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Music Venues

Independent Venue Week: Is IV24 An Exercise of Futility?

Posted on 12 January 2024

Following the announcement from Music Venues Trust (MVT) which disparagingly revealed that 2023 was the worst year for UK venue closures after 125 venues showcased their last performance, 4,000 jobs were lost, and 14,500 events were cancelled, there is growing speculation over whether Independent Venue Week (IVW) can make a modicum of difference to the 80 music venues which are currently in crisis. This crisis is exacerbated by the cost of living, high rent rates, and increased utility costs. The Trust’s CEO, Mark Davyd, has called for “radical intervention” from the government, the music industry, artists, and fans to prevent further closures.

Is IVW24 An Exercise in Virtue-Swathed Futility?

IVW24 is set to take place from the 29^th of January to the 4^th of February. Once again, it is being marked as a seven-day celebration of music venues up and down the UK and the people who tirelessly attempt to keep them afloat.

But is it really anything more than attaching the IVW logo to gig posters for events scheduled to take place in the IVW timeframe? Is it enough to convince music fans to come out in droves to see up-and-coming and established bands? I, for one, am struggling to see the impact that Independent Venue Week will have on ticket sales. Even though I would love to see the initiative have a profound effect and give venue owners a reprieve from their financial anxiety, optimism is in short supply in the wake of the 193,230 opportunities that were lost for musicians through the closure of venues in 2023.

Sure, IVW has developed a line of merchandise. Even though there is absolutely no indication that purchasing one of the t-shirts will contribute to the rising costs of keeping the lights on and the PAs plugged in at music venues. And Huw Stephens and Steve Lamacq will be taking their BBC 6 Shows on the road, but it feels as though the music industry is going to need to put a far juicier carrot on the end of the stick to amp up the enthusiasm to purchase gig tickets. Stephens and Lamacq’s tour is a step towards raising awareness and support for these venues, but it underscores the need for more substantial and sustained efforts to safeguard the future of the UK’s music ecosystem.

“IVW is nothing more than an opportunity to promote big acts, not independent music. As a volunteer at an IVW event, I was treated poorly, working tirelessly without even so much as a bottle of water in return, meanwhile the venue staff didn’t get paid for the extra hours put in – so much for celebrating them. Every year it gets more contrived.” – anonymous

With music fans more mindful of their budget than ever before given that there is no end to the cost-of-living crisis in sight, it is somewhat naïve to expect this event can even make a dent in the financial strain felt by independent music venues.

What is Independent Venue Week?

Independent Music Venue Week is a celebration of the spirit and uniqueness of independent music venues. It’s akin to a week-long festival, but instead of being confined to one location, it sprawls across the UK’s independent music venues, showcasing their importance and the diverse talent they support.

Origins and Evolution:

Inception (2014): IVW was launched in 2014. The idea was to shine a spotlight on the heroes who own and run these venues. It’s a nod to the places that often serve as the nurturing grounds for musicians, offering them their first stages and helping to shape their careers.

Growth and Development: Over the years, IVW has grown significantly. From a handful of venues in its early days, it has expanded to include hundreds of venues across the UK. Each year, the event sees a series of gigs and talks taking place over a week, usually at the end of January or the beginning of February. This timing is strategic, as it falls at a quieter time of the year for these venues, giving them a much-needed boost.

Impact of COVID-19: The pandemic brought unprecedented challenges to the live music scene. IVW adapted by incorporating virtual events and fundraising efforts to support struggling venues. This period highlighted the fragility of independent venues and galvanized public and industry support for them.

Key Figures and Involvement:

Sybil Bell: The founder of IVW, Sybil Bell, has been a crucial figure in the initiative. Her vision and dedication have been instrumental in driving the event forward and raising awareness about the importance of independent venues.

Artists and Bands: Each year, a mix of well-known and emerging artists participate in IVW. These artists often have a personal connection to these venues, having started their careers on similar stages. Their involvement brings attention and crowds, vital for the venues’ survival.

Partnerships and Support: IVW has garnered support from various organizations, including Arts Council England. Partnerships with music industry bodies, media, and sponsors have helped in amplifying its impact.

Government Recognition: The initiative has also previously received acknowledgement from the UK government, highlighting its cultural significance and the need for supporting grassroots music venues.

In Conclusion

To truly make a difference, IVW and similar initiatives must go beyond annual celebrations and become part of a larger, concerted effort to address the financial and structural challenges facing independent music venues. This could include advocating for policy changes, creating sustainable funding models, and fostering a culture of continuous support from the music community and the public. Only through such comprehensive and ongoing efforts can the decline of these cultural hubs be halted and reversed.

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Article by Amelia Vandergast

The Unseen Melody of Crisis: 125 Music Venues Have Shuttered Around the Cost-of-Living Crisis

Posted on 16 December 2023

In the heart of Britain’s vibrant music scene, a silent crisis is unfolding. Over 125 grassroots music venues, once the cradle of Britain’s musical talent, have been forced to shut down in the past year. These closures are not just a loss of entertainment spaces but a fading echo of cultural heritage and a blow to the future of music in the UK.

If you want an even more disparaging sign of the times, take a piece recently published by the Guardian which warned that UK festivals are being shunned by big-name artists, which is making it all but impossible for festival organisers in the UK and Ireland to pull in headline acts. Once an epicentre for the arts; a cultural breeding ground which spawned The Beatles, David Bowie, Oasis, and thousands of the world’s most revered names in music is now little more than a blot on the landscape of the global music industry.

But the fans can’t entirely be blamed. The situation is far too dire for shame towards the people frequenting far fewer gigs to reverse. The expected sharp rise in absolute poverty rates in 2023/24 makes it impossible to put the onus on music fans. The expectation that people will start heading down to their local venues and start propping up bars that charge them the minimum wage for two drinks is naïve, at best. As long as the economy suffers, so will independent artists and venues. As long as we let late-stage capitalist shills create policies to drive us further into destitution, our cultural sector will continue to crumble, and aspiring artists will never get the opportunity to come close to reaching their aspirations.

Moles in Bath: A Symbol of the Struggle

Moles, a legendary venue in Bath, has become the latest casualty of this crisis. For 45 years, it served as a launchpad for stars like Ed Sheeran, Oasis, and Blur. Tom Maddicott, co-owner of Moles, highlights the multifaceted nature of the problem: soaring costs, skyrocketing utilities, and a general decline in public spending power due to the cost-of-living crisis. The closure of Moles is not just a business loss; it’s a heartbreak for the community and a stark reminder of the precarious state of grassroots venues. In September, Music Venue Trust predicted that the UK will lose 10% of its venues by the end of 2023. The closure of 120 music venues so far is evidence we are already on the way to that figure, and it is so much more than dust on bricks and mortar.

The Ripple Effect on Emerging Talent

Grassroots venues are more than just entertainment spots; they are the research and development departments of the music industry. They provide a platform for artists to hone their skills, experiment, and connect with audiences. The closure of these venues means a significant blow to the nurturing of new talent. Curt Smith of Tears for Fears, who started their journey in such a venue, emphasises the irreplaceable experience these venues offer both artists and audiences. Everyone in the music industry knows that touring is one of the best ways for independent artists to increase their fanbases if that opportunity is lost for this generation of musicians, you don’t need a wild imagination to envisage where we will be ten years down the line from today.

A Call for Collective Action

The Music Venue Trust (MVT) is spearheading efforts to save our cultural keystones. Amongst other noteworthy initiatives, they propose a model where a small portion of ticket sales from larger venues and events is funnelled back into supporting grassroots venues. This model is inspired by France’s approach, where 3.5% of ticket revenue from major events is allocated to support smaller venues and emerging artists. Such initiatives are crucial for the survival and revival of grassroots venues, but they can only go so far if they are alone in their fight for our music venues.

The Urgent Need for Support

Currently, 84 grassroots music venues are teetering on the brink of closure. These venues rely heavily on bar sales and club nights to subsidise the cost of hosting new music acts. Without immediate and effective support, the UK risks losing more of these vital cultural hubs, further eroding its rich musical heritage. Rather than compelling members of the public to live frivolously to be a patron of the arts, immense pressure needs to be applied to the government, especially the Secretary of State for Culture, Media, and Sport, Lucy Claire Frazer.

Conclusion: A Call to Preserve Our Music Venues

The closure of grassroots music venues is a clarion call to all stakeholders in the music industry, from government bodies to music lovers. It’s a call to action to preserve the very foundations upon which Britain’s global musical reputation is built. As we face this crisis, let us remember that supporting grassroots music venues is not just about preserving spaces; it’s about nurturing the future of music itself. Unless you want to get comfortable with the sound of silence and musicians becoming more of an ageing demographic than they are currently, the time for action is now.

Article by Amelia Vandergast