before the fanfare of endorsement deals and chart success.

In these early stages, your average music lover feels like they’re part of something exclusive. They may even help shift the artist’s self-made CDs, turn up to every back-street gig, and passionately spread the word amongst their mates. The relationship between the artist and these supporters is personal. Artists greet them after shows, share stories over the merch table, and bond over the dream of climbing the industry ladder. It’s the fans’ emotional investment that makes them so proud when they watch their once-obscure favourites break new ground. Yet the moment that success arrives, those same fans are often the first to criticise any perceived changes. It’s as if their private corner of the music world has been invaded by the masses.

Social psychology has a role to play here. We all crave a sense of belonging, but there’s also a paradoxical tendency to recoil when the subculture we love becomes mainstream. The question is: Do artists owe it to those early supporters to remain exactly the same, or should they embrace the natural progression that comes with increased exposure?

The Price of Recognition: Are You ‘Selling Out’ or Evolving?

The phrase “sell-out” has trailed successful artists for generations. There’s a tragic irony to it. Fans champion artists to be heard by more people, but when that suddenly happens, they label the artists disloyal. So, let’s break down where this sense of betrayal arises from. Often, the problem is that fans are suspicious of external influences once the music enters a more commercial sphere. The pressing demands from major record labels, or the constraints of writing music that will appeal to larger audiences, can gradually shift a band’s creative vision.

Suddenly, that raw energy or off-kilter flair that made the group feel like such a unique find to begin with becomes an attempt to appeal to a global market. The tracks become a little too polished, the stage outfits look a bit too glamorous, and there’s no time left to hang around the merch table after the set. This can leave original fans longing for the lost grit, spontaneity, and closeness that made them gravitate towards the band in the first place.

Another piece of the puzzle lies in how artists change personally. As they find new opportunities, they might discover influences outside their original style, or simply grow beyond the limitations of their old sound. For many, it’s just a natural part of development. While long-time fans may perceive it as ‘abandoning’ them, it could be that the new sound is a crucial step in the artist’s musical growth. When the creative spark shifts, it doesn’t always mean an artist has bowed to commercial pressure. Sometimes, it’s just evidence of a band refusing to be tied down by what people expect of them.

The real balancing act is finding a way to keep the signature charm that fans fell in love with initially, while still being open to new experiences and influences. Fans do want to see some growth, but if it feels contrived or forced, they will raise the dreaded “sell-out” accusation. How does a band stay true to themselves once their faces start hitting billboards and they share the award ceremony stage with the biggest names in music? The question is worth pondering for anyone who wants to last in the industry without alienating the loyal supporters who were there for them from the get-go.

Staying Grounded in the Limelight: Tactics for Maintaining Likeability

For many artists, staying authentic amidst a flurry of new demands is the biggest challenge that arrives hand in hand with commercial success. It might sound easier said than done, but there are a few ways to keep the disillusionment at bay.

Transparent Communication: In an age of social media saturation, it’s impossible to hide big changes from your audience. Rather than presenting yourself in a ‘new and improved’ package overnight, open up about what’s happening behind the scenes. Whether you’re navigating label pressures, rethinking your creative direction, or deciding to collaborate with bigger names, let your fans come along for the journey. This can neutralise the shock factor and reassure them that you haven’t replaced your authenticity with a sparkly new veneer.
Retaining Intimacy: As your shows get bigger, you can’t always hang out with your entire fanbase after each gig, but there are still ways to keep up close contact. This can mean setting up meet-and-greets, Q&A sessions, or simply staying active on social media with meaningful interactions. By ensuring your supporters feel heard, they’ll be more likely to understand the transitions you’re making.
Avoiding Hollow Transformations: No one wants to see a band that once championed underground values suddenly switch gears and churn out radio-friendly songs for the sake of chart dominance. If you’ve always dreamed of exploring new genres, by all means, go for it. But do it on your own terms, not to fit a label’s brief or because someone has promised you a hot new collaboration that goes against everything you once stood for.
Keeping the Origin Story Alive: It’s easy to forget where you came from when the accolades start pouring in. Yet, remembering your roots and the people who helped you along the way builds loyalty. Don’t neglect where you started – whether that’s a small local venue that gave you your first gig or the underfunded festival that caught wind of your talents before anyone else. Keep those relationships going and show that you don’t take your upward trajectory for granted.

These steps may not guarantee that every supporter from day one will stay in your camp, but they’re often the difference between simply making it big and having a meaningful, lasting career.

Article by Amelia Vandergast

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